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"JAPANESE SENSE OF BEAUTY — MOVE ON" Group Exhibition, Park Hotel Tokyo, Tokyo, Japan

Upcoming Group Exhibition, Los Angeles, USA (The Pop-Up Project)

楢崎恵美／EMMI NARASAKI

私は花を登場人物としたシーンを写しとっている。

そこにはキャストの特徴があり、
どの部分にフォーカスするか、
どこを捉えるかを考えている。

例えば花びらの質感。
例えば茎を覆うひげ。
例えば時間の経過とともに生まれる滲み。

そして私は、
その花にどんなドレスを着せるかを決める。



I capture scenes in which flowers appear as characters.

Each flower is part of the cast.
I consider where to focus,
and what moment to hold.

The texture of a petal.
The fine hair along a stem.
A faint stain that appears over time.

And then I decide
what kind of dress the flower will wear.

Mixed-media digital work
Archival pigment print, mounted on aluminum
Signed and numbered on verso



“スイトピー”

先月、4月の満月、ピンクムーンに公開した作品「Baby Pumpkin (2026)」に呼応する作品。

今日も満月です。ブルームーンと呼ばれている。

月の光の中で青い花が揺れるイメージを心に描いて制作した。花の持つ軽くて薄い質感、その特性から、曖昧で揺れるような印象が出たと思う。

私が予想していたよりももっと弱々しい印象。それは制作過程の中で花自身が映し出した性質だった。

___


“𝗦𝘄𝗲𝗲𝘁 𝗣𝗲𝗮”

This work responds to Baby Pumpkin (2026), which was released during April’s full moon, known as the Pink Moon.

Today is also a full moon, often referred to as the Blue Moon.

The piece began with an image of blue flowers moving gently in moonlight. The delicate and lightweight nature of sweet peas led to a visual impression that feels soft and slightly unstable.

The result feels more fragile than I had anticipated, revealing a character of the flower that only became visible through the process.

Sweet Pea (2026)

Mixed-media digital work
Archival pigment print, mounted on aluminum



艶やかでパッショネイトなフレイムレッドのかぼちゃに、
白いベールを被せた。
すると淡いピンクになった。
持っていた朱赤の一部が、微かに覗く。
満月の黄色い光が周囲を取り囲む。
黒く濃い影が伸びる。



A glossy, passionate flame-red pumpkin
is veiled in white.

It softens into a pale pink.
Traces of vermilion quietly remain beneath.

A yellow glow of the full moon surrounds it,
while deep, dark shadows stretch outward.

Baby Pumpkin(2026)

Mixed-media digital work
Archival pigment print, mounted on aluminum
Unique work + Artist’s Proof

Exhibition print retained by the artist


梅雨に入った6月、紫陽花の写真を撮りに横浜イングリッシュガーデンへ訪れた。今年の日本の梅雨はとても短く、その日も晴れて暑かった。ガーデナーが色とりどりの紫陽花を栽培し、目に鮮やかだった。鎌倉には明月院、別名あじさい寺があるが、観光客が絶えずゆっくり見るのは困難だろう。その点、横浜イングリッシュガーデンは穴場である。私はガクアジサイが好みで、今回の題材もガクアジサイに絞った

土壌からもくもくと湧いて出てくるような葉と花です。生命感あふれる雰囲気が伝われば嬉しいです。


In June, as Japan entered the rainy season, I visited Yokohama English Garden to photograph hydrangeas. This year’s rainy season was unusually short, and the day turned out sunny and warm. The garden was alive with vibrant blooms in every hue, carefully cultivated by dedicated gardeners.

While Kamakura’s Meigetsu-in Temple—famously known as the “Hydrangea Temple”—is a popular spot, it can be difficult to take your time with the constant stream of visitors. In contrast, Yokohama English Garden remains a hidden gem where you can enjoy the flowers at a more leisurely pace.

I’ve always had a soft spot for lacecap hydrangeas, so I chose them as the focus of this collage. This piece is the starting point for a larger artwork, which will be shared soon.

Leaves and blossoms seem to surge up from the soil.
I would be glad if their vibrant vitality comes through.


Ajisai  – Triptych(2025)

Mixed-media digital work
Archival pigment print, mounted on aluminum

Edition of 5 + 1 AP


手で持ってみると、茎から花びらが一つの構造体のようで、軽く丸まっている。丸まった茎の中身は空洞のようで、先端に向かってラッパ状に広がっている。音にならない吐息のようなものが空気中に広がっていくようだった。


Holding it in my hand, I realized how the petal and stem form one seamless structure, lightly curled as if breathing. The inside of the stem feels hollow, flaring softly into a trumpet shape toward the tip — like a quiet sigh dissolving into the air.

