Yoshiyuki Miura

Miura himself appreciates works that give the viewer “a broad horizon” to discover another level of meaning when things are alienated and brought into a new context. “Recognition should be a direct route into feeling, into the unknown. One wants to emphasize the message of a work, but is often tempted to simplify or complicate the form, and in doing so, ends up losing the melody as well. On the contrary, with such an artistic handling, you have to be careful to keep the passion of the melody and to strengthen it further. A work must have both the ability to convey its meaning and an illustrative musicality”.

Miura’s works describe emptiness, in the flowing and floating of the material the “diffuse” dominates. It is amazing that this indefinable, the visible variability of space, the noticeable variability in time, the constant change is not experienced as uncertainty, but on the contrary as extreme concentration, as a surprisingly beneficial invitation from the hustle and bustle into the quiet, from the Hurry into slowness, out of restlessness into clarity. Here a closeness to Japanese Zen becomes clear: shiki is ku and ku is shiki (form is emptiness and emptiness is form) and an idea arises as to what the fullness of emptiness could mean.