Emily Murayama

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	<title>Emily Murayama</title>
	<link>https://emilymurayama.com</link>
	<description>Emily Murayama</description>
	<pubDate>Sun, 15 Feb 2026 15:02:33 +0000</pubDate>
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		<title>HOME</title>
				
		<link>https://emilymurayama.com/HOME</link>

		<pubDate>Tue, 11 Aug 2020 15:55:07 +0000</pubDate>

		<dc:creator>Emily Murayama</dc:creator>

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		<description>

	
EMILYMURAYAMA


PROJECTS


DRAWING ON AKICHIMAY 2026, drawings
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THE HOUSE NEXT DOORJanuary 2026, Photos

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KOUGUTACHIJune 2024, London, PI ARTWORKSMIXTAPE, Group Show


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Koto no YarikataJune 2024, London, SET LewishamRelative Shapes, Group Show


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When I’m a FloristMarch 2021,&#38;nbsp;London

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Watching CookingNovember 2020, London, AMP Studioscut ups


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Garden designsAugust.2020, London Designed and installed&#38;nbsp;


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Film sketchJuly.2020,&#38;nbsp;LondonSorting through files - lockdown

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Sofa, So Food 2August.2019, Art Biesenthal Residency, Germany&#38;nbsp;
9 Films, Sofas, installation, woods


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Sofa, So Food 1 June.2019, London,&#38;nbsp;Goldsmiths Fine Art and History of Art Degree Show. Films, Sofas, installation


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When’s SaladMarch.2019,&#38;nbsp;London
Installation with fridges, vegetables, lights, and films&#38;nbsp;


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Midnight SnackMarch.2018, 310 New Cross Road, LondonMidnight Snack, Solo Show.&#38;nbsp;film&#38;nbsp;


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NokorimonoNovember.2018, Londonfilm and interactive installation

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Unearthing SometimeJanuary.2019, Londonessay film&#38;nbsp;


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Bath’s not quite readyNovember.2017, LondonInstallation with films


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UntitledNovember.2017, LondonWarped wood sculptures&#38;nbsp;


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	<item>
		<title>showreel</title>
				
		<link>https://emilymurayama.com/showreel</link>

		<pubDate>Mon, 15 Sep 2025 14:20:15 +0000</pubDate>

		<dc:creator>Emily Murayama</dc:creator>

		<guid isPermaLink="true">https://emilymurayama.com/showreel</guid>

		<description>

Showreel

	after The garden of Forking Paths
Koto no Yarikata
November Film Sketch&#38;nbsp;
Film Sketch&#38;nbsp;
Going Right&#38;nbsp;
Through Hatake
Inniwa
Garden Setsumei
ABDN Lndscpe
hieta Down&#38;nbsp;
Kiru
Rice Cooking
Digging Up
When’s salad
Midnight Snack&#38;nbsp;
Bath’s not quite ready
Nokorimono
Unearthing sometime

	
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	<item>
		<title>film and TV </title>
				
		<link>https://emilymurayama.com/film-and-TV</link>

		<pubDate>Wed, 08 Feb 2023 17:54:42 +0000</pubDate>

		<dc:creator>Emily Murayama</dc:creator>

		<guid isPermaLink="true">https://emilymurayama.com/film-and-TV</guid>

		<description>film and TV&#38;nbsp;Art Department • Food Stylist Assisting • Floristry

Food Stylist Assistant:︎︎︎ to Salt and Spoon Food Stylists


Production Designer Assistant:&#38;nbsp;TOO MUCH Directed by Lena Dunham, Production Design by Miren Marañón.
Comedy Series set in London


Production Designer:
︎︎︎ Own Home? Short Film Directed and written by Bec Evans, DOP: Luciana Riso, September 2022︎︎︎ Leukaemia Symptoms Awareness Charity Commercial. Directed Jim Hayton, and produced by Rafi &#38;amp; Nick September 2022
︎︎︎ Departure Point,  Directed by Christina Murphy, 
BFI funded Short Film, February 2022


Art Department Assistant (temp), Film and TV: The Witcher, Season 5, May 2025Art Department Trainee (temp), Film and TV:
Masters of the Universe, January 2025
Props Assistant:
︎︎︎ Powerade Commercial, Directed by Traktor, February 2022


Prop Assistant for Production Designer Bobbie Cousins

︎︎︎ Alpro Commercial. Directed by Sam Hibbard, October 2021
Props Assistant to Production Designer Bobbie Cousins


Buyer:
Bitvavo, April 2025

︎︎︎ Google Commercial “Hands Raised”Directed by Fanny Hoetzeneder, Production Designer: Bobbie Cousins, February 2022
︎︎︎ Weetabix Commercial, January 2022Buyer for Production Designer Bobbie Cousins


