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KAWS

《無題》

款識:KAWS..02 (畫背)
壓克力 畫布 塑料包裝 紙本
包裝:25.7 x 19 公分 (10 1/8 x 7 1/2 英寸)
畫布:15.3 x 12.6 公分 (6 x 4 7/8 英寸)
2002年作
「你知道為什麼我創作一系列的包裝畫嗎?那是因為我看到日本許多人在收集玩具公仔。 我有朋友在星球大戰角色模型上花費3000美元,他們沒有收藏藝術品,他們偏受收集玩具公仔。所以我做了那些包裝畫,我將畫作以大量生產商品的模式將它們包裝起來,但畫作本身每件以手描完成的,這是我連結這兩個世界之間差距的方法,因為我意識到這些玩家是他們所收集物品方面的絕對鑑賞家。他們可以看一個公仔然後說:「哦,這是一個76,它有三個版本。」在我看來,那種強迫症式的收集癖與藝術收藏只是一丘之貉。」
(KAWS, 引自Tobey Maguire ‘KAWS’, 《採訪雜誌》, 2010年4月27日,網路文)

作為東京BAPE畫廊2003年的Original Fake展覽中,創作的首批40幅包裝畫,這四件作品的靈感來自日本的玩具收藏圈——也是KAWS對建構起玩具收藏與藝術收藏兩個不同領域的橋樑之獨特嘗試。塑料包裝是商業化大量生產的產物,然而在這系列被包裝的繪畫,每一件作品均是獨立創作的,這反映了玩具收藏家與藝術收藏家的相似之處,即兩者都看到了限量作品所擁有的價值。

用骷髏頭和“XX”眼睛,這些KAWS最標誌性的符號,來重新演繹流行文化中那些最易辨識的人物,由米其林輪胎人的原型衍生的“老友”(CHUM)形象也是KAWS最早創作且最具代表性的角色之一。NIGO(A Bathing Ape創始人、90年代日本街頭潮牌時尚圈中最聲名顯赫的人物之一)曾為KAWS舉辦展覽的事實也體現了KAWS從街頭潮流與商業文化中走向藝術,就像他的包裝畫的概念化過程一樣。

KAWS

American | 1974

To understand the work of KAWS is to understand his roots in the skateboard and graffiti crews of New York City. Brian Donnelly chose KAWS as his moniker to tag city streets beginning in the 1990s, and quickly became a celebrated standout in the scene. Having swapped spray paint for explorations in fine art spanning sculpture, painting and collage, KAWS has maintained a fascination with classic cartoons, including Garfield, SpongeBob SquarePants and The Simpsons, and reconfigured familiar subjects into a world of fantasy. 

Perhaps he is most known for his larger-than-life fiberglass sculptures that supplant the body of Mickey Mouse onto KAWS' own imagined creatures, often with 'x'-ed out eyes or ultra-animated features. However, KAWS also works frequently in neon and vivid paint, adding animation and depth to contemporary paintings filled with approachable imagination. There is mass appeal to KAWS, who exhibits globally and most frequently in Asia, Europe and the United States.  

瀏覽藝術家