胶囊上海｜莎拉·福克斯：于她完美

莎拉·福克斯：于她完美 Sarah Faux: Perfect for Her

展期 Date：2020.10.20 – 12.25

地址 Venue：胶囊上海，上海徐汇区安福路275弄16号1层

“于她完美”（Perfect for Her）是美国艺术家莎拉·福克斯（Sarah Faux）在胶囊上海举办的第二次个展。在本次展览中，艺术家通过两种媒介——切割布面拼贴和单版拓印——延展了她长期以来透过女性视角对身体经验的探索。

福克斯用大于真实人体的尺幅来呈现她的切割布面拼贴作品，并将作品直接固定在白色墙面上，从而将观众推进所描绘主体的特写前。就像更早时期的艺术家琼·塞梅尔（Joan Semmel）和露琪塔·乌尔塔多（Luchita Hurtado），福克斯同样采用了俯视自己的身体的视角，同时将这一方法运用到抽象的形态中。通过这种方式，福克斯邀请观众密切地感知他们眼前的身体。

如果说，福克斯的绘画作品讲述了一个故事，那么她的拼贴作品就像是从故事中提取出来的只言片语。当观众仔细观摩这些如星空般布满墙面的作品时，就会发现它们呈现和激发着一种非线性的思维进程。其中一些挑逗着未知（如《复杂的游戏》[Complicated Game]，2020），另一些则试图容纳一种思绪（如《后括号》[Closed Parenthesis]，2020）。

福克斯的数件拼贴作品描绘了休憩中的人物，例如《晕眩》（Headrush，2020），将观者引入独处的私密时刻。福克斯分隔不同的身体部位的手法好比玛吉·尼尔森（Maggie Nelson）对诗歌的处理方式，她们都通过描述极其具体的、物质化的事物，指引观众潜入某种心境和情绪之中。福克斯效仿尼尔森的《蓝花草》（Bluets）——一本出版于2009年的散文和诗歌的作品集，记录了作者在失去挚爱、悲伤和孤独的情感中对蓝色这一色彩的诸多体验，同时参照了艺术、文学和哲学领域的原型。在福克斯的《蓝花草》（Bluet，2020）中，艺术家同样探索了这一颜色的多面性。不透明的蓝色颜料渗透在躯干上，并与苍白的双腿形成对比，让人联想到皮肤感受到的凉意、霎那间的畏缩、抬腿时的麻木，甚至是精神的漫无目的。随着福克斯对蓝色的探究不断深入，《蓝花草》成为了一个进入潜意识的入口。

与她的拼贴作品一并呈现的，是福克斯独特的单版拓印作品，她将画中主体幻化为变化多端、稀薄流动的色域。这些单版拓印在有机玻璃板上采用水彩、蜡笔和拼贴素材，然后将纸张附着在有机玻璃板上一并通过拓印机。在这一过程中，艺术家将稍纵即逝的感受转化为大片的色彩和飞快的笔触。作品中丰富的视觉信息缓缓浮现，要求观众为之付出时间和耐心。换言之，它们契合了艺术家的创作意图，即延展从感知到认知那片刻的时间差，从而为观者留下一道时间的缝隙，让他们的目光去探索那些身体景观，在这些画面中难以言喻的心境和情感从我们短暂的生命中得到挣脱和释放。

展览标题“于她完美”表达了一种基于社会规范的对完美的女性气质的期待。而本次展览呈现的作品——扭曲的身体、断续的四肢、姿态性的笔触——却触发着不和谐的感知。当观者试图拼凑福克斯所呈现的视觉碎片时，他们就不得不去填补句子中缺失的部分。“于她来说什么是完美？由谁决定什么是完美？这种完美是如何传达的？”为了寻找答案，福克斯在她的图像创造中依赖于一种自决的主观性，她鼓励观众唤醒他们自己对身体和情感体验的看法，而这些体验正是个体自我意识的根基。

“Perfect for Her” marks American artist Sarah Faux’s second solo exhibition at Capsule Shanghai. In this body of work presented exclusively through two mediums - cut-out canvas collages and monotype prints - Faux delves deeper into her longstanding exploration of corporeal experiences through a feminine gaze.

