A self-taught artist, Masayoshi Hanawa trained as a hairdresser at a technical high school. In 2005, when the salon that employed him closed down, he started painting on T-shirts that he sold on the sidewalk next to some of his drawings. As a child, Hanawa grew up in an isolated house in the middle of the forest. As his mother worked at night, he began to draw what he still calls his “protective entities" to chase away loneliness and fear of the dark. He currently works in a wok factory, saying "metal processing inspires me.”
Hanawa likes to paint with his fingers, and draws in his car. “It's a place where I'm completely quiet,” he says. In 2015, he explained in an interview that “people often talk to me about the Japanese underground movement ‘Heta-Uma’ and tell me that I seem to belong to it. I don't really know how to answer that, I just know that I'm trying to become a good painter. The group I'm interested in today is called Mograg - I'm part of it.” Mograg Garage is a collective who began in February 2008 in a garage in the Tokyo suburbs that brings together parts of the current Japanese alternative scenes. The artists in it are very aggressive. They each carry out different and/or convergent activities, and create works to give impetus to others. Heta-Uma is also defined by its "bad drawing," "dirty but beautiful", "rough but perfect". Heta-Uma is characterized by a deliberately clumsy technique, a play with popular iconography, creating a form of pop art brut. The style was born in Japan under the impetus of King Terry Yumura (b. 1942), a pioneer who created it in rebellion against the perfection and icy aesthetics of traditional Japanese culture.