Interview with Yasuka TAKAHASHI
Short Biography
Yasuka TAKAHASHI was born in Oshu, Iwate, Japan. She is currently an artist, string art, graphic art.
While working as a programmer, she taught herself web design in 1996. She later joined a design firm, where she acquired graphic design skills. Until 2015, she was also involved in various projects in Japan as a programmer, video creator, and photographer.
In 2016, she moved to France, working as a web and graphic designer while immersing herself in culture and the arts, as well as studying languages and music. Later, she developed an interest in string art and joined Itokake Design Lab Japan, where she took online lessons from Koji Okada, a leading figure in the field, learning various techniques from a mathematical perspective.
She returned to Japan in 2022 and has been working with string art, digital art, programming, and other related fields. She creates artworks by fusing string art with digital technologies, such as digital art and programming, while exploring new ways of expression.
Artist statement
My five years living in France deeply influenced me, as I was captivated by its breathtaking landscapes, art, music, and culture. Later, the memories formed during the isolated period of the COVID-19 lockdown revealed that even within loneliness and anxiety, there is beauty and hope. These experiences have had a significant impact on my creative work after returning to Japan.
Furthermore, upon returning to Japan and gaining a deeper understanding of its aesthetic sensibilities, the scope of my artistic expression expanded even further. Just as light inevitably enters darkness, a single thread gathers, intertwines, and crosses in complex patterns to create beautiful shapes. These shapes symbolize hope and embody my personal memories and emotions.
I am pursuing a unique form of art that integrates the structural beauty of mathematical theory, digital technology, and the density of color and patterns created by threads. By merging these elements with graphic design, I aim to create elegant and refined works that only I can produce. My unwavering belief is to continue creating art that is sophisticated and dignified.
Yasuka, can you take us back to the beginning? What was your first experience in art-making, and how did it shape your journey as an artist?
My first experience with creating art was when I was six years old. During an art class, my teacher gave me a special assignment: instead of making the same artwork as my classmates, I was asked to turn a whale drawing I had previously made into a print. I also remember being given extra time to work on it until I was satisfied.
Later, my artworks frequently won awards at art exhibitions, giving me more opportunities for recognition. As I accumulated these experiences, creating art became something special to me. However, making works that were different from my classmates’ sometimes made me feel distant or left out.
At that time, I liked making art, but I wasn’t particularly passionate about it. My attitude was passive—I enjoyed it as a task whenever it was required.
My perspective changed when I started working as a programmer. I got a computer to study programming, and that led me to learn photo editing, web design, and graphic design on my own. I began sharing my work online, and the positive feedback I received made me happy. For the first time, I truly found joy in creating. Eventually, my work caught the attention of magazines and TV programs, leading to interviews and job offers.
Later, in order to challenge and improve myself, I joined a highly competitive design firm. Many of my colleagues were graduates of prestigious art universities, and working alongside them helped me grow and refine my skills. I was also exposed to many outstanding works of art.
Through these diverse experiences, I ultimately decided to pursue a career as an artist.
What drew you specifically to string art? Was there a defining moment or an encounter that sparked your interest in this unique medium?
While living in France, I was invited by a friend to visit a small exhibition, where I encountered string art for the first time. I was instantly captivated by its delicate and beautiful expressions.
Curious to learn more, I began researching online and came across the works of Itokake Design Lab Japan. Their approach to string art was mathematical, creating intricate floral patterns through precise calculations. I was amazed by how simple, straight connections between nails could form spirals and complex designs. The logic behind it fascinated me.
At that moment, I felt a connection between “art” and “programming”—two fields I had previously considered entirely separate. It was as if they had suddenly merged into one.
Eager to learn the technique, I reached out to the head of the lab and enrolled in their courses. As I practiced, I became completely immersed in the depth and intricacy of string art, feeling an overwhelming urge to create my own original pieces.
The turning point in my journey came from meeting my mentor and the fellow artists I studied alongside at the lab. Learning and growing together with them was an invaluable experience, shaping both my artistic path and personal development.
Your experience in France must have been transformative. How did living or working there influence your perspective, techniques, or approach to art?
Living in France had a profound impact on my perspective and approach to art. In France, art and music felt much freer and more accessible compared to Japan. I lived in Rouen, and nearby were the Rouen Cathedral and several art museums. I often visited these places while walking, and spending time surrounded by beautiful architecture and art was a truly luxurious experience. I also frequently visited Monet’s garden in Giverny and museums in Paris, where I had the opportunity to carefully study the artworks.
