Yuichi Hirako admits that the "tree man" in his works are a projection of himself. Critics suggest that the artist seems to reference the Japanese Shinto myth of "Kodama" (こだま), spirits that inhabit trees. This imagery stems from the tradition of animism, which is often seen in Japanese literature, anime, and other froms of art. In both Chinese and Nordic cultures, traditions have preversed a deep reverence for ancient trees, mountain gods, and nature, which continue in modern folk customs. This shared cultural consciousness allows collectors from all over the world to find resonance in Yuichi Hirako's works,

transcending national boundaries. The banyan tree, also known as Ficus Microcarpa, iswidely found in regions such as Fujian, Taiwan, and Malaysia. Renowned for its resilience, its seedlings take root in the crevices of buildings, making it a

common sight in Southeast Asian urban landscapes. In the artwork "My Ficus Microcarpa," the main figure

resembles a deity, holding a staff and wearing a large headdress adorned with colorful feathers, ribbons,

and leaves. The intertwined roots of the banyan tree occupy a significant portion of the canvas, creating a sense of deep visual space. The artist emphasizes the theme that the life force of nature flows endlessly and is omnipresent, like a spring. Regardless of how much humanity invades or destroys, nature will continue to

thrive and endure. Yuichi Hirako's works have been collected by institutions, including the Lisser Art Museum and the AkzoNobel Art Foundation in the Netherlands, the Jean Pigozzi Collection in Switzerland, the Dai-ichi Life Insurance Company in Japan, and the Long Museum, Baolong Museum, By Art Matters Museum, and Modern Media Group in China. Additionally, his art

is held by U.PINE MED and Space K in South Korea.

These collections affirm his international reputation

and market demand.