专访 August Vilella | An Interview with August Vilella

“我作品中的角色不会说话，所以眼睛就成为他们与世界交流的唯一方式。当人们看着他们的眼睛时，彼此之间、乃至灵魂深处都可能产生了某种联系。”

‘they can’t talk, so, this is their way to communicate with the world. When people look into their eyes, they connect with themselves… and with the depth of their own soul.’

—— August Vilella

 

August Vilella（奥古斯特·维莱拉）是一位定居在日本东京的西班牙艺术家，他的作品结合了古典油画的特质，与梦幻的超现实主义童话意象，加上对光影效果的深度刻画，使得他的作品常给人一种诗意、哲学般的感受。

August Vilella is an artist from Barcelona based in Tokyo. He creates oil paintings by means of a surreal-intuitive method, the result of this practice evokes a dreamlike aura and a magical, metaphoric, and even philosophical language, which invites the observing visitor to reflect. August Vilella’s style can remind us of old masters, he play delicately with the lights and shadows to reach a deep atmosphere and vibrating colors.

 

August Vilella 是自学成才的艺术家，并且探索出靠直觉进行即兴创作的手法。艺术家常把自己的创作方式比喻作即兴演奏的爵士乐，他任由画笔在画布上流淌，一些角色和形状自动的呈现出来，一开始像云团一样模糊不定的形状，逐渐变成能被辨识的鲜活的形象。

艺术家解释自己作品中的角色并不是他自己选择的，在某种程度上来说，是他们选择了艺术家本人，因此每幅作品以及作品中的角色都变得独一无二且不可复制。艺术家也从不试图将任何情感强加给观众，只希望为观众和画中角色间建立起一座心灵间的桥梁，并引发观众去思考与反思。

August Vilella never went to any art school or academy… he learned to paint by himself. And developed the improvised method of painting from the beginning. It’s like jazz musician who improvise a melody, he holds the brush, but inexplicable forces dictate what imagery comes into being upon his canvases.

The artist used to say: “ I don’t choose my characters… in some way they choose me. ” So each character that appears on his canvas is unique, and each artwork is unrepeatable. Vilella also never try to impose in the audience any point of view or emotion, he just want to build a bridge between the eyes of his characters and the soul of the audience.

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艺术家专访
Interview with August Vilella

MZ : 毛壮 | August Vilella : 奥古斯特

Q 1 / 14

毛壮：可以简单介绍一下自己吗，关于你的成长与创作经历。

奥古斯特：我在西班牙长大，小时候住在一个名叫雷乌斯的小城中，不过西班牙著名的建筑师安东尼奥·高迪和油画家福尔图尼都出生在那里。18岁时，我搬到了巴塞罗那，并开始在大学里学习哲学，同时还加入了几个乐队，并开始写一本关于我自己的哲学理论的书。但在这个过程中，我一直觉得需要找到一种更直接的方式来表达自己，一种不会有任何语言与文化障碍的方式，最终我从绘画中找到了。
当我开始绘画的时候，我还是两个乐队的成员，写了一本书，同时在巴塞罗那的圣家族大教堂做旅游类工作。不过在某个时期，我决定要放弃我的工作和其他爱好，全身心的投入到绘画生涯中。因此，仅仅在一年之后的 2016 年，我在日本找到了第一个机会，参加了一些展览与艺博会，并且第一次售出了作品。并且在东京国际艺博会上获得了最佳艺术家奖。几个月之后，我在巴黎、巴塞罗那和荷兰也参加了一些群展。那年年底，我还通过上海的 Caelis Galeria 画廊第一次在中国市场亮相，中国市场反响也对我产生很大帮助。
在接下来的几年里，我一直忙于巩固我在亚洲市场的地位，并且开拓新的市场，例如美国和迪拜。在此期间，我在迪拜和台北获得过两次奖项（2017年迪拜全球艺术大奖最佳创新艺术奖，2018年台北国际艺术家大奖、艺术革命主席奖）。直到今天，我仍然在从事许多有趣和刺激的新的艺术项目。我觉得自己一直在大步的前进与进步，并且很兴奋也很高兴的迎接未来的计划或挑战的到来！

MZ：Please tell the readers something about yourself, such as your childhood hobby, education, career development and so on.

