线上展览| “触觉张力” 艺术展"TACTILE TENSIONS" Online Art Exhibition

7月31日,由上海设计之都促进中心、上海市对外文化交流协会支持德必集团、中意设计交流中心和国际文化交流发展协会联合主办策展人鄢来超策展的英国艺术家凯特·兰格里希·史密斯“触觉张力” 艺术线上展,艺术中国、浙江美术网、艺厘米、艺术圈、AVIA国际视觉艺术和AVIA Gallery为媒体合作单位。本次线上展览,展出了英国艺术家凯特·兰格里希·史密斯的艺术作品,通过雕塑表现形式探索了与身体相关的物体和装饰品的象征功能和价值。


On July 31, "TACTILE TENSIONS" Online Art Exhibition organized by the DoBe Group, Sino Italian Design Exchange Center and Cross-Cultural Communication and Development Association, support by Shanghai Promotion Center for City of Design,Shanghai International Culture Association, Curator Yan Laichao. Art.China.cn, Art-zhejiang, ArtCM, Art-orart, Academy of International Visual Arts, AVIA Gallery are media cooperation units. This online exhibition showcases the works of art by British artist Kate Langrish-Smithand explores the symbolic function and value of objects and decorations related to the body through sculptural expressions.


在艺术与设计的概念之间,凯特·兰格里希·史密斯的实践超越了学科领域,借鉴了当代时尚、陶瓷和雕塑作品。凯特采用传统的手工艺技术,并通过结合合成化合物,组合、平衡和性能在其基础上加以扩展,从而在她的作品中创造了新的词汇。这就产生了一种独特的对象符号学;允许在熟悉的,无处不在的,且被忽视的商品背景下重新评价身体。

Slipping between the notions of art and design, Kate Langrish-Smith’s practice transcends disciplines, drawing upon contemporary fashion, ceramics and sculpture. Kate has adopted traditional craft techniques, and expanded upon them by incorporating synthetic compounds, assemblage, balance and performance to create a new lexicon with her work. This has engendered a unique semiotics of object; allowing a reappraisal of the body in the context of familiar, ubiquitous and overlooked commodities. 


她在实践中寻求我们与制造者,材料和物源错位之间的和谐,塑造与人体的关系。凯特从健康,美和艺术的历史中汲取灵感,并从中显现出令人惊讶和引人注目的“素材”,“事物”和传统。这些形式—容器、工具和艺术品—是收集和聚集物品的起点,这些对象通过仪式,欲望和迷恋的通用语言,在不同地点适时的连接和提升。

Her practice seeks a rapprochement between our dislocation from the makers, materials and provenance of objects that were shaped for a relationship with the human form.  Kate draws inspiration from the history of health, beauty, and art from which surprising and compelling ‘stuff’, ‘things’ and traditions are illustrated.  These forms – vessels, tools and artefacts – are the starting point for collections and clusters of objects which reconnect and elevate disparate places in time through a common language of ritual, desire and fascination.


凯特·兰格里希·史密斯

Kate Langrish Smith



教育EDUCATION:


2014-2015 高级研究文凭-陶瓷和高分子材料,当代陶瓷实验研究中心,瑞士日内瓦艺术与设计大学

DAS - Ceramics and Polymers, The Centre for Experimentation and Research in Contemporary Ceramics (CERCCO), Haute École d'Art et Design Geneva, C.H

2012-2014 硕士学位-时尚艺术品,英国伦敦艺术大学伦敦时装学院

Master of Arts- Fashion Artefact, UNIVERSITY OF ARTS, LONDON - London College of Fashion, U.K

2003-2006 学士学位-艺术与视觉文化英国西英格兰大学,布里斯托尔艺术、传媒与设计学院

Bachelor of Arts- Art and Visual Culture, Bristol School of Art, Media and Design, University of the West of England, U.K



创意/教学/工作:

CREATIVE / TEACHING / EMPLOYMENT


2014-2015 高级研究文凭-陶瓷和高分子材料,当代陶瓷实验研究中心,瑞士日内瓦艺术与设计大学

DAS - Ceramics and Polymers, The Centre for Experimentation and Research in Contemporary Ceramics (CERCCO), Haute École d'Art et Design Geneva, C.H

2012-2014 硕士学位-时尚艺术品,英国伦敦艺术大学伦敦时装学院

Master of Arts- Fashion Artefact, UNIVERSITY OF ARTS, LONDON - London College of Fashion, U.K