︎︎︎ 3 Mobile Commercial, January 2022Buyer for Production Designer Bobbie Cousins


Graphic Designer:

 ︎︎︎ NHS, Public Health England, January 2022Graphic Designer for Production Designer Bobbie Cousins
Art Department Assistant, Shorts: ︎︎︎ The Bower, Short Film. Directed by Marco Alessi, August 2021 
Art Assistant to Production Designer Bobbie Cousins... Short Guardian documentary: “Saintmaking” by the same director features footage from this project
︎︎︎ The Mezzotint, Short BBC Christmas drama, Directed by Mark Gatiss 

Art Assistant to Production Designer Bobbie Cousins, February 2021


Art Department Assistant, Commercials:&#38;nbsp;︎︎︎ Financial Times Commercial. Directed by Fredrik Hacker, November 2021
Art Assistant to Production Designer Jade Rache
︎︎︎ Samsung Galaxy Christmas Commercial. Directed by Crystal Moselle, October 2021
Art Assistant to Production Designer Christophe Labbé and Art Director Jade Rache
︎︎︎ Paddy Power Commercial. Directed by Keith McCarthy
Art Assistant to Production Designer Bobbie Cousins, March 2021︎︎︎ RBS Commercial, “Chariot of Dreams” Directed by James Hall and Edward Lovelace

Art Assistant to Production Designer Bobbie Cousins, February 2021Art Department Assistant, Music Videos:︎︎︎ Lea Sen “Hyasynth” music video. Directed by Denisha Anderson, January 2022Assistant to Production Designer Rose Moya︎︎︎ Obongjayer music video “Message in a Hammer” 
Art Assistant to Production Designer Rose Moya, July 2021
︎︎︎ Beabadoobee music video “Last Day on Earth”. Directed by Bedroom for The Jimmy Fallon Show 
Art Assistant to Production Designer Rose Moya, May 2021

Art Department Assistant, Fashion Editorials: ︎︎︎&#38;nbsp;Wallpaper Magazine editorial, Photographer: Matthieu Lanvanchy February 2022
Assistant to Set Designer Kei Yoshino︎︎︎ Net-a-Porter Editorial. Photographer: Martin Vallin, December 2021
Assistant to Set Designer Kei Yoshino


︎︎︎ Nicholas Daley Autumn Winter 2021 Lookbook “Forgotten Fury”, Photographer: Piczo

 Assistant to Set Designer Kei Yoshino, March 2021


Greenery and Floristry&#38;nbsp;Palmbrokers&#38;nbsp;
In Water Flowers&#38;nbsp;
Untitled Flowers
SAGE


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	<item>
		<title>words</title>
				
		<link>https://emilymurayama.com/words-1</link>

		<pubDate>Wed, 17 Dec 2025 11:12:41 +0000</pubDate>

		<dc:creator>Emily Murayama</dc:creator>

		<guid isPermaLink="true">https://emilymurayama.com/words-1</guid>

		<description>Monday 8th December 2025, 16:02
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	<item>
		<title>CV</title>
				
		<link>https://emilymurayama.com/CV</link>

		<pubDate>Wed, 09 Sep 2020 11:21:42 +0000</pubDate>

		<dc:creator>Emily Murayama</dc:creator>

		<guid isPermaLink="true">https://emilymurayama.com/CV</guid>

		<description>

	CV


EDUCATION

2019&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; BA Fine Art &#38;amp; History and Art, Goldsmiths University of London, London

2015&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Foundation Diploma Brighton City College, Brighton


EXHIBITIONS2024 &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; Mixtape, Artists selected by Albano Hermandez, Jyll, Bradley, Fabio Latanzi Antinort, Golden Family, the PI Artworks London &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Team. Nominated by Golden Family, PI Artworks, London&#38;nbsp;

2024&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; ︎︎︎Relative Shapes Curated by Hallam Wood, SET Lewisham Project Space, London

2021&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;gt;In&#38;lt;Organic Synergy, Hypogeal Projects, 37 Endell Street, Covent Garden, London

2021︎︎︎&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Roots with Grubber and Baesianz, Art Hub, Deptford, London

2021&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Quilting the Commons, AMP Studios, Peckham

2021&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Artificial Spring, Curated by xviix︎︎︎, Online Group Show

2019&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Art Biesenthal 2019, Brandenberg, Berlin 

2019&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; BAFAHA Degree Show 2019, Goldsmiths University,&#38;nbsp; London

2019&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Midnight Snack, Solo show,&#38;nbsp; 310 New Cross Road, London 

