ART & INVESTMENT

日本當代藝術，在近期的國際拍賣市場是一重要板塊， 除有草間彌生、村上隆、奈良美智、白髮一雄等大咖級名家， 原作身價早已是數百萬甚或千萬美元起跳。較年輕一代有所 謂「奈良美智接班人」態勢的名和晃平、五木田智央、六角 彩子、加藤泉，還有潮流藝術的 MADSAKI 與 Mr. 等等， 最高拍賣紀錄最近紛紛突破五十萬美元，成為眾多國際藏家 們的關注名單。他們的共通點都是先在國際藝壇受到肯定之 後，才逐漸紅回日本國內。藝術家們積極創新、拓展海外的 遊學資歷，尋求重要美術館機構或雙年展的曝光。

前段提及的幾位藝術家當中，加藤泉（Izumi Kato）是 行事作風相對低調、大器晚成的一位。雖然有人也將加藤泉 的創作歸類為潮流藝術，他和同樣出生於 1969 年的黑白灰 單色畫家五木田智央，御宅族文化代表 Mr，今年（2021 年） 都已是 52 歲中年大叔，各有各的一片天。加藤泉是個人主 義色彩濃厚，他的藝術風格與日本藝壇中的療癒系、萌文化 有所不同。觀眾們或許從他的作品喚起某些可愛的印象，然 而多直覺神祕玄奇，帶點怪誕暴力，兼具科幻未來與古老樸 拙之感，使得加藤泉在同代藝術家中顯得與眾不同，十足有 個性。

2021 年 5 月 24 日，加藤泉一幅 120 號繪於 2012 年的 無題油畫作品，在香港的夜場拍賣會上拍出 425 萬港元（約 1530 萬台幣或 US$547,336）的新高紀錄。半年前，加藤泉 的無題木雕作品，也甫於香港寫下 226.8 萬港元（約 816 萬 台幣或 US$292,628）的個人拍賣紀錄。一件雕塑，一件繪 畫，顯見加藤泉在繪畫與雕塑不同媒材上都有出色表現。加 藤泉是一位畫家、雕塑家，也玩搖滾樂隊，三十歲左右真正 專注創作，他手裡創造的 21 世紀當代之作，反映著久遠的 記憶與現下的存在。

◀ 加藤泉 《無題》2021 展於香港 K11 MUSEA 6樓 K11 Sculpture Park Izumi Kato, Unitited, 2021 @ 6F K11 Sculpture Park, K11 MUSEA, Hong Kong

當代眾生相－加藤泉的藝術

Text / 陳惠黛 Odile Chen Photo / Ravenel International Art Group、Perrotin、K11 MUSEA、SCAI The Bathhouse、Centre for Heritage, Arts and Textile (CHAT)

誕生於諸神之國的男孩

加藤泉是日本島根縣人，出生於 1969 年。島根縣位於 日本海沿岸山陰地方，被稱之為「日本的背面」，臨近廣島 縣。島根縣是日本古文化的發源地之一，擁有古老神話傳說， 還保留著舊石器時代與繩紋時代的遺跡，一處自然與人文交 織的所在。據說日本人的先祖之一彌生人，跨海而來，在島 根登陸，將農業文明帶來此地，這片土地被稱為「出雲大 國」，這裡擁有日本最古老的神社「出雲大社」，創建年代 可以追溯到紀元前 660 年菊花王朝之前（約中國的戰國時代 與秦朝），為傳統日本神道教信仰的重要代表場域。相傳每 年十月，來自全國八百萬眾神齊聚於此，寬廣宏偉，有精彩 的神話傳說。島根另有「黃泉平阪」的名勝，幽靜森林矗立 著兩根石柱，傳說是冥界的入口，增添神祕的色彩。島根是 許多神話與漫畫故事取材的景點，後人笑稱此地的神靈比人 還多，由於日本人口高齡化，老年人口比例高，年輕人外移， 如今島根縣人口數不過七十萬人。如此富有傳說怪奇文化的 地方，正是孕育了加藤泉的故鄉。

來到二十世紀，島根與神話關聯的傳統與文化，仍然存 在於現代生活之中。當地的長輩總是恐嚇孩子們說，晚上不 要去海邊，會有蛇身女人頭的鬼怪出沒，「不聽話的小孩就 要被怪物吃掉」。加藤泉的老家附近有一大片古代墓場，他 小時候穿梭在一根根石碑之間遊玩。所謂「萬物有靈」的自 然崇拜思想影響了他的人生觀，以及後來的藝術創作脈絡。 加藤泉兒時成長的 1970 年代，是日本超能力和超古代文明 漫畫的創作巔峰時期，科幻鬼怪漫畫風行全世界，動漫相關 產業佔有日本經濟極高的比重，日本男孩幾乎沒有人不愛看 漫畫。同世代的其他國家的男孩女孩，誰不愛看漫畫呢？動 漫次文化在二次大戰戰敗國日本成為一種心靈慰藉與重振民 族信心的良方。

