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Yoshida, p. 3

interested in[[in]] other artistic experience, Yoshida listed such things as "'contained' forms, confrontations - person-to-person/person-to-object, absurdity, anti-minimalism !, visual invention, hybrid forms, aberrations, the marvelous and unconventional traits."

While this compilation gives a certain idea about the kinds of formal languages Yoshida employs, it perhaps goes farther to indicate the spirit he looks for both in his own work and that of others, a spirit that is involved with complexities, strangeness, fantasy and invention and which is striking and remarkable in its removal from conventional forms and formulations. While the purely formal range of Yoshida's work seems quite broad, extending from loosely organic shapes to precise and occasionally clearly geometric ones, his underlying involvement is almost invariably with the sort of form which may be called organic abstraction in the sense that without often being very realistic in recording the appearances of things actually observed, the shapes seemed to have been formed or derived from principles analogous to those determining the shapes of living things. In this he shares a disposition to a kind of form found in quite a number of other Chicago artists and it is possible, even likely, that in his role as teacher, Yoshida has been instrumental in both stimulating and perpetuating an interest in it.  This organic form appears already in the beautiful untitled diptych of circa 1962 (Phyllis Kind Gallery, Chicago) where, within an architectonic arrangement of horizontal and vertical elements which suggests an interior with a window, there is a flood of circular and leaf-like forms punctuated with oblique rectangles and reminiscent of playing cards, a vertical cone shape recalling the punning tower=road images in some versions of Magritte's Condition Humaine pictures and then the single, vivid red image