Stepping Through Infinity: Lee Ufan’s Transcendent Vision on Japan’s Sacred Art Island

The island of Naoshima, nestled in Japan’s Seto Inland Sea, has experienced a significant transformation. Previously marked by industrial pollution and a Mitsubishi manufacturing plant, the 3,000-strong community has reinvented itself as Japan’s premier “art island” after redevelopment by billionaire Sōichirō Fukutake in 1989. Nowadays, tourists arrive to experience its contemplative galleries—sunken into hillsides and conceived by renowned architect Tadao Andō—which house works by masters from Claude Monet to Yayoi Kusama. Yet the real attraction for many pilgrims seeking transcendental experience is a soaring metal arch reaching 11 metres high, wedged between two boulders on the coast. Constructed by Korea-born artist Lee Ufan, in his late eighties, the sculpture titled Gate to Infinity has become Naoshima’s defining sculpture.

The Isle That Was Created By Pollution

Naoshima’s transformation from industrial wasteland to internationally renowned art destination represents one of Japan’s most audacious cultural transformations. For decades, the island languished under the shadow of industrial production, its natural beauty obscured by pollution and its future seemingly tied to the machinery of commerce. The pivotal moment came in 1989 when Sōichirō Fukutake, a billionaire with vision, recognised the island’s potential for artistic renewal. His investment triggered a complete transformation of Naoshima’s identity, drawing architects, artists and curators who shared his belief that art could restore both landscape and community.

The physical manifestation of this vision emerged through architect Tadao Andō’s unique architectural approach. Rather than erecting imposing buildings upon the hillsides, Andō sank his galleries into the earth itself, creating contemplative spaces that seem to develop naturally from the terrain. These concrete-walled sanctuaries, with their minimalist aesthetics and thoughtful incorporation with nature, set the tone for Naoshima’s entire artistic project. The approach proved transformative, fostering an environment where art and environment exist in profound dialogue. Today, the island attracts guests looking for more than aesthetic pleasure but genuine spiritual transcendence through carefully curated encounters with masterworks.

• Once home to Mitsubishi industrial plant operations
• Now home to 3,000 inhabitants and award-winning galleries
• Features pieces by Monet, Kusama, and De Maria
• Designed by celebrated designer Tadao Andō in its entirety

Encountering the Master at 90

Lee Ufan, the Korean artist who will celebrate his 90th birthday next month, remains a prominent force in modern artistic practice despite his age. Those who meet him speak with deep respect, addressing him simply as “Mr Lee” – a sign of esteem that reflects his significant impact on worldwide artistic development. His creative vision has shaped generations of artists and remains captivating to audiences worldwide. The approaching milestone has prompted major retrospectives and exhibitions that trace his remarkable journey from the late 1960s to the current era, establishing his legacy as one of the defining artistic voices of our era.

When meeting the artist at his studio in the seaside town of Kamakura on the mainland, one is immediately struck by his philosophical clarity and careful expression of purpose. His explanation of his artistic ambition is notably deep: “I want my work to transport you to a place where you can experience the deep breath of the universe.” This statement encapsulates decades of artistic exploration, condensing intricate concepts about human connection to nature and cosmic consciousness into a solitary, gracefully understated declaration. It reveals why his sculptural works resonate so deeply with visitors, going beyond mere aesthetic appreciation to offer genuine spiritual contemplation.

A Existence Devoted to Simplicity and Breath

Ufan’s creative philosophy developed through his involvement with the Mono-ha movement throughout the 1960s. The movement’s name, loosely meaning “School of Things,” reflected its members’ fascination with how objects relate to one another in natural systems. Rather than imposing artistic will upon materials, Mono-ha artists aimed to reveal the fundamental connections and energies already present in nature. This approach aligned them alongside American land artists, post-minimalists, and the Italian arte povera school, though Ufan’s work retained a distinctly meditative quality grounded in Eastern philosophical thought.

The artist’s devotion to spatial clarity and minimalism has only intensified over his extensive career. His sculptures reject extraneous embellishment, instead creating moments of profound stillness and contemplation. Whether through massive steel arches like Gate to Infinity or more intimate installations, Ufan consistently prioritises the viewer’s inner experience. His work promotes active engagement rather than detached spectatorship, reshaping environments and drawing visitors into intimate dialogue with their surroundings. This approach has garnered him dual museum institutions – one on Naoshima itself and another in Arles, France – testifying to his international importance.

From Brutality to Stillness: The Evolution of a Revolutionary Artist

Lee Ufan’s artistic journey represents a striking evolution from confrontational abstraction to serene contemplation. In his early years in the 1960s and 1970s, his work displayed an almost aggressive quality, with bold gestural marks and material interventions that questioned traditional ideas of what art could be. These pieces bristled with artistic intent, demanding attention and provoking reaction. Yet through decades of disciplined practice, Ufan gradually stripped away this assertiveness, finding that true power lay not in proclamation but in restraint. His development reflects a spiritual awakening, where the artist learned that quiet carries more weight than sound.

This evolution was not accidental or sudden, but rather the organic development of an artist profoundly committed to Zen Buddhism and Eastern philosophy. As Ufan developed, he acknowledged that the most profound artistic statements often arise through taking away rather than adding. His subsequent pieces demonstrate an barely perceptible character—they look to dissolve into their settings whilst simultaneously intensifying one’s perception of those spaces. The Gate to Infinity demonstrates this approach perfectly: a composition so refined and restrained that it appears to dissolve into the terrain, yet it profoundly transforms how people perceive the sea, sky, and distant hills. This paradox of powerful simplicity characterises his artistic legacy.

