Us_Field° #2

制作年份: 2024

材料或技法: 丙烯酸纤维, 帆布, 油画

尺寸: 130 × 97 × 2.5 cm

版本: 独特

签名:包括

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1 我的最爱
Us_Field° #2
Us_Field° #2
Us_Field° #2
Us_Field° #2
Us_Field° #2

关于作品

制作年份
2024
材料或技法
丙烯酸纤维, 帆布, 油画
尺寸
130 × 97 × 2.5 cm
版本
独特
签名
包括
画框
不包含
作品证书
包括
类别
绘画

作品详情

■作品详情

该作品让人感受到吉田桃子在表达方式上的扩展和层次感,她不断通过视频拍摄来创作自己的人体模型和背景模型,然后从镜头中选择最合适的画面并将其绘制成一幅画。 近年来,她开始在画布上创作,而不再使用聚酯纤维等无质量的纹理作为支撑物。

Us_Field° #2的原型是殉教者圣塞巴斯蒂安,他的侧面滴着绿色的血,灵感来自游戏PUBG,出于道德原因,游戏中的流血可以改为绿色。 这种规格的设计是为了避免直接表达,让游戏玩起来更健康、更舒适,但吉田却从中找到了折射的魅力。 除了构成世界的火、风、水和土之外,亚里士多德还提出了第五种元素--酯(乙醚),意为 “大气的上层,云和月亮的区域,光的催化剂”。 这也是聚酯一词的由来。 作者在保持聚酯(poly “多 ”+ester “醚”)这一表达方式的同时,也接触到了同人志文化,如衍生作品、爱恨情仇体、虚拟对战等。 影片叠加了一双皇家的眼睛。 在无情倾泻的伦理间隙,没有成为故事的场景诞生又消失。

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制作年份:2024

尺寸:H1300 x W970 x D25 mm

材质:帆布上的丙烯酸和油画

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■场地状况

■展会信息

期间
2024/12/4(星期三)至 12/27(星期五)

场地

Paichu Gallery

地址

朝日晴明六本木东京都港区六本木5-2-4 106-0032 大楼二楼
(请走电梯左后方的楼梯到二楼)

>谷歌地图

电话号码

03-6434-9367

开放时间
17:00 -23:00

闭馆日和月份

免费入场

访问

从日比谷线六本木站步行4分钟,从大江户线六本木站步行7分钟

从千代田线乃木坂站步行13分钟,从南北线六本木一丁目站步行13分钟,

艺术家

川田龍 / Ryo Kawada
KOURYOU×佐藤春菜 prod.あたらしい遊び / KOURYOU×Haruna Sato prod.New play
齋藤鷹 / Taka Saito
中澤瑞季 / Mizuki Nakazawa
𠮷田桃子 / Momoko Yoshida

组织者

ArtSticker(由连锁博物馆运营)

合作

株式会社讲谈社 

展览资讯

过去的展览

艺术家

Yoshida Momoko
✔︎

Born in 1989. Completed MA at the Kyoto City University of Art Graduate School of Fine Arts, Department of Painting. Sometimes I feel something like a vivid sense of realism or breathing in the recorded sound source rather than live music that can be experienced live. The sense of elation and imagination stirred up through earphones evokes images like new images in the mind. I use them as my starting point for painting. Instead of replacing inspiration with paint in a short circuit, it starts by trying to reproduce the image that comes to mind by shooting an actual video. First, create stage equipment for each scene and dolls imitating characters. Then, video shooting is repeated until a satisfactory cut is made, and 1 frame, which is a sketch of the painting, is cut out from the sequence. In this process, unclear noise is removed from the original image, and while sifting through repeatedly, it is brought closer to the ideal. It becomes a process of objectively analyzing initial impulses, and while maintaining a fixed distance from one's own emotions, they are simply replaced by independent paintings with images that can be shared with others. The current production focuses on “modern youth.” It does not simply mean young age; it is a young person as an unstable, unknown, unclassified, and undifferentiated image that does not know how they will branch out and develop in the future. I want to set up figures by referring to people around them and musicians I'm interested in, etc., and draw portraits of young people with a hybrid atmosphere that can be seen as real people, virtual avatars, and anime characters through a production process that crosses digital and analog. They are an expression of curiosity about the unknown, and they are also my own will to move forward by trying to come into contact with mysterious energies.

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最后更新日期
2024.12.04