Born: 1995 Hometown: Osaka Based in: Paris I'm an artist born in Osaka and currently living and working in Paris, I participate in my first group exhibition in 2020. My artistic work is born from a deep fascination with Japanese culture, and more broadly with Asia. What moves me most is their unique way of perceiving nature: not as an external entity, but as a source of harmony and living spirit. The philosophy of François Cheng, the art of Japanese gardens, and the spiritual universe of Japanese tales nourish my practice. I also admire the sublime pine paintings of Hasegawa Tohaku, along with many other Japanese and Chinese works where simplicity becomes a force of expression. This fascination with nature and landscapes directs my artistic practice toward landscape painting. My aim is to capture and convey the life, energy, and emotions that emanate from the places I contemplate, as well as from moments themselves. Through my works, I seek to reveal what I call their “hidden melody,” an intimate symphony unique to each panorama, where silence, imperfection, and balance play a fundamental role. In this pursuit, I have developed a visual language inspired both by Japanese kana and Chinese hanzi and by musical notes. This language is neither writing nor a score, but rather a system of signs that translates the emotions and vibrations of the landscape. My ambition is to give landscapes a voice, to make them alive. I work in the form of series, each constituting a parallel theme of research. To this day, I have created four: mountain landscapes, sensitive landscapes, musical landscapes, mental landscapes, and a series on crowds. My creative process rests on a constant duality between research and realization. I begin with modest drawings, studies where I explore forms and balance. These sketches are then transposed onto larger formats, where I integrate a degree of spontaneity. For me, the gesture is essential: it must capture the moment and reflect the energy of the landscape. Another essential duality in my work lies in the use of empty space, which I consider a living element of my compositions. Inspired by Japanese painting, this space allows the work to breathe, creating a dialogue between the visible and the invisible, between what is expressed and what is suggested. Finally, the choice of support is crucial. I favor Asian papers, Japanese, Thai, Nepalese, which influence my technique and enrich the texture of my works. Each paper brings a unique vibration, a subtle dialogue between matter, ink, and gesture. Through my art, I wish to share my fascination for landscapes and invite others to rediscover them with fresh eyes. My work is part of a dialogue between two cultures: my own, and the one that inspires me so deeply. And it carries within it a dimension of sharing.

http://www.pauljeanteur.com