泉啓司：風景悄然成形開幕

Name: 泉啓司：風景悄然成形開幕
Start: 2025-10-18T03:00:00+08:00
Location: 紹興南街10號、 Taipei, Taiwan 100

Schedule

Sat, 18 Oct, 2025 at 03:00 am

UTC+08:00

Location

紹興南街10號、 Taipei, Taiwan 100 | Taipei, TP

繼首次個展廣受好評，Hiro Hiro Art Space 將於台北再度與日本藝術家泉啓司（IZUMI Keiji）合作，發表其最新個展「風景悄然成形」，展覽期間從2025年10月18日至11月23日。泉啓司以其獨特的建構式木雕，以人的形象作為起點，透過他細膩的觀察，捕捉個體思想的幽微、性格的樣貌，乃至其情感的連結，並將這些無形的存在，轉譯成雕塑上多樣的幾何零件，使人物的思想如同渦漩般擴散、性格蔓生成林、內在精神迸發為明滅的電光，最終一個完整的世界從作品中成形。
藝術家泉啓司的木雕創作，總是圍繞著「人物」展開。他刀下的臉孔，經常以其身邊的熟人作為謬思。「對我來說，他們與其說是刻劃對象，不如說是我思考『人是什麼？』這個問題的提示。」泉啓司細膩地雕琢他們的神情，卻非意在復刻肖像，而是將一個個具象寫實的個體，與抽象訊息一同化作心像風景。
創作的發軔，從決定好要雕刻哪個人開始，繼而潛心回憶、反覆思索其樣貌與質地，然後，再將「某些東西」與他組合。他並非總是由一整塊木頭中鑿出形體，也會耐心地鑿刻、打磨出數十個獨立的木頭零件，有時是圓潤的球體，有時是長長短短的方形木條，甚至是纏繞的金屬支架。接著，他以近乎建築的方式，將這些零件一一串連、栓合、組裝起來。於是，人物性格中那份風雨無阻的勇敢、天馬行空的奇想，或是對世界充滿魄力的好奇都找到了對應的幾何語彙，化為構築風景的基石。
有些銜接處如同生物的「關節」可被轉動，宛若剛硬的木條獲得了自由，能夠彼此彎折、改變角度，賦予了整個結構一種更有機的、可以呼吸的生命感。這迷人的不確定性，暗示了眼前的形態並非唯一的、固定的答案，而是一個充滿可能性的有機體，彷彿只要輕輕一推，這片由木頭構築的「風景」就會翻騰、變幻，展現出另一種樣貌。這份流動感，恰好呼應了泉啓司在創作中即興的、非預設的探索狀態。反覆的、勞動密集的雕刻和組裝過程，呼應的正是泉啓司內心那份尋找「契合感」的具象顯現。每一塊木頭的嵌入與咬合，都是一次試探，直到所有部件達到一種微妙的平衡，那難以言喻的「對了」的感覺才會浮現。
泉啓司更大膽地為這些木質結構漆上飽滿、鮮明的色彩。溫潤的木頭原色之上，出現了明亮的橘、搶眼的螢光黃、沉靜的藍與生機的綠。色彩，賦予了這些抽象的幾何結構一種情感的溫度與個性，讓它們脫離了純粹的形式，成為思想、情緒或關係的視覺化身。於是，我們看到，一道道飽和色的、戲劇性交織的思緒從一顆木刻人形中爆發開來，也化作團團熾熱火光；或是蒼蒼雨幕傾天而降、蔥蔥樹林拔地而生，共同織就色澤萬千的景象。「我在思考『人是什麼？』的過程中，一個像風景的畫面，會自己悄然幻化成形，」泉啓司說，「那不是傳統的山與海，而是一種從人物內心長出來的精神地景。」泉啓司邀請我們觀看的，不僅是木雕中的人，更是那圍繞著他、從他身上綻放開來，由無數零件與色彩共同構築的風景。
展覽名稱：風景悄然成形
藝術家：泉啓司 IZUMI Keiji
日期：2025/10/18 － 11/23 （週二至週日 11:00 － 19:30 ）
地點：Hiro Hiro Art Space （台北市中正區紹興南街10號）
網站：https://hirohiroartspace.com/
※藝術家在廊
Following the wide acclaim of his first solo exhibition, Hiro Hiro Art Space is pleased to once again collaborate with Japanese artist IZUMI Keiji in Taipei to present his latest solo show, Suddenly, a Landscape, on view from October 18 to November 23, 2025.
Renowned for his constructive approach to wood sculpture, IZUMI Keiji takes the human form as a starting point. Through meticulous observation, he bypasses the simple act of representation and gives tangible form to the ineffable qualities that constitute an individual: the subtleties of thought, the textures of personality, and the intricate web of emotional connections. He then translates these into an architectonic language of geometric components. Through this process, a person’s inner world materializes: thoughts swirl outward like a vortex, personality grows into a forest, and the inner spirit erupts in flashes of sparks. Ultimately, a landscape unfolds from the artwork itself.