2003-2006 学士学位-艺术与视觉文化英国西英格兰大学,布里斯托尔艺术、传媒与设计学院

Bachelor of Arts- Art and Visual Culture, Bristol School of Art, Media and Design, University of the West of England, U.K

2018.10 – Present 英国谢菲尔德哈勒姆大学谢菲尔德艺术学院,硕士-珠宝,金属与时尚设计专业,讲师

Associate Lecturer, MA Design specialism Jewellery and Metalwork and Fashion, Sheffield Institute of Arts, Sheffield Hallam University

2019.09 – Present 英国伦敦艺术大学伦敦时装学院,硕士-时尚艺术品专业一年级,讲师

Associate Lecturer, MA Fashion Artefact, tutoring first year Artefact students. London College of Fashion - University of the Arts London 

2020.01-2020.02 英国谢菲尔德学院,时装与面料专业三年级,讲师

Associate Lecturer, Fashion and Textiles Level 3, The Sheffield College

2018.07 项目领导,监督项目的执行,领导/指导员工,对60多名年轻人的精神关怀-国民服务局-挑战项目

Programme Leader - Overseeing delivery of programme, leading/mentoring staff, pastoral care of 60+ young people - National Citizens Service, The Challenge

2018.01 – 2018.04 在尼泊尔的国际非政府组织团队领导,负责水资源计划的实施。管理12人团队;与项目伙伴组织合作,促进意识提升,基础设施建设,社区动员和培训——尼泊尔罗利国际

Team Leader in Nepal for INGO, working on water scheme implementation. Managing team of 12 people; working in collaboration with project partner organisation, facilitating awareness raising, building infrastructure, community mobilisation and training - Raleigh International Nepal



个展 SOLO EXHIBITION:


2016.03.18 – 03.28何物之间WHAT LIES BETWEEN

台湾新北市莺歌陶瓷博物馆 Yingge Ceramics Museum, New Taipei City, Taiwan  



展览EXHIBITIONS:


跨时尚 - 当代艺术背景下的实验时尚

TRANSFASHIONAL - Experimental Fashion in the Context of Contemporary Art

2019.10.19 - 2020.01.06 意大利里米尼城市博物馆 Museo della Città ,Rimini, Italy

2018.05.26 – 09.18 瑞典卡尔玛艺术博物馆, Kalmar Konstmuseum, Sweden

2017.05.19 - 06.04 波兰华沙乌贾兹多夫斯基城堡当代艺术中心, Centre of Contemporary Art Ujazdowski, Warsaw, Poland

2017.12.07 – 12.20 奥地利维也纳博物馆区-21, Museumsquartier, Quartier 21, Vienna, Austria

2017.02.09 – 04.04 英国伦敦奥地利文化论坛, Austrian Cultural Forum, London, U.K


为何-何也-何人 / 时尚艺术品十周年纪念

WHY-WHAT-WHO/10 YEARS OF FASHION ARTEFACTS

2019.09.26 – 12.01阿根廷布宜诺斯艾利斯国家装饰艺术博物馆, National Museum of Decorative Arts, Buenos Aires, Argentina 

2018.10.19 – 12.20中国北京时装技术学院 Beijing Institute of Fashion Technology, China

2018.05.23 – 06.17意大利威尼斯双年展,威尼斯设计展,塔娜艺术空间La Biennale di Venezia, DESIGN.VE Tana Art Space, Venice, Italy

2019.09.12 - 09.29所谓何物?材料,商品,叙述 What Is The Matter? Materials, Commodities, Narratives

