[3] Through his specialization in engraving and the subsequent creation of the Taller Nou studio, he has worked with national and international artists, such as Antoni Tàpies,[4] Barry Flanagan, Balthus, Miquel Barceló[5] and Perejaume.

[1] Despite the fact that his academic background was focused on engraving, his personal development as an artist has matured above all in the area of painting.

[3] In 1984, with an invitation from his grandmother Setsuko who at the time was living in France, Motomiya undertook his first trip to Europe with the intention of getting to know the art of European museums.

During his first exhibition at the 5th NiCAF in 1997, Motomiya was introduced to the Japanese poet and literary critic, Makoto Ōoka (大岡 信, 1931–2017).

[14] Today, some of those paintings are part of the private collection exhibited at the Ōoka Makoto Kotoba Museum, in Mishima, Shizuoka Prefecture.

From black earth to marble powder, the whole range of shards - extracted from ashes, slag, ocher, minerals, iron oxides, walnut husks, tallow, or coal.

Countless layers of meaning that completely redefine the significance of the works from that which was initially perceived with the naked eye.

[18] Motomiya generally draws from his readings (Bible, Dante, Goethe ...) clues for reflection; expressions, proverbs, myths.

While the figure is mostly absent from his paintings, reduced to surreptitious appearances, Motomiya gives us mute objects to meditate over like those of the Grail procession.

Ashes, deities, and engulfed peoples, influenced with vanished and metamorphosed worlds, reveal their traces, anthropomorphism becoming abstraction, geometry.