ART–OTH–SHI
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Shozo Shimamoto
Gestural Lineages
Impact as geometry
ART–OTH–SHI
This is some text inside of a div block.
Impact as geometry
Shozo Shimamoto
ART–OTH–SHI
Impact as geometry
Index Code:
ART–OTH–SHI
Orgin:
Osaka, Japan
Field Notes:
impact as geometry · chance as method · matter as motion
Defining Moment:
Early 1950s — matter in motion; order clarified

Shozo Shimamoto

( 
1928–2013
 )
show-zoh shee-mah-moh-toh

Shimamoto built a world where destruction became creation.

Exploding bottles of paint across canvas, he treated impact as design — color scattered through choreography.

Each performance turned chance into geometry, violence into rhythm.

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In his world, matter itself composes: form born through release.

Structural Focus

Process as Form

The method of making defines the structure. Repetition, accumulation, or procedure becomes the visible logic of the work.

In Shozo Shimamoto’s work, this approach appears where material force structures gesture.

Position

Process as Form

The method of making defines the structure. Repetition, accumulation, or procedure becomes the visible logic of the work.

In Shozo Shimamoto’s work, this approach appears where material force structures gesture.
Chromatic Fields
Color fields operate as spatial and structural organizers.
Systems of Clarity
Order and coherence arise through disciplined systems and constraints.
Gesture
Gesture functions as structure through disciplined, repeatable action.
Material
Material behavior governs form through weight, resistance, and constraint.
Proportion
Proportion organizes coherence through measured intervals, scale, and relation.
Art
Form operates as a site for material, perceptual, and conceptual inquiry.
Gutai
Material and action test the limits of form through direct physical engagement.
Image Credits
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Context

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Observartory

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Structual Relations
The following practices are connected through shared structural decisions in form, material, and spatial logic.

By Structural Focus

ⓘ
How are these related?
Quiet Modernism relates practices through how form is organized rather than how it appears. Connections emerge through shared structural conditions — such as repetition, constraint, spatial organization, material behavior, or duration — even when outcomes differ.

A single grouping may reflect multiple overlapping structural concerns.
SANAA
Material determining architectural form
Lucio Fontana
Cut as gesture

In Dialogue

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