知流 / 破離
製作年份: 2026
材料或技法: 日本紙, 墨水
尺寸: 62cm × 32cm × 2.5cm 2点
版本: 獨特
簽名:包括

關於作品
- 製作年份
- 2026
- 材料或技法
- 日本紙, 墨水
- 尺寸
- 62cm × 32cm × 2.5cm 2点
- 版本
- 獨特
- 簽名
- 包括
- 畫框
- 包括
- 作品證書
- 包括
- 藝術品經銷商
- Misaki Hanazuka
- 發貨區域
- 神奈川縣
- 發送前的天數
- 大概一周
- 類別
- 繪畫
- 風格
- 幻想, 日本畫/和, 動物, 極簡主義, 哲學/虛榮
作品詳情
知流 / 破離
黃河的急流中有一個名為「龍門」的瀑布,爬過它的鯉魚變成龍。
靈感來自「龍門」,這兩件相反的鯉魚作品。
西木井是人手創造的品種。與野生鯉魚不同的身體是人類理想的自然投影。即使對身體深處的觸摸也不會消失睡覺的渴望。爬上瀑布成為龍的渴望仍然存在於身體本身中。
將身體深入水中浸泡的錦鯉,以及分裂水面的鯉魚。
這兩個人物在防禦分解中與「防禦」和「解散」重疊。
這兩者都不是單靠意志才能實現的事情,而且總是涉及無數的關係。
我把水視為我記得的東西當錦鯉沉浸在水中時,它們的五種感官會因流而銳化。這是一個安靜而非常有力的時候,朝一天將來的跳躍進行。
「知龍」沉浸式
620 毫米 × 320 毫米
日本紙上的墨水和框架
日本紙上的墨水
這是沉降期間儲存的電量第一次出現的地方。累積的經驗不再被視為這樣,而是作為一個流程釋放。
「突破」
620 毫米 × 320 毫米
日本紙上的墨水和框架
日本紙上的墨水
我將墨水流融入我的作品中,作為每一個流程和意圖的象徵,以及出現在機會和不可避免之間的邊界上出現的可能性。
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藝術家
Ink painter
Born in 1982 in Gifu. Graduated from Tokyo Gakugei University, Art and Culture Course, Department of Fine Arts. He studied under Tsuchiya Akitsune and learned classical techniques following the style of Maruyama Osamu. Based on her work experience as a yoga instructor, she develops productions that connect physical knowledge with ink painting expression.“Possibility” is something latent in the world before every phenomenon is determined into a single form, and the body leads that possibility to a phenomenon. This is the premise of my production. Familiar with dance as physical expression, I discovered yoga by following the essence of movement. Look at the myriad relationships with nature, others, land, time, and culture in the origin of breathing, center of gravity, and movement, and find a place of possibility in that constantly changing nature. The materials ink and Japanese paper clearly reflect the trajectory of such a body. Unconscious movement is applied to the line emitted with will, responding to the independent nature of the material, and it opens up into a phenomenon that exceeds one's own intentions. I paint paintings as traces of that. For me, nature is the physical feeling of stepping on soil, swimming and diving in rivers, and nurturing in the cycle of the seasons. The body is re-captured as a place that responds to the world, and continues to question the relationship between people and the world through production. I hope it will be an entrance for viewers to discover the possibilities that are filled at that moment. There is always “sky (sky)” at the root of activities. Realizing the potential of that feeling, which originally existed as a sense of emptiness, was a major turning point for me. Nothing means there is everything. It means it's full of possibilities.
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