The series explores the overwhelming feelings that take hold of us and the desperate search for ways to cope with them. What will you do when the feeling spills out, takes on a form of its own, and becomes an independent being?
重すぎる。
Too heavy.
Acrylic and coloured pencils on canvas, 60 x 90 cm, 2026.
I want to speak about overwhelming emotions that consume us. About feelings that the human body cannot contain.
When a certain feeling hits, the tears become too heavy to hold onto – a feeling so overwhelming that the body can’t contain it any longer. It spills outward and becomes a being of its own. I believe that it is important to acknowledge this force.
I think about nature, about how the ginkgo tree sheds all its leaves in a single night, moving into a new stage of life.
We cannot always choose what we feel, nor can we always stop what overwhelms us. But we can acknowledge that our emotions exist. They take shape, occupy space, and interact with the world around us.
I want to defend our right to feel more than our bodies can contain.
感情が重すぎると、それは体から溢れ出し、別の生き物になる。
Too heavy.
Acrylic and coloured pencils on canvas, 60 x 90 cm, 2026.
I want to speak about overwhelming emotions that consume us. About feelings that the human body cannot contain.
When a certain feeling hits, the tears become too heavy to hold onto – a feeling so overwhelming that the body can’t contain it any longer. It spills outward and becomes a being of its own. I believe that it is important to acknowledge this force.
I think about nature, about how the ginkgo tree sheds all its leaves in a single night, moving into a new stage of life.
We cannot always choose what we feel, nor can we always stop what overwhelms us. But we can acknowledge that our emotions exist. They take shape, occupy space, and interact with the world around us.
I want to defend our right to feel more than our bodies can contain.
感情が重すぎると、それは体から溢れ出し、別の生き物になる。
秘密。
Secret.
Acrylic and coloured pencils on canvas, 60 x 90 cm, 2026.
Secret.
Acrylic and coloured pencils on canvas, 60 x 90 cm, 2026.
危ない。
Danger.
Acrylic and coloured pencils on canvas, 60 x 90 cm, 2026.
Danger.
Acrylic and coloured pencils on canvas, 60 x 90 cm, 2026.
PROTOTYPES. プロトタイプ。
Triptych: Peace, War and Hope.
三幅画：平和、戦争、そして希望。
Handmade paper clay, glazed, 2026.
Triptych: Peace, War and Hope.
三幅画：平和、戦争、そして希望。
Handmade paper clay, glazed, 2026.
Badb Catha, the war goddess, shapeshifts between a woman and a crow. She is the goddess you don’t pray to; you only hope it's not your time to go yet. The most honest war goddess there is.
女とカラス、ふたつの姿を持つ戦の女神。
何も感じずに、死体を奪いに来る。
最も正直な戦の女神だ。
女とカラス、ふたつの姿を持つ戦の女神。
何も感じずに、死体を奪いに来る。
最も正直な戦の女神だ。
ロケットはいくつ？
How many rockets?
Watercolor and colored pencils on paper, 30 x 40 cm, 2026.
The work explores the dualism surrounding our desire to know and understand the most important things. What is out there? Who is out there? What is the meaning of it all, of our lives?
There's always been an apparent opposition between scientific and religious ways of searching for meaning. In this work, I explore their common ground, the shared feeling that underlies both approaches.
The other meaning of this work concerns people’s recklessness and their choice of the wrong tools in their search for the divine.
How many rockets?
Watercolor and colored pencils on paper, 30 x 40 cm, 2026.
The work explores the dualism surrounding our desire to know and understand the most important things. What is out there? Who is out there? What is the meaning of it all, of our lives?
There's always been an apparent opposition between scientific and religious ways of searching for meaning. In this work, I explore their common ground, the shared feeling that underlies both approaches.
The other meaning of this work concerns people’s recklessness and their choice of the wrong tools in their search for the divine.
騎士。
Knight.
Watercolor and coloured pencils on paper, 30 x 40 cm, 2026.
Knight.
Watercolor and coloured pencils on paper, 30 x 40 cm, 2026.
ゴーストとバケ。
–– Hey, Ghost! Let’s play!
–– I’m sorry, I can’t. I have a girlfriend, you see.
Acrylic and colored pencils on cardboard, 2026.
