人間ノリ巻きの作品説明です。 about Human sushi in Asahikawa Beginning your ground Production year: 2017- Format: Installation Size: φ4000 × H2500 (mm) Material: Wood, Styrofoam, Artificial turf, Flower paper This work, originally created in 2017, was recreated for the summer season of “Ki・Ten・Ki・Ten”, the 10th Anniversary Exhibition of the Museum of Beginnings held in Inawashiro, Fukushima, in 2024. When speaking with local residents, the artist learned that the iconic Mount Bandai—commonly known as a series of three connected peaks—was once said to have had a “fourth mountain.” This earlier form disappeared due to a major eruption that occurred exactly one hundred years before the artist, Imai, was born. Captivated by this coincidence and the mountain’s layered histories, she imagined and reconstructed the “fourth Mount Bandai.” Since no photographic records from that era exist, the recreated mountain was inspired by paintings and local stories. While it pays homage to the lost landscape, the “fourth Mount Bandai” also emerges as a new mountain—one blossomed into existence by the hands of people living today. Inside the work, participants enter a cave-like interior where they are free to create flowers using just tissue paper, tape, and bamboo skewers. There are no rules or prescribed methods: some remember how they made paper flowers as children, while others invent entirely new approaches. As participants work with their hands, conversations naturally begin—about Inawashiro, Mount Bandai, Lake Inawashiro, or people to whom they wish to give their flowers. Though their eyes stay focused on their hands, they soon find themselves engaged in lively exchanges. In this way, flowers of every shape, color, and size come to life—no two ever the same. The completed flowers are planted by participants either inside the cave or on the outer surface of the mountain. Those who wished to give their flower to someone special were invited to take it home. After making a flower, participants climb a ladder inside the cave to “summit” Mount Bandai at an elevation of 2,125 meters. From the summit, they enjoy the view and the flowers left by others nearby. Upon exiting the cave, they receive a commemorative pennant for reaching the peak. Over the long exhibition period from July to October, many visitors created flowers—a total of 1,366 blossoms were born. Cooperation: Asagi Yoshida, Chie Orihara, Takehiro Ishii, Ikuya Hirota, Rina Uchida, Reina Isono, the staff of Hajimari Art Center, and members of the local community

博士論文を紹介しています。 MEDIA Doctoral Thesis 2021 Doctoral Thesis, Graduate School of Fine Arts, Tokyo University of the Arts Research on the experience of appreciation created together by the viewer and the artist: the practice of communion and co-creation and the construction of the concept of <PLAY GROUND＞". (Part of the work is available on a limited basis. It will soon be open to the public at the Tokyo National University of Fine Arts and Music). Viewing environment: PC and iPad are recommended. by Tokyo University of Arts Repository The summary is here(Japanese only) The thesis is here(Japa nese only) Handouts at the time of the doctoral research presentation (Japanese only) Doctoral Thesis 2021 Doctoral Thesis, Graduate School of Fine Arts, Tokyo University of the Arts Research on the experience of appreciation created together by the viewer and the artist: the practice of communion and co-creation and the construction of the concept of <PLAY GROUND＞". (Part of the work is available on a limited basis. It will soon be open to the public at the Tokyo National University of Fine Arts and Music). Viewing environment: PC and iPad are recommended. by Tokyo University of Arts Repository The summary is here(Japanese only) The thesis is here(Japa nese only) Handouts at the time of the doctoral research presentation (Japanese only)

今井の新作である『ひと包み』の特別ページです。 HUMAN FUROSHIKI "Human Furoshiki" is a participatory work in which the author, Imai, and the participating viewers work together to create an important gift, "Human Furoshiki" wrapped in a single furoshiki. It is the participating viewers who are wrapped in the furoshiki. Imai, the author, will wrap you in your favorite pose. When we are born, we are carefully wrapped in cloth, and when we die, we are carefully wrapped in cloth. What kind of experience is it to be wrapped up in the meantime, and even to be wrapped up in others? While talking and communicating with the viewers, who are important gifts that the author can meet through the work, we will change the object of "furoshiki" into a work of "Hitotsutsumi-ひと包み-" together. It is a work that tries to do that. Tokyo University of the Arts Graduate School of Fine Arts Doctoral Examination Exhibition 2021 December 10th (Fri) -19th (Sun), 2021 Tokyo University of the Arts University Museum Load More

