Past Corridors - Baptiste Tavernier Solo Exhibition
2017/02/07—2017/02/28

來自法國的藝術家Baptiste Travenier這次將用『迷宮』系列,帶領觀者進入一趟藝術的迷航,藝術家將自身的感受透過日本的武士道精神的轉化呈現在他一系列的創作之中,並在畫作上添加了類似『藏寶圖』概念的地圖圖案,這些地圖來自於也存在於Baptiste Travenier的心靈之中,是藝術家童年記憶的延伸與再現,也是對陌生城市的一種認知概念與藝術解讀;看似從高處向下鳥瞰的地景,上面紛紛出現『迷宮』般的路徑,按圖索驥卻沒有一個真切地、完整地路徑,而這些刻意創造出來的方向與誤導式的指引,正是Baptiste Travenier所希望創造對於世界觀看的全新角度與只有屬於藝術創作的想像力高度。

Haohaus gallery is honored to invite the French artist- Baptiste Travenier, painted through his own experience of Japanese ancient martial arts. This time, his selection was about cartography of map, which transforms objects to abstract image. Maze, one of his fascination in childhood, was represented as a bird eye’s view of the world’s great cities, the logic of land and water and the maze-like patterns of human settlement, which brings a whole new world perspective. Baptiste Travenier used his vibrant and distinct style to create a visual feast that lead us to see the world from a different view.

 

Baptiste Tavernier

born in 1981; France.

Artist, composer,

 

Education:

2005/2006 - PhD of Digital Arts, University of Paris VIII (uncompleted)

2004 - Master of Digital Arts, University of Paris VIII.

2002 - Bachelor of Musical Composition, University of Montpellier III (France).

 

Solo Exhibitions:

2015-02; Exploring Labyrinths - Gold — Galleria Farina, Miami, USA.

2014-07; Mazes — Seikai, Beppu, Japan.

 

Exhibitions

2016-01; Mi-ro — Gallery FM, Seoul, South Korea.

2015-07; Kosan no Kai — Lucite Gallery, Tokyo, Japan.

2015-04; 19th Salon Blanc International Exhibition of Contemporary Art — Tokyo Metropolitan Art Museum, Japan.

2014-12; Opposites Attract — Galleria Farina, Miami,

藝術家介紹

Born 1981 in France, Baptiste Tavernier pursues a creative path that has led from experimental music through the ancient martial arts of Japan to the painter’s canvas, where his muse now focuses. What common thread has hefollowed?

Trace Tavernier’s polymath oeuvre and you find three stars guiding him: intense concern with pattern and logic;relentless focus on the discipline of craft; and creativeinspiration without horizons.

On canvas, these three elements now fuse to reveal a unique and rigorously observed perspective, elegantly rendered with impeccable craft: mathematically precise mazes that decode in abstraction the form of the world’s great cities.

It is the culmination of a journey that began early in the millennium at Paris University with studies in digital arts and musical composition, influenced by experimental music pioneers like Gerard Grisey, Salvatore Sciarrino and Steve Reich.Tavernier’s path took a dramatic virage in 2006 with the decision to move to Japan and immerse himself in martial arts. As he adapted to the strict codes of his new teachers, living in a small country town, Tavernier had to masternot one but two languages: Japanese and English. Within a decade, though, he had reached the higher ranks in

four disciplines of swordsmanship: naginata (halberd),tankendo (short sword), jukendo (bayonet) and battodo(sword drawing and cutting), and achieved proficiency inthe making and repair of kendo armour.

As he neared the realization of his goals in martial arts,Tavernier’s restless muse sought a fresh creative outlet for craftsmanship that was by then fully mature. So in 2010 he put swords aside and took brush in hand. Since then,friends and collectors have watched with growing awe the evolution of an artist, not yet 40, who seems destined forrecognition as a master in his generation.

出生於1981年的Baptiste Tavernier追求一條通往實驗音樂的創意道路,通過日本古老武術轉化到畫家的畫布上創作,這是他目前與他的繆思所專注的。而他們在這領域遇到甚麼樣的共同點呢?

