Born in Tokyo, Japan, in 1916,
Departing from this world in Tokyo, Japan, in 1985,
YU-ICHI (1916-1985) stands as a towering figure among Japanese artists of the 20th century, often mentioned in the same breath as renowned names such as Franz Kline, Robert Motherwell, Pierre Alechinsky, and Henri Michaux. Notably, Herbert Read, a prominent critic, dedicates a section to YU-ICHI in his seminal work “A Concise History of Modern Painting,” including a notable painting by the artist. Even Robert Motherwell pays him tribute in his notes, hailing him as one of the few great artists of the latter half of the 20th century.
While YU-ICHI’s participation in documenta II at Kassel in 1959, and exhibitions at venues such as the Stedelijk Museum in Amsterdam, and the Kunsthalle in Baden-Baden in 1963, and the Galerie Zwirner in Cologne in 1965 certainly elevated his popularity, he shunned regular exhibitions, choosing instead to channel his energy into the artistic and creative process. His self-critical approach to his work, and his tendency to destroy anything he deemed “inferior,” resulted in his entire collection being showcased in a three-volume catalogue.
YU-ICHI exudes his artistic energy through logographic “kanji” characters, using them as a medium to convey his artistic message and express his internal state. His focus lies not on the aesthetics of the characters, but rather on the uninhibited manifestation of his inner power through his writing. He breaks away from traditional calligraphy, opting for a radical, expressive style. His talent gained international recognition early on, evident from his participation in prestigious exhibitions: Kassel; National Museum of Modern Art, Tôkyô and Kyôto; Museum of Modern Art, New York; and Stedelijk Museum, Amsterdam.
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