ryota

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Contact

Phone number

347-868-2257
Website

https://www.ryotamatsumotostudio.com

About

Ryota Matsumoto (松本良多) is an internationally recognized artist, educator, and architect. As a media theorist, he is regarded as the iconic pioneer of the postdigital cultural movement.

Born in Tokyo, he was raised in Hong Kong, New York, and Japan. He received a Master of Architecture degree from the University of Pennsylvania in 2007 after his studies at the Architectural Association in London and Mackintosh School of Architecture, the Glasgow School of Art in the early 90s.
Matsumoto has collaborated with a cofounder of the Metabolist Movement, Kisho Kurokawa, and with Arata Isozaki, Peter Christopherson, and MIT Media Lab.

Matsumoto has presented his work on multidisciplinary design, visual culture, and urbanism to the 5th symposium of the Imaginaries of the Future at Cornell University, the Espaciocenter workshop at TEA Tenerife Espacio de las Artes, New Media Frontier Lecture Series at Oslo National Academy of the Arts, UCI Claire Trevor School of the Arts, iDMAa Conference 2017, Network Media Culture Symposium at CCA Kitakyushu, and NTT InterCommunication Center as a literary critic and media theorist. He curated the exhibitions, Posthumanism, Epidigital, and Glitch Feminism at Machida City Museum of Graphic Arts in 2020 and In Absentia Digital Art Biennale in 2024.

As a video producer and designer, he has worked with Peter Christopherson of Coil and Hipgnosis for Japanese Nike commercial and contributed to his first solo album, Form Grows Rampant as Threshold Houseboys Choir.

His academic career started as a teaching assistant for Vincent Joseph Scully Jr. and his seminar, the Natural and Manmade in 1993. During his visiting fellowship at the Glasgow School of Art, he has been engaged in research on the process of integrated urban regeneration under the guidance of Giancarlo De Carlo and Isi Metzstein. He continued his pursuit in urban studies and participated in seminal research projects with MIT Media Lab and KieranTimberlake exploring high-rise modular housing, sustainability, and design interventions for Dhaka, Bangladesh in 2005.
Matsumoto has served as the MFA lecturer at Transart Institute, University of Plymouth. He currently works as a research associate and senior consultant for the New Centre of Research & Practice and the City of Dallas Office of Art and Culture respectively. Matsumoto is an honorary member of the British Art Network.
He has taught architecture, art, and interdisciplinary design as a lecturer and visiting critic in the United States, Europe, and Japan.

Matsumoto is the recipient of Visual Art Open International Artist Award, Florence Biennale Mixed Media 2nd Place Award, The International Society of Experimental Artists Best of Show Gracie Award, Premio Ora Prize Italy 5th Edition, Premio Ora Prize Spain 1st Edition, Donkey Art Prize III Edition Finalist, Best of Show IGOA Toronto, Art Kudos Best of Show Award, FILE (Electronic Language International Festival) Media Art Finalist, Lynx International Prize Be Art Builder Award, Lumen Prize Finalist, London International Creative Competition Honorable Mention, and Western Bureau Art Prize Honorable Mention.
He was awarded the Gold Artist Prize from ArtAscent Journal, the 1st Place Prize from Exhibeo Art Magazine, and the Award of Excellence from the Creative Quarterly Journal of Art and Design in 2015 and 2016. His works are in the permanent collections of the University of Texas at Tyler and the Center for Digital Narrative, the University of Bergen.

His work, writings, and interviews were published in Kalubrt Magazine, the University of North Carolina Wilmington Journal Palaver, Furtherfield.org, The Journal of Wild Culture, Studio Visit Magazine, Fresh Paint Magazine, H+ Magazine, International Artist Magazine, Made In Mind Magazine, Arizona State University Journal Superstition Review, Creative Review, Creative Boom. Next Nature Network, Digital America, Rhizome.org, Monoskop, Carbon Culture Review, KooZA/rch, Supersonic Art, Post Digital Aesthetics (Berry and Dieter ed.), Drawing Discourse (University of North Carolina Asheville), Highlike (SEPI-SP editors), and Drawing Futures (The Bartlett UCL), among others.