August：I grew up in Spain, in my childhood I was living in Reus, a small city famous because important Spanish artist such Gaudi or Fortuny were born there. When I was eighteen I moved to Barcelona where I started to study Philosophy at University, at the same time I enrolled in several music bands and started to write a book about my own philosophic theories. However I always felt that needed to find a more direct way to express myself, without any language and cultural barriers… and I have found it through the painting.
When I started painting, I was member of two music bands, writing a book and working in tourism in The Sagrada Familia temple in Barcelona. But in some specific moment, I decided to left my job and the rest of hobbies and distractions to be completely focused in my painting career. Thanks to that, only one year after, I found my first opportunities in Japan where I had some shows, conferences, my first sells and I won the award as best artist in the Tokyo International Art Fair (actually was my first time in an art fair). Few months later, I had some shows in Paris, Barcelona and Netherlands. At the end of that year I experienced the Chinese art market with with Caelis Galeria in Shanghai, where my artworks were highly appreciated since first day, having record of sales and giving to my career a definitely boost.
Following years were so busy consolidating my presence in all Asia and opening new markets such as USA and Dubai. During those years I also was awarded in Dubai and twice in Taipei for my artworks. Today I am still working in many new interesting and stimulating art projects. I feel that every year I make a very big step forward in my art career… and I´m so happy seeing all exciting plans that are coming in the near future!.

 

Q 2/ 14

毛壮：你是什么时候搬到日本东京的，为什么想要到日本生活？

奥古斯特：我是在 2020 年春天搬到东京的，事实上，我到日本的时候只带了一只手提箱，我本来打算去参加一次个展，然后和 JPS 画廊一起参加东京国际艺博会。然后一切计划都被疫情的爆发打乱了，个展被推迟，2020 年的东京艺博会也被取消了。
在那一刻，我有两种选择，回到西班牙或者在东京多待一阵子。我在东京的画廊提议赞助我长期的定居东京，我立刻就接受了。
对我来说，定居在日本非常的便利，不仅是因为我喜欢日本文化，还因为我很大比例的藏家、画廊和展览都在亚洲。在此之前，我几乎每个月都要往返巴塞罗那和亚洲城市，这消耗了很多时间和精力，这些时间我本来可以都用在创作上。所以对我来说，住在东京虽然是一个很临时的决定。但也是我生活和创作生涯中的重要一步。过去，我在东京已经生活过很长的时间，也有了很多朋友，感觉就像家在这里一样。日本的很多地方，以及特殊的氛围，也激发了我的创作。

MZ：When did you move to Japan and why?

August：I moved to Japan in the spring 2020. Actually I got to Japan with only one suitcase planning a short stay just to attend a solo exhibition and my attendance to Tokyo Art Fair with JPS Gallery… however suddenly starts the Covid and in consequence Art Fair Tokyo was cancelled and my show postponed.
So, in that moment I had two options; come back to Spain or try to stay longer. I talked with my Japanese gallery and they offer me to sponsor me to stay permanently in Tokyo and I accepted immediately. For me was very convenient to live in Japan, not only because I love it but also because most of my collectors, agents, galleries and shows are in Asia. Living in Tokyo I have an easy connection with Asia. Previous years before moving to Tokyo I had to travel almost every month from Barcelona to Asia for attending, that is a lot of time and energy lost that I could have invested in painting. So… in my case, living in Tokyo was an improvised decision but, however, it a natural next step in my life and art career. In the past, I spent much time in Tokyo, so already had many friends there and felt like at home… also is a very calm place with a very special atmosphere that inspires me in my creative process.

