Hirofumi Takemoto’s practice examines vision as a historical and institutional structure. His paintings bring two visual systems into simultaneous operation: the contour-based and relational spatiality of pre-modern Japanese ukiyo-e, and the volumetric logic of Western chiaroscuro. Rather than synthesizing them into a unified style, Takemoto preserves their tension. Through this collision, painting becomes a site where the rules that shape perception can be made visible, compared, and questioned.