Eelco Hilgersom

埃爾科・希爾格森

Eelco Hilgerson (Netherlands, 1979) presents two series in his creations. The first series, his widely known "Habitat" series, magnifies and simplifies the forms of microorganisms. Using cut-out sunglass lenses arranged in a scale-like manner, Hilgerson simulates the life patterns of organisms, vividly portraying their defense mechanisms in nature through brilliant colors. The second series, "Bloodline," draws inspiration from fungi. Living in Europe, Hilgerson often encounters the unique blood tooth fungus in forests, which he magnifies into artworks based on his delicate observations of this fungal species. Apart from their eye-catching colors, Hilgerson's meticulous techniques captivate viewers, offering them a different understanding of contemporary art.

These mirrored lenses function not just as a material choice but as perceptual disruptors. Viewed up close, the reflective surfaces catch and return the viewer’s image, interrupting full visual access and triggering a recursive loop of watching and being watched. Hilgersom’s work subverts our visual expectations of natural forms and turns optical unease into a source of tension—one that echoes the precarious balance between technology and nature, artificiality and biology in contemporary life.

His high-saturation palette is also rooted in the defense mechanisms of nature, such as the aposematic coloration seen in poisonous frogs, tropical fish, or beetles. Hilgersom translates these warning signals into a unique aesthetic vocabulary, using color and texture to create works that are simultaneously seductive and alien.

埃爾科‧漢格森（Eelco Hilgerson, Netherland, 1979) 的創作分為兩個系列。第一個系列為他最廣為人知的 Habitat 系列，將微生物的形體放大且簡化後，利用切割後的太陽眼鏡鏡片，以鱗片的排列方式，模擬生物的生命樣態，並且絢麗的色彩表現了在自然中，生物的防衛機制。第二個為 Bloodline 系列，以真菌做啟發，生活在歐陸的 Hilgerson 時常在森林中看到歐洲特有的血齒菌，將對此種菌類的細膩觀察，放大成作品。除了搶眼的色彩，在仔細觀看中，觀者將會被 Hilgerson 細膩的手法吸引，並對當代藝術有不同的理解。

這些鏡片，不只是材料選擇，更是一種觀看的干擾裝置。觀者於近距離觀看時，反射出自身影像，使觀看者無法「全然觀看」，反而陷入一種觀看與被觀看的自我循環中。Hilgersom 的作品挑戰我們對於自然物種的視覺慣性，將「視覺上的不安感」視為一種藝術張力，亦反映當代社會中科技與自然、人工與生物之間的不穩平衡。

高彩度的視覺語言，也同樣來自自然界生物的自我防衛機制——如毒蛙、熱帶魚、甲蟲所展現的警戒色彩策略。Hilgersom 將這些色彩語彙轉化為視覺美學，使其作品在色彩張力與材質構成中，達到迷人卻陌異的共振。

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