人間ノリ巻きの作品説明です。 about Human sushi in Asahikawa Atarashii Historia Production year: 2013- Format: Installation Size: Sushi (including ingredients) ... W2000 x H100 x D1800 Sushi clogs ... W3000 × H450 × D2000 (mm) Material: mixed media Atarashii Historia is an interactive artwork created through a collaborative project between artist Imai and the educational organization Kampung Lali Gadget in Sidoarjo, Indonesia. The work combines the Indonesian traditional song-based game “Jamuran”, Indonesian traditional foods, and Imai’s own work “Human Norimaki,” merging the play cultures and traditions of both countries into a single participatory experience. In this project, the instructions within the play are transformed so that participants “become” one of four traditional dishes: three from Indonesia—Wedang (herbal medicinal tea), Lapis (layered steamed cake), and Ingkung (whole chicken ceremonial dish)—and one from Japan—Sushi. Each dish has four units, allowing 16 participants to play simultaneously. The work was exhibited at the East Java Biennale (Biennale Jatim) in Gresik, Indonesia, from August 24 to September 20, 2025. About the Title “Atarashii Historia” The title Atarashii Historia is a coined phrase combining the Japanese word for “new” (atarashii) and the Indonesian word for “history” (historia). In Japanese, it can be read as “Atarashii Rekishi,” and in Indonesian, as “Historia yang baru.” The naming originated from an experience during Imai’s cultural research in Indonesia. While visiting a museum dedicated to traditional Indonesian games, she encountered exhibits documenting the history of the Japanese occupation of Indonesia—a moment that prompted deep reflection. When she shared the complexity of this history with members of Kampung Lali Gadget, they responded: “We can create a new history.” Inspired by this idea—that through cultural, educational, and artistic collaboration, people can shape a “new history” together—the project and artwork were titled Atarashii Historia and developed as a starting point for that shared vision. Play Video A video showing how the games are played (with Japanese subtitles). It explains how each food element is used in the play experience. Composition of Atarashii Historia This work is inspired by Satsuki Imai’s signature piece Human Norimaki. The composition consists of: the traditional Indonesian singing game Jamuran, and a set of three-dimensional sculptural pieces modeled after Indonesian and Japanese dishes, created as new tools for reimagining and playing Jamuran. Element ①: Jamuran Jamuran is a traditional play in which participants walk in a circle while singing. A leader standing at the center gives instructions such as “Form pairs and give each other a piggyback ride!” or “Form groups of three and turn into a truck!” Participants then cooperate with the people around them to complete each instruction. Nizar, who participated in this project, also said in an interview: “Jamuran has a kind of cycle of life within it, and it expresses growth.” Element ②: Four Foods from Indonesia and Japan In this project, we incorporated “food” from two countries—Indonesia and Japan—as core elements of the work. From Japan: Norimaki (seaweed roll sushi). From Indonesia: Wedang, a traditional herbal tea; Lapis, a steamed layer cake; and Ingkung, a whole chicken dish served at religious ceremonies. Just like my own work, Human Norimaki, we created these elements at a scale that allows a person to physically enter and “become” the dish. To ensure many people could participate, we made four sets of each food, resulting in 16 pieces total, so that 16 participants could play at once. Norimaki (Seaweed Roll) A traditional Japanese dish. Rice is spread flat over a sheet of seaweed (nori), topped with ingredients such as egg, tuna, or kanpyo (dried gourd), and then rolled into a cylindrical shape. Lapis A traditional Indonesian steamed rice cake. It is characterized by its beautiful, colorful layered stripes. Wedang A traditional Indonesian herbal tea. It is a nourishing drink made with local herbs such as ginger, cardamom, and cloves, all commonly used in Indonesian traditional beverages. Ingkung A