Calla lilies(2026)

Mixed-media digital work
Museum-quality archival print

15 × 15 cm (image)
18 × 18 cm (paper)

Edition of 15
Signed and numbered in pencil

Available via selected platforms

⸻

コンセプト

Intimate Series は、作家自身が制作した大きな作品の中の断片にフォーカスし、内側に宿る緊張と呼吸を、より親密に探るシリーズです。

それぞれの作品は、作家が発見したと感じた瞬間にのみ生まれます。

⸻

Concept

The Intimate Series explores extracted fragments from larger works, focusing on the tension and breath within. Each piece is released only when it is discovered by the artist.

Intimate Series 004 (from Calla lilies, 2026)

Intimate Series 005 (from Calla lilies, 2026)

Intimate Series 003  (from Plum Blossoms, 2024)

Mixed-media digital work
Museum-quality archival print

15 × 15 cm (image)
18 × 18 cm (paper)

Edition of 15
Signed and numbered in pencil

Available via selected platforms

⸻

コンセプト

Intimate Series は、作家自身が制作した大きな作品の中の断片にフォーカスし、内側に宿る緊張と呼吸を、より親密に探るシリーズです。

それぞれの作品は、作家が発見したと感じた瞬間にのみ生まれます。

⸻

Concept

The Intimate Series explores extracted fragments from larger works, focusing on the tension and breath within. Each piece is released only when it is discovered by the artist.


Intimate Series 001  (from Plum Blossoms, 2024)

Intimate Series 002  (from Plum Blossoms, 2024)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


ヒマワリのある風景。青い空の下で咲くイメージが強いヒマワリだが、それを一輪私の部屋に置いてみるとこうなった。さまざまな花が入り乱れるブーケの中に、一輪だけ混ざるヒマワリ、その存在感は大きい。

闇に浮かび上がる花の風景。青いヒマワリ。ドレスを纏って揺れる花のイメージ。


When I think of sunflowers, I usually picture them shining in a wide open field under the summer sky. But placing just one in my room—inside a bouquet of many different flowers—changed everything. Its presence feels monumental, almost overwhelming for a single flower.

A floral landscape rising out of darkness. A sunflower, in shades of blue. An image of blossoms swaying as if dressed in gowns.

A Bouquet with Sunflower(2025)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


真夏になる前に手に入れたこのとても可愛い花。ふんわりと膨らんだボトム、半円状の花びら。長く伸びた茎は硬質で、連なる花を簡単に支えていた。南ヨーロッパ原産というのが、とても頷ける。南ヨーロッパの若い女の子たちのよう。

Before the height of summer, I found this utterly charming flower. With its softly rounded base and half-moon petals, it was love at first sight.  Its long, sturdy stem held the chain of blossoms with ease. Knowing it comes from southern Europe feels so right—just like the young women there.

Campanula(2025)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


小学校へ入学してすぐに音楽の授業で習うチューリップの歌。少女は絵を描き始めるとすぐにチューリップの絵をモチーフに選ぶ。歌の歌詞のように赤、白、黄色と色を塗る。子供の頃に万人が親しんだ花をモチーフに選ぶのは少し勇気がいった。大人の私がどう捉えたら良いのか？それは私の気分のように、とてもロマンティックな夢見心地なイメージ。

まっすぐに伸びた茎から重みを感じる花。ボリューミーな花の重みで微妙にしなる。しなって揺れる様子を切り取った。


The tulip song—taught in music class just after entering elementary school. A little girl, when given crayons and paper, would almost instinctively draw tulips. Red, white, and yellow, just like in the lyrics.

Choosing a flower so familiar from childhood felt, in a way, bold.
How should I approach it now, as an adult? This piece became a reflection of my mood—romantic, dreamy, and a little far away.

A flower whose weight is felt through its tall, upright stem.
Its voluminous bloom bends ever so slightly, responding to that weight.
This piece captures the subtle moment of that gentle sway.

Tulips – Triptych(2025)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


北半球の日本に住む。暑い夏が来るとどうしてもシャーベットのような涼しい色合いを好んで使う。ミモザは鮮やかな黄色い花だけれど、7月の初旬、私描くとこうなった。発光した無数の花同士がテレパシーで交信するようなイメージ。

In Japan, where I live in the northern hemisphere, the arrival of summer always makes me crave cool, sherbet-like colors.
Mimosas usually bloom in bright yellow, but somehow, this is how they turned out in my hands this early July—
Countless glowing flowers, as if they’re sending telepathic messages to each other.

