系統樹 / Phylogenetic Tree
Acrylic and pen on paper, 148×100mm(5.8×3.94inch) each 2017-, Current size / 3.3×20.9m(10.8×68.6feet), 2019
（作品全体も１つの作品として定義、サイズ可変）2017 -
ポストカードサイズの紙１枚を１つの細胞と見立てて制作する増殖的ペインティングシリーズ。隣り合う作品と線がつながり、１ピースが１つの巨大な作品を構成する一部となっています。すでに一部の作品は誰かの手に渡っており、作者であるOuma自身も、その全体像を一度に見ることができません。１つの小さなピースから、隣り合う「誰か」のことを想像する楽しみもあります。太い線で分けられた区画の色はすべて違う色で塗られており、また、数枚のグループをFamily（科）と見立て、一度に制作しています。同じ「科」の作品は似たようなトーンとなっていますが、隣り合っていても「科」が違う作品は全く違う色となっています。
１つの作品から自らと全体との関係性を想起させます。
This is continuous painting series. This work keep expanding and no ends. Some parts were sold out in Japan, Finland, China and others. The parts are just missing. On this work, changing and losing, consuming and creating are in parallel. Nobody, even Ouma, artist herself can't see whole works together. Also, nobody can get all works. We can imagine who has our next part. It means that all people who have some pieces add value for whole work.
Cell is minimum unit of life in biology and 37 trillion cells make one human body. Each cells is unique but also they are part of whole life. Society is similar to cell’s world. This project express the relationship between small life (cell / person) and whole life (person / world).
- INFINITE REPETITION - English article by curator, Peter Hagan
- “Infinite Repetition” presents a number of works by Autumn Lyn and Ouma from past
three years. The exhibition examines how the two artists come to terms with the
expansiveness, complexities, and pains of life through art. Abstract and meditative, the
works communicate innate understandings of the interconnectedness between living
things. Ouma’s artwork is ever expanding, while Lyn’s artwork returns upon itself,
repeating the same form. Both are modern prescriptions to understanding the world:
Ouma takes a holistic interpretation of the interconnectedness of living creatures, while
Lyn returns to the moment as the source of life.
Ouma’s life work is an infinite scene: an unraveling scroll composed of tiles with
patterns evolving in response to their neighbors. As a former veterinarian, Ouma’s vision
of the world is informed by life under the microscope. There, the codependence of
individual cells that make up complex organisms mirrors the simple behavior of life on
Earth visible to the naked eye. The work exhibited in “Infinite Repetition” is the
Phylogenetic Tree—an ongoing project started in 2017 based on the genetic evolution of
living species. Errant lines wander from one page to the next, outlining bulbous spotted
amoebas with wriggling pili. Bold, cheerful colors bind individual cells into “families” that
touch and overlap. If one painting represents a single cell, together they become a
growing, multicellular organism that depends upon its neighbor and family for definition
and survival within the world. Ouma’s evolving artwork is open to viewers causing
irreversible changes to the whole, which ultimately connect viewers to the Phylogenetic
Tree.
On the other hand, Autumn Lyn is interested in the metaphysical and in the relationship
between abstract art and Buddhism. The circle dominates her artistic vocabulary: each
revolution she draws is a mantra. Each mantra pulls her away from fantasies and anxieties
and into awareness of the living moment. The number of circles or revolutions in a given
work corresponds to numbers in Buddhist philosophy or to numbers with personal
significance. The untitled black-and-white painting speaks of the conflict of fantastical
desires and realistic necessities, which are overlaid with innumerable circular repetitions,
binding both fantasy and reality together beneath Action. Further illustrating this internal
conflict is a series of golden rice bowls counterposed to malformed blue bowls, each in
their own tiny compartment.
Infinite Repetition is set within a city of luxuries. The signs and symbols of wealth
surround the space, while inside the artists cope with the complexities of navigating life.
In this context, the exhibition takes on another light that is more ironic. The two artists
start in very different places but both use modern mechanisms to create art that acts as a
reprieve in the face of the great weight of wealth, excess, and opulence that characterizes
the successful modern human.
Peter Hagan - ⽆无限循环 - 中文 by curator, Peter Hagan
- “⽆无限循环”展示了了林林景秋和奥玛过去三年年的⼀一些作品。该展览探讨了了这两位艺术家如何通
过艺术来解决⽣生活的膨胀，复杂和痛苦。这些作品抽象⽽而冥想，传达了了对⽣生物之间相互联系
的内在理理解。欧玛的艺术作品不不断扩展，⽽而林林的艺术作品也在不不断重复，重复着同样的形式。
两者都是理理解世界的现代药⽅方：欧玛对⽣生物的相互联系进⾏行行全⾯面解释，⽽而林林则回归⽣生命之源。
欧玛的⽣生活⼯工作是⼀一个⽆无限的场景：由瓦⽚片组成的解开卷轴，其图案随着他们的邻居⽽而变
化。作为⼀一名前兽医，欧玛对世界的看法是在显微镜下的⽣生活中得到的。在那⾥里里，构成复杂
⽣生物体的单个细胞的相互依赖性反映了了⾁肉眼可⻅见的地球上⽣生命的简单 ⾏行行为。 “⽆无限循环”中
展出的作品是系统演化树 - ⼀一个正在进⾏行行的项⽬目，始于2017年年，基于⽣生物物种的遗传进
化。周游的线条从⼀一⻚页到另⼀一⻚页徘徊，勾勒勒出球状斑点变形⾍虫与蠕动的⽑毛发。⼤大胆，欢快的
⾊色彩将个体细胞结合成触摸和重叠的“家族”。如果⼀一幅画代表⼀一个单⼀一的细胞，它们⼀一起成
为⼀一个不不断增⻓长的多细胞⽣生物，依赖于它的邻居和家庭来定义和⽣生存在世界范围内。欧玛不不
断发展的艺术作品向观众开放，对整体进⾏行行不不可逆转的改变，最终将观众与系统演化树联系
起来。
另⼀一⽅方⾯面，林林景秋对超⾃自然的及抽象艺术与佛学之间的关系感兴趣。圆圈创造着她的艺术
词汇：她画的每⼀一次旋转都是⼀一句句咒语。每⼀一句句咒语都让她远离幻想和焦虑，并进⼊入⽣生活当
下的意识。给定作品中的圆圈或旋转的数量量对应于佛教哲学中的数字或具有个⼈人意义的数码。
⽆无题⿊黑⽩白画描述了了幻想欲望与现实必需品的冲突，这些欲望与⽆无数循环重复叠加，将“梦想”
与“现实”结合在⼀一起。进⼀一步说明这种内部冲突是⼀一系列列⾦金金⻩黄⾊色梦想的饭碗与不不完美的现实
蓝⾊色碗相对应。
⽆无限循环选在⼀一个奢侈的城市。财富的标志和符号围绕着空间，⽽而艺术家内部则应对导航
⽣生活的复杂性。这两位艺术家从⾮非常不不同的地⽅方开始，但他们都利利⽤用现代机制来创造艺术，
在⾯面对现代⼈人的财富和过剩的巨⼤大重量量时起到缓和作⽤用。
Peter Hagan
