Philosophy

In contemporary art, there is a celebrated lineage of masters who have integrated Eastern thought into their creative practices.

However, looking from the vantage point of the 21st century, the aesthetics achieved by these masters appear to face a certain limitation: they ultimately turned the core of Eastern philosophy into a form of "mysticism," leaving it inside a black box. Because they skipped the process of meticulously verbalizing and logicalizing its inner structures, a rigorous, robust logic behind their artworks was never fully established.

Verbalizing Eastern thought, however, is no easy task. Part of the reason lies in a fundamental divergence in the purpose of language at a philosophical level. Western thought historically sought the "perfection of conceptual grasp" through clarity, whereas Eastern thought has weighted itself toward "liberation from conceptual grasp"—moving in an entirely different direction.

The scope of Eastern philosophy is vast, and mapping its entirety exceeds our reach. Yet, if we unpack the ontology of "Zen"—the very school of thought that most fiercely rejects verbal comprehension—we find a paradox: it holds the precise key to unlocking the black box of mysticism and understanding the ontological core of Eastern thought.

By daring to logically verbalize Zen—which otherwise completely rejects words in pursuit of "liberation from conceptual grasp"—we can open a fundamentally new way of experiencing Eastern-influenced art. This transcends mere mystical consumption and unlocks fresh possibilities. Driven by this anticipation, we present the cognitive structure of Zen and, as its tangible fruit, our practice within contemporary art.

Is there a third path—one that neither simply rejects language (20th-century mysticism) nor becomes imprisoned by it (Western essentialism)? The answer, we believe, is "Yes." And it is here that art plays a decisive role.

This approach goes beyond the traditional way of appreciating a painting within its frame. It is a radically contemporary endeavor—an "Epistemological Installation"—where the fusion of linguistic extremes and visual expression aims to shake the very foundation of linguistic articulation, the system the viewer has relied upon without question ever since they can remember.

This "Epistemological Installation" requires three core elements: (1) a verbalized Ontology of Śūnyatā (The Ontology of Emptiness), (2) the artworks of Violaine Richard created upon this foundation, and (3) specific commentary for each artwork. While these pieces are meant to be experienced firsthand by confronting the actual physical object rather than online images, we recognize this is impossible for many. For this reason, we feature Violaine Richard's artworks on this site alongside their conceptual commentaries.

To read the complete essay on the Ontology of Śūnyatā, please request it through our contact page.

Violaine Richard — Portfolio

Project I

The philosophical framework underlying these works is developed in full in our essay, shared exclusively with those who resonate with our mission.

Being Becomes Yohaku — the presence within absence 存在が余白する

As explained in this essay, it is not that "a flower exists," but rather: "Being Becomes Flower." This artwork depicts that vast "energy of Being"—which has not yet crystallized or taken concrete shape into any individual thing—through the medium of Yohaku. Furthermore, this piece transforms Yohaku, a space traditionally defined by the absence of painting, into the absolute main character of the work.

It is no exaggeration to say that Yohaku is the single most vital element in translating Zen into painting. This artwork gives a clear, definitive concept to this elusive space and brings it into visual reality.

Being Becomes Yohaku — the presence within absence

1167mm × 910mm

Seeds of Yohaku 余白以前

This artwork reflects a subtle thought experiment. As explained in "Being Becomes Yohaku," Violaine visualizes "Being" in the Zen sense by painting Yohaku. This "Being" possesses the character of a "beginning"—a state that has not yet crystallized or taken concrete shape into any individual thing. But if that is the case, what kind of world existed before Being itself? Precisely because she elevated Yohaku to the status of Being, this piece serves as a thought experiment, visualizing the world as it was before that very Yohaku crystallized and manifested as Yohaku.

1460mm × 710mm

Being Becomes Silence 存在が静寂する

While "Being" can crystallize and take concrete shape as a physical object, is it possible for it to exist as a "sound"—specifically, as the absolute absence of sound called "silence"? This is the theme of this artwork. This painting is filled with many elements; it depicts surface covered with things that we humans express through the signifiers of a building, trees, and snow. Yet, it is as if each of these elements carries "silence" as its signified. By painting a casual landscape, this artwork ultimately aims to depict "silence" through the collective presence of all these objects.

1000mm × 727mm

The World Behind It その後ろの世界

How far can we push the limits of Yohaku? Is it possible to make the unpainted space the main character, and furthermore, cause the viewer to imagine an entire world existing within it? This artwork aims to stretch the limits of Yohaku to their absolute edge. Its purpose is to crystallize and give concrete shape to "Being"—not as a physical object, nor as a sound, but as "the unseen world that lies behind."

1167mm × 727mm

Being Becomes Gone 存在が逝く

In "Being Becomes Yohaku," Yohaku was the main character used to depict "Being" in the Zen sense. Because Yohaku has not yet crystallized or taken concrete shape, it easily evokes a sense of unknown potential—the feeling that it could become anything. This means it readily allows us to feel the concept of "One is All, and All is One," which we discussed in our essay. Conversely, this also means that the more we depict "Being" as a concrete, physical object—like a flower—the harder it becomes to express this "One is All, and All is One" reality. In this artwork, however, a traditional Japanese veranda (engawa) is painted across the entire washi paper. In other words, there is no Yohaku here. Yet, while depicting specific, individual things such as pillars, a tree, and autumn maple leaves, this piece was completed with a unique aim: to make all these physical objects collectively manifest the presence of the deceased, who is painted nowhere at all.

455mm × 273mm

Being Becomes Prayer 存在が祈る

For Richard, who entered the world of painting through the icons of the Greek Orthodox tradition, prayer has always been a singular and exceptional act: it is intertwined with the practice of painting and becomes both the fuel and the meaning of the icons.

Can “existence” itself become an act? This piece attempts to crystallise existence as an act of prayer.

(This image is one of the small preparatory studies called KOSHITAE created during the production process. In Nihonga, artists draw multiple KOSHITAE to determine the composition, eliminate unnecessary elements, and refine what must be added, repeating this process of trial and error.)

Size: TBC — work in progress

Profile

Violaine Richard

A Japanese-style painter whose practice is rooted in the Zen concept of Kū—often translated as "emptiness," not in the sense of void but as the dissolution of fixed perception. Through her work, she seeks to let viewers experience the external world as it appears to one who has reached this state, while pursuing the philosophical possibilities of Yohaku—the "empty margin" that is central to Japanese painting yet has seldom been explored with true conceptual depth.

Violaine studies under a master from the Nihon Bijutsuin, a prestigious institution established in 1898 by Tenshin Okakura, the pioneer who modernized Japanese art. This connection places me in the direct, orthodox line of the Japanese painting tradition.

Techniques

Violaine's techniques such as using a limited colour palette, subtle thin layers, non-use of white (created by unpainted spaces) and smooth gradations are deliberately used to materialise our philosophy.

Language: French & English

Yoshitaka Kashiwagi

Yoshi provides the conceptual foundation for the art of Violaine Richard. By weaving together Zen ontology and linguistic theory, he unearths forgotten lineages of Eastern thought to bring them into dialogue with Western philosophy. Through this philosophical lens, Violaine manifests the "Structure of Existence" hidden within the void of the washi paper.

Before joining the Violaine Richard project, he worked within a private family office, an experience that offered a rare vantage point into global decision‑making circles—perspectives he still carrys through discreet personal ties within the super‑yacht world.