Kazumi Ikemoto's work prior to creating Sculpture: Scene 22 consisted of stained glass panels including a densely sprayed paint technique and an illustrative style. The quirky story-book approach of Sculpture: Scene 22 is consistent with much of Ikemoto's work and has connections with the Japanese history of rather bizarre illustration. Ikemoto's recurring self image of a strange, part animal creature situated in a medieval context appears in this work. The linkage of Medieval Europe (the origin of the tradition of stained glass) with contemporary Japan emphasises that there was not a tradition of glass in Japan until after the arrival of Westerners (in the nineteenth century). Ikemoto has said: 'the hazy world of memories where past and present co-exist awakes extraordinary fantasies in me.'(1)

1. Yoriko Mizuta. World Glass Now '91, Hokkaido Museum of Modern Art, Sapparo, 1991, p.66.