The exhibition title, LIFE, encompasses multiple layers of meaning, including life itself, living beings, human life, and daily life. While Yokosaka's past works often explored extinction and post-extinction worlds, this exhibition focuses on the theme of "war" as a nearby threat to our peaceful lives. Through depictions of moments where the ordinary and the extraordinary intersect, he addresses the omnipresence of war and nuclear threats, posing profound questions to viewers. Recent globally popular media works like Oppenheimer and The Zone of Interest heavily touch on these themes, providing significant inspiration for this exhibition. Yokosaka believes that the pandemic and recent earthquakes have taught us that the normalcy of yesterday can abruptly vanish. The conflicts happening in the world, as seen on TV news, are not distant from us. Through his works, he hopes to awaken viewers to the crisis lurking within our tranquil daily lives. This time, the artist extensively uses traditional cel animation techniques to seamlessly integrate animation with canvas. Examples include a T-90 army tank loaded with various household items and a British Aerospace Harrier fighter jet swarming with amusing characters. By merging combat weapons with everyday life and incorporating classic animation elements, the creative compositions and exquisite use of color dissolve the conflicting meanings of different elements. For this exhibition, Yokosaka has specially created three acrylic on canvas works titled NO.001, NO.002, and NO.003. These works focus on explosions, highlighting the origin and disappearance of life, aligning conceptually with the exhibition title LIFE. As the artist puts it, "The origin of the universe is the Big Bang, and the end of humanity may also be caused by an explosion." These three works, influenced by Abstract Expressionism from Jackson Pollock (1912-1956) and Gerhard Richter (1932-), discard the main subject, breaking traditional visual composition with non-figurative forms. The intense colors convey the artist's abundant emotions, marking a rare departure from his usual cel animation style.

The works, Dinosaur and Also draw inspiration from the classic Japanese sci-fi movie - Godzilla. The first Godzilla movie, released in 1954, depicted a society still healing from the atomic bombings. Godzilla, feeding on nuclear waste and causing massive destruction, undoubtedly served as a metaphor for anti-war and anti-nuclear sentiments, becoming a benchmark for monster movies. While Yokosaka does not explicitly state that the dinosaur in his works is Godzilla, he cleverly pays homage to the original Godzilla by maintaining its appearance, presenting both a vintage black-and-white version and a modern colored version of the dinosaur. This approach embeds the anti-war and anti-nuclear symbolism of Godzilla, allowing people who have not experienced such disasters to feel the horrors of war and reflect on the preciousness and fragility of everyday life.

"If we can find novelty and pleasure in the process of empathy, that would be wonderful." – Tatsuya Yokosaka Yokosaka's works blend different cultural elements and express the underlying thoughts with humor and innovation. As the artist states, he uses art as a medium of communication, guiding viewers to explore the multiple facets of "LIFE" and thereby re-examine the true meaning and value of life.