We had the pleasure of asking Yohta Matsuoka a few questions about his journey as a street artist and as a painter, and understand his concept of 'Sincerity' when it comes to bridging seemingly polar opposite elements on canvas.
Questions of perspective are at the centre of your work. What message are you trying to express through your compositions?
I believe that even the most mundane objects and familiar sights, like the apples frequently featured in my work, can appear different when viewed from another angle. I try to convey this by manipulating the composition of my artwork. From a broader perspective, it's about not taking things for granted and recognising that even on the most routine days, no two days are the same.
Your work makes interesting use of colour and pattern. What informs your choices when conceptualising a new piece?
The most crucial factor when creating a new piece is whether or not I feel compelled to paint it. I also ask myself if there is a compelling narrative or concept within the world I am trying to depict.
Having produced work both in the streets and on canvas, can you walk us through your creative process for each?
I haven't been as active on the streets lately! But every now and then, I might put up a sticker, or if I have a pen in my pocket, I might impulsively scribble down a thought. Or maybe just my tag. It's all about impulse and timing. Canvas work, on the other hand, is much more deliberate. First, I sketch on my iPad, digitally collaging the composition, colours, and various objects to create the image. Then I give it some time. Sometimes I notice things that bother me the next day. Once I've decided on a sketch I want to paint, it's like replicating the digital sketch onto the canvas.
Your mural work differs slightly to your work for galleries. What drew you to begin creating these slightly abstract still-life paintings?
I started this series when COVID hit and the lockdowns began. People's activities came to a halt, the city was drained of its vibrancy and people, and it felt like I was looking at a monochrome, still world. As a painter, I felt compelled to react to this unusual world, and I started by placing simple objects on a blank, monochrome canvas. Like restarting a world that had been reset. In doing so, I realised that by carefully arranging recognisable, everyday objects, I could create faces. I realised that they were both still lifes and portraits. Then, with the hope that the abnormal situation caused by COVID would eventually end, I set the time of day to be before dawn, when the sun would rise and night would turn to day. It's monochrome, dark, and unsettling, but the faces that emerge are smiling and seem to harbour positive elements.
‘Sincerity’ explores the dichotomy between classical and contemporary art. How does this reflect your artistic vision?
For the past few years, I have been painting still lifes, which could be considered a fundamental expression of art. They provide an excellent opportunity to study the characteristics of each object, such as its shape and colour, through my brushstrokes, leaving me feeling calm and serene. At the same time, I am drawn to graffiti art and urban culture, which excite me and make me feel incredibly energised. I believe that the fusion of these seemingly polar opposite elements within me represents who I am - a quiet and calm individual with a curious and active mind. By honestly embracing both aspects, I feel a sense of balance. And I believe that it is through a sincere confrontation with the canvas during the painting process that my vision emerges.
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