剩餘 3 Leftover 3 簽名畫背: YH 18 Intitled reverse YH and dated 2018 《剩餘3》來自藝術家2018年,東京第一生命畫廊個人展覽「剩餘」同一系列,該系列另一雙聯幅作品目前為藝術家拍賣生平次高紀錄。畫家以黑白單色畫面描繪宴席場景,豐盛物件擺滿巨大桌面,然而賓客寥寥無幾,烘托出對比衝突的氣氛。此作透露給觀眾, 藝術家曾接受西洋古典文化薰陶的背景,也表彰他以自我當代語彙與歷史連結,創造新的故事。作為日本當代藝術一位耀眼的新星,平子雄一廣受各界邀請合作。2023年香港中環Hermès旗艦店的聖誕節點燈,建築物外觀金色繽紛的森林意象,就是與藝術家的聯 名設計,今年,平子雄一於岡山縣奈義町現代美術館(Nagi Moca)展出一檔名為「理想風景」(IdealLandscape)的個人展覽,也是他揚名於海外後,返回故鄉舉辦的重要個展。 "Leftover 3" comes from the artist's 2018 solo exhibition titled "Leftover" at the Tokyo Dai-ichi Life Gallery. Another diptych from the same series currently holds the artist's second-highest auction record. The artist depicts a banquet scene using a black-and-white monochromatic palette, with abundant items spread across a vast table. However, the few guests present create a stark contrast,enhancing the atmosphere of conflict. This work reveals to the audience the artist's background, influenced by Western classical culture, while also showcasing his ability to connect contemporary vocabulary with history to create new narratives. As a shining new star in contemporary Japanese art,Yuichi Hirako has received numerous invitations for collaborations. The golden, vibrant forest imagery adorning the façade of the Hermès flagship store in Central Hong Kong for the 2023 Christmas lighting is a result of his collaborative design. This year, he also held an important solo exhibition titled "Ideal Landscape" at the Nagi Moca in Nagi Town, Okayama Prefecture, marking a significant return to his hometown after gaining recognition abroad.
我的榕樹 My Ficus Microcarpa 簽名畫背：YH My Ficus Microcarpa 13 Intitled reverse YH, titled My Ficus Microcarpa and dated 2013 平子雄一承認筆下「樹人」是他自我的投射。評論家則認為,藝術家似乎引用日本神道教的「木靈」(こだま,Kodoma)傳說,該形象源自「萬物有靈論」傳統,在日本文學、動漫和其他的藝術形式經常可見。中華或北歐文化傳承至今日,民間習俗也都保留對老樹、山神、自然多懷敬畏之心。文化共識的連接,促成收收藏家不分國界,都能在平子雄一的作品中找到共鳴。 正榕,同稱榕樹,廣生於福建、台灣及馬來西亞等地,具頑強的生命力,其幼苗紮根建築夾縫之間,是東南亞都市的日常風景。今次拍品《我的榕樹》畫中主角如同神祇手持權杖,頭戴插滿各色羽毛,彩帶和樹葉的大頭冠。榕樹交錯的根莖佔據大量畫面,營造出深度的視覺空間。由藝術家點明主題,象徵自然的生命力量如湧泉源源不絕且無所不在。無論人類如何侵略破壞,自然仍會生生不息。 平子雄一作品曾獲荷蘭的利瑟美術館與阿克蘇諾貝爾藝術基金會、瑞士的讓.皮戈齊收藏館;日本的第一生命保險公司;中國的龍美術館、寶龍美術館、天目里美術館與現代傳播;韓國U.PINE MED與可隆文化Space K等機構收藏,奠定國際級名氣及市場熱度。 Yuichi Hirako admits that the "tree man" in his works are a projection of himself. Critics suggest that the artist seems to reference the Japanese Shinto myth of "Kodama" (こだま), spirits that inhabit trees. This imagery stems from the tradition of animism, which is often seen in Japanese literature, anime, and other froms of art. In both Chinese and Nordic cultures, traditions have preversed a deep reverence for ancient trees, mountain gods, and nature, which continue in modern folk customs. This shared cultural consciousness allows collectors from all over the world to find resonance in Yuichi Hirako's works, transcending national boundaries. The banyan tree, also known as Ficus Microcarpa, iswidely found in regions such as Fujian, Taiwan, and Malaysia. Renowned for its resilience, its seedlings take root in the crevices of buildings, making it a common sight in Southeast Asian urban landscapes. In the artwork "My Ficus Microcarpa," the main figure resembles a deity, holding a staff and wearing a large headdress adorned with colorful feathers, ribbons, and leaves. The intertwined roots of the banyan tree occupy a significant portion of the canvas, creating a sense of deep visual space. The artist emphasizes the theme that the life force of nature flows endlessly and is omnipresent, like a spring. Regardless of how much humanity invades or destroys, nature will continue to thrive and endure. Yuichi Hirako's works have been collected by institutions, including the Lisser Art Museum and the AkzoNobel Art Foundation in the Netherlands, the Jean Pigozzi Collection in Switzerland, the Dai-ichi Life Insurance Company in Japan, and the Long Museum, Baolong Museum, By Art Matters Museum, and Modern Media Group in China. Additionally, his art is held by U.PINE MED and Space K in South Korea. These collections affirm his international reputation and market demand.
