Senbazuru consists of a 16 mm film and a large number of origami papers.

In the film, a paper crane is folded and then unfolded and flattened again, before the gesture of beginning to fold the crane is repeated. This repetitive gesture invites us to reflect on commemoration. It seems like an ongoing practice of remembering the past, one that must always be repeated.

The origami paper is coated with a photosensitive solution (cyanotype) that slowly turns blue when exposed to sunlight. Through the repetition of the gesture, a pattern gradually emerges on the surface of the paper. Like a prayer being recorded, or a memory being inscribed photographically, the pattern remains on the paper. At first glance, the patterns on the numerous sheets of origami paper may appear similar, yet their details are always different.

This research project revisits, from a contemporary perspective, the memory of hajichi, a traditional tattoo practice passed down from generation to generation among the women of Okinawa.

Through encounters with tattoo artists engaged in reviving this forgotten practice, craftspeople who continue the tradition of Ryūkyūan textile weaving, and historians who preserve and decipher the few existing archives, the project explores how the threads of a fragmented memory can be rewoven through the landscapes and symbolic motifs of Okinawa.

Grounded in a feminist and postcolonial approach, the work examines cultural memories embedded in suppressed forms of bodily expression, while considering the possibilities of rereading and reconnecting with marginalized cultures.``