畫布上的少女驀然揚起馬尾，髮梢一盪，垂落而下的並非顏料，卻是具象的毛線。那一團毛線在地面堆疊成形，讓人不禁思索：這究竟是繪畫，還是裝置？21歲的日本藝術家ももえ（Momoe）擅長玩味這樣的模糊邊界，讓兩個維度的界限悄悄消融；繪製的角色與現實的物質在此交織。
A girl on canvas lifts her ponytail in a sudden flourish, and where the strands should end in painted tips, real yarn spills forth and pools upon the floor. One cannot help but wonder: is this painting or installation? Twenty-one-year-old Japanese artist Momoe delights in such ambiguities, quietly dissolving the boundaries between dimensions. Here, painted characters and physical matter intertwine.
來自埼玉縣的Momoe，雖剛自多摩美術大學圖像設計系畢業，創作資歷尚淺，卻已在2022年的藝術博覽會GEISAI #22中榮獲村上隆頒發的Mr.賞，並先後於東京、台灣、法國等地參與多次個展與聯展。她的作品之所以引人注目，並非因為筆觸的精雕細琢，而是源於那份敢於「越界」的膽識。她讓毛線、畫框邊緣、纏繞的電線這些真實材料成為畫面的延伸，令虛構與現實在同一空間內共存。
Hailing from Saitama, Momoe has just graduated from Tama Art University’s Graphic Design Department. Though her creative career is still young, she has already won the Mr. Award presented by Takashi Murakami at the art fair GEISAI #22 in 2022, and has successively participated in solo and group exhibitions in Tokyo, Taiwan, France and beyond. What makes her work compelling is not the meticulous refinement of brushwork, but rather the audacity to cross boundaries. She transforms yarn, frame edges, and tangled cables into extensions of the picture plane, allowing fiction and reality to coexist within the same space.
Momoe自幼便是漫畫迷，書架上堆滿數十冊連載漫畫，手中的畫筆也從未停歇。高中時期因素描受到老師讚賞，她毅然決定走上藝術之路。然而真正讓她找到個人風格的，是她對立體物件的痴迷。窗櫺上凝結的水珠、燈光投落的影子、一團糾纏的毛線，這些日常微物在她眼中皆蘊藏著無限可能。她開始思考：若將這些真實質感與平面動漫形象結合，將會激盪出怎樣的火花？
Momoe has been a manga enthusiast since childhood, her shelves filled with dozens of serialized volumes, her paintbrush never ceasing. In high school, her sketches earned praise from teachers, and she resolutely decided to pursue the path of art. Yet what truly enabled her to find her personal style was an obsession with three-dimensional objects. Water droplets condensing on window frames, shadows cast by lights, a tangle of yarn—these everyday minutiae hold infinite possibilities in her eyes. She began to contemplate: if these real textures were combined with flat anime imagery, what kind of sparks would ignite?
於是，我們得以見證這些令人眼前一亮的創作。她在畫布上描繪回眸凝望的少女，讓她的髮絲化作真實的毛線，自畫面垂落至地，彷彿重力真的在此作用。她也嘗試將兩片畫布交疊，使角色的面容分割於不同層次之間，營造出「窺視」的視覺效果。有時，畫布旁還會散落著凌亂的電線，恍若角色剛從數碼世界掙脫而出。這些看似隨性的安排，實則皆經過她的精心構思。
Thus we are able to witness these eye-catching creations. She depicts girls glancing back on canvas, transforming their hair into real yarn that falls from the picture to the ground, as if gravity truly takes effect here. She also experiments with overlapping two canvases, splitting characters’ faces across different layers, creating a voyeuristic visual effect. Sometimes scattered cables lie beside the canvas, as if characters have just broken free from the digital world. These seemingly casual arrangements are in fact all meticulously conceived.
Momoe 運用毛線、畫布、電線這些觸手可及的日常材料，以新奇的方式將作品織入現實世界。然而，她意圖傳達的，或許不只於視覺的驚喜。那些自畫布垂落的毛線、堆疊的畫框與纏繞的電線，無不在提醒我們：虛構與真實之間的界線，遠比想像中更為脆弱。對於成長於螢幕與現實夾縫中的一代而言，虛构角色早已超越了幻想的範疇，作為記憶的載體，亦是情感的依託。
Momoe employs yarn, canvas, and cables, these readily available everyday materials, weaving her work into the real world in unexpected ways. Yet what she seeks to convey may transcend mere visual delight. The yarn tumbling from canvas, the layered frames, the entangled wires all whisper a truth: the line dividing fiction from reality is far more tenuous than we dare believe. For those who came of age in the space between screens and substance, fictional characters have long outgrown the realm of fantasy, becoming vessels of memory and anchors for feeling.
Momoe 的作品正正捕捉了這種曖昧的存在狀態。她賦予了虛構的角色以真實的重量、質感，乃至一片可供呼吸的空間。關鍵從來不在於這些角色是否真實，而在於它們如何真實地與我們的生命交織。
Momoe’s work captures precisely this ambiguous state of existence. She grants fictional characters tangible weight, palpable texture, even room to breathe. The question was never whether these characters are real, but rather how they are real, how they thread themselves through the fabric of our lives, how they shape the contours of who we become.
圖片提供：ももえ｜Courtesy of Momoe
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