3D Frames Installation
日本艺术家鎌田裕介（Yusuke Kamata）利用画框这一简单装置，构建出令人困惑视角的迷人装置。他曾在大学学习绘画与绘画史，在寻求绘画创新时发现一切已被尝试，于是转而思考绘画的本质——是什么让一幅画成为画？这引导他关注画框，并将其视为绘画的定义元素。他试图通过制作看起来像绘画中透视缩短的画框，来创造一幅“画”，而无需实际绘画。
鎌田对人们在画廊和博物馆中仅从正面观看绘画的现象感到好奇，几乎无人从其他角度观看。他质疑绘画是否必须正面观看，并从其他角度会如何呈现。这些问题促使他扭曲画框，破坏了古典绘画中的透视法则。他的灵感来源之一是汉斯·荷尔拜因的《大使们》，画中一个从正面看无法识别的物体，只有从倾斜角度才能看出是一个骷髅头，这让他对透视有了新的理解。立体主义也影响了他，立体派画家试图在单幅画中从多个角度展现主题的侧面，如同围绕雕塑行走，但限于二维。
鎌田的装置实际上是三维的，每个画框也是三维物体，尽管我们通常认为画框是平面的。他试图消除绘画的正面性，传达事物有多个视角，并证明实际上没有“正面”。在2009年的作品中，他尝试展示100种不同视角，用连接画框制作了100个立方体结构，采用平行、斜角、等角和三等角投影等精确透视方法，但这些在二维中绘制三维物体的方法看起来却是扭曲的。由于画框侧边的厚度，现实中近处的线条比远处的更粗，但他故意让某些画框的前侧更薄、后侧更厚，以混淆透视。当观众在这些结构中走动时，看不到前后之分，不同视角混杂在同一空间，如同现实中多人同时观看同一物体，没有单一消失点，而是有多少人就有多少消失点。
Get an unrestricted access to all the blog and those extraodinary functions that can help your business grow in a continuously changing industry.
Japanese artist Yusuke Kamata uses the simple device of the frame to construct intriguing installations that puzzle our notions of perspective. Having trained to be a painter, Yokohama-based Kamata confesses that he does tend to think of himself as one. Whereas a painter normally uses picture frames to ‘contain’ art, though, he uses frames to ‘free’ art.
How did you arrive at the idea of making installations with picture frames? At university, I practised painting and studied its history. While searching for something new in painting, I realized that everything had already been done. So I shifted my focus and tried to understand its nature – what makes a thing a painting? That led me to frames, which can be seen as defining elements of paintings. I then attempted to make a ‘painting’ without actually painting but by making a frame that looked as though it had been foreshortened in a painting.
Why the strange angles? I was intrigued by the fact that in galleries and museums people view paintings only from the front. They hardly ever look at them from any other angle. Do paintings need to be seen frontally? How would they look if seen from other angles? Questions like these led me to distort the picture frame, which resulted in the destruction of the perspective that is a golden rule in classical painting.
Who or what inspired you? A particular source is The Ambassadors, a 16th-century painting by Hans Holbein the Younger that hangs in the National Gallery in London. Two ambassadors are portrayed in all their worldly pomp and dignity. But on the floor is an odd object, unrecognisable when you stand right in front of the painting. You have to view the picture at an angle to see the object resolve into a vanitas motif – a skull. I think it’s an incredible painting, and it gave me a new understanding of perspective.
And Cubism? Cubism has also influenced my work. The Cubist painter struggled to show the various profiles of his subject from many different angles in just one painting. It’s like walking around a sculpture, but then in two dimensions.
Your installations are actually three-dimensional, as is each frame you use, even though we normally think of a frame as a flat object. Yes. I wanted to eliminate the frontality of painting – to convey that the things we see have various perspectives and to prove that there is actually no ‘front’. In one of my works from 2009, I tried to show 100 different perspectives. I made 100 cubic structures out of connecting frames. I made them using parallel, oblique, isometric and trimetric projections, and so on. These are all accurate perspectival approaches used for drawing 3D objects in 2D, but they appear to be distorted. My work is about a 100-dimensional space and not about the 2D world of painting.
Although the frames are accurately drawn according to the perspectives you mention, everything seems to be askew. This is due to the thickness of the sides of each frame. In the real world, perspective makes a line that’s closer to you thicker than one that’s farther away. But I intentionally made some of a frame’s sides thinner in the front and thicker at the back to confuse the perspective. When you walk around inside these structures, however, you see no front or back anyway. Different perspectives are all cluttered within one space, which is what happens in reality when lots of people look at the same thing at the same time. There isn’t one vanishing point like you see in a painting. There are as many vanishing points as there are people.
Furniture manufacturer for the residential sector, hotels and palaces
鎌田裕介的3D画框装置以极简材料（画框）挑战传统透视与观看方式，其核心策略在于将二维绘画的“框”转化为三维空间中的“结构”，从而解构绘画的正面性。装置通过刻意扭曲画框的厚度与角度，制造视觉矛盾：从正面看似歪斜，但从不同角度移动时，透视关系不断重组，形成动态体验。这种手法借鉴了古典绘画（如《大使们》）中的变形透视（anamorphosis）和立体主义的多视角并置，但将其物质化为可穿行的空间。
- 空间策略：装置不是静态雕塑，而是邀请观众环绕行走，每步都改变视觉关系。这种参与式设计打破了传统艺术观看的单向性，强调视角的相对性。
- 材质与工艺：画框作为现成品（readymade）被重新定义，其厚度成为关键变量。通过精确控制前薄后厚或左右不对称，鎌田在物理层面模拟了透视变形，而非依赖光学幻觉。
- 动线与体验：观众被鼓励从多角度观察，甚至进入结构内部，体验“无正面”的空间。这种动线设计类似于迷宫，但目的不是迷失，而是发现视角的多样性。
- 可借鉴点：对于零售或展览设计，该装置提示了一种以简单元素（如框架、网格）创造复杂空间叙事的方法。通过调整元素的尺度、角度和厚度，可以引导顾客的动线，并制造视觉惊喜。此外，它强调了观众移动的重要性——设计应鼓励动态观看，而非静态凝视。