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吴雷蕾 艺术家工作室, 米兰 2023 |
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" 伪装的条纹和断层线，定格在纹理光滑又完美的一刻 "
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你的作品很多时候都与特定的空间相结合，如何看待作品在叙事中扮演的角色？ | ||||
| 很荣幸有机会能够被一些有能量的场域邀请去做特定地点(site-specific)的展览。去年做的第一个小型个展是通过米兰设计周的Alcova平台的扶持，他们每年都给一些年轻人提供自由思考的试验场。当时的场地是在一个郊区的废弃军事医院里，整个工作流程非常不可思议，我参与了一切的激活废墟工作：除草，吸尘，清洁房顶，接电表箱等等。我将雕塑作品拟态化，并让它们在空间内执行某种特定机制。最终将展览场地建设成一个神秘、偶然的避难所，一个离奇的故事正在被慢慢激活。随后同一套作品又去了一个在入侵牙科诊所临床空间的群展，展览声称了一种不同的存在生态，希望通过恢复对身体的倾听，从而诊断被压抑的人。我希望通过作品中的晕眩和秩序，带给观众情感相互交织的复杂感受。我的固定的作品（约束，条件）可以替换不同的维度去适应和构建新结构和模式，更像是一种“潜在文本”（Ouvroir de Littérature Potentielle）的游戏。 |  |
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Curious, if ture., 2022, curated by Yicong Sun, photo credit：Tessa Chung，supported by Alcova 2022
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由于你的作品通常是以3d打印等数字制造的形式呈现，怎么选择作品材质的？ | ||||
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出于对工艺和工业的高度尊重和对各种材料的数字制造技术的掌握，我会从材质出发来创作作品，我试图在数字雕塑工艺语言与自然语言的极度接近中找一种时间维度的突破口，构建新人类的幻觉和梦想，进入一个新版本的现实世界当中。这些年尝试过不同的构建方法和材料，通常以增材构建（additive manufacturing）为主。在SIMULACRA的“不太纯粹的理性批判”展览中，是我第一次使用铝这种材料去进行减材制造（subtractive manufacturing），这次展览同时也标志我进入了一种混合制造（hybrid manufacturing）的工作流程，也是我第一进行架上作品的尝试。在本次“竞技场”上，数学的严格性和无尽的自由结合。我使用了干净闪亮的金属铝在数字实验室中被熔炼出的混乱状态，伪装的条纹和断层线，定格在纹理光滑又完美的一刻。 |
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The Thing, 2022, Strange Unproductive Thinking, curated by Leonardo Bentini e Deborah Maggiolo, photo credit: LawLup
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你的作品的雏形/来源是什么？ | ||||
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在UC1000-04系列中，呈现的是我和个人叙事架构和世界观中的切片（slicer），是我想象中的景观的一部分。通过对想象力的研究，生命出现了一种复杂潮湿，产生了一种不可逆转的切片，宇宙时间的启示，金属铝纯粹的冷漠，重塑数字切片在物理世界的感知和概念。就像古罗马诗人奥维德在变形记中表达的那样，无机生命和有机生命，并不是相反的两极，而是沿着统一万物的连续体流动和融合。 |
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UC1000系列，2023，Critique of Not-so-pure Reason不太纯粹理性批判，curated by SIMULACRA拟像
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你希望你的作品首先传达出气质还是内容？ | ||||
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气质。于我而言，气质带给人的感受更加强大和真实。 |
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你认为艺术与装饰物（家具、首饰等）的区别在哪里？你认为你那些有功能性的雕塑作品，是否模糊了艺术与家具间的边界呢？ | ||||
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我不太认同艺术和装饰物的需要以品类分类界限划分，比较认同的是以个人为探索为分支的自定义创作（bespoke）和以商业目的标准化批量生产（Mass production）来划分。 如今在们生活在一个由我们自己造就的单调的产品世界里，新一代的年轻艺术家出于各种材料和成型方法的热衷与敬畏，以及欧洲商品相对高的物价，除了各自的主线创作工作，闲暇之余在日常生活中也会用擅长的材料给自己制作具有功能性的日常用品。我们私下经常交换各自bespoke的小物件。我都视作珍宝，这些物件的能量就好像是陨石碎片。是艺术家自身对当下状态的一种投射，愉悦，表达。 在外界看来我一直在试图模糊艺术和家具两者的边界。但我并不认为这两者存在鸿沟。我只专注于材料和技术之间美丽的混乱，我想这是一种解放。 |
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The Thing, 2022, Strange Unproductive Thinking, curated by Leonardo Bentini e Deborah Maggiolo, photo credit: LawLup
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你认为在未来，艺术与设计这两个词还会有矛盾性吗？ | ||||
| 其实也没有必要下结论。因为一种新的具有包容性和多样性的生态正在稳定的意义领域逐步建立新的秩序，以激发变革和平等为目的的创造才是最关键的。人类情感是复杂的，在一些因素的激化下，强大的情感冲击附着在某一主体或实体上能达到最佳的扩张作用，不可抗拒地召唤着思想和想象力的塑造力量，突破时间、空间和一切。 | |
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The Thing, 2022, Strange Unproductive Thinking, curated by Leonardo Bentini e Deborah Maggiolo, photo credit: LawLup
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Your work is often combined with an off-site. How do you see the role it plays in the narrative? | ||||
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It's a privilege to be invited to site-specific exhibitions by energetic venues. The first small solo exhibition I did last year was supported by the Alcova platform of Milan Design Week, which gives young people the opportunity to experiment with free thinking every year. The site was in an abandoned military hospital in the suburbs, and the whole work process was incredible. I was involved in activating the ruins: weeding, vacuuming, cleaning the roofs, connecting the meter boxes, etc.. I anthropomorphised the sculptures and made them perform a specific mechanism within the space. The final construction of the exhibition site is a mysterious, serendipitous sanctuary where an offbeat story is slowly being activated. The same set of works then went on to a group exhibition in the clinical space of an invasive dental clinic, where the show claimed a different ecology of being, hoping to diagnose the repressed by restoring a listening ear to the body. I want to bring the viewer a complex feeling of intertwined emotions through the dizziness and order in work. My fixed works (constraints, conditions) can be replaced with different dimensions to adapt and build new structures and patterns, like a game of potential texts (Ouvroir de Littérature Potentielle). |
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Curious, if ture., 2022, curated by Yicong Sun , photo credit：Tessa Chung，supported by Alcova 2022
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As your work is often digitally manufactured in the form of 3d printing, how do you choose the materials for your work? | ||||
