Born in 1990.
She was not good at expressing her feelings in words, and as a child she would simply draw pictures on the backs of advertising flyers. When she was seven years old, her beloved grandmother passed away. It was the first time she had ever come into contact with the death of a person. During that time, her drawings would always depict the death and grave of a character she had created. Her unconscious drawings naturally reflect NITO's thoughts at the time, and this creative style continues even now as an adult.

Debt, discord between her parents, endless fighting. She was thrown out of the house and spent her days sleeping outside. There was no place for young NITO to relax, and she had no choice but to escape into self-harm and alcohol. Before she knew it, she had become an alcoholic in junior high school, and attempted suicide three times in her teens. However, even when she wanted to die and her room was filled with whiskey bottles and cigarette butts, she continued to draw. She did not stop, even when she was repeatedly told to "stop doing something that doesn't make money." "Painting is like breathing air or eating food," she says. For her, painting is not a means but an end in itself, a physiological need, and her identity.

NITO's work is made up of a mysterious balance. It is full of vitality and energy, but at the same time, it is wrapped in a fragility and precarity that smells of death. The countless scars on her arms and the powerful lines drawn on paper are essentially the same, and may be a representation of NITO's soul, which is torn between a longing for death and a desire for life.

One of the clues to understanding NITO's worldview is the way he paints. His creative style, in which he never looks at an object (real thing or a photograph) and draws, but only draws from memory, shows NITO's view of the world, which holds that what has matured, fermented, and changed in his own memory is more valuable than the reality that can be seen with his eyes. This complete lack of objectivity is both dangerous and attractive. Instead of looking and drawing, he "observes" more than anyone else. For NITO, looking is storing materials in a aging cellar.

For example, when observing a horse, the information from its silhouette to the smallest details is disassembled in one's mind and temporarily stored in the memory maturation storehouse. The next time the horse is "taken out" of the maturation storehouse, it may have changed slightly from its original shape, it may have rotted due to excessive fermentation, or it may have merged with something else, but the artist chooses not to correct it and paints it as is. The world on the canvas that is constructed in this way is a reality for NITO, and this is why he has the highest expectations for the things he creates. At Umu Lab, we refer to NITO as a "Fermemento (memory fermentation) creator."

I love things that I don't really understand. They could be monsters, mythical beasts, or aliens... I'm strongly attracted to so-called occult things. I believe there is a world different from this one, one that humans cannot understand. That world might be in black and white, or it might be full of vivid colors. There might be tiny whales flying in the sky and big bees swimming in the sea. The moon might rise in the morning, and the sun might be visible at night. It's impossible, it's hard to understand, and it's interesting. I would like to be able to depict such things and worlds.