Matsumoto’s work manifests the ecology of cross-categorical connectivity, intertwined kinship, and multi-faceted hybridization, which can be attributed to a multitude of spatiotemporal phenomena influenced by the techno-mediated agency of control society, with its mechanics of algorithmic capture.

Matsumoto’s artworks are created as visual commentaries on speculative changes in our notions of societies, cultures, and ecosystems due to the transient nature of constantly shifting decoded flow.
The cognitive process of cultural production focuses on daily practice as the embodied experience of social memory. This is observed and reflected in the artworks as visual schemas that recreate states of intensity along the spectrum of the collective affect between the human body, nonhuman agents, the deterritorialized socius of urban artifacts, and all the infinitesimal steps in between.

Consequently, the transduction process of these intensities as a time-image is transcribed in the artworks as a multiplicity of heterogeneous differences between the necessary actual and the possibilist virtual within a spatiotemporal continuum.

The artworks explore hybrid techniques, combining both traditional and digital media. The adaptive agent approach allows the work to transcend the boundaries between two- and multi-dimensional domains.
The varying scale, the juxtaposition of hybrid image-objects, mutually relatable geometrical references, intertwined projections, and visual metamorphoses are employed as layered drawing methodologies to question and decode the ubiquitous nature of urban meta-morphology in the virtual continuum, the inevitable corollaries of techno-economic disruption, and their disjunctive representation in the non-Euclidean manifolds of striated spatiality.

Matsumoto’s process-oriented compositional techniques imbue the artworks 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 potential narratives of alchemical procedures. Herein may lie the extensively cross-referenced abstraction ushered in by hybrid media.

The artworks offer multiple perspectives for rendering the axiomatic of the state apparatus in the narrative context. We could attest to the hybrid entities as one’s critical reflection on the range of affective intensities that are immanent in socio-cultural entities. The speculative metaphysics of the hybrid objects in disjunctive syntheses can be defined as a complex interaction between sensory faculties and meaning-making experiences in cognitive processes. It leads to the understanding that the axiomatic of decoded flow essentially integrates cognitive sensation with the confluence of diagrammatic transversality in the semiotic context: both aspects are crucial for experiencing hybrid objects. The hybrid media investigate how visual representation is translated into meaning and how the flux of visual narratives simultaneously evokes sensory affect.