 

Q 3 / 14

毛壮：你如今的风格，以及凭借直觉进行即兴创作的方式，是什么时候形成的。

奥古斯特：我从来没有上过任何艺术学校，我完全是自学的绘画。多亏这一点，我从不断试错中发展出了自己的即兴创作方法。我的方式可以描述为跳过了构思与草图的过程，直接开始在画布上绘画。这种创作方式也有助于我更专注于自己的风格，并且在即兴创作过程中不断的改进作品，而不是花时间在风景、人物的构思上。
我是喜欢动手与专研的一类人，每当我用直觉的方法进行创作时，我会感到非常的舒服，因为它完全符合我的哲学。当我找到这个方法的时候，我就觉得这就是我这辈子最想做的事情，而且特别是当我看到观众的反应之后。观众不仅非常欣赏我的作品，他们也喜欢我的创作方式。有的藏家认为，我的作品之所以如此的独特，就是因为我的这种创作方式。

MZ：When did you develop your art style, and when did you start painting improvised and anarchic?

August：I never went to any art school or academy… so I have learned to paint by myself. Thanks to that I developed my own improvised method of painting from thebeginning. We can say that I skipped all the exercise and sketch process and started to paint directly. All this helped me to be more focused in my own style and improved it on my way, instead of spending time doing landscapes, portraits and similar stuff.
Actually, I have always been the kind of person that prefers learning by doing myself. And when I got into my intuitive method of painting, I felt very comfortable with it because it fits perfectly in my philosophy. Immediately, I felt that is what I wanted to do the rest of my life… specially after seeing the first people reactions. The audience not only very appreciated my artworks, they also loved the method behind it. My collectors also value that my artworks are more unique and unrepeatable because were created with this intuitive method.

 

Q 4 / 14

毛壮：你最开始时是如何开发出这种创作方式的？你的灵感是什么？

奥古斯特：多年以来我的创作方式是一直不变的，即我面对一块白色的画布，直接用油画工作开始作画。在这个过程中，特别是在画中角色逐渐浮现时，我完全失去了对画笔的控制，这些形状自然而然的出现在画布上，并不受到我的主观意识控制，我觉得自己就像是一位即兴创作的爵士乐手。同时通过这种创作过程，产生了一些具有哲学主题和梦幻角色的作品，并引发观众去思考与反思。
这种不受控制的创作过程，与我精致的笔触及画面形成了强烈的对比。因为我使用非常细小的画笔进行创作，加上许多薄而透明的油彩的叠加，并通过对光影的微妙处理，以达到一种深沉的氛围和与之共鸣的色彩。所有这些组合的结果是一件不受意义和主题限制的，非常纯净且精湛的作品，而且同时保留了艺术的纯度和直觉创作属性。我很喜欢在采访中这样归纳我的创作方式‘当我们移除了艺术家对他们创作的意志，每一幅作品都能成为这个世界和属于世界的艺术作品，这是一件所有人都能从中发现自己的作品，最重要的是，这是一件有自己生命的艺术作品，希望被看到，被唤醒，被感受’。

MZ：How do you develop this working process at the first time?

August：My way of working remains immutable along the years… I just face a white canvas and without any sketches or ideas, I start paint directly with the oil… in the process (special in the first steps when the characters appear) I completely lose the control of my brush. The shapes appear naturally on the canvas without my will. I feel myself like a Jazz musician, improvising. But is curious to see that, this automatic creative process, produces figurative works with some special dreamlike characters and philosophical topics, that invites to the audience to reflect.
This anarchic process is a big contrast with my refined method… because I use very small brushes, put many slim and transparent layers of oil paint and play delicately with the lights and shadows to reach a deep atmosphere and vibrating colors. The result of all this combination is an artworks of very depurated technic that, however, preserve its purity and spontaneity. Is the marriage of two worlds; the confluence of the technical and the spiritual world that generates an elaborated art piece with not conditioned meaning and topic by me. One of the phrases that I like to say in my interviews because I feel defines very well this is: -“When we remove the will of the artist regarding his creation, each painting becomes a work of art of the world and for the world; a piece of art in which all people can find themselves reflected and, above all, a work of art with a life of its own that wants to be seen, to wake and to be felt.”

