For the artist who lives near Tokyo, paper is a very important material. LumièreHitomi Uchikura is able to coax from paper properties that one would not necessarily associate with it. She moulds the paper by applying force locally. There are configurations like in the series Lumière, staged in an apparent state of suspension in front of the wall and accommodating a sea of circular medallions of different sizes. The areas between the discs are cut free to allow the light behind them to shine through. Once visually fixed, the medallions appear to flip between concave and convex, thus underlining an air of lightness, levitation and, at the same time, suspended animation. These are visual shifts that take place unexpectedly, but without suggesting agitation or chaos. The artwork becomes a meditative plane or relief, particularly when it floats in front of a background as a floor-to-ceiling Lumière relief.

In the case of the square shapes, the Études, the forms are exposed and swell into the space like fungal growths. Here,too, the ensemble of shapes becomes an object and, again floating elegantly, impresses with its lightness.

Their sculptural counterpart is the group of works called Bright Cells that take the form of medallions due to the camera lenses employed ,but as crystalline cellular configurations reflect inwardly into infinity, aesthetically upgraded in a skin of through-dyed leather.