As an artist born in the 1990s, Shohei Yamamoto confronts an unprecedented volume of historical image resources. His artistic practice has long transcended the realms of art history or image history, focusing instead on the history of image media, and thus exploring “intermediationality,” that is, the interactive relationship between modern media.

With this exhibition, the artist Shohei Yamamoto takes “stuntmen” as a starting point to engage his creative process spanning multiple production departments and processes: digital darkroom, industrial printing, manual transfer, and coating process. Through these new techniques and methods, and by forging new connections between them, the artist explores topics directly related to painting, such as the history of cultural exchange and the nature of visual authenticity. The exhibition will focus on his two most used painting approaches: repetition and simulation. In the context of intermediationality, the artist undertakes a profound critique and reflection on the process of painting.

As a new generation painter, Shohei Yamamoto offers a perspective remarkedly different from that of his predecessors. He engages with painting through the lenses of imageology and media studies, using them as tools to contemplate the history of painting, vision, and culture. In his approach, “Stuntmen” ceases to be a marginalized character overshadowed by the “protagonist” but rather emerges as the focal point on the stage itself. Through this transformation, historical media no longer serve merely as “vessels for carrying memories and emotions,” but rather as instruments that fundamentally challenge the most fundamental aspects of cognition—what has shaped our identities? Are our past knowledge, perspectives, and emotions real, or are they particular ideologies molded by specific technologies?