山﨑の作品は、壁面からわずかに浮かして設えられる。作品は風を含んで揺らぐ。手漉き紙のほつれた端面は周囲との境界を曖昧にし、空間に溶け込んでいる。
　東京で生まれ育った山﨑は、ひとり旅で出会った与那国島の厳しくも温かい自然に魅せられ、制作拠点としてきた。二十代の最後を機に、それまで撮り溜めてきた写真を展示したことで本格的な制作活動を開始したが、当初から写真の支持体がただの紙ではつまらないと感じていたという。そんな山﨑にとって現在、写真と紙とどちらが重要なのかという問いは、あまり意味をなさない。本質は両者の相互作用によって発揮されるその効果のほうにあり、場合によっては―それで目的が達成されるのであれば―そのどちらも必要ないことさえあり得るだろう。制作者の狙いは、自身が感化された島の風を、匂いを、朝夕の光をそっと摘み取り、身体感覚の及ぶ手近な素材を用いて、いま、ここにもたらすことにあるように思える。その意図を無意識に察知した鑑賞者の五感は、遥か遠くに、しかし確かに実在している素朴な存在を知覚する。山﨑の作品が不思議な臨場感とともに我々に迫り、得も言われぬ感傷を引き起こすのは、そうした目論見が一定程度成功している証しと言えよう。
　本展「墨袋を裂く tearing the ink sac」では、与那国島周辺で獲られる、驚くほど大きな墨袋をもつ甲烏賊の墨が主役となる。染色剤として見出し、数年来慣れ親しんできた烏賊墨の魅力を純粋に追求したことで、従来の写真作品とは違って島で制作を完結できるようになり、集中力の密度が高まった。そこに、紙透きの段階における海や雨の作用が加わった。紙が完全に乾燥するまで何が出てくるかわからない作陶にも似たプロセスを、山﨑はいま楽しんでいる。

Yamazaki's works are slightly floating by the walls, swaying with the wind. The frayed edges of the handmade paper blur the boundaries between the works and their surroundings, blending into the space.
Born and raised in Tokyo, she was fascinated by the harsh yet warm nature of Yonaguni Island, which she encountered on a solo trip, and has used the island as a base for her work. At the end of her twenties, she exhibited the photographs she had taken up to that point and began earnestly pursuing her creativity. However, from the beginning, she was not satisfied with printing photographs on regular photographic paper. For Yamazaki, the question of which is more important for her work, photography or paper, has little significance. The essence lies in the effect that is exerted by the interaction between the two, and in some cases - if the purpose is achieved by that - neither may even be necessary.
The creator seems to aim to gently pick up the island's winds, smells, and morning and evening light that inspired her and bring them here now, using materials close to her hand. The viewer's five senses, subconsciously aware of this intention, perceive a simple existence that is far away but undoubtedly actual. The fact that Yamazaki's works approach us with a mysterious sense of realism and evoke indescribable sentimentality is evidence of the success of her attempt.
The star of "tearing the ink sac" is the ink of cuttlefish with a large ink sac caught around Yonaguni Island. The pure pursuit of the fascination for ink, which she discovered as a dye and has been familiar with for several years, has allowed her to complete the creation on the island and increased the density of her concentration. In addition, the works were shaped by seawater and rain during the pulping process. Yamazaki is now enjoying a creation process similar to pottery making, in which she only knows what will appear on the paper once it becomes entirely dry.