I cannot say whether Horiki’s painting springs from a “wedding” of wise oriental meditation and western sensibility; whether the “pierfrancescan” light of his paintings from which, as he himself declares, his pictorial research sprang, is perhaps the result of a “wedding” or of a “rediscovery”. Piero della Francesca is his, just as Ulysses is.

Time is suspended in Horiki’s paintings, not through sacred manifestation, but through the overcoming of temporariness. Narration needs neither a before nor an after, it is implicit in the pictorial matter, it is light and colour, and the eternal journey of Ulysses belongs to this, as does the constant repetition of gesture until that enchanted encounter with truth.“.