The Property of a Gentleman Hirako Yuichi (b. 1982) Untitled acrylic on canvas, signed to the reverse with artist's monogram and dated YH.15 130 x 162 cm., 51⅛ x 63¾ in.
The Property of a European Gentleman Yuichi Hirako (b. 1982) Untitled acrylic on canvas, signed and dated to the reverse YH.16 (2016) 150 x 90 cm., 59 x 35½ in.
木之森01 Wooden Wood 01 簽名右側: YH 22 Initialed right side YH in English and dated 2022 附額賀古太郎藝廊開立之原作保證書 This lot is to be sold with a certificate of authenticity issued by Gallery Kotaro Nukaga, Tokyo.
Yuichi Hirako b. 1982 Pattern of Grain 16 acrylic on canvas signed and dated 17 on the reverse 73 by 91.1 cm. 28¾ by 35⅞ in. ---------------------------------------------- 平子雄一 1982年生 顆粒結構 16 壓克力畫布 2017年作 款識 藝術家簽名，17（作品背面） 73 x 91.1 公分，28¾ x 35⅞ 英寸
The Property of a Gentleman Hirako Yuichi (b. 1982) Untitled acrylic on canvas, signed to the reverse with artist's monogram and dated YH.15 130 x 162 cm., 51⅛ x 63¾ in.
Yuichi Hirako b. 1982 Green Master acrylic on canvas signed and dated 20 on the reverse 161.5 by 130 cm. 63⅝ by 51⅛ in. ---------------------------------------------- 平子雄一 1982年生 綠師傅 壓克力畫布 2020年作 款識 藝術家簽名，20（作品背面） 161.5 x 130 公分，63⅝ x 51⅛ 英寸
Yuichi Hirako b. 1982 Pattern of Grain 16 acrylic on canvas signed and dated 17 on the reverse 73 by 91.1 cm. 28¾ by 35⅞ in. ---------------------------------------------- 平子雄一 1982年生 顆粒結構 16 壓克力畫布 2017年作 款識 藝術家簽名，17（作品背面） 73 x 91.1 公分，28¾ x 35⅞ 英寸
Yuichi Hirako b. 1982 Bark 36 oil pastel on unstretched canvas signed and dated 20 on the overlap 104 by 88 cm. 41 by 34⅝ in. ---------------------------------------- 平子雄一 1982年生 樹皮 36 油粉彩無繃畫布 2020年作 款識 藝術家簽名，20（畫布折入處） 104 x 88 公分， 41 x 34⅝ 英寸
花園的回憶：閱讀 2 Memories of My Garden: Reading 2 簽名畫背:Memories of My Garden: Reading 2 YH 2012 Signed on the reverse YH, titlted Memories of My Garden: Reading 2 and dated 2012
花園回憶 / 我的房子 5 Memomries of My Garden / My House 5 簽名畫背: YH Memomries of My Garden / My House 5 2012 Signed on the reserve YH, titled Memomries of My Garden / My House 5 and dated 2012
閑散 In Idleness 簽名題識畫背：YH. In Idleness 2012 Initialed reverse YH., titled In Idleness and dated 2012 平子雄一（Yuichi Hirako）1982年出生於日本岡山縣 。整個青春時期恰逢在日本經濟騰飛和隕落的泡沫經濟大時代下，龐大的人類集體文明中，弱小個體的無力感早早深植於他的記憶之中。隨後前往倫敦溫布頓藝術學院（Wimbledon College of Arts）主修繪畫，於2006年畢業，現在工作和居住在日本東京。 在日本文化裡森林中的自然法則承載著神聖的意義，並被視為萬物皆有靈的聖所。幼時平子雄一的家鄉日本岡山縣，正是為他提供了一個十分天然的成長環境，周邊佈滿的原始山林讓他得以從小與自然進行頻繁親密的互動。而少年直至成年都處於平成時代（1989-2019）的他，身處被稱為「失落的一代人」。當時日本經濟持續低迷，大國地位漸漸不復存在，再加上自然災害和社會惡性事件頻發，整個世代籠罩在一種不安的情緒中。前往英國求學時，他觀察到生活在城市中的人們，雖然不具有親近自然的優勢，卻仍然習慣於接近自然，尋求放鬆與療癒。比較典型的現像是，會特別喜愛城市中的人造園林景觀，也常常會選擇去山裏度過假期。平子雄一以他自己的方式，將那段時光中感受到的所有未知和焦慮，以一種全新的慰藉感重現在畫布上。 在平子雄一的作品中，擬人化的植物，或者說有著植物頭部外表的人類，生活在廣茂深邃的叢林中。然而他又在作品中引入了室內裝飾、汽車、家居等明顯的人造主題，並且描繪的擬人角色有著和人類一樣的生活習慣與社交需求，讓觀眾去逆向思考，人類與植物之間的關係。敘事性的畫面描述了森林和自然在歷史和宗教方面的象徵與意義的多樣性。 繪畫中人類無論在室內還是室外都經常與植物生活相處在一起，有著共用生活的空間。作品《閑散》慣以擬人化的植物——「樹人」默默的出現在畫裏。主角彷彿是北歐神話中有一棵支撐全世界的白蠟樹，被稱為世界之樹「Yggdrasil」，也有傳聞說這是聖誕樹的起源。「樹人」以壓克力媒材繪出最為多變的色彩，不但一筆一畫形塑出閑散的主題。衣著襯衫樣式的「樹人」形象，則有城市年輕人如藝術家世代的隱喻。 《閑散》中色彩鮮豔、構圖精巧，線條與用色不拘小節，刻劃了豐富的元素與細節，背景複雜多變，搭設一個只有「樹人」的精緻舞臺劇場景。如此的創作的平子雄一有時會利用拼貼技法，將麻繩、舊畫布、枯枝直接黏貼組合在繪畫上，並且自製畫框，這些畫框釘痕外露、接楯不精確、長短不一，令觀眾嗅到粗糙與原始的野味，而這些粗野，在純熟的創作經驗之下，卻能完全服膺於平子雄一。「樹人」它所表達的，實際上是人類與自然和諧相處之下的一種狀態，所以平子雄一總是讓「樹人」在畫面裏做著日常卻又閑散的事情。這個角色是不可缺少的，卻又不是唯一。 