細節
江本創
Arrow Head Lizard; Red Wyvern; 水棲龍; 龍; European Basilisk; 龍龜; 人面魚; 七大罪; Luxuria/ Miguel; Ira/ Miguel; 龍; 龍/ 骨格; 蟲人間 (男); 蟲人間 (女);及 龍
綜合媒材 雕塑 (共15件)
2002-2007年作
簽名:H. Emoto
展覽︰
2003年 9月16-27日「江本創展」Tomos Gallery 東京 日本 (《Arrow Head Lizard》及《Red Wyvern》展出)
2004年 4月5-11日「江本創 - 幻的獸物」元町畫廊 横浜市 日本 (《水棲龍》、《龍》、《European Basilisk》、《龍龜》及《人面魚》展出)
2006年 2月2-16日「七大罪」青木畫廊 東京 日本 (《七大罪》、《Luxuria/ Miguel》及《Ira/ Miguel》)
2006年 7月10-22日「眼睛」青木畫廊 東京 日
出版︰
2006年《幻獸標本採集誌》株式會社飛鳥新社 東京 日本 (圖版,第16-20、27 、80、96、110及114頁)
2006年《進化論 異形藏》光文社文庫 東京 日本 (圖版,無頁數、第6、15、185及363頁)
2007年11月「Specimens of Phantasmal animals」《Mex Magasin》蘇黎世 瑞士 (圖版,第24-25及27頁)

江本創以描繪生物的解剖學特徵為主,創造了極有特色的生物軀體。但是他真正的才能在於深刻創造生物所在的環境。江本創利用敘述生物關鍵的細節,吸引了觀者來細察世界,例如二棲類動物的動作、防衛的手段以及交配的習慣。雖然是全然虛構的生物,但每個故事都充滿了想像和創造。第一眼觀看江本創的科學標本,竟是感到令人戰慄的真實和熟悉,就好像在幾個世紀前,這樣的生物真的存在過。仔細觀看這個珍奇百寶盒,江本創的創作讓我們思考這些晦澀神秘的生物,是否居住在迭層高樓間的小巷,或是街角房舍附近的公園中。

江本創接受傳統的日本版畫訓練,但很快就對平面作品感到厭煩;他著迷於手工藝「標本」展現的具體感覺,就像那些在科學博物館看到的標本。江本創作品陳舊的展示,更適切地刻畫出他本人與其喜愛的藝術家間之關連性,例如哥雅、達文西與波悉。利用細膩的紙折,黏貼骨架、牙齒與骨骼,江本創耗時冗長地利用一張張的紙,按照比例排列,創造出生物的軀體。魚類、飛蜥和爬蟲類之後著上色彩,而其他生物被仔細地黏貼分割好的乾葉,展現了多樣生物類別的作品。江本創的創作描繪出童書之中充滿神話與寓言的世界,不過現在卻具體呈現在我們的眼前;我們不禁懷疑,這些創作是否就是其真實存在的證據。
出版
Parol-sha, Genjiu Hyohon Saishushi, Tokyo, Japan, 2006 (illustrated, pp. 16-20, 27, 80, 96, 110 & 114).
Kobunsha, Shinkaron Freak Out Collection, Tokyo, Japan, 2006 (illustrated, unpaged & pp. 6, 15, 185 & 363).
'Specimens of Phantasmal animals', in Mex Magasin, Zurich, Switzerland, November, 2007 (illustrated, pp. 24-25 & 27).
展覽
Tokyo, Japan, Gallery Tomos, Hajime Emoto, 16-27 September, 2003 (Arrow Head Lizard & Red Wyvern exhibited).
Yokohama, Japan, Gallery Motomachi, H. Emoto Exhibition-Creatures of Illusion, 5- 11 April, 2004 (Sea Serpent, Aslan Dragon, European Basilisk, Dragon Turtle & Human Face Fish exhibited).
Tokyo, Japan, Gallery Aoki, Seven Deadly Sins, 2-16 February, 2006 (Avaritia/Sebastian, Luxuria/Miguel & Ira/Miguel exhibited).
Tokyo, Japan, Gallery Aoki, Augen, 10-22 July, 2006. (Dragon & Dragon Skeleton exhibited).
Tokyo, Japan, Gallery Aoki, Professor H's Love for Fantastic Creatures, 3-15 March, 2008 (Homo pumilus gidoronia (male), Homo pumilus gidoronia (female) & Draconis Smaragdus exhibited).

榮譽呈獻

Felix Yip
Felix Yip

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拍品專文

Beginning with the sculpting of anatomical features, Hajime Emoto invests himself in the exquisite rendering of each individual creature's distinctive body, but his talent lies not only in his craftsmanship but his ability to invoke a fully imaginary environment for his creatures. Emoto effectively draws the viewer into the world by describing critical details such as the amphibian's movement, its defensive tactics and even mating habits. Each story is told with such imaginative qualities that, although entirely fictitious, Emoto's scientific specimens appear frightfully and oddly familiar as if having existed perhaps, in decades or centuries past. Examining this cabinet of curiosities, Emoto's creations allow us to wonder if the small alley between city buildings or the park around the corner houses such obscure and mythical creatures.

Trained in traditional Japanese lithography, Emoto quickly tired of two dimensional works became fascinated with the concrete sensation of hand crafting 'specimens' much like those found in science museums. The antiquated display of his work befittingly draws associations with the artists Emoto admires, such as Francisco Goya, Leonardo da Vinci and Hieronymous Bosch. Delicately folding and gluing bone structures, teeth and skulls from paper, Emoto builds the body first, followed with the tedious application of one paper scale after another. Fishes, dragons and reptiles are then stained with colour while other creatures are carefully attached with dried leaves which Emoto segments accordingly to ultimately present works of varied biological classification. Emoto's creations describe a world of mythology and fables only thought to exist in children's books. Yet, when we are confronted with its physical presence, we cannot help but question whether they each are a sliver of evidence for a true existence.

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