海谷慶的雕塑，建立於日本戰後雕塑史對「動勢」與「氣韻」的長期探索之上，卻並不以動作本身為目標，而是將目光投向自然現象中難以被固定的狀態。冰的凝結、火焰的翻捲、煙雲的流動，在他的作品中被轉化為介於動物與自然之間的形體，使雕塑成為一種「正在生成中的存在」。
這些形象並非對自然或生物的寫實描繪，而是對自然能量的凝縮。海谷慶透過極其穩定而精確的塑造，使流動的現象得以在雕塑中停留——不是瞬間的截取，而是長時間凝視後所留下的形。作品因此同時具備動感與重量，在視覺上保持張力，在物理上則擁有明確而可靠的存在感。
他所呈現的動物形象，也不指向具體物種，而更接近一種「成為動物」的狀態：自然的生命性暫時在形體中顯現，又隨時可能再次轉化。這使作品介於具象與抽象之間，既具有清晰可辨的形象，又保留高度開放的詮釋空間，能夠在不同觀看距離與情境中持續生成新的感受。
本次展覽將藝術家歷年創作共置於同一空間，使作品之間形成呼應與共振。形體之間的距離、視線的移動與空間中的留白，共同構成一種節奏感，使雕塑不再只是單一物件，而是進入一個彼此對話的狀態。展名「交響」，正指向這種形體之間所產生的整體關係。
在《交響するカタチ》中，海谷慶讓雕塑成為自然運動的可見化：穩定而不凝滯，富有張力卻不喧嘩。在反覆凝視之中，作品會持續回應空間、光線與觀看者自身，展現雕塑作為物件所能承載的深層生命性。
Kei Kaiya’s sculpture is grounded in the postwar Japanese sculptural tradition’s sustained inquiry into movement and ki—vital energy—yet his work does not pursue motion as an end in itself. Instead, it turns toward states of nature that resist fixation. The solidification of ice, the curling of flames, and the drifting of smoke and clouds are transformed into forms that exist between animal and nature, allowing sculpture to appear as something perpetually in the process of becoming.
These figures are not representational depictions of natural phenomena or living creatures, but condensations of natural energy. Through an exceptionally stable and precise sculptural process, Kaiya enables transient phenomena to remain within the form—not as a captured instant, but as a shape distilled through prolonged observation. As a result, his works possess both dynamism and weight: visually charged while maintaining a clear and reliable physical presence.
The animal-like forms that emerge in Kaiya’s work do not refer to specific species. Rather, they approach a state of “becoming-animal,” in which the vitality of nature momentarily manifests in form, while remaining open to further transformation. Positioned between figuration and abstraction, the sculptures retain recognizable shapes while allowing for a wide interpretive openness, continuing to generate new perceptions across varying distances and contexts of viewing.
This exhibition brings together works from across the artist’s career within a single space, allowing the sculptures to resonate with one another. Distances between forms, shifts in perspective, and intervals of empty space together create a rhythmic experience, transforming sculpture from isolated objects into an interrelated field of dialogue. The exhibition title, Symphonic Forms, points to this collective relationship among forms.
In Symphonic Forms, Kaiya renders the movements of nature visible through sculpture—stable yet never stagnant, charged with tension yet never loud. Through repeated encounters, the works continue to respond to space, light, and the viewer’s presence, revealing the profound vitality that sculpture, as an object, is capable of sustaining.
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展覽資訊｜Exhibition Info
▌展期｜Exhibition Period
12.20 (Sat.),2025– 2.7 (Sat.), 2026
▌地點｜Venue
海神畫廊 Neptune Gallery
台南市安平區育平路369號
No. 369, Yuping Rd., Anping Dist., Tainan City, Taiwan
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