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拍品专文
With his remarkable use of bright colours and provocative shapes, Japanese artist Key Hiraga construes surrealist worlds in each of his canvases and explores the complexities of representing the body. Often deeply sexual, Hiraga's obsession with the human form persists through the continuous evolution of his expression. The artist's style shifts from line-based semi-abstract compositions, as seen in Fenetres, toward figuration and ultimately realism. Similarly, his earlier use of dark lines, shadows, and forms, with only limited use of colour, evolves into an expressive montage of saturated tones in his later works. Throughout this transformation, the fragmentation and deformation of human figures remain a staple of Hiraga's opus, tying his work both to his Japanese heritage, and to that of later Japanese contemporary artists such as Takashi Murakami.
In Fenetres (Windows) (Lot 197), Hiraga paints contorted bodies realised through calligraphic black lines, dark backgrounds, and occasional spurts of bright colour. He delineates organs, genitals, and other body parts as if deconstructing fragmented illustrations, which are then recombined into humorous arrangements, freeze-framing these fleeting moments of intimate physical contact. An homage to Japanese ukiyo-e, this work displays the artist's fascination with the multiform manifestations of the body in a profoundly sarcastic and highly sexualised vein. Even more tantalising is Untitled (Lot 198), which declares Hiraga's fervent obsession with bodies to the point of absurdity. In this work, Hiraga constructs distorted bodies through bulbous and allusive shapes, the superimposition and
interpenetration of body parts, and the ext ravagance of the compositional elements including purple snakes and reddened eye bulbs. Similar monster-like figures appear in Takashi Murakami's work, showing the continued strength of this intergenerational aesthetic inheritance. To further the magical quality of this work, the palette is composed of bright colours; set against an electric light blue background, the fleshy human shapes are rendered in glowing technicolour that creates a mesmerising effect on the viewer. Hiraga's fascination with contorted bodies and saturated colour persists into the later stage of his artistic production, even when he moves toward a more realistic form of expression as seen in Endless Evening (Lot 199), in which women's faces and thighs protrude beyond their natural shape.
In Fenetres (Windows) (Lot 197), Hiraga paints contorted bodies realised through calligraphic black lines, dark backgrounds, and occasional spurts of bright colour. He delineates organs, genitals, and other body parts as if deconstructing fragmented illustrations, which are then recombined into humorous arrangements, freeze-framing these fleeting moments of intimate physical contact. An homage to Japanese ukiyo-e, this work displays the artist's fascination with the multiform manifestations of the body in a profoundly sarcastic and highly sexualised vein. Even more tantalising is Untitled (Lot 198), which declares Hiraga's fervent obsession with bodies to the point of absurdity. In this work, Hiraga constructs distorted bodies through bulbous and allusive shapes, the superimposition and
interpenetration of body parts, and the ext ravagance of the compositional elements including purple snakes and reddened eye bulbs. Similar monster-like figures appear in Takashi Murakami's work, showing the continued strength of this intergenerational aesthetic inheritance. To further the magical quality of this work, the palette is composed of bright colours; set against an electric light blue background, the fleshy human shapes are rendered in glowing technicolour that creates a mesmerising effect on the viewer. Hiraga's fascination with contorted bodies and saturated colour persists into the later stage of his artistic production, even when he moves toward a more realistic form of expression as seen in Endless Evening (Lot 199), in which women's faces and thighs protrude beyond their natural shape.