  當我們追溯Tavernier 的多功能創作中,你會尋找到三個指引他的星星:對於圖騰和邏輯有著強烈的關注;不懈的專注於工藝藝術的規則;以及無盡無涯的創作靈感。在畫布作品上,這三個元素融合成了一個獨特且精確透視的、同時卻優雅的精算並無可挑惕的工藝作品:像是數學般精確的迷宮,在世界上偉大的城市形式中解碼。

  這趟藝術旅程始於千禧年時在巴黎大學的數字藝術和音樂課程,深受實驗音樂先驅影響,像是 Gerard Grisey和Salvatore Sciarrino 以及Steve Reich。Tavernier在2006年決定採取一個戲劇性的轉變----他決定搬去日本,讓他自己沈浸於日本武術中。他住在一個小鎮,並在新老師的嚴格教學中,Tavernie必須專研兩種語言:日語和英語。在這十年中,他已經達到了進階劍術的四門學問級別:naginata(戟),tankendo(短劍),jukendo(刺刀)和battodo(劍畫和切割),並熟練掌握劍道裝甲的製作和修復。

  當他越接近武術目標時,他停不下來的繆思找到一個新的,正在茁壯成熟的創意工藝之路,而在2010年他把劍道先放在一邊,開始用畫刷創作。從那刻起,他的朋友以及收藏家們都看到了一個成長蛻變成令人敬畏的藝術家,未滿四十歲的他,似乎就註定成為當代的大師。

創作論述

Since the first images were daubed in ochre on cave walls at Lascaux, human beings have used familiar and significant forms as vehicles for artistic expression: the shapes of animals and humans, the intricacy of plant life, the contours of landscape, the pattern of stars in the night sky. From the perspectives directly available to them, they rendered these forms in any number of ways – simplifying, abstracting,hyper-realizing and what-have-you.

For me, though, one particular fascination is another perspective that, not so long ago, we could only perceive by means of applied abstraction: the straight-down, eagle’s-eye view of our habitat. The result was immediately familiar and significant, but until man mastered flight and photography it took a lot of applied mathematics to make an accurate map.Today, of course, with tools like Google Earth and Apple Maps that give us satellite images at will, the perspective is no longer an abstraction, it’s photographic.

But my fascination with the applied skills of abstraction required by cartography endures nonetheless. And in my work it meshes with another fascination since childhood:labyrinths and mazes – which by definition must have a certain logic, a solution.

So the starting point for my current work is that abstract perspective, the view from on high that was beyond the reach of landscape painters through the ages. Looking down at the world’s great cities, I’m intrigued by the logic of land and water and the maze-like patterns of human settlement. But going beyond simple cartography, I devise mazes suggested by what I see and invert colour schemes in order to force the eye to look in fresh ways at familiar patterns.

人類自從在Lascaux的洞穴牆上使用赭石塗抹圖像開始,就已經使用熟悉和重要的形式作為藝術表達的載體,例如:動物和人類的形狀、交錯的植物生態、景觀的輪廓、夜空的星星...等等。 從他們的最直接的角度思維,把眼前的事物精簡的表現 --- 簡化、抽象化、超實現化、超級寫實化、或者還有甚麼而還有其他方式。

  有一個特別的魅力是來自於另一個觀點,是不久之前,當我們只能通過抽象來感知,以及運用鷹眼視角來檢視我們的棲息地的時候,所得到的是一個熟悉且顯著的結果,直到人們開始掌握飛航和攝影,大量的運用數學應用精算來製定一個準確的地圖。今天,我們當然可以使用谷歌和蘋果地圖的工具所提供我們的衛星圖像,而視角已不再像是一個抽象概念,它是一個實實在在的攝影圖像。

  但我對地圖繪製技巧所需的抽象應用技能的迷戀依然存在。在我的作品中,它顯示了我童年的另一個迷戀:迷宮,是一個需要特定邏輯和解決的方式。

  所以,我目前工作的起始於抽象的視維,從高處的視角,超越歷年風景畫家的視點,從高處俯瞰世界上的大城市,我對土地和海水分布的邏輯以及人類居像迷宮般的居住模式相當著迷。超越了普通的畫製地圖,我設計了由我看到,且把配色顛倒的迷宮,來迫使觀者看到全新的熟悉圖樣。

展覽名稱│ Past Corridors - Baptiste Tavernier Solo Exhibition

展期│ 2017/02/07(Wed.) – 2017/02/28(Tue.)             

開幕茶會│ 2017/02/10(Fri.) 17:30  好思當代・台北

展覽地點│ 好思當代‧台北 (台北市中正區重慶南路一段113號3樓) 

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