The World Through His Unique Filter
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創刊 2012年5月 First issue May, 2012
季刊 Quarterly
登記證 中華郵政臺北雜字第1883號執照登記為雜誌交寄
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Yuichi Hirako's Exploration of the Relationship Between Humans and Nature
濾鏡裡的世界：
平子雄一探索人類與自然的關係
Text / 陳惠黛 Odile Chen Image / Ravenel International Yuichi Hirako
來自大自然環繞之地
八月的日本岡山縣，時序進入初秋，暑氣尚未 消去，仍見翠綠盎然。這座三十年前（1994）由 世界知名建築師磯崎新（Isozaki Arata）所打造 的奈義町現代美術館（Nagi Moca），是岡山的重 要地標，是一座結合藝術品的公共建築美術館。
此時正在舉辦了一檔名為「理想風景」（Ideal Landscape）的藝術展覽。據新聞稿指出，這次是 岡山縣最大型的展覽，也是42歲日本藝術家平子 雄一（Yuichi Hirako）揚名於海外後，返回故鄉 舉辦的一檔重要個展，展出「樹人」與他的世界， 以及描繪山川湖泊的巨型立體作品，探討人類創造 的理想化風景。
平子雄一 1982年9月20日出生於日本岡山的 農村，岡山素有「水果之鄉」和「晴天之國」的美 譽，物產豐饒，風光明媚。平子雄一認為，得益於 岡山的自然環境，方能孕育出他關注自然與人類 關係的長期創作思維。兒時的記憶裡，四處可見 田野、綠意，遠處有高山，生活被大自然圍繞，
一切都是理所當然。大自然的豐富性，親近人的 感覺，也始終滋養著他的心靈，那是家的所在、 生命的起源。
在今年奈義町現代美術館展覽之前，平子雄一 才結束於韓國首爾漢南洞 Gallery Baton名為「新 家」（New Home）的個展，勾勒出未來理想世界 的願景與質疑。這不是他第一次在韓國的展覽， 平子雄一已是國際知名的藝術家，他的作品曾在 多個世界 主要城市曝光。例如，2023年的冬天， 在香港中環 Hermès 旗艦店的聖誕節點燈，建築物 外觀金色繽紛的森林意象，就是平子雄一的聯名 設計，櫥窗展示著他的六棵樹的立體裝置。「森」 的漢字是三個木的會意文字，趣味的組合，既有 聖誕節氣氛，也有平子雄一標誌的「樹人」意趣。 Hermès 尋覓傑出當代藝術家並與其合作，已經行 之有年，藝術家的創作理念符合法國時尚品牌的 創意發想，甚獲好評，也成為民眾打卡熱點。
「理想風景」展覽現場照片,奈義町現代美術館 "Ideal Landscape" exhibition, Nagi MOCA (Museum of Contemporary Art)
《剩餘 3》2018年 壓克力 畫布 162 x 130 cm
平子雄一
Yuichi Hirako, Leftover3 , 2018, Acrylic on canvas, 162 x 130 cm Ravenel Autumn Auction 2024 Modern & Contemporary Art
聞名國際，十餘年參展不間斷
這些年平子雄一的主要個展，除了東京本 地的商業畫廊：額賀古太郎Kotaro Nukaga畫 廊、等候室Waiting Room、第一生命畫廊Daiichi Life Gallery以及hpgrp Gallery等。此外， 亞洲主要城市如首爾在Gallery Baton（2021年； 2024年）與可隆文化 Space K（2023年）都先後 舉行盛大個展；台北的伊日藝術／後樂園 YIRI ARTS/BACK_Y（2016年；2018年；2022年）， 伊日藝術是和平子雄一合作最久的畫廊，超過十 年以上；香港的Warehouse Gallery（2020年）， 甚或東南亞菲律賓和新加坡The Drawing Room （2013年）畫廊展出；更遠的歐洲荷蘭鹿特丹的 Zerp Galerie（2019年）、哥本哈根克里斯托弗． 埃格隆德畫廊Galleri Christoffer Egelund（2014 年；2017年）；還有美國舊金山的Fouladi Projects（2016年）等等，都曾經先後舉辦過平 子雄一的個人藝術展，十多年來見證藝術家的生 涯演進。
同時他的作品也受邀參加知名博物館的聯 展，如練馬區立美術館（2022年）、上海寶龍美
術館（2018年）、東京都現代美術館（2010年）、 （2021年）、佐倉市立美術館、東京歌劇城美 術館、上野之森美術館、群馬縣立近代美術館 （2010）等等。知名博物館的展出，有助於提升 藝術家的學術定位。
