What appears is almost the image itself of time, of which Horiki’s paintings restore the aspects of combustion and erosion. And the surface of the picture appears in effect to be weathered by time, by the time of the painting: a minimal wall of tesserae with geometric patterns imbued with mutating colours, painted in the form of a rounded arch or a lowered arch, and squared in the manner of an icon by a neutral frame.

Thus Horiki’s work reveals a double tension, particularly stimulating for the contemporary adventures of art. In the first place, the wholly oriental tendency to synthesise the story of thought and the events of culture in ideographic/symbolic figures, in such a way that the act of becoming history is shown in the apparent a-temporality of an emblematic language. […] while the mimetic will of Western naturalism has created a clear separation between natural and artificial signs, so that when these meet, according to Barthes, an “association of embarrassing signs” is born, or rather of signs whose artificial nature simulates natural signs masking the representative device.