藝術家村上隆曾提出「小男孩」的概念，講述戰後的創 傷使得日本社會瀰漫著長不大的心態，不願當個大人面對世 界的殘酷。而同時，「小男孩」也是 1945 年美國在日本廣 島投擲第一枚原子彈的代號。原爆之後，日本面臨的巨大改 變。2005 年村上隆在紐約日本協會策劃了《小男孩：日本爆 發的次文化藝術》(Little Boy: The Arts of Japan's Exploding Subculture) 大展。加藤泉也受邀參加是次展覽，此後鴻運大 開，漸受關注。

▲ 加藤泉《無題》2009 油彩 畫布 130.3 x 162 cm，羅芙奧香港2013春季拍賣會 成交價TWD 2,307,692 Izumi Kato, Untitled, 2009, Oil on canvas, 130.3 x 162 cm Ravenel Spring Auction 2013 Hong Kong sold for USD 77,320 ◀ 加藤泉公共藝術項目現場圖，香港大館，2018-2021年｜攝影：佐藤祐介 大館委託作品，2018年. ©2018 Izumi Kato. 圖片提供：藝術家與大館 Installation view of Izumi Kato's Public Art Project at Tai Kwun - Centre for Heritage and Arts, Hong Kong, 2018-2021. Photo: Yusuke Sato Commissioned by Tai Kwun, 2018. ©2018 Izumi Kato. Courtesy the Artist and Tai Kwun ▶ 加藤泉《無題》2014 壓克力 木雕 26 x 53 x 63 cm，羅芙奧台北2020秋季拍賣會 成交價TWD 4,200,000 Izumi Kato, Untitled, 2014, Acrylic on wood, 26 x 53 x 63 cm Ravenel Autumn Auction 2020 Taipei sold for USD 147,368

加藤泉回憶從前在島根鄉間生活，家中沒有電視，只有怪物 傳說。印象裡盡是約束與不自由。鄉民鄰居喜歡議論是非，年少 時與女孩在街上牽手，立刻有人通報父母。類似的情況其實在亞 洲社會中十分常見。而他叛逆的個性，從小就開始醞釀，成長總 是苦澀。家庭教育對自然宗教崇拜的思想，潛移默化影響了他， 人雖然容易自滿、自我，然而神明存在的文化會教人學習自謙。

他高中時原想要當專業的足球員，沒有入選，成績普普，對 讀書的興趣不大，勉強潦草應付。高中畢業後報考分數不高的藝 術學校，考取了東京武藏野美術大學造形部油畫系。1990 年代 初期，日本仍在泡沫經濟尾聲，打工賺錢容易，工作半年所得足 以供給另外半年時間探索繪畫，身邊的朋友皆是如此，他也想循 此模式，租一間畫廊辦展覽，從 1995 年起每年發表一次，初期 畫風以象徵主義的簡約風格為主，與後來的作品有顯著的不同。

如同素人藝術家般創作

1992 年自藝術學校畢業，正式進入職場。在日本，美術系 學生一旦離開校園後，不是擔任美術教師，就是辦公室上班族。 因為作品賣不出去，根本無法依靠賣畫維生。二十多歲的加藤泉 十分叛逆，畢業後一心想要玩音樂，遇到挫折，三年後玩完。 三十歲時學會妥協，和人溝通，才真心專注創作，離開了六、七 年建築工作。加藤泉說把自己看作畫家，他想辦法讓他的畫看起 來有趣。

日本的美術教育令加藤泉困惑與懷疑，普遍認為擬真寫實 才是好畫功，二十世紀末還要臨摹希臘石膏像素描。他回想每個 人的小時候是怎樣開始畫畫的呢？都是從圓圈、點與線條開始 的吧，畫畫應該像兒童一樣隨意自由。因此他很欣賞素人藝術 家（outsider artists），原生藝術的杜布菲（Dubuffet），梵谷 （Vincent van Gogh）、培根（Bacon）還有日本江戶時代的伊 藤若沖（Ito Jakuchu），都是景仰的大師，他期許將來自己能有 這樣的造詣。

過去加藤泉選擇壓克力顏料作畫，因為材料便宜容易取得， 早期還用畫筆作畫。主題上開始從象徵性風格轉換為人形化的形 體與面容。後來，他改用油彩、放棄畫筆的拘束，改用手來作畫。 但並非徒手，多數時會穿上橡皮手套沾抹顏料，或用抹刀平塗， 使用於背景，人物的臉孔五官，他會用手指直接抹畫，形塑出特 殊的肌理質感。

他常常流連於博物館欣賞雕塑展品，認為「世界本來是立體 的，所以雕刻本身就是自然」。三維雕塑使人易與世界連結，而 且雕塑的創作，也是幫助他突破繪畫瓶頸時的重要出口。2003 年 後他從繪畫轉移至雕塑創作，選用日本佛像雕刻常用的樟木，木 質帶著香氣，電鋸鋸開大木塊，鑿子用來雕琢眼睛細節。避免使 用黏土或樹脂等易於塑形的材質，直接在木頭上創作。2012 年時 加入兒童玩具常用的軟塑膠（Soft Vinyl）來創作，帶來有趣的發 想，有助於探索繪畫的更多可能。後期更以石頭創作，並且探索 織品皮革等材質。加藤泉喜愛古老文化，曾以古董傢俱作為木雕 底座，紙本繪畫也常配上四處蒐羅的古畫舊框，特色十足。

