Chise Dekune (出久根ちせ) was born in Kasama, Ibaraki Prefecture, a city famous for its ceramics. Her name, Chise (千勢), means “great strength.” She grew up surrounded by lush nature and the authentic flavors of rice and vegetables cultivated by her family, as well as the pure water that flowed from the mountains. Since childhood, she has felt the energy transmitted by the natural environment of these places. Her grandfather was a master carpenter specializing in the construction of Shinto shrines (miyadaiku). Her family lived right behind the shrine he had built, in a wooden house constructed by his own hands. Natural materials such as wood and washi paper, used in traditional buildings, became an integral part of her world and artistic sensibility. She studied interior design and commercial displays in Florence, Italy, and after returning to Japan, she worked as an interior coordinator in Tokyo while continuing her artistic production. In 2019, she moved to Okinawa Prefecture. From Kasama to Florence, from Tokyo to Yanbaru, each place has transmitted a unique energy to her, and for her, it is essential to connect with the surrounding environment in order to create her works.Currently, immersed in the wild and lush nature of Yanbaru, a true sanctuary of biodiversity, Chise Dekune works on creating her “round forms” and her artistic exploration of the expression of life.

Statement
In an era where everything can be achieved with a single smartphone, what is the significance of craftsmanship, carefully and passionately made by human hands? It is said that modern humans experience a divide between mind (heart) and body. What, then, are the differences between works created by people in such a state and art produced by humanoid robots (AI)? If we pause to reflect, we humans are *alive* and inevitably destined for *death*. A humanoid robot, on the other hand, simply stops functioning when it is turned off. But can we truly call that *death*? For living beings, death is an absolute darkness, a *nothingness* in which everything disappears. It is difficult to consider a loss of power or system failure as a true death. I feel that humanoid robots’ creations are devoid of imperfections. In contrast, human-made works possess a kind of *impurity*, something raw, like sweat and effort. These imperfections, these *noises*, may be precisely what imbues them with vitality. Perhaps the difference between human-created art and that of robots lies in the presence of this imperfect vitality and in the ability to evoke the feeling of *death* as darkness or nothingness. This impurity can be seen as emotion, as heart. It is obvious, but humanoid robots do not possess emotions or complex feelings like humans do. (Recently, I have heard reports of AI beginning to display emotions. Will the day come when they, too, experience fear of death or existential emptiness?). Aikidō is an art based on the *wisdom and technique of absorbing and fully utilizing the energy of nature*. Fascinated by the idea of harmonizing with this energy and its circular movements, I began practicing it. During training, I realized that neither thinking solely with the mind nor feeling solely with the body allows for movement. Mind and body must act as one. The history of Aikidō is not ancient, but the same principle applies to other traditional Japanese arts, such as Ikebana, Sadō (tea ceremony), and Kendō. Perhaps in the Middle Ages, when these arts flourished, the Japanese did not experience the separation between mind and body as they do today, and they created beauty naturally, merging thought and action. I believe that the difference between art created by robots and that created by humans lies precisely in this. Works born from a synthesis of mind and body, from the constant awareness of death (*nothingness*), and from the presence of life (*being*), are what we create as art. A vibrant art, full of emotions and imperfections, that can be called the *expression of life*. What is the expression of life? Chise Dekune has always contemplated the *form of life*. Is life a straight line that runs from birth to death? Or is it a U-shaped path, like a runner circling a cone and returning? Or perhaps birth and death are two points on the same circle? This cycle resembles that of agriculture, the female menstrual cycle, and natural rhythms. Maybe the *form of life* is a richer and more spherical entity, like a full moon. The *expression of life* is the manifestation of a round existence, where mind and body are united. This *sphere of life* is a *round vessel*. Such a vessel can be an egg, a bud, a star, or a human being. Its shape is often irregular and imperfect, but precisely because of this, the creations born from it are poignant, beautiful, and full of meaning. At the end of her adolescence, Chise Dekune traveled for three weeks across France, Italy, Austria, Belgium, and the Netherlands with a red backpack on her shoulders. In Paris, she visited over 100 galleries and museums, leaving her deeply moved. An art book she discovered at the FIAC in the Grand Palais significantly influenced her painting style: *AQUARELLES* by Sam Szafran (1934–2019). Not knowing French, she learned simply by observing the works. Another artist who profoundly impacted her was Yasushi Sugiyama (1909–1993), who completely transformed her perception of Japanese painting. His canvases, layered with mineral pigments, resembled Western paintings more than traditional *nihonga*. The expressive power of his work *Reki* (1989) remains vividly imprinted in her memory. The influence of these two artists is evident in her style: she works on wooden panels, engraving the surface and layering Italian pigments with Japanese glue. She then covers everything with black charcoal pigments, which she washes away with water to reveal glimpses of vibrant colors, evoking the light of life. She incorporates collages of magazines and photographs, with processes that require dozens of steps. Her works explore the relationship between life (sexuality) and death, light and darkness, and the theme of the “sphere of life.” A person who viewed her paintings remarked, *"It made me realize that happiness and blessings lie in the most ordinary aspects of daily life."* Another commented, *"It gave me a sense of peace and warmth, as if the wind were passing through me."* Chise Dekune firmly believes that art born from the unity of mind and body radiates an intense energy. Even if the darkness of death (nothingness) is present within it, it only serves to further illuminate the light of life. In an era where robots create art, the meaning of human craftsmanship may lie precisely in this: allowing others to perceive the vibrant power of life. Chise Dekune is dedicated to creating works that convey this power, enabling viewers to rediscover the beauty of human existence.

**Education**
1970: Born in Ibaraki Prefecture
1990: Enrolled in the Japanese Painting Department (Nihonga) at Tama Art University
1996 - 2002: Studied in Italy
2023: Graduated with a degree in Fine Arts from the Kyoto University of the Arts (distance learning program)

**Awards**
2025: Selected among the “100 Global Prominent Artists” (Times Square, New York)
2025: Selected for the NY Public Exhibition
2025: Selected for the Yanbaru Art Festival “Yanbaru Art Exhibition” (Okinawa Prefecture)
2024: Selected for the Yanbaru Art Festival “Yanbaru Art Exhibition” (Okinawa Prefecture)

**Solo and Group Exhibitions**
2025: NY Public Exhibition “Stepping into a World V” (Curators: Genichi Adachi, Kyoko Sato) - Gallery Max, New York
2024: Solo Exhibition “嘉実ーFRUTTO TALISMATICO” - Yohaku ni Ai wo (Variety Store and Café, Nago, Okinawa Prefecture)
2016: Solo Exhibition “花の音色 Fiore Fiorito” - Abitare (Furniture Store, Tokyo)
2002: Solo Exhibition “Ninna Nanna Liquore” - Caffè Coquinarius (Florence)
2001: Duo Exhibition “Duetto Aperitivo” - Chise Dekune x Junko Namba (Photography) - Osteria da Mario (Mito, Ibaraki Prefecture)
2000: Solo Exhibition “Chiave di violino” - Enoteca de' Giraldi (Florence)

**Other Participation**
2017: “The 33rd Living Crafts in IBARAKI - Traditional Crafts Exhibition of Ibaraki Prefecture” (Tsukuba) - Art Direction, Interior Coordination, Display Setup
2016: “The 32nd Living Crafts in IBARAKI - Traditional Crafts Exhibition of Ibaraki Prefecture” (Mito) - Interior Coordination & Display