Installed on the staircase landing of Saga University's graduation exhibition, Ishimatsu Yufu's A Vessel Filling a Cup, Breathing Within revealed itself differently across the day. When I encountered the work in the morning, sunlight struck the surface of the Shina plywood, catching the grain of the wood and the delicate texture of the Japanese paper adhered to it. An hour later the same work appeared altered, its surface shifting subtly as the light moved.

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Yufu Ishimatsu, A Vessel Filling a Cup, Breathing Within, 2025, Mineral pigments (Iwa-enogu), powdered pigments (Suihi-enogu), crushed shell powder (Gofun), and sumi ink on Shintorinoko paper and white linen paper, mounted on plywood, 1300 × 1300 mm (51 3/16 × 51 3/16 inches), © 2025 Yufu Ishimatsu, Courtesy of the Artist and aaploit

The work consists of a large sheet of Shina plywood to which Japanese paper has been affixed. Floral and plant motifs are painted both on the wooden ground and on the paper surface, creating an image that seems to drift between layers. The plywood itself is intentionally warped: the lower left corner bends slightly forward, while a T-shaped wooden support extends beyond the picture plane at the upper right, pointing outward as if indicating a direction beyond the work.

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Yufu Ishimatsu, A Vessel Filling a Cup, Breathing Within, 2025, Mineral pigments (Iwa-enogu), powdered pigments (Suihi-enogu), crushed shell powder (Gofun), and sumi ink on Shintorinoko paper and white linen paper, mounted on plywood, 1300 × 1300 mm (51 3/16 × 51 3/16 inches), © 2025 Yufu Ishimatsu, Courtesy of the Artist and aaploit

As viewers ascend the stairs, the image appears to sway, almost as if one were being carried in a small boat. The staircase landing—a space neither destination nor origin but a pause within movement—plays a crucial role in this experience. The work does not demand a fixed viewing position; instead it unfolds gradually as the body moves through space.

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Yufu Ishimatsu, A Vessel Filling a Cup, Breathing Within, 2025, Mineral pigments (Iwa-enogu), powdered pigments (Suihi-enogu), crushed shell powder (Gofun), and sumi ink on Shintorinoko paper and white linen paper, mounted on plywood, 1300 × 1300 mm (51 3/16 × 51 3/16 inches), © 2025 Yufu Ishimatsu, Courtesy of the Artist and aaploit

This spatial condition echoes a broader relationship between support and image in the work. In many traditional Japanese painting formats—hanging scrolls, folding screens, sliding-door paintings—the support is often rendered visually transparent, allowing the painted surface to dominate perception. Ishimatsu's work subtly reverses this convention. The support is neither concealed nor fully foregrounded; it participates.

In this sense, the work recalls the late-1960s French movement Supports/Surfaces, which dismantled painting by foregrounding its material components. Yet Ishimatsu approaches this question from within the history of Japanese painting itself, allowing the material presence of the support to re-emerge quietly within the experience of viewing.