1.1 Works from the series Flow of Time and ´MA´ presented at Elbereth, Kyoto.

In February 2025, I presented Núna / Ima, a solo exhibition at Elbereth in Kyoto. The exhibition continued my ongoing exploration into the relationship between time, nature, and material through the medium of textiles and natural dyes. My practice is rooted in a close dialogue with nature, where sourcing, processing, and working with natural materials becomes an integral part of both concept and outcome. Each piece in the exhibition was the result of this process—shaped by landscape, seasonal conditions, and the unpredictability of working with plant-based color.

The title Núna / Ima brings together Icelandic and Japanese words for “now,” reflecting the simultaneous presence of past and present, tradition and adaptation, North and East. This duality also speaks to the foundation of my practice, which combines influences from my Icelandic surroundings with techniques and philosophies rooted in traditional Japanese dyeing. Having studied Katazome and Kusakizome methods in Kyoto, these approaches continue to inform my work, though I apply them in a personal and evolving way.

1.2 Work from the series Samhljómur.

In this exhibition, I worked with natural dyes gathered from Icelandic plants and minerals, combined with plants and pigments from Japan. Using processes that are slow, intuitive, and dependent on environmental conditions. The process shapes the outcome, and the works retain the traces of their making. This meeting of materials—from two distant yet deeply nature-connected landscapes—reflects an ongoing dialogue between East and West, Japan and Iceland. By drawing on the strengths of both traditions, something new and whole emerges—something that could not exist without the presence of both. The works speak to this interplay, embodying a quiet fusion of place, technique, and sensibility.

1.3 Niwa noren, dyed with earth pigments and Icelandic plants.

1.4 Flower arrangement selected by Mitate.

As part of the exhibition, I hosted a series of tea gatherings that offered a more intimate way to engage with the themes of the work. Visitors were invited to pause and reflect over hand-picked Icelandic herbal teas—many of which also appear in my dyeing process. The tearoom featured two site-specific textiles dyed with natural indigo, designed to evoke the movement of water and create a space for stillness and conversation.

This setting was developed in collaboration with ceramic artist Kawai Kazumi-san, whose teaware—with details made with river mud from her surroundings in Okayama—echoes many of the ideas present in my own work. Our shared focus on natural materials and process-based making helped create a cohesive and grounded experience for visitors.

1.5 Flow of time tea ceremony, Waterfall noren pictured in the background.

1.6 River table runner, brush dyed with indigo.

1.7 Copper Kettle by Yumi Nakamura-san and furnace by Sakuma-san.

1.8 Waterflow pitcher by Kawai Kazumi-san, with details from river mud.

Núna / Ima brought together multiple threads that have shaped my practice: tradition and experimentation, material and place, presence and process. It was an opportunity to reflect on my connection to Japan, and to consider how inherited techniques and seasonal rhythms can be reinterpreted to speak to the present.

As I return to my studio in Iceland, the experience continues to resonate, both in the techniques I carry forward and in the slower, more attentive mindset it reinforced. The exhibition reaffirmed my belief in the value of working closely with nature, of letting time and environment shape the outcome, and of fostering connections across cultures through shared sensibilities. I carry with me a deepened sense of purpose and a renewed curiosity for what comes next.

1.9 Works from the series Samhljómur.

All photographs by Ayaka-san: https://www.11ayaka3.com/