非池中藝術網

從形式來看，這種由無數密密麻麻的細節或是元素構成整體的方法，繼承自秀拉的點描、塞尚的建構、米羅與波洛克的滿佈式構圖、李欽登斯坦(Roy Lichtenstein) 的網點造成錯視，或顛覆了觀眾觀看的方法。這幅原作為李欽登斯坦的《Blue Gun》。這是佐垣慶多極少數的彩色作品，他留下了原物身體上的網點，與其餘部分的漫畫圖像搭配的天衣無縫，證明他與普普藝術的關聯。

Formatively, this style of composition with countless parts of elements are, in fact, derived from Seurat’s Pointillism, Cézanne’s construction, Miro and Pollock’s full spreading composition, Roy Lichtenstein’s Benday dot style or even Chuck Close’s giant portrait with different details at close and distant look. It basically overturns the idea of “figure-ground relationship,” making illusions that subvert the way viewers watch. The motive from this piece is Roy Lichtenstein’s , which is Keita’s rare creation in colors with Benday dots on character and the seamlessness manga images on the rest of spaces in which he proves his association with Pop Art.