2019︎︎︎&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Interim Exhibition, Goldsmiths University, London

2017&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Unlike, Goldsmiths University, London


RESIDENCIES
2019&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; ART BIESENTHAL 2019, Biesenthal, Berlin 


PRESS

2021&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; “Post-digital biomes and vampiric angels: enter the future dark age”, by &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Günseli Yalcinkaya, Dazed Digital 

︎︎︎2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Work featured as cover for Art &#38;amp; Ecology MA, Goldsmiths University Website

︎2019&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; “Art Biesenthal: Was du dieses Wochenende nicht verpassen solltest”, Refinery29

︎︎︎2019&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; An Art for the Nose and Stomach” by Caledonia Maxwell, Art Columnist

︎2019&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; “Harold Offeh Artists Lunchtime Feedback”, Turf Projects
PERFORMANCE WORK
2017&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Performer at Oxo Tower, London, for artist Emily Perry

2017&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Performer at Fujisawa Art Space, Yokohama, Japan for artist Tamao Narukawa


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	<item>
		<title>about</title>
				
		<link>https://emilymurayama.com/about</link>

		<pubDate>Tue, 11 Aug 2020 15:55:06 +0000</pubDate>

		<dc:creator>Emily Murayama</dc:creator>

		<guid isPermaLink="true">https://emilymurayama.com/about</guid>

		<description>
	

ABOUT


Emily Murayama (b.1996, Kent) is an English-Japanese artist who works across film, photography, sculpture and installation. Her work looks at the particular yet ubiquitous setting of “home” and of feeling at home; and within it the role that food plays between human relations. Alongside reflecting on the existence of linguistic barriers within family, and subsequent reliance on non-verbal communication, new and old relationships to technology, both old and new underlie her subject matter; namely, obsolescent tools, technological illiteracy, and gesture sequences.

 
 &#38;nbsp;

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	<item>
		<title>contact </title>
				
		<link>https://emilymurayama.com/contact</link>

		<pubDate>Thu, 11 Nov 2021 14:32:11 +0000</pubDate>

		<dc:creator>Emily Murayama</dc:creator>

		<guid isPermaLink="true">https://emilymurayama.com/contact</guid>

		<description>


︎ email&#38;nbsp; &#38;nbsp; ︎︎︎ 
︎ instagram︎︎︎


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	<item>
		<title>The House Next Door Photos</title>
				
		<link>https://emilymurayama.com/The-House-Next-Door-Photos</link>

		<pubDate>Sun, 15 Feb 2026 15:02:33 +0000</pubDate>

		<dc:creator>Emily Murayama</dc:creator>

		<guid isPermaLink="true">https://emilymurayama.com/The-House-Next-Door-Photos</guid>

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		<title>PI Show</title>
				
		<link>https://emilymurayama.com/PI-Show</link>

		<pubDate>Sun, 14 Sep 2025 18:36:54 +0000</pubDate>

		<dc:creator>Emily Murayama</dc:creator>

		<guid isPermaLink="true">https://emilymurayama.com/PI-Show</guid>

		<description>
	MIXTAPE, JUNE 2024
PI Artworks 
55 Eastcastle
Street 
London 
W1W 8EG
Kougutachi, 2024
	GROUP SHOWMIXTAPE 14-28th SEPTEMBER 2024
Dominic Beattie&#38;nbsp; nominated by Selma Parlour
Duru Bebekoglu&#38;nbsp; nominated by Jade Turanli
Niv 
Fridman&#38;nbsp; nominated by Jyll Bradley
Ludovica Gioscia nominated by Fabio Lattanzi Antinori
Yasemin Gunhos&#38;nbsp; nominated by Jade TuranliLea 
Rose Kara&#38;nbsp; nominated by Albano Hernandez 
Cydney Lovett-Downey&#38;nbsp; nominated by Harper Doyle 
Emily Murayama&#38;nbsp; nominated by Golden Family

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		<title>Monday 8th December 2025</title>
				
		<link>https://emilymurayama.com/Monday-8th-December-2025</link>

		<pubDate>Wed, 17 Dec 2025 10:34:52 +0000</pubDate>

		<dc:creator>Emily Murayama</dc:creator>

		<guid isPermaLink="true">https://emilymurayama.com/Monday-8th-December-2025</guid>

