Paris Internationale 2024
双人项目
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铃木初音
Hatsune Suzuki
微风轻拂的水面
Gliding Through the Waters of Breeze
VIP预览 VIP Preview:
2024.10.15 11:00–20:00
公众日 Public Opening:
2024.10.16-17 12:00–19:00
2024.10.18-19 12:00–20:00
2024.10.20 12:00–18:00
地点 Location：
17 Rue du Faubourg Poissonnière
75009 巴黎, 法国
关于展位
铃木初音的作品以她沉静而明确的感性为鉴，在绘画的传统内外自由穿梭，随着创作的进展采用或摒弃习得的各种技法。对铃木来说，自然是锚定自我的重要参照点。同样，她在绘画过程中没有构想固定的图像，而是依靠即兴创作和笔下痕迹之间的相互作用。无论是用烙铁在手工纸上作画，还是用彩釉刮除（sgraffito）技术在湿水泥上留下划痕，她留下的印迹都能直接地、永久地改变作品的表面。每一个标记都是下一个标记的参照物，通过它们之间的关系逐渐建立和确认彼此的存在。
In Hatsune Suzuki’s (b. 1995, Kanagawa, Japan) presentation, Gliding Through the Waters of Breeze, the artist continues her dedication to harmoniously blend craftsmanship with nature. Her delicately crafted works composed of humble, organic, and handmade materials, evoke a dreamy, psychically charged atmosphere, in which the emotional bond between human and nature becomes once again physical.
Guided by her quiet yet assured sensibility, Suzuki’s works move freely within and across the conventions of painting, adopting or discarding techniques as she progresses. For Suzuki, nature serves as an essential reference point for self-confirmation. Similarly, she approaches painting without a fixed image in mind, relying on improvisation and the interplay of her marks. Whether drawing with a soldering iron on handmade paper or scratching into wet cement using the sgraffito technique, her marks directly and permanently transform the surfaces of her works. Each mark serves as a reference for the next, gradually building and confirming each other’s existence through their relationships.
Through her rigorous research into materiality, and by connecting her background in both easel and mural painting, Suzuki continually contemplates and strives to get closer to nature, hoping one day to be one with it. As seen in her murals, the figures seem to merge with the ethereal natural landscape, looming large and creating a subtle harmony between people and their environment. The process of burning, kneading, and layering becomes a ritualistic way of creation in her hands, symbolizing the endless cycle of life in nature as well as her attempt to connect with nature. However, this connection is not easily achieved; nature, as she has experienced, can be unyielding and brutal. Thus, for Suzuki, the labor-intensive, repetitive process is essential in her pursuit of self-denial, self-salvation, and self-invention in relation to nature. As both an observer and participant in the wheel of life, Suzuki’s multi-layered creations invite viewers to contemplate the subtle balance between human existence and the vast natural world.
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