“M/NOTION”展览现场
Q: 跟我们讲讲你的实践吧，在这些画面当中你想讨论一些什么呢？
A: 我的绘画中表现的是时间和空间。同时在画面的时间和空间是静态的，或者是说当某种旺盛枯竭之后的时间和空间。正如最近正在中国展出的这一系列作品，它们正是聚焦于城市中已经失效的一处特定的空间站点（格拉斯哥的冬宫）。虽然它已经“死”了，没有人可以再次进入，但它依旧以一个地标的形式出现在旅游指南中。类似于一张复古的明信片，正如你们能在我的画面中检索到的那些一样，它们的基本组成部分都是某种时过境迁的、失效之后的重生。回到原点，依然是沉溺于过期的时间和空间。
冬宫 | The Winter Garden
120×100cm
帆布丙烯 | Acrylic paint on cotton
2021
Q: Tell us about your practice, what do you want to address in your paintings?
A: I attempt to represent time and space in my paintings. The time and space I want to deal with in my paintings are static, or I could say time and space after the animated or lived period. My recent paintings represent a particular site that finished its function in the city. It's dead, and no one can enter there, but it appears in a travel book as a place to go. It is similar to a vintage postcard that is often my painting's subject matter. They both have some element of expiry, the afterlife. My painting practice aims to indulge in expired time and space.
PLC2044,Colin
120×95cm
帆布丙烯 | Acrylic paint on cotton
2021
PLC 2044, Colin's Case
Masaki Ishikawa: "A copy of the postcard I used for my paintings."
石川真奎：“我的创作中出现的是‘明信片’的副本。”
Q: 似乎你很喜欢纪念品这一元素，你是如何把它们融入你的作品之中的呢？
A: 具体来说，我对纪念品所囊括的时间和空间很感兴趣。我尤其喜欢那些具有二手痕迹的古老明信片，因为在特定时期内的那些特定地点所产生的书写痕迹，则为明信片注入了生命。我将它们融入我的作品中，通过物理或数码的方式，比如剥去纸张、打磨表层、双面扫描、以及扭曲图像和信件，来反复推敲某张特定的复古明信片。
PLC2044, Colin Remember me
100×120cm
帆布丙烯 | Acrylic paint on cotton
2021
Q: It seems that you really like the element of souvenirs, how do you incorporate them into your work?
A: As I mentioned about souvenirs above, I'm interested in the time and space that the souvenir encapsulates. I like vintage postcards in particular because people have sometimes used them. I feel that the handwritten letter and the specific site with a particular period hold the life of the postcard. I incorporate those elements into my work by playing with an actual vintage postcard, such as peeling the paper off, sanding the surface, scanning both sides, and distorting the image and letter, digitally and sometimes physically.
PLC2044, A Family Portrait
140 × 110cm
帆布丙烯 | Acrylic paint on cotton
2021
Q: 关于纪念之物的这一点，你是不是也有理论的支撑点呢？你如何在作品当中让这些理论被体现呢？
A: 是的，大多数时间我依赖于自己的直觉更胜过一些理论，但在谈到“原件”和“副本”的观念时，我经常会联想到本雅明。“纪念品”作为一种批量生产的结果，我该如何对待这些材料呢？我想本雅明的机械复制理论给了我一些思路。
A Matryoshka on The Desk | 书桌上的套娃
14.8×10cm
watercolour on paper | 纸本水彩
2020
Q: Do you also had a theoretical basis for the point about souvenirs? How do you make these theories manifest in your work?
A: Yes. Although I value intuitive decisions rather than theories, I often think about Walter Benjamin when it comes to the idea of original and copy. As the souvenir, in general, is a mass-produced item. His writing gives me some ideas on how I should treat those materials.
Picnic, A Bread With A Knife | 野餐，面包和刀
14.8×10cm
watercolour on paper | 纸本水彩
2020
Q: 在你的作品当中往往渗透着一种忧郁的浪漫感，你觉得你是个浪漫的人吗？
A: 我不知道……但我可能在创作的时候时常感到忧郁。或者可以理解为是一种对于故乡的怀旧。我常常察觉到情绪中某些消沉的部分，而不是浪漫。
Untitled | 无题
30×21cm
acrylic paint，watercolour on paper | 纸本水彩，丙烯
2021
Q: There is often a sense of melancholy and romance in your work, do you think you are a romantic person?
A: I don't know if I am a romantic person, but I guess I often feel melancholic while I'm making my artwork. Or I'd rather say I feel nostalgia, a kind of homesickness. I think I always feel a little depressed rather than romantic.
Untitled | 无题
21×15cm
acrylic paint，watercolour on paper | 纸本水彩，丙烯
2021
Q: 你是如何平衡作品观念维度和审美维度的矛盾性的？
A: 在工作室里与作品进行对话是我试图平衡我的想法和实际产出的方法。我想我的作品是相当以视觉为导向的，有时它会成为我不曾期待的东西。但我试图与作品一起讨论我们要做什么，我们想达到什么目的。在生产过程的某一点上，我相信一幅画拥有一个独立的人格自我。我想重视这个“异化的”自我，而不是我个人的观念性要求。
"Beyond the Conventions of Painting"，Saltspace，格拉斯哥
Platform | 站台
250×80 cm, 37×30 cm, 34×25 cm, 70×37 cm
Oil paint on jute fabric, ink, metal pipe, iron bar
麻布，油墨，金属管，油画颜料
2020
Q: How do you balance the contradictions between the conceptual and aesthetic dimensions of your work?
