Art as a medium of communication for telling stories, expressions, and reflections, Ayane Yamamoto uses her craft to brighten light upon the inner turmoils of the current generation's tumultuous yet creative cope-ups.

I’d like to begin by asking you about your early progressing years. How was life and what influences and inspiration you were midst while growing up?

During my childhood, I moved around a lot and changed primary school twice and it was not something I enjoyed. I have never lived anywhere for a long time, and because of that I don't have a sense of a so-called 'hometown' and felt somewhat alienated. Perhaps my sense of rebellion against the multitude and the big groupings started at that time.

I was an only child until the age of seven, so the birth of my little brother came as a great surprise. At first, I was just happy, but gradually it became more than just a feeling of joy. It was around this time that I started to experience family problems. It was not all good memories, but I treasure it very much as I feel it is the base of my current thinking, which is to fight against unreasonableness.

Please describe the cultural understanding you began building while discovering self and your creative outlet... How did art happen to you? What is the story?

I have always liked to create since I was a kid. The painting was always the best way for me to express myself. It allowed me to create a picture of the feelings that I couldn’t put into words.

For me, art is a communication tool to talk to others. I leave little parts that I am not able to express in words for others to verbalize when they see my pieces. At my recent exhibition in France, I was able to chat with many people from different cultures which made me realize how much discussion I can drive through my artworks.

Speaking of art, how did you begin articulating your crafts and found the present character that you have built in your various pieces?

When I was in university in the middle of an assignment where we were creating over 1,000 drawings, one after the other, without any inhibitions. We were creating freely and spontaneously to explore ideas of the subconscious. This was when my practice started to take shape.

At first, these characters were rough drawings done with oil-based markers. Mythological references and other topics emerged later.

Let's get onto your conceptualization and creative process. How do you navigate the overall flow of the world that is on the other side of the canvas with the very physical conscience that you work with?

It all starts with making research on topics that I am interested in exploring in my painting. Then, I think about my character's motive and the issues it raises.

The reason why in my paintings there is no background is that I want to emphasize the focus on my characters. They are not depicted as physically strong and can appear apathetic at times, but they have their core strength and can face unreasonableness and hardship.

How would you describe your relationship with your imagination and tactile reflexes... Please take us through your moments of artistic hypnotism?

My whole imagination is based on rebellion. I want to give power to those who live in the shadows of society. Through my characters, I want to put the forefront misfits and underdogs.

When I am creating I will often already have an idea of the story in my mind or a visual representation of what I want the outcome to be. Then, I will spend most of my time kneading what I have imagined. The composition and the balance between black and white are as important as the story for me.

When I am in the sketching phase, you can find me sitting in a crowded café listening to an interesting conversation at the same time or relaxing alone on my futon at home. However, when I am producing the painting, I draw and paint in an organized and orderly environment either at my university studio or my desk at home.