• Early works displayed aggressive marks and direct engagement with materials
• Steady evolution towards minimalism reflected growing contemplative discipline and philosophy
• Zen Buddhism profoundly influenced his conception of emptiness and presence
• Later sculptures centre on viewer experience over artistic statement or ego
• Restraint proved to be his greatest tool for producing transformative artistic moments

The Mono-ha Movement and Initial Revolt

The Mono-ha movement developed into a transformative creative movement in late 1960s Japan, fundamentally rejecting Western modernist traditions that had shaped post-war artistic discourse. Ufan and his contemporaries sought to establish a distinctly Japanese aesthetic rooted in phenomenological investigation and philosophy of nature. Rather than imposing predetermined forms onto materials, these artists engaged in patient observation of how objects naturally interact within their surroundings. This approach represented a subtle resistance against both Western abstraction and Japanese traditionalism, creating a third way that respected both native philosophical heritage and modern artistic preoccupations. Ufan’s participation in this movement influenced his entire subsequent career.

Within Mono-ha’s approach, Ufan created his distinctive method of restrained engagement and intensive looking. He would arrange basic elements—stones, iron plates, canvas—in intentional configurations, enabling their intrinsic properties to speak. This approach positioned the movement in dialogue with Western environmental artists and arte povera practitioners, yet preserved a profoundly contemplative quality. Where American land artists often stressed landscape transformation, Mono-ha artists preferred revelation and contemplation. Ufan’s initial pieces from this period, now included within his Venice retrospective, reveal how he was already progressing toward the philosophical clarity and transcendent dimension that would shape his developed artistic vision.

The Thinking Behind the Brushstroke

Lee Ufan’s creative approach constitutes a fundamental departure from Western conceptions of artistic communication as self-centred artistic production. Instead, his work reflects Buddhist Zen principles of emptiness, presence and the connection between artwork and viewer. Rather than imposing his will upon materials, Ufan seeks to reveal their essential character through minimal, deliberate gestures. His paintings and sculptures serve as calls for viewers to participate in a contemplative encounter, where the boundary between artwork and audience fades away. This approach reshapes the creative process from a statement of artistic authority into a quiet dialogue between artist, material, and audience.

Central to Ufan’s practice is the principle of “ma”—the Japanese understanding of void as active and meaningful rather than hollow. His gestures on canvas, his arrangement of stone and metal components, all leverage this notion of significant absence. By removing excess, by refusing ornamental gesture, Ufan establishes spaces where silence becomes eloquent. His philosophical approach stems from Eastern aesthetic traditions whilst engaging modern questions about presence and authenticity. This integration has demonstrated considerable impact, motivating emerging artists globally to reassess what reductive aesthetics can realise when infused with contemplative purpose and rigorous investigation.

Limitation as a Artistic Driver

Ufan’s mastery of restraint differentiates his work from contemporary artistic trends that champion excess and spectacle. His iconic individual brushstrokes, rendered with deliberate precision to canvas or stone, possess an intensity that belies their apparent simplicity. This restraint demands deep technical skill and conceptual clarity—knowing what to remove proves substantially harder than knowing what to add. By removing all extraneous elements, Ufan compels viewers to face the core essence of mark-making itself. Each work functions as a contemplation of presence, intention and the profound impact of minimal gesture. His approach shows that artistic power need not announce itself loudly.

This approach of restraint goes beyond aesthetic considerations into Ufan’s whole artistic process. He characterizes his creative work as a spiritual discipline demanding patience, humility and deep listening to materials. Rather than imposing preconceived designs, he allows each project to develop via careful observation and response. This methodical process has influenced museum design, installation art and contemporary sculpture globally. Emerging creators cite Ufan’s example as proof that meaningful artistic statements can emerge from minimalism and constraint. His Venice retrospective, spanning five decades of practice, ultimately celebrates the deep artistic possibilities contained within limitation itself.

A Nomadic Life Across Borders

Lee Ufan’s creative output has been deeply influenced by his movement across continents and cultures. Born in Korea, he moved to Japan during his formative years, absorbing the philosophical heritage and artistic values that would shape his work. This intercultural engagement gave him a unique perspective that transcends national boundaries, allowing him to combine Eastern contemplative traditions with Western artistic movements. His peripatetic lifestyle has never been simply circumstantial; rather, it represents a deliberate engagement with different landscapes, philosophies and art communities. This intellectual and geographical exploration has enriched his understanding of how art can communicate universal truths regardless of cultural context.

Today, at nearly 90 years old, Ufan operates studios and exhibitions across multiple continents, from his base in Kamakura to esteemed institutions in Venice, Arles and beyond. This ongoing mobility reflects his view that art must stay connected to diverse audiences and environments. His concurrent presence in Japan, France and Italy demonstrates how an creative figure of his standing can preserve creative energy whilst building bridges between artistic movements. The forthcoming Venice Biennale retrospective represents the pinnacle of a life spent in active engagement with the globe’s principal art hubs. Ufan’s peripatetic practice ultimately implies that artistic vision transcends geographical boundaries.

• Born in Korea; settled in Japan during formative artistic years
• Maintained studios across Kamakura, Venice, Arles and other major art centres
• Blended Eastern philosophy with contemporary Western art movements across his career
• Remains active in internationally whilst nearing ninety years of age