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赤粒艺术:【诗与哲学的雕刻

发布时间:2020-05-28 22:23 访问次数:239
赤粒艺术【诗与哲学的雕刻-深井隆个展 】赤粒艺术:【诗与哲学的雕刻赤粒艺术:【诗与哲学的雕刻赤粒艺术:【诗与哲学的雕刻赤粒艺术:【诗与哲学的雕刻赤粒艺术:【诗与哲学的雕刻赤粒艺术:【诗与哲学的雕刻赤粒艺术:【诗与哲学的雕刻赤粒艺术:【诗与哲学的雕刻赤粒艺术:【诗与哲学的雕刻赤粒艺术:【诗与哲学的雕刻赤粒艺术:【诗与哲学的雕刻赤粒艺术:【诗与哲学的雕刻赤粒艺术:【诗与哲学的雕刻
    展期

    日期:2019-10-05 ~ 2019-11-17

    地点

    台北市大安路一段116巷15号

    参展艺术家

    深井隆

    赤粒艺术:【诗与哲学的雕刻赤粒艺术

    台湾,台北市

      诗与哲学的雕刻―深井隆个展
      ― 用雕刻刀挥洒诗篇的木雕家 ―
      印象
      几年前深井隆老师来台艺大雕塑系交流时带来了一本深绿色的布面精装诗集『羊の手 CHRONICLE』,接到手时对这位艺术家竟然也写诗或者是文学作品而感到敬佩,没想到一翻开竟是他的编年作品集,觉得他的木雕作品造形极具文学特质,简直就是一篇篇精彩的现代诗或者是发人深思的哲学短文,虽然书中还是有一篇短诗和三篇散文和他的作品互相辉映。
      出身
      1951年深井隆出生于群马县高崎市,东京艺术大学雕刻科硕班毕业后留校任教直至退休,现任该校荣誉教授,可以说是日本雕塑学院派的代表人物,虽然他的年轻时期面对的是极限主义当道的世界潮流,也曾经尝试着去创作像极限主义的作品,却很早的发现那不会是他的路线,一直到受到英国巴里.弗拉纳根(Barry Flanagan, 1941 ~2009)、东尼‧克雷格(Tony Cragg, 1949~)、安东尼‧葛姆雷(Antony Gormley, 1950~)等人的影响,他们的创作既不属于任何派别,又能自由地发挥具有自己的个人特色。这种创作存在的可能性让他的创作能够稳定的持续发展。英国皇家艺术学院的研习期间,他有了重新省思自我的机会,以日本精神文化为基盘,西方造形为架构,成就了深井的作品,也是具有不附属于任何派别,但又具有识别性,对艺术家而言何尝不是一种理想的状态。
      作品
      这次展出作品中「逃逸的思绪」系列大小共有9件,其中有一件「逃逸的思绪―五重奏―」是为了这次个展準备的新作,是贯穿整个创作生涯的主轴。5件是马的作品,有展翅翱翔的飞马,也有四条腿被锁在地面,马腿却又向上拉高马,动态虽然是安定的,但是却可以感受到一股潜藏的跃动力量。房屋形的作品有木质和石材各2件,简单的房型加上窄窄的庭园,以「栖」为题,可以感受到深井或是日本人对栖息之地「家」的想望与期待。另有一件壶口展露双翅的大理石作品,「泉―蓝天―」的主题透露出物质与精神的议题。还有版画及粉彩各两件,主角都静谧的定格在空间之中,似乎深井的纵向与横向的时间在此交织酝酿。
      就木雕创作来说深井的木雕是一种不易归类的存在,早期用樟木刻出椅子的作品开始,这个系列一直延续至今,除了沙发、苹果、书籍、翅膀之外,也逐渐加入了马、房屋、圆柱、圆锥、壶、花束等几种新的题材,除了在作品本身的雕刻刀法俐落,造形掌握简洁有力之外,作者本身应该随时意识着作品周遭的场域,或许如此,他的展场空间有一种接近洁癖的空灵感,又或许这是来自日本的禅宗思维再加上深井早年对极限主义的憧憬所致。
      材质
      关于深井自身与艺术观感实践的木雕作品之间的对应关係,日本雕塑评论家酒井忠康曾在一篇评论中写到「从木头这种素材的咒缚逃脱,和其他素材对应一事,意味着物质转化,我却将之称为翻译……,为甚幺呢,在这里对于诗人而言就像自己的母语一般,对语言有时会变得神经质的情况是一样的,你(深井) 对木雕坚持是对素材的技术熟练姑且不论,木材的本质所触发的精神性的作用,是无法忽视的。」。如他所言深井的作品是明显具有散发出气场或精神性的特质,虽然雕塑作品或多或少都有这样的特徵,但是他的作品特别强烈。
      说深井的作品是木雕作品,毋宁说是木材质的雕塑来的恰当,木材质之于他的作品是一个理所当然的存在,不论是只上蜡露出木材质原色的表现,或是贴金箔、银箔或铜箔发铜绿色等或许都是为了压下木材质的强度,使材质与作品可以达到理想的契合状态。
      时间与空间
      虽然深井的作品有翅膀及马这样属于动的题材,但是整个展场氛围却是静态的,深井作品中的时间概念却是清楚的,分秒为计横向的时间是流向我们的日常周遭,而纵向的时间则是贯穿过去与未来,而他的作品似乎就是在横向与纵向时间的交叉处的一个被定格的介面。应该说深井的雕塑是要与周遭的空间一起被观赏才是成立的,而且近看可以看到纯熟的雕刻表现处理及材质之美,当拉开距离远观整个展场的当下,这时以人的不在来呈现人的存在这个逻辑,相同的在空间之中彷彿是一个像「门」一样的概念,其实是被暗喻着它的横向与纵向的流动与交织是存在于过去与未来之间,这当下只是我们存在的一瞬。
      传承
      深井老师的另一个贡献就是培养出了许多优秀的雕塑家,棚田康司、原真一、土屋仁应……等等,现在在日本艺术界有广泛影响力,在深井老师的退职展的同时也在东京艺术大学美术馆内另一个空间,有一个他与他的学生们的联展,虽然学生们的创作素材大都以木材为主,但是仍有一些其他材质的作品,甚至跨界的影像创作,而且并没有发现受到他的造形影响的痕迹。当一个教授的存在变得极大时,他的创作风格没有出现在学生作品中应该也是他的人格特质所致。

