弥金 GENE | 艺术家介绍：杉山功
“大路没有门，数千条路通向它。当你没有经过门穿过那扇门时，你就可以自由地在天地之间行走。”
——杉山功
物质的思想
作者：Monica Dematte
1983年，杉山功他的第一次西部之旅中来到意大利，此次旅行本应该把他带去美国，这是一个伟大的发现，也是一场绝对的“灾难”。
杉山功在日本完成了多年的学习，在此期间，他对雕塑技术有了深入的了解，并将自己的才华奉献给了具有学术印记的具象性作品。从古希腊的大理石雕塑中，与过去发生的突然的激烈对抗，引起了艺术家的一种不充分和无用的感觉，这让他想到了改变他的工作的可能性。随后与当代艺术的相遇使他有了更大的创作自由，远离了过去的限制，帮助他重拾希望，重新思考“艺术”这个词的真正含义，从那一刻起，“艺术”不再是大师所规定的抽象实体，而是与创作者的“灵魂”产生共鸣的深刻的个人和充满活力的元素。
神居300°，杉山功,20.5x28x20cm, 大理石, 2008
艺术家把随后的几年,献给自己的研究,从文化遗产获得最大并不局限于他的艺术的研究,但在50年代日本追溯到他的童年,经济贫困但丰富的传统和价值观在日本今天仍然存在。在欧洲，这位艺术家找到了一个理由，让自己从许多严格的正式和严格的规则中解放出来，这些规则使他远离了他的一些激情和天生的能力。杉山童年时对模型和手工工艺的热情，在他成年后的作品中被运用，在一种新的更精致的游戏中发展和出现，用同样的沾沾自喜的无忧无虑的气氛来实现。
他在卡拉拉定居，在80年代的时候他上了艺术学院的事实使大理石成为他雕塑的明星。杉山喜欢使用他在当地找到的材料;各种各样的大理石可以提供各种用途和正式的替代品。
弥金画廊，”MONO“展
这位艺术家每天都需要面对意大利的情况，他发现自己充满了东方的敏感。在日本最古老的神道邪教组织的图像进入了他的记忆，并以雕塑的形式表达出来。杉山说,这是一个非常相似的宗教:大约有8000000神被崇拜，它们对应于自然元素,如太阳、树、风乧直接关系与自然不是竞争,而是信任的,这在西方艺术家无法找到。他对自然元素的热爱和对自然元素的尊重体现在他处理材料的方式上：大理石和木头——最常使用的——是统一的，这样它们就不会变成一个完全的人类作品，而是保留它们原有的形态和质地。
由于这个原因，卡拉拉大理石“土豆”——大块茎的石头，有深色、凹凸不平的表面和一个坦率的内在——是完美的。艺术家喜欢用它们本来的样子，或者把它们剪开，以显示出一种意想不到的白色，这与外表的粗鲁形成了鲜明的对比。通常情况下，石头会被切割，使基座与构成神圣建筑的元素保持一致，即所谓的“神居”，这是杉山研究了大约10年的主题。
将自然与文化、儿童游戏和专业雕塑、材料和思想、过去和现在联系在一起的关键在于“神居”的主题——艺术家日日夜夜耐心构思并建造的200件雕塑。
艺术家在一般主题中所表现出来的十种类型主要指的是元素的结构和组合：在一些物体中，质量是饱满的，是强加的，而在其他的表面则覆盖着凹陷;这里和那里都有一些装饰性的细节，比如“阳光的水滴”（简单的雕刻或浮雕图案）谨慎地传播。质量在原始状态下和在高度抛光的白色表面之间的显著对比，有时是如此的精细以至于它们变得透明，令人惊叹。然而，这些都是在自然界中存在的对比，由于人类的干预，它们得以出现。
弥金画廊，”MONO“展
当像在“135圣所”(1997)中，一个完美的几何构造,色调深浅不一的寺庙从三种粗糙的大理石上不稳定地升起，艺术家从石头的自然资源中提取出纯净的东西，这是由神庙所供奉的神性所模仿的。
为了确保上帝填满了他的神居，这位大祭司的牧师把它打扫得很干净。空间必须是空的和无瑕的。信徒不得进入，留在外面祈祷;白色的织物隐藏了门槛，所以只能看到内部的一瞥。多亏了大理石的精美表面，在杉山的神居的石帘上，有时会有一层有孔的装饰，增加了一种轻盈的感觉，让空气或灵魂得以流动。
长长的楼梯通常在雕刻复杂。“圣地”(1993)——通向圣殿的门，是一个净化的路线；当他们被一道鸿沟所打断，一个似乎阻碍他们前进的空旷空间时，是灵魂——想象力——克服了自然的限制，因为它释放了自己。
神居222°，杉山功，50x30.5x14cm, 大理石, 2004
在灵魂与物质的对话中，木头是最常伴随大理石的材料。在像“神居154°”(1998)的作品中，运用日本的连锁技术，寺庙的松木桁架直接绑定到大理石上，这意味着连续性和是伟大的专业技术的结果。根据典型的东方美学需求，小梁的几何精度与不规则的、不对称的地面形成对比;松树的洁白，暗示着纯洁，取代了日本本土更珍贵的白木。
杉山在书中自由地表达了他对事物内部骨骼结构的热爱，比如当他还是个孩子的时候，他对模特的裸体框架比对完成的文章更感兴趣。在许多技术复杂的情况下，他需要极大的耐心和极大的专注力，使他能够远离日常的问题，漂浮到他自己的宇宙中，在想象和现实之间悬浮。
杉山的神居，结合了抛光的几何学和粗糙的自然表面，计算和随意，数学的比例和自由的不对称的形状，就像微型的世界，在一个小尺度上再现了深刻的真理。在人与自然的不平等关系中，艺术家谦虚地向宇宙的无限流动低头。
时间，它腐蚀和粉碎木头，就像大理石一样，在它的循环过程中，深深地作用于事物，提醒人们他的工作只是生命之海的一滴水。
The idea of the matter - Sculptures by Sugiyama Isao
written by Monica Dematte
The great pathway has no doors,
Thousands of roads lead off it.
When you cross that door without a door,
You walk freely between the sky and the earth.
1983, the year in which Sugiyama came to Italy on his first trip to the West, which should have taken him to the United States, was both a great discovery and an absolute "disaster".
