Some things are difficult to hold in words alone.

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The work at RATH has evolved through Transpersonal Arts Counselling, anthroposophical perspectives on human development, clinical practice, and ongoing artistic inquiry.

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Rather than belonging to a single discipline, RATH continues to evolve through clinical work, artistic practice, research, translation, collaboration, and lived experience.

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Noriko Ninomiya completed four years of postgraduate training in Transpersonal Arts Counselling at the Tobias School of Art and Therapy in the UK, where artistic practice, therapeutic process, and spiritual-scientific inquiry are brought into dialogue.

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Alongside her independent artistic practice, she works within an AnthroMed-certified clinical setting as part of a multidisciplinary team rooted in anthroposophical medicine, with its centre in Switzerland. Her clinical work is held within the ethical framework of the British Association for Counselling and Psychotherapy (BACP).

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RATH is also shaped by earlier years spent in close proximity to global organisations and leadership. These experiences fostered a sustained attention to how people carry responsibility, inhabit roles, and remain in relationship with what has not yet found its language.

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The people who come to her room are often carrying something that has not yet found its language — illness or grief, an unformed question, an emerging possibility, a long-held uncertainty, a memory carried in the body, or something within that is only beginning to seek form.

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Each therapeutic process is shaped with care according to the individual. Watercolour, charcoal, pastel, crayon, and clay are selected not simply as tools for expression, but for the qualities each material carries and the different ways each can respond.

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The work draws on the Expressive Therapies Continuum (ETC), alongside person-centred and integrative approaches to counselling.

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At the heart of the practice is the movement between expression and impression. Through expression, something not yet formed begins to take form. Through impression, the qualities of colour, form, and material are received — not as interpretation, but as encounter.

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The practice continues to unfold through this movement between expression and impression.

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The practice remains attentive to what is beginning to take form.