In addition, in France, there is a strong tradition of valuing holidays and dedicating time to engage with culture and art. In Japan, where life is more focused on work, it was difficult to take the time to engage with art in a relaxed manner, so this new way of spending time was a refreshing and precious experience.
Moreover, the streets of France, the rural landscapes, the bright blue sky, and the unique European designs and prints constantly stimulated my imagination. Until then, my work had primarily been focused on meeting the clients’ requests, but in France, I realized the joy of valuing my own senses and inspiration.
Additionally, for someone like me who was originally not very good at English, learning French was a big challenge. At language school, I interacted with people from various countries, and through living in French, I gradually lost my fear of foreign languages. This experience became a valuable lesson in the importance of expressing my thoughts in a foreign culture and became a great strength for building a career abroad as an artist.
Through my time in France, I gained not only technical skills but also an opportunity to reassess my own sensibilities and values. I realized that art is not merely a skill; it is deeply connected to daily experiences, environments, and one’s inner self.
Was there a particular moment or realization that led you to commit to art as a career? What gave you the confidence to take that leap?
In 2021, after losing my mother to breast cancer, I was temporarily back in Japan and unable to return to France for a while due to the impact of COVID-19. During that time, I took a string art course. After returning to France, I completely moved back to Japan the following year.
That year, while creating a piece for a major contest, I felt an unusual sensation in my chest. However, with the deadline approaching, I made a hospital appointment after submitting the artwork. I thought that if I were diagnosed with breast cancer, the shock would make it difficult for me to focus on my creative work.
After successfully submitting the artwork, I underwent an examination at the hospital, where I was diagnosed with breast cancer. Knowing my mother’s long battle with the disease, I also understood that the treatment would incur significant costs. Given my financially difficult situation, I was deeply shocked, thinking, “It may be difficult to receive treatment.”
Fortunately, however, I had medical insurance, which allowed me to receive treatment without worrying about financial instability. Additionally, the life insurance I had taken out when I traveled to France covered cancer, so I received a payout, allowing me to take time off for treatment and recovery for several years.
In the midst of this, the piece I submitted was selected for one of Japan’s top three contests, the Nika Exhibition, in the design category. The following year, I won the Encouragement Award. This event gave me a great deal of confidence.
Looking back, several awards I received in Japan pushed me forward and strengthened my desire to create more works. I also had the aspiration to build a career overseas, utilizing what I had learned in France. I am now certain that string art is the culmination of everything I have learned and experienced throughout my life.
Above all, it was the support and encouragement from my family, friends, mentors, and colleagues that allowed me to continue challenging myself without giving up. Thanks to the precious time I was given by the unexpected event of cancer, I made the decision to begin my serious journey as an artist.
Can you walk us through your creative process? From conception to execution, what does a typical workday look like for you?
I don’t have a fixed routine, but most of my work is done on the computer, and especially when deadlines are approaching, I tend to work late into the night. The quiet of the night allows me to focus without distractions. (I usually try to maintain a regular lifestyle.)
My creative process begins with deciding on a theme, then creating patterns that align with that theme. I use custom programs to generate mathematical art, which I then import into Illustrator. In Illustrator, I refine my ideas by adding text, notes, photos, and illustrations while developing the design further.
Once the design is set, I create and print the pin sheet. When working on more complex patterns, I break down the stringing process into several steps, generating images for each section and checking them on my smartphone as I progress.
The process of hammering the pins into the board is noisy, so I do it during the day. I start by attaching the pin sheet to the board and using a micro drill to make holes at the pin positions. After removing the pin sheet, I carefully hammer in the pins one by one, checking that the height and alignment are accurate. Finally, I string the pins to complete the piece.
By progressing from digital design to physical creation step by step, I can craft works with great attention to detail.
Where do you find inspiration for your works? Are there recurring themes, emotions, or experiences that continue to fuel your creativity?
I mainly find inspiration in everyday life, web surfing, and both natural and urban landscapes. Sometimes, I feel a strong inspiration in my dreams, and as soon as I wake up, I go straight to my computer to capture the idea.
Whenever an idea comes to me, I make a note, take a photo, or sketch it to document and accumulate my thoughts. Keeping creative momentum is not always easy, but strangely enough, I often feel motivated as soon as I sit down in front of my computer.
