“Horiki has doubtless succeeded in his work in making a valid interconnection between the Oriental Zen propensity for reducing forms to their essential and the western one which left its mark on the works of what was called minimalist or analytic painting in the sixties and seventies, in other words between a positive philosophic concept of emptiness and absence and one tending towards annulling the image, in terms of concrete adhesion to the primary materiality of the process of creating painting."