What is Japanese calligraphy <Sho> ?

Japanese calligraphy "Sho" is a traditional art form that is highly developed in Japan. We practice to draw oriental characters to cultivate our spirits. "Sho" is also considered as a kind of exercise in good handwriting. In Japan, students begin to learn "Sho" in an elementary school. And there are many private schools of "Sho" in Japan. People usually learn "Sho" as a hobby and a culture. But a few people master prominent techniques of wielding a brush skillfully, then become a professional calligrapher. I began to learn "Sho" in a private school from 6 years old and had become a professional. Generally speaking, most of professional calligraphers in Japan run a private school to teach "Sho". But I had been seeking for another way to live for as a one who mastered "Sho". Then when I was in my thirties, I had made a decision to live as an artist.

How did you work to obtain the qualities <Sho> technique requires?

I regard exercise is essential to obtain and keep the qualities of the technique of "Sho". So I task to myself routine exercise of wielding a brush accurately everyday for more than 40 years. Perhaps it is similar to the exercise of a dancer. Through an accumulation of daily practice, the brush has become as if an extension of my arm and inner self. The work is executed in a moment, but this can only be done after many years of practice.

What is the sense of <Sho> ? How does it differ from other techniques?

"Sho" is one of the techniques of drawing characters, using the skill that has been preserved and developed for a long time. And "Sho" is finished in cooperation with the force of nature. When we draw the line, running of the ink spreads slowly on the paper, and puddle of ink leaves a mysterious pattern after it dries. These effects are beyond the reach of human hands. "Sho" also has a feature in materials themselves. We usually use China ink and Japanese paper. These materials are very sensitive to an environment and the weather. As they are affected the state of the air, the work will be one limited to that time and that space.

Your work seems an abstract procedure, the projection of an inner world. How is it possible to make it "visible" to the public?

My work expresses not objects or scenes, but my inner world. So it is considered as a kind of abstract expressionism. I regard my spirit is the most important issue for my work. And my real spirit is asleep in the world of unconsciousness. So, I refuse too much artificiality and conscious planning in advance. When I face white paper, I keep myself in tranquility and wait the inspiration that springs from my internal world. The instant my heart sympathizes with theme, I wield a brush with high concentration. The arc of a brush becomes imagined scenery and impresses itself on paper. It is not real when my breath does not appear in the brush lines. I hope my stroke and touch that has been trained for a long time can reflect my inner world as a "visible" form on paper.

What is the relation between your paintings and action?

There is a deep relationship between my paintings and action. When I held my first exhibition in Rome in 2000 the owner of the gallery asked me to show how to make my work actually. The scene of making fascinated him and I recognized the significance of performance. French choreographer Josef Nadj also happened to see my exhibition and performance in Orleans in 2001 and then he invited me to the 60th Avignon festival. I regard my action itself is one of the expression of my work. First, the movement in my spirit becomes physical action. And second, the action is converted to lines and forms on paper through a brush as the locus of the movement of my body. As the time flows, lines and shape are formed on paper gradually. So, my work is an art that incorporates both time and space.

Is your work immediately accessible to the Western public? Is there a difference between the public in Japan and the Western public?

In my work the line is major factor. If I draw a horizontal line, it has a feeling of peacefulness, quiet and femininity, but a vertical line for its part will have a feeling of exertion, aggressiveness. Strait lines are strong, solid and clear, and curved lines are delicate, feminine and mobile. I believe each race in the world has similar feelings. I draw brush lines by using oriental characters as my subjects. It is impossible for the Western public to recognize oriental characters. But the point is, even if viewers can not read a character, their feelings toward a line is the same anywhere in the world. And I expect natural balance in the composition is also common. By the way, Japanese viewers often try to read a character at first and then begin to appreciate my work. In this sense, the Western public can appreciate my work more directly than Japan people.

Finally, what is the point you want to emphasize?

My work is based on Japanese calligraphy "Sho", but I regard my work as a contemporary art of abstract expressionism.

I am inspired by shape and meaning of oriental characters, and by drawing characters, I try to reflect my internal self on paper.

I refuse too much artificiality and conscious planning. The inspiration at an instant can improve the quality of my work.

My action itself is one of expression of my work. The locus of my action converted to lines and forms on paper through the brush.

It is not real when my breath does not appear in the brush lines. Stroke and touch that has been trained for a long time can reflect my inner world.

My work is finished in cooperation with the force of nature. The work will be the only one limited to that time and that space.

Blank space let viewers make their own imagination by themselves, and black color arouse viewer's own color. I try to stimulate viewer's imagination through my work.