Mimosa(2025)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


少し乾いてシワになった紙細工のような薄い質感の花びら。かわいい花とは対照的に、うねった茎には細かい髭がみっしりと生えている。その茎の描くカーブがとても魅力的。花びらが開く際にかぶっていた蕾の皮の部分が下に落ちるが、そっと触ると繊細で軽い。とてもアンバランスな美しさだと思った。この花のどこを切り取ろうかと考えた時に、茎の描くラインはとても重要だった。

Petals as thin as paper, dry and crinkled like delicate craftwork. In contrast to their sweet faces, the stems twist and turn, covered in fine hairs. There’s something captivating about the curves they draw. When the flower opens, the bud’s outer shell falls away—light and fragile to the touch. Such a delicate imbalance. When deciding which part of this flower to capture, it was the sensual line of the stem that mattered most.

Poppies(2025)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


2月、東京の孤島、大島の、都立大島公園椿園に友人と訪れた。想像以上に色々な種類の品種。可憐なもの、華やかなもの、様々。これはお姫様みたい、こっちは町娘、などと談笑しながら写真を撮った。このコラージュには様々な品種を混在させて、娘たちの饗宴を表現してみた。
椿は日本が原産の花です。花びらの滑らかなグラデーションや、それに対して厚みのある少しごわついた葉の質感、その個体の持つ印象が「和」を物語るのかもしれません。

Back in February, I visited the Camellia Garden at Oshima Park—an island just off Tokyo—with a friend. There were so many kinds, more than we’d imagined—some pretty, some bold, each with their own charm. We laughed, calling one a little princess, another a city girl, snapping photos as we went. This collage gathers those blooms like a cheerful parade of girls, each showing off her own style. Camellias come from Japan. After trying different styles, I felt that a Japanese look fit this piece best. Its petals melt into each other with soft gradation, while the leaves feel thick and a bit rough.Maybe this mix brings out a calm, Japanese feeling.

Camellia(2025)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso

この花を手に取った時、すでにちょっと傷んでいた。でも、ひしゃげた花びらの形が面白く、蝶が舞っているような感じがした。絵になるな…！嬉しくて持ち帰った。
しぼのある藤色のドレスのようなアネモネの花と、飛び交う蝶の鱗粉のようなピンクの空気が、私の春の喜びを謳っているかのようです。

When I picked up this flower, it was already a little damaged. But the petals had a strange, beautiful shape—almost like a butterfly in motion. It felt like a picture waiting to happen. I was so happy to bring it home.
It felt like a picture waiting to happen. I was so happy to bring it home.　Like a pleated lavender dress, the Anemone sways in pink air, softly touched by butterfly dust—as if everything were quietly singing a love letter to spring.

Anemone(2025)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso

ずっしりと重い花がたわわに咲いている。茎が折れてしまいそうなほど重い。赤ちゃんを抱くように優しく腕に抱えて持った。
鈴の音が鳴りそうな花です。春になったので軽やかな色合いをつけたくなりました。気分が弾むようです。

The heavy flowers are blooming. They are so heavy that the stems seem likely to break. I hold them gently in my arms, as if I were holding a baby.
These flowers look like they could ring like a bell. Since spring has arrived, I wanted to add light and cheerful colors. It feels uplifting. 

Cymbidium(2025)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


茎から葉先まで紫色をした葉牡丹を、反対色のイエローで彩色してみた。夜に炎のように輝く植物があったらどうだろう？もしかしたらあるかもしれないけれど。葉脈のディテールが綺麗。

I tried coloring the purple chrysanthemum from the stem to the tip of the leaf with the opposite color, yellow. What if there was a plant that glowed like a flame at night? Maybe there is. The details of the veins are beautiful.

Chrysanthemum(2025)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


花言葉は「気持ちの探り合い」だそう。和菊がアメリカで品種改良されたそうなので、MIXですね。モチーフの特性上、どうしても和の雰囲気が強く出るところを、あまりにも日本的に転ばないように彩色にとても苦労しました。MIXの雰囲気が表現できているといいけれど。

The artwork for “Spray Mom” has been completed. The flower language is "feeling each other out". It seems that Japanese chrysanthemums were bred in America, so it's a MIX. Due to the nature of the motif, it has a strong Japanese atmosphere, so I had a difficulty with the coloring so that it didn't fall over too Japanese. I hope I was able to express the MIX atmosphere. 