人物是加藤泉的唯一主題

人們可以從五顏六色的人物臉孔，辨識出加藤泉的作品。他 對於靜物風景主題不感興趣，人物是他唯一有興趣的主題。他的 大部分作品題目都是「無題」，因為他不願限制觀眾的想像，如 同多數抽象畫家對待抽象作品時。

我們看他創作的擬人化形體，頭大身小，纖長四肢如植物， 或像胚胎或像昆蟲的精靈，有時有男女性徵，有時則雌雄同體， 樸拙的面容與姿態用色瑰麗，有一種原始的美感與生命力。他用 人的形狀來創作，但不用模特兒作畫，靈感來自於生活，來自於 活著。他的作品反映了童年的記憶，文化傳承與歷史經驗。加藤 泉曾說：「在我的家鄉，神道教、佛教和萬物有靈論都混雜在一起。 我受到成長經歷的影響，那裡的一切都有自己的生命。我知道我 畫的人形不是特定的人，而是用人的形狀來畫。可能是你，也可 能是我。我不知道是誰，使用這樣一個無名的人，我關注的不是 個人，而是存在本身。」他不在意評論家或觀眾如何解讀他作品， 若是觀眾從他的作品中發現當代反映的面相，他自然樂見其成。

2007 年加藤泉受邀參加第 52 屆威尼斯雙年展，由美國藝評 家兼策展人羅伯特．斯托（Robert Storr）策展，主題為「感性思 考、理性體會：藝術現在時」（Think with the Senses - Feel with the Mind. Art in the Present Tense），為其藝術生涯重要里程碑。 隨後 2008 年在東京上野之森美術館舉行個展、2010 年在箱根雕 刻之森美術館個展與 2012 年霧島藝術之森美術館個展。2014 年 之後，與國際知名的貝浩登畫廊（Perrotin）合作，活躍於國際舞 台，在香港、巴黎、紐約、首爾與上海等地展出。近期主要博物 館個展，包括了北京紅磚美術館（2018）、墨西哥的 Casa Wabi 藝術中心（2019）、東京與群馬兩地的原美術館個展（2019） 以及美國 SCAD 設計藝術學院美術館（SCAD Museum of Art） （2021）等等。

藝術探索的路上總是充滿冒險與挑戰，因展覽合作之故，加 藤泉赴香港旅行，對當地的人文景觀頗有興趣。2015 年決定到香 港港島南區的鴨脷洲成立工作室。自此往來於東京與香港，一年 約有三分之一時間住在香港。就地取材，使用當地的元素創作， 例如花崗岩，他選定之後即保留原有形體，不再打磨切割，直接 在石頭上色創作。2016 年就發表石頭系列。此外在香港的布莊找 到織品，拼接織品的立體作品，豐富了他的創作面貌。

加藤泉的創作中有特殊的人物分割方式，無論是立體或平面， 常見垂直或水平的分割線。「我個人喜歡雕塑的接縫，無論是木 雕還是軟塑膠雕塑。我有時會保持關節的原樣，而非將它們塑造 為扁平狀。直覺上，我認為保留關節原樣會更有趣，但後來我意 識到保留關節會增加作品的創意信息。一個念頭出現在我的腦海 中，是否我可以在我的畫中使用它，於是我開始創作分割成幾個 部分的畫。」

◀ 加藤泉於東京工作室與他正在籌備展於 紐約貝浩登的作品 Inside Izumi Kato's Tokyo studio with work for his show at Perrotin New York

▶ 左：加藤泉《無題》2008 油彩 畫布 53 x 45.5 cm 羅芙奧台北2021春季拍賣會 成交價TWD 2,160,000 Izumi Kato, Untitled, 2008, Oil on canvas, 53 x 45.5 cm Ravenel Spring Auction 2021 Taipei sold for USD 77,143 ▶ 右：加藤泉《無題》2013 油彩 畫布 28 x 22.5 cm 羅芙奧台北2021春季拍賣會 成交價TWD 1,200,000 Izumi Kato, Untitled, 2013, Oil on canvas, 28 x 22.5 cm Ravenel Spring Auction 2021 Taipei sold for USD 42,857

小時候想要當音樂家的夢想，在五十歲前夕一償宿願。2018 年加藤泉和朋友組成 THE TETORAPOTZ 搖滾樂團，由他擔任 鼓手，並發行 7 吋黑膠唱片。一如他的藝術裡的古拙童趣特色， 團員們會罩著頭套面具表演，稀奇另類的搖滾樂手。同一年 8 月 24 日加藤泉和團員們一起出席北京紅磚美術館的個展開幕，率 領 THE TETORAPOTZ 樂團在現場表演同樂。隔年，在日本群 馬縣的原美術館 ARC 的草地上再度合體，精彩展現加藤泉的多 才多藝。