英国谢菲尔德凯勒姆岛工业博物馆 Kelham Island Industrial Museum, Sheffield, U.K

2017.04.13 - 05.06火之档案LES ARCHIVES DU FEU

瑞士日内瓦LiveInYourHead画廊 LiveInYourHead Gallery, Geneva, Switzerland

2015.06.15 - 06.19泥釉阴谋BARBOTINE CONSPIRACY

瑞士日内瓦艺术与设计大学 Haute École d’Art et Design Geneva, Switzerland

2015.04.24 – 05.31京畿道国际陶瓷双年展GYEONGGI INTERNATIONAL CERAMIC BIENNALE

韩国京畿道韩国陶瓷基金会 Korea Ceramic Foundation, Gyeonggi-do Province, South Korea

2014.06.13 – 06.15 荷兰时尚艺术节FASHIONCLASH FESTIVAL

荷兰马斯特里赫特Maastricht, The Netherlands

2014 .02.12 - 02.16 伦敦时装学院2014硕士毕业展LCF MA14 SHOW

英国伦敦维多利亚之家画廊Victoria House Gallery, London, U.K   

2011.03.04- 03.07国际时尚配饰展PREMIERE CLASSE 

法国巴黎杜乐丽花园Jardin Tuilleries, Paris, France

2010.09.04 – 09.07国际时尚配饰展Premiere Classe

法国巴黎凡尔赛港 Port de Versailles, Paris, France    

2009.04.02 - 04.30游戏Game Play

英国斯蒂芬·沃尔顿美术学院 Stephen Walton Fine Art, Bury St. Edmunds, U.K 

2008.11.11 - 2009.01.11塔特林的塔楼与世界 Tatlin’s Tower and the World

英国伦敦白教堂画廊Whitechapel Gallery, London, U.K

2006.09.21 – 10.19嘉年华到喜剧Carnival to Comic

英国斯特劳德故居画廊Stroud House Gallery, Stroud, U.K. 

2006.06.09 – 06.14艺术与视觉文化展Art and Visual Culture Final Show

英国布里斯托斯派克岛 Spike Island, Bristol U.K

  


奖项/资助 AWARDS/GRANTS:


2020

英国约克郡国际雕塑展Yorkshire Sculpture International Network 2020 参展艺术家Participating Artist 

全力以赴陶瓷委员会 ’All Fired Up‘ Ceramics Commission - 驻地艺术家 Artists in Residence

英格兰艺术委员会Arts Council England - 材料的声音资助获得者awarded as part of Material Voice Collective

A-N艺术家资助Artists Network Bursary - 获得者Recipient

MaDe材料设计师竞赛Material Designers – 展览获选者Exihibiton Selected

2016 新北市莺歌陶瓷博物馆Yingge Ceramics Museum,New Taipei City -驻地艺术家Artists in Residence

2015 第八届京畿国际陶瓷双年展8th Gyeonggi International Ceramic Biennale --荣誉奖Honourable Mention

2015 英国国家医疗服务体系专业人员NHS Professionals – 日内瓦当代陶瓷实验研究中心资助Funding towards ‘CERRCO’ at HEAD Geneva

2014 伊顿信托Eaton Trust-日内瓦当代陶瓷实验研究中心资助Funding towards ‘CERRCO’ at HEAD Geneva

2014 戈尔森科特基金会Golsoncott Foundation -日内瓦当代陶瓷实验研究中心资助Funding towards ‘CERRCO’ at HEAD Geneva

2012 AHRC学生奖学金AHRC Studentship -获得者 Award 

2010 年度帽子设计师Hat Designer of the Year -巴黎国际时尚配饰展与伦敦《帽子杂志》 Première Classe, Paris and The Hat Magazine, London




触觉张力TACTILE TENSIONS


前言PREFACE


触觉张力提供了一系列纹理,平衡,触觉和彩色的构成和图像,通过雕塑表现形式探索了与身体相关的物体和装饰品的象征功能和价值。

Tactile Tensions presents a selection of textural, poised, haptic and chromatic compositions and images that explore through sculptural representation the symbolic function and value of body-related objects and adornment.


感官的形状暗示着身体;张力则建立在物质,重力,平衡,物质形成和介入之间的关系中。这些雕塑作品的颠覆性和趣味性意图是探索,解构和重新呈现与人类形态相关的物体属性和来源。

Sensual shapes allude to the body; tensions build in the relationship suggested between material, gravity, balance, corporeal formation and intervention. The subversive and playful intention of these sculptural works explores, deconstructs and re-presents the material properties and provenance of objects that were shaped for a relationship with the human form.


这些作品试图解构和挑战我们的感知,质疑我们对这些物品,形态和材料的理解与关系,与我们的身体,欲望以及我们的物质和视觉文化有着亲密而迷人的关系。

The works attempt to deconstruct and challenge our perceptions, questioning our understanding and relationship to these commodities, forms and materials that share an intimate and engaging relationship with our bodies, desires and our physical and visual culture.

