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拍品專文
Cosplay in the Streets (Lot 1351) and Mami Mart (Lot 1352) by MR. both draw on the fantasy prevalent in everyday scenes that frequently appear in Japanese shojo manga. In Cosplay in the Streets, the typical figure of a manga girl, with her flawless, fair skin and a pair enormous watery eyes, are documented on the streets, dressed in cosplay (costume play), a phenomenon in Harajuku in Tokyo even for adults are found posing in the mixed attire in an almost documentary fashion. They reflect a generation of adults who find comfort in escaping reality through bringing out their alter-ego, smiling in costume in Mami Mart , a prepubescent girl is suggested as grocery shopping as a housewife might, but only to be found in front of gumball machines that attract young children. These works seems at once a realistic depiction and a surreal fiction: for all the detailed narratives, the sense of the "real" is deprived of by the ultra cartoonish, animelike representation and the unnatural striking colors of the scene.
This surreal style transforms the work into a virtual, even a fairytale, world. Patterning after the manga form of expression, the artist foregrounds a luscious visual experience to obliterate the real-world dimensionality and the perception of distance. Any feeling for lyricism or high-minded philosophy is effaced; only the beautiful, optimistic imagination is retained. Implicitly sexual, the work also exemplifies the generally sexualized works of MR., who is distinct in his way of blending the adolescent fancy with the innocent manga world, rendering it a near-satire of the voyeurism of Japanese otaku culture. The planar work of MR. therefore incarnates a more intricate reflection, and is sometimes regarded as a door to the private fantasy world of the artist.
This surreal style transforms the work into a virtual, even a fairytale, world. Patterning after the manga form of expression, the artist foregrounds a luscious visual experience to obliterate the real-world dimensionality and the perception of distance. Any feeling for lyricism or high-minded philosophy is effaced; only the beautiful, optimistic imagination is retained. Implicitly sexual, the work also exemplifies the generally sexualized works of MR., who is distinct in his way of blending the adolescent fancy with the innocent manga world, rendering it a near-satire of the voyeurism of Japanese otaku culture. The planar work of MR. therefore incarnates a more intricate reflection, and is sometimes regarded as a door to the private fantasy world of the artist.