10877_Javier Bajo_ART2017_4_Melt_複合媒材Mixed technique on panel_100x100cm_sm_2016.jpg 

第五年為各位介紹西班牙ROSA藝術集團來台參加[2017 Art Revolution Taipei 台北新藝術博覽會]的藝術家。今年特別邀請來了九位藝術家,大致可分為風景畫、人物畫與其他類。前一位介紹的是將風景寫實與波普藝術結合的大師 Mario García Miró 的作品,談到兩種風格的融合就一定要接著介紹這位去年參加過2016ART,今年第2次參展的 Javier Bajo,因為他也是融合兩種風格--具象(Figurative)與抽象(Abstractive),進而形成一種虛實合一的效果,畫作也是非常有辨識度。他是建築系出身,但中途轉入美術系,因此他的作品經常以建築物為主題,展現出一種幾何印象派的新意。以這幅畫為例 [Melt / 融化 (暫譯)],具象化的城市景觀逐漸融化成抽象化的背景,你可以說它代表著都市秩序感的瓦解,也可以解讀成它展現出落地生根的一面。我發現在他的畫作背景,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 Gaudí』的名言:「直線屬於人類,曲線屬於上帝。」大家不妨仔細地湊近來看畫作真跡。

 

Javier Bajo 的這些作品即將在Art Revolution Taipei 台北新藝術博覽會(2017-4-13~17 at 台北市世貿三館)展售,歡迎前往看展。展位代號:K2+K5 [西班牙ROSA藝術集團] 。我們在FB也成立了公開社團(FB搜尋"2017ART-ROSA"),按這裡可以進入看這九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_ART2017_0.jpg

Javier Bajo [譯音:哈米耶•巴霍]
44歲(1973),西班牙人(馬德里)。5項個展、17項群展(包括5場藝博會) ,10項得獎紀錄(其中9項首獎)。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。

《圖錄介紹》
1973年出生於西班牙馬德里。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。作品在西班牙與歐洲廣受歡迎。今年是他連續第二年來參展。

Javier Bajo Madrid 1973. Javier studied Architecture at the university, where he got in contact with the creation and representation of architectural forms, later on he studied Fine Arts at the Complutense University of Madrid. On his paintings Javier experiments with essential concepts such as shape, space, color and materials creation, either by through human form or the cityscape. His works are shown with great success in Spain and Europe. This is Javier's second consecutive year exhibiting in Asia.

官網:http://www.javierbajo.com/ 
FB:https://www.facebook.com/mmjbajo

 

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_ART2017_1_Barcode IV_100x100cm_複合媒材Mixed technique on panel_sm_2016.jpg

10877_Javier Bajo_ART2017_1_Barcode IV_100x100cm_複合媒材Mixed technique on panel_sm_2016 [寶勝畫廊預展 Preview at X-Power gallery]

Barcode IV / 條碼城市4 (暫譯)

這幅畫延續了條碼系列,我們可以再次看到從具象的形式轉變到幾何的形式。紐約曼哈頓的城市景觀拉出了許多條的投影線,直接從畫面上劃過,逐漸變成一個與上方天空融合的條碼。 同樣的,如同在我的許多作品中所表現的,一個較小的具象部分(城市景觀)搭配著一個更廣泛的抽象部分(天空)。這個概念有兩重目的,一方面顯示垂直形式及其反射之美,特別是日光和大氣氛圍,另一方面,更深層的概念在指涉現代社會分別心過重,樣樣都要比較 ,對人們的創造力和個人思維造成過高的負擔。

This painting continues the Barcode series, we can see again the transformation from more realistic forms into geometric ones. The cityscape’s buildings (Manhattan) create a projection of lines, directly scratched from the paint, that progressively turn into a barcode that blends with the sky above them. Again as in many of my works, this is represented by a smaller figurative part (the cityscape) and a wider abstract part (sky). 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 tend to be classified in modern society , taking a too high toll on human creativity and individual thinking.

 

 

10877_Javier Bajo_ART2017_2_Blue Shade_複合媒材Mixed technique on panel_100x100cm_sm_2016.jpg

10877_Javier Bajo_ART2017_2_Blue Shade_複合媒材Mixed technique on panel_100x100cm_sm_2016

Blue Shade / 藍色蔭影 (暫譯)

我從印刷和攝影技術中找到了靈感,透過連續三層三原色(黃色,紅色和藍色最後)的轉換,這個馬德里(我的家鄉)地標型的建築物開始成形。光和陰影定義了這座首都城市建築物的外型,重點在於三原色幾乎保持純淨的形式在畫的某些部分(旁邊或是天空),以一種視覺的方式傳達出這座城市充滿活力氣氛與光彩的一面。 畫面中,格蘭大道上指標型建築物所投射下的藍色陰影,與周邊陽光明媚的區域恰好形成對比,使得藍色部分更加突出。

Using a technique inspired by printing and photography, by adding the three primary colors (yellow, red and finally blue) in successive layers, this emblematic view from the city of Madrid (my hometown), is slowly built. Lights and shadows define the shapes of the city and the building here (the Capitol) but more importantly the primary colors are kept in almost pure form at some parts of the painting (sides, sky) as a visual way to transmit the atmosphere and vibrant light of the city. This is more accentuated in the blue shade projected by the Capitol building, and its contrast with the sunny sides around it.

