Leonardo da Vinci, obsessed with visions of the world collapsing in a deluge late in his life, kept drawing countless swirls of water eroding the earth. While delicate and still bold drawings done by Ugetsu resemble those of Leonardo’s, they would more likely impress us as phenomenon of the world in the making, rather than in the process of collapsing. The spiraling swirls, organic or inorganic, might as well be fundamental lines piercing through the natural world. When we are moved by the works of Ugetsu, we are literally experiencing a resonance between his lines and the lines piercing through our inner life.
Atsushi Tanikawa, art critic
The concept of “Rimpa” has gone beyond the narrow and closed framework of the Japanese art history since the beginning of the 21st century and is now shared across the world. It is probably a synonym of “Mannerism” as Tatsuhiko Shibusawa once declared. The works of Ugetsu, artist of whirls, belong to the lineage of “unfinished Rimpa”, dating back to Ogata Korin’s search for irregular currents and whirls in his White Plum Blossoms.
Arsuhiko Ishiguro , Art and science critic
石黒敦彦（ART ＆ SCIENCE）
Where does it start? And where does it end? Viewers would inevitably look for the start and the end of a dancing flow of brush strokes by Ugetsu. It is music played with black ink. It is a requiem. It is because of this tune that a life emerging from the line touches a chord.
Sakumi Hagiwara ( emeritus professor of Tama Art University)
Ugetsu, an award-winning print maker who has received a number of prizes at international biennale exhibitions, found a fallen black bamboo in a forest one day. He brought it home and started painting with it. This episode reminds us of “The Tale of the Bamboo Cutter” dating back to the Heian era, in which an old man finds a little girl in a glowing bamboo in a forest. When she grows up, she is taken by emissaries from the moon. The story is full of implications connecting humans with the space. Coincidentally, 有月 means “the moon exist”. Black shapes and figures emerging from the tip of a natural bamboo as he scratches paper with it connect the consciousness of urban dwellers to forests and the space where all things are in a state of flux. His works mark a departure from Japanese traditional black and white paintings. Traces of spiral movements painted on Japanese traditional washi and cloth also call up images of some works done in the name of inframince by Marcel Duchamp.
Kiyoshi Kusumi, Art Critic, Former editor-in chief of the art magazine Bijutu Techo