Free US Shipping on All Orders

Type

Canvas

Wall Art

Firmly stretched on a wooden frame, this canvas enhances any room. Comes with a simple wall hanger set and screws.

Canvas Portrait XL

Correspondence is inspired by Emperor Ichijō of Heian-era Japan and his enduring devotion to Empress Teishi. 

After her father’s death, court power shifted and her position weakened. 
She remained empress in name, but lived within increasing isolation, long before her death. 
During this period, poetry became refuge. It functioned as private correspondence, sustained quietly within a rigid public order.

After her death, the demand to erase her memory intensified.
Ichijō did not comply.
Meaning was preserved without disruption.
Her poems remained beside him.
Her name continued to be honored within the system that sought to remove it.

The composition reflects that restraint.
Symmetry holds.
Variation occurs only within bounds.
Absence and presence are balanced, not declared.

Correspondence does not depict devotion as spectacle.
It depicts devotion maintained through structure.

A narrative illustration issued as a single edition of 50.
Archived upon completion.

Correspondence — Edition of 100 

Canvas Landscape XL

Faultline is inspired by the Taiping Rebellion (1850–1864), a civil conflict that reshaped Qing-era China not only through battle, but through prolonged disruption of land, labor, and daily life.

As control shifted repeatedly, countryside and settlement bore the strain.
Fields were abandoned, reclaimed, and abandoned again.
What appeared pastoral often concealed instability beneath it.

When the rebellion ended, recovery was uneven.
Nature returned faster than certainty.
Scars remained where order had fractured.

The composition reflects that quiet aftermath.

Hills rise gently, marked by fissure.
New growth emerges alongside breakage.
Blossoms persist without signaling renewal.

Faultline does not depict destruction.
It depicts the long surface calm that follows it.

A narrative illustration issued as a single edition of 50.
Archived upon completion.

Faultline — Edition of 100 

Rising is inspired by the Ghost Dance movement among Native American peoples in the late 19th century, a spiritual uprising born under violent displacement, cultural erasure, and loss.

The dance promised return : of ancestors, of land, of life, of balance...
The ritual demanded motion until exhaustion, until vision, until separation between the living and the dead thinned.

The composition abandons stillness.

Figures lift, bend, and strain upward, caught between ground and sky.
Individual forms blur into collective force.
Faces are erased, not as anonymity, but as surrender.

Rising does not depict hope as calm.
It depicts hope under pressure.

A narrative illustration issued as a single edition of 50.
Archived upon completion.


Rising — Edition of 100 

Resonance is inspired by the Ghost Dance movement among Native American peoples in the late 19th century, a spiritual revival born from visions of renewal, ancestral return, and the restoration of traditional life amid profound cultural upheaval. 

The dance grew from the teachings of Wovoka, a Northern Paiute prophet whose vision promised that through ritual and ethical living, the living and the dead could be reunited, buffalo would return, and the old ways would be restored. 

The composition reflects that tension between hope and loss.

Figures form a circle bound but by shared longing.
Hands are held, not toward the past nor the future, but into the space between them.

This work does not depict ritual as spectacle.
It depicts what devotion feels like when all that is loved has been taken or is fading.

A narrative illustration issued as a single edition of 50.
Archived upon completion.

Resonance — Edition of 100 

Hollowed is inspired by the Taiping Rebellion (1850–1864), one of the deadliest civil conflicts in history, which tore through Qing-era China and reshaped entire cities.

What began as a vision of moral renewal became prolonged collapse.
Urban centers were occupied, abandoned, reclaimed, and hollowed out.
For years, ordinary life existed under constant instability.

When the rebellion ended, destruction did not resolve into clarity.
Cities remained standing, but altered.
What survived did so unevenly.

The composition reflects that aftermath. It depicts what endures after ideology passes through a place.

A narrative illustration issued as a single edition of 50.
Archived upon completion.

Hollowed — Edition of 100

Remnants is inspired by the Taiping Rebellion (1850–1864), one of the deadliest civil conflicts in history, which tore through Qing-era China and reshaped entire cities.

What began as a vision of moral renewal became prolonged collapse.
Urban centers were occupied, abandoned, reclaimed, and hollowed out.
For years, ordinary life existed under constant instability.

When the rebellion ended, destruction did not resolve into clarity.
Cities remained standing, but altered.
What survived did so unevenly.

The composition reflects that aftermath.

Rooftops extend into haze.
Architecture remains, stripped of certainty.
Human presence is implied only through absence.

Remnants depicts what endures after ideology passes through a place.

