After studying Fine Arts in Japan, Miura moved to Spain where he has pursued his artistic career. His Eastern training—a factor that shapes all his work—is combined with an interest in nature that is materialised in barebones abstraction. The minimalist and geometric aspect of his work is apparent at first glance, but it also has deeply personal roots, reflected in the way he captures the essence of the landscape. There is one place that has marked much of Miura’s work: the Playa de los Genoveses, a beach in Almeria that is the inspiration behind many of his pieces, which he creates from photographs and notes taken in situ during yearly stays spanning several decades. In pieces categorised as close to Land Art, Miura abstracts elements like the sea, the sand, the beating down of the sun, the horizon and other signs observed on the coast of Almeria to transfer them to polyptychs that appear to have little connection to what is observed in nature. Nevertheless, his works sum up the essence of what he sees; colour and form take possession of the visual language in paintings and other media, and materials are chosen by the artist to achieve the most apt representation, reinterpreted to reflect the sensations that the elements depicted provoke in him. The 120-degree angle, like an open hand fan, serves as a metaphor for the sunsets and sunrises so often observed at the seaside, a subjective viewpoint; in Untitled (1988), a polyptych cut into five pieces of wood, the artist creates a series of chromatic gradations that allude to changes in the sky caused by the shifting sunlight. Miura subjects nature to a conceptual process of geometric condensation based on close, painstaking observation. The result is a sensory work that emerges from his personal experiences.