The genesis of his creation begins with deciding on a person to sculpt, often an acquaintance. “For me,” Izumi explains, “they are less subjects to be depicted than ‘cues’ that prompt my inquiry into the question of what it means to be human.” He immerses himself in memories and imagination, contemplating the person’s appearance and essence before orchestrating an assembly of discrete parts. Rather than carving from a monolithic block of wood, he patiently carves and polishes dozens of individual elements, such as spheres, bars, or even metal frames. He then connects, fastens, and assembles these components in an almost architectural manner. Thus, qualities within a person’s character— their undaunted courage, unrestrained imagination, or bold curiosity toward the world—find a corresponding geometric vocabulary, becoming the very cornerstones upon which the landscape is built.
Certain connections function like joints that can be rotated and bent, allowing the parts to change angles with one another, granting freedom to the rigid materials and imbuing the structure with an organic, breathing sense of life. This structural dynamism suggests that the form is not a singular, fixed answer, but a latent field of possibilities, as if with a gentle push, this “landscape” built from wood would shift and transform to reveal a new configuration. This sense of fluidity echoes Izumi's improvisational and non-predetermined state of exploration in his creative practice. The repetitive, labor-intensive process of carving and assembly is a physical manifestation of the artist’s internal search for a sense of “rightness.” Each piece of wood is fitted and joined as a test, until all parts achieve a subtle equilibrium.
Izumi also boldly paints these wooden structures with rich, vibrant colors. Upon the warm, natural tones of the wood, bright oranges, fluorescent yellows, tranquil blues, and vital greens appear. Color endows these abstract geometric structures with an emotional warmth and personality, allowing them to transcend material status to become visual embodiments of thoughts, emotions, or relationships. Thus, we see a dramatic, interwoven linear structure of saturated color erupting from a wooden figure, transforming into clusters of fiery light; elsewhere, a curtain of rain falls from the sky as a lush forest springs from the earth, collectively weaving a scene of myriad hues.
“In the process of contemplating ‘What is a human?’, a scene that resembles a landscape suddenly begins to take shape on its own,” says Izumi. “It’s not a traditional landscape of mountains and seas, but a spiritual landscape that grows from within a person.” Izumi invites the viewers to see not only the person in the sculpture, but the landscape that surrounds and blossoms from them, a landscape constructed from countless components, colors, and the profound act of contemplation.
Exhibition: Suddenly, a Landscape
Artist: IZUMI Keiji
Dates: October 18 – November 23, 2025
Hours: Tuesday – Sunday, 11:00 AM – 7:30 PM
Venue: Hiro Hiro Art Space
No. 10, Shaoxing South Street, Zhongzheng District, Taipei, Taiwan
Website: https://hirohiroartspace.com/
Artist in the gallery