 

Q 5 / 14

毛壮：你在创作的时候，会保持安静，还是会聆听音乐？

奥古斯特：我的工作过程分为两个部分，第一部分是即兴创作，也是作品中角色和主题出现的时候，这个过程我需要一种非常平静的气氛来达到冥想的状态，并且清空头脑增强我的直觉，此时我需要在非常安静的环境中工作，避免任何外界的干扰。有的时候，我也会听一些特殊的音乐，帮助我的大脑进入无意识的状态。
然后，当人物等元素出现以后，这之后的创作过程我需要通过叠加画面和清漆来完善作品的细节、色彩、光影与深度。这是一个需要漫长时间与极度细心的创作过程，这个过程中，我习惯听一些音乐或者广播节目。

MZ：When you working, do you listen something or just keep quiet?

August：My working process is divided in two different parts. In the first part is when I improvise intuitively and is when normally appears the characters and topics of my artwork. This is the most important and delicate part, for this reason I need a very calm atmosphere to reach a meditative state and empty up my mind to boost my intuition and to avoid any external interference. Normally, in this first step, I work in silence or with some special music that helps to my mind to get in a not conscious state. Then, when the main characters and elements appeare, the process is more conscient and tecnical, as I need to paint many thin layers of oil paintings and varnish to reach depth, vibrating colors and atmosphere. From that point, I work in each detail one by one. This is the longest part and, during that process, I use to listen to music or some radio programs.

 

Q 6 / 14

毛壮：你创作一幅作品需要多长时间？

奥古斯特：当然，这取决于作品的尺寸，但一般来说，完成一幅作品需要两到三个月的时间。通常情况下，我会同时创作多幅作品，因为在专注于一幅作品上数个小时后，我需要通过进入另一幅作品来刷新一下我的思维。

MZ：How long does it take to complete a painting? Do you painting one by one, or working on several paintings at the same time?

August：It depends on the size of the painting of course… but in average, it takes two or three months to finish each artwork. Normally, I work in several paintings at the same time, I need to refresh my mind after so many hours of concentration on one artwork.

 

Q 7 / 14

毛壮：直觉即兴创作是发生在创作的初期，还是整个过程？

奥古斯特：直觉的即兴创作贯穿了整个创作过程，但在创作最开始阶段中更为重要，因为这是绘画灵魂形成的时刻。在创作一幅作品时，最初的几天会出现作品的主要结构，包括主角、主题和最具代表性的元素。在那之后，直觉作用的相关性就降低了，此时我更关注于作品技术的部分。在某种程度上说，我觉得我创作过程中最纯粹的时刻是在绘画诞生时‘裸体’和‘纯净’的时刻，在那之后，我只是尝试着在不失去本质的情况下去‘打扮’与‘弥补’它。

MZ：Does improvised painting happens at the early stage of your working or the entire process?

August：The intuitive improvisation lasts along all working process… however is more important at the beggining because is the moment when the soul of the paintings gets shape. In some way, in the first days I elaborate the main structure of the artwork… normally is when appears the main character, the topic and the most representative elements. After that the relevance of the intuition role decrease because I´m focused in more technical parts of the artwork such as lights and shadows, backgrounds and small elements. In some way, I feel that the most pure moment of my creative process is when the painting is born nude and pure… after that I just try to “dress it” and “make it up” it without loosing the original essence.

 

Q 8 / 14

毛壮：你的作品中有很多云彩、海洋、森林的元素，你在创作之余，喜欢亲近大自然的活动吗？

奥古斯特：是的，在我的有生之年，我都觉得自己与大自然紧密相连，我总喜欢在自然中度过一些时光。另一方面，我也非常喜欢动物，因此它们也经常出现在我的作品中。但是，我并不刻意把这些元素都集中放在画中，因为我的潜意识在我的创作过程中起着主要的作用。这可以与梦相比较，白天影响我们的元素和经历会无意中出现在我们的梦境，同样的事情也会发生在的创作中。

MZ：There are many elements like clouds, oceans and forests in your works. Do you like to get close to nature in your spare time?