traditional Indonesian ceremonial dish made using a whole chicken. It is typically served on a large round bamboo tray called tampah, woven from bamboo. ■ Ingredients / Components ① Human Norimaki Participants run toward the norimaki, one person lies down on the rice mat, and the others roll them up with force, creating a giant “Human Norimaki.” The seaweed was made from leftover fabric found at Kampung Lali Gadget. The rice was made from both recycled styrofoam and newly purchased styrofoam—1,200 grains in total. The fillings were produced by local craftspeople who usually work on cushion covers and similar products in Indonesia. Load More ② Wedang Participants hold elements of Wedang—ginger, cinnamon, and other herbal ingredients—and enter a large cup inspired by the marble-patterned cups often used for Wedang. A participant holding lemongrass stirs inside the cup, just like making real tea. The cup was made using printed fabric, while the ginger and lemongrass were crafted from recycled cardboard and other materials. ③ Lapis Lapis is a traditional Indonesian steamed cake characterized by colorful layers. Participants each enter a sleeping-bag-like fabric based on a single layer color. They lie down and press their bodies together to form a Lapis. The closer they stick together, the more it resembles real Lapis—resulting in lots of laughter. The fabrics were purchased at a market in Sidoarjo and sewn by the mother of Iefandi, the representative of Kampung Lali Gadget, who works professionally as a tailor. Load More ④ Ingkung Ingkung is a traditional Javanese dish consisting of a whole chicken. One participant becomes the finished chicken dish, while another fans them to cool them down. The 1.5-meter bamboo plate—called tampah—was custom-made from scratch by bamboo craftsmen in the city. 展示 Project Documentation Throughout approximately one month—from August 9 to September 11—we conducted meetings, site surveys, material gathering, production, playtesting, video editing, installation, exhibition, and the final participatory event. Here, the process is shown in chronological order. Meeting at Kampung Lali Gadget Immediately after arriving in Indonesia, we began meetings. I had sent preliminary documents beforehand, but the Kampung Lali Gadget team (Irfandi, Nizar, Gista, Alfian, Dany) expanded on them and proposed several new ideas. Load More Site Visit We visited the exhibition venue, Pudak Gallery Gresik. Since the site is near the coast, local fishermen kindly served us lunch. Load More Second Meeting → Material Search After visiting the venue, we met again to refine ideas for materials and began sourcing them. The first place we visited was a recycling depot. Unused corrugated cardboard and other materials were available at very low prices. Because these types of depots do not exist in Japan, this was a refreshing and inspiring experience. Load More Artwork Production Creating four sets each of Human Norimaki, Lapis, Wedang, and Ingkung—a total of 16 pieces—was a major challenge in terms of volume. With help from the Kampung Lali Gadget members and university interns, we completed the production in about two weeks. For Human Norimaki, although we knew the method, we did not have the same materials as in Japan, so replicating the experience required much trial and error. For the other three works, no one had ever made such objects before, so we repeatedly discussed: “How should we create this?” “How can we ensure safety while keeping it fun?” Both aspects were carefully considered. Load More Commissioning Indonesian Craftspeople Some components were made by local artisans. The Norimaki fillings and the Ingkung bamboo tampah plates were specially commissioned. The fabric artisans, who normally make cushions and bedcovers, tackled the unfamiliar right-angled shapes using their expertise. The bamboo craftsmen—who usually make 30–40 cm plates—created four 1.5-meter plates in just a few days so that a person could sit inside. Playtesting Throughout production, we repeatedly conducted playtests. We adjusted the Lapis fabric sizes and purchased new cloth, changed the Wedang cup from a painted-cardboard structure to one covered with printed fabric, and continued daily trial and error. Load More Completion of the Works After completing the pieces, we conducted test plays and filming. Video Editing Since we had a team member with video production experience, we collaborated to edit the final video. Preparing for Exhibition We prepared for transportation to the