細節
小林浩
目無表情
壓克力 畫布
2006年作

來源
亞洲 私人收藏


小林浩畫中的玩偶融合了日本藝術中浮世繪、刻印、攝影及漫畫等元素,其特色包括了層疊而生的畫面空間、行為力學、以及比喻。他將我們由兒時記憶想像而成的童話故事,凝結成簡單的畫面,將影像縮小成類似地形圖的形狀與輪廓。藝術家用層層的壓克力顏料在平面上,畫出迂迴的線條輪廓以及微微突起的平面,增加作品三維空間的效果,這樣的視覺效果也可以看出顏料經過沉澱再風乾的過程。藝術家創造出一群玩偶漂浮於平滑表面上的活潑景象,簡單的構圖正正是日本傳統刻印、動畫中固有的特色。

《Reverse Burst 》(Lot 1729)裡單調的藍色令我們憶起了舊的黑白照片,霎時勾起了過去的片段。卡通人物間的互動傳達出天真而單純的兒時友情。《越過大陸》(Lot 1730)的色彩較為豐富,焦點也顯得比較清晰,畫中有更多的細節、更深的意象,這是我們記憶中的空間。畫作的背景既是光明的白色,可是內裡的關係卻是曖昧不清。一連串的玩偶,如違抗著時間和地心引力般滑行穿越過我們的視野。柔軟的布偶們漂浮於空中,像是從孩童手中逃脫的氣球,飛得遠遠的,再也無法歸來。《目無表情》(Lot 1728)看似充滿反抗的意象,或許正呼應著人類與生俱來的淘氣和愛掌控心理,戲謔的探討終究會消逝的純真。儘管這些兒時記憶只存在於短暫的過去,現在卻透過畫作凝結成永恆;這些玩具就代表了被埋於我們記憶深處年輕時的影像,親切地提醒我們對幸福的時光。
來源
Private Collection, Asia

登入
瀏覽狀況報告

拍品專文

Hiroshi Kobayashi's paintings of stuffed animals integrate elements of Japanese ukiyo-e woodcut printing, photography and animation, weaving together shared characteristics of layered pictorial spaces, dynamics action, and allegorical meanings. A snapshot of an imagined fairytale is captured and digitally reduced into shapes and outlines like those on a topographical map. Layers of fluid acrylic paint then fill and emboss the prepared surface with sinuous contours and gentle planar elevations that lends a three-dimensionality to the canvas. At the same time, it is a reminder of the instant when the paint stagnates and dries. The artist creates an animated vision of floating figures while retaining flatness in the composition, a quality intrinsic to Japanese prints and cartoons.

The monochromatic blue composition of Reverse Burst (Lot 1729) is reminiscent of an old discoloured photograph and immediately evokes a sense of nostalgia. The interaction among the cartoon characters suggests the naivety and simplicity of childhood friendships. With a broader range in his colour palette and greater focal clarity, Crossing the Continent (Lot 1730) features greater details and a deeper perspective within the ambiguous light-filled environment that seem to reside in our memories. Defying time and gravity, the stream of animals sashay across the composition, floating like balloons that escape the hands of playing children, never to return. The seemingly confrontational image of Poker Face (Lot 1728) perhaps alludes to the mischief and manipulation that is inherent in all of us, and playfully addresses the unavoidable loss of innocence. Such games in our ephemeral past are now transcribed into permanence, and these toys serve as a kind reminder of the blissful years in our youth that is held at the back of our memories.

更多來自 亞洲當代藝術 日間拍賣

查看全部
查看全部