10877_Javier Bajo_ART2016_6_Columnas II_複合媒材_110x100cm_2015.jpg

西班牙ROSA藝術集團今年來了七位藝術家參加[Art Revolution Taipei 台北新藝術博覽會]。之前介紹了三位印象派風景畫大師(Miguel PeidroAndrés RuedaToni Cassany ),以及印象派景觀畫大師 Ulpiano Carrasco,接著登場的也是第一次來參展、有著幾何印象派風格的 Javier Bajo。他喜歡虛實並存,以具象主題搭配抽象背景。像這幅描繪賽維莉亞市「西班牙廣場」的作品,隨著透視線的方向,明部與暗部逐漸成形,製造出虛實的空間感,然後收尾在條柱狀的迴廊上。直線與曲線互相輝映。

Javier Bajo 的這些作品即將在Art Revolution Taipei 台北新藝術博覽會(2016-4-22~25 at 台北市世貿三館)展售,歡迎前往看展。展位代號:C1+C2 [西班牙ROSA藝術集團] 。我們在FB也成立了公開社團(FB搜尋"2016ART-ROSA"),按這裡可以進入看這七位藝術家的所有參展作品以及每張作品的文字介紹。

 

10877_Javier Bajo_ART2016.jpg

Javier Bajo [譯音:哈米耶·巴霍] 43歲(1973),西班牙人(馬德里)。建築系出身,但中途轉入馬德里孔普盧頓大學美術系,取得藝術學士學位。印象派畫風,但側重於解構人體或城市景觀的基本構成,諸如形狀、空間、色彩和材質等等,並增添建築計算,使他的作品展現出一種幾何印象派的新意。自2000年起迄今至少有5項個展、17項群展(包括5場藝博會) 展出記錄,以及10項得獎紀錄(其中9項首獎)。

以下是藝術家本人對單幅作品的英文說明(中文翻譯by Chris Lee):

 

10877_Javier Bajo_ART2016_1_Wing_複合媒材_100x81cm_2015.jpg

10877_Javier Bajo_ART2016_1_Wing_複合媒材_100x81cm_2015

翼 [入選寶勝預展]
這個系列是從飛機的窗口俯瞰我們的世界,這種視野只有現代人才有機會目睹。這個系列的取名除了表示飛機的機翼之外,也隱喻了古老的傳說「伊卡洛斯」。伊卡洛斯用蠟黏結羽毛做成翅膀飛向高空,但被太陽的熱力所融化最後墜落在愛琴海。伊卡洛斯做不到的事情,現代科技做到了。

WING
This is part of a series which show different views from airplane’s  windows,  evoking  images we can rarely see except from there, showing  an abstract and beautiful world that only the people from modern ages have been able to witness.  The title and theme “wing” makes reference both to the airplane’s wing,  and also to the wax-made wings from the “Icarus” classic  myth, in where he flew too close to the sun and the waxen wings melted, showing a metaphore about the double-sided coin that represents modern society and technology.

 

 

10877_Javier Bajo_ART2016_2_Wave_油畫_120x40cm_2016.jpg

10877_Javier Bajo_ART2016_2_Wave_油畫_120x40cm_2016

波 [入選寶勝預展]
這幅作品在探討光線、色彩與構圖,試著將落日餘暉映照在海波浪上的那一瞬間光彩變幻給凍結起來。畫面中央不對稱的構圖,導引觀畫者的目光從亮處的夕陽以及暗處的波浪,再到不甚明確幾乎抽象的浪濤,然後落在恆常不變的人造建築。靜與動形成強烈的對比。

WAVE
Light , color and composition are deeply studied in this work,  trying  to freeze in time the almost  infinite range of movement and color shades created by the sunset light on a single seawave. The asymmetric composition centers the viewer’s focus in the spot where the sunlight is sharper, and the wave depth is darker, flowing  then to the sides into a less specific , almost abstract range of forms , until on the right side it meets a human built structure that contrasts in its immobile shape with the never-ending waves motion.

 

 

10877_Javier Bajo_ART2016_3_the Door_複合媒材_110x100cm_2015.jpg

10877_Javier Bajo_ART2016_3_the Door_複合媒材_110x100cm_2015


這幅畫的所有元素都聚焦在「門」這個主題上,包括明暗、色調、清晰度與視角皆然。這座門是紐約布魯克林大橋的一部分。在我的作品中,通常會有兩大部份:具象與抽象。在這裡,門與部份景觀用具象來表達,其餘部份就抽象化來幫助強調這個主題。

THE DOOR
In this painting every concept  (the light, the color ,the sharpness and the perspective)  , is focusing  towards “the door” , attracting the viewer to its presence and beyond  (wich is part of the Brooklyn Bridge at New York City) . As in many of my works, there is a more figurative part ( in this case the bridge door and part of the landscape) , and a conceptual-abstract part (the more ample surface in this painting) , wich emphasizes the purpose of a single focus.