如平子雄一所說，「我只希望他成為世界的角色和一部分。經常有人問我，他是否是我的象徵。當然，這是事實，但他同時也是認為觀看的人」。或許就像每個身處這個時代的人，既是親歷者，也是旁觀者。認真又嚴肅地描繪著大量變異的植物造型，舊文明被流有野性血液的植物生態狠狠推落，人類凝滴智慧，所生產的器具與用品統統被摔碎，創造物們歷劫回歸于荒漠山林，被這個植物霸者所主導的新生態包裹，重生出一個新的野蠻大千世界。 Yuichi Hirako was born in 1982 in Okayama Prefecture, Japan. In his youth, he experienced both the rise of the Japanese economy and the burst of the economic bubble. These experiences, epic cultural events that he shared collectively with other people, imprinted into his memory the feeling of powerlessness a weak individual suffers. Later on, he majored in painting at the Wimbledon College of Arts in London. After graduating in 2006, he began working and living in Tokyo, Japan. In Japanese culture, there are holy interpretations around the rules of nature, and forests are often seen as holy places where every living thing possesses a spirit. Hirako's hometown, Okayama Prefecture, provided him with a natural environment for growth. The primitive forests around him allowed him frequent and intimate interactions with nature. He grew up in the Heisei era (1989–2019), and people of his generation were labeled the Lost Generation. At that time, the economy of Japan was weak, and Japan gradually lost its status of being a world leader. Together with frequent natural disasters and harmful social events, the entire generation was haunted by a sense of unease. Conversely to his life in Japan, when Hirako studied in the United Kingdom, he observed that people who lived in the city lacked a physical proximity to nature, yet still had the habit of seeking out natural environments for relaxation and healing. A common sight was to see city residents enjoying manmade gardens in the city and often choosing to spend the holidays in the mountains. Using his own unique methods in order to comfort himself while in London, Hirako transferred the uncertainty and anxiety he felt onto canvas and into his art. In Hirako's work, anthropomorphic plants, or plants with human heads, live in deep forests. However, his works still portray objects such as interior decorations, automobiles, and home furnishings, which are all clearly manmade. Also, the anthropomorphic characters appear to have the same day-to-day living habits and social needs like humans do, which makes the viewer reflect on the relationship between humans and plants. The narrative images also depict the diverse symbols and meanings of forests and nature in history and religion. In his paintings, no matter whether humans are indoors or outdoors, he often portrays humans sharing the same living space with plants. The work "Leisure" features an anthropomorphic plant, "Tree Man." The protagonist is similar to Yggdrasil, the sacred ash tree in Norse mythology that supports the world. Yggdrasil is also rumored to be the origin of the Christmas tree. "Tree Man" was painted in acrylic and shows a range of diverse colors, and each brush stroke of the painting conveys a sense of relaxation. The "Tree Man" wears a shirt, a metaphor that young city people are like the artist's generation. "Leisure" consists of bright colors, intricate composition, and unconstrained use of lines and colors to present rich elements and details. The complex and ever-changing