ORA ORA 惡羅惡羅!SHOHEI 與巨大相撲手的決鬥





 

SHOHEI 本月在澳洲墨爾本 Backwoods Gallery 舉辦了個人展覽「ORA ORA 惡羅惡羅」,除了展出不同的原子筆畫稿外,更在一個巨大的日本相撲手雕塑上繪畫!在展覽相關訪問中,也有談到與父親大友克洋的相處。

 

本次展覽的主題是「ORA ORA 惡羅惡羅」,「惡羅惡羅」本身是日本語,並沒有一個正式的英文字詞可以直接翻譯到,這通常是用在向對方表現威嚇,或是衝向敵人時的吼叫。「惡羅惡羅」有時也會出現在日本漫畫中打鬥時不停向對方攻擊的時候,這是一個非常「日本」的用語,當中也包含了很複雜的情感和意義在裡面,這正好和 SHOHEI 的作品一樣。(Backwoods Gallery Art Director Alexander Mitchell 的文案介紹)

 

「ORA ORA 惡羅惡羅」主視覺插圖

 

展覽的主視覺插圖中有三個「武裝小學生」一起對一個西裝上班族拳打腳踢,小學生們身上有大大小小不同的漫畫英雄印記,上班族的智能手機被打飛,代表著英雄主義和對消費主義的控訴。

 

帽子上有《龍珠》的「Z」,身上有名牌手錶和車匙,仔細看連車子品牌 Logo 也看到

 

身穿 Superman Logo 的 T-shirt,殺紅了眼的小孩,眼鏡被打至飛脫的上班族。用原子筆打網做的煙霧效果很正~

 

這次到《龍珠》的大魔王的「魔」字標記,留意還有《AKIRA》金田電單車上的「成田山」貼紙

 

Live drawing 片段:

 

加上標題的宣傳圖

 


 

展覽的重點,為巨大的日本相撲手雕塑「紋身」!

 

SHOHEI 在旁觀察和繪畫草稿(圖片來源

 

 

動筆~!(圖片來源

 

這次不是用原子筆作畫了~(圖片來源

 

漫畫風格的爆炸煙,Photo: Eddie Jim(圖片來源

 

Photo: Eddie Jim(圖片來源

 

完成!保留了他一貫的日式傳統風格,加上日本文化代表之一的相撲手和紋身,非常配合。

 

更多相片:

Thank you to everyone! The exhibition started today. photo by @a.h.mitchell

A post shared by SHOHEI (@shohei_otomo) on

 

展覽中的其他作品:

 

 

 

 


 

2012 年「GENGA 展」兩人的合照

 

SMH 宣傳訪問他有提到和父親的相處,世界著名的漫畫家、動畫家——大友克洋對他說的只是:「你選擇你自己的人生。」(Your life is your choice.)

當 SHOHEI 還是小孩時,大友克洋正在繪畫《AKIRA》漫畫。當年他可能只有三、四歲,其實那時並沒有看爸爸的漫畫。「我那時太年輕了,看不懂。」。相反,他已經開始繪畫自己的畫作(畢竟是流著漫畫家的血?),可是也沒有想過以此作為將來的職業。

大友克洋對兒子的繪畫之路有沒有意見?SHOHEI 說:「完全沒有。」儘管如此,他長大後發覺他爸爸的畫其實是有出現在自己的作品之中,可能就是那種日本文化傳統之美,那種獨有的暴力風格,那種對畫面構圖的仔細瘋狂執著,也不時會出現在 SHOHEI 的作品之中。

 


 

官方的展覽介紹文案,簡單精準解釋了 SHOHEI 畫作主題和展覽的重點:

Japanese culture is engaged in an ongoing battle against two opponents; it’s youth and the West. Like a colossal Sumo wrestler with expert cultural judo, by using its opponents own weight as a weapon, Japan somehow keeps the fight in equilibrium. It rolls with each blow, assimilates culture, pushes back with its own creations and always finds balance.

