Solo Show “隙光 こもれび Komorebi ” @Lung Fu Shan Environmental Education Center, Hong Kong until 17th JUL 2022 (extend!!)

Happy announcement !

Show is until 17th JUL!

I will stay at Exhibition venue on 16th JUL Sunday 3:00-5:00!
Please visit my artworks and me , Let’s chart front my artworks!

Please visit all show detail on

Lung Fu Shan Environmental Education Center

No.50, Kotewall Road, Mid-Levels, Hong Kong (near University Drive entrance)

Tuesday, Thursday – Sunday
10:30am to 5:30pm
(gallery closed at 1:30pm to 2:00pm for disinfection)
10:30am to 2:30pm

Contact: 2975 9031

Solo Show “ LINE|ƎИIᒧ ” 1 FEB – 3 MAR, 2022 @Space Yuu, Japan

Please jump the following site and ENJOY!

Tracing Paper
Black marker pen

Space Yuuだから叶った『鏡』のある空間。
作品タイトル『 LINE|ƎИIᒧ 』は、『かがみ』と読みます。



(2) 世界が始まるが、一定期間経ったら破滅し再生するという、時間が同心円を螺旋状のように回る世界観。


Especially because it was the “Space You” venue, I was able to have a mirror effect.
My Artwork continue to express with Setsuna (1) and Circular time theory (3) .

I was able to challenge of expressing it as a deeper, wider, and eternal figure with the various meaning of the mirror which the true figure, the objective figure, the mysterious phenomenon, the Yorishiro(4) , and the existence of the parallel world.

The title of the work ” LINE|ƎИIᒧ” is read as “Kagami”(5).
Title is emphasized the drawn line and the existence of the Mirror.


(1) “Setsuna” is Japanese pronounce of Ksana (see note 2).

(2)[ Ksana (setsuna) = 0.013 seconds]
In Buddhism, they use a Sanskrit word “ksana” to measure time, which is a tiny unit of time.  Such a small amount of time that all kinds of things happen eludes our conscious awareness.  And this amount of time is approximately one seventy-fifth of a second, i.e. 0.013s.  In each 0.013 second (= ksana),  “Born, Live, Die” loop cycles keep recurring in human consciousness in one Ksana = 0.013 second.

(3)“Time is circular” is called the Eternal Return. It’s a theory that the universe and all existence and energy has been reoccurring and will continue to recur in a self-similar form for an infinite number of times across time and space.

(4) A yorishiro (依り代・依代・憑り代・憑代) is an object capable of attracting true.

(5)“Kagami” is the Japanese pronunciation of “Mirror”.

Solo Show “ハレ ケ” 19 NOV 2021~ @White do, Hong Kong

Solo Show 『ハレ ケ』

19th NOV 2021~
(” Line ” Paper installation completed on 5th JUN 2022. 『ハレ ケ』is continue to showing.)

Opening Reception  19th NOV (Fri) 18:00-20:00
(Opening Instagram Live with tamakiniime Lab and Machida, White do

White do 白做研究所 (13:00-20:00 / Monday off   週一休)

Shop B, No 1, Sun Street, Wan Chai , Hong Kong


『ハレ ケ』 Artwork statement

“ハレ ケ” is sculpture that constructs Setsuna (1) = Circular time theory (3) with a new expression method.

The title of the work is “ハレ ケ hare ke” (4) which is the theory of time by a traditional Japanese view of the world . This simple three letters condense all the concepts that are the core of my expression. That is the reason for using the Japanese notation as it is

I always have chance naturally form a connection with the material.

Daily necessities that used up and only directly going to a dumping ground.

I always thinking about  to overturn the fact that human values would judge it as a useless articles.

(Hereafter, ” useless articles ” are called “objects”.)

I had stuck in Japan due to the covid -19 From December 2020 to May 2021. For this period, Tamaki niime (5)  fabric naturally approached me too. (the remaining fabric that did not become products.)

The process of stitching “ Matsurinui まつり縫“(6) and  movement  and  exactly match my impression of the circular time theory and “Setsuna”.

I was able to expression a new visual by naturally combining materials, methods, and concepts. I realized how I should exist on this world with saturated by “Setsuna” time flow.

I feel a deep sense of the gratitude hold a chance for solo exhibition at “White do”.  I will thoroughly to create that  will be released naturally at Hong Kong.


(1) “Setsuna” is Japanese pronounce of Ksana (see note 2).

