Artificiality is a diligently rehearsed concept in Tetsutaro Kamatani's painting process, composition, objects and theme. The artist depicts his imagination in pictorial compositions to create a fabricated fantasy. The ambiguity of the medium in Kamatani's artwork is heavily due to his belief that the white canvas does not exist. The creative process of his deceptive paintings is premeditated as an initiative to reflect a virtual reality. By transferring an image to the canvas, Kamatani applies oil paints on top of the images. With these duplicated layers, he stresses that his works are 'paintings' and that the transferred image is merely the foundation of his canvas.

Through this reproduction, he heightens the artificiality of his subjects in Simulation (Lot 427). As suggested by the title Simulation, he employs manufactured merchandise of supposedly natural objects such as insects, plants, flowers and humans beings. Kamatani impersonates a classical still life arrangement of vibrant nature motifs alongside the central subject with a contemporary twist. Still life paintings in the past often depicted natural live entities but Kamatani utilizes manufactured imitations of these entities to portray similar compositions of the classical paintings.

In yet another gesture to classical art, the triptych is simplistic in composition and theme. In Fire A,B,C (lot 427) the burning of inanimate dolls-whether three, or one in sequence- by a furious and active fire is captured by the artist's wild imagination. Though often threatening, the beautiful vibrant colours and smooth texture of the flame evokes a sense of serenity and tangible warmth. The fire is contained and controlled and perhaps is reminiscent of calm flames that crown a Buddhist statue. In this work, the artist effectively separates masochistic notions of a burning synthetic doll from the viewer and through fine artistic techniques, suggests an image of tranquility often found in ancient works.