Self-Transformation

This work originates from the Taoist concept of the Five Elements, which I have been familiar with since childhood. The Five Elements—metal, wood, water, fire, and earth—are deeply connected to directions, colors, and materials in the natural world. Additionally, in the theory of the Four Symbols, each direction is represented by a mythical beast. “Genbu” governs the north and is associated with the element of water, as well as the color black, metal, and minerals.
Using silver leaf, mineral pigments, and ink, I constructed a spatial installation inspired by the quietness of a pond at the end of winter, composed with folding screens and freestanding panels.
I hope the viewer can experience a moment of quiet, and feel a stillness that resonates with their inner self.
This space is intended as a place for seikan—a contemplative state of mind in which one observes nature and the world with calm attentiveness, allowing for new insights and inner clarity to emerge.

When I saw Min Lishan’s large cluster of abstract lotuses withered in a pond, depicted using traditional ink and washi paper, I could vividly image myself walking amongst a cluster of withered lotuses taller than my height continuing forever. Although the work itself is not large or does it have a loud aspect, there is a sense of scale. I thought I smelt the earth and rain. The use of margins, control of muted colours, the simplified brushwork and sense of rhythm carries something that the Japanese have forgotten. Eastern art has found an original path in going back and forth between Japan and China; I have great hopes for this perspective that connects Asia, that seeks for a home between Japan and China.

（Mai Miyake）