–– Hey, Ghost! Let’s play!
–– I’m sorry, I can’t. I have a girlfriend, you see.
Acrylic and colored pencils on cardboard, 2026.
喜べ。
Look into my eyes and rejoice.
Glazed ceramic, 15 x 15 cm, 2016.
A celestial being known as Seraph always covers its face with its wings, for it dares not look upon God. But this time the Seraph, together with the Daruma, a monk who touched the divine and became one with it, has turned toward the one who asks. Look upon them, make a wish, and rejoice.
セラフィムと呼ばれる天の存在は、神を直視することを畏れ、常にその顔を翼で覆っている。
しかし今日、セラフィムは、神聖なるものに触れ、それと一体となった僧であるダルマと共に、願う者の方へと向き直った。
彼らを見よ。願いをかけよ。そして喜べ。
Look into my eyes and rejoice.
Glazed ceramic, 15 x 15 cm, 2016.
A celestial being known as Seraph always covers its face with its wings, for it dares not look upon God. But this time the Seraph, together with the Daruma, a monk who touched the divine and became one with it, has turned toward the one who asks. Look upon them, make a wish, and rejoice.
セラフィムと呼ばれる天の存在は、神を直視することを畏れ、常にその顔を翼で覆っている。
しかし今日、セラフィムは、神聖なるものに触れ、それと一体となった僧であるダルマと共に、願う者の方へと向き直った。
彼らを見よ。願いをかけよ。そして喜べ。
少女と大洪水。髪を絞れば海になる。
The Girl and the Divine Deluge.
Ink on paper, 2012.
追われる身。
Most wanted.
Ink on paper, 2022.
The Girl and the Divine Deluge.
Ink on paper, 2012.
追われる身。
Most wanted.
Ink on paper, 2022.
この辺に住んでるの。
Do you live around here?
Ink on paper, 2015.
Do you live around here?
Ink on paper, 2015.
マフラー。Scarf.
Italian merino wool, 2021.
Italian merino wool, 2021.
進化: 星屑、火、宗教、産業、死、そしてまた星屑。 Evolution.
Acrylic on skateboard deck, 2023.
一人で危険じゃ。これを授けよう。Grandfather’s coat.
Acrylic on leather, 2022.
Acrylic on skateboard deck, 2023.
一人で危険じゃ。これを授けよう。Grandfather’s coat.
Acrylic on leather, 2022.
Born special,
still learning to be half good.
特別に生まれ、
せめて半人前になろうともがいている。
Anastasia Sharpilo, also known as Attaka Maki, is a multidisciplinary artist who has studied at Wellington College of Art and Design and the Faculty of Fine Arts at the University of Auckland.
Working across painting, sculpture, ceramics, and other mediums, her practice explores faith, longing, and the search for meaning beyond the tangible.
At the heart of her work is an ongoing attempt to capture something essential, something deeply felt yet difficult to articulate, and to create a moment of connection between the artwork and the viewer. Her artistic sensibility is drawn to the spirit of hopecore, where vulnerability and tenderness coexist with hope.
"It is through the cracks left by the pain we experience that light finds its way in."
still learning to be half good.
特別に生まれ、
せめて半人前になろうともがいている。
Anastasia Sharpilo, also known as Attaka Maki, is a multidisciplinary artist who has studied at Wellington College of Art and Design and the Faculty of Fine Arts at the University of Auckland.
Working across painting, sculpture, ceramics, and other mediums, her practice explores faith, longing, and the search for meaning beyond the tangible.
At the heart of her work is an ongoing attempt to capture something essential, something deeply felt yet difficult to articulate, and to create a moment of connection between the artwork and the viewer. Her artistic sensibility is drawn to the spirit of hopecore, where vulnerability and tenderness coexist with hope.
"It is through the cracks left by the pain we experience that light finds its way in."
希望。Hope.
Handmade backpack, Tokyo, 2025.
Handmade backpack, Tokyo, 2025.
Exhibitions:
Point of View, collective exhibition, Molbert Gallery, Saint Petersburg, Russia, 2026
Point of View, collective exhibition, Molbert Gallery, Saint Petersburg, Russia, 2026
Peculiar Legs Project.
ふしぎな脚プロジェクト
ふしぎな脚プロジェクト
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