Ryota Matsumoto
Japan
Where do you locate yourself in relation to the systems you work with?
Matsumoto’s work reflects the morphological transformations of our ever-evolving urban and ecological milieus, which could be attributed to a multitude of spatio-temporal phenomena influenced by social, economic, and cultural factors.
These works are created as visual commentaries on speculative changes in notions of societies, cultures, and ecosystems in the transient nature of constantly shifting topography and geology.
Where are you heading, and what is pulling you there?
The varying scale, juxtaposition of biomorphic forms, intertwined textures, oblique projections, and visual metamorphoses are employed as multi-layered drawing methodologies to question and investigate the ubiquitous nature of urban meta-morphology, emerging realities of post-human dystopia, and their visual representation in the context of non-Euclidean configuration. The application of these techniques allows the work to transcend the boundaries between analog and digital media as well as between two- and multi-dimensional domains.
How would you describe the space your practice is currently unfolding in?
The artworks examine the role of dissonance and the pluri-dimensional aspect of cacophony as a form of interference in the fidelity of digital communication and a catalyst for undermining the orthographic divide of digital platforms. As probabilistic preindividuation in the form of miscommunication disrupts established patterns and introduces variability, it can lead to the emergence of new images of thought through phase fluctuations in the striated orthogonal system.
In this sense, the cacophony can be seen as a source of unpredictability, pushing established systems and individuals to explore the heterogeneous association of socio-cultural actors through the translation process of hermeneutic devices.