 

 

10877_Javier Bajo_ART2016_4_Roots_複合媒材_120x60cm_Dyptich_2015.jpg

10877_Javier Bajo_ART2016_4_Roots_複合媒材_120x60cm_Dyptich_2015


這是幅雙拼畫,但跟我的風格有些不同,因為它們是為音樂專輯所設計的封面 (右圖是封面,左圖是背面) 。畫中有個人看著這兩棵樹(也代表觀畫者正在注視這幅畫),意味著『身(樹木)、心(觀畫者)、靈(根系)』的結合。這種結合也可以引用到任何藝術形式(視覺藝術-音樂-文學),或者就像紅色圓圈所表示的各種音樂形式也有著共同起源之處。

ROOTS
This double painting,  different in concept and creation from most of my work, was originally developed as the cover image for a music album (the right side being the cover, and the left side the back of the album). The trees , and the viewer staring at them ( wich would be both the person represented in the painting and the actually physical viewer of it), represent a connection between body (the trees), mind (the viewer) and soul (the roots).   This connection  extrapolates to artistic representation , showing  the relation among any form of art , (visual arts-music- literature) , and also in this specific case, the common roots of different music styles, marked by a red circle at the point where they join.

 

 

10877_Javier Bajo_ART2016_5_Four Elements II_複合媒材_100x150cm_Dyptich_2016.jpg

10877_Javier Bajo_ART2016_5_Four Elements II_複合媒材_100x150cm_Dyptich_2016

四大元素II [入選克緹預展]
這是幅雙拼畫。我用這張取自香港風景的畫來暗喻古老哲學家所說的四大元素(地、水、火、風)。城市代表「地」,海洋代表「水」,陽光代表「火」,天空代表「風」。在整個畫面中,我們可以看到這四種元素互相起舞,有單獨表現,或是彼此相混,調配出微妙的色階變化與明暗氛圍。我絕大部分的作品都是擁有一個單一的具象主題以及搭配其餘的抽象背景;但在這裡,我分成上下兩幅,上方代表著兩個具象主題(地、風),下方則是抽象部份(水、火)。

FOUR ELEMENTS II
This view from the city of Hong Kong,  is transformed and depicted  as a metaphorical representation of the four elements by the ancient world philosophers  (air, water, earth and fire).  The air is represented by the skies, water  by the seas, earth by the cityscape buildings, and fire by the sunlight .  In an ample color range , it shows the esthetic beauty of a visual dance where either the elements appear in pure form, showing  great contrast with the rest,  or blend  with each other, creating more subtle shades of color and light.

Many of my works show a figurative part, and a more ample abstract one , wich always join into a single visual reference,  but in this case intentionally separated from each other in two different panels , dividing the upper figurative part ( air, earth)  from the abstract one (water,fire).

 

 

10877_Javier Bajo_ART2016_6_Columnas II_複合媒材_110x100cm_2015.jpg

10877_Javier Bajo_ART2016_6_Columnas II_複合媒材_110x100cm_2015

柱子II [入選克緹預展]
這幅畫要表現賽維莉亞市「西班牙廣場」的壯麗之美。不同於我別的作品,這次我保留了木頭底板的原色,為的就是要貼近特定光線下磚牆的顏色。我特別上了一層透明底漆好讓後續的明部與暗部都能保有木頭的色澤。隨著透視線的方向,明部與暗部逐漸成形,製造出虛實的空間感,然後收尾在條柱狀的迴廊上。直線與曲線互相輝映。

COLUMNAS II
Showing a beautiful view of the “Plaza de España” in the city of Sevilla,  the creation of this painting  differs from the rest,  wanting to preserve the original color from the wooden panel, as a representation of the brick’s color from the place in that particular light. 

To achieve this, a transparent base layer gives texture to the wood, which is accentuated by following layers of colored dark or light paint in specific areas, always wanting to preserve the wood as the background general color. 

The lights and shades slowly take form, both emerging from and followed by perspective lines , creating the illusion of a physical world, which is accentuated at the end of the columns-made corridor, where the darkest shade and the brightest light  appear, and the perspective lines converge  in a curve.