August：Yes, all my life I have felt very connected with the nature and I always enjoy spending time there. On the other hand I also love animals and, for this reason, they appear often in my artworks as well. However, is not my intention to include these elements in my paintings… all happens intuitively because my subconscious have a main role in my creative process. We can compare this with the dreams… elements and experiences that affected us during the day appear in our dreams unintentionally… same happens in my artwork.

 

Q 9 / 14

毛壮：你作品中角色的眼睛非常的引人瞩目，为什么会着重刻画角色的眼睛？

奥古斯特：眼睛是心灵的窗户，通过眼睛，我们可以传达情感和感情，这也是生命之间最纯粹的交流方式。然而，我也不清楚为什么我的角色有着大而富有表现力的眼睛，但我相信他们生来就是这样的。我作品中的角色不会说话，所以眼睛就成为他们与世界交流的唯一方式。当人们看着他们的眼睛时，彼此之间、乃至灵魂深处都可能产生了某种联系。这也许就是每个人看到我的作品都有不同感受和解读的原因。因此从某种程度上来说，我觉得我的作品有助于人们与自己进行沟通。

MZ：The eyes of the characters in your work are very striking. Why do you focus on the eyes of the characters?

August：The eyes are the window of soul, through them, we can express feelings and emotions… is the purest way of communication between the living beings. However, as intuitive painting, I don´t know the real reason of why my characters have big and expressive eyes, but I´m sure that they are born with them for some reason… they can’t talk, so, this is their way to communicate with the world. When people look into their eyes, they connect with themselves… and with the depth of their own soul. Maybe this is why everyone tells me a very different and personal story and interpretation of my paintings… in some way, I feel that my art helps to the people to communicate with themselves.

 

Q 10 / 14

毛壮：在眼睛的创作中有运用什么技巧，才使得它们那么的深邃迷人？

奥古斯特：这很难讲，因为我并不觉得我有使用任何特殊的技术。我只是顺其自然的画了出来。我作品中的每只眼睛都是与生俱来的，我不会试着去驱动这个过程，而是把它们本来的模样描绘了出来。在我看来，艺术越是纯净、不受外界影响与干扰，就越容易与人产生共鸣与联系。我从不试图将任何情感强加给观众，只希望通过我的作品为观众和画中角色间建立起一座桥梁。

MZ：What techniques are useing when paint the eyes that make them looks so fascinating?

August：It is difficult to say because I don´t feel that I´m using any special technic in my creations… I just do it naturally. I never tried to imitate anyone else neither. Each eye is born naturally and I don´t try to drive this process. In my opinion, the less influenced and forced art is, the purer. And also, easier for people to connect with. Because I don´t try to impose in the audience any point of view or emotion… even I don’t pretend to talk with the people through my art… I only expect that the people talk with themselves. Through my art, I just want to build a bridge between the eyes of my characters and the soul of the audience.

 

Q 11 / 14

毛壮：你的即兴创作方式，是如何磨练出来的，你觉得普通人经过练习有可能掌握吗？

奥古斯特：是的，我相信每个人都能做到，最重要的是迈出尝试的第一步。我的建议是：首先要相信自己。没有必要在美术专业课程上花费很多的时间，也没必要做成千上万的素描和练习。我希望想尝试的人可以坐在一块白色的画布前，清空他们的思想，然后直接把画笔靠在画布上，然后就像我们小时候一样目无目的地绘画，就像爵士音乐家即兴创作旋律，也像是我们在做一场梦…
对于有绘画基础的人，我还建议大家必须明确自己的风格的方式，然后技术会自然而然地出现，并且技术会适应你要做的每一步。许多学生在艺术学校失去他们的创作热情，因为被太多的规则与技术所束缚，结果也是他们的作品看起来和身边同学以及老师的没太大差别。这些学习与练习的时间本来可以用来去发展自己的风格。

MZ：Do you think it’s possible for ordinary people to master the improvised painting technique? Do you have some advice for people who want to try it?

