夢境的輪迴轉世:剪紙藝術家 Mayuko Fujino 的紙上樂園

the Day of the Sea (sail), 2009. Japanese handmade paper with collage, 760 x 560 mm.
the Day of the Sea (sail), 2009. Japanese handmade paper with collage, 760 x 560 mm.

天馬行空的想像力,絕對是藝術創作的活力泉源。想像力因人而異,創造之物亦有不同特長;有時倏忽靈感,有時躊躇漫長,只要能成就都是好事。人一生在於生活之必須,藝術無法脫離生活,甚或形同生活;從最微小、最陌生的懵懵懂懂,也能日漸開展出最熟悉、最旺盛的生命力。還記得小學、國高中等求學階段的美術課,接觸過什麼樣的藝術課程嗎?彩繪、捏陶土、剪紙、素描等五花八門,盡是多元再貼近你我的藝術範疇;就拿剪紙藝術而言,一張色紙,一把剪刀,一股勁兒,釋放想像力,就能開剪無限可能,是圖案,亦是文字,更是人生。

The Day of the Sea #3, 2009. Japanese handmade paper, collage, 760 x 560 mm.

The Day of the Sea #3, 2009. Japanese handmade paper, collage, 760 x 560 mm.
The Day of the Sea #3, 2009. Japanese handmade paper, collage, 760 x 560 mm.
The Day of the Sea #3, 2009. Japanese handmade paper, collage, 760 x 560 mm.

且別輕忽剪紙這門藝術,僅是一種了得的技法呈現,剪紙藝術家除會因喜好而為,也能連結一地民俗文化和特定使用目的,如室內裝飾、節慶和祈福等;更甚者,如於世俗昇華般,徹底體現藝術關懷和創造活力,並融合了哲學及美學理念,來自日本的剪紙藝術家藤野真由子(Mayuko Fujino)即為顯例,技巧嫻熟、極獲讚佩之餘,剪出無以取代的紙上樂園,才是經典。

Birthday Party, 2012. 22″x30″, papercut and magazine paper collage.

Birthday Party, 2012. 22"x30", papercut and magazine paper collage.
Birthday Party, 2012. 22"x30", papercut and magazine paper collage.

Untitled, from zine《I Give Thee All, I Can No More》, 2014. W9” x H12”, paper cutout and magazine pages collage.

Untitled, from zine《I Give Thee All, I Can No More》, 2014. W9” x H12”, paper cutout and magazine pages collage.
Untitled, from zine《I Give Thee All, I Can No More》, 2014. W9” x H12”, paper cutout and magazine pages collage.
Untitled, from zine《I Give Thee All, I Can No More》, 2014. W9” x H12”, paper cutout and magazine pages collage.

Arikui Abduction #21, 2009. Washi (Japanese handmade paper) with collage, 760 x 560 mm.

Arikui Abduction #21, 2009. Washi (Japanese handmade paper) with collage, 760 x 560 mm.
Arikui Abduction #21, 2009. Washi (Japanese handmade paper) with collage, 760 x 560 mm.
Arikui Abduction #21, 2009. Washi (Japanese handmade paper) with collage, 760 x 560 mm.

Hort.ex #07, from zine《I Give Thee All, I Can No More》, 2013. 16”x16″, paper cutout and magazine pages collage on wood panel.

Hort.ex #07, from zine《I Give Thee All, I Can No More》, 2013. 16”x16", paper cutout and magazine pages collage on wood panel.
Hort.ex #07, from zine《I Give Thee All, I Can No More》, 2013. 16”x16", paper cutout and magazine pages collage on wood panel.
Hort.ex #07, from zine《I Give Thee All, I Can No More》, 2013. 16”x16", paper cutout and magazine pages collage on wood panel.

真誠地為藝術奉獻,一直都是傑出藝術創作的不二法門,藤野真由子長久以來如奉圭臬。彷彿天才出世,藤野真由子是自學成才的日本剪紙藝術家,生於日本、現多居紐約皇后區的她,最初在小學從事海報繪製,後受日本傳統型(手)染(stencil dying)影響下,便沿用相關創作元素,投身剪紙藝術創作。尤其特別的,她的藝術創作靈感源自於英國攝影師大衛.霍克尼(David Hockney)多本創作的藝術書,和以披頭四樂團(The Beatles)同名暢銷歌曲為主題的奇幻動畫:黃色潛水艇《Yellow Submarine》等等。

WATER, 2015. 40″ x 54″, Kochi-mashi paper 高知麻紙 (50% Kozo and 50% Hemp) and old magazine pages.

WATER, 2015. 40" x 54", Kochi-mashi paper 高知麻紙 (50% Kozo and 50% Hemp) and old magazine pages.
WATER, 2015. 40" x 54", Kochi-mashi paper 高知麻紙 (50% Kozo and 50% Hemp) and old magazine pages.

