Living in Vancouver since 2016, Brazilian illustrator and designer Mariana Ikuta has built a career that crosses borders and transforms experiences such as motherhood, identity, and belonging into inspiration for her artistic practice.
With a degree in graphic design, Mariana began her career in Porto Alegre in 2014. Shortly after, she moved to New York, where she worked as a freelancer until eventually settling in Canada. It was in Vancouver that she found a new artistic direction: the world of children’s books. After studying at Emily Carr University, she began the project that would become “Dia de Inventar” (A Day of Inventing), a book published in Brazil by Carochinha Publishing, celebrating creativity and the sensitive perspective of childhood.
Motherhood brings even greater depth to her work. In authorial pieces such as My Sun/Son, Mariana translates the intense duality of being a mother—between fulfilment and exhaustion, light and fragility. The work, which has already been exhibited in galleries, reflects the delicate balance between presence and transformation, feelings that become especially heightened on occasions such as Mother’s Day. “My son is my greatest source of light, but motherhood also brings profound challenges. There is a fine line between giving everything of yourself and feeling like there is nothing left,” the artist shares.
Her experience across cultures—Brazilian, Japanese, and Canadian—also shapes her work. In Triptych, Mariana explores three stages of life and distinct cultural identities, connecting childhood, motherhood, and belonging in a poetic visual narrative. This sense of living “between worlds” has accompanied her since childhood and has become even more present throughout her international journey.
Despite opportunities in the Canadian creative market, Mariana also highlights its challenges. “It’s a vast market, but extremely competitive. At the same time, there is space for those who build a consistent trajectory and seek genuine connections,” she says.
Today, alongside her design work, she maintains an active personal practice. Mariana shares her creative process through a newsletter and is also developing new products for Mother’s Day inspired by this emotional universe that runs through her work.
Mariana Ikuta’s story is, above all, one of reinvention. Between countries, languages, and different life stages, her art finds in affection—especially maternal affection—a space to exist, flourish, and move others.
Interview with Mariana Ikuta
WAVE – How was your adaptation process to life in Vancouver, and how did this move impact your artistic identity?
MARIANA IKUTA – It was here in Vancouver that I first came into contact with children’s book publishing. I took some continuing studies courses at Emily Carr University and learned about the process and the industry. In one of those classes, I started a book that eventually became Dia de Inventar, published in Brazil by Carochinha Publishing. I fell in love with the process and the world of possibilities this field offered.
I also had the chance to meet many artists from different areas here. Vancouver has a strong production scene focused on film and TV, so there are many people working in that industry.
My husband works at an animation company, so we’re surrounded by very talented and inspiring people. One of my closest friends worked in indie game development, another was an illustrator and animator, and many others work in visual effects for films. There are a lot of people here who make a living in the creative industries—something that was much rarer to see in Brazil when we left.
WAVE – You mention living “between two worlds.” How does this cultural duality appear in your illustrations and narratives?
MARIANA IKUTA – Even when I lived in Brazil, I never felt like I was “one thing.” Being of Japanese descent and growing up in Southern Brazil, cultural and belonging issues were always very present in my life. Since I was a child, it felt like there were several worlds that didn’t coexist outside of me.
My family is from the countryside of São Paulo, and I spent much of my childhood there. I draw a lot of inspiration from specific elements of that time. Since moving to Canada, two things have become even more evident: a connection to nature—both here and there—and a search for community and human connection.
WAVE – The creative market in Canada is quite diverse. How do you see the space for illustrators and children’s book authors in the country?
MARIANA IKUTA – The North American children’s book market is extremely vast and rich, with many voices and opportunities. On the other hand, it is also extremely competitive. So, although there are more options and a structure that allows people to make a living from it, it is quite difficult to enter and establish yourself.
The illustration market is also changing significantly with the rise of AI. There are opportunities, but we are currently in a challenging and highly competitive period.
WAVE – Working with clients such as The Globe and Mail and the Vancouver Aquarium brought you what insights into the Canadian editorial and commercial market?
MARIANA IKUTA – What I can say about both experiences is that they were incredible clients, both in terms of artistic freedom and communication throughout the process. I also worked with them shortly after moving, which was very motivating and inspiring.
WAVE – Are there marked differences between the Brazilian and Canadian markets when it comes to valuing illustration and children’s books?
MARIANA IKUTA – Definitely. Perhaps not so much in terms of appreciation for the work itself, but in financial terms and opportunities. Here, because the market is more stable (including the U.S., since Canada alone is more limited), I know many artists who can make a living solely as illustrators.
Creating children’s books is a long process. A short project can take four months; some books take over a year. Publishing timelines are also very slow. After selling a book, you usually have to wait at least a year before it is actually published. You need to think long-term and maintain consistent output, but it is possible.
In Brazil, I think it is also possible, but it is harder to work exclusively within that niche. On the other hand, that can also be positive. I think this is a broader trend for creatives right now: having multiple income streams.
In Brazil, I did a lot of freelance work in children’s educational publishing, often linked to government calls for proposals. Unfortunately, the book market—both here and there—is not very linear or financially stable. In Brazil, there is at least some government support that consistently stimulates the creative sector.
Here in Canada, there are many magazines, games, and educational projects that can also provide additional sources of income.
WAVE – How does living in Vancouver influence your creative process, especially when exploring emotions and the “inner world” in your work?
MARIANA IKUTA – One very different thing here is that the Canadian sense of individuality is quite distinct from the Brazilian one. The boundary between where you end and the other begins is much more defined. It’s very easy to feel isolated in a sea of people, which, on one hand, allows you to be an individual without so much external judgement; but on the other, makes human connection more difficult.
Because I am a more introspective person, this perception of the world and of existing within it inspires me a lot. It is something I reflect on and try to explore: the contradiction between freedom and personal isolation.
WAVE – For Brazilian artists who want to work in Canada, what challenges and opportunities would you highlight based on your experience?
MARIANA IKUTA – I think living abroad broadens your perspective on the opportunities that exist outside Brazil, especially since we all present our work on the same online platforms. The main thing is finding creative communities and spaces where you can develop your art, showcase it, and connect with others.
Entering any market without connections is always difficult. For me, taking classes and meeting people in the creative field here was very positive. Through that, you learn more about opportunities and possibilities for artistic growth.
The biggest opportunity is truly the concentration of people with similar interests, artistic sensitivities, and creative values. The important thing is finding that group that inspires you to become who you want to be—a space where you can exist as a creative being.
Visit Mariana Ikuta’s website: : marianayi.com
Original text written in Portuguese. Automatically translated by ChatGPT and not human-edited. We apologize for any errors or inaccuracies and disclaim responsibility for the translation.
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