In 1948, the respected Zen elder Ian Kishizawa told the sculptor Shindo Tsuji, "Forget whatever you can and express whatever remains." Despite its enigmatic and paradoxical quality, this typically Zen-like admonition nevertheless manages to sum up the career of Tsuji (1910-1981), an important Japanese sculptor whose centenary is being celebrated by a major retrospective at The Museum of Modern Art, Kamakura.

Tsuji's early career is the familiar tale of a young provincial coming to sup at the fountain of metropolitan sophistication and seeking to make a name for himself by acquiring the expected styles and techniques. After moving to Tokyo from his home village in Tottori Prefecture in 1931, he studied Western-style painting at the Independent Institute of Art, before switching to sculpture, for which his main influence was the naturalism of French sculptor Auguste Rodin.

Working in wood, early works, such as "Summer Morning — Master Denchu Hirakushi Aged Seventy" (1941) and "Poet — Study for Yakamochi Otomo" (1942), won praise for their realism, despite the fact that the statue of Otomo looks very different from how we would imagine the Nara period (710-794) poet to have been. By this time, Tsuji was exhibiting his work as a member of the Japan Art Institute Exhibition.