松本良多は東京出身のニューヨークを拠点として活動するアーティスト、建築デザイナー、アーバンプランナー、教育者。   １０代を香港とマンハッタンで過ごした後、ロンドンのAAスクール、グラスゴー美術大学、マイアミ大学にて建築と哲学を学び、2007年ペンシルベニア大学大学院芸術学部建築学科を首席で卒業する。マニュエル・デランダ、ヴィンセント・ジョゼフ・スカーリー、セシル・バルモンド、 ジャンカルロ・デ・カルロに師事する。   ９０年代よりMITメディアラボ、磯崎新、黒川紀章、インダストリアル・ミュージックの先駆者、ピーター・クリストファーソンと協働し、ベトナムバクマイ病院、九州大学センター地区のマスタープランをはじめ多数の建築、都市計画、アートのプロジェクトを手掛ける。ポーランドのシレジア大学の講師を経て、2016年よりプリマス大学 Transart Instituteの客員教授に就任、クーパー・ユニオン、プラット・インスティテュート、コーネル大学、ニューセンター・オブ・リサーチ・アンド・プラクティス シアトル校にてゲストレクチャラーとして教鞭をとっている。シカゴ市文化庁客員キュレーター、英国美術協会 (British Art Network) 名誉会員。   オスロ国立美術大学、カリフォルニア大学アーバイン校、テネリフェ市立美術館にて加速主義、ポストヒューマニズムについて講演している。2017年にはレバーヒューム・トラスト国際学会の招聘によりコーネル大学にて「ポストヒューマニズムと未来都市」について講演する。2019年にはロンドンICAにて「トランスヒューマン社会と生成の唯物論」のレクチャーをキュレート、2020年以降はロージ・ブライドッティとのクリティカル・ヒューマニズムについての講義、エドワード・カックとのカリフォルニア大学アーバイン校でのワークショップと多岐な分野で活動している。   ハイブリッド・アートとアルゴリズミック・コンピュテーションの手法を応用したメディア・アートの作品のインターナショナルな評価によりFILE（Electronic Language International Festival）Prix Lux Finalist、英国 Visual Art Open International Artist Awardを受賞する。 2016年には日本人として初めてイタリアとスペインからPremio Ora賞を同時に受けて2015年、2016年、2017年にロサンゼルスのLos Angeles Center for Digital Art、BYTE Gallery トランスベニア大学、ArtSpace ペスカラにて個展を開催する。2018年、韓国国立中央博物館の招聘展、テキサス大学、 ロサンゼルス現代美術館の常設展示作品のアーティストに選ばれている。

1. 2016/08/02 2:26
July 2016 Exhibition — Faburry Gallery
1/3 ページ
http://www.faburrygallery.com/julyexhibition/#/nebel/
RYOTA MATSUMOTO
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. They
are created as visual commentaries on
speculative changes in notions of
socities, cultures and ecosystems in
the transient nature of constantly
shifting topography and geology.
The artworks explore the hybrid
technique combining both traditional
media (ink, acrylic, and graphite) and
digital media (algorithmic processing,
parametric modeling, data transcoding
and image compositing with custom
software ).
The varying scale, juxtaposition of
structural and amorphous forms,
intertwined textures, oblique
projections and visual metamorphoses
are employed as the multi-layered
drawing methodologies to question
and investigate the ubiquitous nature
of urban meta-morphology, the
Anthropocene, and their visual
representation in the context of non-
Euclidean configuration. Furthermore,
the application of these techniques
allow the work to transcend the
boundaries between analog and
digital media as well as between two-
and multi-dimensional domains.
His compositional techniques imbue
the work with what we see as the very
JULY 2016 EXHIBITION HOME INTERVIEWS SUBMIT PROMOTE A FRIEND ABOUT

2. 2016/08/02 2:26
July 2016 Exhibition — Faburry Gallery
2/3 ページ
http://www.faburrygallery.com/julyexhibition/#/nebel/
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essence of our socio-cultural
environments beyond the
conventional protocols of architectural
and artistic formalities, and that 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.
Read Interview
Back to July 2016 Exhibition
MICHELE KISHITA JESSICA BRILLI APRIL ZANNE JOHNSON
SUSAN CARR RICHARD GIANNOTTI REBECCA CHITTICKS

