弥金 GENE | 艺术家介绍：滨田净

“这并不意味着什么都没有；这只是意味着在艺术的探索中没有一个确定的终点。”

                                                                                                     ——滨田净

滨田净： 

在无限的世界里探索，是没有止境的，而在这样的世界里，我把创造艺术的过程、时间和行为解释为“祈祷INORI”。也许我的童年经历与一些基本的东西有关，我可以想起一些记忆的片段：比如有一个地方，你可以看到地平线，有那么一瞬间，当太阳升起时，地平线变成了红色。

Work 78 S，滨田净, 73x48cm, 丝网印刷, 1978

我认为我的作品的灵感来自那一刻。但我不画草图，对我来说，我觉得我不能真正打出一个草稿来描绘氛围与感情。我在寻找和传递艺术创作过程中的那些瞬间中发现了价值，因为你无法捕捉到它；然而当你要创建某个东西时，你需要有一个消息——我的创作工作就是以这条信息为出发点的。所以，我不是单纯的怀旧，也不是强迫别人怀旧。

《MONO》双个展，弥金画廊，2019

战争结束两年后，发生了昭和南海地震。我的房子完全被毁了。经历这样的战争和灾难，会让我的内心产生一些无法解决的问题，尤其是因为我还很小，这场地震可能造成了我心理上的某些创伤。我觉得这些经历非常重要。我是个独行侠，我不属于任何组织或团体，我只能做我能做的。我不喜欢与这个行业有如此密切的联系，所以从这个意义上说，我还没有那么活跃过。我并不是说我完全孤立，但可能已经接近孤立了。

1946昭和南海地震

我认为边际空间是一种表达，这并不意味着什么都没有，因为没有画。有些东西不是因为绘画而产生的。对我来说，画出来的东西和那些边缘的空白是平等的关系。因此，它们是相同的。所以，空白对我来说就像文字——感觉他们说的比我画的多。

2007 • E，滨田净，14x11cm，布面油画，2007

斎藤義重总是用“ing”来表示进步的形式，他总对我说：创作的过程总是比创作的结果更加的有趣，因为你能看到事物的整个结构。想象一下一些未完成的事物，但其中蕴含着隐藏的秘密。我经常去这么想事物，但是思想总是在兜圈，它一直回到起点。这当然不是一种日常工作，只是我经常重复一样的步骤。但我总会看着新的地方，创立我的系统。当我停止工作的时候我会非常不安。我觉得眼看未来要比总是看着过去要重要。我不是要标榜未来，我的意思是确定你的位置，然后朝前走。

滨田净的绘画轨迹

—— 摘自Astonishing Themes and Variations: Hamada Kiyoshi's Trajectory

哲学家狄奥多·阿多诺曾说过“写关于奥斯维辛的诗是残暴的”，我们可以看出在战争之后的艺术界以及绘画界面临着空前的困境。1960间的无政府主义的活动被称作“反艺术”，1970年间兴起的艺术流派“Mono-ha”，都拒绝一切形式的表达。他们都标志着绘画艺术面临的强烈的危机感。不仅仅限于“反艺术”和“Mono-ha”，大多数艺术家都感觉到了绘画的危机和需要复兴恢复创造力的意识。艺术家们无一例外的开始探寻艺术的根基。从真诚的艺术创作中重新找回他们的动机和创造力是唯一的方法。

滨田净生于1937年，从60年代开始创作与展出。毋庸置疑，他也是经历过这场绘画危机的画家之一。更准确地说，在这场混沌的危机中，滨田净没有放弃他的笔刷，从没怀疑过绘画的可能性。从他直面面对这场危机并且艰难奋斗，可以说他是一个“时代的画家”

从2007年以来，滨田净创作了一些列成熟的点彩作品，通过画刀直接的把无数个颜料小点附着在平面上。从2008年到2013年，他成功的创作了一系列及其有趣的作品。一般来说，这种点彩画会变得很具装饰性或者过于拥挤。因为空间的缺乏，这些作品通常会变得非常狭窄。但是滨田净的点彩作品从来没有遗失空间与深度的感觉。这个系列的点彩画充满了自由与开放，让观者能每次发现一些新的东西。特别是在他黑白的作品中散发出的文雅与芬芳是一种异常精致的表达。这提醒着我们画家通过无尽的探索这些不同的表达元素而达到了一种很高的境界。当这些作品与同样是点彩的新印象主义对比是，后者则变成了肤浅的装饰品。滨田净在如此简单的画作中投注的巨大的灵魂力量是超越了我们的想象。 

