The translation of observations from nature, urbanity, and traditions of Japanese fine art mark the abstract image worlds in the complicated drawings of Hiroe Saeki. The minuscule, repeating, and yet slightly modified forms seem to float like individual ecological organisms against the white image surface: volatile, continuously exposed to the natural process of change. The artist works with pencil, a thin black architect’s pen, and sometimes with accents of ink and acrylic, usually on smooth, chalk-white paper, which supports the surreal, extremely artificial aspect of her shapes. With the first creation of the drawing, the empty space of the paper is already defined and qualified as an active moment of image expression – in accordance with the Japanese tradition of ‘ma’, emptiness filled, which is defined positively as beginning and space for opportunities. The natural-seeming shape complexes gain their suggestive concision from the contrast to the cool white of the image space, in order to establish a harmony of its own order with this at the same time.