Blank canvas

Tomohiro Kajiyama (Shizuoka, 1985) moved to Hokkaido in 2018, settling in the small village of Nakasatsunai, which has a population of about 3,800. In this region dedicated to agricultural production, the vast farmlands are completely covered in snow during the winter. Viewing these spaces as vast blank canvases, in 2019 Kajiyama began creating works he calls “snow art.” Walking instinctively with a small pair of skis on his feet, he creates giant geometric designs, measuring about 100 square meters (1,076 square feet), as his footsteps sink into the soft snow. The village, which was often described as “a place with nothing but snow in winter,” began to attract tourists and curious visitors eager to see these works.

Kajiyama begins his creations before dawn and continues, sometimes for several days, until they are complete. No measuring tools or terrain-viewing devices are used, as the artist relies solely on his bodily perception to create the design outlined in his mind. It is work that demands considerable physical effort, and its result is ephemeral—lasting about 7 days, depending on wind and snowstorm conditions. To encourage visits, viewing platforms about 8 meters (26 feet) high are installed so the public can view the works on-site. However, a complete view would require being about 100 meters (328 feet) high, which is why photographs taken by drone are essential as a final record of his works. They serve to freeze this ephemeral work in time and also to promote the region so that more people become interested in it.

The 2019 work was created shortly after Kajiyama moved to Hokkaido and marks a turning point in his professional transition, when he left behind his career as a railway engineer. Initially, he tried using software to assist in creating the designs, but wasn’t satisfied with the process, so decided to abandon digital tools and follow his intuition. “This work is a cry from my soul; it marked the moment I truly became free.”

The 2021 work, created during the pandemic, represents the desire for a better future. With a deeper personal meaning, this was the first work his daughter Reika, born in 2020, ever saw. Her name contains the character for “flower” (花), which appears in the title of the work, representing a father’s love and hope.

The last one is one of the most challenging works for Kajiyama. The winter of 2025 was very harsh; heavy snowfalls in the region accumulated over 1 meter (3 feet) of snow. As he walked, the snow reached his waist, making the work even more exhausting. However, this large accumulation of snow created an even greater contrast under the sun’s rays. The artist adapted the hexagonal crystal into an octagon, which is considered a symbol of prosperity and good fortune, hoping that happiness will come to all who view the work.