Spray Mum(2025)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso

黒い背景にオリーブグリーンの配色。そこに朱赤を落とす。日本には緞子（どんす）の帯というものがあり、光沢のある重みのある帯で、花嫁さんや格式の高い場所で着物に締める。私が小さな頃に祖母にあつらえてもらった緞子帯が、黒字に金や赤の絹糸で織られたものだった。この作品を制作しながら思い出していたのはその帯のこと。

A black ground with olive green.A touch of scarlet falls into it.
In Japan, there is a type of obi called "donsu"— a lustrous, weighty sash worn with a kimono for weddings or other formal occasions.When I was a child, my grandmother had one made for me.It was woven on black ground with gold and red silk threads.
While creating this work, I kept remembering that obi.

Turkish Bellflower(2025)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


この夏の終わりの花はとても長持ちし、朽ちて色が変わっていく様がとても美しく、１ヶ月を通して写真で姿を追った。痛んでそり返った花や葉のシルエットが美しく見えた。

This late-summer bouquet lasted for weeks. As the flowers aged and their colors changed, I followed their transformation through photographs. Even the curling petals and fading leaves held a kind of quiet beauty in their silhouettes.

Curcuma and Leucadendron flowers(2024)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


鶏のトサカのようなケイトウという花。ふんわりと丸く咲くテマリソウ、お菓子のグミの様な実をつけたワレモコウ。花瓶に生けてみた。それぞれがあまりマチエールのない質感のためか、グラフィカルな仕上がりになった。他の作品と比べると異質な雰囲気

This bouquet includes cockscomb, known for its crest-like shape, temarisō, which blooms in soft, round clusters, and waremokō, with berry-like buds that look almost like candy. Arranged together in a vase, their smooth textures gave the piece a graphic, almost abstract quality. Compared to my other works, this one feels a little different— more stylized, more unexpected.

Cockscomb(Keitou)(2024)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


ゆらゆらと燃えるような朱色の花を表現したカーネーションと菊Aを、違う色とイメージで色付けしてみたくなった。この波打つ様なフリルに魅入られたよう。淡いピンク。シャーベットのようなひんやりとしたイメージに仕上げたかった。

After creating Carnation and Chrysanthemum A with fiery orange tones, I wanted to explore a different color and mood. I was captivated by the ruffled, wave-like petals— and imagined them in soft pink. This time, I aimed for a cooler feeling— like the chill of sherbet, gentle and light.

Carnations and Chrysanthemums 02 (2024)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


知人に仏花のお裾分けをいただいた。カーネーションと菊、リンドウなどのブーケ。持ち主だった人の波動のせいか、とても和風な仕上がりになった。波打つ花びら。

A friend shared a bouquet of memorial flowers with me—carnations, chrysanthemums, and gentians. Perhaps influenced by the energy of the person they were meant for, the piece took on a distinctly Japanese feeling. The petals seem to ripple, quietly.

Carnations and Chrysanthemums 01 (2024)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


質量を感じさせるぷっくりと重みのある花びら。上に伸びているような、重力に引っ張られているような。カメラを変えて以前より抽象化したような雰囲気になった。

The petals feel full and weighty— as if they’re reaching upward, yet pulled gently down by gravity. Since switching to a new camera, the image has taken on a more abstract quality than before.

Mokara Orchids(2024)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


今までiPhoneカメラを使用して作っていた作品ですが、この作品からは新しいカメラを使用しています。SIGMA DP3 MERRILLというカメラです。まだ慣れない。でも、花の持つ空気感が以前と違う。この花の迫力、強い香り、花びらのひだの繊細さを損なわないように。

Until now, I had been creating my works using an iPhone camera. But starting with this piece, I began using a new camera— the SIGMA DP3 Merrill. I’m still learning how to use it, but the atmosphere of the flowers feels different now. I wanted to capture the presence, the intense fragrance, and the delicate folds of the petals— without losing any of their power.

Oriental Lily(2024)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


6月、初夏の空の下で、ひときわ輝いて咲いていたこの花。7月に誕生日を迎える、大切な人への贈り物として作品にしました。金色に光り、まっすぐ空に向かうような、強くてしなやかなエネルギー。この想いをどう昇華させよう？静かに光る、夏の氷の花火のように――涼やかに、そしてやさしく。

This flower was blooming brightly under the early summer sky in June.I created this piece as a gift for someone dear to me, whose birthday is in July.The original flower had a golden glow and a strong energy— growing upward,always reaching for the light.　How could I translate that feeling?　I saw it as a summer bloom of ice— cool and gentle, like a quiet wish on a warm breeze.

