身边艺术｜安藤美夜 Miya Ando

安藤美夜，1973年出生于美国，是以纽约为中心创作与生活的新兴艺术家。作为备前剑制造商的后裔，成长于在日本冈山县一座寺庙，与佛教僧人剑匠一起生活。由于拥有一半日本，一半俄美血统，艺术家的成长过程经历着两种截然不同的文化与语言。安藤美夜先后在加州大学伯克利分校取得东亚研究学士学位，在美国耶鲁大学修读佛教意象及图象。毕业后，她到日本著名的铁匠服部工作室当学徒，并于2009年到北加州公共艺术学院进行实习。

Born in Los Angeles in 1973, Miya Ando is a Japanese and American artist based in New York. Growing up between two cultures, geographies, and languages–the Redwood forest in Northern California and a Buddhist temple in Japan–Ando’s work engages duality of Eastern and Western culture. The artist holds a bachelor’s degree in East Asian Studies from the University of California, Berkeley, studied East Asian Studies at Yale University. She apprenticed with the master metalsmith Hattori Studio in Japan, followed by a residency at Northern California’s Public Art Academy.

于2015年开始的"Kasumi"系列以大自然的瞬间为主题，对作品标题所暗示的多变的大气条件进行了崇高、抽象的渲染。柔和的色调与细腻的触感，营造出微弱的色彩变化。

Since 2015, the Kasumi series, which center on transience and offer sublime, have abstracted renderings of the mutable atmospheric condition the title suggests. Here, the palettes are soft and muted and the gradual shift between colors is nearly imperceptible. 

随着月亮绘画变得更加抽象和精炼，安藤美夜转向了另一种媒介。她用铝和钢创作了一系列不同形式的金属画，这些画呈现出丰富的色彩：有些浸透在深蓝色和紫红色的阴影中，暗示着我们银河系之外的空虚；也有些作品中，月亮沐浴在黎明的光辉中。运用透视法，暗示地平线的存在，或隐藏在薄雾之后的月亮形态的最微弱痕迹，"Oborozuki"系列作品研究了极限空间的概念。

As the moon drawings evolved, becoming more abstract and distilled, Ando shifted to a different medium. Employing both aluminum and steel, she created a series of metal paintings in varied formats. The paintings are rendered in a full spectrum of rich color. Some are saturated in deep shades of blue and aubergine, suggestive of the void beyond our galaxy; in other works, the moon bathes in the bright glow of first light. Ando plays with perspective, offering hints of a horizon line or the faintest trace of the moon's form hidden behind a curtain of mist. These works investigate the concept of liminal spaces and are part of her new series Oborozuki, a Japanese word for a moon obscured by clouds.