Early influenced by her father, a prominent neuroscientist, and by early years of studies in textile, Aya continues to explore the asymmetry between vision and cognition through her powerful grid paintings. They are expressions of control and imperfection, as an inevitable pattern of manual work, plunging viewers' minds into perceptive spheres beyond common reach. A search for a beauty precisely engendered by the misalignment between what is seen and what is perceived.

Awarded with the Grand Prix at Rêver 2074, co-hosted by Comité Colbert and Tokyo University of the Arts in 2017, and with the Nomura Art Prize in 2018, Aya has become inevitable amongst the successful Japanese contemporary art scene. In Spring 2022, the reputed Kyoto City Kyocera Museum of Art attributed its “Triangle” exhibition space to Aya’s work; a unique setting to express her newest art creations.

“After spending several years outside of Japan in countries such as Indonesia and Portugal where both religion and family play a crucial role in society, I realised that those two fundaments are sources of peace of mind for the local people.

From a family with no sense of unity and no shared values, and as being Japanese, I haven’t cared what my religion is until I travelled overseas. Then, I began to feel that I really need a god-like existence to believe into or pray for. This does not only apply to myself but also to the Japanese society, in my sense. I feel that Japanese people often blame themselves  rather than possibly rely on their religion or family when something bad happens.  

As I spent some time in Japan, I started feeling that people still believe in “spirit”, but rather unconsciously.

Through my works’ mysterious presence I hope it will make the audiences feel at ease. I will try to visualise something like a spirit floating everywhere, which is unique to me, born and raised in Japan.