It is also obvious from first glance that those sculptures do not seem to belong there on the car. There are almost no colors used in this artwork. The glass used is clear and the car is in dull white. There is, however, some appearance of fragility in the overall art installation.
The glass sculptures are sparingly placed all over the car. The curves of the sculptures are very striking, and they are even more emphasized by the soft white light that illuminates it. They are cell-like abstracts in form. The dimmed surroundings gives off a hint of bluish effect on the light illumination on the glass sculptures. This effect gives off a serene mood, which is, at first, both amusing and perplexing at the same time. The rust on various places on the car is also emphasized by the car’s dull white color. Interestingly, even without immediately realizing the message of the artwork, one can immediately sense that the car is somewhat giving way to the glass sculptures. One would later on realize that the oldness of the car and the newness of the glass sculptures are part of the overall message of the artwork.
Upon closer and longer inspection and reflection, it becomes apparent that Aoki is trying to depict bacterial growth on the car. The glass sculptures represent spores of fungi that seem to overtake the car. By this time, it is understood that the oldness of the car seems to say that old things give way to news growths. It could have a different meaning altogether, or it could be taken at face value --- where old things or surfaces become ideal places for fungi growth. By this time, too, it is understood that the light seems to say that these things (microorganisms) are usually unseen and ignored, and one needs to cast light over them to make them go noticed. Aoki might also be trying to say that bacteria are everywhere, but they are always unseen. This is just like the characteristic of the glass used. Glass is usually unnoticed, unless