Quitting Advertising, Getting Robbed and Designing Stan Smiths - Meet Hiroshi Masuda

Hiroshi Masuda

Hiroshi Masuda is a visual artist whose work is immediately striking and designed to catch the eye. His work clearly represents a skill he learned from his previous career. But underneath his blocky, bold colors sits something more: a hunger for unlocking the unifying power in humanity, a slight hint of skepticism towards mass consumption, and a deep curiosity about the world around him.

Hailing from Saitama, a mountain-dotted prefecture bordering Tokyo, Hiroshi's artistic lineage is a little more international. His journey as an artist began unexpectedly in 2017 during a trip around the world, when he was drugged and robbed of $10,000, money he'd saved for this said trip.

Masuda started drawing on the streets to continue his travels, marking what he explains as an experience that "paved the way for my career as an artist." These days, he calls New York City home.

It's nearly impossible to thematically pinpoint Masuda's influences in terms of culture and style, sure; some of his palettes are reminiscent of Harajuku's eye-catching pops of kawaii colors, like cherry reds and bubblegum pinks, but ultimately, Masuda's work is as unique as his trajectory as an artist, and his work is as diverse as his muse, 'humanity' as he explains, "I am deeply interested in humanity, and I draw inspiration from everything I see."

Masuda's eye-catching style has garnered him notable collaboration opportunities over the years, including projects with Adidas Originals, Armani Exchange, and Vogue. But his latest work, which is on show at NowHere in New York (until August 18), promises to take viewers somewhere a little different. This new series is a reinterpretation of the Buddhist concept of Senju Kannon, blending emotional and human aspects from various global sources.

by Hiroshi Masuda

In 2017, you set out on a trip around the world, but a series of events led to a very different path. What happened?

In the first country of my trip, the Philippines, I trusted someone I met in the city and went to karaoke with them. I don't remember much after that, but I was drugged and woke up at the airport with all my money and important belongings stolen. To continue my journey, I started drawing on the streets.

Until then, I had no experience in drawing beyond doodling, so in a way, this experience gave me the push to become an artist.

Your works of art embody a childhood/dreamy sentiment with vibrant color and emotion. Where does this vibrancy in your work originate, and what does it mean for you?

I started my career in the advertising industry, where using vibrant colors to catch the viewer's attention was second nature because advertisements often struggle to be noticed. This background influences my current sense of color.

Additionally, I find it fascinating that in the animal world, some male birds use vibrant colors to attract mates despite the need to camouflage from predators. This interesting dynamic also influences the colors in my work.

by Hiroshi Masuda

You started your career in advertising but transitioned out of the industry, inspired by a "skepticism of mass-consumption and mass disposal." Was there a particular 'turning point,' and can you tell us more about your 'advertising world' experience?

There wasn't a specific turning point. However, in the advertising industry, multiple companies often compete for a single project, spending considerable time and resources only for one to be selected. Meanwhile, pressing social issues like climate change need more attention. This imbalance made me want to use my skills to contribute more to societal problems.

You've collaborated with big-name brands (Adidas Originals, Armani Exchange, and Vogue). Since quitting the ad world, how do you decide what brands to work with and maintain your values?

When deciding on collaborations with brands or individuals, I consider whether I can respect what they have done so far and whether we can create something interesting together.

by Hiroshi Masuda

Do you have any collaborations you're particularly proud of?

I am particularly proud of my 2021 collaboration with Adidas Originals on the "Stan Smith" project. This collaboration occurred as all Stan Smith products transitioned to using recycled materials and vegan designs, avoiding animal-derived materials.

I painted four murals and five new pairs of Stan Smiths, which were displayed in Adidas Originals stores. I was delighted to align with Adidas Originals in their efforts to reduce environmental impact.

How did you end up in New York, and why did you decide to move there?

In Japan, I had the opportunity to collaborate with many brands, but I wanted to grow further as an artist; this led me to start working at Tomokazu Matsuyama's studio in Brooklyn, New York.

You've got a show at NowHere (40 Wooster St, New York) from July 11 - August 18. Can you tell us a little about the show and the work you've got showing in there?

The show, titled "Moderation Biased," is curated by contemporary artist Tomokazu Matsuyama and features three Japanese artists, including myself.

My works for this show are inspired by the Buddhist concept of Senju Kannon (Thousand-Armed Kannon). Traditionally, Senju Kannon is depicted with 1,000 arms to save all beings.

In my interpretation, I have reimagined 1,000 arms from various sources worldwide. These hands represent emotional and human aspects, like aggression and victimization, comedy and tragedy, vulgarity and nobility, justice and evil. This approach embodies the Buddhist principle of no discrimination, uniting seemingly opposing elements into a singular entity.

For more information on Hiroshi’s current show, visit www.nowhere-nyc.com.

by Hiroshi Sumida

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