——凯特·兰格里希·史密斯Kate Langrish-Smith



体现-艺术品 肆Embody-Artefacts IV 2017

尺寸可变Variable dimensions 

丙烯酸聚合物,植绒,行为艺术Acrylic polymer, Flocking,Performance


‘体现’重新呈现了2014年“模式转喻”系列的作品。在国际巡回“跨时尚”系列展览的开幕之夜,表演者在展示台下激活这些作品。

Embody re-presents pieces from 2014 collection ‘Mode Metonym’. The pieces were activated by a performer beneath a plinth for the duration of the opening nights of the international touring ‘TRANSFASHIONAL’ exhibition series the work was part of.



库西 Cussi 2016
15 cm x 10 cm x 15 cm大约approx.
陶瓷,灰泥,窑砖Porcelain, Plaster, Kiln brick


选自为台湾莺歌陶瓷博物馆创作的系列作品。雕塑的金色光泽陶瓷元素是从台湾刮痧按摩器中获得的铸件。石膏是通过将气球浇铸到人体上的技术制成的。

From a series of pieces made at Yingge Ceramics Museum, Taiwan. The gold lustre ceramic element of the piece is a cast taken from a Taiwanese bone Gua Sha massage implement. The plaster is formed using a technique of casting in balloons, pressed onto the body.



踢 Kick’s 2016

180 cm x 45 cm x 50 cm大约approx.

瓷,灰泥,木材,螺纹,绒球,内胎,油漆Porcelain, Plaster, Wood, Threads, Pompoms, Inner Tube, Paint


踢Kick’s (细节detail) 2016

45cm x 50 cm

瓷器,石膏,木头,线,彩球,内胎,油漆Porcelain, Plaster, Wood, Threads, Pompoms, Inner Tube, Paint


这是为台湾个展“何物之间”而设计的系列。这些作品取材于台湾当地的刮痧工具——这是一种对我所处的环境和我所遇到的新奇事物的有趣和反思的方式。

From a series made for a solo exhibition ‘What Lies Between’ in Taiwan. The pieces were cast from local Taiwanese Gua-Sha implements - a playful and reflective approach to my surroundings and new and strange things I found myself confronted with.




艺术品 壹 Artefact I 2014

尺寸可变 Variable dimensions

固体铸造石膏基树脂 Solid Cast Jesmonite


艺术品 贰Artefact II 2014

尺寸可变Variable dimensions

固体铸造石膏基树脂,黑色清漆Solid Cast Jesmonite, Black Lacquer Paint


艺术品 叁 Artefact III 2014

尺寸可变 Variable dimensions

固体铸造石膏基树脂 Solid Cast Jesmonite


使用石膏基树脂直接从身体上铸造。选自“模式转喻”系列,探索创作一系列身体能够适应或依附的物体。每件艺术品都有与身体接触的印记,并以固体的形式保留下来。

Cast directly from the body using jesmonite. From the collection titled ‘Mode Metonym’ which explored the creation of a series of objects that the body could fit into or on to. Each artefact had the imprint from where it came into contact with the body retained in the solid form.




艺术品 陸-模式转喻 Artefact VI –Mode Metonym 2014

尺寸可变Variable dimensions

实心喷丸铸铁,绳锁Solid cast shot blast iron, Rope


直接从身体上用石膏浇铸,然后再用实心铁浇铸,最后形成喷丸纹理。选自“模式转喻”系列,探索创作一系列身体能够适应或依附的物体。每件艺术品都有与身体接触的印记,并以固体的形式保留下来。

Cast directly from the body in plaster, then re-cast in solid iron and finished with a shot blast texture. From the collection titled ‘Mode Metonym’ which explored the creation of a series of objects that the body could fit into or on to. Each artefact had the imprint from where it came into contact with the body retained in the solid form.



抓牢 Accroche-toi 2016

30cm x25cm x 100cmapprox (Variable)

石膏,细绳,底座 Plaster, String, Plinth


这些雕塑采用了一种技术,包括在弹性织物或气球中浇铸石膏,然后制作模具来浇铸粘土。这是体现张力的雕塑探索的一部分,创造无定形的形式,探索组合和相关的投资,对象可以保留。

From a series of sculptures made using a technique that included casting plaster in elastic fabric or balloons, then making moulds to slip cast clay. It is part of a sculptural exploration of embodying tension, of creating amorphous forms that explore the compositional and relatable investment that objects can retain.



玉米罐Mokai Pota 2019

30cm x20cm x 20cm 大约approx.