venue, which is about two hours by car from Kampung Lali Gadget, and transported everything with the team. Load More Exhibition Opening After successful installation, we participated in the opening event. Load More Member Interviews We produced a video compiling interviews and activities of the main project members— Irfandi and Nizar from Kampung Lali Gadget, and myself. It includes conversations about how the project began, language and cultural barriers, balancing the project with Kampung Lali Gadget’s main business operations, and more. (Video Director: Alfian) Exhibition and Events at Biennale Jatim The project was exhibited at Biennale Jatim, held at Pudak Gallery Gresik in Indonesia from August 24 (Sun) to September 20 (Sat), 2025. On September 6, we held a participatory event. During the event, we prepared real Norimaki, Wedang, Lapis, and Ingkung—the dishes that inspired the work—and shared them with visitors. Through food and play, we created a cross-cultural experience shared with the audience. Load More Credits Thank you for participating this project!! Satsuki IMAI ◾️Members of Kampung Lali Gadget Achmad Irfandi Ahmad Nizar Pratama Muhammad Alfian Nur Riski Alkurnia Faiva Agista Achmad Dani Nur Fajri Dandy Wahyu Kurniawan Andrey Setyowahyudi Kharisma Nata Fambudi Shinya Permatasari Siti Nur Aini Fahma Rossadah Fajar Agustianto Arizaldi Febiandika Styobudi Novanto Azizul Hakim Sutiyono Siti Mas Udah Giofani Saktiawan Imanmudin Achmad Arga Afriatullah ◾️Students from UNESA and UMSIDA（IKOM） Dzawis Sajaya Emiliya Putri Salsabilah Exsya Makou Herdimawan Fadila Nurhamidah Dian Rahmayanti Divia Rahmadina Anindya Rihhadatul Aisy Lina Ziyadah Nur Riska Yogi Maulani Aprilia Ananda Lutfia Nabila Wijiati Nabila Nasywa Andini Kurniawati Dita Maulidiyah Gracio Pardomuan Kristian Raharjo ⁠Amanda Octavia ◾️Artisan of Tempeh Mahmud ◾️Artisan of topping Kasur busa al misfalah ◾️Special thanks Triansyah ilhamzah Halimatus sa’diyah

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NEWSは今井さつきの最新情報(展覧会、イベント等)を掲載しています。 The latest information NEWS 2025 Exhibiting at “Civic Hall Open! DAY♪ Exhibition Date: Saturday, December 20, 2025 Time: 11:00–16:00 Venue: Hall Foresta Stage, Keyaki Forum, Meeting Rooms, Entrance Area Admission: Free More details here 2025 Exhibiting at Biennale JatimⅪ Exhibition Date: Sunday, August 24 – Saturday, September 20, 2025 Time: 10:00–21:00 Venue: Pudak Gallery Gresik Admission: Free More details here ※Click the visual on the left to access the artwork page within the website. 2025 2024 Hacchi Artist-in-Residence Activity Archive Exhibition Exhibition Date: Saturday, January 25 – Tuesday, February 11, 2025 Time: 9:00–21:00 Venue: Hachinohe Portal Museum hacchi, 3F “Wa no Studio” Admission: Free More details here ※Click the visual on the left to access the artwork page within the website. 2024 Exhibiting at Hajimari Art Center 10th Anniversary Exhibition “Ki・Ten・Ki・Ten” — Summer Season Exhibition Date: Saturday, August 3 – Sunday, October 20, 2024 Time: 10:00–18:00 Venue: Hajimari-no-Museum Admission: General: 500 yen Ages 65+: 250 yen High school students and under: Free Visitors with a disability certificate and one accompanying person: Free More details here ※Click the visual on the left to access the artwork page within the website. 2023 Participating in the Former Kamino Elementary School Residence Exhibition Performance Date: Saturday, December 16 – Sunday, December 24, 2023 Time: 13:00–17:00 Venue: Former Kamijo Elementary School Admission: Free More details here ※Click the visual on the left to access the artwork page within the website. 2023 A doctoral thesis has been released on the website. Exhibition detail：Click here 2022 IN : ACT BẾN NGỌC THỤỴ BY NHÀ SÀN COLLECTIVE Performance Date：1. September 2022 Time：16:00-20:00 Location：WH22 Nha San Queer House Admission：free detail：Click here 2022 Just Rolllllll Performance Date：13. August 2022 Time：16:00-20:00 Location：Fridericianum Gudkitchen (Backyard) Admission：free detail：Click here 2021 Doctorate degree Exhibition Exhibition Date：10. December 2021 Time：10:00-17:00 Location：Tokyo University of the Arts museum Admission：free detail：Click here 2021 BankART AIR 2021 WINTER OPEN STUDIO Exhibition Date： 5-7,12-14.February 2021 Time：11: 00-19: 00 Place： BankART Station & R16studio Admission: Free detail： Click here 2020 INSIDE DIVERSITY Inner diversity Exhibition Schedule:26.Dec 2020,-4.February Time：7: 00-23: 00 Location：JR Ueno Station Main Exit "Galleria" 2F Break Station Gallery Admission：Free 2020 To make is to pray workshop Exhibition Date： 4.July 2020 Time：11: 00-21: 00 Location：Shibuya PARCO OIL by Art Notebook Store Participation fee：One drink order

