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Masayo Matsuda

MA work

He won’t love me because he knows what I did.

As an artist who constantly questioning about my own existence, the work reflects certain doubts that I have in relation to the broad question of existence. I seek to work on subjects which deal with trauma to further develop my understanding around human existence and its values.

The works He Won't Love Me Because He Knows What I Did are based on sexually charged images of prepubescent under-age girls that are on sale at the Japanese media market. The title of this work is the words from one of the model’s quotes ‘He won’t love me as he knows what I do (for work)’ which she mistakenly posted on her fan blog instead of her personal blog for her friends. The girls in these images are almost like the objects, the vessels of the fantasies of male viewers and devalued through the media market and mass production. Here, the number of clear hollow glass sculptures of puppet-like girls, whereby their cast-shadow represents the existence of the subjects. My aim is to create a pile of the girls' empty bodies as if they were rubbish to illustrate their media-affected and invisible existence which has been consumed. The girls become a puppet like dolls, but not for a toy or a prize, but as a representation of ‘manipulation’ by the external forces and becoming as vessels of one's desire.

Info

  • MA Degree

    School

    School of Humanities

    Programme

    MA Photography, 2013

  • He won’t love me because he knows what I did.

    As an artist who constantly questioning about my own existence, the work reflects certain doubts that I have in relation to the broad question of existence. I seek to work on subjects which deal with trauma to further develop my understanding around human existence and its values.

    The works He Won't Love Me Because He Knows What I Did are based on sexually charged images of prepubescent under-age girls that are on sale at the Japanese media market. The title of this work is the words from one of the model’s quotes ‘He won’t love me as he knows what I do (for work)’ which she mistakenly posted on her fan blog instead of her personal blog for her friends. The girls in these images are almost like the objects, the vessels of the fantasies of male viewers and devalued through the media market and mass production. Here, the number of clear hollow glass sculptures of puppet-like girls, whereby their cast-shadow represents the existence of the subjects. My aim is to create a pile of the girls' empty bodies as if they were rubbish to illustrate their media-affected and invisible existence which has been consumed. The girls become a puppet like dolls, but not for a toy or a prize, but as a representation of ‘manipulation’ by the external forces and becoming as vessels of one's desire.

  • Degrees

  • Diploma, Photography Practice, London College of Communication, 2011; BA (Hons), Photography, London College of Communication, 2010
  • Experience

  • Volunteer photographer, Tate Modern, London, 2010–present
  • Exhibitions

  • Splinter Art , Michael Hoppen Gallery, London, 2013; All I Want is Out of Here, October Gallery, London, 2012; After we arrive, before we leave..., The McAulay Gallery, Core Learning Center, Tate Modern, London, 2011; For Japan: Charity Auction, Hotshoe Gallery, London, 2011
  • Awards

  • Winner, Photography Award, Royal College of Arts, 2012; Helen Chadwick Award
  • Publications

  • Waving Flags, Oliver Richon, Rut Blees Luxemburg, Black Dog Publishing, 2013; All I Want Is Out of Here, 2012; Edge of Extinction, Pascal Ancel, 2011