Between the Lines marks a shift in how I see myself and how I choose to be seen. It extends the language I built in Life in Stripes and Dress Code, but it moves past those foundations into something more open, fluid, and reflective. The stripes remain, but now they share space with new symbols, gestures, and scenes that explore movement, intimacy, and the

tension between outer presence and inner truth.

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The work moves like a walk through my world. Some pieces stay in motion — sneakers suspended mid-step, power lines dotted with shoes, moments that echo the rhythm of passing through public space. Others slow down, turning tender and inward: glimpses of the body, softened gestures, small pauses where vulnerability becomes its own kind of clarity. Together, they

map the shift from being observed to choosing what’s revealed.

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The palette mirrors that mood — deep navies, blacks, and greys charged with flashes of red, neon, and light-catching foil. In certain works, fragments of love poems from Junya Watanabe appear like quiet illuminations, blurring the line between influence and intimacy. Elsewhere, handmade button pins carry humor, confession, and self-awareness — small crafted exten-
sions of my voice, turning adornment into disclosure.

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Across the series, the materials and imagery trace a subtle form of reclamation. Between the Lines holds the friction and harmony between feminine and masculine, structure and release, surface and self. It’s about transformation as an ongoing practice — the steady work of seeing yourself in a new light, again and again, until the picture feels true.