Junichi Ito: A Solo Exhibition
March 18 - April 5, 2025
Parallel + is thrilled to announce the solo exhibition of Junichi Ito in Hong Kong, coinciding with the vibrant Hong Kong Art Week. This exhibition traces Junichi Ito’s journey of self- discovery through the art of calligraphy, exploring how tradition can be reinterpreted to remain relevant in the contemporary world. Through his work, Ito seeks to convey a message that extends beyond his home, Japan and Hong Kong, resonating globally and enduring for generations to come.
Japanese characters carry profound meaning, and for this exhibition, Ito has carefully selected those he believes will inspire contemplation and offer insight into his artistic vision. Among the highlights is 阿吽 (Aun), a character rooted in Buddhism that signifies the beginning and end of the universe. The phrase Ah-Un no Kokyū embodies an unspoken understanding—a perfect synchronicity between individuals. Derived from the Sanskrit A- hum, it reflects the concept of Yin and Yang, symbolizing the harmony of complementary forces in Buddhist and Shinto traditions.
Viewers are invited to pause and reflect, much like the negative space in calligraphy. This space is not emptiness but a moment for introspection—an interplay between black and white, presence and absence, echoing the delicate balance between tradition and modernity, between art and the void that gives it meaning.
The exhibition not only highlights Ito’s calligraphy but also examines the materials, processes, and traditions essential to its creation and preservation. Alongside his calligraphic works, the showcase features his distinctive Maneki-Neko (Lucky Cat) creations, which integrate a unique blue Sumi ink.
Integral to Ito’s approach is the ura-uchi method, a vital component of hyōgu gijutsu (表具 技術), or Japanese mounting techniques. This method enhances both the durability and aesthetics of the artwork, ensuring that tradition is not only preserved but also refined through innovation.
"Lucky Cat"
"龍 - Dragon"
A pivotal influence on Ito’s practice is Kido Ito, an artisan of Suzuka Sumi—a 1,200-year-old tradition of producing the highest quality ink in Suzuka, Mie Prefecture. Today, Kido Ito is one of the ink artisans continuing the tradition. His sumi ink accounts for half of the calligraphy works of Junichi Ito and lends its distinctive blue hue to Ito’s Maneki-Neko.
Copyright to the owner of the video and Kido Ito.
The Art of Calligraphy: A Journey of Expression
As a child, I was quiet and struggled to express myself. I had few friends and was physically weak, often feeling disconnected from the world around me. However, my grandfather was a carpenter, and through him, I became fascinated with the act of making. There was a quiet, meditative rhythm in crafting something with my hands, a sense of purpose I longed to find. Then, at the age of 20, I encountered calligraphy. It was more than an artistic discipline—it became a way of life. Through ink and brush, I discovered a form of expression that felt entirely my own.
Over time, I realized that calligraphy is not just about the individual—it has the power to connect people across cultures. In unexpected ways, my practice has become a bridge between Japan and the world, from the G7 Ise-Shima Summitheld in Mie Prefecture to sake evaluation events and gatherings welcoming visitors from abroad. Calligraphy, one of Japan’s most enduring cultural traditions, extends beyond its borders, resonating deeply even in places like Hong Kong, where Chinese calligraphy holds a nostalgic and emotional significance.
Sumi ink is at the heart of my work. But in my practice, calligraphy is not confined to the written word, nor is the brush its only instrument. Some of my works abandon lettering entirely, yet the ink remains essential. I cannot fully explain why, but there is an undeniable power within it—a presence that breathes life into each piece. The ink itself carries a soul, and through it, my works come alive.
Calligraphy is an art of confrontation. It demands presence and unfolds in an instant—what some call an “instantaneous art.” In traditional practice, countless sheets are written and discarded, repeated endlessly in pursuit of a single, perfected form. However, my work often takes place beyond the confines of the studio, in shrines, temples, or out in the vastness of nature, where mistakes are not an option. In these moments, calligraphy becomes performance—an act of engagement where time itself dissolves into the motion of ink meeting paper. Because of its immediacy, calligraphy does not inherently carry a sense of time. Instead, it is through performance that time becomes visible.
My prayer is that my art will endure ‘A Thousand Years’.
"夢 - Dream"
"Ame Ni Mo Makezu - Be not Defeated by the Rain"
A poem by Kenji Miyazawa, a poet from Iwate, Japan who lived from 1896 to 1933.
Unbeaten by the rain
Unbeaten by the wind
Bested by neither snow nor summer heat
Strong of body
Free of desire
Never angry
Always smiling quietly...
What I want to share with you is the beauty of imperfection.
Consider this—a small black dot on the edge of the paper. How does it make you feel? In traditional calligraphy, such a mark would be seen as a flaw, something incomplete, even taboo. Yet, I am convinced that it holds meaning.
Nothing in this world is perfect. There is no absolute perfection in the natural order. In Japanese culture, the philosophy of wabi-sabi embraces this idea.
Wabi conveys the beauty found in simplicity and modesty. Sabi, on the other hand, speaks to the quiet elegance that emerges over time. As things age, they may darken, chip, or wear down, but rather than seeing this as deterioration, we call it sabi—a recognition of the beauty woven into change.
This artwork is the result of a collaboration between two individuals exploring Japanese culture. The craftsman who contributed to this piece is a highly skilled artisan, honored with an award from the Emperor of Japan. Together, we seek to express the essence of wabi-sabi—an appreciation of imperfection as a fundamental part of beauty.