BROWNIE Project 画廊正于2023年西岸艺术与设计博览会欣然呈现艺术家珍妮·盖格尔的多媒材架上作品,这是此位近年快速崛起的南非当代青年艺术家在中国的首次展出。
珍妮·盖格尔的作品是身体和地形的复合体,她通过多层级的在地性材料研究与构造,使用大量的织物和各种媒介将身份不明的人体以撕碎、缝合、绘制、隐藏的形式呈现在复杂而梦幻般的地形挂毯上,绘画的姿态消失了,分辨率被流动性所取代,而身体亦同时作为一种情境和结果被进行审视。
我们很荣幸地邀请珍妮·盖格尔讲述她的艺术创作与实践。
BROWNIE Project is presenting a selection of multi-media paintings by artist Jeanne Gaigher in the West Bund Art and Design Fair 2023. It is the first time for this emerging contempororay artist of South Africa to show up in China . Jeanne Gaigher’s works are complexities of body and terrain. Through multi-layered construction and a material investigation that verges on architectural, she uses large amount of fabrics and various media to present unidentified bodies in torn, sewn, drawn and hidden forms on complex and dreamlike topographical tapestry. Painterly gestures dissolve and resolution is substituted with fluidity, body is interrogated as both a situation and a consequence.
We are honored to invite Jeanne Gaigher to talk about the works in this exhibition and her creative process.
倾听艺术家珍妮盖格尔
Artist Talk with Jeanne Gaigher
“我叫Jeanne Gaigher,在南非开普敦工作和生活。对我的作品来说,非常重要和关键的一点是,我认为绘画不是以图像为基础的,而是把图像看成是有历史的东西,不是审美的最终图像或者正在转变成其他东西的途中。这...我认为这肯定与生活在南非、来自这里,以及艰难的政治局势有关。因为我们一直处于转变的状态,成为和痛苦的状态中,这可能是一个非常痛苦的过程,但也是一个快乐的过程。”
"My name is Jeanne Gaigher and I live and work in Cape Town, South Africa. Something that is very important and key to my work is thinking of the paintings as something that's not image based, but looking at the image as something that has a history and something that is not a static final image or, is on its way to transform into something else. It's..I think it definitely has to do with living in South Africa and being from here, and our difficult political situation. since aparte it has..we've always been in a state of transformation, and becoming, and bettering, and within that it can be a very painful but also very joyous process."
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珍妮·盖格尔
否则会怎样呢(第1部分)
2023
生帆布、粗布、水彩、丙烯、墨水、线
200 x 180 cm
Jeanne Gaigher
How Could Things Be Otherwise (Part 1)
2023
Raw canvas, scrim, watercolors, acrylic, ink, thread
78.74 x 70.87 in
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珍妮·盖格尔
否则会怎样呢(第2部分)
2023
生帆布、粗布、水彩、丙烯、墨水、线
165 x 200 cm
Jeanne Gaigher
How Could Things Be Otherwise? (Part 2)
2023
Raw canvas, scrim, watercolors, acrylic, ink, thread
64.96 x 78.74 in
“在我的作品中,纺织品和图像的分层,以及试图表达转变的感觉,都像是在消化自己内心转变的想法。我认为这也是对困难的政治局势的回应,比如以超自然的方式,这是一种扩大身体能力的方法,是对身体的一个非常关键的思考——它的环境是无边界或者无界限的,当你看作品时,是在环境和身体中找到一种扁平化的平衡。
我认为这些都是处理这种转变或者变化的方式,这就像是对你自己的身体进行协商,对它所处的空间进行协商,并试图找到与它更亲密的关系。作品的照片并不能做到公正,站在作品面前,要确保你的体验,就像你看着作品,或者你体验到了很多隐藏信息的感觉,创作作品时的隐匿历史,而不是专注于图像本身和它所代表的内容。
这就像一种把东西放在一起的方式,我只是在改变你看一幅画的方式,我显然在用新的方式扩展绘画的概念,把它更多地推向了我猜测的共同构造的领域,就像走这条路一样,用解剖的思维去想画布是什么感觉,所以包括画布在内的整个东西都变成了这个环境和发生的事情。它具有解剖学上的特征,因此大自然就像具有了解剖学的形式。
人体具有更自然的形式,它变得像一个水潭,或者对于两边,变得非常模棱两可,这就打开了我有兴趣通过绘画来探索事物的可能性。我所有的工作都会用到我的缝纫机,这就像透明的布料,我可以在上面画出这些多层次的图像,所以它可以同时容纳很多不同的想法,这不是一个线性过程,就像做梦一样,我想这也是梦幻景象的作用所在。
因为在一个画面中会出现很多可能性和结果,而这些可能性和结果又会中断,然后你的视线就会移动,定格在其他画面上。上帝就像从未完全成型的句子,或者说它永远是开放的。”
珍妮·盖格尔
移植
2022
综合材料
300 x 250 cm
Jeanne Gaigher
Transplant
2022
Mixed media
118.11 x 98.43 in
珍妮·盖格尔
是你的就不会错过
2022
丙烯, 墨水,水彩, 线,生帆布, 活页夹
300 x 250 cm
Jeanne Gaigher
If it's for you, it won't pass you
2022
Acrylic, ink, watercolor, thread, raw canvas, bookbinders mull
118.11 x 98.43 in
珍妮·盖格尔
金属比例,肌肉,原理
2022
丙烯, 墨水,水彩, 线,生帆布, 活页夹
230 x 235 cm
Jeanne Gaigher
Metallic Ratio, Muscle, Principle
2022
Acrylic, ink, watercolor, thread, raw canvas, bookbinders mull
90.55 x 92.52 in
珍妮·盖格尔
一场对话的维度III
2022
拼贴
53 x 70 cm
Jeanne Gaigher
Dimensions of a dialogue III
2022
Collage
20.87 x 27.56 in
珍妮·盖格尔
爱物
2022
丙烯,墨水,染料,装订用纱布, 生帆布,线
140 x 110 cm
Jeanne Gaigher
The Love Object
2022
Acrylic, ink, dye, bookbinding mul(gauze), raw canvas, thread
55.12 x 43.31 in
珍妮·盖格尔
热浸
2022
丙烯, 墨水,水彩, 线,生帆布, 活页夹
203 x 184 cm
Jeanne Gaigher
Hot Dipping
2022
Acrylic, ink, watercolor, thread, raw canvas, bookbinders mull
79.92 x 72.44 in
“I think in my work with the textiles and the layering of images and the layering of images and kind of tries to speak to the feeling of what it must feel like to transform. All the feeling of like digesting the idea of transformation in yourself. I think it's also responding to difficult political situations in terms, like in a supernatural way, I think of ways to expand on the body's capacities. that's a very key thing to think of the body, and its environment as borderless or boundaryless, to find like a flattened balance within the environment and the body when you look at the work."
