Matsumoto's artworks initially start out as several fragmentary variants that are derived from the elements of his previous works. They are then merged into the artwork through the application of a recursive algorithm and its embedded matrices of transition probabilities. Consequently, the new work captures and appropriates some of the conceptual substructure of the previous works, while they can stand on their own as a self-referential multiplicity.
The concept of his work pertains to the actualization of the temporal dimensions of molecular entities that are eventually reconfigured as urban aggregates. In this respect, his work correlates with the whole perception of the molecular lines that are immanent in the meaning-making processes of living and nonliving alike, which eventually leads to the diachronic emergence of an ecological assemblage.
There is also a common thread with regard to visual abstraction in the artworks: the multiplicity of hybrid objects that unfold within their own spatiotemporal coordinates of phase space and are transcribed to an image plane. In that regard, the creative process of drawing henceforth can be defined as the variable intensities of movement that are reconfigured as the cartography of spatiotemporal reality.
Moreover, each artwork is perceived as the process of dissecting the flux of seamlessly contiguous movement-images that transpire in space-time dimensions, thereby slicing and capturing the decoded flow of the movement-image by assigning the specific coordinates within the intermeshed protocols of real-time, multi-agent interaction. That is diametrically opposed to the Euclidean, a priori notion of space that makes the universe deterministically predictable by restricting the number of variables in the spatial coordinates. This topological realm is also ascribed to the agency of preindivisuation in its virtual state, wherein all the possibilities of morphological transformation are immanent in the space-time continuum.