There was also a collage of drawings on a screen. Although individual human parts are identifiable, the overall structure does not seem to be human but grotesque like specters. They are mystical and extraordinary sequences. When I stared at them, I recognized characteristic symbols and painful depictions among others. Trails of pencil frictions, lines running off the paper, and scribbled words also remain on the drawings as vivid as life.
I saw his affectivity, his nativistic emphasis particular to Japanese, in the piles of organs and bloods revealed by stripping off the superficial skin. One direct and concrete existence in one screen takes more than one actions at the simultaneously. Although this is an unrealistic depiction, there has been a tradition in Japan that stories are created with iconography, which is a technique having been used widely in Yamato-e paintings since ancient time, as well as in conemporary manga. Therefore, strangely enough, I felt cured when gazing at things he vents on his paintings in consideration of concepts inherent in Japanese mind.His choice to gouge out what exists in Japan, such as inner suppuration, with avidity is very modernistic and a form of public catharsis, revealing hisJapanese particularity. His works neither raise a question to the society nor have clear concepts based in the contexts of the art history. However, his works inexorably contact with the “essence of self” in every person and are so creative as to provoke sympathetic