來源
亞洲 私人收藏
出版
對具體藝術家來說,具體就是從日常生命中出發,不受限制 地創作。 他們擺脫傳統高尚的藝術技巧,不斷挑戰繪畫形式 和材料的界限。畫面上充滿流動的線條與塊狀鮮豔色彩是元 永定正最具代表性的風格,他於1955年加入具體美術協會, 曾於廣島市立當代美術館、 大谷紀念美術館及三重縣立美術 館舉行個人展覽。 不能預測的偶發性美感 啟發至日本一種命名為「tarashikomi」(滴灑)的傳統繪 畫技巧 (圖1),元永定正在將顏料直接傾倒或滴漏在畫布表面 之前,並未做任何前製的調色動作,配合松節油及樹脂的運 用,色彩自由流淌的細膩形態,形成複雜多變的形狀紋路。 此系列作從五十年代到六十年代中期都是元永定正創作的核 心。 色彩在沒有既定的限制下蔓延、相融及蛻變,充滿如有機體 般的精神韻味。《無題》(拍品編號427) 曾於1965年的「元 永定正展」 展出 (圖2),簡約有力的線條富動感和方向性, 與色塊上波浪、頓點的元素產生互動。殷紅的色塊彷如花 瓣,於其上的色彩迴流部分則像花蕊,冷暖色調組合出微妙 的視覺效果。《無題》(拍品編號429) 及《作品》(拍品編號 426)整體充滿活躍感及層次變化,在低限的基底色彩下, 透過不同的方向控制及濺、灑、點,等不同技法,藏藍、艾 綠、鵝黃、赭石等色彩朝向四面自然綻放,如燃燒中的火 焰。 像《紅,三色,朦朧》(拍品編號428) 這幅命題充滿趣味 性、與塗鴉及動畫藝術相似的視覺語彙的作品,是元永定正 藝術生涯晚期繪畫中最常見的主題。其活潑多變而絕對平面 的圖像讓人聯想到日本當代藝術家村上隆的超扁平風格,兩 人的作品不約而同地充滿日本傳統藝術中強調二維的特徵。

拍品專文

Gutai , as artists say, springs from everyday life, and is unrestrained creation. They distance themselves from traditional rarified art techniques, and constantly defy the limits of forms and materials in their painting. Dynamic lines and bright colours fill the canvas in Motonaga's signature style. In 1955, he joined the Gutai group and staged solo exhibitions at the Hiroshima City Museum of Contemporary art, the Otani Memorial art Museum, and the Mie Prefectural art Museum.
UNPREDICTABLE SERENDIPITOUS BEAUTY
Inspired by traditional Japanese tarashikomi ("dripping" in Japanese) painting techniques (Fig.1), Motonaga refrains from mixing colours before pouring or dripping pigments directly onto canvas. Via the use of turpentine and resin, the colours flow freely into delicate patterns and form complex and varied shapes and textures. This series from the 1950s to the mid- 1960s sits at the core of Motonaga's creation. Colours spread in the absence of imposed limits and, blending and transforming, they brim with a spirit of organic allure. Untitled (Lot 427) displayed at the 1965 "Motonaga exhibition"(Fig.2), embodies such elements as simple yet strong lines with dynamic directionality, waves upon colour patches and interrupted lines that generate interaction. Bright red colour patches appear like flower petals, while the area of colour backflow resembles stamens; the combination of warm and cold colours produces a subtle visual effect. Work (Lot 426) and Untitled (Lot 429) are suffused with a sense of activity in its shifting layers and through the differing techniques of varying directional control and spilling in the lower base colour. Sprinkling and dotting navy blue, light green, light yellow, and ochre, the colours surrounding all four sides seem to burst into natural bloom, like a burning flame. Like red, Three Colours, Dim (Lot 428), a work full of interesting propositions, visual vocabulary similar to graffiti and cartoon art, is the most common motif in Motonaga's later works. His lively and absolutely flat images recall the style of Japanese artist Takashi Murakami. The works of these two are invariably charged with the two-dimensionality so emphasised in traditional Japanese features.

更多來自 亞洲二十世紀藝術 (日間拍賣)

查看全部
查看全部