平子曾經獲得多個獎項，例如2009年「Shell 美術賞」、2010年東京都現代美術館的 「Tokyo Wonder Wall 賞」，以及2013年上野之森美術 館「VOCA獎勵賞」，以及2020年岡山縣鼓勵 新進美術家的「Ｉ氏賞」（伊藤謙介獎）等榮譽。
在公共機構收藏方面，平子雄一作品曾獲 荷蘭的利瑟美術館（Lisser Art Museum）與 阿克蘇諾貝爾藝術基金會（AkzoNobel Art Foundation）、瑞士的讓．皮戈齊收藏館（Jean Pigozzi Collection）；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；韓國的U.PINE MED與可隆文 化Space K等機構收藏，確定了平子雄一國際間 的名氣及市場熱度。
Hermès 中環旗艦店，圖片為Bazaar文章擷取。
(The flagship store in Central, Hong Kong, photo: Bazaar official website excerpt)
英國留學經驗對人造自然產生好奇
平子雄一目前工作及生活於東京。回顧他的成 長背景與創作生涯，1980年代後期日本面臨泡沫 經濟的衝擊，隨之股市崩盤，產業蕭條，曾經傲 視全球的經濟奇蹟到了1990年代初期驟然停止， 日本進入「失落的三十年」。加上人口高齡化日 益嚴重，整體社會集體呈現無力感與失落感。鄉 村的年輕人必須到城市才有發展，甚或到海外尋 求機會。
高中畢業後不久，18歲的平子雄一前往倫敦就 學，展開生涯的探索。2006年順利畢業於英國溫 布頓藝術學院（Wimbledon College of Arts），取 得美術（榮譽）學士學位。溫布頓藝術學院，隸 屬於倫敦藝術大學，在英國諸多藝術院校排名中， 僅次於英國皇家藝術學院。倫敦藝術大學，以美 術和戲劇藝術教育聞名於歐洲，是一所書院聯邦 制大學，由七所著名的藝術、設計、時尚與傳播 學院聯合而成：倫敦傳媒學院、倫敦時裝學院、
坎伯威爾藝術學院、切爾西藝術與設計學院、溫 布頓藝術學院、中央聖馬丁藝術與設計學院、創 意電腦研究所等。
在英國留學期間，平子雄一注意到倫敦有不少 大型公園，假日時常常聚集大量群眾在此休憩。 此外，路旁常可見觀賞用植物、行道樹和小公園。 雖然都是一些人工的造景，但市民也喜愛這些人 造的自然。種種有趣的現象讓他開始注意到：人 類與周遭自然的關係。他在創作中開始探索大自 然，描繪如童話一般的森林世界，作品裡頭有花 鳥蟲魚、花草樹木，還有建築物，譜出一幅幅舞 台劇場。後來，他認為應該要有人類的參與，人 的行為，讓植物，抑或自然，產生有趣的觸動。
他的創作揉合了兒時記憶，以及求學期間的生 命經歷，還有反映當下社會的情境與訴求。慢慢 地，他所描繪的世界，張狂的樹枝，叢生的植物， 書本、花瓶、盆栽、樂器、車輛、船隻、工具、 動物，或是各類生活的痕跡，彷彿是「都市叢林」， 但也像是「叢林都市」。乍看像是森林景色，仔 細一看都是人工刻意的造景。評論家判斷平子雄 一想要表達的是，「其實人類是無法真正都市化 的，人類的本性還是無法放棄自然。」
平子雄一 《閑散》2012年 壓克力 畫布 135 x 165 cm
羅芙奧2022秋季拍賣會 成交價 TWD 2,400,000
Yuichi Hirako, InIdleness , 2012, Acrylic on canvas, 135 x 165 cm
Ravenel Autumn Auction 2022, sold for USD 78,457
木靈？樹人？
平子雄一的早期創作風格調性偏暗，帶有神聖 性與敬畏宇宙的寓意。評論家認為，藝術家似乎 引用日本神道教的「木靈」（こだま，Kodoma） 傳說，創作出他的「樹人」形象。古老傳說森林 有一種精靈或者樹神，可以敏捷的自由移動，看 似普通的樹，卻擁有神秘的力量，祂所居住的樹 木稱之為「木靈」。
木靈是受到保護的，也守護著森林，與樹木融 為一體。若砍伐帶有木靈的樹木，恐會招來厄運。 「木靈」的形象源自「萬物有靈論」的神道教傳統， 在日本文學、動漫和其他的藝術形式經常可見。
其實，在中華古老文化中，同樣有類似的概念， 一直傳承到今日，民間習俗對老樹、山神、天地 多心懷敬畏。
平子雄一的創作，有其一貫的延續性，大抵在 探討人類與自然對應的關係。在2020年《美術手 帖》雜誌的採訪文時，提及平子畢業展參展作品 是一幅鉛筆圖畫。平子雄一回道：「當我在學校 的時候，我嘗試了很多東西，所以很難確定主題。
我最後一個畢業設計創作的一幅圖畫，描繪了植 物和人造物件的景觀。當我深入研究這幅畫時， 我開始欣賞植物和人類的主題。」
突破空間識別。二維與三維作品交錯
回到日本後，他意識到自己的繪畫風格與野獸 派相近，於是他認為運用顏色有其必要性。同時， 擴大畫作尺幅與規模也是必須的。當他作畫時， 畫布先不裱褙內框，因為他不喜歡運筆時，畫布 有彈性的感覺。將畫布直接黏貼於牆上，畫筆直 接對上畫布牆，施以力度。平子雄一以探索植物 與人類關係的主題，也隨著畫布規模的加大，更 能彰顯氣勢。