"I think it's..like these are all I guess like ways of dealing with this sense of transformation or change, it's like..it's negotiating your own body and negotiating the space that it operates in, and trying to find more intimate relations with it, I think that photos of the work doesn't do justice, I think that standing in front of the work, makes sure your experience like you look or your experience this feeling of a lot of hidden information, hidden history of how the work was made, instead of focusing on the image itself and what it represents."
"It's like a way of putting something together, that I'm after like just shifting the way of the way you look at a painting, I'm obviously playing with new ways of expanding the idea of a painting, and pushing it more into the realm of i guess a common construction of like taken that route. But to get to an anatomical ideas around what the canvas feels like, so the whole thing including and canvas that it's painted on becomes this environment and this happening. And it has like anatomical features, so nature becomes like takes on an anatomical form."
"The human body takes on a more natural form, it becomes like very like a puddle, or it becomes..like on both sides, it becomes very evasive. And that opens up the this like capacity of things that I'm interested in exploring through painting, and takes all work with my sewing machine, and this goes like fabric that's transparent I can have these multilayered images on it, so it can hold a lot of different ideas at once. It's not a linear processk, like a dream, I guess that's where the dreamscape also comes in."
"It's because there's a lot of possibilities and outcomes that's happening like in one frame, and that breaks off, and then your eyes like moves, and it like fixates on something else. God's like sentences that are never fully formed, or it's like always open."
珍妮·盖格尔
超自然!(第1幕)
2023
帆布,活页夹,铅笔,墨水,水彩,丙烯
185 x 145 cm
Jeanne Gaigher
Supernature!(Act 1)
2023
Canvas, bookbinders mull, pencil, ink,watercolor, acrylic
73.23 x 57.09 in
珍妮·盖格尔
超自然!(第2幕)
2023
帆布,活页夹,铅笔,墨水,水彩,丙烯
185 x 145 cm
Jeanne Gaigher
Supernature!(Act 2)
2023
Canvas, bookbinders mull, pencil, ink,watercolor, acrylic
73.23 x 57.09 in
珍妮·盖格尔
渴望的边界具有深刻表面(序列no.5)
2023
丙烯, 墨水, 水彩, 帆布, 装订用粗布,线
132 x 30 cm
Jeanne Gaigher
Desired boder figured deep surface(sequence no.5)
2023
Acrylic, ink, watercolor, canvas, bookbinder's scrim, thread
51.97 x 11.81 in
珍妮·盖格尔
渴望的边界具有深刻表面(序列no.6)
2023
丙烯,墨水,水彩, 帆布,装订用粗布,线
183 x 42 cm
Jeanne Gaigher
Desired border figured deep surface (sequence no.5)
2023
Acrylic, ink, watercolor, canvas, bookbinder's scrim, thread
72.05 x 16.54 in
珍妮·盖格尔
渴望的边界具有深刻表面(序列no.4)
2023
丙烯,墨水,水彩, 帆布,装订用粗布,线
144 x 207 cm
Jeanne Gaigher
Desired border figured deep surface (sequence no.4)
2023
Acrylic, ink, watercolor, canvas, bookbinder's scrim, thread
56.69 x 81.50 in
珍妮·盖格尔
秘密之筛(序列no.2)
2023
丙烯,墨水,水彩, 生帆布,装订用粗布,线
200 x 135 cm
Jeanne Gaigher
The Sieve of Secrecy (Sequence no.2)
2023
Acrylic, ink, watercolor, raw canvas, bookbinder's scrim, thread
78.74 x 53.15 in
“秘密之筛”展览现场,Paulina Caspari和Beacon, 慕尼黑,德国
“The Sieve of Secrecy” Installation View, Paulina Caspari and Beacon, Munich, Germany
“解剖课程”展览现场,Wschòd,华沙,波兰
“Anatomy Lesson” Installation View, Wschòd, Warsaw, Poland.jpg
珍妮 · 盖格尔 Jeanne Gaigher
媒体垂询:info@brownieproject.org
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