August：Yes, I´m sure anybody can do it, the more important thing is make the first step and try. My advice for them all is, first of all, to believe in themselves. It is not necessary to spend many years in art academies… or do thousands of sketches and exercises. I invite all of them to try to sit in front of a white canvas, empty up their minds (like in yoga meditative state) and directly lean the brush on the canvas. Then just flow like when we were child and paint in the school without any purpose, like jazz musician who improvise a melody, like when we are dreaming… First you have to find your style and way…. and then the technic will appear naturally adapting to each step that you will do. Many students in the art schools lose their enthusiasm because were overwhelmed of rules and too many technics even before they had time to develop their own style. Their artworks looks same as the student next to them or their teacher… we don´t have to learn to do what we want to do… we have to learn meanwhile we do what we want to do.

 

Q 12 / 14

毛壮：你更希望观众在欣赏你的作品时，产生什么样的感受？

奥古斯特：我的作品就像一面镜子，任何人在看向它们的时候，都能看到自己以某种梦幻的、哲学的、隐喻的方式反射出来。出于这个原因，当人们问我作品意义的时候，我会觉得意义为何并不重要，重要的不是它们对我们意味着什么，而是它们对每一个观众意味着什么。作品中的角色闪烁着他们大大的眼睛，向不同观众讲述一个完全不同的故事，一个关于我们最深的梦想、欲望和记忆的特别且个人的故事。

MZ：What kind of feeling do you want the audience to have when looking at your work?

August：When the audience are looking my work I just pretend to make them reflect. My artworks are like a mirrors… and anyone, when looking at them, can see themselves reflected in some dreamlike, philosophical and metaphorical way. For this reason, when people ask me about the meaning of my art, I say that actually, it dosen’t matter, the important is not what they mean for me… is what they mean for you and for each person who observe them. Like intuitive artworks I don´t choose this particular big eyed characters… they choose me. And all these characters love to explain a very different story to every person who look into their eyes, a special, unique and personal story about our deepest dreams, desires and memories.

 

Q 13 / 14

毛壮：你有哪些喜爱或崇敬的艺术大师，你最希望有一天与谁的作品一起展示？

奥古斯特：我喜欢的艺术家包括奈良美智、刘野、贝克辛斯基、达利等等。如果必须要选一位，可能会是达利，我不仅欣赏他的作品，也欣赏他的人生轨迹、态度和哲学。

MZ：Who are your favorite artists? Which artist would you most like your work to be shown alongside?

August：Some of my favorite artists are Yoshitomo Nara, Liu Ye, Beksinski, Dalí There are many great artists and is difficult to choose only one but, if I had to say one, maybe would be Salvador Dalí. I really appreciate not only his work, also his trajectory, attitude and philosophy.

 

Q 14 / 14

毛壮：今年有什么工作及展览的计划？

奥古斯特：我目前正在筹备下一次个展，会在银座 Ginza Six。此外，今年9月还会在香港举办一场大型个展。我也有一些其他的计划和项目，但是因为疫情的原因很难做一些长期的计划。不管怎么样，我的首要任务都是创作出更多的作品，以满足未来所有展览计划的需要，其中包括一些不能透露的秘密…

MZ：Any new plan for 2021?

August：Now I´m working to prepare my next show in Ginza Six in Tokyo, in Art Central in Hong kong and some crossovers in Shanghai. Then I´m also planing to have a big solo show in September in Hong Kong Landmark. Also have more projects and plans but they are not confirmed yet because in this Covid situation is not easy to make long term plans… anyway my priority is keep working on new artworks to cover all my coming projects, some of them, secrets that I can not reveal yet…

 

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Reference：https://beautifulbizarre.net/2020/07/13/interview-with-august-vilella/ http://www.augustvilella.com/en/artist

图片 Photo | August Vilella
社交媒体 Instagram | @august_vilella_art
编辑 Edit | 毛壮 Mao Zhuang