At the time, while I
recognized in the installations
in which Tonoshiki threw together and brought into dynamic coexistence waste lumber from demolished houses, driftage from the ocean, abandoned televisions and other domestic waste, and scrapped vehicles on the one hand and natural outdoor
settings or orderly exhibition rooms
in art
museums on the other, a common spirit with the cyber-punk-like junk aesthetic that was then reaching its peak (see the work of Seiko Mikami, for example), the only thing I sensed Tonoshiki was stressing — particularly given that he had been influenced by the social sculpture of Joseph Beuys — was probably that the concept of «reversal» could be found
in the act of almost violently recycling useless objects that had served their function and were merely waiting to be disposed.