Kazumi Okamoto is an artist whose practice has a notable particularity: she develops an approach related to synesthesia, a perceptual phenomenon in which the senses cross and interact. This sensitivity directly influences her creative process: forms and visual rhythms can be conceived as translations of sonic impressions. Thus, this work is entitled 'Asobi,' which means "to play" in Japanese. The signs that appear correspond to her synesthetic perception of the sounds of children playing in the street. Her work thus becomes a space of correspondences, where the visible seeks to make the invisible perceptible.

Kazumi Okamoto is an artist whose practice has a notable particularity: she develops an approach related to synesthesia, a perceptual phenomenon in which the senses cross and interact. This sensitivity directly influences her creative process: forms and visual rhythms can be conceived as translations of sonic impressions. Thus, this work is entitled 'Asobi,' which means "to play" in Japanese. The signs that appear correspond to her synesthetic perception of the sounds of children playing in the street. Her work thus becomes a space of correspondences, where the visible seeks to make the invisible perceptible.

Kazumi Okamoto is an artist whose practice has a notable particularity: she develops an approach related to synesthesia, a perceptual phenomenon in which the senses cross and interact. This sensitivity directly influences her creative process: forms and visual rhythms can be conceived as translations of sonic impressions. Thus, this work is entitled 'Asobi,' which means "to play" in Japanese. The signs that appear correspond to her synesthetic perception of the sounds of children playing in the street. Her work thus becomes a space of correspondences, where the visible seeks to make the invisible perceptible.

Kazumi Okamoto is an artist whose practice has a notable particularity: she develops an approach related to synesthesia, a perceptual phenomenon in which the senses cross and interact. This sensitivity directly influences her creative process: forms and visual rhythms can be conceived as translations of sonic impressions. Thus, this work is entitled 'Asobi,' which means "to play" in Japanese. The signs that appear correspond to her synesthetic perception of the sounds of children playing in the street. Her work thus becomes a space of correspondences, where the visible seeks to make the invisible perceptible.