rnYoshizawa began making installations in the early 1980s, applying paint to everyday objects like wardrobes and vacuum cleaners and pinning up cutout parts of drawings in the exhibition space. Since that time she has been concerned with "the forming of things invisible to the eye." At first she borrowed the forms of ready-made objects, but since the mid-eighties when she began specializing in two-dimensional work, she began creating strange forms of her own that resembled things like propellers or living things． Rather than the usual canvas and oil paints used by most painters, Yoshizawa prefers industrial materials, bright red and purple ink on sheets of acrylic or polypropylene. She executes swift, flowing strokes on the thin, hard, semi-transparent support (picture plane) that refuses to absorb the pigment, and quickly wipes off any marks she does not like. The finished forms are the accumulated traces of these spontaneous actions. In her work of the early nineties, she heightened the sense of action pushing out from the surface, but in recent years she has turned to a quieter, more elusive form of expression.rn "To-62" (1994) was shown in "The Vision of Contemporary，Art'94", and "Chi-26" (1995) was made for the inauguralral exhibition of the Museum of Contemporary Art, Tokyo, Art in Japan-Today 1985-1995. Since 1988 Yoshizawa has titled her works systematically with a symbol from the Japanese "hiragana" syllabary and a number. The "hiragana" indicates the year, following the order of the "I-ro-ha" arrangement, an arrangement of the syllabary in the form of an ancient poem that has been traditionally used to order items in a series in the same way as alphabetical order. The number generally indicates the order in which the work was executed during that year. Yoshizawa has made numerous drawing，prints, and other works on paper, and the museum has acquired a series of etchings which are outstanding examples of her sensitive use of line.rnrnrn