白石畫廊很榮幸地即將舉辦日本藝術家斑萬字個展,本展亦是藝術家於台北的首次個展。

1988年出生於東京的斑萬字,為學習鍛金技術作為創作的基礎,高中畢業後隨即前往京都,於鍛金師的門下擔任學徒數年,扎根學習各種金屬的加工技術之後,立志成為藝術家,持續自學並開始發表創作。

斑萬字擅長運用稱之為「木目金」(Mokume-gane)的日本傳統鍛金技術,創作出簡潔、具現代感的立體雕塑。木目金的發展始於約四百年前的江戶時代初期,層疊多種金屬打造出精緻的花紋,裝飾在武士的刀劍上,兼具美感與權勢的象徵。隨著武士文化式微,做工繁瑣且費力費時的木目金技術近乎失傳於世,近年受到國際美術館的收藏與研究,才又重新受到關注,而斑萬字更是率先將此傳統工藝技術作為藝術創作手法的先驅。

過著極為簡樸的生活,斑萬字利用最基本的工具,反覆敲擊琢磨金、銀、銅、黃銅等多種非鐵金屬材料,日積月累打造出物質本身不相融合,卻相織出美麗的紋理,猶如每個人的內心世界中,都有無法相容的思考或感情,在瀕臨極限邊緣,一面互相衝突與抗衡,一面成長前進,而這樣的矛盾與超越不僅止於個人內心,亦存在於個人與他人之間,個人與社會之間,這也就是人類的生存之美。

〈裸立方〉系列作品雕塑,看似形狀相似的各個面向,實則具備纖細差異,藝術家藉由立方體表現出人類本身具有的多方樣貌。探究人性與物質本性的創作方向,從立體延伸至平面,本展中亦將展出斑萬字的近期新系列作品〈新視界〉,加疊多張照片、布料、壓克力,應用木目金的鍛造手法過程,在一如往常地敲擊下,探討軟硬剛柔迥異的多種媒材相互之間的融合極限與並存關係,投射藝術家對於人性本質相異的反向思索體悟,累積成他充滿矛盾與反覆詰問自己的人間觀察筆記。

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ARTIST

斑萬字
Madara Manji was born in Tokyo in 1988. To learn toreutic techniques for the foundation of his further works, he moved to Kyoto after graduating from high school and worked as an apprentice under a toreutic master. After years, he aspired to become an artist in developing the foundation in various metal-processing skills and continues to self-learn and present artwork. Madara Manji creates simple and modern sculpture through mastering Mokume-gane, a traditional Japanese toreutic technique. The development of Mokume-gane began c.400 years ago in the early Edo period. Layers of different metals were stacked together to create exquisite patterns that were decorated on Samurai swords, to symbolize beauty and power. As the Samurai culture faded, the procedure-heavy and time-consuming "Mokume-gane" nearly disappeared, that was until the recent collections and studies conducted by international art museums brought the technique back onto the world stage. Above all, Madara Manji is a pioneer in first adopting the traditional craft as a method to create. Living with an austere life, Madara Manji uses the simplest tools to repetitively hammer various non-ferrous metal materials like gold, silver, copper, brass, etc. Similar to our inner thoughts, the creation that took a long period to form are not entirely compatible, but display beautiful patterns. The incompatible thoughts and feelings simultaneously collide and counteract, at the same time, thrive and advance on the verge of extremes. Such absurdities and transcendences are not confined to the intra-personal but coincide between oneself, one another, and even with the society as a whole. This is the extant virtue of human survival. The "Uncovered Cube" series may appear similar in shape and size, but there are, in fact, subtle discrepancies. The artist uses the "Cube" to manifest different silhouettes of human nature. He adopts an artistic direction to investigate humanity and the essence of materials from three-dimensional extension to plane. Over the constantly identical forging process of Mokume-gane, he then probes the limitation on integrations and coexistences of multimedia, projects his reverse studies of distinct humanities, and accumulates into a personal observation notebook packed with contradictions and recurred hearing in himself of humankind.

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