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Out of high respect for craftsmanship and industry and a mastery of digital fabrication techniques in various materials, I create my work from materials. I try to find a breakthrough in the temporal dimension in the extreme proximity between the language of digital sculptural processes and the language of nature, to build new human illusions and dreams, and to enter a new version of the real world. Over the years, I have experimented with different construction methods and materials, often with additive manufacturing. SIMULACRA's exhibition, 'A less purely rational critique', was the first time I used aluminium as a material for subtractive manufacturing, and the exhibition also marked my entry into a hybrid manufacturing process. This exhibition also marked my entry into a hybrid manufacturing process and my first attempt to work on the shelf. In this 'arena', mathematical rigour and endless freedom are combined. I used the chaotic state of clean, shiny metallic aluminium melted down in a digital laboratory, camouflaged streaks and fault lines, framed in a moment of textural smoothness and perfection. |
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Curious, if ture., 2022, curated by Yicong Sun, photo credit：Tessa Chung，supported by Alcova 2022
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What is the origin of the prototype of your work? | ||||
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What is presented in the UC1000-04 series are slicers from my personal narrative structure and worldview, part of my imagined landscape. Through the study of the imagination, life emerges as a kind of complex humidity, producing an irreversible slice, the revelation of cosmic time, the sheer indifference of metallic aluminium, reinventing the perception and concept of digital cuts in the physical world. Inorganic and organic life, as expressed by the ancient Roman poet Ovid in his Metamorphoses, are not opposite poles but flow and merge along a continuum that unifies all things. |
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Curious, if ture., 2022, curated by Yicong Sun, photo credit：Tessa Chung，supported by Alcova 2022
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Do you want your work to convey, above all, temperament or content? | ||||
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Aura. For me, aura brings a more powerful and real feeling. |
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Curious, if ture., 2022, curated by Yicong Sun, photo credit：Tessa Chung，supported by Alcova 2022
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What is the difference between art and decorative objects (furniture, jewellery, etc.)? Do you think your functional sculptures blur the border between art and furniture? | ||||
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I'm afraid I have to disagree that art and decorative objects need to be divided by category boundaries but rather by bespoke creations that branch out into personal exploration and mass production for commercial purposes. Today we live in a monotonous world of products of our own making, and the new generation of young artists, with their enthusiasm and awe of various materials and forming methods, as well as the relatively high prices of European goods, are making functional everyday objects for themselves in their spare time, in addition to their main line of creative work, using the materials they specialise in. We often exchange our bespoke objects in private. I consider them to be treasured. The energy of these objects is like a meteorite fragment. It is a projection, a pleasure, an expression of the artist's own state of being. To the outside world, I am trying to blur the border between art and furniture. But there isn't a divide between the two. I focus on the beautiful confusion between material and technique, which I feel is liberating. |
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Curious, if ture., 2022, curated by Yicong Sun, photo credit：Tessa Chung，supported by Alcova 2022
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Do you think that in the future, there will still be an ambivalence between the terms art and design? | ||||
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There is no need to conclude. Because a new ecology with inclusivity and diversity is gradually establishing a new order in the field of stable meanings, it is a creation with the aim of inspiring change and equality that is crucial. Human emotions are complex, and with several factors stirring them up, a powerful emotional impact attached to a subject or entity can achieve optimal expansion, irresistibly summoning the shaping power of thought and imagination to break through time, space and everything. |
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Curious, if ture., 2022, curated by Yicong Sun, photo credit：Tessa Chung，supported by Alcova 2022
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