24-A-6，滨田净，179x134cm，布面油画，2012

日语“issho fujyu”，意思是“没有一块固定的粘土”，完美的体现了滨田净不停演变追求创新的作品。尽管他创造了一系列使用画刀的精致作品，他在2012年重新打开了一扇新的门。他创造的新系列主要用了抹刀和凿子。他也从画布改变到了木板，开始用凿子雕刻木板。滨田净从来不会雕刻一件物品，而只是将他双手的无常变换雕刻记录在了表面。这些无尽的雕刻的痕迹形成了一条一条的波浪与漩涡，时而起伏，时而交错。这些雕刻的线条成为了他进一步表达的灵感。他进一步的表达是在这些平面上使用色彩。他在木板上上了一种颜色而在无尽雕刻出的凹面中又使用另一种颜色。观者有不同的偏好但我最喜欢他的方形的作品，上面刻着红橘色的线条漂浮在墨黑的背景上。这件作品中小的木板叠加在大的木板之上，使其具有着双重结构。之所以我对这件作品这么感兴趣是因为当我一直看着的时候，马蒂斯知名的室内景象出人意料的在我脑海中浮现。这些重叠的木板让我想起了马蒂斯的窗户。除此之外，滨田净断裂的红橘线条也是我联想到马蒂斯画中精美的地板与墙上的阿拉伯花纹。这两个画面一直重复出现在我的脑海里。虽然这可能是滨田净不想要的联想，我必须承认我还挺喜欢的。因为这使我感受到了绘画无止尽的，超越时间的跨度。特别是当这位重要的日本当代画家滨田净的作品使我想起了20世纪革命性的先锋艺术家马蒂斯。

25-6-20，滨田净，91x91cm，木板丙烯，2013

从“切割”到“雕刻”，看着滨田净不停变换的绘画，我想起了之前一位滨田净的学长的话：“绘画是一个巨大的容器可以接受一切，任何的角度都可以接近它。”

Astonishing Themes and Variations: Hamada Kiyoshi's Trajectory

written by Sanda Haruo

If we were to recall philosopher Theodor Adorno’s statement that “to write a poem after Auschwitz is barbaric” it becomes evident that the art world and the painting world were forced to face an unprecedented aporia in the post-war society. Anarchist activities around the 1960s referred to as “anti-art,” and the appearance of the art group “Mono-ha” around the 1970s, denied all formative expressions. Both symbolize the serious sense of crisis that was held by art/painting world in that period. Artists, not limited to those involved in the “anti-art” and “Mono-ha” movements, shared that same sense of crisis and had to face the aporia of having to consciously resuscitate and recover creativity. Thus without exception, all artists were compelled to question art from its foundation. And the only way they could recapture their motives for creativity was via their own sincere artistic practices.

Hamada Kiyoshi, who was born in 1937, began to create and exhibit his works full scale from the 1960s. Hence, he was undoubtedly one of the painters who experienced that painting crisis. To be more precise, in the midst of that crisis, Hamada did not give up his brush, not ever doubted the possibilities of painting. From the perspective that he continued to struggle with the crisis upfront, it is safe to say that he was a painter who was” a product of the time.” 

29-3-5,Hamada Kiyoshi,42.5x38cm,acrylic on plywood,2007

From 2007, Hamada matured the pointillist series that affixed countless minute dots on the plane via the direct application of paint with a painting knife. From around 2008 to 2013, with the Great East Japan Earthquake occurring in between, he successively originated deeply amusing works in this series. Generally speaking, this type of pointillist expression can often become too decorative or physically over-condensed; thus, such work tends to become heavily cramped due to the deprivation of space. But Hamada’s pointillist series never loses a sense of spatial depth or openness. Thus, this series is filled with a feeling of freedom and openheartedness that allows viewers to discover something new every time they view the works. In particular, the senses of refinement and fragrance that drift about on the surface of the works in achromatic shades of black and white should be noted as representing an exceptionally exquisite expression. This reminds one that the high state of mind he reached was the result of undergoing an endless exploration into various expressional elements. If these excellent works were to be juxtaposed with, For instance, pointillist paintings that resemble Neo-Impressionism, the latter would turn into shallow, decorative items. Thus, the amount of spirit Hamada poured into the simple and monotonous action of applying paint from the tip of a painting knife onto the surface of his work is beyond imagination.