 

 

10877_Javier Bajo_ART2017_3_Taipei101_複合媒材Mixed technique on panel_120x120cm_sm_2016.jpg

10877_Javier Bajo_ART2017_3_Taipei101_複合媒材Mixed technique on panel_120x120cm_sm_2016 [遠雄預展]

101 / Taipei101 (暫譯)

將舊的打印技術轉化為經典的繪畫藝術,透過色彩三原色(藍、紅、黃)連續三層的塗色,再添加一些光線和陰影後,呈現出一種特別的絢麗感。這是一幅非典型的繪畫,從抽象到寫實,由最左邊(最抽象)到中央(抽象與具象開始混合創造出一些寫實的幻象),最後到右邊,具象化成為台北市的地標建築物,101摩天大樓。

Transforming an old printing technique into a classic brush painting one, this work has been made by applying successive layers of paint with the three primary colors ( blue, red and yellow), adding lights and shades after, to give it an unique sensation of color pattern and life. Being an atypical painting, the image travels from abstraction into realism as it goes from the left part (the most abstract one) to the central one (where figurativism and abstraction blend creating an illusion of realism), and finally to the right piece, where the viewer lands on a more realistic representation of the city of Taipei, with its fabulous skyscraper, the 101.

 

 

10877_Javier Bajo_ART2017_4_Melt_複合媒材Mixed technique on panel_100x100cm_sm_2016.jpg

10877_Javier Bajo_ART2017_4_Melt_複合媒材Mixed technique on panel_100x100cm_sm_2016

Melt / 融化 (暫譯)

這個城市(紐約曼哈頓),從建構它的主要顏色和次要顏色分離,從紮實的結構體開始融化,從一個秩序井然的社會(畫面的上半部)開始分崩離析(畫面的下半部);也或許這個城市像是一個有機體,它的根系向下延伸。這幅畫的意涵除了為觀眾展示一個美麗的場景之外,還引伸出“城市社會”這的概念不是一個真實的東西,而是人類互動之下的產物。

A city (Manhattan), decomposes in the primary and secondary colors that build it, melting down from the solid structures, creating a separation of order (half top of the painting) and chaos (half bottom), also giving the impression of colored roots, as if the city itself was an organic living being. This representation has the double purpose of showing an aesthetically intriguing scene for the viewer, and the concept of the city-society not being a real thing, but a product of human interaction.

 

 

10877_Javier Bajo_ART2017_6_Focus1_複合媒材Mixed technique on panel_120x120cm_sm_2016.jpg

10877_Javier Bajo_ART2017_6_Focus1_複合媒材Mixed technique on panel_120x120cm_sm_2016

Focus I / 焦點 1 (暫譯)

這個主題的兩幅作品是以法國巴黎鐵塔為焦點,分成日夜兩種時間;巴黎,印象派的發源地,以更當代的手法來表現她。

這個系列有兩個不同的概念,一起來看或個別來看:
1. 白天/黑夜的二元性。它們都存在,但以相反的方式表示。 在焦點1,街道和景觀由較暗的顏色(陰影)來表示,在焦點2,我們發現相同的街道和景觀是用更明亮的色調(燈光)來顯示。此外,在焦點1的下半部所使用的色調與焦點2的天空(上半部)相同,反之亦然。

2. 焦點,不管是透視線的指向,或是觀畫者的視覺感知,都導引到畫面的中心,投影、光影、細節都收斂在那裡。

Both these paintings represent the same theme in different times of the day, with an impressionism influence, although showing it through a more contemporary view of the city of Paris.

There are two different concepts in these paintings, either together or individually:
1.-The duality of day/night, which is present in both of them, but represented in an opposite way. While in Focus I the streets and forms are represented by shadows in darker colors, in Focus II we find the same ones in brighter tones showing the lights. Also the color gamma used in the half bottom part of Focus I, would be the same as in the sky of Focus II , and vice versa .

2.- The focus, referring both to the perspective lines’ focus and the perception of the viewer, leading him to the very center of the painting, where everything (projection, light-shadow, detail) converges.

 

 

10877_Javier Bajo_ART2017_7_Focus2_複合媒材Mixed technique on panel_120x120cm_2016.jpg

10877_Javier Bajo_ART2017_7_Focus2_複合媒材Mixed technique on panel_120x120cm_2016

Focus II / 焦點 2 (暫譯)

這個主題的兩幅作品是以法國巴黎鐵塔為焦點,分成日夜兩種時間;巴黎,印象派的發源地,以更當代的手法來表現她。

這個系列有兩個不同的概念,一起來看或個別來看:
1. 白天/黑夜的二元性。它們都存在,但以相反的方式表示。 在焦點1,街道和景觀由較暗的顏色(陰影)來表示,在焦點2,我們發現相同的街道和景觀是用更明亮的色調(燈光)來顯示。此外,在焦點1的下半部所使用的色調與焦點2的天空(上半部)相同,反之亦然。

2. 焦點,不管是透視線的指向,或是觀畫者的視覺感知,都導引到畫面的中心,投影、光影、細節都收斂在那裡。

Both these paintings represent the same theme in different times of the day, with an impressionism influence, although showing it through a more contemporary view of the city of Paris.

