Inspired by Forsythe

This 1995 installation takes as its starting point the work of choreographer William Forsythe, whose deconstructive approach to ballet vocabulary made him an influential figure in late-twentieth-century dance. Imada translates the spatial and temporal concerns of Forsythe's choreography into a static installation, using printed and assembled elements to evoke movement, direction, and the body's relationship to architectural space. The mixed-media format combines hand-printed [washi](/glossary/washi) paper with additional materials, characteristic of Imada's practice of extending mokuhanga vocabulary into three dimensions. The piece sits relatively early in Imada's London career, predating the larger institutional installations of the 2000s, and reflects her engagement with British and European contemporary art alongside her grounding in Japanese printmaking. The cross-disciplinary reference—a printmaker responding to a choreographer—signals Imada's interest in adjacent art forms and her willingness to apply traditional techniques to subjects outside their conventional repertoire. The 1995 dating places the work within a formative period of experimentation in her installation practice.