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This blog is finally admin to 2021-10-4 16:54 edit

Seasons installation
地點:英國康普頓韋爾尼美術館和公園
展出時間:2021年5月18日-2021年8月30日

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四季邀請您在大自然中體驗一年。該裝置在畫廊周圍蜿蜒曲折,帶領參觀者進行一年四季的體驗之旅:從春天開始,然後在夏天、秋天和冬天幾乎完整地循環。作品既是結束也是開始,是對時間流逝的反思和行動的號召。

該裝置展示了勞的自然編織、繪畫、雕塑、個人日記、數字日記和短片,代表了 2020 年和 2021 年封鎖期間在英國度過的高潮時期,在此期間,勞一直沉浸在她在斯諾登尼亞的家周圍的自然世界。

展出的還有當地社區和學校團體保存的一系列自然日記,他們參與了該裝置的創作。

“我回顧一年多來,看到了太多的挫折和痛苦。每天記錄生活的時候,你看的是微觀。大自然成為日常的救星,將您拉回地球的奇觀。有時,大自然會感到麻木不仁。大自然並不關心世界上發生了什麼。它盡可能地繼續進行。情緒最痛苦的日子是最艱難的日子。我了解了大自然的節奏以及我們與地球的重要聯繫……”

麗貝卡·路易斯·勞

img by Rebecca Louise Law: Seasons by Mark Jones

img by 由攝影師 Jamie Woodley 提供


Location: Compton Verney Art Gallery & Park, UK
Exhibited: 18th May 2021 - 30th August 2021
Seasons invites you to experience a year in nature. Winding sinuously around the gallery, the installation takes the visitor on an experiential voyage through the year: opening with spring, before looping almost full circle through summer, autumn, and winter. The work is both an end and a beginning, a reflection on the passage of time and a call to action.

The installation is supported by a display of Law’s natural weaves, paintings, sculptures, personal journals, digital diary and short film representing the culmination of a period spent in the UK during the lockdowns of 2020 and 2021, during which time Law has been immersed in the natural world around her home in Snowdonia.

Also on display is a selection of nature diaries kept by the local community and school groups who have been involved in the creation of the installation.

‘I look back over a year and I see so much frustration and pain. When recording life daily, you look at the micro. Nature becomes a daily saviour, pulling you back to the wonders of the Earth. At times nature has felt insensitive. Nature did not care about what was happening in the world. It carried on as well as it could. The most emotionally painful days were the hardest entries. I have learnt about the rhythm of nature and our vital connection to the Earth…’

