专访艾克曼工作室创始人珍妮特·艾克曼
Interview with Janet Echelman, Founder of Studio Echelman
2014-11-20 17:59:26    | keywords: Janet  Echelman  访谈  artist  sculpture 
专访艾克曼工作室创始人珍妮特·艾克曼
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美国艺术家珍妮特·艾克曼在建筑之间搭建了柔软的、随风飘动的雕塑,与风、水、光线等自然元素相呼应。古老的手工制作与前沿的科技相结合,营造出的雕塑超级轻盈,以一种永恒变化的形式缓缓地迎风飘扬。艾克曼的艺术成为人们日常生活中的互动焦点,她的作品将艺术从欣赏的维度转换到令人迷失其间的境地。
 
提及世界各地的游历,她言道,“在香港生活的时候,我记得普通人对圣地的营造之法。公交站牌那儿有一棵大榕树,老婆婆会点一根香插在地上。虽然这个地方位于交通繁忙的城市中心,却给人十分神圣的感觉。”生活中的日常细节总能带给她灵感和思想,能将科技和艺术相结合并打破科技的冰冷外表,是一种创新。
 
在采访近尾声的时候,她道出了公共艺术的存在意义,“是与世界各地的城市居民分享艺术,使更多的人接触艺术作品,看艺术在风中摇曳,在天空下沐浴阳光,在他们的日常生活中发生变化,我觉得艺术和生活是不可分割的。”
 
American artist Janet Echelman builds soft, billowing sculpture at the scale of buildings that respond to the forces of nature — wind, water, and light. She combines ancient craft with cutting-edge technology to create ultra-lightweight sculptures that move gently with the wind in ever-changing patterns. Her art becomes an inviting focal point for civic life and shifts from being an object you look at, to something you can get lost in.
 
When talking about her travels around the world, she said, “When I lived in Hong Kong, I remember the way ordinary people created sacred space. There was a large Banyan tree at the bus stop where I waited each day. An elderly lady would light a stick of incense and place it in the ground, and there in the midst of the traffic and urban noise, this space felt sacred.” All details during the daily life could bring inspiration and new thought to her, and the combination of art and technology is a kind of innovation which challenges the usual view on the cold feeling toward technology.
 
In the last question, she talked about the meaning of existence of public art - to share art with cities around the world, so more people can have a chance to form a relationship with it, watching its interaction with wind and sunlight as it changes in the midst of their daily life. I don’t believe art should be separate from life.
 
 
问:您刚刚获得了2014年美国史密森尼创新视觉艺术大奖,被评为“今日美国最伟大的创新者”,对此,能谈一谈您的感受么?
Q: Recently, you received the 2014 Smithsonian American Ingenuity Award in Visual Arts, honoring “the greatest innovators in America today”. What’s your feeling about it? 
 
答:在华盛顿的颁奖典礼上,我记得我望了一眼周围的其他获奖者和到场的观众,心里想,‘这是真的么?‘我感到十分幸运,同时以一种谦卑的态度面对这样一群大胆改变世界并具有远见的人群。我也非常感谢那些帮助实现我的艺术作品的人,他们才华横溢,有建筑师、工程师、城市规划师、照明设计师、电脑科学家等。
 
A: At the awards ceremony in Washington, I remember looking around me at the other recipients and attendees thinking, “Is this real?” I felt so privileged yet humbled to be among such visionaries making bold changes our world. I’m also deeply grateful to collaborate with such a wide range of brilliant individuals to make my artwork a reality- architects, engineers, urban planners, lighting designers, and computer scientists.
 
问:请谈一谈您最欣赏的艺术作品或者艺术风格。
Q: What is your favorite art work? Or art style?
 
答:我很喜欢中国的书法。我21岁的时候,在香港大学学习了中国的水墨画。这段经历带给我深深的体会,同时改变了我的人生轨迹,使我懂得了身体手势表现力的重要性。手在空间中移动的方式可以通过毛笔呈现在水墨中。如今,风的移动产生了手势,毛笔就是物理纤维线条的移动,进而表现出风力和编舞的力量。我热切希望有一天能够重回中国,将我的关于流动手势的想法表现在某些场地的雕塑里。
 
A: I’m an appreciator of Chinese calligraphy. I had the privilege of studying Chinese brush-painting when I was 21 years old at the University of Hong Kong, and this is deep in my appreciation. This transformed my trajectory, as it taught me the importance of the expressive capability of physical gesture. The way the hand moves through space is translated into the way the ink flows from the brush. And now the gesture comes from the movements of the wind, and my brush is the physical thread of fiber that moves and expresses the wind's pressure and choreography. I am eager to return to China and bring with me this idea of a fluid gesture in a site-specific sculpture some day.
 
问:您的足迹遍及世界,很多城市都有您的艺术作品,给您印象最深刻的是哪个城市?为什么?
Q: You have been many cities in the world and set up your art works. Which city impresses you best? Why?
 
