Indeed, Sorajama's work has been a series of simulations all along.

Even his earlier paintings cared more about capturing sensuality rather than the physical nuances of his model. He rarely based his work solely on real life: The outfit of his model, or the hairstyle, or the background, or some other detail would be recreated during the process of painting. His later work relied less and less on models, until he finally started painting without using any models at all. His paintings represent sensuality, and do not make pretensions to any other motive. Their existence is based on this one functionality alone: They look good. The gynoids, presumably, both look good and fulfill whatever service one may ask of them. The pictorial depictions of these gynoids, unfortunately, only appeal to our optic nerves and to our imaginations. Since gynoids are not commercially available as of this writing, the paintings represent our only instantiation of this concept. Nevertheless, the functions of gynoids and of these paintings remain well-defined and ultimately justifiy their existence. The paintings, therefore, do not constitute representations of reality and do not need it anyhow.