讓材料成為主角|Explore the essence of materials

欣賞藝術品的時候,有沒有發覺通常是先留意用什麼顏料和媒介?因為用料可算是藝術品的靈魂。若果材料本身已經有豐富的故事,就會為藝術品增添多一層意義。

Are we supposed to focus on the material or theme of an artwork? Usually it is the material that first captures us because the soul of an artwork lies within its material. If the material itself embodies a theme, a richer meaning would be given to the artwork.

在亞洲舉行的首次個展中,弗吉尼亞·奧弗頓將展示一系列新作,其中包括雕塑與紙上作品。 奧弗頓利用她在多種環境——無論是農業或是工業環境中所發現的物件來創作,就如她所描 述的一樣,她的實踐是被「材料內在的自然雕琢」所驅動。通過遴選、探索這些媒介的歷史,奧弗頓擴展了其材料的目的,揭曉新敘事。

In her first solo exhibition in Asia, Virginia Overton presents new sculpture and works on paper. Making use of objects she encounters in a range of environments, from agricultural to industrial, Overton’s practice is driven by what she has described as the ‘natural push and pull inherent in materials’. Through exploring the history of her chosen medium,
she extends its purpose and uncovers new narratives.

弗吉尼亞·奧弗頓的作品包括了裝置藝術,雕塑和攝影,而且經常以直覺作為對物質存在的直接回應。通過不斷的試驗,她的作品變得具表演性,並且擁有不同因素,例如阻礙,平分,分割,加入空間的體系結構,讓其變得更有戲劇性和極微小。

Virginia Overton’s work comprises installation, sculpture and photography, often beginning intuitively as a direct response to her physical presence in a particular space. Through a process of trial and error, she creates sculpture that is performative, sometimes obstructing, bisecting, dividing or joining the architecture of a space with works that are dramatic and minimal in feel.

Virginia Overton
Untitled
2019
Painted aluminium
99.7 x 106.0 x 15.2 cm | 39 1/4 x 41 3/4 x 6 in.
© Virginia Overton. Photo © White Cube (Theo Christelis)

奧弗頓利用從高層商業建築大廈上挽救下來的鋁制廣告牌重新組合成雕塑。此外,展覽還包括紙上作品,作品上呈現了藝術家使用乙烯基膠片所創造出如三維形態一般的組合圖形。

On display is a new body of work which sees the artist reassemble aluminium advertising signs salvaged from the facades of high-rise corporate buildings into new sculptural forms. The exhibition also includes new works on paper, in which she uses adhesive vinyl to create graphic compositions evoking three-dimensional forms.

為了讓創作變得更符合經濟效益,奧弗頓喜歡使用元數材料,頻繁被回收的材料,以及在展覽現場發現的物件。因此,與建築,工程和耕作有關的材料例如木材,金屬,有機玻璃和熒光燈會被切割,弄彎和錘打成作品以顯示其自身材料的力量和感官品質。她說:「我喜歡讓作品自己能夠記錄低自身的歷史,呈現它的缺陷,因為這樣能訴說材料本身如何被運用。」

Infused with an ethos of economy, Overton’s practice favours elemental materials, frequently recycled objects that are found on site or things discovered in the environs of the exhibition space. More commonly associated with architecture, construction work or farming, materials such as wood, metal, plexi and fluorescent lighting are cut, bent and hammered into works that evince the power and sensory quality of their own materials. ‘I like for the work to act as a marker of its own history – letting accrued defects show in the pieces – that talks about the ways in which the materials have been used’, she explains.

Virginia Overton
Untitled
2019
Painted aluminium
180.3 x 156.2 x 15.2 cm | 71 x 61 1/2 x 6 in.
© Virginia Overton. Photo © White Cube (Theo Christelis)

弗吉尼亞·奧弗頓 |Virginia Overton

Date:

2020.9.11- 11.14

Time:

Tuesdays to Saturdays 11:00 – 19:00 (appointment only and subject to change following government guidelines)

Venue:

香港中環干諾道中 50 號地下及 1 樓 50 White Cube Hong Kong, Connaught Road Central Hong Kong

弗吉尼亞·歐弗頓(Virginia Overton)於1971年出生於田納西州的納什維爾,在紐約布魯克林生活和工作。個人展曾於以下地方舉行:紐約蘇格拉底雕塑公園(2018);亞利桑那州圖森當代藝術博物館(2017);紐約惠特尼美國藝術博物館(2016);康涅狄格州里奇菲爾德的奧爾德里奇當代藝術博物館(2016);邁阿密當代藝術博物館(2014年); 德國明斯特(2013); 瑞士伯爾尼美術館(2013);德克薩斯州達拉斯的電站(2013); 和田納西州孟菲斯的Power House(2007)。團體展覽包括《前沿三年展》,克利夫蘭(2018);密歇根州底特律當代藝術博物館(2017); 和賓夕法尼亞州費城當代藝術學院(2016)。

Virginia Overton was born in Nashville, Tennessee in 1971 and lives and works in Brooklyn, New York. Solo exhibitions include Socrates Sculpture Park, New York (2018); Museum of Contemporary Art Tucson, Arizona (2017); Whitney Museum of American Art, New York (2016); The Aldrich Contemporary Art Museum, Ridgefield, Connecticut (2016); Museum of Contemporary Art, Miami (2014); Westfälischer Kunstverein, Münster, Germany (2013); Kunsthalle Bern, Switzerland (2013); The Power Station, Dallas, Texas (2013); and The Power House, Memphis, Tennessee (2007). Group exhibitions include Front Triennial, Cleveland (2018); Museum of Contemporary Art, Detroit, Michigan (2017); and Institute of Contemporary Art, Philadelphia, Pennsylvania (2016).

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