陶瓷,橡胶,胶带,甜玉米壳,木材,油漆Ceramic, Rubber, Tape, Sweetcorn Husk, Wood, Paint


使用发现和雕塑的材料组合制成。这是一首献给尼泊尔的颂歌——献给2018年我在那里度过的时影响和包围我的佛塔、材料和颜色。标题指的是材料和形式- Mokai尼泊尔语意思是玉米,Pota意思是壶。

An assemblage made using a selection of found and sculpted materials. It is an ode to Nepal - to the stupas, materials and colours I was influenced and surrounded by when I spent time there in 2018. The title refers to the materials and form - Mokai meaning corn in Nepali and Pota meaning pot.




尿壶Piss Pot 2020

45cm x 30cm x 65cm 大约approx

陶瓷 Ceramic


这件平衡容器的灵感来自于威廉·贺加斯1736年创作的一幅名为“殡仪业公司”的版画——具体来说,是一位内科医生通过品尝和检查病人的尿液,用手指触摸装有尿液的瓶子——这是当时诊断健康问题的一种流行方法。

This balanced vessel was inspired by a William Hogarth print entitled the ‘Company of Undertakers’ from 1736 - specifically one of the physicians in the etching fingering a flask of urine - at the time a popular way of diagnosing health issues - by tasting and examining patients urine.




棒铃  Clubs 2019

介于Between 30cm x 20cm - 80cm x 20cm

陶瓷,橡胶,胶带 Ceramic, Rubber, Tape


一组形式类似,灵感来自“印度摇摆棒铃”。是正在进行的与身体相关的工具/物体研究的一部分。

A collection of forms resembling and taking inspiration from ‘Indian Swinging Clubs’. Part of an ongoing investigation into body related tools/objects.





半拱Half-Arched 2015

30cm x 25m x 20cm 大约approx.

石膏,硅胶Plaster, Silicone


选自使用弹性织物表面的石膏雕塑系列。一部分涂有蓝色硅树脂,用黄色来平衡,尝试使其保持高出其表面的想法。展现令人愉悦的色彩和纹理组成元素。

From a series of plaster sculptures made using elastic fabric skins. The piece was coated in a blue silicone and balanced using the yellow piece to play with the idea of the piece staying elevated off the surface it is on. It illustrates pleasing compositional elements of colour and texture.




触须 Whiskers 2015

45cm x40cm x 45cm大约approx.

陶瓷,气球,沙子,石膏Ceramic, Balloon, Sand, Plaster


选自雕塑系列,使用石膏在弹性织物或气球中浇铸而成,然后使模具滑动浇铸而成的。这是体现张力的雕塑探索的一部分,创造无定形的形式,探索身体与形式的组成和关系。

From a series of sculptures made using a technique of casting plaster in elastic fabric or balloons, then making moulds to slip cast. It is part of a sculptural exploration of embodying tension, of creating amorphous forms that explore the compositional and relationship of body and form.



脸红Flush 2016

30cm x40cm x 40cm大约approx.

陶瓷石膏,木材,织物,气球Ceramic Plaster, Wood, Fabric, Balloon


选自台湾展览“何物之间”的系列作品。使用雕刻的粘土制成,并在燃烧后的物体上喷上有色瓷浆,从而产生裂纹效果。使用找到和制作的道具,利用重力和重量分布来平衡。

From a series of pieces made for the exhibition ‘What Lies Between’ in Taiwan. Made using a sculpting clay, sprayed with a pigmented porcelain slip on to the fired body, which created the crackled effect. The piece is balanced using found and made props, using gravity and weight distribution.



平衡 贰 Poise II 2015

30cm x 15cm x 20cm 大约approx.

陶瓷,硅树脂,木材,喷漆,铝Ceramic, Silicone, wood, Spray paint, Aluminium


源自三个雕塑所组成的《平衡》系列,由一个巨大的粘土身体制成,使用弹性织物,滑动和添加膨化米来创造纹理。使用陶瓷切割机将其切开,以揭示干燥期间有机大米物质开始在中心分解的质地和变色。

From a series of three ‘POISE’ sculptures made out of a large clay body formed using elastic fabric, slip and adding puffed rice to create a texture. The piece was cut open using a ceramic cutter to reveal the texture and discolouration where the organic rice substance had started to decompose in the centre during the drying period.



纹理构成 壹 TexturedComposition I 2019

45cm x15cm x 50cm大约approx.

