Chisato Yasui — The Architecture of the Liminal

Chisato Yasui works primarily with porcelain and stoneware, using a coil-forming technique that allows her to cut, separate, rotate, and recombine elements throughout the sculptural process.



Chisato does not begin with a fixed image of the final form, allowing intuition and bodily perception to guide each stage of construction. Her surfaces are developed through a complex firing process, often involving multiple firings and layered applications of oxidized metal powders such as manganese, iron, copper, and cobalt together with underglazes and metallic glazes.

Chisato approaches glaze as a painter approaches pigment, treating the ceramic surface as a canvas where colour, texture, and time accumulate.

Her works carry intangible states between interior and exterior, structure and fragility, allowing the object itself to articulate what resists language.

Yoichiro Otani — When Language Becomes Landscape

Yoichiro Otani approaches language itself as material. Drawing from his background in graphic design and typography, he uses programming and algorithmic processes to generate digital compositions in which kanji characters are randomly distributed across the pictorial field. These digital structures are then translated into paintings, combining printed layers with hand-applied acrylic paint, gesso, and surface finishes.

Detached from syntax and linear reading, the kanji accumulate into dense visual fields that suggest natural phenomena such as rain, mist, or mountainous landscapes.

In Yoichiro’s work, language dissolves into rhythm, texture, and atmosphere; positioned between reading and seeing.

Together, the works of Yasui and Otani invite a slow and attentive encounter. What Cannot Be Said proposes art as a space where meaning is not explained, but experienced, emerging quietly through form, material, and perception.