深受國際機構與藏家的喜愛

加藤泉如今是貝浩登畫廊主要代理的藝術家，透過該畫 廊的人脈與分支據點，將藝術家的作品成功銷售至各地。他的 作品已為國際知名博物館與美術機構收藏，在日本國內已有多 家重要美術館典藏。例如東京的東京都現代美術館 Museum of Contemporary Art Tokyo、東京國立近代美術館 The National Museum of Modern Art, Tokyo、 原 美 術 館 Hara Museum of Contemporary Art、大阪的國立國際美術館 The National Museum of Art, Osaka；愛知縣的豐田市美術館 Toyota Municipal Museum of Art, Aichi 與岡崎市美術博物館 Okazaki Mindscape Museum, Aichi、香川縣的高松市美術館 Takamatsu Art Museum, Kagawa、靜岡縣的貝爾納．畢費美術館 Bernard Buffet Museum、石川縣的金澤 21 世紀美術館 21st Century Museum of Contemporary Art, Kanazawa, Ishikawa、神奈川縣立近代美術館 The Museum of Modern Art, Kamakura & Hayama, Kanagawa、 岡山縣的 S-HOUSE 美術館 S-HOUSE Museum, Okayama 等。 在重要企業家與私人美術館的收藏，包括了日本愛知縣的 豐田汽車 Toyota Motor Corporation、東京的高橋收藏 Takahashi Ryutaro Collection、田口藝術收藏 Taguchi Art Collection； 西班牙馬德里的 Colección SOLO、瑞士日內瓦的 Japigozzi Collection；中國大陸企業家成立的私人美術館也收藏了加藤 泉的作品，例如北京的紅磚美術館 Red Brick Art Museum、止 觀美術館 Zhiguan Museum of Fine Art、上海的龍美術館 Long Museum、南京的四方當代美術館 Sifang Art Museum、秦皇島 的阿那亞 Aranya；還有香港的 Longlati 非營利基金會、K11、 CHAT 六廠等等。

加藤泉創作於 2004 年的立體木雕作品《無題》 （205x56x52cm），奇特古怪的風格，意外地成為次文化網路社 群組織的靈感泉源。SCP Foundation 是一網路虛構的特務組織， 在同名的網路接龍小說創作專案裡，4chan 網友 Moto42 以加藤 泉該件雕塑為原型，捏造了虛構故事裡的恐怖生物角色「SCP173」，使得此一雕塑圖像在網路世界頗富盛名，而該作品曾參 加 2005 年村上隆在紐約策畫的「小男孩」展覽，現由東京的高 橋收藏。

羅芙奧 2021 年春拍曾推薦了兩幅加藤泉油畫，陸續吸引來 自歐洲、日本、台灣、香港與中國大陸，還有線上藏家的參與競 標，出價踴躍，以兩倍甚或三倍於預估價售出。儘管疫情仍在壟 罩全球，加藤泉今年在秦皇島、香港、東京、紐約持續舉辦展覽， 國際間藏家的詢問度一直很高，未來行情的發展有無窮的想像空 間。

◀ 加藤泉《無題2（兩件一組）》2020 木刻版畫 37/120 34.6 x 25.8 cm 羅芙奧台北2021春季拍賣會 成交價TWD 192,000 Izumi Kato, Untitled 2(a set of 2)d, 2020, Woodcut print edition no. 37/120, 34.6 x 25.8 cm Ravenel Spring Auction 2021 Taipei sold for USD 6,857

Contemporary Japanese Art has become an important segment of the international auction market in recent years. For famous master artists, such as Yayoi Kusama, Takashi Murakami, Yoshitomo Nara, and Kazuo Shiraga, their original works start at millions or even tens of millions at auctions. There is also the

younger generation of artists, including Kohei Nawa, the so-called "successor of Yoshitomo Nara", Tomoo Gokita, Ayako Rokkaku, and Izumi Kato, as well as trendy artists, such as MADSAKI and Mr. All of their highest auction records have recently exceeded the US$500,000 threshold, catching the attention of many international collectors. Having each gained international recognition before becoming popular back in Japan, the artists are proactive innovators who went overeas study tour while seeking exposure in major museums and biennial exhibitions.

Compared to the other artists mentioned above, Izumi Kato is a relatively low-key late bloomer. Even though his works have been categorized as trendy art, he is actually a middle-aged man who became 52 in 2021. Born in 1969, he is the same age as monochromatic black-gray-white painter Tomoo Gokita and Otaku culture representative Mr, each of whom have carved out their own niche. With a strong sense of individualism, Kato's art differs from the Japanese style healing art or moe culture. Viewers looking at Kato's art sometimes see it as adorable, though most think of it as intuitively mystical and esoteric with a hint of grotesque violence. Kato appears to be one of a kind among artists of the same generation. He adheres to his own style, which is a combination of futuristic science fiction and ancient austerity.

An untitled painting by Kato in 2012, size 120F, sold for a record HK$4.25 million (about NT$15.3 million or USD$547,336) at an evening auction in Hong Kong on May 24, 2021. Six months ago, Kato also set a new personal auction record in Hong Kong with HK$2.268 million (about NT$8.16 million or USD$292,628) for his untitled wood sculpture. Both auction records serve as evidence that Kato has performed exceptionally in various media, such as sculptural art and paintings. In addition to being a painter and sculptor, Kato is also a rock drummer, who truly enjoys art creation starting at the age of 30. His 21st century contemporary works reflect ancient memories and existence of the moment.

