In search of a new visual language, Japanese artist Yuya Suzuki responds to the environment around him: minimalist amorphous shapes, semi-symmetric patterns and bright, blazing colours function like fragments or syllables of an unintelligible code. When viewed as series or as room-filling installation, Suzuki’s works unfold into a linguistic landscape that feels strangely familiar, yet cleverly escapes definitive meaning. Each image is created from a part of an actual city-scape, but the level of abstraction varies: from motifs that closely resemble the original to heavily abstracted patterns. His “archegraph studies” — a term he coined in 2016— are visual texts that could also be described as an abstract syntax or musical pattern. Suzuki’s notes proliferate endlessly, defying a harmonious melody.