There are two different concepts in these paintings, either together or individually:
1.-The duality of day/night, which is present in both of them, but represented in an opposite way. While in Focus I the streets and forms are represented by shadows in darker colors, in Focus II we find the same ones in brighter tones showing the lights. Also the color gamma used in the half bottom part of Focus I, would be the same as in the sky of Focus II , and vice versa .

2.- The focus, referring both to the perspective lines’ focus and the perception of the viewer, leading him to the very center of the painting, where everything (projection, light-shadow, detail) converges.

 

 

10877_Javier Bajo_ART2017_5_The Door II_複合媒材Mixed technique on panel_100x100cm_sm_2016.jpg 

10877_Javier Bajo_ART2017_5_The Door II_複合媒材Mixed technique on panel_100x100cm_sm_2016 [遠雄預展]

The Door II / 門2 (暫譯)

在這幅畫中,畫板的木紋底色在上了一層透明漆之被我直接採用,僅僅用更亮或更暗的顏色去加強它,用以產生一種石磚材料的錯覺。取材自曼哈頓布魯克林大橋的拱門,藉以製造出有機 物(木板底色)與無機物(石磚顏色)的二元性。正如我的許多作品中,有一個具象的部分(如這幅畫的橋門)和一個抽象概念的部分(背景和電線);在這幅畫中,目光的焦點不是在正中央,而是在右下角,完全改變觀畫者的視角。

In this painting, the original color of the wooden base is used under a transparent layer, enhancing it with lighter or darker colors, to produce the illusion of stone-brick material of which “the door” (Brooklyn bridge in Manhattan) is made, creating a duality of organic-non organic matter. As in many of my works, there is a more figurative part (in this case the bridge door) , and a conceptual-abstract part (the background and wires) , which emphasizes the purpose of a single focus, not in the center of the painting, but in the right bottom corner , totally changing the viewer perspective.

 

 

10877_Javier Bajo_ART2017_8_Distortion_複合媒材Mixed technique on panel_120x40cm.jpg   

10877_Javier Bajo_ART2017_8_Distortion_複合媒材Mixed technique on panel_120x40cm [遠雄預展]

Distortion / 變形 (暫譯)

取材自塞維利亞市“西班牙廣場”的全景,內含雙重目的。首先是一個古典派概念的繪畫和使用現代鏡頭扭曲之後的對比,其次是保留了木板的原始顏色,呈現出特定光源下石磚的顏色。透明底層之下的木板紋理,繼之而上在某些區塊以深色或淺色顏料強化,希望能將木材的背景色保留下來。亮部和暗部逐漸成形,雙雙自扭曲鏡頭的透視線中出現,製造出一種透過魚眼鏡頭所看到的物理世界的錯覺;隨著透視線的匯合,最暗的陰影和最亮的光線出現在兩側的廊道底端。

This panoramic view from the “Plaza de España” in the city of Sevilla, contains a double purpose. Firstly playing with the contrast between the concept of a more classic painting , and the distortion created by the use of modern lenses, and secondly preserving the original color from the wooden panel, as a representation of the brick’s color from the place in that particular light. 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 lens-distorted perspective lines, creating the illusion of a physical world seen through a fish-eye, which is accentuated at both ends of the columns-made corridors on each side, where the darkest shade and the brightest light appear, and the perspective lines converge.

 

最近,這種「虛實合一」的風格非常受歡迎!! 因為既能表現出抽象化的創意,又能展露出扎實的寫實功力,似乎在「抽象派」與「具象派」的拉鋸戰中開出另一條途徑,後勢值得觀察!除了ROSA區的 Mario García Miró 與 Javier Bajo 之外,本屆藝博會大會策展三區的 KAMU夫妻檔 也頗被看好!歡迎移動您的腳步前往觀賞。

 

2017order3西班牙.jpg   

Javier Bajo 的這些作品即將在Art Revolution Taipei 台北新藝術博覽會(2017-4-13~17 at 台北市世貿三館)展售,歡迎前往看展。展位代號:K2+K5 [西班牙ROSA藝術集團,請見上圖紅色框框] 。我們在FB也成立了公開社團(FB搜尋"2017ART-ROSA"),按這裡可以進入看這九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 2017 
第七屆台北新藝術博覽會
貴賓之夜:2017. 4.13(四) 19:00~22:00 (憑VIP邀請卡入場)
公眾展覽:2017. 4.14(五)~4.17(一) 12:00~20:00 (4.16(日) 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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