The vibrant spirit and vivid colors infused with warmth in Ayako Rokkaku's sketches give her a unique painting style. Her process resembles dancing before a large canvas, directly smudging out dazzling whirls of color with her hands and fingertips, as if passionately chasing inspiration's speed and fervor. She's been dubbed "the next Yoshitomo Nara in the Japanese art scene." Her works are collected by institutions such as the Powerlong Art Museum in China, Sehwa Museum of Art in Korea, 21st Century Museum of Contemporary Art, Kanazawa in Japan and the Voorlinden Museum in the Netherlands. She has held solo exhibitions in France, the Netherlands, Denmark, Germany, Belgium, Japan, and other countries.

Looking back at the origins of Ayako Rokkaku's artistic career, it was around the time she was 20 years old. At that time, after graduating from vocational school with a major in illustration and struggling to find suitable employment, she pondered, "What can people do in this world?" The inner drive to create propelled Ayako Rokkaku to seek her own means of expression. She went to the streets or parks, feeling the sunlight and wind, and began doodling with paint on readily available materials like corrugated paper in front of passersby. The sensation of tearing paperboard into sections and the tactile feeling of coloring directly with her fingertips brought her immense joy and a strong connection to her own vitality.

In 2003, Ayako Rokkaku encountered her first patron, Takashi Murakami, when she participated in the fourth edition of "GEISAI " in Tokyo, Japan, organized by Murakami's company, Kaikai Kiki. This competition was specifically designed for young artists. Rokkaku painted on discarded corrugated paper, capturing the attention of the judges with her portraits of girls with large eyes and heads. She was awarded the "Scout Prize." In 2006, she participated again in the ninth edition of GEISAI, presenting even more delicate and color-rich portraits of girls, earning her the prestigious "Goto Akio Prize." Shortly after, at the tenth GEISAI exhibition, she won the "Smart Prize," drawing attention from mainstream international galleries. Her success in painting was not coincidental. Strictly speaking, Rokkaku did not graduate from an art school, but her innate talent for graffiti creativity allowed her to stand out among many competing artists. Her technique of painting directly with her hands, without using brushes, and her spontaneous performance reminded people of the characteristics of the Japanese Gutai movement predecessors.

Due to her repeated awards at the GEISAI Art Festival, in the same year, 2006, Ayako Rokkaku secured international exhibition opportunities in Switzerland, France, and the United States. She also obtained global representation from Dutch art dealer Nico Delaive. The Delaive Gallery was founded in the late 1970s, and from the 1980s onwards, the gallery actively promoted artists from the CoBrA movement such as Karel Appel and Walasse Ting, as well as French female artist Niki de Saint Phalle, gaining considerable renown. Nico Delaive recognized the potential of the 24-year-old Ayako Rokkaku and began exhibiting her work the following year in 2007, a collaboration that continues to this day.

From self-analysis, Rokkaku listed three characteristics of her paintings: “plain scribbling,” “the act of getting out something inside me,” and “kid’s drawing.” By returning to purity and connecting with the primal force of life, she allows us to rediscover the child within ourselves through her art. Perhaps this is why Ayako Rokkaku is so popular.

The artwork "Untitled" portrays the iconic, bright-eyed, and curious young female protagonist of Rokkaku's works. This mischievous girl with large eyes is tied with a cute side ponytail, dressed in a vibrant little dress, walking barefoot in a fantastical world composed of colorful hues, seemingly amidst clouds or in a flower garden. The girl covers her mouth, taking bold strides forward, fearlessly leading the viewer on an adventurous journey. The bright and harmonious colors, the precise yet lively brushstrokes, and the pure gaze of the child remind us of the joy of freely exploring the world and that state of complete immersion we experienced when we first came into this world.