Transforming Calligraphy into Art
Ink Imparts the Beauty
of Japan
Subtle shades of ink evoke an entire cosmos across blank space. In the first 2026 installment of the Presage Museum, we explore the expressive world that exists beyond calligraphy with calligrapher and contemporary artist Goshow, capturing the moment when traditional Japanese aesthetics evolve into bold new forms.
Watches weave time. Calligraphy inscribes it.
At this quiet intersection of disciplines, we discover a resonance with the Presage Classic Series and its embodiment of timeless Japanese beauty.
Goshow,
Calligrapher and Contemporary Artist
Goshow
Calligrapher and Contemporary Artist
Elevating calligraphy into art and uncovering its boundless expressive potential, Goshow views calligraphy not as something to be merely preserved but continually evolved. By combining the two opposing actions of drawing and removal, he pursues new forms of expression that expand the very definition of calligraphy.
For our first installment of 2026, we visit Goshow’s atelier together with navigator Chris McCombs, a long-time observer and interpreter of Japanese culture, who guides this installment of the Presage Museum series by connecting the artist’s voice with a broader global perspective. Through this dialogue, we explore the intersection of the sensibilities embedded in calligraphy and the refined Japanese aesthetic embodied by the Presage Classic Series.
Navigator
Chris McCombs
Elevating Calligraphy to Art
Chris:Goshow, I was surprised to learn that in Japan, calligraphy isn’t considered fine art in the traditional academic sense. That seems almost impossible to believe.
Goshow:It surprised me, too, honestly. Despite calligraphy having deep roots in Japanese culture, institutions like the Tokyo University of the Arts don’t offer calligraphy as a fine art major. Practices like calligraphy, ikebana, and the tea ceremony were once central to our culture, but as Japan modernized and adopted Western frameworks, those disciplines were pushed outside the formal definition of art.
Chris:That’s heartbreaking. And yet you’ve made it your mission to shift that perception.
Goshow:Exactly. I don’t want calligraphy to survive simply as “cultural heritage.” That would mean preserving it with subsidies while its role in society fades. I believe calligraphy can evolve. It can speak to our time. That’s why I started identifying as not just a calligrapher, but as a contemporary artist.
Chris:That transition must have been daunting. How did you find your voice in the art world?
Goshow:Everyone assumes calligraphy means adding ink to paper. But historically, people etched writing into materials like bone or stone. In that sense, the origin of writing is closer to carving than drawing. And so, I began experimenting with subtractive techniques, such as scraping the surface to reveal form. It became a metaphor for presence and absence, voice and silence.
A Study in Process and Time
Chris:One thing I admire is how deliberate your process is. I read that you’ve described creating a work as being like writing a dissertation.
Goshow:[laughs] That’s true. Before I even begin, I spend months reading, thinking, and designing what I call the “blueprint.” That phase alone can take up to two years.
Chris:And that’s before the physical execution even begins?
Goshow:That's right. I spent a great deal of time developing the ink itself – it took three years to perfect. I also tested dozens of types of paper, and selecting the right one took between one and two years. The materials I use now are not the usual washi. They’re water-resistant, so I can manipulate the ink before it dries by wiping it away, diluting it, and sometimes scraping it later.
Chris:That moment shared between ink and surface is fleeting. Ephemeral.
Goshow:Yes. Time is my medium, in a way. The drying speed, the absorption, the temperature of the air ... all of these affect the outcome. You can’t repeat a piece. Each one is unique because time is embedded in it.
Beauty in Balance and Modesty
Chris:When do you most feel that you are encountering Japanese beauty?
Goshow:In quiet moments. A single line in a vast space. An old tool worn smooth by time. A silent street after the rain. Japanese beauty is often found in what’s not said, in what has aged with time. It exists in restraint and story.
Chris:That reminds me of the Presage Classic Series. There’s power in its subtlety. Nothing screams out, but everything resonates.
Goshow: I felt that too. It doesn’t try to impress, but it leaves an impression.
Chris:The Presage Classic Series truly expresses Japanese beauty. In particular, it draws inspiration from silk threads and woven textiles, and the expression on the dial is incredibly refined.
