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INTERNATIONAL ART MAGAZINE BASED IN HONG KONG

NATURE

自然Issue 44 September / October 2014 年九 / 十月第44期

Rikuo Ueda
Robert Zhao Renhui
Paulo Nimer Pjota
Jin Shan
Li MingDrawn with the wind
以風入畫
原文 Cristina Sanchez-Kozyreva

LeftWind, 2013.
Wood, wire, clamp, lawn, stone, rope, paper and pen,
100 x 600 x 250 cm, Uku island, Nagasaki.
P33Wind, Panta rhie (detail), 2011.
Wood, wire, clamp, lawn, stone, rope, paper and pen,
1,000 x 250 x 100 cm, Kunsthal Braenderigarden, Viborg,Denmark.
P34-35Wind drawing, 2013. Ink on paper, 25 x 32.5 cm, Osaka, Japan.
P36
Ink-berry, 1999. Ink-berry on paper, 25 x 32.5 cm, Zuiko
Temple, Osaka, Japan.
P37
Wind drawing, 2011. Ink on paper, 25 x 32.5 cm, Osaka, Japan.
P38
Wind drawing, 2000. Ink, book, 21 x 14 x 2 cm, New York, US.
P40-41Wind project, Biwako, 2014.
Film case, beeswax, label, wood, 33 x 7.5 x 4.5 cm, Biwako
Lake, Shiga, Japan.
P42Wind project, Biwako (project plan), 2014.
Print, 36.4 x 25.7 cm, Biwako Lake, Shiga, Japan.
P43Wind Project, Uku, 2013. Print, 29 x 21 cm, Uku island,Nagasaki, Japan.
P44-45Wind, Panta rhie, (installation), 2011. Wood, wire, clamp, lawn,stone, rope, paper and pen, 1,000 x 250 x 100 cm, Kunsthal
Braenderigarden, Viborg, Denmark.
By Rikuo Ueda. Courtesy the artist.

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Since 1997, Japanese artist Rikuo Ueda (b.1950,Ueda leaves his paper installations for a week orOsaka) has exclusively worked with wind as hisa month, or once even a year, during a stay inartistic medium. It’s something to do with hisDenmark, although that one was removed before

personal observations of the movements of air andcompletion by someone apparently less patient thanflocks of birds on the surface of lakes he has visitedthe artist. In Japan, he had a studio in a tree fromor imagined. Influenced by a culture drawing from2007 to 2012 in a small village near Osaka, where

Buddhism and Shinto, there is also something of ahe would experiment with different drawing

respectful motivation to connect with the divine thatstructures in the outdoors. Now his studio isresides within both the animate and the inanimate,everywhere. Traditionally, Japanese culture is very

not unlike the relationship poets cultivate with theclose to nature, with a deep connection to its manycosmos.

dense forests. While in central Japan agriculture andurban activities are common, coastal life and fishing

Assembling branches, paper, brushes and ink, Ueda’s
wind drawings rely on currents of air pushing someremain a current occupation in a countrycharacterised by its status as an island group.

kind of marker onto a surface to be drawn.

“Fishermen need to be knowledgeable about theUltimately, he aims to create a structure that doesn’tweather,” says Ueda, “and so in Japan, we have

自1997年以來，日本藝術家植田陸雄（1950年生於在此期間，植田創造了各種裝置，讓自然世界進行

use paper or ink, but only natural fibres andmore than 2,000 names for the different kinds of大阪）開始專攻以風作為他的藝術媒介。這與他對自我書寫。在陣風或氣流的重複推動下，雨滴或昆

substances such as sap and wild-berry extracts, andwinds; actually there are 2,145 kinds, and they have

曾到訪或想像中湖面上的空氣和成群鳥兒的觀察息蟲的經過，透過一陣強風或重複氣流推動筆在紙

leaves to draw on. In the meantime, Ueda has

their own dictionary.”

息相關。他曾受佛教和神道教文化繪畫的影響，同上的摩擦組成疏離的作品，但仍能令人想起手的動

時心存著尊敬的動機，想要與駐留在有生命及無生作。

created installations that let the natural world

One such wind is the haru-ichiban or the strong

perform its own calligraphy. The passing of rain orinsects, the rubbing of the pencil against the paper
pushed by gusts of wind or repetitive waves of air
make for works that are estranged but still recall themovements of the hand.

southwest wind that announces the arrival of spring.
It is just like a storm that lasts for a day, marking

命中的神相聯結，這與詩人建立與宇宙的關係沒什麼不同。

植田在丹麥期間，將他的紙質裝置安放好後便離開，有時一周或一個月，長時甚至一年，儘管其中

winter’s departure and spring’s entry. Ueda has

植田的風畫彙集了樹枝，紙張，刷子和墨水，作品透

有一個在完成之前被人移除了，顯然這個人比藝術

realised many haru-ichiban drawings over the years,

過氣流推動某種標識到繪製的表面上。最終，他旨在家更缺乏耐性。2007至2012年，植田在日本大阪臨and notes the failure of weather reports to predict

創造一個不用紙或墨水，而祇有天然纖維，如樹液，近的某個小山村中的一棵樹上建造了自己的工作

the spring wind in recent years, describing its transit

野生漿果提取出的物質，以及樹葉來進行繪畫的。

室，在那裡，他嘗試不同的戶外繪畫結構。

only afterwards.