陶瓷,气球,树枝,线,木,灰泥,甜玉米壳Ceramic, Balloon, Twig, Thread, Wood, Plaster, Sweetcorn Husk


探索贯穿艺术家作品的平衡,纹理和结构主题。这些雕塑是三维中艺术家的思维方式和绘图。收集和装配结构,直到视觉上感觉合适为止。

Exploring the theme of balance, texture and composition that runs through artist's work. These sculptures are often artist's way of thinking though making, and drawing in three dimensions. Collecting and assembling compositions until something looks and feels right.




线上采访 ONLINE INTERVIEW


策展人Curator 

鄢来超Yan Laichao


中国艺术家、策展人,毕业于意大利佛罗伦萨国立美术学院,国际文化交流发展协会秘书长,现居意大利。

Chinese artist, curator, graduated from the Academy of Fine Arts of Florence, Secretary general of Cross Cultural Communication and Development Association, lives in Italy.


展览策展执行

Exihbition curator and execution

2013年  第55届威尼斯双年展平行展“大运河”,威尼斯教会美术馆

2014年  那不勒斯中意文化周,章燕紫个展“止痛贴”,那不勒斯pam美术馆 

2015年  第56届威尼斯双年展-江衡个展“通往地狱之门”,威尼斯热那亚当代美术馆

2015年  第56届威尼斯双年展-光年特别邀请展,中国绘画剧场,威尼斯绘画剧场博物馆

2016年  第12届Paratissima艺术博览会,中国馆策展,都灵艺术展览馆

2018年  中国图景展览,意大利贝利尼美术馆

2019年9月《条条大路》中意艺术交流展 长沙

In 2013, the 55th Venice Biennale Parallel Exhibition "Canal Grand Canal", curator, Xiao Ge, executive curator, Yan Laichao, Italy, Venice Church Art Gallery

In 2014, the Chinese and Italian Culture Week in Naples, Zhang Yanzi's solo exhibition “pain relief stickers”, curator, Xu Lili, Italian curator, domenico.  Execution curation Yan Laichao  Pam Art Museum, Naples, Italy

In 2015, the 56th Venice Biennale - Jiang Heng's solo exhibition "The Gate to Hell", curator, Ji Shaofeng, Executive Curator Yan Laichao , Venice, Italy Genoa Museum of Contemporary Art

In 2015, the 56th Venice Biennale - Special Invitational Exhibition of Light Years, Chinese Painting Theatre, curator, Fang Xudong, Executive Curator Yan Laichao , Venice, Italy, painting theater museum









1. 鄢来超:您希望通过自己的作品向观众传达哪些信息?Yan Laichao: What information do you wish to convey to the audience through your work?


凯特·兰格里希·史密斯:为了观察身体的明示与隐含这两种不同的呈现效果,我们的身体以各种方式被碎片化。其中一些碎片显而易见,而有些呈现的效果却是颠覆性的。我们应当思考这种呈现,美学价值和形式,去注意到、去享受并从视觉上去探索我们与周围物体、材料、颜色和纹理之间有形的关系。

Kate Langrish Smith: To observe the gestural and suggested presence of the body, our bodies, alluded to in the pieces in various ways, some obvious and some more subverted. To consider presence, aesthetic value and form, to notice, enjoy and explore visually our corporeal relationship with the objects, materials, colour and texture that we surround ourselves with.


2. 鄢来超:您认为身体与艺术的关系是什么?

Yan Laichao: What do you think is the relationship between body and art?


凯特·兰格里希·史密斯:对我而言,这种关系是一种探索——在物理和概念层面上都是如此。我们通过身体探索,体验并与周围的世界互动,然后反思和评估这些体验。可以通过艺术/设计/制作/实践作为背景来表达或连接这些体验,感受和美学价值。

Kate Langrish Smith: For me the relationship is one of exploration - on both a physical and conceptual level. We physically explore, experience and engage with the world around us - and then reflect and evaluate these experiences. This can then be applied through the context of art/design/making/doing into an expression or articulation of these experiences, sensations and aesthetic values.










3. 鄢来超:您认为未来的时尚艺术品设计和制作领域将产生哪些新的趋势?

Yan Laichao: What do you think are the new trends in the field of fashion artefact design and production in the future?