The Boy Born in the Land of the Gods

Izumi Kato was born in 1969 in Shimane Prefecture, which is in Japan's coastal San'in Region, also known as "the backside of Japan", next to Hiroshima Prefecture. As one of the birthplaces of ancient Japanese culture, Shimane Prefecture preserves the remains of the Paleolithic Age and the Jōmon period. As a place where nature and culture interweave, it also preserves ancient myths and legends. It is said that one of the Japanese ancestors, the Yayoi people, had traveled across the ocean and landed on Shimane Prefecture, introducing agricultural civilization to this land. Shimane Prefecture is also known as the "Izumo

▶ 左：加藤泉《無題》2004 炭筆 木雕 205 x 56 x 52 cm 私人收藏 (網路虛擬恐怖生物角色「SCP-173」靈感來源為此件作品) Izumi Kato, Untitled, 2004, wood, charcoal, acrylic, 205 x 56 x 52 cm, Private collection Photo: Keisuke Yamamoto (Internet virtual horror creature "SCP-173" is inspirated by this piece)

Great Nation" in Japanese Mythology. As an important venue representative of traditional Japanese Shintoism, Japan's oldest shrine "Izumo Taisha" is also situated here. The shrine dates back

to 660 BC, prior to the establishment of the Chrysanthemum Throne (Equivalent to the Warring States period and the Qin dynasty in China).

The expansive and magnificent shrine is associated with exciting myths, including the story of eight million gods from across the nation gathering here every October. Another famous scenery in Shimane Prefecture is "Yomotsu Hirasaka", a secluded forest with two pillars and mysterious characteristics, known to be the entrance to the underworld. Some people jokingly refer to Shimane Prefecture as the place where gods outnumber people, because it frequently serves as the backdrop of many fairy tales and manga stories. As a society with an aging population, a high ratio of elderly people, and outbound younger generations, the population of Shimane Prefecture is currently around 700,000. Such a place rich in fantasies and bizarre culture happens to be the birthplace of Izumi Kato.

Even in the 20th century, the mythical tradition and culture associated with Shimane Prefecture still remains in modern life.

The local elders always telling kids scary stories of ghostly monsters with a head of a woman and a snake body, warning them against going to the beach at night. "Disobedient children will be eaten alive by monsters."

The concept of a "little boy" was once proposed by artist Takashi Murakami to describe the traumatized mentality of never growing up in post-war Japanese society, unwilling to face the cruelty of the world as adults. Incidentally, “Little Boy" was also the codename of the first atomic bomb dropped by the U.S. on Hiroshima in 1945. After the atomic explosion, Japan faced extensive changes. In 2005, Takashi Murakami curated an exhibition at the Japan Society Gallery in New York titled Little Boy: The Arts of Japan's Exploding Subculture, and Izumi Kato was invited to participate. Kato's reputation has grown since then, gradually drawing the attention of the art community.

Growing up in the countryside of the Shimane Prefecture, Kato recalls a home without televisions, only monster stories, limitations, a lack of freedom, and neighboring villagers who seemed to enjoy gossip. As a young man, if he was seen holding hands with a girl on the streets, someone would tell his parents right away. Similar circumstances actually occur frequently in Asian societies. Such an environment perhaps cultivated his rebellious personality starting in his childhood, as some would say growing up is always difficult. He was also affected by the beliefs of his family, which worships nature and religion - even though people may easily develop hubris, they will learn the lesson of modesty from the culture of gods' existence.

When Kato was in high school, he strived but failed to become a professional football player. He had little interest in his studies, and grudgingly did enough to receive so-so grades. After graduating from high school, he applied for art schools with low-admission score requirements, and was admitted to the Oil Painting Department in the Musashino Art University in Tokyo. In the early 1990s, Japan was near the end of the economic bubble, but it was still easy to do odd jobs for money. After working for six months, he could make enough money to support his exploration of painting for another six months, which was the case for all his friends. He decided to follow suit and rented a gallery for exhibitions. Starting in 1995, he held an exhibition every year. His early paintings tended to be simplistic in the style of the Symbolism art movement, which differed greatly from his later works.

Be Creative like an Outsider Artist

Kato began working officially after graduating in 1992. Art college graduates in Japan usually work as art teachers or office employees, because it's nearly impossible to make a living by selling their paintings. In his twenties, Kato was quite rebellious, and only wanted to play music after he graduated from college. However, he quit music after three years due to many obstacles. When he turned 30, he learned the art of compromise and ways to communicate with others. He truly began to enjoy painting, and left the construction site where he had worked for six or seven

years. Kato said that he saw himself as a painter, and he wanted to make his paintings look interesting.

Kato had been puzzled by Japanese art education, where the general perception was that a realistic painting is the only one that shows good painting skills. At the end of the 20th century, the students still had to sketch Greek plaster statues. He tried to think about how every child would begin to paint. They probably all start with circles, dots, and lines. Painting should be free spirited just like children. Therefore, he really admires outsider artists and painting masters, such as the Art Brut Dubuffet, Vincent van Gogh, Bacon, and Ito Jakuchu from the Edo period. He aspires to achieve their accomplishments one day.

