Shigeru Onishi: Mathematical Concepts in Art

Gen de Art
1 day ago
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Updated: 15 hours ago

Written by Alma Reyes

“…the purpose of my photography, which is founded on a desire to pursue metamathematical propositions such as ‘the possibility of existence’ and ‘the possibility of optional choice.’”

— Shigeru Onishi, from review of “Shigeru Onishi: Mathematical Structures” by Manfred Heiting

Shigeru Onishi, Left: Title Unknown, late 1950s-1960s ©Estate of Shigeru Onishi, courtesy of MEM/Center: Title Unknown, c. 1962 ©Estate of Shigeru Onishi, courtesy of MEM/Right: Title Unknown, late 1950s-1960s ©Estate of Shigeru Onishi, courtesy of MEM, Installation view, Photo by Alma Reyes

Although virtually unknown to the public during his lifetime, the unique mathematician-artist Shigeru Onishi (1928-1994) was highly praised for his unconventional photographic techniques encompassing multiple exposures, solarization (black and white reversal), and an uneven application of the boiling developer. Art critics in post-war Japan were stunned by the breadth of his experimental approach to photography, which included the use of brushes and sponges for the development process and acetic acid baths to achieve discoloration. His photographs show results of flaring, fogging, superimposing, distorting, and overlapping of images. These extreme processes allowed him to inject “chance” into his works so that the outcomes were always unpredictable.

His calligraphic works employed “sumi” ink (traditional Japanese or Chinese black ink made from plant soot and glue), associated with the Bokusho painting method of blending ink wash, calligraphy, and modern expression. Above all, Onishi merged art with mathematical precision, introducing an unprecedented level of artistic skill that transcended tradition. At times, it was described as “another world."

Shigeru Onishi, Title Unknown, 1950s-1960s ©Estate of Shigeru Onishi, courtesy of MEM

A full retrospective of Onishi’s works is unveiled for the first time in a Japanese art museum in “Onishi Shigeru: Photography and Painting” at the Tokyo Station Gallery until March 29, 2026. The show introduces selections from over 1,000 photographs and paintings by the artist, as well as manuscripts and extensive materials linked to his mathematical research.

The first section covers Onishi’s early photography, reflecting his dedication to the laws of mathematics. While attending the mathematics course at Hokkaido University, he explored the field of photography to impart his mathematical theories, such as topology and the Meta-Infinite (wherein every property can be ascribed to the “absolute infinite”) in art. For Onishi, “the Meta-Infinite was not merely a point of origin in the distant past, but a condition that continues to sustain the world at every moment; an invisible force acting upon all things.” (“Onishi Shigeru: Photography and Painting,” Tokyo Station Gallery) This realm existed in a contradictory state, and ghostly images could be linked to reality as shadows escaping unresolved tension.

As exhibited, many of his photographs, including those with unknown titles from the 1950s, depict cloud-like impressions of intentional blemishes. They evoke dreamy photo montages—blurry women’s faces and hands, cityscapes, trees, and interiors—that deliberately raise imperfections and obscure realism. One photograph reveals a woman’s smiling face evading the lens, and is repeated in overlays. Those caught beneath the layers appear almost undecipherable, overridden by the dark lines that cross over them. The puzzle turns the effect into a quantum.

In “Correspondence” (c. 1957), the underlying façade of a building or buildings becomes silhouettes that dissolve in bursts of light like a film set on fire.

The illustrations of nature (as seen in “Sight with Falling Sun,” c.1957) swim in depths of textures—intersecting puddles, mud, trees, and snow. What originally pops up as heaps of clouds transforms into unrecognizable mist or waves that consequently alter the surface. Each visual defies the orthodox rules of photography as the artist juggles subjects like floating memories and leaves viewers sliding along different dimensions of time and space.

Onishi stressed that his photographs represent the “formation of ideas,” and release “the flavors of the image as they change”. They rely on intuition by immersing deeply in the art. He stated, “I do not aim to accommodate myself to the times. Instead, I press onward toward the very source from which the dynamism of spirit that moves the times is born.” (“Onishi Shigeru: Photography and Painting,” Tokyo Station Gallery) By delving into metamathematical possibilities, Onishi has broken down the spatiotemporal aspect of a photograph bound by physical conditions, entangling time and space so that they flow fluidly.

Soon, Onishi’s special talent reached the circles of other known artists and critics. He launched two solo exhibitions in Tokyo in 1955 and 1957 with the support of poet, art critic, and artist Shuzo Takiguchi. In 1956, he presented his works at The First International Subjective Photography Exhibition in Nihonbashi, which took off from the Subjektive Fotografie 2 show in Saarbrücken and Paris organized by German photographer Otto Steinert.

A corner in the showcase is devoted to his series of writings titled, “The Logic of Continuum.” The manuscripts detail the artist’s methodological thoughts wrapped around metaphysics, translated into drawings that do not need a verbal language. Rather, they convey reason and sensibility.

The air of ambiguity in Onishi’s photographs travels to the section on paintings and calligraphy. He gradually shifted to abstract ink painting from 1957. Then, from the 1960s, he focused on large-scale works in color. The spiraling brush strokes emit force and character. Consistent spontaneity breathes among the bold lines, shades, and blank spaces, suggesting a potpourri of complex feelings. The colored ink paintings on display, in particular, blending varied tones of blue, pink, red, orange, and green, are mesmerizing.

Some enormous paintings measure two to three meters long, which surely astound viewers. Critics have commented on notions of hatred, anger, or rage erupting from these works. Perhaps, they arrive at a time tarnished by lingering traumas arising from World War II, the Korean War, and the U.S. occupation, which persuaded people to turn away from realism and embrace avant-garde and surrealistic manifestations.

During the mid 1940s to 1950s, the Art Informel Movement emerged in France and the rest of Europe. The trend professed abstract tendencies geared toward complete freedom of expression, unheard manipulation of materials, and random gestures; thus, abandoning traditional teachings of painting. Michel Tapié, the central theorist of the movement, discovered Onishi’s masterpieces and welcomed him to the group. He was immensely captivated by the undulating motions in Onishi’s ink paintings and promoted them across Europe. The collections were presented at MoMA in New York, FOAM in Amsterdam, and at the Bombas Gens Centre d'Art in Valencia. Onishi also connected with the Gutai Art Association, which was an influential society in Japan between 1954 and 1972 that emphasized free interaction between body and matter.

At the end of the exhibition, one might feel a sense of oblivion regarding what is real or not, and how images can alter our vision of the absolute truth.