During Hong Kong’s Art Week, the LANDMARK Atrium has been transformed by the arrival of Ayako Rokkaku’s THE ISLAND – ONIGASHIMA. The Japanese artist has staged a sprawling intervention within the iconic mall, replacing its usual high-gloss atmosphere with an organic topography of kawaii figures, undulating forms and soft fabrics. Situated in the heart of Central, the open-space atrium has long served as a premier canvas for grand-scale artistic installations, yet this unveiling marks a significant milestone: it’s Rokkaku’s first solo showcase in Hong Kong and her largest installation worldwide within a commercial environment.

The heartbeat of the project lies in a geographic kinship between Hong Kong and Japan. Recognizing their shared island identities, Rokkaku looked toward Onigashima (Demon Island) from Momotaro – a cornerstone of Japanese folklore – to anchor her vision. While the legendary island was originally depicted as a place of evil, Rokkaku’s reimagining is one of warmth and comfort. “Japan is an island country, and Hong Kong also has a lot of islands,” the artist explains, noting that this resonance sparked her desire to create a sanctuary where visitors could “explore these unknown creatures together.” By infusing the landscape with mystery and childlike wonder, she effectively blurs the lines between her internal creative world and the audience’s physical experience.

The physical realization of THE ISLAND – ONIGASHIMA began six months ago through an experimental process of clay modeling. “I’m not a person with a plan,” Rokkaku remarks, recounting how the clay naturally began to take on the forms of oni (monsters), eventually bridging the folklore of her heritage with the topography of Hong Kong. This spirit of spontaneity was further highlighted during a live painting performance at the installation’s opening. Using her bare hands to layer vibrant pigments directly onto the surface, Rokkaku offered a rare, intimate glimpse into the visceral connection between the artist and her medium.

Recognizing the shared island geography of Hong Kong and Japan, Rokkaku looked toward the mythical Onigashima (Monster Island) from Momotaro, a renowned tale in Japanese folklore, to anchor her vision. While the original island from the fable was much more sinister, Rokkaku’s reimagining is much more cozy and cute. “Japan is an island country and Hong Kong also has a lot of islands,” the artist explains, noting that this geographic resonance sparked the desire to create a space where everyone could “explore these unknown creatures together.” By infusing the island with a blend of mystery and childlike wonder, she blurs the lines between the artist’s internal world and the audience’s experience.

Ultimately, the exhibition serves as a sanctuary of freedom and “life energy” amidst the luxury retail pulse of Central. Visitors are encouraged to touch, feel and even relax with the installation, turning the act of viewing into a personal journey. Rokkaku notes that the openness of LANDMARK provided a sense of freedom, allowing her to “create happiness from within” and thus, share that energy with the public.

“[LANDMARK Atrium is a] place where I feel I have the space to create happiness within myself, and in turn, I want to fill this entire area with that happiness.”

THE ISLAND – ONIGASHIMA is your largest installation to date. What sparked the connection between Japanese folklore and Hong Kong’s geography?

Ayako Rokkaku: ONIGASHIMA comes from a very famous Japanese folktale called Momotaro. When I was looking for a connection between Hong Kong and Japan, I realized both are defined by being islands with surrounding islands. So, I chose THE ISLAND as my central theme and started to imagine what sort of creatures would reside on this fictional island of mine and invite others to explore them through my work.

Your version of the monster island from Momotaro’s feels so much more vibrant and kawaii. Was that a deliberate choice?

Yes, definitely. In all my work, I emphasize liveliness and “life energy.” I want people to actually feel movement and energy when they look at my art. Even though LANDMARK is a commercial complex, I was surprised by how open and spacious it feels. It gives me a sense of freedom. It’s a place where I feel I have the space to create happiness within myself, and in turn, I want to fill this entire area with that happiness.

You mentioned that you aren’t fond of planning. How did that spontaneity translate into a project of this scale?

I’m not really the kind who follows a strict plan. It really only kicked off six months ago when I started playing with the clay. The shapes started looking like oni to me at one point and then the connection between the islands of Hong Kong and Japan just clicked. While I made the original clay model, the realization was a team effort with LANDMARK’s creative team, who helped me bring the vision to life by offering advice on fabrics and color palettes. I really can’t take all the credit for this, as it really was more of a collaboration.

“I really want [the exhibit] to be an escape from reality — if it reminds you of a page from your childhood or a long-forgotten feeling, that would be amazing.”

Most art exhibitions follow a “look but don’t touch” rule. Why was it important for this island to be tactile and interactive?

I want people to just enjoy the pureness of being so close to art without overthinking it. It’s rare for one to be this close to art, so the idea of anyone being able to touch and feel the exhibit inspired my own process. I really want it to be an escape from reality — if it reminds you of a page from your childhood or a long-forgotten feeling, that would be amazing.

Inspiration for your work seems to be a blend of the natural and the artificial. How do these two worlds coexist in your mind?

It’s a blend of nature and man-made culture. I love walking through forests, watching how light filters through leaves or how waves move — those organic movements inspire me deeply. Growing up in Japan, I was naturally always surrounded by kawaii characters and pop culture – these are all things that inspire my art. Especially artificial colors like neon pink, which you don’t see in nature, are core to me, as my work really is a mixture of those two worlds.

As you look toward the future, are there any new mediums you are hoping to experiment with?

As I don’t like to plan, I rely entirely on my instincts. I’ll just have to wait and see what the next tool or material is that gives me that specific feeling when I interact with it.

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Ayako Rokkaku’s THE ISLAND – ONIGASHIMA is currently on view at LANDMARK ATRIUM until April 17, 2026. This immersive experience extends downstairs to BELOWGROUND, which serves as the exhibition’s gallery and retail counterpart. Here, the artist’s signature energetic style is showcased through a curated selection of original paintings, providing a more intimate look at her canvas-based work. The space also hosts an exclusive pop-up featuring limited-edition merchandise, most notably a special lamp collaboration with AllRightsReserved, allowing fans to take a piece of Rokkaku’s glowing world home with them.

LANDMARK
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