Masanori Suzuki's art is dedicated to inconspicuous and fleeting, but nonetheless elementary phenomena: the forms of nature and their contours, the flow of being in its drift of moving and being moved. This does not require any extraordinary motifs. The flock of birds is enough to indicate movement, the branches bent by the wind to indicate being moved. And the bare treetop and the bird are enough to indicate life with its many-branched possibilities. But there is always room for more, for literally multi-layered spaces of these phenomena. Thus Suzuki engraves his motifs, among other things, in transparent Plexiglas plates, which he then joins together to form a room. In it, three such plates are then staggered one behind the other, staging a poetic game with our perception. We can simultaneously look into it as well as through it, into a double interior space that stimulates our imagination. There are the interior spaces of the contoured drawings and there is the interior space of these three-dimensional pictorial objects. No central perspective directs our attention, instead we encounter pictorial planes that can represent times - past, present and future - as well as simultaneous superimpositions of narratives, impressions and memories. Suzuki's art is a precise art of the ambiguous. It contours and encloses without wanting to direct us to anything in particular. In this sense, it is phenomenal.