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加藤泉 無題 油彩 畫布 二〇〇四年作 Izumi Kato b.1969 Untitled Oil on canvas Painted in 2004
香港
2023年10月08日 开拍
拍品描述
size:130.3 × 194 cm. 51 1/4 × 76 3/8 in.
款識 2004 「KATO泉」(畫背)
Signed with the artist's name in English and Kanji and dated on the reverse
來源 東京澡堂畫廊 現亞洲重要私人藏家直接購自上述來源 註:畫背貼有東京澡堂畫廊標籤 神與人的國度 加藤泉珍稀早期大尺寸代表作首現 「我的人生就是不斷地冒險。」 ——加藤泉 加藤泉是當代日本藝術家中不可多得的後起之秀,1969年出生於島根縣的他,曾勵志成為足球員和搖滾樂手,卻意外考入武藏野美術大學油畫系。1992年畢業後,適逢日本經濟危機,他甚至做過數年建築工人,直到30歲,終於遵循本心回歸藝術:「我知道是冒險的,但也覺得失敗都無所謂。如果當時不是做了這樣的決定,我應該活不下來,我想透過繪畫所處的環境和社會建立聯繫。」2000年,他筆下獨創的「神秘生靈」進入大眾視野,並贏得廣泛關注。2007年,受美國策展人斯托爾(Robert Storr)之邀參加威尼斯雙年展,開啟其藝術生涯新紀元,而後與貝浩登(Perrotin)、弗里德曼(Stephen Friedman Gallery)等國際畫廊合作,不斷挑戰新媒介,屢次於世界知名美術館舉辦個展。其作品獲藏於眾多重要藝術機構,如法國蓬皮杜、東京國立近代美術館、金澤21世紀美術館、香港大館、北京紅磚美術館、上海龍美術館等。 精靈、神話與自然 「在我的家鄉,神道教、佛教和萬物有靈論都混雜在一起。我受到成長經歷的影響,那裡的一切都有自己的生命。我知道我畫的人形不是特定的人,而是用人的形狀來畫。可能是你,也可能是我。我不知道是誰,使用這樣一個無名的人,我關注的不是個人,而是存在本身。」 ——加藤泉 加藤泉的故鄉被譽為「出雲國」,是日本古文化的起源地,許多神話皆源於此。日本古籍《古事傳記》曾解釋「神」為「迦微者」(Kami),世間生物,無論凶神惡煞或慈眉善目,皆可為迦微。加藤泉自小聽著口耳相傳的玄幻故事長大,這些「魑魅魍魎」爾後亦影響著他的創作及宇宙觀,使其不以絕對善惡為準繩,在戰後以卡通文化主導的日本藝壇自成一家。取材於自然萬物,加藤泉卻始終關注著「人」,其創作理念與老子《道德經》中「道生一,一生二,二生三,三生萬物」不謀而合,所繪圖騰若地外生物、繩紋時代陶塑、三星堆人獸、非洲原生部落,極易令人聯想到胎兒、植物、昆蟲等,人神合一,超然自逸,饒有靈性與童真。紅磚美術館館長閆士傑曾評價加藤泉:「他的作品脫離了西方繪畫進化論的體系,有東方的、日本的文化支撐,猶如從遠古至未來的『精靈』,在它們身上看不到對自然的恐懼,也找不到歷史沉重的包袱;我們與他的『精靈』猶如處在多維空間中,卻能產生對話的慾望。」《無題》創作於2004年,是藝術家屈指可數的大尺幅早期代表作,為過去拍賣史中藝術家1990至2004年第二大尺寸之作,是次首次釋出,難能可貴! 重返萬物本心 加藤泉認為若將作品命名會限制觀眾思考,而作品本身不會因無名而頓失光彩,因此他有意不為作品取名。如果將加藤泉的創作史喻作一本書,其早期作品一如《小王子》童書中的禮帽符號,耐人尋味。《無題》描繪了人在孩提時期的三種成長體態,畫中三個主角若被一層透明的薄膜輕裹,輪廓蜿蜒起伏,構造似小王子被大人們誤解後刻意重繪的「蛇吞象」內裡。加藤泉若引用此典故,從兒童視角視覺化人類幼時的生命記憶。作品以砂白色為背景,人物以黑為主色,紅、綠為點綴,詮釋生命的三種演變。其中,最左邊四肢伸展的細長形象,如細胞分裂初成的胚胎,顏色互補的綠色細胞與紅色血管連結著母體臍帶,努力進化成型。而移目至右,嬰兒呱呱墜地,加藤泉以煥白點出雙眼,再現如同初遇世界的第一道光彩。以暗黑抹繪的身體暗喻混沌朦朧的初生記憶。再看畫面正中,俯臥的巨嬰雙腿上揚,覆蓋其上的薄膜逐漸消散,預示其掙脫繈褓學會翻身,逐步擁有自主性,臉頰圓圓的紅色與點睛的月牙白耳廓,尤顯生命力。目光上巡,畫面遠處驟然閃現一位駐足的孩童,若藝術家自身或超然明覺的第三者正審視眼前這生命的歷程。 重拾繪畫後,加藤泉重新領悟「神」的角色,它除了佑護、更帶有自然界超人的敬畏之力,提醒世人應時刻懷有謙卑之心,此作亦言說了他的宇宙觀。當中大量的留白,給人以「大漠孤煙直」的空曠感,與三道質樸的深色形成鮮明對比,闡釋了每一成長時刻里程碑式的意義,襯托出生命本能向陽而生的無窮力量。而遠處的「觀察者」,繪出個體之於宇宙萬物的渺小,展現強烈的張力反差。相比加藤泉後來的近像「特寫」與雕塑,早期作品更注重刻畫生命進程,還原當代社會缺失的古樸與本真,作品氛圍神秘而直擊人心,讓人過目難忘。這一時期的作品,正是引領加藤泉在藝術冒險之旅中砥礪前行的深刻寫照。
PROVENANCE SCAI the Bathhouse, Tokyo Acquired directly by present important private Asian collector from the above Note: A label of Tokyo SCAI the Bathhouse is affixed on the reverse The Realm of Gods and Mortals The Rare and Remarkable Early Large-scale Representative Work of Izumi Kato “My existence is a constant venture.” ——Izumi Kato Izumi Kato, an up-rising contemporary Japanese artist, was born in 1969 in Shimane prefecture. Despite aspiring to be a football player and a rock musician, he unexpectedly gained admission to the Oil Painting Department of Musashino Art University. After graduating in 1992, during Japan's economic crisis, he even worked as a construction worker for several years. It wasn't until he turned 30 that he finally followed his true calling in art, stating, “I knew it was a risk, but I also felt that failure was inconsequential. If I hadn't made that decision at the time, I probably wouldn't have survived. I wanted to establish a connection with the environment and society through painting.” In the year 2000, his original creations of “otherworldly creatures” gained public attention and widespread acclaim. In 2007, he was invited by American curator Robert Storr to the Venice Biennale, marking a new era in his artistic career. Subsequently, he collaborated with international galleries such as Perrotin and Stephen Friedman Gallery, constantly pushing the boundaries of new media, and held solo exhibitions in renowned art museums worldwide. His works are held in numerous esteemed institutions, including the Centre Pompidou in France, the National Museum of Modern Art in Tokyo, the 21st Century Museum of Contemporary Art in Kanazawa, the Tai Kwun Contemporary in Hong Kong, the Red Brick Art Museum in Beijing, and the Long Museum in Shanghai. Enchanting Spirits: Myth and Nature “In my homeland, Shintoism, Buddhism, and animism intertwine. Influenced by my upbringing, everything there possesses its own life. I am aware that the figures I paint are not specific