《間 ま MA》於也趣藝廊展出，藝術家親臨開幕現場與觀者面對面交流作品概念。三位藝術家：栗棟美里 Misato KURIMUNE、大﨑のぶゆき Nobuyuki OSAKI、安田知司 Tomoshi YASUDA，以「人像」為共同軸心，卻各自牽引出不同視域，打破觀看盲區，生成一種超越單純感知的記憶殘影。
“MA ” opened at AKI Gallery on September 6, with the artists present at the opening to engage directly with viewers and share the concepts behind their works. Misato KURIMUNE, Nobuyuki OSAKI, and Tomoshi YASUDA use the human figure as inspiration, yet each explores different visual ways, challenging perceptual boundaries and leaving traces of memory that extend beyond immediate perception.
安田知司
Tomoshi YASUDA
在藝術家的作品中，觀看是一場層層解構、再建構的體驗過程。從遠處，得以捕捉畫面整體的輪廓與構圖；當視線逼近，厚重的顏料堆疊與色塊肌理隨之浮現。這種視覺節奏的錯置是先見質，再見形。圖像不再自動傳遞意義，而是隨著觀者每一次距離變動所產生的觀看節點，自行建構詮釋的可能。安田的創作，將像素藝術圖像拆解為基本單位的數位重組，透過色塊並置，模擬數位放大後的視覺粒子感，迫使我們在看的過程中主動「對焦」，甚至重新定義「清晰」與「可見」。使凝視不再承載理解的企圖，僅僅化為純粹的官能行為。
In his work, viewing unfolds as a continuous act of deconstruction and reconstruction. From a distance, the work presents an overall composition; as one approach, the textures of pigment and the tactility of color emerge. Meaning is no longer fixed within the image but shifts according to the viewer’s position, opening up new interpretations. By breaking pixel-based imagery into elemental units, YASUDA uses blocks of color to simulate the granular texture of the digital. His works invite viewers to search for their own focus, reconfiguring the very notion of what constitutes “clarity.”
栗棟美里
Misato KURIMUNE
當觀者與畫面中人物相遇時，那股「陌生的熟悉感」喚起了潛藏的記憶，生成新的敘事。作品中所運用的光柵片，強化了視覺的不確定性，視線在移動之間被阻斷、重疊，在存在與消逝間來回踏步。它更直接地指向了數位影像與虛擬身分的浮現，人物既真實也模擬，如同社群媒體中的頭像、虛擬偶像（virtual idol）、人工智慧生成的臉孔。藝術家藉由「看似熟悉卻無法辨識」的人物，揭示觀看的困境。在資訊爆炸與圖像氾濫的時代，凝視不再保證理解，觀看本身已成為一種歷史性的再現問題，也是一種當代的存在隱喻。
When viewers encounter the figures within the work, a sense of “unfamiliar familiarity” awakens latent memories. The use of lenticular prints heightens visual instability, as the gaze oscillates between presence and disappearance. This gesture further points to the emergence of digital images and virtual identities. In an age oversaturated with information and images, what is seen is not always real; the very act of looking itself becomes a question—an inquiry into the contemporary condition.
大﨑のぶゆき
Nobuyuki OSAKI
藝術家先繪圖，再將其置入溶劑中，任由顏料崩解、消散，並以錄像、攝影、印刷等不同媒介記錄，最終呈現的作品，並非單一結果，而是多重媒材相互催化的軌跡。錄像中逐漸溶解的人像殘影，不僅引發對自我認同的質疑，也與藝術史中關於「肖像」的傳統形成對話。若文藝復興時期的肖像旨在凝固個體存在的永恆性，那麼大﨑的實踐則反其道而行之，他以解體與消逝來揭露自我在當代社會裡的不確定與流動。
These works begin with drawing, which is then immersed into solvent, allowing the pigments to dissolve and disperse. Through video, photography, and print, the process itself becomes the work. In the video series “Portraits (Buenos Aires | Portraits of Japanese Immigrants)”, the gradual dissolution of the human figure not only provokes questions of self-identity but also enters into dialogue with the long tradition of portraiture in art history. OSAKI uses disappearance to reveal the instability of the self within the currents of contemporary time.