平子雄一「旅行」 2023 展覽現場照片，SPACE K Seoul 美術館
Yuichi Hirako ''Journey'' 2023 exhibition, SPACE K Seoul museum of Art
2013年左右，他將創作延伸至三維的立體 作品，藉此表現具體化及深度的傳達，創建 一個無法逃避作品概念的空間，饒富興味。
平面和立體作品同時並進，彼此競爭，有自 我意識感。有時在立體作品表面描繪時，也 能打破空間識別的界線。無論在他的二維或 三維作品，經常出現頭部長著植物或樹的「樹 人」，穿著打扮與時下年輕大男孩並無二致。 他承認「樹人」是他本人的投射。他是畫中 的焦點，被觀看的對象，同時，他也是一位 觀看者，凝視著正在欣賞畫面的觀眾。樹人 的形象，代表著人類和大自然之間的摩擦， 他是荒野森林裡遊蕩的樹人，也是人類文明 破壞後的記錄者。
近期他的作品色彩愈來愈五彩繽紛，雖然 看似描繪都會叢林，然而過於鮮豔的色彩， 所欲模擬自然造景，反而增加突兀與人工造 作的感覺。有時會以蠟筆塗抹，產生原始塗 鴉的趣味。盆栽，花瓶也是他的作品中不斷 出現的符號，植物被禁錮在人造的空間裡， 模擬自然環境的樣貌。森林裡的植物，和盆 栽內的植物，互為表裡的對照。平子雄一， 持續以繪畫和立體雕塑，建構他眼中的蠻荒 且具有魔幻感染力的烏托邦世界。。
他欣賞的現當代藝術名家
平子雄一從高中時，即十分欣賞日本近代畫家 佐伯祐三（Yuzo Saeki, 1898-1928）。佐伯祐三 曾留學法國，結識野獸派畫家烏拉曼克（Maurice de Vlaminck, 1876-1958）。儘管早逝，仍留下不 朽的巴黎街景畫與人物畫像。平子雄一認為，佐 伯畫中的混亂，有點髒髒的不太明亮色彩，意外 地令人著迷，屬於二戰前歐洲獨特的頹廢氛圍。
受到前輩的啟發，平子雄一創作時，刻意地不常 清洗筆刷，在一張圖畫未完成時，不要換水，讓 整體色調有一致性。最特別的是，他使用最大容 量的「特百惠」（Tupperware）塑膠容器充當調 色盤，將顏料調和成一種色彩。
在當代藝術家中，他喜歡奧拉佛．艾里亞森 （Olafur Eliasson，1967年生）。2013年左右， 他在泰特現代美術館，看到艾里亞森創造的宏大 夕陽場景，作品《小太陽》（Little Sun）計畫， 提供社會參與與自然對話，以人造太陽的本質， 形成巨大的力量。這樣的作品也讓平子雄一思考 他自己探索植物和自然的關係。
平子雄一的創作，不僅只於繪畫、雕塑、裝置 以及公共藝術，還有聲音、影像，未來他也想拍 攝偽紀錄片。持續關注於當下人類面臨的自然與 生態環境議題。
藝術市場情況
多年來平子雄一透過與國際代理畫廊的展覽合 作與持續推廣，在歐洲如北歐斯堪地那維亞半島 和荷蘭擁有一些收藏家，歷史相近的史詩神話背 景，歐洲收藏家能以開放的態度接受他的作品。
亞洲在日本韓國和台灣，文化底蘊更為接近，對 於日本的傳統文化或是西化，都能相互包容，也 能就藝術家的性格能夠欣賞他的創作。
台灣的《CANS藝術新聞》雜誌2004年2月 號雜誌，介紹了「2023亞洲當代之最：年度最佳 明日之星」，有12位受評選的亞洲藝術家，平子 雄一是唯一入圍的日本藝術家。本獎項針對出生 於1980、1990年代後於前一年度有出色表現的新 興藝術家，能獲評審青睞入圍也是一種肯定。
在求學期間，2005年平子雄一即開始參與當 地的聯展展出。畢業後返回日本，也在日本尋求 曝光機會。2008年他曾參加村上隆的第11屆「藝 祭」（Geisai）展出。2010年在東京舉辦首次個 展，此後持續在海內外畫廊、美術館、藝博會中 展出，在一級市場漸漸奠定基礎。2015年秋天他 的作品開始進入二級市場。有一幅他的百號油畫 首度在香港佳士得拍賣公司上拍，初登場拍出金 額約四十萬台幣（HK$93,750或US$12,094）。
2016年第二件作品也在同一拍賣公司上拍， 隨後2018年秋在丹麥的哥本哈根有七十多年歷史 的拉斯穆森拍賣公司Bruun Rasmussen陸續上拍， 2020年香港另一家拍行邦瀚斯，2021年春東京的 SBI、台北的羅芙奧，2022年春倫敦蘇富比、首爾 拍賣…等等，平子雄一的作品成為各家拍賣公司 的常客與受關注意樹家，累績至今（2024年9月） 已經約有143組各媒材作品上拍。根據Artprice 公布的數據，2022年度平子雄一的拍品交易量與 金額最高，有達到US$2,117,010之多。
平子雄一 《夜光植物 3》2014年 壓克力 畫布 46 x 46 cm
羅芙奧2021秋季拍賣會 成交價 TWD 432,000
Yuichi Hirako, LuminousPlant3 , 2014年, Acrylic on canvas, 46 x 46 cm
Ravenel Autumn Auction 2021, sold for USD 15,584
平子雄一 《常年 03》2019年 壓克力 畫布 194 x 162.2 cm (76 3⁄8 x 63 7⁄8 in.)