A narrative illustration issued as a single edition of 50.
Archived upon completion.

Remnants — Edition of 100 

Footsteps is inspired by the Boshin War (1868–1869), a civil conflict that ended one Japan and forced another into place.

The fighting ended. However, for those who survived, the war continued as movement.
Away from banners.
Away from belonging.
Forward without recognition.

The composition holds that moment.
A solitary figure walks through wind and snow.
A firearm is carried, not aimed.
Nothing signals victory. Nothing marks direction.

This work does not depict conflict.
It depicts the weight of what follows it.

A narrative illustration issued as a single edition.
Edition of 50.
Archived upon completion.

Footsteps : Edition of 100

Footsteps — Edition of 100

Early Spring is inspired by Saigyō, born Satō Norikiyo, a samurai of the late Heian court who abandoned secular life to become a wandering Buddhist monk.
Before renunciation, he held position, duty, and proximity to power.
He left it young, choosing withdrawal over continuity.

The departure did not resolve what bound him.

As a monk, Saigyō lived between mountains, temples, and temporary shelters.
He wrote waka devoted to cherry blossoms, moonlight, solitude, and those he left behind.
From the poems themselves, longing persists, not as regret, but as return to beauty, attachment, and what will not stay.

Impermanence was personal.
What faded did so while still desired.
The composition reflects that contradiction.

A narrative illustration, edition of 100, archived upon completion.

Early Spring — Edition of 100

From a Mountain Hut is inspired by Saigyō, born Satō Norikiyo, a samurai of the late Heian court who abandoned secular life to become a wandering Buddhist monk.
Before renunciation, he held position, duty, and proximity to power.
He left it young, choosing withdrawal over continuity.

The departure did not resolve what bound him.
As a monk, Saigyō lived between mountains, temples, and temporary shelters.
He wrote waka devoted to cherry blossoms, moonlight, solitude, and those he left behind.
From the poems themselves, longing persists, not as regret, but as return to beauty, attachment, and what will not stay.

Impermanence was personal.
What faded did so while still desired.

A narrative illustration, edition of 100, archived upon completion.

From a Mountain Hut — Edition of 100

What Remained is inspired by Saigyō, born Satō Norikiyo, a samurai of the late Heian court who abandoned secular life to become a wandering Buddhist monk.
Before renunciation, he held position, duty, and proximity to power.
He left it young, choosing withdrawal over continuity.

The departure did not resolve what bound him.
As a monk, Saigyō lived between mountains, temples, and temporary shelters.
He wrote waka devoted to cherry blossoms, moonlight, solitude, and those he left behind.
From the poems themselves, longing persists, not as regret, but as return to beauty, attachment, and what will not stay.

Impermanence was personal.
What faded did so while still desired.

A narrative illustration, edition of 70, archived upon completion.

What Remained — Edition of 70 

What Remained — Edition of 100 

This scene is inspired by Saigyō, born Satō Norikiyo, a samurai of the late Heian court who abandoned secular life to become a wandering Buddhist monk.
Before renunciation, he held position, duty, and proximity to power.
He left it young, choosing withdrawal over continuity.

The departure did not resolve what bound him.
As a monk, Saigyō lived between mountains, temples, and temporary shelters.
He wrote waka devoted to cherry blossoms, moonlight, solitude, and those he left behind.
From the poems themselves, longing persists, not as regret, but as return to beauty, attachment, and what will not stay.

Impermanence was personal.
What faded did so while still desired.

The composition reflects that contradiction.
A solitary figure recedes along a mountain path.
Blossom petals lie already fallen.
The landscape opens into mist.

This work does not depict enlightenment.
It depicts what remains after choosing it.

A narrative illustration, edition of 100, archived upon completion.

After Renunciation — Edition of 100

After Teishi is inspired by Emperor Ichijō of Heian-era Japan and his devotion to Empress Teishi.

After her father’s death, court power shifted and her position weakened. She remained empress in name, but was quietly isolated, surrounded by absence long before her death. During this period, poetry became refuge. It was their private language.

After her death, the demand to erase her memory only intensified. 
But Emperor Ichijō did not comply. 
Teishi’s poems remained beside him.
Her name continued to be honored publicly, despite pressure.

The composition holds that aftermath. 
An empty imperial cushion marks a presence already fading.
A low writing desk remains in use.
A single folded poem bears the weight of what endured.

This work does not depict grief openly.
It depicts what grief leaves behind.

A narrative illustration issued as a single edition of 100.
Archived upon completion.