Michi Kusa takes its name from the Japanese phrase michi kusa wo kuu (道草を食う), "to eat the grass along the roadside," an expression describing the act of taking a detour, lingering along the way, or allowing oneself time away from a direct path. The series reflects an interest in wandering as a way of encountering place, where observation and experience accumulate gradually over time.

The first works in the series were created during a period of travel in Kyoto, beginning with fluid, meandering forms that explored movement, rhythm, and the Japanese concept of nagare (流れ). These early compositions emerged through an intuitive process of following lines, pauses, and shifts in direction. Over time, the works developed into more structured forms, drawing connections between pathways, spatial organization, and architectural structures.

Each work is associated with a particular place, yet the forms are not fixed depictions of geography. They exist somewhere between landscape, memory, and imagined space—formed through accumulated impressions rather than a single moment of observation.

Material and light play an important role throughout the series. Reflective layers allow hidden surfaces to emerge and recede depending on the viewer’s position, while later works use layered washi and illumination to create depth between surface and space. These shifts invite movement between what is revealed and what remains partially concealed.

Through the slow process of burning, marks accumulate over time. The resulting surfaces hold traces of movement, attention, and transformation, becoming spaces where place and memory intersect.