Pincushion (2024)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


芍薬は自力で花開くのが難しい花です。蕾を軽く揉んであげて、花を目覚めさせます。その奥ゆかしさ、開いた時の華やかさ。今にも開こうとする瞬間を切り取る。

Peonies don’t bloom easily on their own—they need a gentle touch to help them awaken. There’s a quiet grace in that stillness, and a striking beauty in their bloom. This piece captures that delicate moment in between.

Peony and Hypericum berries (2024)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


Snapdragon flower、和名はキンギョソウ。英語ではドラゴンに例えられるこの花の形状、日本では金魚が泳いでいる様な姿でとらえられているようです。私はどう捉えたか？ストロベリーアイスクリームのように、今にも溶けそうに。

This flower is called Kingyo-sō in Japanese— meaning “goldfish grass,” as its shape resembles a swimming goldfish. In English, it’s known as Snapdragon, named for its dragon-like form. But to me, it looked more like strawberry ice cream—just about to melt…

Snapdragon flower(2024)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso

菊は品種改良を重ねて多様な姿があります。今回モチーフに選んだものは大ぶりで迫力があるもの。フラワーショップの店員さんに花の名前を聞くと、「ピンポンマム」という答え。この花の作品の名前はピンポンマムになりました。後で調べてみると、ピンポンマムはもっと花が丸く丸まった種類。思わず笑ってしまいましたが、この作品は私が初めて菊にトライした、ピンポンマム。

Chrysanthemums come in many forms, shaped by years of careful cultivation. The one in this work is large and striking. When I asked the florist, she called it a “Ping Pong Mum.” Later, I found out the real Ping Pong Mum is rounder and smaller. It made me smile—but I kept the name. This was my first time working with a chrysanthemum. To me, it’s still the Ping Pong Mum.

Ping Pong Mom(2024)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


Peruvian Lily。和名：アルストロメリア。百合らしく、花びらに点々と紅を刺した模様は、まるで中国舞踊の踊り子の化粧の様に見えた。

Also known in Japan as Alstroemeria, the Peruvian Lily is smaller than most lilies, but it still holds the same elegance and brightness. Its petals are touched with fine red spots—
like the delicate makeup of a dancer in Chinese opera.

Peruvian Lily(2024)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


Cooktown Orchidという花。日本ではデンファレと呼ばれています。ベルベットのような重い質感の花びら。もっと軽やかに、チュチュを着たダンサーが薄いベールの中で踊る様に。

This flower is known as the Cooktown Orchid, but in Japan, we call it Denfare. Its petals have a rich, velvety texture. In this work, I imagined them as something lighter— like dancers in tutus, moving softly behind a delicate veil.

Cooktown Orchid(2024)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


自宅からさほど遠くない場所に、大船フラワーセンターがあります。子供の頃に祖父と行ったきりで、もう一度行きたいと思っていました。子供の頃に行った時には広大な敷地に思えていたその場所は、大人の私にはとても慎ましい楽園に思えました。一角に梅の花のコーナーがあり、私はそこで写真を撮りました。今回の作品はその梅の花の写真を発展させ彩色したものです。梅の花は白い花ですが、私はその花に楽園のイメージを持たせようと思いました。

Not far from my home, there is a place called Ōfuna Flower Center. I had visited it once as a child with my grandfather, and had long wished to return. What once felt vast through the eyes of a child, now appeared to me as a small, quiet paradise. In a corner of the garden, I found a grove of plum blossoms and took photographs. This piece is an evolution of one of those photos, bringing new colors to the white blooms. I wanted to give the plum blossoms the feeling of a paradise.

Plum Blossoms(2024)

Original Work  
Mixed-media digital work  
Museum print with aluminum mount  
Signed and numbered on verso


この花のシリーズをスタートして第一作目となります。ダリアの花、ユーカリの葉をモチーフに作成しました。太陽の光のように外側に向かって熱量の高いオレンジ色を放つ花。その鼓動を表現したかったのです。

This piece marks the beginning of my floral series. Inspired by the vibrant dahlia and the soft leaves of eucalyptus, I wanted to capture the pulse of a flower radiating its fiery orange energy, like sunlight reaching outward.