前川强(Tsuyoshi Maekawa)1936年出生于日本大阪。当日本战后进入重建时期，其艺术发展上也打开了封闭已久的大门。克利、毕卡索和米罗等人在抽象表现主义上的成就，对前川强的艺术创作有着决定性的影响。
Born in 1936 in Japan. When Japan entered the post-war period of reconstruction, its artistic development also opened the door for a long time closed. The achievements of Klee, Picasso and Miro in abstract expressionism have a decisive influence on Tsuyoshi Maekawa’s artistic creation.
1958 当代艺术协会展/日本
1970 具体美术万国博览70展/大阪
1981 第三届EMBA奖展/芦屋；第十五回现代日本美术展
1995 近代印刷：白发一雄、元永定正、前川强/西宫
2017 Beyond Matter展/旧金山；物质的力-前川强个展/台北
1958 Contemporary Art Association Exhibition / Japan
1970 specific art exhibition 70 / Osaka
1981 3rd EMBA award exhibition / Luwu; 15th modern Japanese Art Exhibition
1995 modern printing: white hair Yixiong, yuanyongdingzheng, qianchuanqiang / Xigong
2017 beyond matter exhibition / San Francisco; material force – QianChuan strong solo exhibition / Taipei
《作品》work | 1958
麻布油画 | 38×45.5cm
《无题》Untitled | 1960
麻布油画 | 116.6×91.3cm
前川强对绘画材料有着浓厚的兴趣，尤其专注于材质本身的表现，而不是绘画里的行为或空间性，他的作品多由丰富的肌理构成，如将粗麻布重新铸型、切割、塑形并缝接再厚涂颜料等，由此创作出如浮雕般凹凸的作品结构，之后用泼洒、溅滴、染渍等多种绘画技巧的结合来展现看似即兴偶然的创作。所以他的每件作品都贯穿了材质经历创作的各种过程，而且更进一步探掘了材质的原始之美。
Tsuyoshi Maekawa has a keen interest in painting materials, focusing especially on the performance of the material itself, rather than on the performance or spatiality of the painting. His works are often composed of rich texture, such as re-casting burlap, cutting, shaping and stitching and then thick coating of paint, etc. This creates a relief like concave and convex structure of the work, and then with splashing, splashing, staining and other painting techniques to show the seemingly accidental creation of improvisation. Therefore, each of his works runs through the process of material creation, and further explores the original beauty of the material.
《A17》A17 | 1963
麻布油画 | 130×162.5cm
《黑色A10之间》work black in betweenA10 | 1963
麻布油画 | 227.8×181.5cm
《无题》Untitled | 1963
麻布油画 | 65×53cm
《作品131018》work131018 | 1963
麻布油画 | 37.5×45.4cm
《无题》Untitled | 1963
麻布油画 | 60.5×72.5cm
前川强的作品并非全然抽象，事实上他的创作介于平面和三维空间，或者说是介于传统绘画和立体浮雕之间的，而同时他的每一件作品又是这两种不同艺术形式的不同程度的特定组合，展现了不同层次形态。其中作品中的符号、象征和图像都是显而易见的，它们的比例并不固定，也许占大部分，又也许极度渺小，这也是前川强艺术创作的伟大成就和迷人之处。
Tsuyoshi Maekawa’s works are not completely abstract. In fact, his creation is between plane and three-dimensional space, or between traditional painting and three-dimensional relief. At the same time, each of his works is a specific combination of these two different art forms, showing different levels of form. Among them, the symbols, symbols and images in the works are obvious, their proportion is not fixed, perhaps accounting for the majority, or perhaps extremely small, which is also the great achievement and charm of Tsuyoshi Maekawa’s artistic creation.
《作品》work | 1963
麻布油画 | 162×131cm
《曼纳卡塔特蓝》Mannake Take no Blue | 1964
麻布油画 | 162.5×130.5cm
《作品》work | 1999
麻布油画 | 20×20cm
《A56》A56 | 2002
麻布油画 | 259.5 × 183.3cm
他的作品中蕴含着文化性的符号，创作灵感来自多种文化，所以蕴藏着无穷的可能性。他的粗麻布的突起是受到从日本上野原发现的古老陶器图案所启发而来。若以俯瞰的视角观看这些作品，这些粗麻布內在深沉的特质以突起的形式来表现，重现了自然世界的韵律与地球的地表构造——地形的线条、各式各样的田野、矮墙、或是指纹，与之那些沉暗的颜色，似乎也显得更加神秘，这不仅拥有了形而上的美感，更激发的艺术的可能性。
His works contain cultural symbols, creative inspiration from a variety of cultures, so there are endless possibilities. His burlap was inspired by ancient pottery patterns found in Uenohara, Japan. If you look at these works from a overlooking perspective, these burlap cloths are expressed in the form of a protuberance. It reproduces the rhythm of the natural world and the structure of the earth’s surface—lines of terrain, various fields, low walls, or fingerprints. With those dark colors, seems to be more mysterious, which not only has the metaphysical beauty, but also stimulate the possibility of art.
《作品》work | 2003
麻布油画 | 32×41cm
《作品131013》work131013 | 2003
麻布油画 | 32×41cm
《017》017 | 2013
麻布、综合媒介 | 115×90cm
他的作品游移于美和丑之间，也游移于感性与理性之间，我们可以将他的作品视为情感的或是智识性的艺术试验。正是他通过一种极为独特的、个人的、涵盖了日本文化和传统的方式，无畏的跨出那些艺术思潮和运动理论，进一步拓展了艺术的边界。所以观赏前川强的作品是饶有趣味的，因每件作品都是他对视觉印象进行彻底试验的独特结果。
His works move between beauty and ugliness, as well as between sensibility and reason. We can regard his works as emotional or intellectual experiments. It is through a very unique, personal, covering the Japanese culture and tradition, fearless across those artistic ideas and sports theory, to further expand the boundaries of art. So it’s interesting to watch Tsuyoshi Maekawa’s work, because each piece is the result of a thorough experiment with visual impressions.
《作品140620》work140620 | 2014
麻布油画 | 100×80cm
《作品》work
麻布油画 | 162×130.5cm
在前川强的作品中，颜料和颜色入侵粗麻布和突起的结构互相抗衡又互相压制，他持续性的进行着全然超脱的革命性试验，并不懈寻求突破以翻转自己的艺术惯性。最终，他回归到基本的艺术元素之中，并将之推进到极限。
In Tsuyoshi Maekawa’s works, pigment and color invade the burlap and the protruding structure fight against each other and suppress each other. He continues to carry out a revolutionary experiment of total detachment, and unremittingly seeks to break through to overturn his own artistic inertia. In the end, he returns to the basic artistic elements and pushes them to the limit.
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