香港佳士得2022年拍賣 成交價 HKD 2,394,000 Yuichi Hirako, Perennial03 , 2019, Acrylic on canvas, 194 x 162.2 cm (76 3⁄8 x 63 7⁄8 in.)
Christie's, Hong Kong Auction 2022, sold for USD 304,999
目前最高價的油畫作品是2022年5月27日 香港佳士得拍出的《常年03》（2019年作）， 成交金額約台幣900萬元（HK$2,394,000或 US$304,999）。目前最高價的立體雕塑作品 是2024年6月2日在台北羅芙奧拍出的《木之 森01》（2022年作），成交金額台幣312萬 （US$96,296）。
作為日本當代藝術一位耀眼的新星，平子雄一 的市場行情呈現穩定成長，並無過度激烈的漲漲 跌跌。對於創作，他有其一脈的思考邏輯，不疾 不徐地，持續透過精益求精的作品呈現眾人眼前。
推薦這位有深度 思考的藝術家，可以好好認識他 的創作內涵。
在平子雄一40歲生日那天（2022年9月20 日），他在臉書上寫了一則文：「經過統計，自 2010年在商業畫廊出道以來，我已經舉辦了38次 個展，參加了68次聯展，還有各種博覽會和活動， 非常多！感激不盡！真的非常感謝。只要多試幾 次，幾乎都會成功的！距離退休還有60年，我要 繼續努力！今後也請大家多多關照。」
他的心願是持續創作至一百歲方休，認真作畫 的日本當代藝術新瑞，勇於接受挑戰，最近一兩 年參與的展覽計畫，每年超過十次以上，精神令 人感佩。眼鏡男孩平子雄一，用他的特有「濾鏡」 觀看他所欲表現的世界樣貌，持續發表中。
Yuichi Hirako's Exploration Of the Relationship Between Humans and Nature
Surrounded by Nature
In August, Okayama in Japan transitions into early autumn, though the summer heat still lingers, and the vibrant greenery remains.
The Nagi Museum of Contemporary Art (Nagi MOCA), an iconic landmark in Okayama designed by the world-renowned architect Isozaki Arata in 1994, stands as a public art museum that merges art with architecture. It is currently hosting an exhibition titled "Ideal Landscape." According to the press release, this is the largest exhibition ever held in Okayama, and it marks an important solo show for the 42-year-old Japanese artist Yuichi Hirako, who, after gaining international acclaim, returns to his hometown to exhibit. The show features Hirako's signature "treeman" and his world, along with large-scale works depicting mountains, rivers, and lakes, exploring the human-created idealized landscapes.
Yuichi Hirako was born on September 20, 1982, in a rural area of Okayama, which is known as the "Land of Fruits" and "Sunny Country" due to its rich natural resources and beautiful scenery. Hirako believes that the natural environment of Okayama deeply influenced his long-standing focus on the relationship between nature and humans in his art. His childhood memories are filled with images of fields and greenery, with mountains in the distance, and a life surrounded by nature seemed entirely natural. The richness of the natural world and its closeness to people have
always nourished his soul, symbolizing home and the origin of life.
