A member of the constructivist group Madi, Satoru initially bases its work on chromatic oppositions of colored rigorous flat forms. In 1976, he feels the need to escape from the frame. He starts surrounding the fabric of a wooden structure, or gives a rhythm to the painted surfaces with the help of asymmetrical sticks. This first stage leads to the creation of three dimensional frames. The artist then partially abolishes the fabric, playing with the notion of vacuum, which becomes a central element of its reflexions. A new relation is established between the canvas and the wall which supports it. In 1979, Satoru develops a new axis of reflexion
His use of rough materials, such as naked fabric or wood (and, for a short period at the beginning of the Eighties, metal), treated in a reduced pallet, and his designs of intermediate constructions, halfway between painting and sculpture, carries out Satoru to pure sculpture and to a search for the integration of art in environment. As he explains it : " the direction of the naturalness the rough material made me feel, was the specific demonstration of a deep desire to find the elements of the nature which determines us and contains us : a liberation of the art reinstated in all its realities : space, ground, sky, light - here what I certainly desired for a long time ".
This permanent preoccupation about the interaction between works and their environment led the artist with two very important projects, in his native area, around Sendaļ. There were the construction of the " Bridge of the Arts " on Natsu River, and the complete design of a public park, in the small town of Nakada.
Besides his personal creative activities, Satoru has been teaching for several years, especially at Paris VIII University (Landscape Art).
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Construction and conception III
1992, acrylic on canvas and wood.
Nakada Park
entirely conceived by Satoru, 2000, Sendaļ area, Japan.