伊日藝術計劃台北空間現正展出聯展《魔幻日常》，展期自 2026 年 9 月 10 日至 10 月 31 日。本展亦呈現日本藝術家橫山麻衣（Mai Yokoyama）的作品。
橫山麻衣長期以「何謂本物」，亦即何謂真實與原貌，作為創作核心。她透過數位媒介、繪畫與時間感知之間的關係，持續探問圖像如何形成，以及我們如何判斷眼前所見是否真實。
她經常先以 iPad 繪製數位素描，再以水彩發展原始圖像，最後將其轉化為油彩作品。圖像在不同媒介之間反覆生成，每一次轉譯都留下新的痕跡與差異。數位繪畫中的「圖層」也成為她理解真實的重要線索，使不同時間、狀態與觀看經驗得以重疊於同一畫面之中。對橫山而言，圖像並非單一而固定的存在，而是一個持續被覆寫、重組與保留下來的過程。
《Solar Phantasm》系列中的作品取材自藝術家長時間停留於義大利與希臘期間所觀察的古代遺跡與出土文物。這些遺跡歷經埋藏、損毀、風化與重新發掘，早已不是最初作為神殿或建築時的樣貌。原有的功能與秩序，只能透過殘存的碎片與歷史想像被重新理解。它們如同幽靈般停留於當代，在消逝與延續之間，以另一種形式持續存在。
呼應《魔幻日常》的策展主題，橫山麻衣將看似遙遠的數位圖像與古代遺跡帶入同一個問題：當圖像與事物都已經歷時間、媒介與觀看的改變，我們如何理解何謂真實？作品中的「魔幻」並非幻想，而是在看似穩定的現實顯露出層層時間與痕跡的瞬間浮現。對她而言，真實並不存在於未經改變的原貌，而是在持續變形與覆寫之中，依然無法被完全抹除的存在。
YIRI ARTS Taipei is currently presenting Magical Everyday, a group exhibition on view from September 10 to October 31, 2026. The exhibition includes works by Japanese artist Mai Yokoyama.
Yokoyama’s practice centers on the Japanese notion of honmono, questioning what makes something authentic or real. Through the relationship between digital media, painting, and the perception of time, she examines how images are formed and how we determine whether what we see can be understood as reality.
Her process often begins with digital sketches created on an iPad, followed by watercolor source images that are eventually translated into oil paintings. As an image moves between different media, each stage leaves behind new traces and variations. The digital mechanism of the layer also provides an important framework for her exploration of authenticity, allowing different moments, conditions, and ways of seeing to accumulate within a single image. For Yokoyama, an image is never fixed or singular. It is continually revised, reconstructed, and preserved through transformation.
The works developed in Solar Phantasm draw from ancient ruins and archaeological artifacts encountered during extended stays in Italy and Greece. Shaped by burial, damage, erosion, and excavation, these ruins no longer resemble the temples or structures they once were. Their original functions and meanings can only be reconsidered through surviving fragments and historical imagination. Like spectral presences, they remain within the contemporary world, suspended between disappearance and endurance.
In dialogue with Magical Everyday, Yokoyama brings seemingly distant subjects, digital images and ancient ruins, into the same question: how can we understand what is real when every image and form has already been altered by time, media, and interpretation? The magical does not emerge through fantasy, but at the moment when an apparently stable reality reveals its accumulated layers and traces. For Yokoyama, authenticity lies not in an untouched origin, but in what continues to persist through ongoing processes of transformation and revision.