Matsumoto's multidisciplinary projects have been exhibited recently at Meadows Gallery University of Texas at Tyler, S. Tucker Cooke Gallery University of North Carolina Asheville, Sebastopol Center for the Arts, National Museum of Korea, CICA Museum, Van Der Plas Gallery, ArtHelix Gallery, Caelum Gallery, LAIR Gallery Lakehead University, Limner Gallery, the Cello Factory, University of the District of Columbia, Lux Art Gallery, Studio Montclair, Manifest Gallery, Center for Digital Narrative University of Bergen, Tenerife Espacio de las Artes, Art Basel Miami, ISEA International, FILE Sao Paulo, Nook Gallery, and Arts and Heritage Centre Altrincham.
He had solo exhibitions at BYTE Gallery Transylvania University (2015), Los Angeles Center of Digital Art (2016), and Alviani ArtSpace, Pescara (2017).

Location

307 W 38th St

City

New York
State

NY
Country

United States
Zip

10018

13-06-24 15:29

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.

By the same token, the accumulation of pure potentialities in jitter interference contributes to the complex system of indeterminacy in the socio-cultural domain. It introduces multiple perspectives, unpredictable possibilities, and multivalent interpretations, enriching the overall landscape and facilitating the emergence of new connections in the hybrid network of interobjective entities.
The unquantized stream of interference can introduce multiple alternative perspectives, enriching the overall landscape of the artworks and facilitating the emergence of interconnected assemblages across a variety of creative disciplines through the act of the mimetic adaptation process.

Matsumoto’s artworks explore 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.
By the same token, the accumulation of pure potentialities in jitter interference contributes to the complex system of indeterminacy in the socio-cultural domain. It introduces multiple perspectives, unpredictable possibilities, and multivalent interpretations, enriching the overall landscape and facilitating the emergence of new connections in the hybrid network of interobjective entities.

The unquantized stream of interference can introduce multiple alternative perspectives, enriching the overall landscape of the artworks and facilitating the emergence of interconnected assemblages across a variety of creative disciplines through the act of the mimetic adaptation process.

13-06-24 15:29

Matsumoto's artworks initially start out as several fragmentary variants that are derived from the elements of his previous works. They are then merged into the artwork through the application of a recursive algorithm and its embedded matrices of transition probabilities. Consequently, the new work captures and appropriates some of the conceptual substructure of the previous works, while they can stand on their own as a self-referential multiplicity.

The concept of his work pertains to the actualization of the temporal dimensions of molecular entities that are eventually reconfigured as urban aggregates. In this respect, his work correlates with the whole perception of the molecular lines that are immanent in the meaning-making processes of living and nonliving alike, which eventually leads to the diachronic emergence of an ecological assemblage.
There is also a common thread with regard to visual abstraction in the artworks: the multiplicity of hybrid objects that unfold within their own spatiotemporal coordinates of phase space and are transcribed to an image plane. In that regard, the creative process of drawing henceforth can be defined as the variable intensities of movement that are reconfigured as the cartography of spatiotemporal reality.

Moreover, each artwork is perceived as the process of dissecting the flux of seamlessly contiguous movement-images that transpire in space-time dimensions, thereby slicing and capturing the decoded flow of the movement-image by assigning the specific coordinates within the intermeshed protocols of real-time, multi-agent interaction. That is diametrically opposed to the Euclidean, a priori notion of space that makes the universe deterministically predictable by restricting the number of variables in the spatial coordinates. This topological realm is also ascribed to the agency of preindivisuation in its virtual state, wherein all the possibilities of morphological transformation are immanent in the space-time continuum.

13-06-24 15:28

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.

The artworks explore the hybrid technique, combining both traditional (ink, acrylic, and graphite) and digital medias (algorithmic processing, data transcoding, and image compositing through customized software).
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.

Matsumoto’s process-oriented compositional techniques imbue the work with what we see as the very essence of our socio-cultural environments, beyond the conventional protocols of architectural and artistic formalities; they conjure up the synthetic possibilities within which the spatial and temporal variations of existing spatial semiotics emerge as the potential products of alchemical procedures.