Goshow:Yes, it doesn’t try to replicate silk itself in a literal way. Instead, it captures something more essential – the presence of silk, its subtle atmosphere, even its memory. That kind of expression feels deeply Japanese to me. It’s a very authentic approach to watchmaking.
Chris:To achieve that gentle sense of form, the hands and indices are actually curved to follow the contour of the dial.
Goshow:That makes perfect sense. I felt the watch was complete as a single work, and now I understand why. Each element is shaped along the same curve, and instead of competing, they exist in harmony. That’s why I feel such a strong affinity between this watch and my own work.
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"After visiting Teshima, I recorded the sounds of its natural environment. I analyzed the frequencies within those recordings and created this work based on the forms that emerged. This piece is an attempt to give shape to voices that cannot be heard." - Goshow
(From left) TESHIMA #16 ~2025.8.7~ / 803mm×803mm / original ink and Teshima's sand on paper / 2025, TESHIMA #2 ~2025.10.18~ / 803mm×803mm / original ink and Teshima's sand on paper / 2025, TESHIMA #2 ~2025.12.1~ / 803mm×803mm / original ink and Teshima's sand on paper / 2025 -
"This work captures the bioelectrical waveforms emitted by plants and renders them as “language.” It invites the viewer to listen closely to the unmistakable voices that reside within silence." - Goshow
Waveform ~34.3193,134.0374~ / 652mm×455mm / original ink on paper / 2025 -
"Created by wiping away ink, this work reveals areas of “white” that emerge through composition. This white – what I describe as “a white beyond white” – represents the essence of “existence” that I continue to pursue." - Goshow
Existence #30 / 652mm×455mm / original ink on paper / 2025 -
"By isolating natural movements such as the bleeding and cracking of ink and presenting them with photographic clarity, this work questions the boundaries of what we perceive as authentic." - Goshow
Natural #35 / 1455mm×894mm / original ink on paper / 2024
In the first installment of the 2026 Presage Museum, calligraphy and watchmaking meet through a shared sensitivity to time, material, and quiet beauty. At Goshow’s atelier, ink is revealed as a living medium that records movement, breath, and absence, while his evolving approach to calligraphy mirrors Presage’s balance of tradition and innovation. Together, these dialogues illuminate a distinctly Japanese aesthetic: one that finds beauty in subtraction and the accumulation of time.
A Journey Through
Japanese Beauty
Kagawa
Discovering the Essence of Living, Breathing Japanese Beauty in Kagawa’s Nature and Culture.
The Natural Beauty and
Culture of Kagawa Prefecture
Nestled along the gentle shores of the Seto Inland Sea, Kagawa Prefecture is a region where nature and culture harmonize in quiet splendor. Its landscape ranges from dramatic coastal rock formations and tranquil island vistas to pine-covered gardens and forested gorges. Seasonal beauty unfolds year-round, from the cherry blossoms in spring to the maple leaves ablaze in autumn. But Kagawa is not only scenic; it is a living expression of Japan’s aesthetic values. Traditional practices such as bonsai cultivation and soy sauce brewing have been sustained over generations, while contemporary artistic communities – such as those found on Naoshima – add cultural depth to the region. Here, human creativity and the natural environment remain in constant dialogue, giving rise to a sense of quiet refinement that resonates through everyday life.
Seen from above, Ritsurin Garden is a poetic interplay of water, bridges, and sculpted pines. Created across more than a century by the lords of the Takamatsu domain, this early Edo-period strolling garden was designed to be experienced like a scroll, unfolding scene by scene. In the foreground, a traditional boat glides across the Nanko Pond, embodying the quiet harmony between human artistry and natural beauty. With Mt. Shiun rising in the distance as part of the backdrop, every element here speaks to the Japanese ideal of refined, reflective elegance.
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Kikugetsu-tei, which sits beside the South Pond in Ritsurin Garden, has welcomed lords and poets since the Edo period (1603-1868). Its name means “to scoop up the moon,” evoking a time when feudal lords admired the moon’s reflection in the water, poetically expressing the harmony between human presence and the natural world.
Ritsurin Garden is home to over a thousand meticulously tended pine trees, each one hand-pruned using techniques passed down through generations, shaping the trees into graceful silhouettes. This quiet labor reflects a core principle of Japanese beauty: enhancing nature’s form without overwhelming it.
