She lived in the small suburbs Krefeld, Dusseldorf, Germany for about ten years from 1972. She held many private exhibitions based on her works in this city. She tackled first the Zen world, the opposite to her themes during her U.S. sojourn. She created a white series which explored minimalistic whiteness and space and created ink characters on white cloth. They echo the former yamatoe's union of space with characters.
Although Hiramatsu dealt with the Chinese and Japanese syllabary, those works cannot be described as "calligraphy." The Chinese character emerged in China to express an image of the form. Hiramatsu returned to the characters' origin and recreated her own new forms. Then a character was no longer an established character style, but was pictorially arranged on a canvas. In this way, a new writing freed itself from established meaning and became an original orientalistic abstract arrangement. The characters' meanings vanished, the established concept of calligraphy was broken into its elements and reformed by her. This was art which expressed its own rhythm, free from adherence to form. It simultaneously showcased the world of "wabi", "sabi" and "zen" hence the genealogy of Japanese tradition.
Curator Gisele Fiedler of the Caiser Wilhelm Art Museum took it in and understood its meaning. This exhibition was written up in West Deutsch Zeitung and other publications. Then traditional arts of Japan came to attract more attention. Furthermore, the Consul General of Bon supported Hiramatsu's holding of exhibitions in various regions in Germany.
Work 4
"Zen"
Materials: cloth, sumi.
Magazine page photograph appeared in ART INTERNATIONAL, 1977.
Work 5
"Prayer"
Materials: cloth, sumi.
New characters were introduced in a picture formed by abstract conceptualism.
Work 6
"Toutou"
Materials: cloth, sumi.
Flowing river water is depicted. The title is self evident.
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