Tomatsu's nationalist anger and ennui--he has described himself as a member of the "beliefless generation"--was recast in the cauldron of the '60s, and, like so many artists of the time, he came out of the decade with a graphic style that seemed to celebrate randomness and anarchy.
Indeed, the "site" of the kingdom is no longer the Church, but the state, which is far more capable of realizing Jesus' prophetic message of immanent, immediate, intuitive, visionary, beliefless, egalitarian, ecumenical, and global presence.