Born in 1976, she grew up in Japan’s northern port city of Hakodate and then Chigasaki, a small seaside town south of Tokyo, before moving in 1995 to Philadelphia and then to New York City. Upon graduating with a B.F.A. in Interior Design from the Fashion Institute of Technology in 2002, she surveyed and documented courthouses, hospitals, and museums and worked in residential and hospitality interior projects in design studios like Clodagh, Builhuber, and Alexandra Champalimaud. 

From 2007 to 2016, she designed furniture and luminaire collections for home-furnishing brand Donghia, working directly with the masters in wide-ranging crafts like glass, metal, and upholstery. She began to create ceramic objects on her own time, and exhibited through galleries and art spaces in Milan and NYC. She launched ceramic collections with Calvin Klein Home and Anthropologie, and produced tableware and decorative objects for restaurants and hotels.

In 2017, she took a sabbatical year to give herself time to  explore making art, and documented the year in her blog, 365 Days to Make Anything. In 2018, she began to create site- and time-specific projects. When the 2020 quarantine paused her ceramic studio work, she made My Worker is Working from Home and She is a Painter, an one-hundred-day project where she painted one painting a day.

Once back in the studio, she began making three-dimensional expressions of her paintings, resulting in kinetic sculptures made with wire and clay-like material she made by processing waste paper. This experiment has developed into larger-scale multi-medium installations, including: 

Beans, Pinecones, Umbrellas, 2021 window installations for fashion brand Sandro’s 52 worldwide stores where mobiles and paintings created a sense of calmness during the pandemic; 

Natsu-Zakura, an installation in 2022 at Onna House in East Hampton, with mobiles responding to the gallery’s Japanese-inspired architecture; 

Out on a Stroll, the result of her two-month residency at PAIR2 Art Center in Kaohsiung, Taiwan, presenting flowing wire forms suspending beach plastics and bean pods with scrap materials from local artists; 

Memory Tourist, an installation commissioned by Art on Paper in 2022, creating a playful public hallway at the art fair;

Wire Sculptures, her 2023 solo show at Curator’s Cube in Tokyo, Japan, revealing the crisp transparency of woven wire structures;

Mossy Mossy, her 2024 solo show at Gasbon Metabolism in Hokuto, Japan, responding to the repurposed warehouse turned gallery and the surrounding mountains and valleys;

Somniloquy, her 2024 solo show at Pollock Gallery at SMU in Dallas, Texas, where sculptures suggesting body parts at rest chatting with one another, while suspended sculptures created a transitional entryway; 

Moshi-Moshi Karuta, her 2025 solo show at Calm & Punk Gallery in Tokyo, transforming the expansive Mossy Mossy into a staggering mass budding with new work; and

Perception Play, an installation at The Armory Show 2025 in New York City, transforming eyewear components into moving sculptures.

She organized a monthly creative exchange initiative Salon at Forest from 2017 to 2020, featuring speakers from various fields. She also lectured and ran a mobile making workshop at SMU in Dallas. 

She is currently working on installations exploring time travel using paintings, ceramic sculptures, and light.