Inferno

Without a specific historical or natural subject, Inferno suggests a composition organized around heat, catastrophe, or chaos — themes that Takeda could render through silkscreen's capacity for intense, unmodulated color fields and layered ink passages. Reds, oranges, and blacks are the expected palette, with screenprint's characteristic flat luminosity amplifying the visual intensity of flame and smoke. Takeda's sculptural background may surface here in attention to mass and volume rather than purely linear description. Whether drawn from literary sources such as the Buddhist concept of Jigoku or from secular imagery of war and disaster, the title positions the work within a tradition of catastrophe imagery while leaving the specific source open to interpretation.