So when you consider it that way, the value goes two ways. That was the connection that I wanted to make – artists don’t make products, we make value. There is no materialistic existence, as a painting, but when you apply it, it does fit into the material world, but it can still be shared through web 3.0. People say web 3.0 doesn’t allow physical ownership. For me, it was to find that based on my own experience and a way to legitimately clarify the ownership of this digital work. There are a few holes when you look at the contemporary art perspective and the crypto language that’s being spoken together with NFTs. I wanted to extend what I’ve done, which was as an Asian artist, being a minority, and being multi-practiced having shown in galleries, museums and public art spaces. With this NFT, I was less interested in what people were talking about on the trade side, or the artwork just being on the tablet. You’ve done a couple of digital installations in the past but in terms of creating NFTs, did you see a difference? And was it a highlight to see your works come to life? “Artists don’t make products, we make value.” I thought since I’m going back to Hong Kong after five years, I actually want to find a way to really get this all together, because I was fortunate to be given all these opportunities. He said my work would fit well in this digital animation world that the real world is kind of hyping up right now. Meanwhile with Sotheby’s, Nick Buckley, who organized the show, asked if there was any way we can collaborate. It’s my first time making a sculpture edition and it took about maybe four or five months? Due to the unstable social conditions, we’re going through post-pandemic, but it happened now. He knew of me and I knew of him, so when this project happened, everything was all simultaneous. I’ve known him from doing all these great projects in Harbour City. This time, I wanted to meet SK Lam, because he always makes a great social impact. Three years after, I came back to do my first kind of large show with HOCA at Repulse Bay. The first time I came here was in 2014 at Harbour City – that was my first monumental outdoor piece where it was about seven meters tall. Whenever I do a big project or these projects that I’ve always wanted to do, it had been in Hong Kong. How did this collab with Kotaro Nukaga, ARR and Sotheby’s come about? Matsuyama sat down with HYPEBEAST to indulge us with how he concocted these various works which our eyes and emotions could feast on, what he hopes they bring into our understanding, how music influences his works and his journey into the world of art. Entitled “Harmless Charm,” the exhibition explores our own reality and cultural identity while manifesting hope for the future. The rider and horse are mounted over a gradient sorbet-like half orb that swivels in every direction giving new meaning to your usual rocking horse.Īlongside, Sotheby’s has opened its doors to a highly visual experience composed of over 20 pieces including paintings and 3 unique 1-of-1 NFTs, three editions of 5, and three editions of 150. Teaming up with AllRightsReserved, Matsuyama’s known “Equestrian” series comes to life through a sculptural edition - dubbed Natural Shell Pride - structured in layers of wood and a combination of patterns distinct from the artist’s style. From a number of exhibitions to full-scaled digital installations, monumental sculptures and cladding art parks with his pieces, he continues to challenge himself with new mediums through this delicately packaged array of works. It isn’t Matsuyama’s first rodeo when it comes to launching massive installments within the hearts of some of the biggest cities in the world.
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