In early days, Izumi Kato chose to paint with acrylic because it was inexpensive and easy to get. He also used paint brushes focusing on topics in the Symbolism style at first, gradually transforming into the human body and face. Subsequently, he switched to using oil paint, tossing aside the limitation imposed by brushes to paint with his hands. Instead of bare hands, he would wear rubber gloves to dip into paint, or apply a palette knife to flatten the paint for background colors. For facial features, he uses his fingers to paint directly to create the special texture of skins.

◀ 左：加藤泉《無題》2017 版畫 28/36 57 x 76 cm 羅芙奧台北2020春季拍賣會 成交價TWD 120,000 Izumi Kato, Untitled, 2017, Print, edition no. 28/36, 57 x 76 cm Ravenel Spring Auction 2020 Taipei sold for USD 4,060 中：「意象連綿：方法的彌合與觀念的縱橫」 六廠紡織文化藝術館2020香港展覽 Unconstrained Textiles: Stitching Methods, Crossing Ideas, Exhibition Centre for Heritage, Arts and Textile (CHAT) Hong Kong 2020 右：「加藤泉—每日自省」個展現場圖，箱根雕刻之 森美術館，日本神奈川縣，2010年｜攝影：木奧惠三 ©2010 Izumi Kato. 圖片提供：藝術家與貝浩登 Installation views of "KATO Izumi Journeying into Each Day", The Hakone Open-Air Museum, Kanagawa, Japan, 2010. Photo: Keizo Kioku ©2010 Izumi Kato. Courtesy of the Artist and Perrotin

He enjoys lingering around museums to view sculptures. He believes that "The world is originally three-dimensional, thus sculpture itself is natural." Three-dimensional sculptures make it easy for people to connect with the world, and Kato's sculptures were an important factor helping him to break free of his painting plateaus. After 2003, he began transferring his creative energies to sculptures, choosing camphor that is often used for Japanese Buddha statue carvings. The wood is known for its fragrance. He would use an electric chainsaw to saw large wood blocks, and a chisel to carve the details of the eyes. Working directly with wood, he avoided materials that are easily shaped, such as clay or resin. In 2012, he also began using soft vinyl, a material for making children's toys, which inspired many interesting ideas and provided many more possibilities for his painting explorations. Later on, he added stones to his list of materials and than fabric and leather.

Kato likes vintage culture. He once used vintage furniture as the base of his wood sculptures. His drawings are frequently paired with interesting vintage frames he collected from different places.

Figures Have Been Kato's Only Theme

Works by Izumi Kato are easily recognizable based on the colorful faces. Uninterested in still life or landscape, he is only fascinated by figures. Most of his works are Untitled, because he does not want to restrain the imagination of the viewers, just as how most abstract painters view abstract art.

Looking at his anthropomorphic figures of large heads and small bodies, with plain facial features and postures as well as magnificent colors, they seem to extrude a primitive aesthetic and vitality. The figures also feature thin and long limbs like plants or spiritual entities resembling embryos or insects. Sometimes female or male characteristics are visible, other times they are hermaphrodite. He creates in the shape of a human but never relies on any models. His inspiration comes from living, from being alive. His works echo his childhood memories, cultural heritage and historical experience. Kato once said: "In my hometown, Shintoism, Buddhism, and Animism are all blended together. Affected by my experience growing up, where everything has its own life. I know that what I paint is not the shape of a designated person, but I paint using a human form. It could be you and it could be me. I don't know who it is, but using such an anonymous person, I am focusing not on an individual, but on existence itself." He does not care about how art critics or the viewers interpret his works, though he is happy to see viewers discover the reflection of contemporary aspects from his art.

In 2007, Kato was invited to participate in the 52nd Venice Biennale International Exhibition curated by American art critic and curator Robert Storr, with the theme of Think with the Senses - Feel with the Mind. Art in the Present Tense, which established an important milestone for his artistic career. Subsequently, he

held several solo exhibitions, in 2008 at the Ueno Royal Museum Gallery in Tokyo, in 2010 at the Hakone Open-Air Museum, and in 2012 at the Kirishima Open-Air Museum. After 2014, he began working with the internationally renowned Perrotin, which promotes his works with exhibitions in Hong Kong, Paris, New York, Seoul, Shanghai, and other cities. His recent solo exhibitions at major museums include the Red Brick Art Museum in Beijing (2018), the Fundación Casa Wabi in Mexico (2019), the Hara Museum in both Tokyo and the Gunma Prefecture (2019), and the SCAD Museum of Art in the United States (2021), etc.

His journey of artistic exploration has always been full of adventures and challenges. For collaborative exhibitions, Kato traveled to Hong Kong and became very interested in the local culture and landscape, which prompted him to set up a studio in Ap Lei Chau in the southern region of Hong Kong in 2015. Since then, he began traveling to and forth between Hong Kong and Tokyo, spending roughly one-third of his time in Hong Kong. He would choose materials local to his studio, such as granite, preserving its original shape without cutting or polishing, painting directly on the stone. In 2016, he released his Stone Series. In addition, he sourced fabrics in the shops in Hong Kong, and put them together into three-dimensional forms, diversifying his creative style.

