The calligraphic marks—rapid, expressive, almost violent—evoke shodō (書道), the Way of Writing, yet are liberated from all legibility. This is not writing; it is pure gesture, preceding the written word.
A "Kyoto poem" conveys the maximum through the minimum, allowing what remains unsaid to resonate. I translate this visually using calligraphic marks that resemble writing without actually being it; they evoke language without revealing it. The viewer is placed in the position of someone reading an unknown language: perceiving rhythm, gesture, and intention, yet unable to access the meaning.
It is a poem felt before it is understood. And perhaps, it is never understood at all!