(2)[ Ksana (setsuna) = 0.013 seconds]

In Buddhism, they use a Sanskrit word “ksana” to measure time, which is a tiny unit of time.  Such a small amount of time that all kinds of things happen eludes our conscious awareness.  And this amount of time is approximately one seventy-fifth of a second, i.e. 0.013s.  In each 0.013 second (= ksana),  “Born, Live, Die” loop cycles keep recurring in human consciousness in one Ksana = 0.013 second.

(3) “Time is circular” is called the Eternal Return. It’s a theory that the universe and all existence and energy has been reoccurring and will continue to recur in a self-similar form for an infinite number of times across time and space.

(4)Kunio Yanagita (1875-1962 柳田國男), a renowned scholar and folklorist advocated Sacred–profane dichotomy of ‘hare  ke’ traditional world-view of Japanese people accompanied by time theory . It is a balance between “ハレHare” and “ケKe” of activities that have maintained Japanese life.

Simple mention, Our life activity can be divided “Hare” (ハレ;はれ; 晴れ; 霽れ) and “Ke”Ke (ケ;け; 褻) can be divided into two categories of the unusual and the usual , mundane and ritual.

4)  Tamaki Niime   :
Good Design Award winner 2021 at Japan.

5) “Matsuri Nui まつり縫” call the movement of bending and stitching the edges of the fabric while turning the thread from the inside to the outside. IIt connected with Japanese life dichotomy of “Hare” and “ke” .

( Japanese “Matsuri 祭り” mean “play”or “festival”. “Nui 縫” mean “stitch”.)


最新作品以“ハレケ”為名,用全新的表現手法,以裝置藝術表現了日本文化中的「剎那」“Setsuna” (1)及永恆輪迴 (3)的概念。

是次作品以“ハレケhare ke”為名,這是來自日本傳統世界觀中關於時間的演繹。


因緣際會,我進行創作時總會自自然然跟將用到的材料相遇相連。一些被人視之為垃圾,使用過的生活用品,最終都會送去堆填。 我一直反思:如何推翻人類價值觀? 何為有用?用完就可即棄?誰判定它為無用?

2020年12月至2021年5月,因為新冠肺炎的出入境安排,我滯留日本。在此期間,服裝品牌玉木新雌Tamaki Niime (5) 獨特的材料跟我相遇,這是在製衣工房裡剩下的布料。我見到布料就想到縫紉,而縫紉“Matsurinui まつり縫”(6) 整個過程,剛好和我對「剎那」及永恆輪迴的感知完全脗合。



在這微妙時光,有機會在灣仔“White do”白做研究所舉辦個展,我深有感觸。我會盡情創作,在香港展出亦是理所當然。。



(2)[ 剎那 (setsuna) = 0.013 秒] 在佛教中,他們使用梵文單詞“ksana”來衡量時間,這是一個極微小的時間單位。這段時間大約是五分之一秒,即 0.013 秒。在每 0.013 秒一剎那中,已經足夠讓心念起動,我們的人生就是由多個一剎那起動的心念組成,不斷重複,周而復始。

(3) “時間是循環的”,永恆輪迴。這是一個理論,即宇宙和所有存在的能量,一直重複發生,並將繼續以相似的形式跨越時空無限次地重複出現。

(4)柳田國男(1875-1962)為著名學者和民俗學家,他指出的“ハレ”世界觀就是日本人傳統:一個神聖祭典與世俗日常二分法。它概括了日本人生活中“ハレHare”和“ケKe”之間的平衡。簡而言之,我們的生活可以分為“ハレ”(ハレ;はれ;晴れ;霽れ)和ケ(ケ;け;褻)。我們可以理解為生活中的大日子與日常、不凡和平凡、日常生活和重要儀式 。

(5) 玉木新雌 : 以日本特別播州織方法生產日常服的日本傳奇品牌,剛獲得日本Good Design Award 2021 。 Tamaki Niime :

(6)“Matsuri Nui まつり縫”是指將針線從內向外轉動,同時彎曲和縫合織物邊緣的動作。它與日本人生活的“ハレ”和“ケ”的二分法有關。


『ハレ ケ』は、刹那生滅(1)=円環的時間論(2)を新たな表現方法で構築したスカルプチャーです。

時間論をとまなう日本人の伝統的世界観である『ハレ  ケ』(3)を作品タイトルにしたのは、このシンプルな3文字が、私の創作の芯になる概念全てを凝縮してくれているからです。あえて日本語表記のまま使っているのもその為です。




