Like On Kawara or Tatsuo Miyajima, Koganezawa’s work circles the finiteness of life and the passage of time in space. In doing so he draws on modes of thinking and ways of seeing associated with Buddhism.
Formally speaking, Koganezawa’s Luftlinien stand between Op art and Art Informel. Some of the video pieces recall animated versions of paintings by Bridget Riley, the gesture paintings of Karl Otto Götz or Otto Pienes rooms.
Koganezawa’s images, however, are in motion and, when viewed against the background of the most recent Japanese and European art history from Gutai through On Kawara and Miyajima to the German Informel, they are, moreover, independent and contemporary to a very high degree.