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艺术家自述 | 兰昭形：我与雕塑 | Tong Gallery+Projects

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兰昭形：阿卡迪亚

Lan Zhaoxing: Arcadia

2019.5.25 - 7.07

地址：Tong Gallery+Projects

北京市朝阳区酒仙桥路2号，798艺术区中二街D06

Venue: D06, Middle 2nd St., 798 Art Zone, No. 2 Jiuxianqiao Rd, BJ

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我与雕塑

Sculpting and I

我是爱雕塑的，但同时我也是笨拙的，大学临近毕业时才感到自己对实在物在空间中的起伏有所感悟。毕业后，对油画和纸本的探索在不断前行，但种种状况导致我的雕塑创作处于停滞。近几年创作雕塑的欲望逐渐强烈，各种想法不断涌出：材料的选择，物体的表现，过去与当下的连接......

I love making sculpture, but at the same time I consider myself a bit clumsy. I had not felt that I could grasp the fluctuation of tangible entities in space until close to my graduation from college. Since then, I continued experimenting with oil painting and works on paper, not with sculpture, however, due to some circumstances. In recent years, my desire to make sculpture grows and various thoughts have been emerging: choice of material, display of object, connection between the past and the present…

山丘 Hills | 2019 | 木 Wood | 30x20x20cm

《山丘》的灵感来源于我的诗：“晚上的月亮很白，和小小的乳房，一样柔软”，“两个小小的乳房，遗失在静谧的湖水，在秋天的风里，轻轻颤动”，“我想用金黄色的树叶，像秋天越来越大的风一样，抚摸你，小小的乳房，她是那么柔软”。我做了一个木的圆雕来表现它的起伏曲线，侧面的倾斜像是被风吹抚。我将它朝上摆放在两个沙漏形的底座上，此时它就是被夜风轻拂的山丘。

Hills is inspired by some of my own poems, “The evening moon is so white/as soft/as the tiny breasts” “The two tiny breasts/lost amid the quiet lake/in the autumn wind/quiver gently” “I want to use golden yellow leaves to/like the autumn wind that builds steadily up does, caress your/tiny breasts, they are so soft” (temporarily translated by editor). I made a round sculpture with wood to show the curves. The slightly tilted surface gives the impression that the “hills” are caressed by the wind, as in my poems. I put the sculpture on a base composed of two parts, each in the shape of sandglass. Now the elevated sculpture does become hills in the night wind.

消减 Subtraction | 2018 | 木 Wood

尺寸可变 Variable dimensions

朋友送给我两个木盒。夜晚我把它们放在面前，静静的看着它们。我不太喜欢过于封闭的空间，一种急需打破这种局面的需求支配着我将木盒锯开一个豁口。突然间我感到自己获得了一条穿越时间和空间的道路，木盒也被赋予了新的生命。由此创作出的《消减》既代表着我对雕塑的理解同时也是对现实物质世界的一种诠释。作品起伏而不规则的形状像是夜晚的山脊，由薄到厚，像原本的盒子一样可以站立，却是被削减的结果。

I had two wooden boxes given by a friend. One night I put them in front of me and just stared at them quietly. I do not really like space that is too closed, so at the moment an urgent need to break the mold made me cut the boxes with a saw. Then, I suddenly felt that I had attained a path that could traverse both time and space. At the same time the boxes were endowed with a new life by my act of sabotage, or more precisely, an act of substracting. Subtraction as such represents both my understanding of sculptural art and an explanation of the material world. The zigzag profile of the work looks like the shape of the mountain ridge under the night sky. With this irregularity, the sculpture can still stand as the original boxes could, but is the result of subtraction.

山中小屋 Mountain Cabin | 2018 | 木，铁 Wood, iron | 60.5x25x25cm

房间外二 | 布面油画

30x22cm | 2017（维特根斯坦的小屋）

克利的一个地方 | 布面油画

50×60cm | 2018（克利的小屋）

山中小屋 | 布面油画

90×60cm | 2018（维特根斯坦的小屋）

昼与夜 | 2019 | 布面油画 | 170×72cm

《山中小屋》和几幅油画作品一样，呈现了最基本、朴素且象征意味深远的建筑形态。其体现出的“放逐”、“退居”或“避世”是建筑空间、居住行为和哲学反思之间的纽带。“小屋”既是维特根斯坦、海德格尔、柯布西耶、荣格的，也是我的。我把一个简单的只有窗户的白色小屋置于一个类圆锥体上——它可以是山，也可以是其它。小屋独立于高处，既具精神性又带有孤独感，远离着思考着一切。

Mountain Cabin aims to present the most fundamental, the simplest and a profound architectural form, as some of my paintings do. The concepts it embodies—exile, retreat, or seclusion—serve as the bridge among architectural space, residential behavior, and philosophical reflection. It is not only the “cabin” of Wittgenstein, Heidegger, Le Corbusier and Jung, but also that of mine. I situate the cabin—one that is so simple that it has only windows but no doors—on a quasi-cone, which can be interpreted as a mountain or even something else. The cabin stands on its own on a high lookout, exuding a sense of loneliness yet with a certain spirituality, embodying the act of reflecting while keeping away.

未来我会继续探索：将诗性的语言转变成为实在物，用具有冲突和戏剧性的方式应用材料；在对空间深度理解的基础上让作品与其发生更多关系。我也希望自己的雕塑和绘画能更好的结合，呈现更好的表现状态。我非常期待未来创作上丰富的可能性。

In the future I will continue this kind of exploration: to transform poetic language into tangible entities, to infiltrate material with conflict and theatricality, and to have a deeper understanding of space so that my sculptures can have more connection with their surroundings. I also want my sculptures and paintings to be more integrated with each other and to be able to bring forth together better “performances”. I look forward to exploring the endless possibility of my future artistic creation.

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