I'm Happy to Feel Good

The slightly tautological self-affirmation announced by the title—happiness about feeling good—mirrors the recursive interior logic of Osaka's print compositions, in which figures inhabit their own moods as if those moods were furnished rooms. The image is likely a single female figure positioned within a densely patterned interior, surrounded by isolated still-life objects whose function is emotional rather than narrative. Built as a multi-stone lithograph, the print would combine line drawing in lithographic crayon with tusche washes for tonal areas and separate pattern impressions for the decorative surfaces of dress, wallpaper, and floor. Each registration adds another layer to a composition that is already doubled by the title's tautology. The print continues the line of work Osaka has produced since her 2009 painting B.F.A. and 2011 print M.F.A. at Tokyo Geidai, where she trained under the lithographer Takemi Azumaya, and belongs to the cluster of her editions in which a fragile first-person statement anchors an otherwise ambiguous interior scene.