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.
他的作品模糊了虚拟与真实之间的界限。这些作品是他用丙烯颜料在画布上描绘的，先用铅笔画好草图，然后用专门的软件将草稿处理为 CGI，再打印到画布上，最后上色。高松和树从十岁开始画画，在尝试过各种创作技巧后，最终决定专注于创作具象绘画。
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.
高松和树作品的每一个细节都意有所指；每一个物体都是一种意象。锁链象征强制的束缚，波浪大小寓意力量的强弱，对称的物体指代合理性，而火焰则代表激情。通过将每个元素拼接起来，观众从中辨别出每幅画和不同系列表达的故事情节和主题。
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.
画中的角色全是年轻、性感的女孩，他解释这是指人们在网络世界的虚假身份，用明星和模特的头像来相互欺骗，隐藏在虚假的身份下，肆无忌惮地做出幼稚的行为。他说：“当我们在网络世界表达自己真实想法，毫无顾忌地交流时，只能以匿名的方式。人们隐藏自己真实的年龄、性别和国籍。在网络世界，每个人展露出自己不成熟的一面，我的作品就是反映这种现代社会现象的一面镜子。”他笔下的女性角色明显被性欲化，穿着内衣和性感的配饰，精致的细节又突显出其轻盈通透的美学风格。此外，这些作品也是在致敬日本传统的木刻版画“春宫图”和他从小热爱的漫画。他的作品中还受到了一些西方传统艺术的影响，譬如新艺术和安迪·沃霍尔“工厂艺术”。
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.”
他对色彩的混搭与处理也体现出一定的哲学意图。“我的画中没有光或阴影，因为黑与白分别代表善与恶、正面和负面，而我想藉此表达人们在生活中一些摇摆不定的态度。”
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Contributor: Mike Steyels
Chinese Translation: Olivia Li