The Japanese phrase ‘ORA ORA’ has no direct English translation. It’s a threat or battle-cry, commonly used by Japanese low-lives and thugs. Recently, the phrase has also found itself used in Manga as the onomatopoeia for exertion while punching or kicking someone repeatedly, with ironic undertones. ‘ORA ORA’ is a deceptively complicated phrase and a fitting title for this exhibition. Like everything that Shohei does, his choice of title has a layered meaning that elegantly ties into show’s central theme.

On the macro level, Japans cultural dynamic with the West can seem fluid. It has, after all, been going on for centuries. However, on the smaller scale, for Japanese individuals, this dynamic often results in a conflicting sense of cultural identity. Irreconcilably different aesthetics and contradictory philosophies occupy the Japanese consciousness; Tea ceremonies and vending machines, Buddhism and consumerism, Zen simplicity and a frenetic mess of logos. All vying for positions in the Japanese psyche. The resulting tension and its social implications thematically lie at the core of this exhibition.

ORA ORA’s hero image, ‘Counterstrike’, portrays three schoolboys armed with bats knocking a salaryman to the ground. The boys slap the smart-phone out of his hand and prepare to stomp the crap out of him. The boy in the centre of the composition, the one wearing a Superman t-shirt, bites his bottom lip as he prepares to swing a bat into the man’s head. The three boys wrists and bags are adorned in car-keys and watches. Status symbols of consumerist Japan, reduced to the trophies of a tribalist backlash, presumably looted from other attacks. This is traditionalism responding violently to the shallowness of modernity. The words ‘New Era’ on the boy’s cap takes on a new meaning when written Kanji and supported by the nationalistic stickers that decorate the nailed bat in the foreground.

Shohei’s illustrations depict the negative aspects of modernity and progress. His main message is clear — a simple critique of consumerism. But if we look deeper, there is more to this illustration. As Japan’s population ages, it has turned it’s back on Family in favour of materialism. The youth, in this case, are paradoxically presented as the protectors of ancient cultural traditions. By portraying the youth as the custodians of tradition, Shohei is suggesting that there is an optimal social structure partly nested in traditional values. Furthermore, when viewed in the context of Japan’s cultural dynamic with the West, the Superman t-shirt signifies imported popular culture while at the same time alludes to the Western philosophical rejection of nihilistic materialism. In both senses, it is a foreign concept that has been repurposed to support the preservation of Japanese culture. A perfect example of Japan’s adaptive ‘cultural judo’ cleverly hinted to us through Shohei’s use of symbolism.

Shohei Otomo is the most talented person I know. His technique is incredible, his work is flawless and his imagery is awe inspiring. But, technique alone is superficial, and it does not define a great artist. What makes Shohei Otomo a great artist is his sophisticated and elegant use of symbolism. Everything in Shohei’s work has significance. Each symbol within Shohei’s work has layered and dynamic meanings which illustrate a critical meta-analysis of modern Japanese society.

This is the essence of Shohei’s work and I invite you to approach each piece in his show with this in mind. I hope you enjoy ORA ORA.

Alexander Mitchell

@A.H.Mitchell

Director of Backwoods Gallery

 


 

之前 Backwoods Gallery 的宣傳片段:

 

 


 

 

ORA ORA 惡羅惡羅 by SHOHEI OTOMO

 

日期:11 月 23 日至 12 月 10 日
地點:Backwoods Gallery, 25 Easey Street Collingwood, Victoria, Australia
時間:12– 6pm(Tuesday – Sunday)

 

官方網頁:www.backwoods.gallery/exhibition-ora-ora

 

Shohei 官方網頁:www.hakuchi.jp
Shohei Tumblr:hakuchi.tumblr.com

Shohei YouTube:www.youtube.com/user/hakuchitare

Shohei Instagram:www.instagram.com/shohei_otomo

 

參考訪問:

www.smh.com.au/entertainment/art-and-design/tattooed-sumo-stars-as-artist-shohei-otomo-brings-his-ballpoints-to-melbourne-20171119-gzoarw.html

https://www.booooooom.com/2017/11/16/ora-ora-by-artist-shohei-otomo/

 





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