Having studied at the Department of Japanese Painting at Kyoto City University of Arts, Hisao Domoto accompanied his uncle lnsho Domoto on his trip to Europe in 1952. During their stay Hisao decided to study in Paris. After moving to Paris, Hisao Domoto started painting in oil, and made friends with fellow Japanese artists, Toshimitsu l and Kumi Sugai. ln 1956, having devoted himself to the Art Informel (informal art) movement led by Michel Tapié, Domoto produced a new type of paintings, which consist of thick layers of oil paint and vibrant swirling for He gained fame for these works, and was recognized as one of the leading artists of the Art Informel movement that aimed to create informal abstract xpression. At the same time, he introduced Japan's Gutai Art" to Tapié. In 1962, Dom decided to take a separate path from Tapié to find a new expression of his own. His artistic pursuits developed into the Ensembles Binaires series, which are composed of repetitive splashes and drips of paint, and the Solution of Continuity series, which have more emphasis on materiality. These works were highly praised as an expression that distinguishes the possibility of abstract paintings in the post Art Informel era. From late 1960s to his later years in 2000s, Domoto's style of expression changed further. He continuously produced experimental paintings, such as paintings composed of circles and waves that are repeatedly crossing each other, dreamlike color paintings, and the Between Unconsciousness and Consciousness series that were painted with automatism technique using blurring effects. The expression methods he used in his later years give an impression that he was returning to his origin, as they seem to encompass the essence of Japanese paintings that Domoto learned and cultivated when he was young.

Born in Osaka in 1938, Yuko Nasaka began making art at an early age. In junior high school, she had discovered a range of Western art, began painting figurative work in oil and towards the end of school years, she created abstract architectural works. While she was in Osaka Shoin Women's University, she submitted her work to the Nika exhibition (Second Section Society), where Gutai leader Jiro Yoshihara was a jury. Yoshihara encouraged Nasaka to join Gutai in 1963.

In the beginning of the 1960's, Nasaka made the works by drilling the numerous holes from the back of cardboard sheets. Her work with holes was awarded the Mayor's prize at the 15th Ashiya City Exhibition. In 1964, Nasaka held a solo exhibition at Gutai Pinacotheca, where she interacted with the American artists Paul Jenkins, John Cage, Merce Cunningham, Jasper Johns and Robert Rauschenberg. Later, Naska realized great possibilities from drawing circles and she was devoted to produce mysterious circles on square panels. These circle works are composed of plates relief-sculpted with palette knife into a material made of plaster and clay on a custom-made turning table. Then these panels are painted with resin and lacquer using an airbrush that makes similar effect of glazes on ceramics.

While Nasaka's process is partly inspired by industrial manufacturing, especially by her father's factory of meters, her work of plaster circles has a slightly different impression created by variations of reliefs and paint colors. When they are stacked one on top of another, an overwhelming repetition of these circles evoke the infinity and mysterious space.