Before his exhibition at the Nagi Museum of Contemporary Art this year, Hirako had just wrapped up a solo show titled "New Home" at Gallery Baton in Hannam-dong, Seoul, South Korea. In this exhibition, he explored the idea of an ideal future world, questioning its feasibility and offering a critical perspective. This was not Hirako’s first exhibition in Korea; as an internationally acclaimed artist, his work has been displayed in major cities across the globe. One notable example is his 2023 collaboration with the Hermès flagship store in Central, Hong Kong. Hirako designed the store’s Christmas light installation, transforming the building’s exterior into a golden, festive forest. This installation featured six tree-shaped sculptures in the window display, embodying the spirit of the season while showcasing Hirako’s signature "tree people." The Kanji for "forest" ( 森 ), composed of three "tree" ( 木 ) characters, added a playful and symbolic touch, seamlessly blending Christmas tradition with Hirako’s unique artistic vision. Hermès, known for partnering with leading contemporary artists whose creativity aligns with the brand's innovative ethos, received widespread acclaim for this collaboration, with Hirako’s work quickly becoming a favorite backdrop for public photos and a celebrated feature of the holiday season
International Acclaim and Over a Decade of Continuous Exhibitions
Over the years, Yuichi Hirako has held numerous solo exhibitions at major galleries, including prominent commercial galleries in Tokyo such as Kotaro Nukaga Gallery, Waiting Room, Dai-ichi Life Gallery, and hpgrp Gallery. Additionally, Hirako has exhibited in major Asian cities, with notable solo shows at Gallery Baton in Seoul (2021, 2024), and Space K in Korea Kolon Culture (2023). In Taipei, YIRI ARTS/BACK_Y (2016, 2018, 2022), which has collaborated with Hirako for over ten years, remains one of his longest-standing gallery partners. He has also exhibited at Warehouse Gallery in Hong Kong (2020) and in Southeast Asia at The Drawing Room in the Philippines and Singapore (2013). His work has reached even further into Europe with exhibitions at Zerp Galerie in Rotterdam (2019) and Galleri Christoffer Egelund in Copenhagen (2014, 2017), as well as in the United States at Fouladi Projects in San Francisco (2016). These exhibitions over the past decade have tracked the evolution of Hirako’s artistic career.
Hirako’s works have also been featured in group exhibitions at renowned museums, including the Nerima Art Museum (2022), Powerlong Museum in Shanghai (2021), Sakura City Museum of Art, Opera City Art Gallery in Tokyo (2018), the Museum of Contemporary Art Tokyo (2010), Ueno Royal Museum, and The Museum of Modern Art, Gunma (2010). These museum exhibitions have contributed to enhancing his academic standing as an artist.
Hirako has received numerous awards, such as the Shell Art Award (2009), the Tokyo Wonder Wall Award at the Museum of Contemporary Art Tokyo (2010), the VOCA Encouragement Prize at the Ueno Royal Museum (2013), and the Mr. I Prize (Ito Kensuke Award) in Okayama, which supports emerging artists (2020).
In terms of public collections, Hirako’s works have been acquired by prestigious institutions including the Lisser ArtMuseum and AkzoNobel Art Foundation in the Netherlands, the Jean Pigozzi Collection in Switzerland, The Dai-ichi Life Insurance Company in Japan, and several in China, including the Long Museum, Powerlong Museum, By Art Matters, and Modern Media. His works are also part of collections in South Korea, such as U.PINE MED and Kolon Culture Space K. These acquisitions confirm Hirako’s growing international reputation and market prominence.
「Mite Hanasou」 2019
''Mite Hanasou'' 2019 exhibition, Sakura city museum of Art
The Influence of Studying in the UK on Hirako's Curiosity About Artificial Nature
Yuichi Hirako currently lives and works in Tokyo. Reflecting on his background and artistic career, he grew up in Japan during a turbulent economic period. In the late 1980s, Japan faced the impact of the bursting of the economic bubble, which led to a stock market crash and industrial decline. By the early 1990s, Japan's oncemiraculous economy came to a sudden halt, marking the start of the "Lost Thirty Years." With an aging population becoming more of a challenge, society as a whole began to experience feelings of powerlessness and disillusionment. Young people from rural areas had to move to cities for opportunities or even seek them abroad.
Shortly after graduating high school, at the age of 18, Hirako moved to London to study and begin exploring his future. In 2006, he graduated from Wimbledon College of Arts in the UK with a Bachelor of Arts (Hons) degree in Fine Art: Painting. Wimbledon College of Arts, part of the University of the Arts London, is highly ranked among UK art schools, second only to the Royal College of Art. The University of the Arts London is renowned across Europe for its fine arts and theater arts education and operates as a federal university made up of seven prestigious schools, including the London College of Communication, London College of Fashion, Camberwell College of Arts, Chelsea College of Arts, Wimbledon College of Arts, Central Saint Martins, and the Creative Computing Institute.
While studying in the UK, Hirako noticed that London had many large parks, which were frequently packed with people on weekends. He also observed ornamental plants, street trees, and small parks along the roadsides. Though these were all man-made landscapes, city residents enjoyed these artificial forms of nature. These intriguing phenomena sparked his interest in the relationship between humans and the natural environment.
