日本藝術家 佐垣慶多 Keita Sagaki於2019年初次在台舉辦個展，即受到國內外各大雜誌媒體瘋狂報導。佐垣慶多在創作中同時展現漫畫家與藝術家兩種身分，並且巧妙的揉合隨之而來的對立，例如高與低、東與西及近與遠，使作品乍看是以鉛筆與墨水在紙上對經典名作進行維妙維肖的臨摹，但細看卻會發現這些「素描」的灰階、調子、立體感與空間感均是由數以千計疏密不均、大小不一的漫畫角色與圖像拼集組構而成。

本作取自1857年法國 巴比松派 畫家尚-弗朗索瓦·米勒（Jean-Francois Millet）的油畫《拾穗》（The Gleaners），是米勒最著名的作品之一。該畫描繪了三名農婦在金色麥田撿拾麥穗的情景，表現出勞動家庭的命運，而遠處農地監督者坐於馬背上眺望，則刻劃出當時的社會狀態。此外，畫面中冷調、金黃的光線、粗陋的衣裳以及人物彎腰的動作，也賦予了農民史詩般的崇高意境。

The Japanese artist Keita SAGAKI features his first solo in Taipei in February 2019, leading insane exposures from media press like CNN, ELLE Taiwan, Tatler Taiwan, Prestige Taiwan magazine, etc. Keita cleverly blends some contrast at hands, such as high and low, west and east, near and far (distance of viewing). If we look closely we’ll find the gray tone, sculpted and spatial “sketches” in his paintings are indeed a huge collage composed with thousands of improvised manga characters in different sizes and densities. We could say Keita Sagaki blurs the boundary between high art and low art with his creations that composing manga characters into the masterpiece. The distinction of two (high & low art) can simply tell from the distance of viewing to Keita’s works.

The work is derived from Jean-Francois Millet's 1857's oil painting " The Gleaners." It depicts three peasant women gleaning a field of stray stalks of wheat after the harvest. The painting focused on the lower class of the French society featuring sympathy to workers. Through simple, sober pictorial procedures, Millet gives these certainly poor but no less dignified gleaners an emblematic value free of any hint of miserabilism.