My practice explores how memory, identity, and human experience emerge and are shared through the body. I am a performance artist, director, and founder of Tokyo Dolores, working between New York and Japan. For over a decade, I have developed works integrating movement, aerial practice, visual media, and spatial dramaturgy while continuing an embodied form of research through artistic practice. My work exists at the intersection of artistic creation and physical inquiry. I continue dance and embodied practice because I believe that the process of engaging with the body itself contains the potential to liberate and transform human beings. The central question that continues to guide my work is: How does the body perceive, remember, and shape who we are? I understand the body as a medium that contains traces and sensations extending beyond personal memory and conscious thought. While human thinking inevitably carries certain limitations shaped by language, social structures, expectations, and fear, I believe the body may access dimensions that cannot be fully understood through thought or language alone. I often feel that the body responds to experiences before they become words, or to aspects of ourselves that we have unconsciously hidden or suppressed. For this reason, I believe that the language of the body can sometimes reveal what exists beyond the narratives and self-images we construct in our minds — showing us what we truly desire, fear, or need. My practice is also deeply influenced by yogic thought and philosophies of embodiment. Within these traditions, the body is not simply understood as a physical container, but as a medium that connects human beings to the world, and perhaps to something beyond themselves. I believe that engaging with and listening to the body is not only an act of self-reflection, but also a way of entering into a relationship with realities larger than the self. By repeatedly translating themes, questions, and ideas into embodied practice, I begin to observe what my own body actually feels, knows, and remembers — including habits, patterns, and memories that may otherwise remain hidden. I feel that genuine change and growth become possible only through encountering ourselves in this way. To engage with the body is, for me, a process of encountering deeper layers of the self. The process of dance and embodied performance also feels closely related to Zen philosophy. Training the body and freeing the body are not necessarily the same thing. I feel that liberation requires both disciplined practice that pushes beyond limitation and the integration of body, emotion, and thought. Just as Zen is not merely the accumulation of practice but also a process of releasing attachment and fixed notions of the self, dance too seems to require both rigorous discipline and the ability to let oneself go. I also feel that contemporary society increasingly values efficiency, safety, and surface-level communication, while placing less importance on opportunities to encounter and question the deeper dimensions of ourselves. Through repeated use of simplified language and mediated interactions, I wonder whether we may gradually be losing touch with the depth of human experience. For this reason, my practice attempts to access deeper layers of sensation and memory through the body rather than relying solely on intellectual understanding. I often think of dance and performance as acts of diving into the deep sea. In those depths, we encounter sensations, memories, and aspects of human experience that cannot be reached through surface language alone. To bring those deeper vibrations into a shared space and create new forms of dialogue between people — I see this as one of the roles of an artist. Through Tokyo Dolores and collaborations involving music, visual media, performance, and immersive environments, I approach works not as completed objects but as spaces where people, environments, and time can encounter one another. For me, creation is not about explaining ideas. It is a process through which new meanings, resonances, and relationships emerge through the interaction of body, time, and space. Moving forward, I hope to expand this practice through education, writing, cultural exchange, and interdisciplinary research, creating spaces where artistic practice and philosophical inquiry can coexist.