Over the past four decades, Nomata has developed a hybrid architectural language that fuses the industrial, fantastical, archaic and futuristic. The starting point of the artist – who sees ‘imaginary architecture’ as a visual language in its own right – is in Tokyo where he spent his childhood. In a commercial and industrial area where town factories and traditionally designed housing coexist, he became interested in a lexicon of structural elements such as chimneys and steel towers. Especially in Tokyo in the mid-1960s, urban development was actively carried out before the Olympics, and with expectations for a new city raised high in the construction of Tokyo Tower, Nomata seemed to access a glimpse of the future.

Rendered with meticulous precision, his scenes often feature towering edifices, intricate skeletal frameworks, spherical forms or wind-powered machinery. The distinctive colour palette that Nomata employs is muted and atmospheric – shades of stone-grey, white and sepia interspersed with subdued blues and greens – which enhances the dreamlike quality of his constructed realms. The artist’s use of a relatively flat style and shallow depth of field further enforces this impression of the constructed world, a dimension of which is the theatrical. Bathed in a focused, directional light, structures such as those in Continuum-1 (2024) come to resemble pieces on a stage set against simulated backdrops of hazy cloud and sky formations.

Nomata likens his process to ‘daydreaming in an awakened state of reality’; his paintings are not wholly Surrealist, nor can they be described as acts of pure imagination. As the artist has stated, ‘I have seen what was there already. I don’t feel like I’ve built it, I look at it’. Though the pervading atmosphere of the works is broadly inspired by science fiction, Nomata has cited the writings of Philip K. Dick, and the music of Brian Eno and Erik Satie as particular sources of inspiration. When working, the artist uses music to ‘amplify’ his imagery, enabling him to ‘imagine something wider, deeper, and more lasting’. The artist draws from a personal archive of over fifty scrapbooks, which are filled with images culled from magazines and newspapers, as well as television programmes that focus on history, mathematics and astrophysics. Beginning by creating sketches from this material, he then transforms these over months, years or even decades. The syncretic visual language that results draws upon art-historical references as wide-ranging as Greek and Roman architecture, the early works of Henri Rousseau, the visual kinetics of Op Art, the machine-age aesthetic of the American Precisionist painter Charles Sheeler and the visions of Giorgio de Chirico and René Magritte.

In Nomata’s ‘Continuum’ series, solitary structures arise from low horizon lines, erupting towards the sky. Although many of these might be identified as ‘buildings’, their function and who they serve remains elusive. Continuum-5 (2023), for example, shows a glass tower set against a smoggy night sky, recalling the vast iron and glass constructions designed for 19th-century World’s Fairs – such as the Crystal Palace in London – but here it is made strange through elongation and its culmination in a bell-like curve. There are no apparent entrances or exits, although the helix of paint that circles the interior could indicate a staircase, albeit with no clear beginning or end. A colossal tree is erected inside, its growth forced into the narrowing upwards trajectory of the glasshouse, while foliage creeps across the exterior planes of the building. As with many of Nomata’s works from this series, a sense of placelessness pervades the scene, which exists somewhere between a dystopian future and a mythic past.

Elsewhere in the exhibition, Nomata turns his attention from the aerial to the aqueous, depicting large-scale hydrological formations, such as icebergs, frozen waterfalls and wide vistas of glaciers, as he has done in Imagine-1 (2018). In Continuum-12 (2024), two unnaturally spherical ice masses are bisected by the ocean’s surface, the one above the water line tapered into a slight point. The circle motif repeats throughout Nomata’s series – whether as a single, seemingly organic entity in Continuum 19 (2024), as components in the architectural assemblage of Continuum-3 (2023) or in the immense transparent balloons tethered to the ground in Continuum-6 (2024). In Continuum-21 (2024) Nomata depicts a boat-like construction on the water, seemingly driven by a combination of hydraulic and aerodynamic equipment. In numerous paintings, mechanical interventions protrude or interrupt otherwise serene landscapes, as if to place human endeavour in contention with the sublime force of nature.

According to the artist, ‘construction, repair and demolition’ occur simultaneously in his paintings; they confer, too, upon the simultaneity of past, present and future distinct to Nomata’s work. As he states, he sets out to create worlds that ‘are not “somewhere”, but “nowhere”, in a position that helps [him] find a place to head for’. Devoid of identifiable temporal or geographical markers as they may be, Nomata’s ambivalent landscapes speak directly to humankind’s long-standing existential concerns about what place, if any, it has in the world.

Minoru Nomata (b.1955) lives and works in Tokyo. He studied design at the Tokyo University of the Arts, graduating in 1979 before taking up a position in an advertising agency in the city. After five years Nomata left in order to focus on his painting practice, and in 1986 held his debut exhibition ‘STILL – Quiet Garden’ at the Sagacho Exhibit Space, an alternative gallery in Tokyo run by Kazuko Koike. Further solo exhibitions include White Cube Seoul (2024); Tokyo Opera Art City Gallery (2023); De La Warr Pavilion, Bexhill-on-Sea, UK (2022); yu-un, Tokyo (2022); The Museum of Modern Art, Gunma, Japan (2010); Tokyo Opera City Art Gallery (2004); and Meguro Museum of Art, Tokyo (1993). Until recently, Nomata was a Professor at the Joshibi University of Art and Design in Tokyo.