The artist employs in his installations and three-dimensional conceptual and metaphysical works frequently perishable natural materials such as fruit or alcoholic liquids, which he puts under pressure between glass frames or metal plates. They hint at the tension between permanence and transcendence, life and death, human beings and nature, and the universe. The ostensibly peaceful landscapes and places in the current series were photographed through a glass frame filled with red wine.  In the light and color of this fermented fruit juice, which oscillates between the secular and sacred and recalls the excesses of Bacchus/Dionysus or the blood of Christ, appear the sites of historic tragedies, such as the ash lake at the Auschwitz-Birkenau concentration camp or the bay on the Okinawa islands where bloodshed occurred in the wake of the landing of US troops in 1945.

 

The radical transformation of landscapes in Japan in 1945 inspired the Hiroshima-born artist to this series of sculptures, which commemorate the brutal effects of war and the atomic bomb. The deep craters, which document the forceful encounter between concrete and objects, serve as reminder of unresolved conflicts.   

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