I have chosen to look at Masaki Yada’s art work for my critical dissertation/essay for several reasons:

  1. His paintings are full of symbols that can be interpret in  various ways using the information found in the artist reviews.
  2. His symbols remind of the archetypes of human life circle – birth, life and death.
  3. His paintings are full of symbols that relate to his memories and his childhood which was a great topic for what I was decided to write my dissertation/essay about.

Paintings to look at when writing the critical dissertation:

  • 2009,  ‘Forbidden Fruit Op. 5’
  • 2007, ‘Forbidden Fruit Op. 3’.
  • 2008, ‘Lost Image in Memories Op. 3’.

Masaki’s meticulously rendered paintings show the culmination of his endeavour to bring forth the language of painting found in old masters’ paintings, whilst exploring ways in which the utterance of such painterly language holds relevance to contemporary culture.

he language of painting was cultivated so as to delineate stories and artists’ inner emotions that they intended to share with the viewers. While reinventing and modernising the language of painting to the present day, Masaki intends to communicate certain emotions, ideas and feelings with viewers. Yet, at the same time the symbolism filling his paintings does not purport to restrict its meaning, but allows the viewers to interpret their meanings in their own ways.


If the conceptual aspect of my art practice is a brain in a human body, the visual of my painting is a bone marrow. The great emphasis is put on the process of transforming the issues into a transcendent visual sen-sation and seeking an aesthetic moment.

The subject matters that I’m interested in are the fundamental theme of human existence, such as, birth, death, life, love, body, immortality, people, war, social political issues, also the psychological theme such as, memory, dream, childhood, guilt, eroticism, fetish, and art itself
I combine the traditional idea of painting and that of freeing from it, which is influenced by the avant-garde. It manifests on the collage-like composition and the use of various visual and spontaneous effects such as brush marks, stains and so on. When the spontaneity and the time-consuming visual description meet, the layers create a certain type of space that is uncertain and versatile. It is a result of manipulating the speed of painting. The trace of actions, such as expressionists’ like brush marks, stain marks and dripped paints cre-ate fast and dynamic movements while the detail painting evokes slow, heavy and intense feelings.


Beyond emulating their visual and spiritual accomplishments, he relishes the challenge of reinterpreting their work and making it relevant to contemporary culture. Masaki looks to the use of symbolism that spread across 17th century Dutch still life painting to create edgy, dark paintings. His work is also a testimonial, and an advocate, of demands for quality rising among young artists and collectors, rather than intangible conceptual art.



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