individuals; rather, they are depicted in human form. It could be you, or it could be me. I do not know who it is, using an anonymous individual like this. What captivates my attention is not the individual, but the essence of existence itself.” ——Izumi Kato Izumi Kato's hometown, renowned as “Izumo Province,” is the birthplace of ancient Japanese culture and myths. In the ancient Japanese term divine was explained as “Kami” – divine beings encompassing all living creatures, be they malevolent or benevolent. Growing up, Kato listened to fantastical tales passed down through oral tradition, which influenced both his artistic creations and his cosmic perspective, establishing his unique position within Japan's post-war art scene dominated by cartoon culture. His creative philosophy aligns with Lao Tzu's Tao Te Ching, which states, “The Tao gives birth to the One, One gives birth to Two, Two gives birth to Three, and Three gives birth to the Ten Things.” His depictions of totemic extraterrestrial beings, cord-patterned Neolithic pottery, Sanxingdui figures, and indigenous African tribes easily evoke associations with embryos, plants, insects, and more. The unity of humans and divinity radiates a transcendent serenity, imbued with spirituality and childlike innocence. Created in 2004, the Untitled stands as one of the few large-scale early masterpieces by the artist, ranking as the second-largest piece in auction history from 1990 to 2004. Its release at this time is truly a rare opportunity. Returning to the Essence of All Things Kato believes that naming his artworks would limit the viewers' thinking. Therefore, he intentionally refrains from giving titles to his works. If we were to liken Kato's artistic journey to a book, his early works are reminiscent of the enigmatic symbol of the hat in Antoine de Saint-Exupéry's The Little Prince. Untitled depicts three stages of human growth during childhood. The three main characters in the painting are delicately enveloped by a transparent film, with undulating contours that resemble the inside of a “snake swallowing an elephant,” as if intentionally redrawn by adults who misunderstood the Little Prince. By referencing this allusion, Kato visualizes the memories of human infancy from a child's perspective. The artwork features a background in sand white, with the figures predominantly in black, adorned with accents of red and green, representing the three stages of life's evolution. Among them, the elongated figure on the far left, with limbs extended, resembles an embryo in the early stages of cell division. Complementary green cells and red blood vessels, connected by the umbilical cord to the maternal body, strive to evolve and take shape. Shifting the gaze to the right, a new-born baby cries out as it descends to the ground. Kato highlights the eyes with a bright white, capturing the first glimmer upon encountering the world. The darkly painted body alludes to the hazy memories of chaotic beginnings. In the centre of the composition, a reclining giant baby with raised legs gradually sheds the dissipating film that covers it. This signifies the baby breaking free from swaddling clothes, learning to roll over, and gradually gaining autonomy. The round red cheeks and the crescent-shaped white earlobe accentuate its vitality. As the gaze traverses the painting, a child standing still suddenly emerges in the distance, as if the artist himself or a transcendent and conscious third party is observing the journey of this life before them. After regaining painting, Kato has once again grasped the essence of the divine role. It not only provides solace but also encapsulates the awe-inspiring omnipotence of the natural world. It serves as a constant reminder for humanity to harbour a perpetual sense of humility. Moreover, this piece articulates his cosmology. The enigmatic and profoundly penetrating ambiance of these works leaves an indelible impression on the viewer. Thus, this period of artistic creation serves as a poignant portrayal, guiding Kato's enduring journey of artistic exploration.

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