In his work, Hirako began to explore nature, depicting fairytale-like forest worlds filled with birds, insects, flowers, trees, and buildings, creating a theatrical atmosphere. Over time, he felt that human involvement should also play a role, with human behavior interacting with plants or nature in ways that produced interesting effects.
Hirako's creations blend childhood memories, life experiences from his time studying abroad, and reflections on contemporary societal conditions and concerns. Gradually, his work evolved into worlds filled with wild branches, flowers, trees, books, vases, potted plants, musical instruments, vehicles, boats, tools, animals, and various traces of human life. These scenes resemble "urban jungles," but also feel like "jungles within cities." At first glance, his work seems to depict natural forests, but upon closer inspection, it reveals that everything is part of a deliberately crafted landscape. Critics suggest that Hirako is expressing the idea that "humans can never truly be urbanized; we are fundamentally unable to abandon nature."
平子雄一 《Cropping 16》2018 壓克力 紙 拼貼 畫布 72.7 x 91 cm
成交價 TWD 2,040,000
Yuichi Hirako, Cropping16 , 2018, Acrylic, paper and collage on canvas, 72.7 x 91 cm Ravenel Spring Auction 2022, sold for USD 69,435
Kodoma? Treeman?
In Yuichi Hirako's early works, the tone was darker, imbued with a sense of sacredness and awe for the universe. Critics have suggested that the artist drew inspiration from the Japanese Shinto legend of "Kodama" ( こだま ), creating his iconic "Treeman" figure. According to ancient legends, forests are home to spirits or tree gods, which can move freely and swiftly. What appear to be ordinary trees possess mysterious powers, and the trees inhabited by these spirits are known as "Kodama."
Kodama are protected beings that, in turn, safeguard the forest, becoming one with the trees. Cutting down a tree inhabited by a Kodama is believed to bring misfortune. The image of Kodama originates from the animistic beliefs of Shinto tradition, and it frequently appears in Japanese literature, anime, and other art forms. Interestingly, similar concepts exist in ancient Chinese culture, where reverence for old trees, mountain gods, and the natural world has been passed down through the ages and remains a part of contemporary folk customs.
Hirako's creations consistently explore the relationship between humans and nature. In a 2020 interview with the magazine Bijutsutecho, Hirako mentioned a pencil drawing he had exhibited for his graduation show. Reflecting on it, he said, "While I was at school, I was trying a lot of things, so it was hard to pinpoint the theme. One of the drawings I was making for my last graduation project was one that depicts a landscape of plants and artificial objects. As I delved into this drawing, I came to appreciate the theme of plants and humans."
平子雄一 《花園回憶－非洲鳳仙花Ⅱ》2011-2014年 壓克力 畫布 53 x 46 cm
羅芙奧2021春季拍賣會 成交價 TWD 240,000
Yuichi Hirako, MemoriesofMyGarden-ImpatiensWallerianaII , 2011-2014年, Acrylic on canvas, 53 x 46 cm
Ravenel Spring Auction 2021, sold for USD 8,571
平子雄一 《木之森01》2022年 木 壓克力 油漆（單一件）94 (長) x 84 (寬) x 140 (高) cm
羅芙奧台北2024春季拍賣會 成交價 TWD 3,120,000
Yuichi Hirako, WoodenWood01 , 2022, Wood acrylic, paint (unique),
94 (L) x 84 (W) x 140 (H) cm, Ravenel Spring Auction 2024, sold for USD 96,296
Breaking the Boundaries of Space: A Fusion of 2D and 3D Works
After returning to Japan, Yuichi Hirako realized that his painting style resembled Fauvism, prompting him to recognize the importance of using bold colors. He also saw the need to expand the size and scale of his paintings. When working, he refrains from stretching the canvas over a frame, as he dislikes the elasticity when the brush meets the canvas. Instead, he directly adheres the canvas to the wall, allowing him to apply force more freely. His exploration of the relationship between plants and humans became even more dynamic as the size of his canvases increased, amplifying their impact.
Around 2013, he began expanding his work into threedimensional sculptures, aiming to convey concepts with greater concreteness and depth, and creating a space where the concept of the work is inescapable and intriguing. Both his two-dimensional and three-dimensional works progress simultaneously, each challenging and competing with the other, and each possessing a sense of self-awareness. Sometimes, the surface of his three-dimensional works can also blur the boundaries of spatial recognition. In both his two-dimensional and three-dimensional pieces, the "Treeman"—a figure with plant or tree-like features for a head and dressed like a modern young man—frequently appears. He acknowledges that the "Treeman" is a projection of himself. This figure is the focal point of the artwork, the object of observation, and simultaneously, he is also a viewer, gazing at the audience observing the artwork. The "Treeman" symbolizes the friction between humanity and nature; he is both a wanderer in the wilderness and a recorder of the aftermath of human civilization's destruction.
