YOSHIKI MURAMATSU: NO SEQUENCE

NANZUKA is pleased to present “NO SEQUENCE,” a solo exhibition of new works by Tokyo-based artist Yoshiki Muramatsu.

July 4 – August 8, 2026

Yoshiki Muramatsu was born in Shizuoka Prefecture in 1995, and completed his M.F.A. Inter Media Art at Tokyo University of the Arts in 2021. Muramatsu, who spent seven years studying in a department dedicated to exploring inter-media practices, has primarily created video works that freely combine a wide range of techniques—including photography, hand-drawn animation, stop-motion, live-action, clay animation, and collage—while also producing collages and illustrations in parallel. Since graduating, he has been active in both the commercial and artistic spheres, working on visual projects for music groups in Japan and abroad, as well as exhibiting at international art fairs.

Muramatsu has been fascinated by visual media since childhood, captivated by its ability to capture time and the memories of others. His interests are too numerous to mention, ranging from classics of visual expression such as Eadweard Muybridge’s sequential photographs, the actualités (actuality films) of the Lumière brothers, and German expressionist cinema, to Norman McLaren’s abstract films, cult films, B-grade horror movies, experimental films, and GIF animation. Furthermore, his curiosity extends to everyday objects such as furniture and sofas that retain the memory of human forms and body temperature and give rise to a sense of visual resonance. At the core of Muramatsu’s artistic expression lies his ability to voraciously absorb these elements, employ a diverse range of techniques, and connect a vast array of image fragments from different eras and contexts through his unique visual grammar.

Muramatsu’s work incorporates multiple layers of artistic lineage from the past to present. The works depict elements such as Japonism, characterized by its ornamentation and two-dimensionality; Symbolism, which sought to visualize spirituality and mythology; the mysticism and magic of Surrealism; and post-human corporeality, which frequently explores beings beyond human, as seen in contemporary game culture, manga, and film—all within the ritualistic compositions characteristic of medieval religious paintings. As an artist born in the early days of the internet, such works can be seen as the fruits of Muramatsu’s repeated reconstruction and reproduction of the visual language he unconsciously absorbed from the vast amount of information in his surroundings.