His process fluctuated between delicate and audacious, conservative and unfamiliar. The work of Noguchi was distinctive through form and medium. He created an array of gardens, furniture, landscapes, and architecture in stainless steel, marble, balsa wood, cast iron, bronze, aluminum, granite, and basalt.

In 1927, Noguchi went to Paris to work in Brancusi’s studio, a sculptor enthused by the forms and philosophy of modernism and abstraction. He infused a lyrical and emotive poignancy, with a sense of distance in the mesmerising unknown.

Although Noguchi did not commit to an individual movement, he instead collaborated with artists operating in a multiplicity of disciplines and schools.

He worked with Martha Graham, Merce Cunningham, Erick Hawkins, George Balanchine, and composer John Cage. Noguchi also co-created with architect Louis Kahn to design a playground in the 1960s. When permitted to venture into the assembly of his ideas, Noguchi grasped it.

In 1985, Noguchi opened the Noguchi Museum in Long Island City, New York. The museum was created and implemented by the artist and located in an industrial building opposite from the artist’s original studio in the 1960s.

The museum feels tranquil throughout and is reflective of the ephemeral nature of Noguchi’s work. As though time stands still. Viewing his work is experienced through the body, not mind.

Noguchi’s fascination with empirical experience as the pathway to connection was conceivably momentously illustrated by his numerous structures for playgrounds and play equipment. In the planning of these projects, which are intended to gesture at non-directive, segmental, and expansive structural systems, within each system was a material representation of his theories on the significance of physics through physical experience.

Noguchi’s work is a capsule of peace. It detaches the human from reality; it is ascendant and mystic. He accepted the view that nature was of central importance to the human condition.

It is seen in his artistry the courage to make work, which invigorated this belief. Noguchi once said ‘I don’t have much faith in objects. I tend to believe in the space around an object, or in non-material things’. Imagining that art should deliver more than evidence and conclusion, his work was intended to motion a mutual discourse with the spectator abreast and absorbed by observed experience. Art is a constant process of becoming. Noguchi constantly propelled new limits by exploring latitude, substance, and atmospheric possibilities.

He did this by uniting both historic tradition and contemporary technology to reflect on the customs of sculpture in a modern industry. This is exemplified by his closeness to stone, where he employed ancient carving techniques whilst also embracing technological advances to progress in production.

In his own words, ‘after each bout with the world, I find myself returning chastened and contented enough to seek, within the limits of a single sculpture, the world.’

Throughout the trajectory of Noguchi’s career, the importance of his art was not true to the conventionally narrow interests of the preferences predominantly determined by the Western art aesthetic or the trend tendency in the art market.

Noguchi was an artist invested in the denotation of the living, which was reflected in the form and materiality of the sculpture, along with how it exists in everyday life. The process of creation and the objects themselves were made to be tools for discovering our dwelling in the universe.

The works produced by Noguchi shine a light on our relationships to our community, humanities, memory, and nature. Art has historically acted as the voice of the storyteller; it communicates our humanness and connectedness.

It is the binder, the glue. It is strong enough to move us all. Noguchi’s art transcends time and place when felt in its fullness.