Niyoko Ikuta has enraptured collectors and museums the world over for her dynamic glass objects, executed with emphatic lyricism and spellbinding precision. The iridescent rhythms of glass, captured herein, sparkling, riveting, and ultimately enrapturing.

Nobuyuki Tanaka’s sculptures in lacquer are towering odes to space itself, challenging the viewer to almost question whether his or her reflection appearing on the surfaces of the artist’s works are in fact manifestations of other realms and dimensions unknown.

Satoru Ozaki is considered one of the ‘lost treasures’ of Japan in light of his mind-bending techniques of hammering and polishing the immobile and adamantine material of stainless steel into beautiful, minimal forms of great depth and presence, his poems in steel resonating above and beyond.

Takafumi Asakura (1978- ) pours into his poetry in ink a zeitgeist for the 21st century, displaying technical virtuosity whilst experimenting with abstraction and the avant-garde, wielding but a single type of ink and brush to paint the most intricate of Nihonga-style paintings. Negative space is filled entirely with ancient calligraphy, whilst beacons of spiralling ink swirl and coalesce into mythical beasts, Shinto gods, and elements of nature. Yet intricacy and technique are ancillary to whether an artist has the power to paint works that spellbind, enthrall, enrapture. Indeed, Asakura’s meticulous paintings are mesmerising poems rooted in Shinto scripture and the movements within his own soul, possessing the power to stop viewers in their tracks by the visceral strength of his brushstrokes interspersed with copiously painstaking detail.