A: Having a dialogue with work in the studio is how I try to balance my idea and actual work. I guess my work is quite visually oriented, and sometimes it becomes something I wasn't expecting. But I try to discuss with the work what we're going to do, what we want to achieve. At some point in production, I believe a painting holds an individual self. I want to value that "alienated" self more than my conceptual expectations.
"Beyond the Conventions of Painting"，Saltspace，格拉斯哥
PLC2044, A Family Portrait
140 × 110cm
帆布丙烯 | Acrylic paint on cotton
2021
Q: 你怎么看待屏幕转译这种已经成为主流语言的范式？如何在大量同质化的绘画中实现差异呢？
A: 我想，要实现差异化并不容易。现在，我可以说的是：我会尽量不恐惧把我的作品看作是那些绘画中的一件。故意让我的作品有差异性不会是我应该做和想做的事情。更重要的是，我总是喜欢和我的作品讨论我们如何能够改进自己。
"I am at A,B,and C"，BUoY，东京
Variable size | 尺寸可变
Jute fabric, oil paint, fire retardant mesh, sensor light, beer case
麻布、油画漆、阻燃网、感应灯、啤酒盒
2019
Q: What do you think of screen translation, a paradigm that has become the prevailing language? How do you achieve differentiation in this mass of homogenized paintings?
A: It isn't easy to achieve differentiation, I guess. For now, I could say that I will try not to be afraid of seeing my work as one of those paintings. Making my work different intentionally wouldn't be something I should do and want to do. More importantly, I'd always like to discuss with my works how we could improve ourselves.
Pedestrians | 行人
110×150 cm, 200×300 cm
Ink on tarpaulin, ink on jute fabric, wood
防水布上油墨，麻布上油墨，木材
2020
Q: 作为一个生活在苏格兰的日本人，生活的地域是如何影响你的创作思路的？
A: 城市是我灵感的重要来源，所以我总觉得生活在格拉斯哥对我的绘画方法有很大的影响。当然，作为城市，东京和格拉斯哥是非常不同的。东京是非常混乱的，而格拉斯哥是有秩序的。在东京我不可能感受不到我的身体性，或身体的感觉。然而，在格拉斯哥有一些空间，我对身体性的感受比较少。我想这极大地改变了我的绘画方法。
批发复古明信片 | Vintage Postcode job lot
120×100cm
布面喷绘及丙烯 | Digital print and acrylic paint on cotton
2021
Q: As a Japanese living in Scotland, how does the geographical location of living influence your approach to painting?
A: The city is an important source of inspiration to me, so I always feel living in Glasgow has influenced my approach to painting so much. Tokyo and Glasgow are very different from each other as a city, of course. While Tokyo is very chaotic, Glasgow is orderly. It was impossible not to feel my physicality, or bodily sensation, in Tokyo. However, there are some spaces where I feel less physicality in Glasgow. I guess that changed my approach to painting so drastically.
无可否认的可及性 1 | Undeniably accessible 1
80×60 cm
帆布丙烯 | Acrylic paint on cotton
2022
Q: 你的实践还有可能会往哪些具体方向延展呢？
A: 在为这次采访写答案的时候，我在东京，并且在这期间感受到了一些身体的知觉。这是我已经快忘记的东西，或者说我在格拉斯哥的感受真的比较少。我很快就要回格拉斯哥了，所以我想为我的实践找到一些方法来更深入地探索这种身体性的感知维度。
无可否认的可及性 2 | Undeniably accessible 2
80×60 cm
帆布丙烯 | Acrylic paint on cotton
2022
Q: What other specific directions might your practice take?
A: While writing the answer for this interview, I'm in Tokyo and felt some physical sensations during my stay in Tokyo. It's something I had forgotten, or I feel less in Glasgow. I'm going back to Glasgow soon, but I want to find some way to explore this physicality for my practice.
无可否认的可及性 4 | Undeniably accessible 4
180×50 cm
麻布丙烯 | Acrylic paint on linen
2022
Q: 分享一些你最近在看的书单？
A: 我最近一直在读《Chromophobia》（色彩恐惧症）。我读得很慢，但每次我打开这本书时我都觉得很受启发。这是一本名著，所以我可能不需要多说，但我强烈推荐这本书。
天气特别冷，我生病了 | It was a chilly day and I was sick
180×118 cm
麻布丙烯 | Acrylic paint on linen
2022
Q: Share some of the books you've been reading recently?
A: I've been reading Chromophobia recently. I'm reading this so slowly but every time I open this book. I feel so inspired. It's a famous book, so I probably don't need to say it, but I highly recommend this book.
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