      最后分享一首深井在1979年印在他的个展DM上的短诗作为结尾。

      「いつもと変わらぬ今日 / 今天还是一如往日
      いつもと変わらぬだろう明日 / 明天也会如往昔一样没变吧
      あるとき / 有时候
      そよめく风に、直降する阳光の中に / 在微风中,在直射的阳光里
      いろいろな幻想が顔を出し / 种种的幻想显现在脸上
      自己の内部に変容した日常を発见する / 发现自己内在变迁的日常
      一时の流れの中に永远性を求めようとする刹那 / 片段的时间流之中追寻永恆的剎那
      そこに在る日常は何を语りかけてくれるのだろう… / 在那裏的日常或许会对我们诉说着什幺吧…」

      Poetic and Philosophical Sculpture – Takashi Fukai Exhibition
      – A woodcarver crafts poems with carving knives –
      Impression
      During a visit at the Department of Sculpture, National Taiwan University of Arts several years ago, Mr. Takashi Fukai brought along a dark green cloth hardcover of collected poems, Sheep’s Hands: CHRONICLE. Upon receiving the book, I was overwhelmed with admiration for the artist who also writes poems or literary pieces. I did not know until later, when opening it, that I found it to be a chronicle of his works. The forms of his wood sculptures amazed me with a literary quality. They were marvelous pieces of modern poetry, or thought-provoking philosophical essays, despite the fact that there were indeed a short poem and three pieces of prose in the book that seemed to complement his sculptures.

      Background
      In 1951, Fukai was born in Takasaki City, Gunma Prefecture. Before retirement, he had been teaching at the Department of Sculpture, Tokyo University of the Arts ever since graduating from its master’s program. Now as emeritus professor at the university, he can be said to be a representative figure in the Japanese world of sculpture marked by his professional training background. Born into an era when minimalism dominated the world, he had made a few minimalist attempts but realized that it was not his thing at an early age. The works of Barry Flanagan (1941-2009), Tony Cragg (1949- ), Antony Gormley (1950- ) and other British artists exerted an enormous impact on him. They do not fall into any school, and are characterized by a uniquely free, personal style. This artistic possibility inspired him to create on a continuous basis. Further studies at the Royal College of Art, UK, gave him the chance to rethink himself. Fukai pursued art with Japanese spirit and culture as a foundation, and Western form as a structure. Isn’t it, in some ways, ideal for an artist whose works are not attached to any school yet highly distinguishable?

