sometimes yuki

克林姆特——另类接触

克林姆特(1869-1918)，十九世纪末奥地利最伟大的画家之一。其象征意味的装饰画风，直接影响了后来的表现主义和二十世纪初的新艺术运动。  

克林姆特画风的装饰趣味，深受东正教拜占庭艺术的影响，嵌金画法成为克林姆特画风的标志。能将嵌金画法表现得淋漓尽致的，非克林姆特莫属.    

本次展览，借用克林姆特的装饰画风，萃取其画中的装饰符号，运用于多种类型的工艺设计项目，包括：图形设计、时尚珠宝、居家用品等。以多元化的方式，对克林姆特画作中的装饰趣味致以最高的敬意. 

展览由以下五个单元组成：

对话   

当代俄国画家Viatcheslav Golod以精准的绘图手法，直接截取克林姆特著名画作的片段，在半宝石上直接作画，使之成为可以佩戴的珠宝饰品。    

手绘珠宝是画家Viatcheslav Golod独创的。在方寸之间，以松鼠尾部一根微毫，勾勒出大师的名作。其高仿真所需的水准和专注力，来自对艺术的绝对谦诚。

淬炼    

陶瓷艺术是火与土的极致表现，尤其是金釉的烧制，能十分贴切地演绎克林姆特嵌金装饰风格。由于材质的限制，仿真难度极高。如何能简化克林姆特的画风，又不失其风格和趣味，在技术上是一项极大的挑战。本展览刻意将设计的成品和克林姆特原作的照片并列展现，其中异同，由观赏者自行品味。

重构    

重构单元有一组装置艺术，其灵感来自克林姆特的著名壁画——生命之树。借助光影的投射，将克林姆特繁复的生命树曲线以极简的方式重新诠释。利用此装置艺术品做为背景，让淬炼后的陶瓷艺术品依附在生命之树上。简与繁的对比，使陶瓷艺术品在展示空间中更突出的呈现。

灵感    

克林姆特的装饰画风，其迷人的地方除了视觉上强烈的装饰趣味之外，还有暧昧的象征意义。本单元由克林姆特的画作获取灵感，主要利用黑白线条，加入少量嵌金画法，再现克林姆特画风中暧昧的象征意义。黑白线条之中所呈现出的象征意义，有待观赏者亲自体会。

致敬    

二十世纪初的新艺术运动，可以视为克林姆特装饰画风的延续。本单元再次邀请画家Viatcheslav Golod，携手Mestera学院进行创作，将克林姆特暧昧的象征装饰风抽离，纯粹以视觉图形的组合，表现新艺术运动的绘画趣味。最后籍此单元向克林姆特致敬，也为本次展览作结。

Experiments Inspired by Gustav Klimt

Gustav Klimt (1869-1918) was one of greatest artists in Austria in the end of 19th century. Klimt contributed to the origin of the symbolic decorative style, which directly influenced the Expressionism later on and the movement of Art Nouveau & Art Deco in the beginning of the 20th century.

Klimt decorative style painting was influenced by the Byzantine manner. The series of gold inlay paintings become Klimt’s signature style. Only Klimt can reach these outstanding technical skills.

This exhibition was inspired by the Klimt’s decorative style. In order to develop different style of art works, such as graphic design, fashion designs, tableware and home appliances, transforming Klimt’s painting to drawing symbol is necessary. Through the multi-facet approach, all these artworks are for the highest respect to Klimt’s decorative style.

The exhibition consist of five sections as below:

Simulating

In order to create wearable artworks, Viatcheslav Golod and his associated Russian artists, simulated part of Klimt painting and paint it directly on semiprecious gemstones. The idea of hand-painted jewelry comes from traditional Russian Lacquer arts.  Artists use one hairbrush assembled from squirrel tail to outline Klimt’s master piece on the miniature space. The tradition icon painting training brings the highest level of quality paintings.

Refining

Porcelain artwork integrates earth & fire. Gold glaze is one of best technique to perform the gold inlay decorative style of Klimt’s paintings. Due to the limitation of material, accurate simulation is almost impossible. The solution is to simplify the complicated motif. Technical wise, it is a big challenge to keep the decorative style of Klimt’s paintings without losing his identities. We juxtapose the copies of Klimt’s original paintings and porcelain artworks together. The visitors may realize the similarities and discrepancies between them. .

Reconstructing

There is an installation artwork in the section of Reconstructing. The idea comes from Klimt’s famous mural work, the Stoclet Frieze, the life cycle is presented once again. (Tree of Life is part of mural work). Minimized the Tree of life complex spiral and reconstructed the original image, this installation artwork represents the new life cycle with different angles of light projection. The minimal installation artwork serves as the background of the colorful porcelain artworks which are well emphasized under the significant contrast. 

Inspiring

From Klimt’s paintings, the ambiguous symbol, femme fatale and eroticism, is great charm to us as well as the symbolic decorative style.

This section was inspired by Klimt’s erotic ambiguous symbol represented by simple black ink lines with a little bit gold inlay touch. The visitors can sense the connotation of the ambiguous symbols.

Saluting

The twentieth century Art Nouveau movement can be regarded as a continuation of the Klimt’s decorative style. Russian artists demonstrated excellent paintings skills again with School of Mestera. They created pure visual graphic instead of ambiguous symbol image to present the Art Nouveau motifs. Through this section we pay tribute to Klimt and make a conclusion for this exhibition.