DB: Which of Escher's tessellations/prints impresses you the most?
MN: Sky and Water I, if I'm forced to say.

DB: What do you consider your best work, and what are its particular merits? In addition, what other examples do you consider that stand out for the rest?
MN: My best work? It is a next work. It may be trite idiom, I sincerely think so.

DB: What do you consider the most important aspect of a high-quality tessellation?
MN: Even if anyone looks, a tessellation of horses is identified as a horse not pig, it would say good tessellation, in common-sense terms.
However, I do not think that it is a bad tessellation even if anyone sees it like a pig because I regard a tessellation as a tool of the art.
When I drew a tessellation of horses, than seen in the crowd as paintings of dead horses, I wants to be recognized as a tessellation of live pigs.
But in expression of the art, a tessellation of dead horses may be necessary. For me, tessellation is the same as the language for a writer. Therefore, I cannot necessarily say, actually, what is high-quality tessellation.

DB: Which contemporary tessellation artist do think highly of?
MN: I do not know because I'm not a good audience.

DB: Do you still think the subject has areas to explore, or has it been mined to exhaustion?
MN: do not know presence or absence of possibility, because I have not a basis to conclude. Like up to now, I will go to pursue the possibilities of expression of tessellation.

Created: 25 June 2012