For Tetsuo Mizù, abstraction unfolds through geometry and coded visual language. Known for his engagement with maritime signal flags, Mizu transforms systems of communication into painterly compositions. Influenced by his travels in Europe, his work reflects a cross-cultural dialogue between post-war European abstraction and Japanese spatial sensibility. The flags, once functional markers across oceans, become metaphors for movement, exchange, and transnational identity.

Katsuyoshi Inokuma’s practice, spanning decades, reflects the emotional and material intensity of post-war Japanese abstraction. His works move between chromatic force and meditative restraint, revealing abstraction as both expressive and contemplative. Through layered surfaces and expansive gestures, Inokuma negotiates structure and dissolution, anchoring the exhibition in historical depth while resonating with contemporary urgency.

Masayuki Tsubota approaches abstraction through repetition and material presence. His relief-like surfaces accumulate through disciplined process, embedding time into form. The physicality of his works invites slow viewing, where subtle shifts in texture and shadow become sites of reflection. In Tsubota’s practice, method itself becomes meditation.

Liu Ke engages abstraction through spatial ambiguity and architectural fragmentation. His compositions suggest landscape and constructed space without settling into representation. Drawing from contemporary Chinese discourse on abstraction, Liu’s works balance structural clarity with atmospheric openness, reflecting both inherited traditions and global contemporary influence.

Soonik Kwon’s practice foregrounds repetition and tactile intervention. Through sustained engagement with surface, he transforms the act of painting into a durational process. The resulting works evoke stillness and introspection, aligning with the contemplative ethos that underpins the exhibition.