Vertical or horizontal dividing lines are frequently seen in Kato's art, whether they are three-dimensional or two-dimensional figures. "Personally, I like the joints of sculptural parts, whether it is made of wood or soft vinyl. Sometimes I will keep the original appearance of the joints instead of turning them into flat shapes. Intuitively, I believe that it is more interesting to retain the original appearance of joints. Later on, I became aware that preservation of joints enhances the creative information of the work. An idea came to my mind – perhaps I could use it in my paintings. Therefore, I began to create paintings with divided parts."

Kato's childhood dream of playing in a band came true just before turning 50. In 2018, Kato became a drummer for THE TETORAPOTZ rock band he co-founded with his friends, and released a 7-inch vinyl record. Similar to the characteristic primitive and playful elements in his art, this group of unusual and alternative rock band members wear masks during performances. On August

◀ 左：加藤泉《無題》2020 軟膠 皮革 樹脂 細繩 Izumi Kato, Untitled, 2020, Soft vinyl, leather, silicon, string 右：加藤泉《沉默的女子》2001 油彩 畫布 145.5 x 89.4 cm 羅芙奧台北2009秋季拍賣會 成交價TWD 780,000 Izumi Kato, Moku (Silent Woman), 2013, Oil on canvas, 145.5 x 89.4 cm Ravenel Autumn Auction 2009 Taipei sold for USD 24,254 ▶ 加藤泉東京工作室與正在籌備展於紐約貝浩登的作品 Inside Izumi Kato's Tokyo studio with work for his show at Perrotin New York

24, 2018, Kato and THE TETORAPOTZ band members held a live performance at the opening of the Red Brick Art Museum in Beijing. In the following year, the band again performed on the open grass field at the Hara Museum ARC at the Gunma Prefecture, showcasing Kato's diverse talents.

Loved by International Institutions and Collectors

Izumi Kato is exclusively represented by Perrotin, which has successfully promoted his art for sales across the globe through the gallery's branch locations and contacts. His works have been collected by museums and art institutions internationally as well as numerous museums of significance in Japan, including the Museum of Contemporary Art Tokyo, the National Museum of Modern Art in Tokyo, Hara Museum of Contemporary Art, the National Museum of Art Osaka, Toyota Municipal Museum of Art and Okazaki Mindscape Museum in Aichi Prefecture, Takamatsu Art Museum in Kagawa Prefecture, Bernard Buffet Museum in Shizuoka Prefecture, 21st Century Museum of Contemporary Art in Kanazawa City of Ishikawa Prefecture, the Museum of Modern Art, Kamakura & Hayama, Kanagawa Prefecture, S-HOUSE Museum in Okayama Prefecture, and more.

Izumi Kato's art is also highly prized by various entrepreneurs and private museums, including Toyota Motor Corporation in Aichi Prefecture, Takahashi Ryutaro Collection in Tokyo, Taguchi Art Collection, the Colección SOLO in Madrid, Spain, the Japigozzi Collection in Geneva, Switzerland. Several private museums in China have also collected works by Kato, including the Red Brick Art Museum and Zhiguan Museum of Fine Art in Beijing, Long Museum in Shanghai, Sifang Art Museum in Nanjing, Aranya Art Center in Qinhuangdao, and several places in Hong Kong including the Longlati Foundation, K11 and the Centre for Heritage, Arts and Textile (CHAT) etc.

The quirky untitled wooden sculpture (205x56x52cm) by Kato in 2004 has unexpectedly become a source of inspiration for a subcultural Internet social group. SCP Foundation is a fictional spy organization. In the collaborative fiction creative project of the same name, 4chan netizen Moto42 used a sculpture by Kato as the prototype to create a mysterious creature SCP-173 in a fictional story, which made the sculptural image world famous. Currently part of the Takahashi Ryutaro Collection, the work was once part of the "Little Boy" exhibition curated by Takashi Murakami in New York in 2005.

Two oil paintings recommended by Ravenel during its 2021 spring auction attracted bids from Europe, Japan, Taiwan, Hong Kong, and China, as well as collectors online with enthusiastic bids, and sold for double or triple the estimated price. Even though the COVID-19 pandemic still has a tight grip on the global economy, Kato has enjoyed high levels of inquiries for his work from international collectors while he continues to hold

exhibitions in Qinhuangdao, Hong Kong, Tokyo, and New York. There is boundless room for imagination in the future market value of Kato's works.

加藤泉作品二十大拍賣成交排行

1

無題 Untitled 2012 Oil on canvas 194 x 130.3 cm

2

無題 Untitled 2017 Wood, acrylic, soft vinyl 150 x 44 x 30 cm

3 4

無題 Untitled 2008 Oil on canvas 194 x 130.5 cm 無題 Untitled 2008 Oil on canvas 130.3 x 194 cm

5

無題 Untitled 2012 Oil on canvas 194 x 130 cm

預估價 Estimate HK$800,000~1,200,000

成交價 Sold at US$547,336 HK$4,250,000

拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong May 24, 2021

6

無題 Untitled 2007 Oil on canvas 162.1 x 227.3 cm 預估價 Estimate HK$500,000~700,000

成交價 Sold at US$292,628 HK$2,268,000

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong Dec 04, 2020

7

無題 Untitled 2017 Oil on canvas, triptych 149 x 45.5 cm 預估價 Estimate HK$400,000~600,000

