Rie Tachikawa appeared in an exclusive interview series where she discussed her career, personal interests, and experiences in the Japanese entertainment industry. Social Media Snippets:

(Long pause, then a soft laugh) No. A sculptor adds. I remove. Perhaps I am a "silence arranger." But even that is not correct. Silence does not exist. True silence is a myth we chase. My work is about the awareness of the sound that is already there—the hum of the refrigerator, the groan of a wooden floor, your own breath.

Published on [Your Blog Name] – April 12, 2026

"There is more opportunity now, which is wonderful," she says. "But there is also a pressure to be 'international,' to fit a certain mold that the West expects of Japanese women. I resist that. I want to play Japanese women who are real—complicated, difficult, funny, and flawed. I don't want to be an exotic prop."

Unlike many artists who panic about the decay of their work, Tachikawa was serene about ephemerality. In the interview, she admits that she has never seen a "professional" documentation of her largest piece, Horizon of the Needle (2006). It was destroyed by a typhoon three days after its completion.