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[Otherworldly Bodhisattva in the Clouds]
The concept of “otherworldly reincarnation” frequently appears in subcultures and media such as anime and gaming. In these stories, the protagonist is reborn into another world with memories of their past life and given cheat-level powers. They live their second life as if playing a game, fully equipped with skills that give them an overwhelming advantage.
This “other world” (isekai) is a convenient fantasy, deeply desired by modern people.

But the idea of other worlds is not new. Since ancient times, humans have envisioned such realms. In Buddhism, this is expressed in the Pure Land, a paradise that awaits after death. The Byōdō-in Phoenix Hall is a famous example—an architectural attempt to represent the Pure Land on Earth. Interestingly, its spatial concept closely resembles today's Metaverse: a crafted realm that offers comfort and hope beyond this life.

This work presents a “Modern Pure Land.”
Here, the Otherworldly Bodhisattva in the Clouds appears to greet you—anime-styled, holding cheat items, and welcoming you into this realm beyond reality.

Note: While the word “cheat” usually implies dishonesty, in reincarnation fantasy stories it refers to powerful, often god-like abilities granted in another world. Tho are the abilities that give the protagonist an edge in navigating that new reality.

[When the Newborn Vessel is Destroyed and Becomes a Ceramic Piece: That Moment is Reincarnation]
The ceramic fragments in this work were once newly crafted and pulled from the kiln. However, due to glaze imperfections or accidents during firing, they were deemed failures by conventional standards and discarded immediately.

This series is about reincarnating those discarded pieces and reviving them using my own cheat power.

In ancient times, lacquer was widely used as an adhesive, and one of its traditional repair methods is known as yobitsugi, which is a form of kintsugi.
Whereas kintsugi restores a single broken piece to its former shape using gold and lacquer, yobitsugi takes pieces from different vessels and fuses them together to create a completely new form, giving rise to a new story.

In this work, I scan the broken ceramic pieces in 3D, digitally reconstruct the missing parts, and then reassemble them using modern yobitsugi techniques—techniques that I, living in the present, am uniquely capable of.
In doing so, I create not only a new object but also a new time and space—a reincarnated form born from brokenness and imagination.