Like specters, the women in Kazuki Takamatsu‘s paintings feel luminous, floating weightlessly in a dark, digitized purgatory. This aura of ethereality is crafted by the artist’s subtle use of colors and elaborate shading technique. These characters—dressed in laced silks, entangled within patterned cutouts, and shown with eyes closed—seem to exist in a world between worlds, suspended in a temporary dream state.
高松和树 （Kazuki Takamatsu）笔下的女子如同幽灵一般，透现着莹莹光辉，悬浮于暗黑的数字异世界。这种空灵的风格源于他对色彩的巧妙运用，以及精湛绝伦的单色渐变处理。这些女性角色穿着蕾丝衣服，被各式图案萦绕其中，她们闭着眼睛，仿佛存在于一个异世界中，飘浮在短暂的梦境里。
Takamatsu’s art blurs the line between analog and digital. They’re painted with acrylics on canvas and the initial sketches are drawn by hand in pencil. These drawings are processed as CGI designs in specialized software and then printed on the canvases, which Kazuki will then paint over. He started painting at 10 years old and experimented with various techniques before finally zeroing in on his current art style.
Every detail of Takamatsu’s work has meaning, and each object is meant as a piece of iconography. A chain is a symbol of forcible restraint. The size of a wave implies a level of strength. If something is symmetrical it is rational. Flames are passions. By piecing each element together, viewers can discern different storylines and themes in each painting and series.
All of Takamatsu’s paintings revolve around young, sexy girls. He claims that this is a reference to how we hide behind false identities online, deceiving one another with avatars of celebrities and models. And by hiding, we allow ourselves to act childishly. “When we are honest and shed discipline in our online communications, we do so anonymously,” he says. “We hide our true age, sex, and nationality. We’re immature on the net, and my work is a mirror reflecting our modern life.” The characters are clearly sexualized, wearing lingerie and erotic accessories, but finery like this heightens his translucent aesthetics. It also pays tribute to the traditional erotic woodblock prints known as shunga, and to his childhood love of manga. Other motifs in his work pull from Western traditions like art nouveau and Warhol’s factory.
His blending of color and process has a philosophical intent. “There is no light or shadow in my paintings,” Takamatsu says. “Black and white have the meanings of good and evil, positive and negative. I want to express human’s wavering minds in our daily lives.”