Hiro Hiro Art Space 很榮幸舉辦「那座彩山」聯展，展出藝術家為伊藤彩、長井朋子、以及山本桂輔 (依照英文字母排序)。
在藝術的範疇裡，我們感受到藝術家共同的命題─亟欲打破時間、空間的現實限制。試想若生活中少了線性前進的指針、沒了度量衡的刻度，是否更能全身浸入藝術家所為我們打造的世界？體會由幾何、光影、色彩，所表達的一種平衡、旋律與意義。
走入那座彩山，我們試圖理解三名藝術家如何依個人脈絡拆解現實元素，重新組構新視界。
伊藤彩
站在伊藤彩的作品前，有強烈的失重感，有如無法成功對焦的鏡頭，將發散的畫面重組。這來自於藝術家的創作行為─表現「無意義」。在創作的過程，伊藤彩將紙面、陶器、布、家具等隨機擺放，營造真實場景，接著再以相機擷取的畫面觀察不同角度，思考從未誕生過的構圖視角，鮮豔對比的強烈色彩，也恰如燈光聚焦的效果，如此的製作過程創造了一個密度極高的新現實。
長井朋子
在長井朋子繪製的森林或房間的場景中，許多動物、兒童、各種面貌的植物都成為了符號，打破空間規則以獨特的拼貼感妝點布置，宛如觀看一齣奇想的舞台劇上演。琳瑯滿目的素材錯綜複雜的交疊，有如幻想故事的世界濃縮與聚焦，當觀眾面對著每一幅作品畫面，也是面對著自身一段段誠實幻想的記憶輪播，從而感受到畫面中所帶來的戲劇與旋律感。
山本桂輔
山本桂輔曾對自己的作品如此描述：「我對人類的創作歷史和衝動很感興趣。
帶著這份關注，我創作出彼此互相牽動呼應的雕刻和繪畫。」在近年的作品中，他蒐集諸多被汰舊遺忘的古道具，感受其表面漫漫的歷史痕跡，以及身而為人的渺小與脆弱。原本用於別種用途的古道具，透過日本人熟悉的詮釋萬物的擬人化呈現出一種獨有的鄉土情懷，過往的歷史意義被有機的形式轉化，生動地包覆起來。

彩山似有魔法，抑或深藏著奇珍異寶，才如此致命地吸引著人們。藝術亦若是。
(協力:小山登美夫畫廊)

Hiro Hiro Art Space is pleased to coordinate with Tomio Koyama Gallery to present “The Splendid Mountain”, a group exhibition of works by Aya Ito, Tomoko Nagai, and Keisuke Yamamoto.
In the field of art, we recognize the shared premise among artists: the ambitions to break the limitations of time and space. If we could imagine our lives with a compass without its forthright needle or a measuring instrument without units, would we become further immersed in the world created by artists? A world of balance, melody, and perception expressed through elements of geometrics, light and shadow, and colors.
As we walk into “The Splendid Mountain”, we try to understand how each of the three artists disassembled the elements of reality accordingly to their personal context and reconstructed into a new horizon.
Aya Ito
There is a strong sense of weightlessness when you stand in front of Aya Ito’s work, like a lens that is trying to focus properly, attempting to concentrate on the image it is capturing. This comes from the artist’s creative behavior of “performance of meaningless”. In the process of creation, Aya Ito randomly placed paper, pottery, cloth, furniture, etc. to create a diorama, and then observed it from different angles through a camera-captured picture. This allows her to find new and unpredictable perspectives of composition that looks imaginative and surreal yet completely captured from reality. The bright contrast of those intense colors thoroughly compares to the effect of a spotlight, where such a production process creates a whole new reality with extremely high density.
Tomoko Nagai
In scenes of forests or rooms depicted by Tomoko Nagai, many animals, children, and plants of various appearances have become motifs. Breaking the rules of space with her unique sense of spatial and dimensional property, she lays out a piece of painting, as if you are looking at a fantasy-themed stage play. A dazzling array of images are intricately overlapped, just like the richly condensed worlds in fantasy stories. When the audience views each piece of the work, they are also looking at the memories of their fantasy as they experience the sense of drama and melody the painting brings.
Keisuke Yamamoto
Keisuke Yamamoto once commented on his work, “I am very interested in the history of human creations and their creative impulses. With this in mind, I created sculptures and paintings that work in collaboration with one another.” For his works in recent years, he collected many ancient tools that have been forgotten and discarded, sensing, and pondering over the historical traces they hold, as well as the insignificance and fragility of human existence. Through the use of personification, familiar to the Japanese, on the interpretation of all things, these tools that were originally used for other purposes had been nurtured and presented into a new life with a primitive power and soul, where its historical significance had transformed and been enclosed within.
“The Splendid Mountain” seems to have magic, or hidden deep treasures, for people to be so fatally attracted to it. Art is just like so.