In recent years, Hirako's works have become increasingly colorful. Although they may depict urban jungles, the overly vibrant colors, intended to mimic natural landscapes, often add an artificial and jarring effect. At times, he uses crayons to create a playful, primitive graffiti-like texture. Symbols such as potted plants and vases frequently appear in his work, where plants are confined to artificial spaces, mimicking the appearance of a natural environment. The plants in the forest and those in pots form a contrasting relationship. Through both painting and sculpture, Hirako continues to construct his vision of a wild, magically captivating utopian world.
Modern & Contemporary Artists He Admired
Since high school, Yuichi Hirako has greatly admired the modern Japanese painter Yuzo Saeki (1898-1928). Saeki studied in France and became acquainted with Fauvist painter Maurice de Vlaminck (1876-1958). Despite his early death, Saeki left behind immortal works depicting Parisian streets and portraits. Hirako is particularly drawn to the chaotic, somewhat dirty, and dim color palette in Saeki's paintings, which evokes a unique sense of decadence from pre-World War II Europe. Inspired by Saeki, Hirako intentionally avoids frequently cleaning his brushes while working. He often doesn't change the water when a painting is incomplete, which lends consistency to the overall color tone. Uniquely, he uses the largest "Tupperware" plastic container as a palette to mix his paints into a specific color.
Among contemporary artists, Hirako admires Olafur Eliasson (b. 1967). Around 2013, he saw Eliasson's monumental sunset installation, Little Sun, at Tate Modern. This work, which engages with social participation and nature, using an artificial sun as its core, left a deep impression on Hirako. It prompted him to further reflect on his own exploration of the relationship between plants and nature.
Hirako’s creative output spans not only painting, sculpture, installation, and public art, but also sound and video works. In the future, he hopes to create mockumentaries. His work continues to focus on current issues surrounding humanity, nature, and the environment.
平子雄一 《Full Bloom 5 ; Green Master 37 ( a set of 2)》2015 壓克力
畫布 53 x 45.5 cm (每件)
羅芙奧2022春季拍賣會 成交價 TWD 1,680,000
Yuichi Hirako, FullBloom5;GreenMaster37(asetof2),2015, Acrylic on canvas, 53 x 45.5 cm (每件)
Ravenel Spring Auction 2022, sold for USD 57,182
平子雄一 《樹屋 7》2013年 壓克力 畫布 80 x 100 cm
羅芙奧2021秋季拍賣會 成交價 TWD 2,280,000
Yuichi Hirako, TreeHouse7 , 2013, Acrylic on canvas, 80 x 100 cm
Ravenel Autumn Auction 2021, sold for USD 82,251
Art Market Overview
Over the years, Hirako has collaborated with international galleries to exhibit and promote his work. He has built a following in Europe, particularly in Scandinavia and the Netherlands, where collectors resonate with his work due to their shared historical and mythological backgrounds. In Asia, particularly Japan, Korea, and Taiwan, there is a deeper cultural affinity with his work. These regions can appreciate both traditional Japanese culture and its Western influences, making Hirako’s personality and creations widely admired.
In February 2024, Taiwan's CANS magazine highlighted Hirako as the only Japanese artist in their "Asian Contemporary Art Best of the Year: Future Superstar of Asian Artists/Post-80s & 90s" list, which selected 12 emerging artists born in the 1980s and 1990s who had
shown outstanding performance in the previous year. Being shortlisted by the jury is a significant acknowledgment of his talent.
During his studies, Hirako began participating in group exhibitions in 2005. After graduating and returning to Japan, he sought exposure opportunities locally. In 2008, he participated in the 11th Geisai exhibition organized by Takashi Murakami. In 2010, he held his first solo exhibition in Tokyo. Since then, he has continued to exhibit in galleries, museums, and art fairs both domestically and internationally, gradually establishing a foundation in the primary market. His work entered the secondary market in the fall of 2015 when one of his large oil paintings was auctioned at Christie's Hong Kong, selling for approximately NT$400,000 (HK$93,750 or US$12,094).
In 2016, a second piece was auctioned by the same company, and in the fall of 2018, another work was sold through Bruun Rasmussen in Copenhagen, a Danish auction house with over 70 years of history. His work appeared at Bonhams in Hong Kong in 2020, followed by auctions at SBI in Tokyo and Ravenel in Taipei in 2021, and at Sotheby’s in London and Seoul Auction in 2022. As of September 2024, Hirako's works have been featured in approximately 143 auction lots worldwide, spanning various mediums. According to Artprice data, his highest auction volume and revenue occurred in 2022, reaching a total of US$2,117,010.
Yuichi Hirako, Untitled
His most expensive painting to date, “Perennial 03” (2019), was sold at Christie's Hong Kong on May 27, 2022, for around NT$9 million (HK$2,394,000 or US$304,999). His most expensive sculpture, “Wooden Wood 01” (2022), was auctioned by Ravenel in Taipei on June 2, 2024, fetching NT$3.12 million (US$96,296).
