I drew inspiration for this work from Claude Monet’s Water Lilly Pond in the collection of the Pola Museum of Art. My attempts to ‘re-create’ such a universally recognized painting in the space and time of an unrelated culture began in the summer of 2017 at the Pola Museum Annex in Ginza.

The association of Impressionist painter Claude Monet with pop culture artist and art director Sebastian Masuda might seem totally improbable.

In the spring of 2017, when I first had the chance to come face to face with Monet’s 1899 Water Lilly Pond at the Pola Museum at the beginning of the project, I was moved beyond belief at the sight of the beautiful world of Monet’s elegant and delicate Giverny garden.
I felt as if I had been mysteriously transported to a different realm.

I was especially struck by Monet’s brushwork.

Looking closely, the surprisingly rough strokes seemed as if they had actually been hurled at the canvas.
That contradicted the common image of Monet as a painter of soft beauty. Considering the context of his times, might Monet’s pounding the canvas have been an expression of overflowing emotions and a deeply rebellious spirit?

Impressionism. Does the muted surface belie the presence of a radical nonconformist?

The concept of “kawaii” that largely defines my work is also by no means superficial.

“Kawaii” represents one’s own heartfelt personal universe of cherished things that no one else can disturb.
Be it fashion, music, or art, the visions of a million people are revealed in a million different ways.
“Kawaii” is supported by each and every point of view.
Imagining this, I felt I could finally confidently shake hands with Monet.

Point-Rhythm carries the meaning of the ‘pointillist technique’ combined with the action of rhythmically arranging a variety of items and materials.

I usually create my works by gathering and placing existing materials (plastic, accessories, textiles, toys, etc.) on canvas, without applying paint. This time, given my dialogue with Claude Monet’s painting, I developed my original ‘point-rhythm’ technique.

I hope that viewers will enjoy walking around and viewing this installation of roughly two tons of intricately intertwined materials from many perspectives.

The exhibition also enjoys support from digital technology video, audio, and other artists whose collaboration infused my work and allowed me to immerse myself in Monet’s painting and expand my view.

Individuality shines more brightly than can be imagined when the world as seen from the universe is brought into closer view. This is nothing else but the Earth.

Welcome to the ever-expanding world of Monet’s Microcosm.

Sebastian Masuda