Thu. 7 November 2019 - Sat. 4 January 20202019年11月7日 - 2020年1月4日

Tomoko Kashiki | Stories Told Tomorrow樫木知子 | 明日讲述的故事

Tomoko Kashiki樫木知子
樫木知子,他最喜欢的绿裙子,2018-2019,丙烯、色粉、硅砂、亚麻布、木板,227 x 182 cm Tomoko Kashiki, His Favorite Green Dress, 2018-2019, Acrylic, pastel, silica sand, linen, wooden panel, 227 x 182 cm
大田秀则画廊荣幸地呈现日本艺术家樫木知子(1982年生于京都)的个展"明日讲述的故事"。本次展览标志着樫木在中国的首次个展,将展出其最新创作的8幅绘画作品和部分手稿。

樫木知子的绘画在现实与想象之间跳动,直面日常生活之腐朽而美丽的错乱本质。樫木从她的日常经历中邂逅景象,将不同风景和人物融合后所成之象来构成她的作品。这些意象的积聚培养出了樫木所说的"困扰感",给予她强烈的绘画动力并用她独特的当代语言来讲述明日的故事。

樫木创作时先用铅笔起稿,后用丙烯颜料在裱于大型木板上的亚麻布表面作画,她的绘画默默地流露出细腻的材料肌理、图案、平面和流畅的动态。平坦且用砂纸打磨过的表面,使她可以流畅地进行涂画,好似在用铅笔画素描一般。她的绘画风格是对于日本平安时代的佛教绘画和美人画的追忆。来自于当代美人画的影响意味着大部分她画作中的人物有着无暇光滑且白皙的肌肤、漂亮的四肢和翩翩举止这些特征。

画中的人物通常为单数,且樫木倾向于不去定义她画中人物的性别。他们可能被发现浮于水中、俯卧于地、受困于房中、被梦幻般的环境所围绕等。在"海之梦"中,画中人睡卧于一块绿地毯上,置身于周遭墙面描绘海洋图像的房间中。一个盛沙的水缸被叠置于近景处,好似这个人漂浮于水上,犹如水母一般。在"金鱼和我的恋爱"中则探讨了恋兽癖,樫木在画中捕获了与金鱼相爱之人的情感表露及态度。画中人看似被困于教室中,流露出希望被金鱼关注,或是浸于一层鱼饵下被吞没的渴望。

在"他最喜欢的绿裙子"中,她想要描绘三个主题:花园一角、灌木丛和站着的人。画中人身着一件高度露出的裙子,并以可能是排尿的姿势站着,然而樫木所见却相反,这个身影自豪地站在那里,相信他最喜欢的绿裙子穿在身上很好看。另外在"我想吃腿"中,樫木着迷于那些想要吃腿的人的想法,以及伴随这种欲望而来的相应态度和感受。

在樫木早期的作品,如"祈求好运"和"金鱼君"中,画中人多为碎片化的形象,无头或头部被花瓶所替代。这些意象可以说是陌生和令人不安的,但樫木的本意并非描绘不适的画面,不如说她关注美和潜在于想象中的细节,描绘时关注于人物的手指、四肢、甲彩、姿势、面部特征和表情。"跟我来"细腻地展现了画中人试图赠与花束来劝诱另一人犯错时的面部表情,亦或是一人试图鼓励另一不活跃的人时站起和走出去的表情。"被悬挂的人"始于樫木想要描绘一个倒挂之人与其被束缚的四肢。画中受虐者尽管被以不适的方式倒挂着,但揭示了令其入迷的陷阱。

通过结合樫木作品中的现实和想象的元素,她所创造的绘画是个人化、如梦似幻的,但具有讽刺意味。她那非常规的作品组成和不寻常的叙述,体现了她揭示美且同时震撼人心的绘画能力。上海大田秀则画廊欢迎观者体验樫木知子所叙,明日的故事。
Ota Fine Arts Shanghai is delighted to present "Stories Told Tomorrow", a solo exhibition by Japanese artist, Tomoko Kashiki (Kyoto, 1982). The exhibition marks Kashiki's first solo presentation in China, where she will showcase 8 new paintings and sketched drawings.