As a rising star in Japan’s contemporary art scene, Hirako’s market value has shown steady growth, without dramatic fluctuations. His thoughtful approach to his craft is reflected in his continuous refinement and presentation of his work. On his 40th birthday (September 20, 2022), Hirako posted on Facebook: “After counting, I’ve realized that since my debut at a commercial gallery in 2010, I’ve held 38 solo exhibitions and participated in 68 group shows, along with various fairs and events—so many! I’m incredibly grateful! Thank you all so much. As long as you keep trying, you’ll succeed most of the time! I still have 60 years until retirement, so I’ll keep pushing forward! Please continue to support me.”
Hirako’s aspiration is to continue creating art until he’s 100 years old. As a conscientious and daring new figure in Japan’s contemporary art world, his willingness to embrace challenges is evident. In the past year or two, he has participated in over ten exhibitions annually, a testament to his tireless spirit. Through his unique "filter," the bespectacled Yuichi Hirako continues to express the world as he sees it, sharing his evolving vision with the public.
「理想風景」展覽現場照片,奈義町現代美術館 "Ideal Landscape" exhibition, Nagi MOCA (Museum of Contemporary Art)
平子雄一 《無題》2014 壓克力 畫布 90 x 90 cm
羅芙奧2023秋季拍賣會 成交價 TWD 1,560,000
Yuichi Hirako, Untitled , 2014, Acrylic on canvas, 90 x 90 cm
Ravenel Autumn Auction 2023, sold for USD 49,571
平子雄一作品二十大拍賣成交排行
常年03 Perennial 03
2019
Acrylic on canvas 194 x 162.2 cm
預估價 Estimate HKD 180,000 ~ 280,000
成交價 Sold at USD 304,999 HKD 2,394,000
拍賣日期 Auction Date
香港佳士得 Christie's, Hong Kong May 27, 2022
殘留物9 Leftover 9
2018
Acrylic on canvas (diptych) 194 x 162 cm
預估價 Estimate HKD 300,000 ~ 500,000
成交價 Sold at USD 275,355
HKD 2,142,000
拍賣日期 Auction Date
香港佳士得 Christie's, Hong Kong December 1, 2022
怔怔出神5 Lost in Thought 5
on canvas
x 227.4 cm
預估價 Estimate JPY 3,000,000 ~ 5,000,000
成交價 Sold at USD 204,768
JPY 24,000,000
拍賣日期 Auction Date
東京SBI
SBI, Tokyo March 12, 2022
綠之主—50 Green Master – 50
2018
Acrylic on canvas 164 x 132 cm
預估價 Estimate HKD 300,000 ~ 500,000
成交價 Sold at USD 104,822
HKD 819,000
拍賣日期 Auction Date
香港佳士得 Christie's, Hong Kong May 29, 2024
常年10 Perennial 10 2020
on canvas
x 130.2 cm
預估價 Estimate HKD 400,000 ~ 800,000
成交價 Sold at USD 96,852
HKD 756,000
拍賣日期 Auction Date
香港佳士得 Christie's, Hong Kong November 29, 2023
8 4 9
常年11月6日 Perennial 6, Nov
2019
Acrylic on canvas 161.9 x 130.3 cm
預估價 Estimate HKD 400,000 ~ 600,000
成交價 Sold at USD 137,517 HKD 1,079,500
拍賣日期 Auction Date
香港富藝斯 Phillips, Hong Kong March 31, 2023
怔怔出神37 Lost in Thought 37
on canvas
預估價 Estimate HKD 100,000 ~ 200,000
成交價 Sold at USD 96,335 HKD 756,000
拍賣日期 Auction Date
香港佳士得 Christie's, Hong Kong June 28 – July 7, 2022
木之森01 Wooden Wood 01
2022
Wood acrylic, paint (unique) 94 (L) x 84 (W) x 140 (H) cm
預估價 Estimate TWD 1,400,000~ 2,400,000
成交價 Sold at USD 96,296 TWD 3,120,000
拍賣日期 Auction Date
台北羅芙奧 Ravenel, Taipei June 2, 2024
花園回憶/教導 Memories of My Garden/ Instruction
2011
5 10 2 7 1 6
Acrylic on canvas
160 x 160 cm
預估價 Estimate DKK 500,000 ~ 600,000
成交價 Sold at USD 119,069 DKK 850,000
拍賣日期 Auction Date
哥本哈根布倫．拉斯穆森 拍賣 Bruun Rasmussen, Copenhagen June 14, 2022
怔怔出神4 Lost in Thought 4
2014
Acrylic on canvas 182 x 227 cm
預估價 Estimate HKD 500,000 ~ 700,000
成交價 Sold at USD 93,835 HKD 736,600
拍賣日期 Auction Date
香港富藝斯 Phillips, Hong Kong March 31, 2023
