ShigeruOnishi
Biography
Shigeru Onishi (1928,Okayama, Japan–1994) was a visionary Japanese artist whose work bridged the worlds of advanced mathematics and experimental art. Born in Takahashi, Okayama Prefecture, Onishi showed early talent in both abstract thinking and creative expression. He pursued his academic studies in mathematics, specifically topology, at Hokkaido University, where his interest in the nature of existence and structure began to shape his artistic vision. During his university years in the 1950s, Onishi began creating photographic works as a way to explore and visualize complex, often abstract mathematical ideas. Rather than follow conventional photographic methods, he experimented with multiple exposures, hand-altered development processes, and chemical treatments to produce one-of-a-kind images. These works, often dreamlike and unsettling, pushed the boundaries of photography into a more conceptual and expressive realm. Though his early exhibitions in Tokyo attracted attention for their radical photographic style, Onishi soon turned his focus toward ink painting. Using traditional sumi ink, he created bold, abstract compositions that emphasized spontaneity and gesture. His work caught the eye of French critic Michel Tapié, who introduced Onishi to European audiences, placing him alongside avant-garde movements such as Art Informel and connecting him, albeit loosely, to the Gutai group. Despite this international interest, Onishi largely avoided the spotlight and distanced himself from formal artistic affiliations. His practice remained deeply personal, rooted in a philosophical quest to understand infinity and the metaphysical dimensions of form and perception. This lifelong inquiry culminated in his theoretical writings, including a manuscript titled A Study of Meta-Infinite, which outlined his ideas on existence and abstraction. Following his death in 1994, Onishi’s work experienced a quiet revival. In recent years, major institutions have begun to reexamine his contributions, and retrospectives—such as The Possibility of Existence at Foam Amsterdam—have brought new attention to his singular fusion of art and intellect. His works now reside in major collections worldwide, including MoMA in New York and national museums across Japan, solidifying his place as a unique and influential figure in postwar art.