		<description>
	Monday 8th December 2025, 16:02I don’t know why exactly - seeing an empty plot of land where a house once stood feels so sad. There are the obvious personal reasons that in most cases don’t really apply to me because I can’t know all the previous owners of all the now gone houses. I don’t have memories of talking to the gone homeowners or visiting their homes. But knowing that these older homes are disappearing without anyone to move into them or to maintain them seems like a potential forever loss of knowledge of how to make and look after them. Maybe I’m wrong, maybe I just become too sentimental about anything older than me. Their construction out of timber beams, often exposed on the inside and outside, weathering and ageing in an unrepeatable way,- only with that magic elixir of decades, gives way to the new construction of homes made with composite, compressed sheets forming frankenstein beams of high-tech materials mass-produced mm to mm in factories from digital blueprints.It’s a way to cheapen and to standardise the manufacturing process, and no doubt to lessen strain on domestic resources of timber. I don’t know. 
Perhaps there’s a pinch of me just being nostalgic for a past that I did not grow up alongside. To me it feels like some sort of secret history to uncover is hidden in the layers built up of patina in the grain of the wood of the doors and sometimes dullness and sometimes shimmer and shine of use. References of people's homes, of their grandparents’ furniture, of common fabrics and ornaments, crockery. You don’t really always know whether a bowl is a special sort of bowl or one that lots and lots of households had in 1975 for example. Walking into a second-hand homeware shop and seeing multiples of your family’s most treasured crockery set can feel quite strange, it must have just been a popular design. Same goes for prophouses, a great way to relinquish attachment to objects when you see rows and rows of them, ownerless, organised, and waiting to be placed in a set. Again, even the most “rare” items of your china cabinet you will probably find amongst the shelves of one of the London prophouses. 
But this feeling of sadness about the homes after homes after homes either falling into abandon and disrepair, taken over by climbing vines and wayward seeds, or just bulldozed and gone completely - I don’t really know what to do about it. On the one hand there is nothing that can be done about someone dying and no longer needing their house to live in. But on the other hand, if buildings that hold the histories of society are systematically bulldozed and lost forever, what does that mean for future generations in understanding the layers of time that came before the one we live in now? Or is my perception just skewed because I didn’t grow up learning and understanding and being surrounded by that history? 
Next door are going to bulldoze and have sold the land to an estate agent, bulldozing in March apparently. And all their trees will be cut down as well. There really aren’t enough trees in Niigata, no woods, not enough parks and green spaces. Is this a privileged European ideal? Is this a result of a post-war reality in Japan, not enough space and liberty to keep trees alive with the pressing need for industry and growth and only essential allotments. Parks are a privilege, green is a privilege, but access to spaces that promote good mental health should not be a privilege, but it is. Sometimes I think it’s just me who needs to go see a big wide expanse of space or canopy of branches and leaves to feel at ease. It can feel like everyone else seems to have an oxygen tank attached to them in order to breathe in the underwater murkeyness of endless asphalt. I suppose that’s a result of the privilege of growing up in an environment where there was lots of green nearby. Others gasp for city and building and noise and clutter of footsteps and busyness when detached too long from town. 
Anyway, I think seeing and knowing and learning more about the generation that is not being learnt from, their skills potentially being lost to no new generation, that is what makes me sad. The houses they built, deemed no longer relevant or needed, within a generation. But maybe that’s just always how it’s been, new generation, new house, new way of building.. Something to find out more about..
But it’s strange to say to someone that they and what they do and what they have made is to you a crucial part of their (and your) country’s history and culture, and their tools and their know-how is a cultural asset that must not be lost and forgotten. In other words, their belongings and tools should be in a museum. Potentially, a generation has somewhat been skipped in learning these skills, or leapfrogged-over and mechanised. As Mr Souma said this morning, it’s only through the process of making that you realise what tools you need, how they should be made and what they should be able to do. Therefore, there’s no real merit to just owning tools to make with, one has to make -&#38;nbsp; in order to give life to the tools and to find their purpose in your own life. 
What is it about old, used inherited tools that is so poignant? They are things that have been developed over time, become outdated, yet why does it seem so wasteful and careless to throw old retired ones away?
In addition to what tools have been used to make, aren’t the tools themselves of high value, to be cared for and looked after, even after their users have long-gone and their use made redundant by their newly designed descendents. But the trace of touch imbued by signs of use and notches of time marked in the wear and tear of their bodies, points back so clearly at their many years of service and ultimately the human life attached to their once busy and now very still existence. 
Can we say the same for grandparents, their ways of doing things outdated maybe, younger generations quicker, more efficient. I’m not sure what I'm trying to preserve exactly, or if it is something to preserve. You can’t hold on to all old things, yet at some point things from your childhood will eventually become artefacts in museums to learn about the pastBut then again an earthquake or flood can happen just like that and the old buildings often suffer the most. Safe as houses, but maybe safer in newer houses..


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