成交價 Sold at US$211,342 HK$1,638,000

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong Dec 04, 2020

8

無題 Untitled 2014 Wood, acrylic 63 x 26 x 53 cm 預估價 Estimate HK$800,000~1,500,000

成交價 Sold at US$209,626 HK$1,625,000

拍賣日期 Auction Date 香港佳士得 Christie's, Hong Kong Dec 02, 2020

9

無題 Untitled 2009 Oil on canvas 194 x 130 cm 預估價 Estimate HK$550,000~750,000

成交價 Sold at US$203,214 HK$1,575,000

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong Dec 04, 2020

10

無題 Untitled 2013 Oil on canvas 65.5 x 45.5 cm

預估價 Estimate JPY15,000,000~25,000,000

成交價 Sold at Hammer price: US$169,460 JPY18,500,000

拍賣日期 Auction Date 東京親和 Shinwa Art Auction, Tokyo Apr 16, 2016 預估價 Estimate HK$300,000~500,000

成交價 Sold at US$154,618 HK$1,200,000

拍賣日期 Auction Date 香港保利 Poly Auction, Hong Kong Apr 21, 2021 預估價 Estimate TW$2,200,000~3,200,000

成交價 Sold at US$148,885 TW$4,200,000

拍賣日期 Auction Date 台北羅芙奧 Ravenel, Taipei Dec 06, 2020 預估價 Estimate HK$300,000~400,000

成交價 Sold at US$135,348 HK$1,062,500

拍賣日期 Auction Date 香港蘇富比 Sotheby's, Hong Kong Apr 01, 2019 預估價 Estimate HK$100,000~150,000

成交價 Sold at US$129,022 HK$1,000,000

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong Sep 14, 2020

TOP 20 MOST EXPENSIVE PAINTINGS OF IZUMI KATO EVER SOLD AT AUCTION

TOP 20

製表 ∕ 吳彣薇 Vivian Wu （Update 2021.08.11; Source: Artprice.com, Christie's, Phillips, Shinwa Art Auction, Poly Auction, Ravenel, Sotheby's, SBI Art Auction, Asian Art Auction Alliance, Seoul Auction）

11 12 13 14 15

無題 Untitled 2008 Wood, oil, acrylic, stone and chair H 142.8 cm 無題 Untitled 2008 Oil on canvas 99.8 x 80.09 cm 無題 Untitled 2010 Oil on linen 50 x 65.5 cm 無題 Untitled 2004 Oil on canvas 60 x 80 cm 無題 Untitled 2003 Oil on canvas 65.09 x 91.1 cm

預估價 Estimate JPY8,000,000~12,000,000

成交價 Sold at Hammer price: US$128,384 JPY13,500,000

拍賣日期 Auction Date 東京親和拍賣 Shinwa Art Auction, Tokyo Oct 29, 2016

16

無題 Untitled 2011 Oil on canvas 130 x 80 cm 預估價 Estimate HK$200,000~300,000

成交價 Sold at US$127,775 HK$1,000,000

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong Nov 25, 2019

17

無題 Untitled 2009 Oil on canvas 60.6 x 50 cm 預估價 Estimate HK$150,000~250,000

成交價 Sold at US$121,787 HK$945,000

拍賣日期 Auction Date 香港富藝斯與香港保利 Phillips, Hong Kong & Poly Auction, Hong Kong Jun 07, 2021

18

無題 Untitled 2007 Oil on canvas 194 x 130.3 cm 預估價 Estimate HK$200,000~300,000

成交價 Sold at US$113,668 HK$882,000

拍賣日期 Auction Date 香港富藝斯與香港保利 Phillips, Hong Kong & Poly Auction, Hong Kong Jun 07, 2021

19

無題 Untitled 2005 Oil on canvas 130.5 x 194cm 預估價 Estimate US$25,000~35,000

成交價 Sold at US$113,400

拍賣日期 Auction Date 紐約富藝斯 Phillips, New York Jun 24, 2021

20

無題 Untitled 2014 Wood 35 x 40 x 100 cm

預估價 Estimate HK$350,000~550,000

成交價 Sold at US$112,898 HK$875,000

拍賣日期 Auction Date 香港富藝斯 Phillips, Hong Kong Jul 09, 2020 預估價 Estimate JPY2,500,000~3,500,000

成交價 Sold at US$91,221 JPY9,545,000

拍賣日期 Auction Date 東京SBI藝術 SBI Art Auction, Tokyo Oct 31, 2020 預估價 Estimate HK$300,000~500,000

成交價 Sold at Hammer price: US$89,879 HK$700,000

拍賣日期 Auction Date 香港亞洲國際藝術拍賣聯盟 Asian Art Auction Alliance, Hong Kong May 28, 2010 預估價 Estimate HK$470,000~650,000

成交價 Sold at Hammer price: US$87,720 HK$680,000

拍賣日期 Auction Date 首爾首爾拍賣 Seoul Auction, Seoul May 15, 2009 預估價 Estimate HK$90,000~150,000

成交價 Sold at US$85,040 HK$660,000

拍賣日期 Auction Date 香港保利 Poly Auction, Hong Kong Apr 21, 2021