Faux's cut-outs, rendered in larger-than-life dimensions and mounted on a white wall, thrust viewers into an up-close position in relation to their subjects. Like artists Joan Semmel and Luchita Hurtado from an earlier generation, who adopted the perspective of looking down onto one’s own body, Faux picks up this strategy but adapts it into abstract forms. In doing so, Faux demands the active participation of the viewer to perceive the bodies before them.

If her paintings on canvas tell a story, Faux’s cut-out pieces could be considered verses and phrases extracted from it. Forming constellations on the wall, these collages both visualize and stimulate a non- linear progression of thoughts as one peruses through them. Some pieces flirt with the unknown (Complicated Game, 2020), while others try to contain a thought (Closed Parenthesis, 2020).

Several of Faux’s collages imply forms in repose, like Headrush (2020), emanating the viewer into a moment of solitary privacy. By isolating body parts, Faux undertakes what writer Maggie Nelson does with poetry. In describing something very specific and material, both Faux and Nelson pull you into a state of mind, an emotional landscape. Faux emulates Nelson’s Bluets, a collection of hybrid prose and poetry published in 2009, documenting the writer’s multifaceted experience of the color blue through lost love, grief and solitude while referencing art, literature and philosophy. In Faux’s piece entitled Bluet (2020), she similarly utilizes this single color's multifaceted capacities. Opaque blue pigment permeates a torso, set against pale-skinned legs, reminding one of a moment of recoil, coolness on the skin, numbness from an elevated leg, or even idleness of the mind. As Faux invests in this color itself, Bluet becomes a portal for the subliminal.

The show’s title, “Perfect for Her”, articulates an anticipation for flawless femininity, informed by social norms. Yet the works on display – contorted bodies, disjointed limbs, gestural brushwork – trigger perceptual dissonance. As the viewer actively engages in piecing together the visual fragments Faux lays out, one is compelled to fill in the missing parts of the sentence. "What is perfect for her, who decides what's perfect, and how is such perfection conveyed?" For answers, Faux relies on a self-determined subjectivity in her image-making, encouraging viewers to awaken their own takes on the physical and emotional experiences that inform an individual sense of self.

关于艺术家 ABOUT THE ARTIST

莎拉·福克斯（b.1986, 波士顿）工作生活于纽约布鲁克林，并于2015年取得耶鲁大学绘画专业艺术创作硕士学位。她于2009年分别获得布朗大学和罗德岛设计学院的文科学士和艺术创作学士双学位。福克斯近期曾在胶囊上海（中国上海），M+B （美国洛杉矶），以及Stems画廊（比利时布鲁塞尔）举办个展。她的作品曾在国际范围内展出，包括Loyal Gallery（瑞典斯德哥尔摩）、Thomas Erben Gallery（美国纽约）和Fredericks＆Freiser（美国纽约）。福克斯曾在Yaddo艺术中心（美国纽约），Cuevas Tilleard Projects（肯尼亚拉穆）和斯沃琪和平饭店（中国上海）等地进行艺术驻留。

她的作品曾在《Cultured Magazine》《i-D Vice》《artcritical》《Surface Magazine》《Modern Painters》《华尔街日报》《Hyperallergic》《Artsy》和《Artsy Asia》等媒体上刊登报道。

Sarah Faux (b. 1986, Boston) lives and works in Brooklyn, NY. Faux received her MFA in Painting from the Yale School of Art in 2015. She received a joint BA/BFA from Brown University and the Rhode Island School of Design in 2009. Faux has had solo exhibitions at Capsule Shanghai (Shanghai, China), M+B (Los Angeles, USA) Cuevas Tilleard (New York, USA), Thierry Goldberg Gallery (New York, USA) and at Stems Gallery (Brussels, Belgium). Faux's work has been exhibited in group shows nationally and internationally, including at Loyal Gallery (Stockholm, Sweden), Thomas Erben Gallery (New York, NY) and Fredericks & Freiser (New York, USA). Faux has participated in several residencies including Yaddo (New York, USA), Cuevas Tilleard Projects (Lamu, Kenya) and at the Swatch Art Peace Hotel (Shanghai, China). 

Her paintings have been written about in Cultured Magazine, i-D Vice, artcritical, Surface Magazine, Modern Painters, The Wall Street Journal, Hyperallergic and Artsy, among others.

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The gallery is open by appointment only. Please make a reservation at least one day prior to your visit via the mini-program below👇. The booking system will open on October 19. Thank you for your support!