Shiro Masuyama is one of the most promising young Japanese artists. As a curator who is concerned about young artists' works, I have taken note of his works since his first solo show in 2000.
This spring he had a big solo show at the Contemporary Art Factory, Tokyo, which included his past six artworks. It was an opportunity to recognize that he is an important young artist who makes interesting connections and presents convincing questions in art to the now international flow of post-gender and post-colonial situations.
Most his works themed relationship between society and individuals, and such works like "Legal Parking", "500 Yen" and "IKEMOKU" evokes some bad manners that we commit unconsciously and take it socially acceptable in our daily life in urban city. Although it is not a major social problem such as juvenile crime and domestic violence, it is commonplace practice beyond age, sex and race. Using media video, photograph and other installation, he depicts strange relationship between society and individuals.

Motoaki Hori (Curator, Tokyo Opera City Art Gallery, Tokyo)

I have been following Shiro Masuyama's works since I watched his performance titled "Legal Parking" and assume that he is the one of the most remarkable artists in Japan now. I am delighted to tell you that his exhibition held at our space in 2002 was very exciting and came up to visitors' expectations.

Shiro has been drawing public attention by trying various unique art projects in which the public was naturally involved, and those were usually not limited to be held in a gallery or museum.
The projects such as "Bank of Tama River Project" and "Legal Parking" are good examples that show his original and ironical attitude towards contemporary city life. It can be said that what he has been trying to do made such important achievement to investigate how an artist get involved in the society.

Takaaki Soga (Director, Contemporary Art Factory)