藝術家介紹 

細川成美 Narumi Hosokawa
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來自日本的畫家，畢業於多摩美術大學平面設計系；在藝廊主的引導下，轉為以壓克力顏料描繪靈動優雅的少女們，藉由服裝造型彰顯多樣的喜好與脾性。將自身在電車上受到騷擾的經驗轉化為創作能量，提出「現代大和撫子」的主張，2023年於台北的「Whimsy Works Gallery奇想會」舉辦個展「內緒の話」。

Japanese artist Narumi Hosokawa studied Graphic Design at Tama Art University. Under the guidance of a gallerist, she began creating acrylic paintings depicting sophisticated young ladies with a diverse range of styles and fashion expressions, representing girls from various walks of life. Inspired by her own traumatic experience with sexual harassment in public transportation, she transformed that pain into motivation and inspiration for her art. Through her work, she celebrates the "modern Yamato Nadeshiko," which refers to women in Japanese society who achieve a delicate balance between conformity and individuality. These women neither cater to the male gaze nor rebel against the traditional concept of beauty. In 2023, Hosokawa held her first solo exhibition in Whimsy Works Gallery in Taipei, Taiwan.

Q：您的創作強調「不諂媚於人、不反叛於人」，早在2018年的訪問中您曾提到不消費性吸引力，並主張描繪不過度裸露、不會讓其他女性反感的少女之美，想請問「大和撫子」的形象近年是否有隨者跨國大眾流行文化的交流而有演進？根據您的觀察，所謂的裸露、反感與否有沒有受到潮流、地域文化的影響而逐漸轉變呢？

A：作為一名女性，我曾在列車上被一名陌生男子猥褻觸碰，在上學的途中，這名男子尾隨著我，最後我哭著逃離現場。這次的經驗讓我深刻體認到「男性視角」不是事不關己的存在，大家必須正視女學生被物化的議題。在日本，學生制服常常被視為青春的象徵，並且成為性幻想的元素，當你上網搜尋「學生制服」時，成人影片往往會出現在搜尋結果之列。曾經我的畫作盡量以健康美麗的角度描繪少女，避免使之過於迷人，但我逐漸發現，制服使得角色千篇一律，而失去個體性。

現在我透過時尚與造型，塑造角色的不同脾性與精神，也因為如此，我筆下描繪的黑髮白皙少女不再像是同一個角色，而有了更多元的詮釋。一方面想要保護其他少女，另一方面提供指引、樂趣，甚至是更深層的意義，這些創作也逐漸演變成男性也能夠欣賞的「美麗」畫作，是「當代大和撫子」以及「不諂媚於人、不反叛於人」的體現，是我追求的一種自然而放鬆的狀態。

Q： Your creations neither cater to the male gaze nor rebel against the traditional concept of beauty. In a 2018 interview, you mentioned avoiding capitalizing on sex appeal. Instead, you portray the beauty of young girls in a manner that is not excessively revealing and does not upset other women. I wonder whether the image of "Yamato Nadeshiko" has evolved in recent years under the influence of worldwide popular culture. Has public opinion shifted regarding nudity and sexualization under the influence of trends and regional cultures?

A： As a woman, I have been groped by a man. I was targeted and pursued by someone while commuting to school, and I cried and ran away. After that experience, I learned the importance of being mindful of the gaze directed towards girls, particularly those in school uniforms.

In Japan, school uniforms are often regarded as symbols of youth but are also subject to sexual objectification. When searching for school uniforms, adult content often appears alongside them. I used to think it was crucial to create artwork that portrayed girls in a healthy and pleasant manner, without excessive exposure or flattery. However, I realized that uniforms made all girls look the same and lacked individuality.

Through fashion and styling, I have created diverse personalities and spirits within my characters. As a result, the fair-skinned girls with raven hair I depict in my works are no longer perceived as the same character but are given a multitude of interpretations.

To protect girls, I strive to provide them with guidance, enjoyment, or something meaningful. This has transformed into something that can also be easily appreciated by men, with its undeniable beauty. This aligns with the concept of a "modern Yamato Nadeshiko" or being "neither objectified nor rebellious yet still beautiful." It entails preserving traditional aesthetics while remaining open to modern perspectives, avoiding excessive flattery or rebellion, and not invalidating anyone. My aim is to portray an effortless and relaxed sense of existence.

Source: Narumi Hosokawa, Whimsy Works Gallery
完整文章收錄於 Excerpt from vol.263
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