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Going beyond the medium called today

In present days, the pure pursuit of medium for「Painting」has become the thing of the past, and has a custom of not being effective today. This suggests that the artistic expression today has earned the cross-sectional possibility, and finding out the limitation of pursuing the thoroughbred possibility of expression and abandoning it at the same time.

In Japan, it is still fresh in our minds that this environment of geographic and social isolation, with this (post-medium condition) being the opportunity, has hit the creativity of oriental-ism or independent medium condition in the art scene today.

In today’s world where the effectiveness of context succession which was said to be the western legitimacy are being wavered, it can be said that Japan being a country of a gray-zone where the cultural background are made of combining the east and the west from the past to present irregularly has rather assimilated this problem and validated it.

The environment where my position as an artist, to say the least, had a trend like this which was hard to ignore. And for that reason, like the relationship of ground and figure of a painting, the inseparable self-critical subject and problem, and the mind and desire of reconsidering the effectiveness of「Medium」has strongly formed inside me.

Going beyond time and environment, by vigorously savoring the traditional limitation of medium, my intuition tells that groping the new possibility of expression is a job that should be done in this situation.

Mitsumasa Kadota



日本において、この地理的・文脈的に孤立した環境が、この「ポストメディウム的状況(post-medium condition)」を契機とし、今日のオリエンタリズム、もしくは独立的なメディウムコンディションとして、アートシーンに異色を放ったことは記憶に新しい。




2017年2月  門田光雅


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