＜林卓行（東京藝術大学准教授）「Sweet & Bitter」ギャラリーαM個展カタログ，武蔵野美術大学出版編集室，2002年＞
Sweet & Bitter 林卓行
ササキの作品を前にした者は，その薄くのばしたゼリーのようなぬるりとした絵肌にとまどいを，あるいはときに（筆者のように）フェティッシュな関心を，おぼえることだろう。だがこの異様な絵肌はなにも，見る者のそうした関心を惹＜効果的な仕上げとして，付け加えられたものではない。第ーにそれは，色彩の透明度と絵具の物質性という，（いつのまにか）相反するとされているふたつの要素を，混濁のうちに両立させるはたらきをもっている。第二にそれは，つぎのようなササキの絵画の成り立ちそのものに深く関わっている。
ササキの作品は全体がゼリー状の層（レイヤー）の重なりから成っている。複数の層による絵画とは，作品制作の方法論としても批評のボキャブラリーとしてもすでに常套句（クリシェ）だろうが，それらの層の前後関係が安定してもいなければ，また奥行きの圧縮によって平板化してもいない場合はどうだろうか。ササキは絵具を置いて新しい層をつくることと，既にそこに置かれた絵具を拭ってその下の層を露出させることを，同時に行う。そうして分散的に画面に配されたそれら各層は，たえずその上下にある層と浸潤しあう。ある層の上に重ねられたはずの新たな層は，刷毛の往復運動のなかで，溶解し，次第に下にあった面を透過させはじめる。ふたつの層はあるところでは互いに混濁し，そしてまたあるところではその上下の位置を逆転させるかのようでもある。しかも，たとえば高彩度の朱に青灰色を溶かし込むような色遣いが，この混濁や逆転を強調することさえあるだろう。こうしたプロセスが何層にもわたって繰り返されるとき，ササキの画面のあちこちでは，色のヴェールがゆっくりと明滅を始める。最後に画面に置かれ，そのまま最前面を渡りきるかに見えた簡潔なストロ一クも，この明滅にいやおうなく巻き込まれてゆく。ここにも混濁がある。こうしてササキの絵画は，混濁の積極的な価値を引き出すことに成功する。それは見る者を陶然とさせる絵画空間や色彩のなかで，かすかな抵抗として作用し，その場にいっそうの深みと力感を与えるだろう。ちょうど圧倒的な甘さのなかのほろ苦さがそうであるように。
Sweet & Bitter Takayuki Hayashi
Those who look at Sasaki's works for the first time will probably have a bewildered feeling towards its slimy surface which looks as though some jelly has been thinly placed over it, or some may have a fetish-like interest in it (like me.) However, this strange surface was never added as an effective finish in order to let the viewers have an interest like this. First, this surface has such an effect as to let compatibility settle in muddiness between two factors, transparency of colors and substantiality of paint, which are (I do not know since when)accepted to be inconsistent with each other. Next, as explained in the following paragraph, it is deeply related to the structure of Sasaki's painting itself.
Every part of Sasaki's work consists of piled layers of a jelly-like form. "A painting with plural layers" seems to have already become a cliche as a methodology for producing works and as a vocabulary in art criticism as well, but as what do we consider a work in which the positions of the layers are unstable or are not made flat by compressing the depth?
Sasaki carries out two processes simultaneously; putting the paint to make a new layer and scraping the paint which was laid there before to expose the layer under it. The layers scattered about on the surface in this way ceaselessly permeate the upper and lower layers. A new layer which should have been piled on another layer is dissolved by the back and forth movement of the paintbrush and gradually begins to penetrate the lower layer. The two layers are mixed together in some parts and in other parts it seems as if they exchanged their upper or lower positions. And it may even be possible for the color combination,
for example, melting bluish gray into vermilion of high-chroma,to emphasize this muddiness or transference.
When these processes are repeated with many layers, here and there in Sasaki's painting the veil of colors begins to flicker slowly. Even the simple stroke which was made on the surface as the final touch and which seemed to settle itself on the very front is forced to be involved in this flickering. Here, muddiness appears again.
Thus, Sasaki's painting has successfully drawn forth the positive value of muddiness. In the space and colors of the picture which make the viewers enchanted, it may act as a slight resistance and add an impression of depth and energy to the place : just like a slight bitterness found in an overwhelming sweetness.