 

 

10877_Javier Bajo_ART2016_7_Barcode II_複合媒材 panel_120x120cm_Tryptich_2016.jpg

10877_Javier Bajo_ART2016_7_Barcode II_複合媒材 panel_120x120cm_Tryptich_2016

條碼城市II [入選寶勝預展] 與 條碼城市III
這個系列雖然依照圖面的比例分配與顏色(視時段而定)的不同,但是都代表著相同的意涵:城市高樓大廈的投影可以轉換成條碼來表現,我將之分別與河水或天空來作延伸。同樣的,小部份是具象的主題(城市景觀),大部份則是抽象的背景(在條碼城市II代表著河水,在條碼城市III代表著天空)。

在這個意涵之下還有兩個目的:其一是反映出在特定時間與大氣氛圍下,城市景觀的垂直倒影之美。另一個目的就是要凸顯出都市文明的過度發達與個人主義盛行,讓整個社會付出相當大的代價。

這裡的城市景觀是從史泰登島渡輪上所看到的紐約曼哈頓街景,但與實際有所不同。

BARCODE II -  BARCODE III
Both these paintings, although being individually unique in their distribution and color (wich is given by the time of the day), represent a single concept: The cityscape’s buildings create a projection of lines wich turn into a barcode that blends respectively with the water and sky beside them. Again as in many of my works, this is represented by a smaller figurative part (the cityscape) and a wider abstract part (the water in barcode II and sky in barcode III)

The double purpose of this concept, is in one hand showing the beauty of vertical forms and their reflections in particular daylight and atmosphere, and in the other hand, the more conceptual part dealing with the fact of how everything tends to be classified in modern society, taking a too high toll on human creativity and individual thinking.

*NYC in both cases, but not the most typical view, Manhattan seen from the Staten Island ferry.

 

 

10877_Javier Bajo_ART2016_8_Barcode III_複合媒材 panel_120x120cm_Tryptich_2016.jpg

10877_Javier Bajo_ART2016_8_Barcode III_複合媒材 panel_120x120cm_Tryptich_2016

條碼城市II  與 條碼城市III
這個系列雖然依照圖面的比例分配與顏色(視時段而定)的不同,但是都代表著相同的意涵:城市高樓大廈的投影可以轉換成條碼來表現,我將之分別與河水或天空來作延伸。同樣的,小部份是具象的主題(城市景觀),大部份則是抽象的背景(在條碼城市II代表著河水,在條碼城市III代表著天空)。

在這個意涵之下還有兩個目的:其一是反映出在特定時間與大氣氛圍下,城市景觀的垂直倒影之美。另一個目的就是要凸顯出都市文明的過度發達與個人主義盛行,讓整個社會付出相當大的代價。

這裡的城市景觀是從史泰登島渡輪上所看到的紐約曼哈頓街景,但與實際有所不同。

BARCODE II -  BARCODE III
Both these paintings, although being individually unique in their distribution and color (wich is given by the time of the day), represent a single concept: The cityscape’s buildings create a projection of lines wich turn into a barcode that blends respectively with the water and sky beside them. Again as in many of my works, this is represented by a smaller figurative part (the cityscape) and a wider abstract part (the water in barcode II and sky in barcode III)

The double purpose of this concept, is in one hand showing the beauty of vertical forms and their reflections in particular daylight and atmosphere, and in the other hand, the more conceptual part dealing with the fact of how everything tends to be classified in modern society, taking a too high toll on human creativity and individual thinking.

*NYC in both cases, but not the most typical view, Manhattan seen from the Staten Island ferry.

 

藝評 by Lyanne Yang (ROSA區組員)>>
Javier的作品給人一種神秘感,像"柱子"這一張有點進入古文明的感覺。讓我聯想到達文西。

藝評 by  Chris Lee (ROSA區資深組員)>>
我發現在畫作背景的部份,為了與人工建物的線條有所區別,Javier將大自然的筆觸全部用曲線的方式來表現!令我想起西班牙建築鬼才--高第。他的名言:「直線屬於人類,曲線屬於上帝。」 

藝評 by Yi-Chen Lee (ROSA區小組長)>>
Javier 的畫風是一種建築幾何的概念,他運用理性的思維,透過建築幾何的概念,創作這一系列的藝術繪畫,我們不難發現其中巴洛克式的建築身影,但他似乎打開另一個我們看不見的平行空間。米開朗基羅最初做的是雕塑,接著繪畫,最後做的是建築;他認為雕刻為陽,繪畫為陰;當他為了完成西斯汀教堂的穹頂繪畫,也是做了非常精細的計算才得以完成偉大的巨擘。達文西更是運用透視及數學幾進行繪畫的科學研究。

 

Javier Bajo 的這些作品即將在Art Revolution Taipei 台北新藝術博覽會(2016-4-22~25 at 台北市世貿三館)展售,歡迎前往看展。展位代號:C1+C2 [西班牙ROSA藝術集團] 。我們在FB也成立了公開社團(FB搜尋"2016ART-ROSA"),按這裡可以進入看這七位藝術家的所有參展作品以及每張作品的文字介紹。

Art Revolution Taipei 2016 
第六屆台北新藝術博覽會
貴賓之夜:2016. 4.21 19:00~22:00 (憑VIP邀請卡入場)
公眾展覽:2016. 4.22~4.25 12:00~20:00 (4.24 11:00~19:00)
展覽地點:台北世貿三館(台北市松壽路6號)
網 址:http://www.arts.org.tw/ 

 

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