人間ノリ巻きの作品説明です。 about Human sushi Human Sushi Production year: 2013- Format: Installation Size: Sushi (including ingredients) ... W2000 x H100 x D1800 Sushi clogs ... W3000 × H450 × D2000 (mm) Material: Cloth, cotton, urethane foam, polyerylene sheet A participatory art work in which artists who portray sushi chefs roll up participants. The participant chooses some of the sushi toppings (tuna, egg, starch, dried gourd) that are wrapped with him/her/them, holds them, and lies down on a huge rice mat. Then, the artist rolled up the participant in front of the viewer and made a huge "Human Sushi" together. After the roll is rolled, the photograph taken and printed on the spot is pasted on the wooden board that becomes the menu table. Then, the experiencer himself writes a menu such as "~ roll", completes the menu table, and displays it in the exhibition hall. It is a work that you can enjoy as an experience-based performance, such as "rolling in public" and "becoming food", that you do not usually do. Also, for myself, not only to experience it to become part of its work product on the menu table but also to form a communication between the experienced people. This work not only sees the work but also participates, and the viewer becomes a work, so that the viewer and the work, the viewer and the author, and the relationship between the viewers can be changed happily, and it is fun with everyday things. Created using the topic of seaweed rolls and cooking in an attempt to amplify the sardines. Currently, a total of about 2,500 people are experiencing it in Japan, South Korea, and France. ・ February 26-March 3, 2013 ... "2012 Aichi Prefectural University of the Arts Graduation / Completion Exhibition" (Aichi Museum of Art Gallery Exhibition Room / Aichi) ・ August 2013… etteda7th (Seoul) ・ August 2014 ... Guerrilla Performance in Paris (Plaza in front of Pompidou Center / Paris) ・ March 2015 ... Solo exhibition "이랏 샤이 마세 ~ Welcome ~ Exhibition" (gallery bonun / Seoul) ・ April 7, 2018 ... "Meaningless, something like" (Beginning Museum / Fukushima) ・ August 2018 ... "Children's Korabo Lab" (Art Tower Mito / Ibaraki) ・ August 2018 ... " TURN Festival 4 " (Tokyo Metropolitan Art Museum / Tokyo) ・ Scheduled to be exhibited in 2020 (postponed after 2021)

今井さつきの作品紹介をしています。 This page present art works of Satsuki IMAI. WORKS WORKS WORKS WORKS WORKS WORKS WORKS WORKS WORKS

「ひと包み」についての作品説明です。 about "Hitotsutsumi" Human Kikumaki (Chrysanthemum Roll) Year of Production: 2025 Format: Participatory Artwork Size: Kikumaki (including fillings): W2000 × H100 × D1800 mm Materials: Fabric, cotton "Hitotsutsumi" is participatory artwork in which visitors who come to a kimono accessory shop are wrapped in huge furoshiki (Japanese wrapping cloth) by an artist who impersonates the store's proprietress. Visitors meet the artist, and she says that "this is a place where visitors are wrapped in furoshiki while communicating.". Visitors who want to participate choose two of their favorite patterns from the large furoshiki and lay them out in the space. Then he/she/they go up on the tatami mats, unfold the two furoshiki together with the artist, and join the two furoshiki by tying them together with their hands. The participants then sit on the furoshiki, which are three meters square in length and width, and assume the position in which they want to be wrapped. The position can be sitting, standing, or lying down. The artist, who is the proprietress of the space, wraps the viewer according to the viewer's position, physique, and conversation, following the basic tying method of the furoshiki. In this process, communication between the artist and the viewer takes place through the furoshiki. Through this collaboration and exchange, a simple furoshiki is transformed into a work of art called "Hitotsutsumi". When the wrapping is finished, the artist takes a picture of the wrapping, prints it out on iron-printed paper, and gives it to the viewer, who cuts it with scissors, attaches it to the noren, and names the wrapping. As the number of participants increases, the number of wrappings made by the viewers increases, and each wrapping becomes a symbol of the communication between the viewer and the artist. Each wrapping is a one-of-a-kind creation that is the result of communication between the viewer