ed Bruno Cora and Daniel Mocquay
(SilvanaEditoriale 2009)
1952 Japan 15 months for judo, profound influence
on his work.
Moved towards monochromes because viewers
treated multi-coloureds as decorative.
In them can see influence of Shintoism and Buddhism. Lot of work in
selecting the ultramarine blue and fixative that would preserve its luminosity.
Saw it as the key to depth, to an elsewhere.
‘D’abord il n’y a rien, ensuite il y a un rien profound, puis une
profondeur bleue.’ An aid to
contemplation that leads to understanding ‘The object is merely a starting point
and a sign that invites the spectator to perform an action.’ ( qv Seeing the
Buddha in the image) ‘My paintings
represent poetic happenings. . . My paintings are the ashes of my art.’
Research on immaterial art. – ‘The Void’
1958. Modelled gallery on a tea house,
removing all furniture except a showcase, interior white, exterior painted IKB,
parallel ritual to tea ceremony eg walking along stone path to separate self
from world, entered by small door (humble).
1959 calligraphy demo which develops both technique and spirituality,
talked about difference between painting as a vehicle for sensibility or as
mere manifestation of matter.
‘it is not the material object that is
important but the sensibility that can be obtained through it’ (BC) – by
burning the certificate of ownership given to the buyer
‘le Judo m’a servi a comprendre que
l’espace pictural est avant tout le fruit d’une ascese spirituelle.. Le Judo en effet c’est la decouverte par le
corps humain d’un espace spiritual.’
Parallel between callig and judo, the
gathering up of energy/ ki. Imprint of spirit on the surface in ink.
Anthropometries – pigment applied to body
and via that to paper
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