background composes an exquisite backdrop for the "Tree Man." In this work, Hirako employs the collage technique, directly pasting and arranging hemp ropes, old canvas, and dead branches onto the canvas. Additionally, he built the frame for this piece. The frame has exposed nail marks, imprecise connections, and sides of different lengths, in order to convey a sense of roughness and wild primitivity. This roughness and wildness, nevertheless, are tamed by Hirako's mature creation experiences. What the "Tree Man" expresses is a state under which humans and nature interact harmoniously. Thus, Hirako often depicts the "Tree Man" conducting everyday, leisure activities in his paintings. This role is indispensable but not unique. As Hirako stated, "I only want it to become a role in the world, to become part of the world. People often ask me whether he symbolizes me. That is true, of course, but he is also a person watching from the outside." Perhaps just like everyone in this era, we are all people who experience things, and we are all bystanders. Hirako seriously and solemnly portrays mutated yet recognizable plants. Old civilizations are pushed aside by the vegetation with wildness in their veins. The apparatus and supplies people created in their wisdom are all scattered. All the creations experience adventures and return to an empty forest. In this new ecology led by this plant ruler, a wild new world is reborn.
YUICHI HIRAKO (B.1982) Leftover 9 acrylic on canvas (diptych) overall: 194 x 324 cm. (76 3/8 x 127 1/2 in.) each: 194 x 162 cm (76 3/8 x 63 3/4 in.) (2)
YUICHI HIRAKO (B. 1982) Haze 6 YUICHI HIRAKO (B. 1982) Haze 6 signed with artist’s monogram and dated ‘17’ (on the reverse) acrylic on canvas 91 x 73.2 cm. (35 7/8 x 28 7/8 in.)
signed and dated in ink, numbered 95/110, on 350gr. Blancheur Multi Art Gloss, published by GALLERI CHRISTOFFER EGELUND, Copenhagen, with full margins, framed
樹屋 7 Tree House 7 Signed on the reverse YH, titled Tree House 7 and dated 2013 簽名畫背: YH 2013 Tree House 7 畢業於英國溫布頓藝術學院的平子雄一，生長於林木繚繞的日本岡山縣。以「植物系列」著稱，源於他在英國留學的時光於倫敦當地風行人造庭 園，而深刻感受到都市人喜愛人造景觀的矛盾感。《樹屋 7》頭部換成樹木的樹人為平子雄一創作中的經典元素，樹屋前的 聖母雕像照應著樹屋上的心型倒影，暗示著婚姻的神聖與純潔。平子雄一 作品中的場景，乍看之下彷彿流連於超現實的夢境之中，其實是藝術家日 常生活所見的延伸，透過故事性的表現手法，將繪畫與現實加以連結，帶領觀者步入藝術家勾勒的自然世界。 Yuichi Hirako, who graduated from Wimbledon College of Arts in the UK, grew up in Okayama Prefecture, Japan, surrounded with forests. Known as his “Plant Series” which comes from his time when he was studying in the UK, where the man-made gardens were popular in London, and he deeply felt a sense of contradiction among the urbanite with their love for artificial landscapes. In “Tree House 7” where the tree man’s head is replaced with a tree, is a classic motif in Hirako's creation. The statue of the Virgin in front of the tree house responds with its heart-shaped reflection, hinting the sacredness and purity of marriage. The scenery in Hirako's work seems to linger in a surreal dream at first glance, they are actually an extension of what the artist observes in daily life. Through the application of story-like expression techniques, the painting and reality are therefore connected, guiding the viewers to enter the natural world outlined by the artist.