and the artist. Three elements in the art work Object. The object of this work is the furoshiki. By creating with the artist a worldview of a kimono accessory shop lined with large furoshiki, he creates a space that is detached from everyday life, a space that viewers themselves can experience with peace of mind. The artist and the viewer create a space that is detached from everyday life, a space in which the viewer can experience and feel at ease. Furoshiki and cloth are familiar objects, but by using a size beyond the usual furoshiki, it is possible to create a space in which the viewer can experience and feel at ease. The use of furoshiki, or clothes, in sizes beyond the usual brings a surprise to the viewer, who sees the furoshiki wrap itself around the object. However, because the action itself is a familiar one of wrapping and being wrapped, the process of experiencing the cloth itself is easy to imagine, creating a sense of security. The "presence of being wrapped" by the viewer and the "presence of wrapping" by the creator compensate for the lack of a "presence of being wrapped" when wrapping something with a furoshiki, and the interaction generated by the communication between the two creates a sense of comfort in the furoshiki. The interaction that results from the communication between the two transforms the furoshiki into a work of art that is not merely an object but a "Hitotsutsumi" that combines the communication between the two and the furoshiki wrapping that is co-created by the two. The communication between the two and the co-created furoshiki wrapping transforms the furoshiki into a work of art. The Viewer The viewer of this work is the one who is wrapped in the furoshiki. They experience the work together with the artist, transforming the mere furoshiki into a work of art called "Hitotsutsumi" (one package). The viewer has the right to choose the pattern of the furoshiki in the space of the work and the position in which he or she is wrapped. This reduces the gap in experience between the artist and the viewer and creates a new and unique experience for the artist as well. After being wrapped, the viewer has an opportunity for reflection and output by naming his or her own wrapping from the experience of being wrapped, and the opportunity for reflection and objectivity gained in the process creates an opportunity to shift the experience into an experience. Artist The author of this work is the proprietress of a kimono accessory shop. As the proprietress, the artist creates the worldview of the work space with the object furoshiki and coordinates the experience. Through the experience together with the viewers, the artist transforms the furoshiki object into a work of art called "Hitotsutsumi" (one package). The artist cannot control the entire experience depending on the viewer's choice of furoshiki, body shape, or position. The artist gives the viewer the right to choose the pattern of the furoshiki and the position of his or her body, and the viewer himself or herself is the one who is challenged by the experience. Load More ＜Exhibition History＞ December 2021: "Tokyo National University of Fine Arts and Music Graduate School Doctoral Program Examination Exhibition 2021" (The University Art Museum, Tokyo National University of Fine Arts and Music / Tokyo, Japan)

人間ノリ巻きの作品説明です。 about Human sushi in Asahikawa Human Sushi in Kassel Production year: 2013- Format: Installation Size: Sushi (including ingredients) ... W2000 x H100 x D1800 Sushi clogs ... W3000 × H450 × D2000 (mm) Material: mixed media The work Human Sushi was presented during a half-month stay at the “Former Kamijo Elementary School Residence,” an artist-in-residence program held at the former Kamijo Elementary School building in Miyama City, Fukuoka Prefecture. Organizer: Kyushu Geibunkan Art Exhibition Executive Committee (Fukuoka Prefecture Cultural Promotion Division) Human Sushi Experience (12/16–12/24)

NEWS ◆ January 12, 2021: We will participate in the open studio held at BankART R16. ◆ January 12, 2021: We will participate in the artist talk at BankART Station. ◆ January 10, 2021: We are exhibiting at "Inside Divversity" being held at Ueno Station Break Gallery. (~ February 4th)

