As I shared the other day, my work has been featured in the Paris art paper “République des Arts.”
That someone noticed my work on Instagram and reached out to me — and that what I have written with such care is now published in a French magazine as an artwork.
The happier the news, the more it tends to feel like a dream. This time, though, I wanted to simply accept the joy as it is.
And this autumn, I have been selected, through the ARTEC association’s organizer-selected category, to exhibit my work at the “Christmas Market 2026” in Paris 🎄 Just the thought of my work being displayed in Paris is exciting.
With “Kotodama” by my side, I will keep striving with an expression only we can create, in the hope that it may someday reach someone’s heart.
May today’s feeling of joy become, someday, a page in my own precious story.
・゜゜・:.。*・゜゜
Cherish the heart that feels joy.
*・゜゜・*:.。*・゜゜ I wrote this today with all my heart. Thank you for viewing. SEIREN (清蓮)
Seiren’s calligraphy is born from a rich encounter between Japanese tradition and a distinctly modern sensibility. The strength of a single brushstroke converses with the stillness of the blank space, and the characters transcend the boundaries of language to be elevated into true works of visual art.
Each composition reveals a deep understanding of the aesthetics of “ma” (the interval). Here, the blank space carries as much expressive power as the ink itself. The lines are precise, sharp and remarkably pure, and the unhesitating brushwork is supported by intense inner concentration. That concentration touches the viewer’s sensibility directly.
“夜桜” (Night Cherry Blossoms)
In “Night Cherry Blossoms,” Seiren is not simply depicting the famous cherry trees lit up in the Japanese night. Rather, the work evokes the cherry tree itself, standing quietly and proudly in the still-cold air at the end of winter, just before the blossoms open. Beauty lies not only in the bloom, but in life itself, quietly existing as it waits for spring.
“明澄” (Clear Serenity)
In this work, the artist avoids excessive density. The deliberately diluted ink takes on a light, grayish nuance and gives the characters an extremely light, clear impression. The composition spreads across the whole sheet, leaving large spaces between the characters as if they were breathing. This visual breathing heightens the clarity of the whole work, evoking stillness, transparency and a purity that is almost immaterial.
“魂” (Soul)
This work forms a perfect contrast with “Clear Serenity.” Against a deep black background, white characters rise powerfully and occupy a large part of the space. Here, light itself seems to be born from the characters. By making white stand out strongly in the darkness, Seiren expresses the purity of the soul, inner strength, and the will to move toward greater heights.
“流星群” (Meteor Shower)
The background, composed of shades of black and deep blue, suggests the boundless expanse of the night. At the center, white characters are arranged as if floating in space, while most of the sheet is deliberately left empty. This emptiness amplifies the sense of infinity and turns the characters themselves into something like constellations. The lightness of the lines invites the viewer into quiet contemplation and creates a gentle, poetic impression.
Yet what truly sets Seiren’s work apart is the power to breathe in the living spirit that dwells in characters, which Japanese tradition calls “kotodama.” Characters no longer merely convey meaning. Memory, emotion and inner tremor dwell within them, making them present with a power that goes beyond words themselves.
“Kotodama” is a spiritual concept rooted in the Shinto tradition, the belief that sounds and words themselves carry their own energy. Each word is said to hold a power and vibration that acts on the heart, the body and the soul. In Japanese culture, this power of words has been associated with calming the mind, healing, peace, creativity and even meditation.
What Seiren makes visible is precisely this invisible dimension. Her calligraphy does not merely “show” characters. It lets us “hear” the silence of words and brings to the surface the spiritual presence within them.
Critique — Françoise Icart
Awarded the Order of Arts and Culture in 2021. President of the arts promotion association ARTEC, president of the Art’Elles group (European and international association of women artists), secretary general of La Bazée, member of the French art journalists’ association and of the professional artists’ association, member of Arts-Sciences-Lettres. Associate member of the SMLH (Society of Members of the Legion of Honour) and permanent secretary of the European Academy of Arts, Sciences and Letters (AESAL). After graduating from the University of Tours, she studied drawing and pastel with her father, a portrait painter at the Louvre. She began her career as a teacher, specializing in communication, psychosociology and creativity for the BTS (advanced technician diploma). She is also active in many media, including as a radio host and television guest.