AIR, 2015. 40″ x 54″ Kochi-mashi paper 高知麻紙 (50% Kozo and 50% Hemp) and old magazine pages.

AIR, 2015. 40" x 54" Kochi-mashi paper 高知麻紙 (50% Kozo and 50% Hemp) and old magazine pages.
AIR, 2015. 40" x 54" Kochi-mashi paper 高知麻紙 (50% Kozo and 50% Hemp) and old magazine pages.
AIR, 2015. 40" x 54" Kochi-mashi paper 高知麻紙 (50% Kozo and 50% Hemp) and old magazine pages.

Neurogarden, 2016. H 13 inches x W 16 inches, paper cutout & magazine pages collage.

Neurogarden, 2016. H 13 inches x W 16 inches, paper cutout & magazine pages collage.
Neurogarden, 2016. H 13 inches x W 16 inches, paper cutout & magazine pages collage.
Neurogarden, 2016. H 13 inches x W 16 inches, paper cutout & magazine pages collage.

在藤野真由子手上揮灑的工具和材料,不多不少只有三件:刻刀、紙和雜誌內頁。所謂「工欲善其事,必先利其器」,不諱言剪紙藝術亦是如此,然真由子深深仰賴的並非器具,而是在其優異的創作手法。不似多數剪紙作品,在雜誌內頁剪完再黏貼到白紙的傳統方法;真由子改採在白紙上刻剪出想要的圖案紋路,再把雜誌內頁黏貼至後方,精心設計如色彩繽紛的紙雕,在五顏六色相繼點綴、白色佔去泰半面積之際,進而帶出最純粹的潔淨感。

the Day of the Sea (vortex), 2009. Japanese handmade paper with collage,760 x 560 mm.

the Day of the Sea (vortex), 2009. Japanese handmade paper with collage,760 x 560 mm.
the Day of the Sea (vortex), 2009. Japanese handmade paper with collage,760 x 560 mm.

Kings & Warriors (Meteor), 2012. 18″x24″, papercut & magazine paper collage.

Kings & Warriors (Meteor), 2012. 18"x24", papercut & magazine paper collage.
Kings & Warriors (Meteor), 2012. 18"x24", papercut & magazine paper collage.
Kings & Warriors (Meteor), 2012. 18"x24", papercut & magazine paper collage.

Kings & Warriors (Anteater), 2012. 18″ x 24″, papercut & magazine paper collage.

Kings & Warriors (Anteater), 2012. 18" x 24", papercut & magazine paper collage.
Kings & Warriors (Anteater), 2012. 18" x 24", papercut & magazine paper collage.
Kings & Warriors (Anteater), 2012. 18" x 24", papercut & magazine paper collage.

Kings & Warriors (Water), 2012. 18″ x 24″, papercut & magazine paper collage.

Kings & Warriors (Water), 2012. 18" x 24", papercut & magazine paper collage.
Kings & Warriors (Water), 2012. 18" x 24", papercut & magazine paper collage.
Kings & Warriors (Water), 2012. 18" x 24", papercut & magazine paper collage.

Kings & Warriors (The Day of the Sea), 2012. 18″ x 24″, papercut & magazine paper collage.

Kings & Warriors (The Day of the Sea), 2012. 18" x 24", papercut & magazine paper collage.
Kings & Warriors (The Day of the Sea), 2012. 18" x 24", papercut & magazine paper collage.
Kings & Warriors (The Day of the Sea), 2012. 18" x 24", papercut & magazine paper collage.

儘管藤野真由子令人驚歎的剪紙天賦已非舊聞,但其創作作品的精神意涵,仍是至今最為人稱道的部分。承其上述創作手法,就成品風貌而言,上層實為剪紙,下層則為舊雜誌合成的拼貼畫,構成要件雖靈活簡易,意境卻豐沛萬分,宛如混搭古典與現代般,形塑出妙不可言的第三世界;或靜謐禪意、或熱鬧派對,氛圍表達各異,近似每幅生動的剪紙畫,都在訴說一個「很久很久很前…」的獨特故事。「在我的藝術作品裡,形式上包含兩個重要層面:上層是剪紙,下層是拼貼,但看似簡易的組成架構,實則賦予了現實和幻想,意識與無意識,秩序及混亂等多重樣貌。所以,當『它』作為一件藝術品被創作時,兩個層面便有所混合、所屬位置互換,最終再回歸初始;總歸期盼,一種原先不存在的第三層能乍現,既是最幸福的心境,也是能表達自身藝術的輝煌時刻。」真由子這麼解釋自己的作品。剪著剪著,不由自主這麼想,她的紙上樂園,如同夢境的輪迴轉世,也就一點也不為過了。

All Images via Mayuko Fujino.

 

加入 Polysh Facebook 隨時閱讀最新、有趣的藝文與設計文章。