In pastel hues, innocent looking girls engage in a series of transgressive, often morbid acts. In some, they burn, suffocate, and stab their stuffed animals. In others, they experiment with sexual or violent acts on each other, often both at the same time. This is the acrylic world of Kana Miyamoto, a Japanese painter testing boundaries and shedding inhibitions.
色调柔和的画面中，看似天真无邪的女孩做着一些近乎病态的越轨行为：她们用火烧、用手掐甚至用刀刺毛绒玩偶，或是互相进行性与暴力的实验。这些由日本画家宫本香那（Kana Miyamoto）用丙烯颜料勾勒的作品，像是要不断挑战底线，冲破压抑的世界。
Miyamoto’s pieces revolve explicitly around young girls, usually dressed in cute outfits that drift into the realm of naughty. “I’ve liked drawing girls since I was in elementary school,” she says. “I admired cute and fashionable girls, and that’s how I started drawing them.” As she grew older, she continued developing her skills while honing her artistic vision. The characters have become simple vehicles of expression, devoid of guilt or agency.
豆蔻年华的少女、可爱动人的服装、大胆撩人的气息，这呈现着宫本香那作品的核心。这些她说：“我从上小学开始就喜欢画女孩。我倾慕那些可爱又时尚的女孩，这也是我落笔画画的原因。”随着年龄的增长，她不断提高自己的绘画技巧，同时塑造自己的艺术视野。她笔下的角色成为了一种简单的表达工具，不带任何负罪感或主观情感
Originally, her work was an exploration of youth and the savagery of kids. “I was strongly attracted to the reckless cruelty of children and how they’re never blamed, no matter how crazy things get,” Miyamoto says. But eventually, it became a study of cruelty in general. “Humans are so ambivalent towards one another and inconsistent with their values.”
最开始的时候，宫本香那的作品侧重于探讨少女的青春与残暴。她说：“我对孩子那种不顾后果的残酷很着迷，无论她们做的事多疯狂，都不会受到责备。”
这种着迷最终演变成了对残忍暴行的整体性探讨， “人类彼此之间如此矛盾，他们的行为与价值观往往是不一致的。”
Miyamoto’s work is a pressure valve of sorts. “I think I am releasing myself by drawing pictures of these free girls,” she says. “I’m a very emotional person.” The sexual themes and violence depicted in her work is a comment on the way an inhibited atmosphere tends to create its own backlash. “Sex becomes a punching bag in a repressed society.”
宫本香那的作品类似于一个压力阀。她说：“我觉得自己在画这些无所顾忌的女孩时，也是在释放自己的压力，我是一个比较多愁善感的人。”她在作品中描绘的性主题和暴力行为说明了一种压抑的环境对人产生的反效果，“在一个压抑的社会，性这个话题成为了一个宣泄口。”
The sapphic nature of her work fits neatly into a long tradition of erotic art in Japan that goes as far back as ancient shunga art and continuing through the hentai of contemporary manga. But Miyamoto says it’s not directly influenced by either; her art is about her personal feelings and experiences, and, much of her work is based on childhood memories. In one case, she cites the sexual bullying of a classmate as something that stuck with her for years.
“I was very embarrassed to publish the sexual works at first,” she says, “but now I don’t care much. If people don’t like it, that’s fine. As long as they feel something.”
画面中所描绘的女同性恋元素，其实与日本的色情艺术文化相当吻合。从日本古代的春宫图到当代的情色漫画，色情文化在这个国度源远流长。但是宫本香那说，这并非是自己创作的直接影响。她的作品主要还是源于个人的感受和经历，其中大部分作品都是根据她童年的经历而创作的，其中一幅作品取材于自己遭同学性欺凌的往事，那次的经历成为了困扰她多年的阴影。
她说：“一开始，我对发表这些充满情色元素的内容会觉得很不好意思，但现在我没那么在意了。只要人们感受到了一些东西就可以，哪怕不喜欢也没关系。”
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Contributor: Mike Steyels
Chinese Translation: Olivia Li