Tamaki niime(4)の布(商品にならなかった残布部分)。


材料・手法・概念が、自然と組み合わさって新たなビジュアルを構築することができました。刹那生滅の私自身が、飽和状態を保ち、存続できていることに誇りを持ち、今回のWhite doでの個展を開催できる機会に深い意味を感じています。






(2) 世界が始まるが、一定期間経ったら破滅し再生するという、時間が同心円を螺旋状のように回る世界観。

(3)「ハレとケ」は、民族学・文化人類学者でもある柳田國男(1875 –1962) によって見出された、時間論をともなう日本人の伝統的な世界観のひとつです。ハレ(はれ;晴れ;霽れ)は儀礼や祭、年中行事などの「非日常」、ケ(け;褻))は普段の生活である「日常」を表している。私たちの生活活動は、この二分法に分けることができます。

 (4) Tamaki Niime

(5) ”布の端を折って糸を布の内側から外側に回しながら縫うこと” “裏表を縫い合わせること”これがつまり「ハレ」と「ケ」と比喩され、「まつり縫」という名称が付いたとされる。

Show extend to 6 JUN!!! “Setsuna 刹那” 2 MAY~2 JUN 2021 , Postbox Exhibition @Hypercube, Lisbon, Portugal

Happy to announce !!
Extend the show until 6 JUN!!
Please don’t miss it!!


The artist of Post Box Exhibition’s 3rd edition.
Installation Artwork “SETSUNA” for the #postboxexhibitions at #hypercubespace

Looking forward to seeing you at the opening event on Thursday, 6th of May !

My artwork shortlisted for First edition of The Post Box Exhibitions
@Hypercube, Lisbon , Portugal.
Hypercube have selected as shortlisted artists between over 150 applicatio

Exhibition “刹那刹那に” 16 FEB-2 APR@tö, Tokyo, Japan

First Art Exhibition @Eyewear Stylist Hiromi To ‘s Optical Shop 『 tö  』

16 FEB-APR 2021
Venue: 1/F, 2-6-21. Shinmachi, Setagaya-ku, Tokyo 154-0014
Tel: 03-6670-4499
『 tö  』open by appointment only.

You can enjoy my work from outside without appointment


Solo Exhibition “Setsuna 刹那 ” @Razklon Gallery, Republic of Bulgaria. 9 OCT – 6 NOV, 2020

Solo Show “Setsuna 刹那 “
@Razklon Gallery, Republic of Bulgaria.
9 OCT – 6 NOV, 2020

Review :
by Seiki Mori


Setsuna 刹那
Tracing paper, black marker
In Buddhism, the Sanskrit word ‘ksana’ represents a tiny unit of time eluding our conscious awareness while within it, a lot happens. In each ksana of approximately 0.013 seconds, the ‘born, live, die’ cycle loops in human consciousness.
Setsuna 刹那 (Japanese for ‘ksana’) is an installation transforming individual drawings into a three-dimensional object. The drawings made on translucent paper show straight lines representing a time axis. Crumpled into a ball and folded open again, the paper shows a physical memory of the crumpling. Straight lines are reborn from curves. 
The process of crumpling and straightening the paper is repeated until the showcase is completely filled up, allowing for the visual interweaving of individual drawings. The interlacing of lines represents the complex events in life happening during each setsuna. The clear glass of the showcase symbolises the perceptive human mind containing the accumulation of time, experience, knowledge, history and emotions.

Special Video : End of show……..

Solo Exhibition “Line 線” @V54, Hong Kong. 6 ~21 Jun 2020

世界, 總在一晃眼的瞬間變了樣.
這一「剎那」, 便成了「現在」, 究竟時間如直線流過, 還是會循環不息?
從早春到初夏, 2020年V54的首個藝展, 與你連成一線.

Photo by Eric Hong

社區藝術展覽 Community Arts Event
「LINE線」Ayumi Adachi Solo Exhibition
日期 Date: 6-21/6/2020
地點 Venue: V54 駐留大宅 Art Residence
(香港跑馬地山村道54號 No. 54, Village Road, Happy Valley, Hong Kong)
免費入場 (需網上登記)
Free Admission (Online registration required)

節目查詢 Inquiry: (852) 2277 8209

V54 register + AYUMI  ADACHI.jpg

Admission Free . Visitor need to register !

Facebook even Page!

