Mirror to Mirror Mind to Mind places two oval panels, coated and polished with black urushi lacquer, on opposing walls inside a white cubic booth. The viewer enters through a low opening into a space where light rises from the boundary between floor and wall. The two black lacquer surfaces float against the white interior almost like openings or voids.

There is no mirror directly ahead. The viewer stands between the two surfaces and must turn left and right. Each mirror receives the same body from a slightly different position, dividing the self-image without allowing it to collapse. The work began with the expectation of an infinite facing-mirror effect, but the black lacquer absorbed light and the reflections diminished. What remained was not an optical spectacle of endless repetition, but the tension of two dark surfaces facing one another with the viewer's body held between them.

The reflective surface is produced by the lacquer itself. Applied over a ground of jinoko clay powder and hemp cloth, the urushi is repeatedly ground and polished until the painted material becomes capable of returning an image. Reflection and absorption therefore occur at the same surface: the image appears while sinking into the black. The work marks a shift from the mirror as a single device for self-confirmation toward a spatial apparatus that reorganizes the relationship between body, image, and perception.