3. 2016/08/02 2:26
July 2016 Exhibition — Faburry Gallery
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http://www.faburrygallery.com/julyexhibition/#/nebel/
ERIKA STEARLY MARIE TOSTO JENNY BROWN
RYOTA MATSUMOTO
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4. 2016/08/02 2:27
Ryota Matsumoto — Faburry Gallery
1/4 ページ
http://www.faburrygallery.com/artists/2016/7/6/ryota-matsumoto
RYOTA MATSUMOTO
July 11, 2016
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. They are created as visual commentaries
on speculative changes in notions of socities, cultures and ecosystems in the transient nature
of constantly shifting topography and geology.
The artworks explore the hybrid technique combining both traditional media (ink, acrylic, and
graphite) and digital media (algorithmic processing, parametric modeling, data transcoding
and image compositing with custom software ).
The varying scale, juxtaposition of structural and amorphous forms, intertwined textures,
oblique projections and visual metamorphoses are employed as the multi-layered drawing
methodologies to question and investigate the ubiquitous nature of urban meta-morphology,
the Anthropocene, and their visual representation in the context of non-Euclidean
configuration. Furthermore, the application of these techniques allow the work to transcend
the boundaries between analog and digital media as well as between two- and multi-
dimensional domains.
His 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, and that they conjure up the synthetic possibilities within which the spatial and
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ERIKA STEARLY
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JESSICA BRILLI
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JOHNSON
SUSAN CARR
RICHARD GIANNOTTI
REBECCA CHITTICKS
MARIE TOSTO
RYOTA MATSUMOTO
Jul 11, 2016
Jul 11, 2016
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Jul 11, 2016
JULY 2016 EXHIBITION HOME INTERVIEWS SUBMIT PROMOTE A FRIEND ABOUT

5. 2016/08/02 2:27
Ryota Matsumoto — Faburry Gallery
2/4 ページ
http://www.faburrygallery.com/artists/2016/7/6/ryota-matsumoto
temporal variations of existing spatial semiotics emerge as the potential products of
alchemical procedures.
Ryota Matsumoto is a principal and founder of an award-winning interdisciplinary design
office, Ryota Matsumoto Studio based in Tokyo. He is an artist, designer and urban planner.
He received a Master of Architecture degree from University of Pennsylvania in 2007 after his
studies at Architectural Association in London and Mackintosh School of Architecture,
Glasgow School of Art in early 90’s. He currently serves as an advisor and adjunct faculty
member of Transart Institute in Berlin and New York. His art and design work are featured in
numerous publications and exhibitions worldwide.
http://www.ryotamatsumoto.com
You have successfully mastered multiple creative fields: art, design and architecture. Tell us
about how you balance all three interests.
It seems to me the boundaries between art and design disciplines are no longer of any
significance and they tend to blur more often than not. As far as my personal experience as a
designer is concerned, we tend to work as a bridging point among various disciplines. From
our formative years, we are trained to pick things up quickly from different fields and apply
them to resolve any emerging issues. In that respect, interdisciplinary thinking comes naturally
to me and I always find the way to break down barriers between fields rather than balancing
between them to cultivate common ground, even when I am engaged in art or design-related
fields.
How do you manage your time in the studio? What is your best advice for maximizing your
schedule?
I firmly believe that creativity comes out of a whirlpool of chaos. So what I always do is jotting
down or drawing whatever pops into my head. Then I create associations among random
words or drawings. It is probably similar to surrealists’ exquisite corpse in terms of a creative
process. It allows you to take up any mundane ideas and to turn them into something
inventive in spite of your limited time and tight schedule. To me, maximizing schedule is
tantamount to seeking effective ways to think outside the box.
Explain the process behind your paintings. What inspires you?
My blended background in architecture and visual art leads me to explore the hybrid
approach, whereby I combine the traditional media (ink, acrylic, and graphite) and digital
media (algorithmic processing, parametric modeling, generative design, data transcoding and
image compositing with custom software ). The technique allows me to instill a warm human
touch and painterly, organic feels to otherwise cold and detached precision of digital
drawings. I am deeply affected by the deterioration and transformation of our urban and
ecological milieus that are often attributed to emerging realities of the Anthropocene, the
gamut of environmental issues, and the multitude of spatial practices constructed by different
societies over centuries. These agendas are what I would like to address through my work
and interdisciplinary research.
How much planning does each work require?
I don’t plan much beforehand. I prefer to take an unexpected trip that might lead me down an
unpredictable path. Spontaneity is a crucial element to keep the tension and freshness in my
work, especially when I work with digital media which is often associated with formalistic
rigidity.

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Ryota Matsumoto — Faburry Gallery
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http://www.faburrygallery.com/artists/2016/7/6/ryota-matsumoto
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What are your favorite activities when you are not working?
I like to travel a lot, discover a new place and meet people from a different cultural and
professional background, whenever time allows. I never have chance to settle down and live
a life of constant travel since my childhood. So far, this lifestyle proves to be a great learning
experience.
What advice would you give artists for promoting their work ?
I, myself am still searching for the way to promote my work. I gather online galleries and social
networking sites have the potential to not only promote the work of emerging talents but
facilitate interaction, communication, and collaboration especially among multimedia artists.
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