節目查詢 Inquiry: (852) 2277 8209



FB Bunner ol

日藉藝術家 Aymui Adchi 首度與保良局社區青年藝術計劃合作,並運用V54駐留大宅呈現全新裝置藝術創作,展覽將延續藝術家遊走日本、台灣等地的創作歷程與體會,以其對線條的獨特觸覺,嘗試在V54這幢歷史建築裡梳理出生命循環的迷思。




“Line” is an installation art project newly curated with resigned materials from experience of past works by the Japanese visual artist, Ayumi Adachi. It is the first collaboration of the “Community Youth Art Development Scheme” and the artist, by presenting the impressive art piece of 2D drawing artistically transformed into 3D installation at V54.

The process of creating paper work are divided in few acts, including drawing straight line, crumpling of paper and its spreading into a curve ultimately. It represents the complicated dealing and circumstances of human life in a certain period of time, eventually inspiring audience to look into moment of the Passed, Now and the Future!

Guided tour and youth workshop will be arranged. Please stay tuned for details.

Art Appraisal Club by Yang Yeung

@ 社區藝術展覽「Line 線」Ayumi Adachi Solo Exhibition, V54, Happy Valley – A grammar of peace and a grammar of life that the artist meticulously, liberally, graciously brings out of an interior space marked at first sight by culture and history. “Peace” as in coming to terms with acknowledged troubles, making them transparent to oneself and others, provisionally suspending them and not at all erasing or avoiding them, experimenting with a different way of touching it, as distant from antagonisms as possible, for now. A state of equanimity in movement.

By what means? The coming-into-Being of fantastical, mythical thinking: tracing paper inscribed with lines of varying volumes encroaches floor tiles and mantelpieces, dysfunctioning their symmetry and apathy. Pieces after pieces of paper lean, hug, cuddle, as corals would the coast. Some are held up by the seal between window and frame. Others spread toward the perspiring pane: is it modesty or pride that it acts upon, in every inch, to stay dry?

There is something erotic about certain potions the artist has prescribed. I must say, tributing Audre Lorde, that the erotic “is a question of how acutely and fully we can feel in the doing.” (in The Master’s Tools Will Never Dismantle the Master’s House, Penguin 2017). The erotic isn’t the pornographic – no. It is the manifestation of the sexual in the spiritual – starkly different from other schools of thinking that juxtapose these two as opposites. Yes,「Line 線」could instil fear – one bends to enter a cave, ambiguously a labyrinth that disorientates. But the artist stops right where the structures must live – balancing gradation of light and shadow, dramatic and contemplative delights, and most importantly perhaps of all, her joy of connection and disconnection. Hearing water in its multiple ways of flow – dripping, gurgling, murmuring – accentuates the connection of the artist’s and ours. The primal in the contemporary. Here’s Lorde again: “Another important way in which the erotic connection functions is the open and fearless underlining of my capacity for joy. In the way my body stretches to music and opens into response, hearkening to its deepest rhythms, so every level upon which I sense also opens to the erotically satisfying experience, whether it is dancing, building a bookcase, writing a poem, examining an idea.” What the endless lines on crumbled paper combined do is to displace linear time, to turn built grids in the room into strength of a different kind.

The artist demonstrates the simplicity of the making – take an A4-size tracing paper – blank, future-time. Put a marker to it short-end-to-short-end; a line is drawn, and another and another; time-past. Crumble each piece of paper; put one against/ along the other; lines meet and miss each other; time-clashed.

And there it is – circumscription engenders a life-form; like Virginia Woolf looking intensely at the mark on the wall, miniaturising it by making it as big as one’s attention can manage.

I can go on and on, because the artist’s interpretation of life as full of uncertainty and the multitude of things that could happen in Setsuna (ksana/ 剎那) goes on and on, is so rich with a sensibility of the times and of an individual’s singular need, that is ecological and dependent, while also uncompromising for being independent.

There is more: nestled upstairs are drawings touched, again, by water. On ink-jet prints of Ernest Haeckel’s drawings of nature’s lives, the artist brushes in water as dots and strokes. And so, “Homage” to nature, to the changes it ceaselessly brings.

Lastly, to backtrack: Steps up V54 are brief but steep. Land on a plain, panting, and be immediately challenged – this time by the artist, the way she spreads her plains.

A must-see if committed to being art-challenged. (Yang Yeung)


Solo Show ”White Noise” 白噪音 @The Songshan Cultural and Creative Park, Taipei. 台北松山文創園區 , 台北 台灣 ,19 APR~16 JUN, 2019

Solo Show ”White Noise” 白噪音

19 APR~16 JUN, 2019

@The Songshan Cultural and Creative Park, Taipei.

台北松山文化園區 , 台北 台灣

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人生無常!松菸「剎那」成「白泡沫」 日藝術家大型裝置展至6/16【東森電子報】(旅遊雲)