      Artworks
      One of the series on display at the exhibition, “Dissipating Thoughts” comprises nine works, with Dissipating Thoughts – Quintet newly created for this solo exhibition. This marks one of the most representative series in his artistic career so far. Five of them are about horses: flying winged horses, or those with four legs locked to the ground, yet stretching upwards to their fullest. While remaining static, there is a sense of dynamic force lying behind them. There are also house-shaped works, two made of wood and two of stone. The simple houses are accompanied by narrow courtyards, and the fact that they are named “Sojourn” reveals Fukai’s or Japanese’ longing and expectation for “home,” or a place to sojourn. Furthermore, Spring – Blue Sky is a vessel-shaped marble sculpture with flying wings at the mouth that unveils physical and spiritual meanings. There are also two prints and pastel paintings in which main characters have silently become frozen somewhere in space where Fukai’s vertical and horizontal times converge and evolve.
      Fukai’s wood sculptures are hard to categorize. He has been creating chair-shaped camphor wood sculptures from early on all the way through his career. Apart from sofas, apples, books and wings, new subjects ranging from horses, houses, cylinders, cones, vessels to bouquets have gradually been incorporated into his repertoire. His artworks demonstrate great craftsmanship, with the form expressed minimally yet powerfully. The sculpter always seems aware of the spaces around the artworks so that his exhibition areas are ethereal to the extent of being almost mysophobic. Or perhaps it is a result of Japanese Zen thinking, as well as Fukai’s early minimalist aspirations.

      Material
      As to the relationship between the self and artistic philosophy in Fukai’s practice of wood carving, the Japanese sculpture critic Tadayasu Sakai said in a review, “It is a kind of physical transformation to escape from the shackles of wood as a material in response to other materials, but I would like to call it translation.... Why? To the poet, it is like the mother tongue in that we sometimes get neurotic about the language. Your [Fukai’s] persistence in wood sculptures and technical virtuosity with the material cannot be overemphasized. The spirituality evoked by the nature of wood, too, cannot be overlooked.” As he said, Fukai’s items are obviously permeated with a strong aura or spirituality. This attribute is more or less shared by all sculptures, but manifested most strongly in his works.
      I would call Fukai’s works sculptures made of wood as material, rather than wood sculptures. A quintessential part of his art pieces, the wood material is either waxed to bring out its natural wood color, or be covered with gold foil, silver foil, copper foil in copper green or others probably to tone down the strength of the wood material. Both these aim to strike an ideal balance between the material and artwork.

      Time and space
      Despite the fact that dynamic subjects such as the wings and horses are explored in his works of art, a static ambience can be found in his exhibition venues. There is a clear concept of time in his pieces: The horizontal time calculated by minutes and seconds flows into our daily surroundings, while the vertical time runs into the past and future. His works appear to be perching on a fixed interface at the intersection of horizontal and vertical times. Or we might say that Fukai’s sculptures should be appreciated along with the space around them. At a closer look, you will be impressed by the stunning ingenuity of his carving skills and the beauty of the material itself. Human existence is underscored with human absence in the whole exhibition area, if viewed from some distance. It seems like there is the concept of a “door” within the space, where metaphorical flowing and interweaving of both the horizontal and vertical times exist between the present and future. The now is merely a fleeting moment of our existence.

      Passing down
      Another contribution Fukai has made as a teacher is that he has trained a great number of remarkable sculptors, including Koji Tanada, Shinichi Hara, Yoshimasa Tsuchiya, etc., all influential figures in the contemporary world of art in Japan. In addition to his retirement exhibition, meanwhile there was a joint exhibition of Fukai and his students hosted at the University Art Museum of Tokyo University of the Arts. While the students’ works were mostly created out of wood, there were still some pieces made of other materials, and even crossover image creations. Above all, none of them showed any hint of influence from him in terms of form. Perhaps it was because of the personality traits of Fukai, a professor with such a prestigious status, that his artistic styles did not creep into his students’ artworks.

      Poetry
      I would like to end with a short poem by Fukai that had been printed on the flyer of his solo exhibition in 1979.

      “いつもと変わらぬ今日 / “Today is like any other day,
      いつもと変わらぬだろう明日 / So I guess tomorrow will stay the same, too?
      あるとき / Sometimes,
      そよめく风に、直降する阳光の中に / In the breeze, under the direct sunlight,
      いろいろな幻想が顔を出し / Numerous fantasies play on the face.
      自己の内部に変容した日常を発见する / I find my inner self changing with each day,
      一时の流れの中に永远性を求めようとする刹那 / Searching for a moment of eternity within fragmented flows of time.
      そこに在る日常は何を语りかけてくれるのだろう… / The daily life there might probably whisper something in our ears.”

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