Two movements create an interval before they meet. POND 05 — Converge places the presence of two koi approaching from opposite directions within a wide field of open space. The two flows have not yet overlapped. A quiet distance remains between them. In the upper right, angular dark stones are paired with pale translucent forms, while the stones in the lower left are kept small and softened at the edges. Only a few vermilion specks remain, acting as a subtle rhythm suspended in the water. Drawing near, but not yet touching. This final work in the POND series holds the tension and stillness born in that interval. Two movements create an interval before they meet. POND 05 — Converge places the presence of two koi approaching from opposite directions within a wide field of open space. The two flows have not yet touched. A quiet distance remains between them. In the upper right, angular dark stones are paired with pale translucent forms, while the lower-left stones are kept small and softened. Only a few vermilion specks remain, acting as a subtle rhythm suspended in the water. Approach without contact—this final work in the POND series holds the tension and calm of that unfinished meeting. SERIES — POND POND abstracts the presence of nishikigoi and pond stones into movement, stillness, water, and negative space. The fish are not treated as literal subjects. Instead, vermilion, charcoal, ivory, translucent washes, and fine flowing lines suggest their movement through water. Stones shift between dark, pale, sharp-edged, softened, and partially dissolved forms. The open ivory field functions as water itself. POND is built around the tension between two states: motion and stillness. The visual center of each work is not the koi or the stones, but the quiet interval between them. ABOUT RITSUKO NISHIMURA Ritsuko Nishimura works with negative space, light, air, silence, and the moment just before a form disappears. Rather than asking how much more can be added, her work focuses on where to stop. Empty space is not treated as absence, but as a place where light, time, and distance can exist. Starting from recognizable motifs, she reduces them into color, texture, gesture, and interval—leaving room for each viewer to enter the work through their own perception.
POND 05 — Converge
High-quality giclée printing using 12-color pigment inks and 0.35mm fine art paper. Faithfully reproduces the texture and brushstrokes of the original work, with lightfastness of approximately 200 years.
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Two movements create an interval before they meet. POND 05 — Converge places the presence of two koi approaching from opposite directions within a wide field of open space. The two flows have not yet overlapped. A quiet distance remains between them. In the upper right, angular dark stones are paired with pale translucent forms, while the stones in the lower left are kept small and softened at the edges. Only a few vermilion specks remain, acting as a subtle rhythm suspended in the water. Drawing near, but not yet touching. This final work in the POND series holds the tension and stillness born in that interval. Two movements create an interval before they meet. POND 05 — Converge places the presence of two koi approaching from opposite directions within a wide field of open space. The two flows have not yet touched. A quiet distance remains between them. In the upper right, angular dark stones are paired with pale translucent forms, while the lower-left stones are kept small and softened. Only a few vermilion specks remain, acting as a subtle rhythm suspended in the water. Approach without contact—this final work in the POND series holds the tension and calm of that unfinished meeting. SERIES — POND POND abstracts the presence of nishikigoi and pond stones into movement, stillness, water, and negative space. The fish are not treated as literal subjects. Instead, vermilion, charcoal, ivory, translucent washes, and fine flowing lines suggest their movement through water. Stones shift between dark, pale, sharp-edged, softened, and partially dissolved forms. The open ivory field functions as water itself. POND is built around the tension between two states: motion and stillness. The visual center of each work is not the koi or the stones, but the quiet interval between them. ABOUT RITSUKO NISHIMURA Ritsuko Nishimura works with negative space, light, air, silence, and the moment just before a form disappears. Rather than asking how much more can be added, her work focuses on where to stop. Empty space is not treated as absence, but as a place where light, time, and distance can exist. Starting from recognizable motifs, she reduces them into color, texture, gesture, and interval—leaving room for each viewer to enter the work through their own perception.
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