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His lifestyle during his 20s has had a large

現在隨處都可以是他的工作室。日本文化在傳統上天氣預報總是未能預測春風，祇能在其過境之後才

influence on his artistic endeavours. In his own

是非常親近大自然的，與茂密的森林緊密相連。而

進行描述。

words a travelling hippie, he hitch-hiked his way from

日本的中心地帶，農業和城市活動是很常見的，沿India to Europe and across the continent penniless.

海的生活使得漁業仍是目前日本作為島國的常見職

After coming home he became an artist; that was業。植田說：“漁民必須對天氣瞭如指掌，因此在

more than 30 years ago, but he has kept the日本，我們有.2,000.多種不同名字的風，具體說是essence of his nomadic, frugal adventure at the core

2,145.種，而它們各不相同。”of his conceptual practice. Specifically, he uses apoem that was offered to him by a Scottish man hemet in Munich to remind him of what matters: thattrue joy is in the simple things.

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他20多歲時的生活方式對他的藝術創作有很大影響。
用他自己的形容是旅行中的嬉皮士，他搭便車由印
度到歐洲，身無分文地走遍了整個歐洲大陸。回到家後，他成為了一名藝術家。那已是30多年前的事，但直到現在，在他概念性實踐的核心中，都保留著

其中的一種叫做春一番，亦即宣告春天來臨的強勁流浪，簡樸冒險的本質。特別是，他用在慕尼黑遇西南風。其實就是一場持續一天的暴風雨，標記著

到的一個蘇格蘭男人贈予的一首詩來提醒自己什麼冬去春來。植田多年來完成了許多春一番風畫，而

才是最重要的：真正的快樂來源於簡單的事。

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It was when I was twenty three years old,

那是我二十三歲那一年，wandering, traveling around aimlessly.

流浪，漫無目的地旅行，

Snow in Norway,挪威的雪，Desert in Morocco,

摩洛哥的沙漠，Mountains in Afghanistan,

阿富汗的山脈，River in India.
In Germany, I wondered about, being penniless,where I met Scots guy, Peter.
He had also no money.
He gave me his own poem for my birthday.
And in Denmark, I met a wind.

印度的河流。
在德國，我身無分文而彷徨，就在那，我遇到了來自蘇格蘭的彼得。
他也沒有錢。
但他贈予我一首詩，作為我的生日禮物。
而我在丹麥，遇見風。

Rikuo Ueda

The technicalities of the winds’ names are not what

into a single piece online. Other works of his include

his work is about. Ueda’s interest is in situations

collections of winds from strategic locations inside

I think we think too muchwhere drawing can be made possible, rather thancamera film cases, including places and times such

And fail to see

the weather conditions and the strength of theas New York on September 11, 2001, and the front

In simple things reflections eternity

簡單的事物反映了永恆

environment. Ultimately, his work revolves aroundof Jerusalem’s Western Wall.

We are cut off our own life sources

我們切斷自己的生活來源human concerns, political at times, but also spiritualand poetic. As such, in 1998 he went to Palestine

And love lost source ofJoy and Ecstasy.

我想我們想得太多而蒙蔽了雙眼卻愛上迷失源頭喜悅與狂喜Peter Lythand Israel to create an Internet Wind Project thatwould mix wind drawings made in both territories.
Ueda installed pen tablets on tree branches,
connected to a website so they could be integrated

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Ueda’s mother passed away recently. In her memory,

他的作品並不是關於各種風名字的術語。植田的興

植田的母親最近過世。在他的記憶中，2013年植田in 2013 he created an elegant piece that includes

趣在於繪畫可以被實踐的情境，而不是天氣情況或創作了一件優雅的作品，作品有繪畫亦有行動。他drawing and actions. Across Uku island, he placed是環境的力量。最終他的作品都圍繞著人性的關

跨越整個Uku島，放置名信片組成獵戶座的樣子，postcards in a way that forms the constellation of

懷，時而展現對政治的興趣，但同時具備精神和詩

讓大自然創作出七張非凡的素描。之後，他把每張Orion, letting nature create seven singular sketches.

意。因此，1998年他去到巴勒斯坦和以色列，創建

名信片寄給他母親在大阪川西的家，以及她的佛

Afterwards, the artist sent each postcard to his

了一個互聯網風力項目，在兩地創作混合風畫。植壇。

mother’s house in Kawanishi, Osaka, the location of

田在樹枝上安裝手寫板，與互聯網連接，將其匯合

her butsudan, or Buddhist altar.

成一件線上作品。他其他的作品還包括從相機膠卷
中特定位置風的集結，包括時間或地點如：2011年
9月11日，紐約，耶路撒冷的西墻前。

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