Suiko, a creation which brings out life in numerous ways, is named after the primary recorded ruler of Japan. However legend says that few females had administered before Suiko (554-628 CE), her ascent to drive after her sibling Sushun was killed in 592 CE denoted a break with custom of introducing male rulers. Suiko is associated with the Chinese and Korean impacts she brought to the nation, including the execution of the Chinese schedule, the appearance of Chinese and Korean skilled workers, and, maybe most eminently, the foundation of Buddhism.

In Suiko, differently measured matched wings radiate from the work’s middle, creating an even concentric circle, a compositional game plan that reviews Buddhist imagery and the existence cycle. This round design is strikingly characterized by sparkling lines of red that askew cross the piece from the middle to meet each corner. With the wings set against a red foundation, the lines shoot through the sets of incorporeal wings where the bodies once existed. As is valid for each work from the series, Suiko shows up in a consistent condition of change, the butterflies moving and developing the more one stands before the work. While the complexities can be really valued up near the print, from a remote place the structure takes on another life. From this vantage point, Suiko uncovers itself to have an expanding course of action of wings, which are coordinated around the focal example of concentric circles and supplemented by outer plans of additional wings. This plan is much the same as a natural or sub-atomic construction, suggestive of the organic entities that it portrays.