In her flower images, the artist wanted to express its beauty and to secure its ephemeral image into the future. While Western artists tend to draw a thing as itself, Japanese artists consider the importance of its "place". It belongs to space, and the object fills this place rather than exist as itself.
In Japanese fine arts, unfilled space is considered important because unfilled space expresses "place". To Hiramatsu the square canvas presented a drawing place for nature and the universe. Hiramatsu's work moved from rich color in her U.S. period, to white in her German period, black in her Japan period, and finally silver and gold in her old age. She sought the most beautiful hues in the world, the most beautiful white in the world, and the most beautiful black in the world respectively.
Japanese "wabi", "sabi" and "miyabi" became united in her final series of gold and silver. An aim of art is beauty. Each artist has to develop his/her own peculiar beauty. Hiramatsu does not claim that because she uses traditional Japanese sumi and traditional Japanese paper her art is traditionally Japanese, nor does she insist that because it has novelty her art is avant-garde. Only because she could not find expression in existing techniques, did she create novel new technique.
The Japanese traditional arts were given abstraction, equipped with beauty and dynamism, and recreated anew by Hiramatsu. Whenever Hiramatsu traveled the world, she discovered the "Japan" inside her.
Many intellectuals desired the arrival of a contemporary art which could revive Japan's aesthetic sense. Hiramatsu realized that wish. However, when we turn around, it is a regrettable fact that "we can find no Hiramatsu to precede her nor a Hiramatsu to follow her."