Tomoko Kashiki's paintings pulsate between reality and imagination, confronting the corrupted yet beautiful and whimsical nature of everyday life. As Kashiki experiences the sights from her daily encounters, different scenery and figures melt together to form the imagery that underpins her work. The imagery accumulates, cultivating what Kashiki refers to as the "sense of bothering", giving her strong impetus to paint and tell tomorrow's stories in her unique contemporary language.

First sketched out in pencil then painted with acrylic on linen that are mounted on large, wooden boards, Kashiki's paintings silently radiate delicate material textures, patterns, planes and fluidity of movement. Her flat and sanded-down surfaces are designed so that she could paint fluidly, as if she was sketching a drawing by pencil. The style of her paintings are reminiscent of Buddhist paintings in the Heian period and Bijinga, pictures of beautiful women. The influence of modern Bijinga paintings has meant that most of her figures are featured with flawless smooth white skin, beautiful limbs and a beautiful demeanor.

The characters in Kashiki's paintings are often singular and perhaps she prefers not to define the gender of these characters in her work. They could be found floating in water, prostrated on the ground, trapped in a room, surrounded by dream-like environments, etc. In Sea Dream, a person is sleeping on a green carpet, within a room where pictures of the sea are shown on the walls. A water tank with sand in the foreground is superimposed, as such the person appears to be floating on water, almost like a jellyfish. Zoophilia is explored in The Love Between Goldfish and I, where Kashiki captures the expression and attitude of the person who is in love with goldfish. Seemingly trapped in a classroom, the person exudes the desire to be looked at or wanting to take possession by immersing beneath a layer of goldfish bait.

In His Favorite Green Dress, she wanted to paint three motifs: the corner of the garden, bushes of trees, and a person standing there. The person in this painting wears a highly exposed dress and is in a pose suggesting the possible act of urination, however Kashiki sees it differently. Instead, the figure stands proudly believing that their favorite green dress looks great on them. Elsewhere in I Want to Eat Legs, Kashiki is fascinated by the thought of people who want to eat legs, and the corresponding attitudes and feelings that come with such a desire.

In earlier works such as "Praying for Good Luck" and "Goldfish Boy", characters appear as fragmented figures, are headless or replaced by flower vases. While such scenes can be unfamiliar and disconcerting, Kashiki's intention was never to depict a discomforting image. Rather, she sees beauty and wonder in details, drawing focused attention to the fingers, limbs, painted nails, posture, facial features and expressions of her characters. Come With Me carefully reveals the facial expression of a person who is trying to induce another to wrong behavior by gifting a bouquet. It could also be the expression of a person who is trying to encourage another, who has been inactive, to stand up and head outside. The Hanged Man began with the desire to paint a person hung upside down and to depict limbs in a state of bondage. Despite being hung in an uncomfortable manner, the character reveals the ecstatic traps of an abused person.

By combining real and imaginative elements in her work, Tomoko Kashiki creates paintings that are personal, dream-like yet often verging on the ironic. Her unconventional compositions and curious narratives unveil painting's capacity to reveal beauty and jolt one's senses simultaneously. Ota Fine Arts Shanghai welcomes viewers to experience the stories of tomorrow, as narrated by Tomoko Kashiki.

展览详情Exhibition Information

展览名称 : 明日讲述的故事

展期 : 2019年11月7日 - 2020年1月4日
(开幕酒会:2019年11月7日 星期四,12:00–20:00)

地址 : 上海大田秀则画廊
Title : Stories Told Tomorrow

Exhibition Period : Thu. 7 November 2019 - Sat. 4 January 2020
(Opening reception: Thursday, 7 November from 12 – 8pm)

Venue : OTA FINE ARTS Shanghai