🇫🇷 A wonderful connection has come my way 🎀
I am delighted to share that my work has been featured in issue No. 6 of the French art paper “République des Arts,” under the title “Letters Infused with KOTODAMA — SEIREN” ✨
I was invited by the representative of the General Incorporated Association Geijutsu Kyowakoku (@japanartrepublic), 清水 雅. Ms. Françoise Icart, president of the art promotion organization ARTEC, headquartered in the Loire region, then wrote a critique of my work.
“Words hold a spirit.”
With that belief close to my heart, I have kept putting the meaning of each word and a prayer into every brushstroke, hoping it would reach someone. That my calligraphy can now be seen in far-away France, and that what I have cherished has been received this way, fills me with joy. To think that I am in the same magazine as the wonderful artists featured alongside me. That joy cannot be put into a single phrase.
And there is one more thing. Behind every “Kotodama” piece of mine is always the editing eye of 寿美染.
The Kotodama account began with her kind words: “I love your calligraphy. I want to watch you write it 💕 Please film it too.” and “It would be a waste to keep it to myself. I want more people to see it through social media.”
Since then, when I tell her what I felt as I wrote, she dresses up my calligraphy — beautifully, and sometimes coolly — and turns it into a single video, making my work even more precious to me. She always puts first my wishes, such as “I want to use this song” or “I’d like it to look like this.” Those exchanges, too, have become an enjoyable time we take our time over.
Ms. 清水 told us that the fusion of 寿美染’s editorial perspective and my calligraphy makes the work more modern and refined.
And President Icart commented: “Japanese tradition meets contemporary sensibility, and the characters transcend the boundaries of language to be elevated into visual art.”
Our works are like children we have brought into the world. Beyond our hands, they reach someone’s heart and are taken to new places. It feels so strange and wonderful to experience that now.
President Icart’s critique, which stayed close to Japanese calligraphy and carefully read what lies beneath the work, is shown in the photos in translation. I am deeply moved that she understood and embraced the feelings I put into my calligraphy so thoughtfully. Her critique made me feel the depth of reading art through words. If you have time, please do read it.
To everyone who always looks at the works of Kotodama @kotodama.world and leaves comments and likes: you are my encouragement. Thank you so much.
I will keep creating wholeheartedly and move in the direction my soul wishes.
Sorry for the long post. My heartfelt thanks to everyone involved in this feature. Thank you for reading to the end ✨
#ヘンテコ書道部バトン157 I’m joining the baton relay of the “Henteko Shodo-bu” (Quirky Calligraphy Club).
Theme “Kyara” (伽羅, a prized grade of agarwood) Kyara has long been treated as a treasure worth more than gold—said to be equal in value to “a whole province and castle.”
Subtheme “Sandalwood” (白檀) The chest of drawers where my mother’s kimono used to be kept. That nostalgic fragrance when I opened it.
I remember the delicate scent that drifts out when you fan yourself with a sandalwood fan. I keep the fan as a keepsake ✨
Quiet, and somehow nostalgic. I wrote this thinking of that Japanese fragrance.
@yuri_shodo, thank you for such a beautiful theme— it almost seems to carry a scent 😊
Tomorrow is #中秋の名月 (the Mid-Autumn harvest moon). Depending on the weather, tonight might actually look more beautiful. And the full moon is said to be on September 27 🌕
The moon floating in the clear autumn night sky. Pampas grass swaying in the wind.
I wrote this imagining an autumn night slipping by in the moonlight.
*・゜゜・*:.。*・゜゜ May the time you spend gazing at the moon be a peaceful one.
May the quiet moment you spend gazing at the moon bring you peace and serenity.
*・゜゜・*:.。*・゜゜ I wrote this today with all my heart. Thank you for taking a look. Seiren
The piece used in this reel, Liszt’s “Liebesträume” (Dream of Love) No. 3, is said to have been born from those very words.
I had always thought it was a song about the sweet love between sweethearts, but I’m told it carries a message about life itself: “Love while you can.”
Not only romantic love, but love for family, love for friends, the feeling of caring for someone dear.
What it means for one person to love another.
I wrote this “愛” (love) with all my might, thinking of a love that deep and that vast.
The shape of love is surely different for each of us. I would be happy if this single character lets you feel your thoughts for someone you cherish.
*・゜゜・*:.。*・゜゜ Love may be unseen, untouched, yet deeply felt.
*・゜゜・*:.。*・゜゜ I wrote this today with all my heart. Thank you for taking a look. Seiren