今井さつきの経歴等を記載しています。 Satsuki's biography CV photo: Tatsuhiko Nakagawa Satsuki Imai Satsuki Imai creates participatory and communication-based artworks that explore PLAY GROUND, co-creation, and reciprocity, developing spaces in which viewers and artist collaboratively shape the work. Her artistic practice is deeply influenced by her background in video games. Having grown up immersed in games, she came to believe that play fosters personal growth and builds connections between people. She initially aspired to become a game designer, but during her studies in a specialized program, she encountered contemporary art. She found strong affinities between games and art—both offer opportunities to think, experience, and exist slightly apart from everyday roles. This discovery sparked her interest in creating such experiences within public spaces. Drawing on foundational concepts from game design—the viewer as protagonist, the possibility of altering the future through participation, and play as a medium connecting people—Imai developed a practice in which the audience becomes an active agent within each work. Her installation Raybox transforms visitors’ personal belongings into kaleidoscopes, enabling them to generate unique visions rooted in their own lives. In Hajimari no Daichi, flowers made by participants gradually alter the rocky, cave-like landscape of the installation, suggesting the potential for collective action to reshape a shared environment. In Human Norimaki, participants become the “ingredients” of a giant sushi roll, collaboratively constructing the norimaki with the artist while experiencing a new form of embodied creativity. Across these works, Imai invites viewers to become protagonists who co-create the artwork through a process akin to play. Her installations function as playgrounds, places where she connects with others through the medium of art and welcomes them into a space of shared creation. Embedded within her practice is a simple and sincere message to participants: a desire for friendship and connection. Biography 2022 Completed Doctoral Program, Graduate School of Fine Arts, Tokyo University of the Arts (PhD, Fine Arts) 2017 Completed Master’s Program, Graduate School of Fine Arts, Department of Intermedia Art, Tokyo University of the Arts 2013 Completed Master’s Program, Graduate School of Fine Arts, Department of Design, Aichi University of the Arts 2011 BA, Department of Animation (Game Course), Tokyo Polytechnic University Exhibition history 2025 Biennale Jatim XI (Pudak Gallery Gresik / Gresik, Indonesia) 2024 hacchi Artist-in-Residence Activity Archive Exhibition (Hachinohe Portal Museum hacchi / Aomori) 2024 Hajimari Art Center 10th Anniversary Exhibition “Ki・Ten・Ki・Ten” — Summer Season (Hajimari-no-Museum / Fukushima) 2023 Former Kamino elementary school Residence Program Exhibition (Former Kamino Elementary School / Fukuoka) 2022 IN : ACT Bến Ngọc Thụy by Nhà Sàn Collective (WH22 Nha San Queer House / Kassel, Germany) Just Rolllllll (Museum Fridericianum, Gudkitchen Backyard / Kassel, Germany) Let’s Get Rolled in Human Sushi! — Asahikawa “Makasa-ru-kai” (Heiwa-dori Kaimono Park / Hokkaido) 2021 Tokyo University of the Arts Doctoral Thesis Exhibition (The University Art Museum / Tokyo) 2020 INSIDE DIVERSITY (Ueno Station Break Gallery / Tokyo) Making is Praying (OIL by Bijutsu Techo / Tokyo) The Struggle for Tomorrow (3331 ART FAIR / Tokyo) 2019 Precious Situation (Digital Hollywood University / Tokyo) 2018 ATLAS Exhibition (The University Art Museum, Tokyo University of the Arts / Ibaraki) TURN Festival 4 (Tokyo Metropolitan Art Museum / Tokyo) Kodomo Collabo Lab (Art Tower Mito / Ibaraki) Muimi no Youna mono (Hajimari-no-Museum / Fukushima) 2017 TURN Festival 3 (Tokyo Metropolitan Art Museum / Tokyo) FELT STÄRKE — East Asian Capital of Culture 2017 Public Presentation (Kyoto Art Center / Kyoto) TURN Festival 2 (Tokyo Metropolitan Art Museum / Tokyo) Graduation & Completion Exhibition, Tokyo University of the Arts (Tokyo Metropolitan Art Museum / Geidai Campus) 2015 TURN Festival (Tokyo Metropolitan Art Museum / Tokyo) Solo Exhibition Irasshaimase—Welcome (gallery bonun / Seoul) Me and Nature — Tokyo University of the Arts × École des Beaux-Arts International Collaborative Project (Echigo-Tsumari Art Triennale / Niigata) 2014 Human Sushi Guerrilla Performance (Centre Pompidou forecourt / Paris) 2013 Aichi University of the Arts Graduation & Completion Exhibition (Aichi Prefectural Arts Center / Aichi) TETSUSON 2013 (BankART Studio NYK / Kanagawa) Artist-in-Residence 2024 Hacchi AIR (Hachinohe / Aomori) 2022 Former Kamijo Artist-in-Residence (Miyama / Fukuoka) Artist-in-Residence Asahikawa (Asahikawa / Hokkaido) Grants 2022 Ogasawara Toshiaki Memorial Foundation — Travel & Research Grant (First Term)