Sugiyama had just finished years of study in Japan, during which he had achieved an in-depth level of knowledge of sculpting techniques, and dedicated his talent to figurative works with an academic imprint. The sudden heavy confrontation with originals from the past - from the marbles of ancient Greece onwards - aroused a sense of inadequacy and uselessness in the artist which brought him to consider the possibility of changing his job. The subsequent meeting with contemporary art allowed him greater creative freedom, away from the restrictions of the past, helping him to regain hope and to reconsider the very meaning of the word "art", which, from that moment on, was no longer an abstract entity stipulated by a maestro, but a deeply personal and vibrant element in resonance with the "soul" of the creator.
The artist dedicated the years that followed to a study of himself, to gaining the maximum from a cultural heritage which wasn't limited to his artistic studies, but dated back to his childhood in fifties Japan, in economic poverty but with a richness of tradition and values which still exists in Japan today. In Europe the artist found a reason to free himself from many strictly formal and constrictive rules which had distanced him from some of his passions and innate abilities. Sugiyama's childhood passion for modelling and manual craft, were put to use in his work as an adult, developing and emerging in a new more refined game, executed with the same self-congratulatory carefree air.
SANTUARIO 396°,Isao Sugiyama,27x19x8cm,marble,2015
The fact that he settled in Carrara, where he attended the Academy in the Eighties, made marble the star of his sculptures. Sugiyama likes to use the materials he finds locally; the various types of marble lend themselves to various uses and formal alternatives.
Needing to cope with the Italian situation on an everyday basis the artist discovered that he was full of oriental sensitivity. Images of the scintoist cult, the oldest in Japan, made inroads into his memory and were expressed in sculpture. Sugiyama says that it is a very similar religion: there are about 8.000.000 Gods which are worshipped and they correspond to natural elements like the sun, trees, the wind乧 in a direct relationship with nature which is not competitive but trustful, which the artist fails to find in the West. His love and respect for natural elements are expressed in the way he handles materials: marble and wood - those used most frequently - are united so that they d not become a completely human work, but retain their original form and texture.
For this reason the Carrara marble "potatoes" - large tubers of stone with a dark, uneven surface and a candid inner - are perfect. The artist loves to use them as they are, or cut up to reveal an unexpected whiteness which contrasts with the external rustiness. Often the stone is cut so that the base remains one with the elements that form the holy architectures, the so-called sanctuaries that have been Sugiyama's topic of research for about ten years.
detail of "SANTUARIO 212°"
The key to link nature and culture, childhood games and professional sculpting, materials and ideas, past and present, lies in the theme of the sanctuaries - two hundred sculptures that the artist has conceived and patiently built day by day.
