This painting by Tomokazu Matsuyama portrays two figures lounging in a parlor. Although the figures are inside, Matsuyama has brought the natural world indoors in various ways, including the presence of birds scattered throughout the room, as well as a "Bob Ross"-esque painting on the wall, and a Chinese vase full of flowers on a table. The painting on the wall and the painting on the vase offer a juxtaposition of East and West, as does a TIME magazine on the floor with Taiwanese-American NBA player Jeremy Lin on its cover. The vibrant mixture of visual patterns in the image bring together aesthetic styles from throughout time, and a great diversity of cultures. This menagerie of influences embodies Matsuyama’s interest in intercultural exchange.

Amalgamated from his vast mental and physical archive of iconographical material, Matsuyama’s painted worlds vivify his lived experience. His fresh approach to the language of figuration creates dual references to both our contemporary realities and our multiplicitous pasts, combining allusions to fashion models torn from the pages of glossy magazines; flora and fauna borrowed from Edo-period folding screens; open-source wallpaper patterns from the Internet; fragmented snippets of pop culture and celebrity life; frozen movements captured from the garments of centuries-old Buddhist sculptures; compositional strategies of the European Renaissance masters; aesthetic cues from Modernist art history such as shaped canvases and Abstract Expressionist techniques; and of course, those innumerable bits of branded trash ubiquitous on the streets of every city in the Western world.

Matsuyama’s carefully constructed, fictional landscapes welcome anyone inside to build their own narrative and discover their own meaning. What name should we give this aesthetic, which relates to nobody nowhere, yet is recognized by everyone everywhere?

“I call it the global us,” Matsuyama says.

This is Matsuyama’s mastery as an artist; by questioning what is familiar and what is foreign, he shows us pictures of others that are also reflections of ourselves.

“Adaptation is my life,” Matsuyama says. “In Japan, I was brought up in Hida-Takayama City, a mountain area, a small, traditional place. Then in the mid-80s, I moved to Los Angeles. Surfing and skateboarding and young, fresh American culture were totally shocking to see. Then I came back to Tokyo and attended boarding school, where the atmosphere was of one mood, one way of thinking. Then when I moved to New York, the first thing I noticed was the mess, the chaos. Unlike Japan, garbage was everywhere. That was something I had never seen before.”

Curiosity is essential to Matsuyama’s practice, as he invites us into an ever-evolving, global cultural conversation across a complex web of memories, visual languages, histories, dreams, and expectations.

“My visual language is a community-based language,” Matsuyama says. “My paintings are not intended to inform viewers of specific messages nor narratives. These little fractions of everyday culture remind the viewers of narratives in their own life. That leads to ownership. It represents them. It represents me. It represents us. What’s the best part? It’s subjective.”