Image
Langue:
Linear Code

本展は、墨象作品のそれぞれに恣意的に言語の役割を定義することで抽象表現をもう一度 “意味” に還した作品「イメージラング（2010年）」の最新作「linear code」の原画展。
「イメージラング」は、既存の文字造形を土台とする従来の書表現ではなく、人間が創造した体系や規則と墨象を関連付け、その秩序の中で、再度、墨象を構築し直して新しいイメージを作り上げる試み。 描かれた墨象は、アルファベットの言語体系の規則を借りることで言語としての役割を獲得し、また、それらを組み合わせたグラフィックワークは、既存の文字とは異なる美しくグラフィカルな言語イメージへと昇華していく。

ICN gallery proudly presents "Image Langue: Linear Code" by artist Gen Miyamura.One of the visionary modern Japanese calligraphy artists of his generation, Gen Miyamura is a pioneer of new image creation by combining an understanding of Sho (calligraphy) as art with his unique view and Japanese calligraphy aesthetics. This exhibition will premiere new artworks from his "Image Langue (2010)" project where the Bokusho-style of calligraphy is given a uniquely redefined meaning of abstract expressionism with the inclusion of a language element. This is a project that will be the foundation of new beginnings of calligraphy art. Come dive into Miyamura's tranquil world.

Curator’s Message:
Miyamura has been exploring the possibilities of “Sho” (calligraphy) by integrating Bokusho techniques (an avant-garde style developed in Japan after the second world war) into the traditional Sho-style. The concept for “Image Langue” started in 2010 when he redefined his Bokusho art works into alphabets and attempting to give Sho new meaning. In his previous project he developed the radical idea of reconstructing abstract dots into the 48 Hiragana syllables (one of the Japanese writing styles) which were then placed in graphical works.
For this exhibition, Miyamura perpetuates this idea by expressing the 26 letter roman alphabet into abstract “Linear Codes”. It is an attempt to break existing ideas about letters and bridge the gaps between Western and Eastern cultures as well as calligraphy and contemporary art. The idea to use alphabets in work as seen in Xu Bing’s “New English Calligraphy” is not new, but instead of creating imitation Chinese characters the main feature of Miyamura’s “Image Langue: Linear Code” is the experience of readable abstractions. The viewer is exposed to the infinite possibilities of ‘lines’ composed solely of ink and the techniques of Sho.
Diversification resulting from an epic tale—perhaps an analogy of our time.
While being both culturally rooted and yet progressive at the same time, with Bokusho Miyamura challenges our fixed perceptions and has drawn attention as one of the leading Sho artists of his generation. This exhibition is his first outside of Japan. How will an audience of a mostly non-Chinese character based language background perceive the works of “Linear Code”? Perhaps they will be even more inspired by its orientalism and find interest in these works.