凯特·兰格里希·史密斯:我认为,在探索数字化平台的接入和使用,研究体验,表达与互动(三者都是通过颠覆传统定义的触碰、身体层面与物质层面的概念,即通过隔离与封闭而产生)的领域,可能会出现一些令人振奋的发展。作为一名创作者和雕塑家,“去物质化”是我在Covid-19疫情期间非常清楚地体会到的一件事情。隔离和线上的工作(对我而言,包括在线辅导学生,以及参与类似这次的线上展览)真正强调了我们这个世界是有多么的触觉化和体感化—以及我们是如此的需要适应和探索更为远程的或更加基于屏幕形式的互动—对于某些人而言,这种方式更难接触。这种物理化和数字化的,高科技和低科技的融合,已经通过“半机械人”的概念得到表达和间接性的提到。尽管这并不是新的理念(将身体与机器组合的想法),但它可能会在当代社会被探索并被挑战,更进一步地推测,时尚,手工艺术品,设计和雕塑可以通过物质化与数字化的方式来探索这些可能性。

Kate Langrish Smith: I think there could be some exciting developments in exploring the integration of access and use of digital platforms, experience, expression and interaction with the more removed (through isolation and lockdown) notion of touch, physicality and materiality. For me as a maker and sculptor intangibility is something that I have been very aware of during the Covid-19 pandemic. The lockdown and movement online for work (for me in terms of tutoring students online, as well as exhibitions like this one) has really highlighted how tactile and physical ourworld is - and how we are having to adapt and explore more distanced or screen-based forms of engagement - which for some is less accessible than forothers. This amalgamation of the physical and the digital, the hi-tech and the lo-tech has been expressed and alluded to previously through the concept of the‘cyborg’. Although this is not new (the idea of combining the body and the machine) it is perhaps something that will be explored and challenged both within contemporary society and speculatively - and fashion, artefact, designand sculpture can explore these possibilities through both the tangible and the digital.


4. 鄢来超:您认为雕塑与绘画这两种不同的艺术形式,在表达艺术家的灵感与思想方面有哪些异同点?

Yan Laichao: What do you think are the similarities and differences between the two art forms, sculpture and painting, in expressing the artist's inspiration and ideas?


凯特·兰格里希·史密斯:我认为它们都是物质化的表达方式,试图通过各种形态化的进程,将艺术家们探索、回应和评论自己对周围世界的体验、看法和理解的途径所联结起来。与最舒适,最易接近或最具启发性的元素进行游戏和实验,在任意特定时刻,与之挑战并进行最相关的表达。

Kate Langrish Smith: I think they are both physical expressions that try to articulate through gestural processes how the artists navigate and respond and comment on their experiences, thoughts and understanding of the world around them. Playing with and experimenting with what feels most comfortable, accessible or inspiring, challenging and relevant to express at any given moment.










5. 鄢来超:在未来您是否会尝试一些其他的跨界艺术展现形式?请向观众简单介绍一下自己的计划?

Yan Laichao: Will you try some other forms of crossover art in the future? Please give us some brief information about your plan?


凯特·兰格里希·史密斯:我的作品在材料探索方面非常多样化—我喜欢学习新技术,并尝试将其应用到我的视觉语言中—我倾向于根据自己的需要对它们进行简化和重新诠释。我最近买了一本吉姆·威兹的《用葫芦和纤维制作瓶子》,因为我很喜欢在一些创作中将天然材料与合成物进行结合,例如丝瓜络和玉米皮,可以在我的作品《玉米罐》和《纹理结构壹》中看到—我于2018年在尼泊尔收集了这些材料。我的灵感来源于传统而非西方的对“容器”进行加工和装饰的方法,以及这些器皿所使用的本土材料。

Kate Langrish Smith: My work is quite varied in terms of material exploration - I love learning new techniques and trying to apply and combine them into my visual language - I tend to simplify and re-interpret them for my needs. I recently bought a book called ‘Creating Bottles with Gourds and Fiber’ by Jim Widess as I have really enjoyed combining more natural materials with some of the more synthetic elements in some of my compositions - such as Loofahs and corn husk - which can be seen in my works entitled ‘Mokai Pota’ and ’Textured Composition I’ - and which I collected when in Nepal in 2018. I am exploring and inspired by traditional and non-western methods of carrying and decorating ‘vessels’, and the materials that are indigenous to the specific area of provenance for these.




本次展览到此结束,感谢观看!

Questa mostra è finita, grazie per la visione!


来源:中意设计交流中心