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雲清藝術很榮幸舉行【ユラメキ ー YURAMEKー】 齊藤智史首次台北個展，展名「ユラメキ (YURAMEKI)」日文中為搖曳、微幅擺動的樣態模音詞，以此為名來自對童年時光的緬懷，齊藤認為赤子之心似篝火躍動的光影般曖昧，在火光照映中過去記憶的場景交疊，而揣懷著這份溫暖的鈍痛感前行，人們將更好地尋得未來的歸屬。
出生於日本長野縣的園藝家庭，齊藤與樹木的情感連結格外深刻，樟木是他創作的主體，將大自然靈感與對周遭、自我的感知具象化為各種喜人的「崇拜像」*，並使用日本畫中常用的顏料和灰為祂們賦彩。展覽主視覺作品 ＜「 」＞ 有上下兩張面孔，是齊藤過去作品未見的造型，但仍保有系列中那具有辨識度的獨特神韻和情懷。展覽中立體作品多以符號或擬聲詞命名，抽象的符號亦有規律，更為參觀者增添想像樂趣。
齊藤智史的木雕創作近年來在亞洲藝術市場表現非常亮眼，並從 2020 年開始發表平面作品，其平面作品的媒材選擇和創作行為歷程與立體作品高度重合，也是藝術家未來將持續發展的方向。
*在齊藤智史的創作中代表「像是守護著這個土地的神明般存在著的東西」
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ユラメキ ― YURAMEKI ー
看著篝火我想起了
捉迷藏 ” KAKURENBO ” 河堤嬉鬧“KAWAASOBIカワアソビ’ 捏泥土’TSUCHIIJIRI’ …
那些記憶曖昧場景中的光影
栗子’KURI’ 稻麥’WARA’ 樹枝’EDA’ 鹿’SHIKA’ 香菇’KINOKO’ 山豬’INOSHISHI’
貓頭鷹’FUKUROU’ 石像’SEKIZOU’ 月亮’TSUKI’ 星星’HOSHI’ …
光影中也能聽到的那些聲音
KAZAKAZA PAKIPAKI KANAKANAKAN BOBO …
過去現在未來中是否有我的歸屬地
我現在又身處何處」 ……… 齊藤智史
【藝術家解説】
赤子之心似光影般曖昧，我覺得是一種暖暖的、心痛的感覺。
這可能是日本民族特有的表達方式，但我想任何國家的人都有類似的想法。
希望這次展覽能成為每個人觸摸和想起自己的過去的契機。
我相信通過回憶童年時期，全人類都能向前邁進並和平發展。
The exhibition title “Yurameki” (ユラメキ) refers to a state where things softly sway, and SAITOH Satoshi uses it to commemorate his childhood. For Saitoh, childlike behaviours are like light and shadow swaying with dancing flames where past scenes overlap. Going ahead with this warm and subtle hurt, people will find a place of belonging in the future.
Born into a horticultural family in Nagano, Japan, Saitoh shares deep connection with woods, and camphor trees become the main medium of his works. He turns his perceptions on nature, his surroundings and himself into lovely “Worshipping Figures”, using ash pigments commonly seen in Japanese paintings to colour Them. The artwork featured in the key visual, 「 」, has two faces, which was never the case in Saitoh’s previous works, but it still captures the special emotion that can be easily identified as a part of this series. The exhibition’s three-dimensional works are named after onomatopoeias or symbols that follow a pattern to add more fun for viewing this exhibition.
Saitoh’s wooden sculptures have stood out in Asian art market in recent years, and he started to create paintings in 2020. The media he used, as well as the artistic practices he adopted, highly resemble that of his three-dimensional works – an approach he will carry on applying in his future works.
*In Saitoh’s works, it means “some existing things that are like the guardian deities of this land”.
