At that time, he used a traditional form, namely landscape drawing, to depict the transformations and destructive interventions he saw in his surroundings, as the country entered into a phase of flourishing economic growth.

[1] Haraguchi was associated with Mono-ha (School of Things), a 1960s art movement in Japan and Korea that explored the correlations between the natural and industrial worlds.

[1][3] While his contemporaries, Nobuo Sekine, Lee Ufan and Kishio Suga are known for using natural materials, Haraguchi used industrial components such as waste oil, I-beams, automobile parts, miniatures and models, plastics, and rubber.

[7] Haraguchi often recreated detritus from airplanes, ships and weapons of mass destruction in his sculptures, such as A-7 E Corsair II (2011), Tsumu 147 (1966),[5] and Battleship Ref.

These are scale models of these menacing but fascinating ships and submarines, some of which are partially destroyed, set on a white block and encapsulated in a transparent hood.

The sculpture was created behind barricades at Nihon University during a student demonstration when riot police took over the campus during the protests against the Vietnam War.

On the other hand, its scrappy construction and obviously not-smooth landing on the floor of the gallery make an ironic comment on power and military might.

[6] The artist's understanding of the model-like quality of his own work is as follow : art creates conceptual yet tangible models of reality.

[1][3] These sculptures consist of a low-slung rectangular containment structure constructed of steel and filled with thick, opaque waste oil with a glossy surface that appears to be polished black stone.

My aim is to objectify horizontality, verticality, materiality, reflections, fluids, containers, physical phenomena of all kinds including myself (body, feelings and thoughts.

[13] In the 1990s, Haraguchi revisited past works, notably his 1975-76 actions, whether through the figure of the upright rectangle or various modalities of spatial demarcation.

A series of improvisations without beginning or end.Haraguchi's work has been described as simultaneously personal and political; as his birthplace, Yokosuka, is a port city where the United States deployed its forces during the Vietnam war era.