Rebecca Louise Law

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Rebecca Louise Law
https://www.rebeccalouiselaw.com/
Rebecca Louise Law(英國出生於 1980 年)以使用天然材料創作沉浸式裝置而聞名。永生花已成為她最受認可的作品的簽名。單獨縫製和懸掛,觀眾經常被邀請瀏覽它們,發現每個標本的不同形式、顏色和紋理。這些巨大的作品故意模棱兩可,雖然象徵主義、消費主義、可持續性和生命週期的主題經常出現,但這些藝術品也提供了一種和諧的休息和沈思的空間感。 Law 更廣泛的實踐涵蓋繪畫、印刷、編織、玻璃、陶器等。她的作品探索了我們人類與自然聯繫的複雜性,旨在幫助激發對它更深入的欣賞。 “消費主義的便利讓一切變得太容易也太快了。缺乏對細節的關注以及對事物的來源知之甚少,這讓我想將觀眾的注意力集中在自然上。花朵是我的顏料,我將空間作為我的畫布,但當你進入任何裝置時,你會被帶回大自然的神聖之美。人類的靈魂需要自然和時間來欣賞地球提供的一切。在過去的 16 年裡,我收集了超過 100 萬朵鮮花,重新利用了我工作過的每一朵花。最近,這讓我的裝置足夠大,可以完整地體驗自然。完全包圍觀者的裝置有 Chandran Galley 的《腐爛之美》(2016)、Kew Gardens 的 Life in Death(2018)、托萊多藝術博物館的 Community(2018)和 Fredrick Meijer 雕塑公園的 The Womb(2019)和畫廊” 時間的持久性常常為勞的作品提供背景。從歷史上看,她曾嘗試過對比不同的狀態。新鮮,保存,腐爛。最近,Law 在日記中記錄了一年的日常自然觀察——草圖、筆記和視頻,用於展覽季節。 可持續性 以畫家的身份接近裝置藝術,Law 努力讓每一朵花都像一滴油漆一樣有價值。 “通過分解花朵並保留每個頭部作為顏色元素,我決定將我的顏料換成花朵。花朵變成了一個 3D 調色板,讓我可以在空氣中描繪我的自然表情。” Law 最早的安裝委託讓她改變了巨大的空間,使用了她允許在空間內晾乾的鮮花。不會浪費任何材料,任何短期裝置都會帶回她的工作室進行乾燥和重新雕刻。她的作品旨在邀請觀眾見證隨著時間的推移保存下來的材料,讓觀眾多次參觀一件藝術品,以獲得全新的體驗。 自 2003 年以來,Law 一直在收集每一朵花和每朵花留下的灰塵。她現在在美國展出超過100萬株永生花,在亞洲和澳大利亞展出25萬株花卉,在歐洲展出超過50萬株花卉。這種材料不斷增長,每次新展覽都會在現有材料上增加一層額外的花朵。安裝藝術品後留下的任何灰塵都會被清掃、存檔並裝入玻璃框架中。 最近的裝置利用了藝術家從這一開創性實踐開始 20 多年來積累的大量材料以及當地採購的材料。材料的數量使勞能夠雕刻出具有紀念意義的藝術品,這些藝術品可以接近與自然相關的極其敏感的主題。 使用一種通常短暫且純粹的裝飾材料,給 Law 正在進行的藝術實踐帶來了許多複雜性。她始終忠於花朵,珍視每一片花瓣,超出其物質預期。浪費和商業主義的主題在 Law 的心頭沉重,她是調整我們利用自然方式的先驅。 如今,Law 使用在諾曼底的一個小家庭經營的小農場種植的花卉,以及在斯諾登尼亞種植自己的花卉。如果她在家外創作裝置作品,該機構會從自己的場地或當地花園提供當地種植的花卉。 “一朵乾花可以留住時間。一朵鮮花盛放片刻,兩者都同樣特別。乾花的美妙之處在於能夠重新審視它並將其視為地球上保存完好的物體,這是一種完美的自然形態,能夠保持其脆弱性。” 社區 認識到她的手藝是將人們聚集在一起的機會,Law 邀請了各個社區參與她的裝置創作。 “把各行各業的人聚集在一起坐下來,用他們的雙手做出一些東西,對每個人來說都是有益的。我相信機構可以通過社區主導的藝術讓藝術參與變得積極主動,而不那麼令人生畏。” Rebecca Louise Law (British b.1980) is known for creating immersive installations with natural materials. Preserved flowers have become the signature of her most recognised works. Individually sewn and suspended, viewers are often invited to navigate through them, discovering the diverse forms, colours and textures of each specimen. These colossal works are intentionally equivocal and while themes of symbolism, consumerism, sustainability and life cycles often present themselves, the artworks also provide a harmonious sense of place for rest and contemplation takes precedence.  Law’s wider practice spans painting, print, weaving, glass, pottery and more. Her work explores the complexity of our human connection to nature with the intent to help inspire a deeper appreciation for it.  “The convenience of consumerism has made everything too easy and too fast. The lack of attention to detail and little understanding of where things come from made me want to focus the viewers’ attention back to nature. Flowers are my paint and I work with space as my canvas, but as you enter any installation you are taken back to nature’s divine beauty. The human soul needs nature and time to appreciate all that the earth provides. Over the past 16 years, I have collected over one million flowers, re-using every flower I work with. Recently this has allowed my installations to be large enough to have a complete experience of nature. Installations that have completely enveloped the viewer are Beauty of Decay (2016) at Chandran Galley, Life in Death (2018) at Kew Gardens, Community (2018) at Toledo Museum of Art, and The Womb (2019) at Fredrick Meijer Sculpture Park and Gallery” The persistence of time often provides context to Law’s work. Historically she has experimented with contrasting states; fresh, preserved, decayed. Most recently, Law has documented a year of daily nature observations in diaries – sketches, notes and videos for the exhibition Seasons.  Sustainability Approaching installation art as a painter, Law has strived to give each flower as much value as a drop of paint. “By breaking down the flowers and preserving each head as an element of colour I settled on swapping my paints for flowers. Flowers became a 3D palette that allowed me to paint my expressions of nature in the air.” Law’s earliest installation commissions saw her transform huge spaces, using fresh flowers that she allowed to dry within the space. No material would go to waste and any short-term installations would be brought back her studio to dry and re-sculpt. Her works were intended to invite viewers to witness materials preserving over time, allowing the viewer to visit an artwork multiple times for a renewed experience.  Since 2003 Law has been collecting every flower and every remnant of dust left by flowers. She now has a collection of over 1 million preserved flowers exhibiting in the USA, 250,000 flowers exhibiting in Asia and Australia and a collection of over 500,000 flowers exhibiting in Europe. This body of material keeps growing and with each new exhibition an extra layer of flowers is added to the existing material. Any dust left after installing an artwork is swept up, archived and encased in glass frames. Recent installations have utilised the artists vast collection of materials, amassed over the 20 years since the start of this pioneering practice, alongside locally sourced materials. The quantity of material has allowed Law to sculpt monumental artworks that can approach extremely sensitive subjects related to nature. Using a material that is commonly ephemeral and purely decorative has brought many complexities to Law’s ongoing art practice. She remains loyal to the flower, treasuring every petal beyond its material expectation. The subject of waste and commercialism weighs heavily on Law’s heart and she is a pioneer in adjusting the way we use nature. Today Law uses flowers grown in a small family run small holding in Normandy as well as growing her own flowers in Snowdonia. If she creates an installation away from home, the institution provides locally grown flowers either from its own grounds or local gardens.  ‘A dried flower holds time. A fresh flower holds a moment, and both are equally special. The beauty of a dried flower is being able to revisit it and observe it as a preserved object of the earth, a perfect form of nature that holds onto its fragility.’ Community Recognising her craft as an opportunity to bring people together, Law has invited various communities to participate in the creation of her installations.  ‘Bringing all walks of life together to sit down and make something with their hands is rewarding for everyone. I believe that institutions can make art engagement proactive and less intimidating through community led art.’



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