1928年生於中國福建省仙遊,1948年進入臺灣省立師範學院(今國立臺灣師範大學)美術學系學習,開始接觸雕塑藝術,他以中國傳統思想出發,以西方現代主義低限風格作為表現手法,擅用鋼材創作,透過空間組構再現東方哲學中對純粹與本質的審美思維。
曾經與當代重要雕塑家組成「五行雕塑小集」。1983年李再鈐運用鋼板創作〈低限的無限〉,為抽象三角形塊面之紅色造型參與台北市立美術館之開館展,由於其造型顏色使人聯想到中共紅色政權,原作在未經告知的情況下被漆成白色,引起輿論譁然。近年來仍保持創作不懈的習慣,作品受國內外各大美術館典藏,著作有《希臘雕刻》、《鐵屑塵土雕塑談─李再鈐八十八文鈔》、《即興八九》等。
Born in Xianyou, Fujian Province, China, in 1928, Lee entered the Department of Fine Arts at Taiwan Provincial Normal College (now National Taiwan Normal University) in 1948, where he was first introduced to sculptural art. Finding inspirations in traditional Chinese philosophy, LEE adopts the minimal style of Western modernism as his expressive method, and has become known for creating steel sculptures; through spatial constructs, he represents the aesthetic thinking on purity and nature of Oriental philosophy.
Lee founded with important contemporary sculptors the “Zodiac Sculpture Group.” In 1983, LEE utilized steel plates to create the “Endless Minimalism,” which was a red abstract triangular plane, and participated in the Taipei Fine Arts Museum Opening Exhibition. Because its shape and color provoked associations of the Red Chinese regime of P.R.O.C., the original work was painted white without LEE being notified in advance. The incident triggered public uproar. In recent years, LEE has continued creating sculptures relentlessly. His works have been collected by major art museums both in Taiwan and abroad. LEE also published “Greek Sculpture,” “On Sculpture—Iron Scraps and Dust: Compilation of Zai-Qian LEE’s Essays at the Age of 88,” and “Minimal, Infinite. Improvisation 89: The Sculpture of Zai-Qian LEE.”
1930年出生於東京,畢業於東京藝術大學美術學部雕刻系,1962年獲得丸善石油藝術獎大賞,並以大獎獲得的獎金,隔年前往巴黎生活與創作,直到1980年歸國。他在學生時期從事具象雕塑創作,從巴黎歸國後,作品風格便開始轉為強而有力的冷抽象極簡風格,呈現作品本身的材質肌理,彰顯形而上的意義。
作品足跡遍及日本國內外,例如「第五屆古根漢國際雕塑展」、「第五屆巴黎國際藝術雙年展」、「第十屆聖保羅雙年展」、「大阪國際藝術博覽會」、「印度三年展」及「東京國際藝術展」等,作品在歐美也廣為私人收藏。目前工作並定居於日本,近年作品也注意作品與周遭空間,以及觀者之間的各種互動關係可能。
Kazuo YUHARA
Born in 1930 in Tokyo, Kazuo YUHARA graduated from the Tokyo National University of Fine Arts and Music, where he studied sculpture. In 1962, he won the grand-prix with scholarship of studying abroad at the Competition of Maruzen Oil Foundation, Tokyo, and left for Paris the next year, where he worked until returning to Japan in 1980. His sculptures during his earlier days as an art student were figurative. After his return, his works transformed into cold minimalist abstract style, presenting the nature and texture of the materials and manifesting metaphysical meaning.
YUHARA’s works have travelled throughout Japan and around the world, for example, the 5th Guggenheim International Exhibition of Sculpture, the 10th Sao Paolo Biennale and the Expo Museum of the Arts, Osaka, Triennale-India, and Art Fair Tokyo. A lot of his works are in the collections of private collectors in Europe and the United States. He now resides and works in Japan and his more recent sculptures showcase an emphasis on the relationship between the works and surrounding spaces, as well as the possibilities of interactive relationship between the works and audiences.