Before my work in conservation in the United Kingdom, I obtained a Bachelor of Arts (BA) in Aesthetics and Art History from Kanazawa College of Arts, Japan, in 2000. The topics covered ranged from art history to practical classes in most art forms, including engraving, fresco and tempera. After completing my studies, I worked in art-related areas in Japan, the Netherlands and the USA.
After over 3 years at the Conservation Department of the Bodleian Library in Oxford, I acquired a Master of Arts in Paper Conservation at Camberwell College of Arts, London, in 2011 with the support of Queen Elizabeth Scholarship Trust.
My research concerned an 18 th century album of drawings made using various media, part of the collection of the Ashmolean Museum of the University of Oxford.
I then carried out an internship at the University of California in Berkeley supported by Zibby Garnett Travelling Fellowship, where I treated oversized chromolithograph posters as well as charcoal and pastel drawings.
I also carried out internships at Art Conservation Lab in Tokyo, Japan, during 2012, including the National Research Institute for Cultural Properties, where I deepened my knowledge of paper-based Japanese material supported by The Japan Science Society.
The following ICON internship projects with the support of the Sumitomo Foundation included the conservation of medieval manuscripts and printed rare books from the Fitzwilliam Museum, University of Cambridge and research on a 16-17 th century Dutch illuminated manuscript with a serious iron gall ink corrosion problem. I also had the opportunity to assist with the treatment of Persian manuscripts and helped install the exhibition. I then worked at the National Conservation Service, Maltby’s Bookbinders and Temple Bookbinders in Oxford to acquire further experience in paper and book conservation, and hand bookbinding.
Currently I have been working at the Bodleian Library as a Library Assistant and a freelance conservator. I will start my PhD from 2019; my research topic is the study of 18-19th century Japanese Nanga Paintings through art historical and material analysis, with a focus on the Nanpin School, using collections at the Ashmolean Museum and the British Museum.
In the future, I would particularly like to deepen my knowledge and skills of Japanese paintings, early historical bindings, oriental material, and art work on paper and parchment. I wish ultimately to transmit my passion, knowledge, and skills to the next generation.
The authors of these works have asserted their moral right under the Copyright, Designs and Patents Act 1988 to be identified as the author.