A Paving Slab, a Metal Rod and the Sky

The Oriental tradition associates reflection on space with a worldview that affords a similar ontological status to all beings, in- cluding things, animals, and humans. this leads to comprehension of spirituality in terms of a constitutive precondition of exis- tence or entity as such. like any other human being, a painter or a thinker can grasp the existence of things, irrespective of what the object is (a stone, a frog, etc.), through concentration which enables to drill down to the foundations of existence. concentra- tion is connected with the two significant spatial categories: the vertical and the inside. When expressing his opinions or views, Koji Kamoji emphasises that the truth is only reachable through concentration. Looking for where the truth is ‘situated’ through relationships with the others, in a horizontal fashion, enables us to reach for what is merely external and thus, in Kamoji’s view, perfunctory and superficial. 

 Kamoji willingly makes references to poetry, including the haiku:
 “I comprehend haiku as a spiritual state, a worldview, an attitude toward the world that surrounds us. this attitude reaches through the achievements of many an artist of the past, of the Japanese poets; to the Zen of buddhism and taoism. nature and how it is received; arriving at the essence of things and, thereby, of oneself: then the relationship between man and thing does not become fallacious.” 

 Kamoji uses the name ‘picture’ or ‘image’ not only with respect to an object resulting from a certain process but also the very process of shaping the thoughts, the attitude of the artist and the viewer. Hence, there is no contradiction between a drawing and a prayer; both of them are a peculiar practice based on repeatability that purifies the area of feeling/sensing and reflecting.