As for the themes of my work, I often draw inspiration from Japanese historical stories or memories from my life in France. These themes and experiences repeatedly influence my creative process.
String art as a medium can present challenges in expressing individuality. How do you ensure originality in your work? Are there particular principles or considerations you follow?
In the field of mathematical art, string art often features circular designs on square boards, which can sometimes make it difficult for viewers to distinguish between different works. Because of this, I am constantly experimenting and refining my approach to ensure originality.
My creative process begins much like painting or designing—I start by establishing a theme or story for the piece. From there, I develop patterns and designs using two main methods:
1. The first method involves selecting numbers based on the chosen theme and using them mathematically to create string art, adding my own unique modifications. For example, if I am making a string art piece as a gift, I incorporate numbers such as the recipient’s birthday or favorite number into the design.
2. The second method involves proactively researching patterns when I have time. I use custom-built programs or Illustrator to create and organize pattern data. When working on a new piece, I select a pattern that fits the theme and refine it further. Of course, there are times when I find inspiration directly from the patterns themselves.
I believe that building string art from scratch based on a theme is a crucial process for achieving originality.
When incorporating graphic design, I view string art as either a “technique for creating art” or a “means of expression.” In doing so, I avoid being confined to square or circular frames and strive to make each piece one of a kind.
On my computer, I simulate the design carefully, considering everything from color placement to the sequence in which the threads should be layered to achieve the most aesthetically pleasing effect. When hammering nails, I first ensure that their height, arrangement, and spacing create a visually harmonious foundation before weaving the threads. Although I spend a great deal of time on simulation, the actual threading process varies depending on the piece, typically taking anywhere from a few hours to three or four days to complete.
Through these processes, I aim to complete each work with fresh ideas and a unique approach while maintaining a distinctive style that allows viewers to immediately recognize it as a “Yasuka original.”
Many artists struggle with knowing when a piece is truly finished. How do you determine that a work is complete? Is it instinctual, or do you follow a specific approach?
Even if I had an abundance of time, I believe the concept of “completion” is probably something that will never truly exist for me.
When I have ample time to work on a piece, it becomes an endless journey, and in the process of pursuing something, I can lose sight of the goal or theme. Interestingly, with works that I’ve spent too much time on, I may feel that “I’ve done everything I could”, but I often find myself dissatisfied with the level of completion. On the other hand, it’s possible that a good piece can emerge precisely because there are elements that are missing.
In my work, I am often constrained by themes and deadlines, and I tend to thrive within these limitations. If I reach a level of quality I’m satisfied with within the given time frame and meet the deadline, I consider the work complete at that point.
If there is no theme or deadline, I lose the sense of a goal and end up creating endlessly, never truly completing anything. Therefore, to motivate myself, I make it a point to enter competitions or exhibitions, or set my own deadlines for each project.
Where can people see your work in person? Are there any upcoming exhibitions or projects on the horizon that you’re excited about?
My work will be digitally exhibited at “Décor,” organized by the ArteMida Experience exhibition in Milan, Italy, in May 2025.
In the same month, I will also participate in VIFAF 2025 (Virtual International Fine Art Fair), hosted by World of Crete. VIFAF is a virtual exhibition that enables people from around the world to access and view the artwork online.
Additionally, from May 24 to June 16, VIFAF 2025 will be showcased at the Select Art Fair at Villa Moma (Gerani, Chania) on the island of Crete, Greece. After the exhibition ends, the works will remain available online for one year.
In August 2025, I will hold my first solo exhibition in Oshu-City, Iwate Prefecture, Japan. This exhibition is part of a program supporting artists from Iwate. While I am excited about my first solo show, there is also the pressure of creating many works to fill the venue. However, I am planning to make it an enjoyable experience for everyone by offering workshops and live creation during the exhibition.
For the latest updates, please check my website and Instagram.
Looking ahead, how do you see yourself evolving as an artist? What kind of artist do you ultimately strive to be?
I have not set a specific final goal, but I hope to continue my activities as an artist for as long as possible. Moving forward, I want to deepen my understanding of mathematical art and actively explore new forms of expression. Currently, my work focuses on semi-relief pieces, but in the future, I aim to challenge myself with fully three-dimensional works and present them in innovative ways.
I believe that each person experiences my artwork differently, but my goal is to continue creating pieces that bring happiness and a sense of healing to as many people as possible.
