Neptune Gallery 海神畫廊將於 2026 年 6 月 20 日至 8 月 15 日舉辦木雕聯展《森と彫刻の境界》(The Boundary
Between Forest and Sculpture),邀集 Ai HAIBARA 灰原愛、Akiko TOJO 東條明子、Min Yao HU 胡閔堯、Kei KAIYA
海谷慶、Yosuke TAKASAKI 高崎洋祐、Hisanori KOJIMA 小島久典、Hideki IINUMA 飯沼英樹 與 Emi KATSUTA 勝田
えみ 八位藝術家,共同探討木材、時間與雕刻生成之間的關係。
本展以「森林與雕刻之間的曖昧邊界」為核心,關注木材作為雕刻媒介所承載的自然時間性。年輪、水分、裂痕與纖維
方向,不僅記錄著自然生成的痕跡,也在雕刻介入之後,持續保留材料原有的生命感與有機性。作品遊走於自然與人工
之間,使雕刻不再只是形體的塑造,而更像是一種對時間、記憶與生命痕跡的觀看方式。
參展藝術家分別從不同文化背景與創作脈絡出發,延伸當代木雕的多重可能。高崎洋祐結合日本佛像雕刻、神道意象與
當代視覺文化,建立作品的豐富象徵性;飯沼英樹則長期以女性雕像為核心,在粗獷刀痕與木材質感之中,呈現當代女
性真實而獨立的存在狀態。胡閔堯以「社會雕塑」概念為基礎,透過神性寓言般的動物與人物造形,回應人類文明與未
來環境議題。
小島久典從文化財修復及研究經驗出發,將對歷史、記憶與不可見時間的凝視寄託於木雕與蝴蝶意象之中;東條明子以
孩童、女性與動物形象承載細膩情感與溫暖氛圍,使作品帶有療癒而柔軟的氣息;海谷慶則從冰、火、雲等自然現象中
提取介於具象與抽象之間的形體,使雕塑成為流動能量的凝結。
灰原愛透過茶杯、海洋等日常物件與詩意聯想,探討感知與現實尺度之間的關係,運用符號的轉化,形塑作品的象徵意
義;勝田えみ以鮮豔木雕角色建構帶有流行文化感的心理劇場,透過人物凝視、情緒投射與曖昧敘事,探討當代個體在
社會中的孤獨、存在感與精神漂流狀態。
《森と彫刻の境界》試圖重新提出一個問題:當雕刻生成之後,森林是否仍存在於作品之中?透過木材的質地、時間痕
跡與雕刻行為之間的交互關係,本展亦重新思考當代木雕如何在自然與人工之間,形成持續滲透與轉化的中間狀態。
exhibition of contemporary wood sculpture on view from June 20 to August 15, 2026. The exhibition brings
together eight artists — Ai HAIBARA, Akiko TOJO, Min Yao HU, Kei KAIYA, Yosuke TAKASAKI, Hisanori KOJIMA,
Hideki IINUMA, and Emi KATSUTA — to explore the relationship between wood, time, and the process of
sculptural creation.
Centered around the ambiguous boundary between forest and sculpture, the exhibition reflects on the natural
temporality embedded within wood as a sculptural material. Tree rings, moisture, cracks, weight, and grain
direction all preserve traces of natural growth. Even after carving begins, the material does not completely lose
its original vitality, but continues to exist in a state between nature and human intervention. Through these
works, sculpture becomes not only a process of shaping form, but also a way of observing time, memory, and
traces of life.
Each participating artist approaches contemporary wood sculpture from a distinct cultural and artistic
perspective. Yosuke TAKASAKI combines traditional Japanese Buddhist sculpture, Shinto imagery, and
contemporary visual culture to create richly symbolic works. Hideki IINUMA focuses on female figures,
expressing the honest and independent presence of contemporary women through rough tool marks and the
texture of wood. Min Yao HU draws upon the concept of “social sculpture,” using allegorical figures and animal
forms to reflect on human civilization and future environmental concerns.
Drawing from his experience in the restoration and study of cultural heritage, Hisanori KOJIMA entrusts
reflections on history, memory, and unseen time to wood and butterfly motifs. Akiko TOJO expresses delicate
emotions and warmth through sculptures of children, women, and animals, creating works with a gentle and healing atmosphere. Kei KAIYA transforms natural phenomena such as ice, fire, and clouds into forms that exist
between abstraction and figuration, condensing flowing energy into sculptural presence.
Ai HAIBARA explores perception and symbolic transformation through poetic associations with everyday objects
such as teacups and the ocean. Emi KATSUTA constructs psychological narratives through vividly colored
wooden characters inspired by popular culture, using gaze, emotional projection, and ambiguous storytelling to
reflect on loneliness, identity, and emotional drift in contemporary society.
The Boundary Between Forest and Sculpture ultimately asks a simple but profound question: after sculpture is
created, does the forest still remain within the work? Through the interaction between wood, time, and the act
of carving, the exhibition reconsiders how contemporary wood sculpture continues to move between nature
and artifice, existing within a state of constant transformation and permeability.