The ten typologies that the artist individuates within the general theme refer mainly to the structure and the combination of elements: in some the mass is full and imposing, in other the surface is covered with hollows; there are decorative details here and there, such as "drops of sunshine" (simple carved or relief motifs) discreetly disseminated. The marked contrast between masses left in their original state and the highly polished, white surfaces, sometimes so fine that they become transparent, is amazing. These however are contrasts which exist in nature, which are able to emerge thanks to human intervention.
When, as in “Sanctuary 135” (1997) a perfectly geometrical, two-tone temple rises precariously from three “potatoes” of rough marble, the artist draws purity from the stone's natural resources, impersonated by the divinity to whom the temple is dedicated.
To ensure that the god fills his sanctuary, the scintoist priest cleans it perfectly. The space must be empty and immaculate. The faithful may not enter, remaining outside to pray; white fabric hides the threshold so that only glimpses of the interior can be seen. Thanks to the fine surfaces of marble, in Sugiyama's sanctuaries' stone curtains are sometimes embellished with perforations down the side, adding a feeling of lightness to the transparency allowing air - or the soul - to flow through.
Isao Sugiyama working on his sculpture
The long staircases that often - as in the sculpted complex “A holy place” (1993) - lead to the door (mon) of the temple, are a route to purification; when they are interrupted by a chasm, an empty space that seems to block the way, it is the soul - the imagination - that overcomes natural limits as it frees itself.
Wood is the material that most frequently accompanies marble in this dialogue between soul and matter. In works like “Sanctuary 154” (1998) the pine wood trusses of the temple are bound directly to the marble using a Japanese interlocking technique which suggests continuity and is the result of great technical expertise. The geometrical precision of the small beams contrasts with the irregular, asymmetrical surfaces of the base, according to a typically oriental aesthetic need; the whiteness of the pine, which hints at purity, replaces the more precious white wood native to Japan.
Sugiyama freely expresses his passion for the internal bone structure of things, like when, as a child, he was more interested in the nude framework of the models than the finished article. The immense patience and great concentration needed in many technically complex situations enable him to get away from everyday problems and float away into a universe all of his own, suspended between imagination and materiality.
”MONO" at GENE Gallery
The sanctuaries of Sugiyama, constructions which combine polished geometry and rough natural surfaces, calculation and casualness, mathematical proportions and free asymmetrical shapes, are like miniature worlds that reproduce deep truths on a small scale. In the unequal relationship between man and nature, the artist modestly bows down before the infinite flow of the universe.
Time, which corrodes and crumbles wood, just like marble, in its cyclic progress, acts deeply upon things, reminding man that his work is just a drop of water in the sea of life.
杉山功
Isao Sugiyama
杉山功于1954 在日本静岡県出生 ；
1977 東京造形大学彫刻学科畢業；
1983 東京造形大学研究室畢業 ；
1990 Accademia di Belle Arti 雕塑專業碩士畢業。
主要个展
2018 臾,Aura.a.Gallery,上海,中国
2014 SANTUARIO 東京画廊＋BTAP.東京
大阪高岛屋美术画廊,大阪
2012 La Stanza del Vento, Montemarcello, 意大利
2010 SANTUARIO,東京画廊＋BTAP,東京
2006 Galleria del Naviglio,米兰,意大利
2004 Galerie Claude Bernard,巴黎,法国
Excelsior Palace Hotel,陶尔米纳,意大利
2001 Galleria Gagliard,圣吉米尼亚诺,意大利
主要群展
2019 MONO, Gene Gallery弥金画廊,上海,中国
2018 Galleria Gagliardi画廊,圣吉米尼亚诺,意大利
Bluck Art Lounge,di Valeria Lattanzi画廊,卡拉拉,意大利
三人展,Gallery Ekuryu-no-mori画廊,三岛,日本
2017 Galleria Gagliardi画廊,圣吉米尼亚诺,意大利
Journey from east to west,Bluck 画廊,卡拉拉,意大利
2016 Il cuore per la Vita in Amatrice,卡拉拉,意大利
2015 小品展,東京画廊＋BTAP,東京
SCULPTURES,巴黎,法国
I Salotti,卡拉拉,意大利
2014 平泉国际交流展(岩手县内巡回),岩手县,日本
LA MARE ATTORNO,La Stanza del Vento,蒙泰卡罗托,意大利
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：滨田净 在艺术的探索中没有一个确定的终点。 |