JAMES TAPSCOTT:这项作品背后的灵感是用雾来描绘人造和自然元素之间的关系。深圳是一个超级“人造”的城市,在短短几十年内从一个渔村一跃成为拥有1200多万人口的大都市(比纽约多50 % )。几乎所有的植物都同时放置在它的短暂历史的某个时刻。因此,尽管MixC的开发过程中有很好的绿化景观,但我还是想创作一个展示自然和非自然之间显著对比的作品。

JAMES TAPSCOTT:The inspiration behind the work was to use mist as a delineation between man-made and natural elements. Shenzhen is a very “manufactured” city having sprung to existence from a fishing village to a massive metropolis of over 12 million people (50% more than New York City) in just a few decades. Nearly all the vegetation has been placed there at some point in it’s brief history. So even though the MixC development was quite nicely landscaped with greenery I wanted to produce a work that shows the significant contrast between natural and unnatural.

 

 

这棵树本身是相当抽象的——尽管从各个角度来看都不尽相同,但它仍然是对真正的树的奇妙复杂的有机结构的拙劣简化。当装置中的喷嘴打开时,会爆发出一层薄雾。我发现用雾来创作是人类控制自然的有趣类比。我们将雨天的雨水收集起来,最终将其穿过微小的喷口,形成雾状,以自然状态重新进入大气层。有机云雾与树木本身的形状和抛光材料形成鲜明对比。雾喷口在一排相似大小的树的末端,连接着这个基地的对话。雾也在轻轻地提醒着人们地球上的绿色空间正在逐渐消失。

The tree itself is quite abstracted – though designed to look different from every angle it’s still a poor simplification of the wonderfully intricate organic structure of a real tree. It then erupts in a canopy of mist, something that is purely natural, once it leaves the nozzles. I find working with mist to be an interesting analogy of human control over nature. Water is tamed from the point of being rain, corralled to eventually be forced through the tiniest of openings to emerge again as mist, re-entering the atmosphere in a natural state. The organic cloud of mist sits in stark contrast to the form and polished materials of the tree itself. It sits at the end of a line of similar sized trees, connecting this dialogue with the site. The mist is also acting as a ghostly reminder of the Earth’s disappearing green spaces.

 

Photo Credits: UAP United Art Projects

 

地点: 中国深圳
材料: 抛光不锈钢,雾,灯光
尺寸: 高9米,宽5米,长7米
年份: 2018年

Location: Shenzhen, China
Materials: Polished stainless steel, mist, light
Size: 9m high x 5m wide x 7m long
Year: 2018

 

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