The tranquil waters of the Seto Inland Sea cradle a constellation of islands, each possessing distinct beauty and character. From the artistic mecca of Naoshima with its iconic "Red Pumpkin" to the tidal magic of Angel Road on Shodoshima, the region offers a blend of natural splendor and cultural richness.
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Located off the coast of Shodoshima, Angel Road is a natural sandbar that emerges at low tide, linking four small islands. Couples walk the path hand in hand, inspired by the legend that crossing together brings lasting love. Its beauty lies in both the scenery and the fleeting nature of its presence.
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Carved by volcanic activity and time, Kankakei Gorge is one of Japan’s most scenic ravines. Its dramatic rock formations and panoramic views over the Seto Inland Sea convey a powerful sense of scale and natural force, offering a landscape shaped by time and geological movement.
Yayoi Kusama’s iconic "Red Pumpkin" greets visitors at Miyanoura Port, blending whimsy with bold visual impact. Its polka-dot exterior invites viewers inside, symbolizing Naoshima’s commitment to art that is at once immersive and accessible. A beloved landmark, it sets the tone for the island’s fusion of contemporary creativity and everyday life.
Floating between land and sea, the Naoshima Pavilion is a geometric steel lattice that invites interaction and reflection. Designed by architect Sou Fujimoto, this 2015 installation embodies the island’s philosophy: blending contemporary art, public space, and natural beauty into an open, ever-changing experience. Visitors are free to walk inside and become part of the artwork.
Shodoshima is known as the birthplace of industrial olive cultivation in Japan. Established in 1919 and marking its centennial in 2019, the Shodoshima Olive Garden has played a pioneering role in the development of Japanese olive growing. Within the grounds, original olive trees remain and continue to bear fruit today. The park also features restaurants and shops, allowing visitors to experience Shodoshima’s olive culture from multiple perspectives.
Blessed with a mild, Mediterranean-like climate, Shodoshima is ideal for growing olives. Long hours of sunshine, gentle sea breezes, and mineral-rich soil produce deeply flavorful olive oil. Harvested by hand and cold-pressed with care, the island’s olive oil is prized for its smooth texture and exquisite aroma.
Perched on a hillside overlooking the Seto Inland Sea, the Olive Park invites visitors to explore groves of silver-leaved trees, sample fresh olive products, and take in Greek-inspired scenery. With its white windmill, herb gardens, and sweeping coastal views, it’s a symbol of the island’s flourishing olive culture.
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Famed for its chewy texture and rich flavor, Sanuki udon is the staple food of Kagawa, known as the “Udon Prefecture.” Hand-kneaded from locally sourced wheat, salt, and water, these thick noodles are cut and served in a variety of styles from simple kake-udon in clear broth to richly flavored dipping versions. Udon shops are woven into the fabric of daily life here, offering an affordable and satisfying meal with deep cultural roots. Whether enjoyed at a bustling self-serve stand or a countryside eatery, Sanuki udon embodies the warmth and simplicity of regional Japanese cuisine.
A Kagawa specialty, honetsukidori is served sizzling right off the grill. The oya-dori (adult bird) offers bold flavor and a firm bite, while the hina-dori (young bird) is tender and juicy. This split-image showcases the delicious contrast between two textures, two tastes, and one beloved tradition rooted in Takamatsu’s izakaya culture.
In Shodoshima’s Shoyu no Sato (“Soy Sauce Village”), artisans continue to brew soy sauce the traditional way – in towering sugi-oke cedar barrels. Fermented with care and aged slowly, the soy sauce produced through this centuries-old method boasts rich, complex flavors that reflect the island’s time-honored craftsmanship and deep respect for nature’s rhythms.
Kagawa’s olive hamachi – yellowtail raised on a feed blend that includes locally grown olive leaves – is prized for its firm texture, clean flavor, and healthful qualities. The olives’ antioxidant properties soften the bitterness of the fish, producing a richly satisfying taste befitting the innovation and terroir of Japan’s smallest prefecture.
Olive-fed wagyu from Kagawa blends tradition and innovation. Raised on feed containing pressed olive lees harvested from local olive oil production, the cattle produce beef with fine marbling, umami-rich flavor, and a clean, refreshing finish. This sustainable practice embodies Kagawa’s dedication to quality, regional pride, and culinary refinement.