"MONO" at Gene Gallery

The Japanese term “issho fujyu”(lit. “being without a fixed adobe”) perfectly applies to Hamada’s paintings, for they have ceaselessly evolved as Hamada has continued to cast off the old skins of his former works up until today. In spite of having created an enriched painting-knife series with exquisite taste, he opened a different, new door to his work around 2012. The main instruments he used for this new series were a spatula and chisel. Hence, he accordingly changed his support from canvas to plywood. He began by engraving the surface of a plywood support with a chisel. Hamada, who needless to say would never have engraved a specific object, chiseled the uninhibited and ever-changing movements of his hand onto the surface. The enormous number of engraved marks consisted of line after line of large swirls and undulations, as some lines made wavy wiggles, while others wildly crossed one another. These chiseled lines must have become the source of Hamada’s inspiration to derive a further expression. From that process he went onto the next stage of applying colors to the surface. On the engraved support he began to apply one color to the plywood surface where the irregular fragments remained and a different color to the chiseled concave areas where there were countless scarred lines. Viewers have different preferences, but I was extremely amused by his square work in which fragmental figures in red and orange pieces diffuse as they seemingly drift within the jet-black ground. This work possessed a double structure, with a smaller plywood sheet attached to the larger plywood support. The reason I was so attracted to this work was because as I continued to gaze at it, Henri Matisse’s well-known interior scene with a window, which he repeatedly depicted around nice in southern France, unexpectedly emerged within my mind from the depths of my subconscious. The reason behind this is that the two overlapping plywood sheets in Hamada’s work reminded me of Matisse’s window. In addition, Hamada’s disconnected orange and red fragments suggested Matisse’s decorative arabesque design on such components as walls and floors, which elegantly embellished the interior space of his works. Those two images continued to respectively appear in my mind. Even though this might have been an undesirable delusion to Hamada, I must confess that I quite liked it. This is because I could not help but perceive the ceaseless span of painting that exists beyond time. Specifically, that work by Hamada, who is one of the major painters in Japanese contemporary art and who is a sincere disciple of painting, led me to recall the works of Matisse, the great pioneer of the 20th-century revolution in painting. 

Hamada Kiyoshi at his studio

In any event, upon viewing the unceasing development of Hamada’s paintings, which shifted from “incising” and eventually arrived at “engraving,” I recalled a statement from Hori Kosai, who was Hamada's junior at the Tama Art University and who has also continued to inquire into possibilities of painting:”Painting is a large vessel that can openly accept all, whatever angle the approach may be.”

滨田净 

个展

2016 滨田净展-0之祈祷，加岛美术，东京

2015 滨田净的创作轨迹-重叠，雕刻，绘画，练马区立美术馆，东京

2010 滨田净自选展，Gallery 枝香庵，东京

         初次见面，久违了，冈崎市艺术博物馆，爱知

1982 Kaneko Art Gallery，东京

1980 滨田净展-DRAWING，Gallery Yo，东京

1975 松村画廊，东京

1964 Ogikubo Gallery，东京

群展

2019 MONO, Gene Gallery弥金画廊,上海,中国

2006 黑与白：黑，Tokyo Opera City Art Gallery，东京

         与艺术同行，府中市美术馆，东京

1996 特别展-版画的1970年代，涩谷区立松涛美术馆，东京

1991 线条的表现-眼与手的方向，埼玉县立近代美术馆，埼玉

1986 现代的白与黑，埼玉县立近代美术馆，埼玉

Hamada Kiyoshi

Solo Exhibitions

2016 Kashima Arts (Tokyo)

2015 Nerima Museum of Art (Tokyo)

2010 Gallery Echo-Ann (Tokyo)

1982 Kaneko Art Gallery (Tokyo)

1980 Gallery Yo (Tokyo)

1975 Muramatsu Gallery (Tokyo)

1964 Ogikubo Gallery (Tokyo)

Group Exhibitions

2019 MONO,Gene Gallery,Shanghai,China

2006 Black and White : Colors in Black, Tokyo Opera City Art Gallery(Tokyo)

         With You, With Art, Fuchu Art Museum(Tokyo）

1996 Prints in the 1970,Shoto Museum of Art(Tokyo)

1991 Line in Contemporary Art " The Destination of Eyes and Hands ", Saitama Prefectural Museum of Modern

Art(Saitama)

1986 Black and White in Art Today, Saitama Prefectural Museum of Modern Art(Saitama)

往期回顾 LOOKING BACK：     

	弥金GENE | 滨田净、杉山功：MONO 滨田净与杉山功双个展
	弥金GENE | 艺术家介绍：庞飞 相对于抽象水墨的界定，我更趋向于意象的设定。