答:我游历过世界各个国家。每个地方的独特文化和城市空间都赋予我灵感,启发了我的艺术创作。事业初期的“生活在巴厘岛”使我懂得了空间的组织方式能够创造出一种幸福感——从花朵和大米等小小的事物的摆放,到房间里床的位置,再到房子、院子以及村落等,所有的空间方位都赋予了对圣山的尊敬。我懂得了印度的悠久文化历史,从街角的小圣地和不起眼的空间中获得了灵感。同时感动于日本的庭院设计,特别是佛寺,当然还有住宅或大众餐厅的小庭院。在香港生活的时候,我记得普通人对圣地的营造之法。公交站牌那儿有一棵大榕树,老婆婆会点一根香插在地上。虽然这个地方位于交通繁忙的城市中心,却给人十分神圣的感觉。那之后,我开始了艺术展之旅,从新加坡到悉尼,从阿姆斯特丹到温哥华,从纽约到旧金山……我没法说出特别喜欢哪座城市,因为它们都以一种特有的方式存在着。
 
A: I have traveled and lived in many countries around the world. The unique culture and urban spaces of each has inspired me and affected my art. Living in Bali early on in my career taught me that the way space is organized can create a sense of well-being - from the placement of small offerings of flowers and rice, to the way my bed was placed within my room, within my house, within my compound, within my village - all spatially situated with respect to the Holy Mountain. In India I learned about their rich cultural history and was inspired by the small shrines on street corners and humble spaces. In Japan, I was moved by the garden design, especially in Buddhist Temples, but also small gardens in homes or public eateries. When I lived in Hong Kong, I remember the way ordinary people created sacred space. There was a large Banyan tree at the bus stop where I waited each day. An elderly lady would light a stick of incense and place it in the ground, and there in the midst of the traffic and urban noise, this space felt sacred. Since then, I have exhibited artworks from Singapore to Sydney, Amsterdam to Vancouver, New York City to San Francisco. I cannot choose one favorite since they are all so different and special in their ways. 
 
问:在您的艺术作品“画满无数焰火的天空”中,科技方法解决了尺度问题。能否分享一下您关于艺术和科技相融合的观点?
Q: In your art installation - “Skies Painted with Unnumbered Sparks”, technology is used to solve the scale problem. Can you share with your view on the integration of art and technology?
 
答:我抱着好奇的心态来接触科技,将其视为表现人类的一种工具,它也帮助我实现了之前无法完成的作品。在场地调研和草图设计后,我和工作室的工程师、建筑师一起合作,将简单的草图转化为三维模型,并将其放置在更大的三维场地模型里。在“画满无数焰火的天空”这个作品里,我们与设计软件公司欧特克合作,他们研发出一种定制工具,帮助我们实现模拟钻石形状的网并测试地心引力和风力对其产生的影响。作为艺术家能够画出柔软的纤维样式,并迅速明白它们低垂和移动的轨迹,对此我感到很兴奋。这款新型电脑工具实时为我提供我所需要的反馈,帮助我做出设计改进。
 
“无数焰火”这个互动部分是我与艺术家亚伦·康博林合作的成果。后者带领了谷歌数据艺术团队。公众可以在各自的移动设备上采用物理手势在现实中编织灯光。科技常常因为隔绝了人与人之间的交流而广受诟病,我愿意持续探索科技的创新应用,将其用在物理空间里,达到连接人的目的。

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Photo by Ema Peter

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Photo by Ema Peter

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Photo by Ema Peter
 
A: I approach technology with curiosity, and see it as a tool for human expression – and it enables me to create works I never could have before. After researching the location and drafting the design, I work with engineers and architects in our studio to transform my simple sketches into scale 3-D forms within a larger 3D site model. For Skies Painted with Unnumbered Sparks, we collaborated with the design software company Autodesk, who developed a custom tool that enables us to simulate diamond-shaped mesh nets and exert the forces of gravity and wind on them. It’s so exciting for me as an artist to be able to draw out soft fiber forms and very quickly understand how they will drape and move. With this new tool, the computer is providing feedback in real time that I need to inform my design decisions.
 
For the interactive aspect of Unnumbered Sparks, I collaborated with artist Aaron Koblin, who leads the Data Arts Team at Google. The public was able to choreograph the lighting in real time using physical gestures on their mobile devices. Technology is often blamed for isolating us from one another and I want to continue to explore how we can use technology in new ways to connect us in physical space. 
 
问:关于艺术、建筑、景观,您是如何理解它们之间的关系?
Q: Regarding art, architecture and landscape, how do you interpret the relation between them?
 
答:在我看来,艺术、建筑、景观是相关的元素,我们能将其运用到设计中,进而达到提升城市品质的目的。它们的共融能够营造出更加统一的体验,比单一元素所带来的影响力更大。我想通过我的艺术作品带给世界各地的人们这样一种感受,在冰冷的建筑周边营造出柔软的对景效果,在人们匆忙的生活里注入片刻的逗留时光。我的轻质雕塑可以直接镶嵌在现有大楼的周边,很容易就能与周围的建筑和景观相契合。
 
A: I see art, architecture and landscape as interwoven elements that we can design in a way that improves our cities. They can be fused together to create a unified experience much greater than each entity can do alone. I want to use my art to bring this kind of experience to people around the world - to create a soft counterpoint to the hard-edged buildings and offer moments of pause in our bust lives. Because my lightweight sculptures can lace directly into existing buildings, they can easily integrate within the surrounding architecture and landscape.
 
问:您的事业为您带来了什么?幸福感?愉悦感?还是其他的什么?
Q: You have completed many art works in past years. Could you share some stories about your career? And what does your career bring you? Happiness? Enjoyment? Or others?
 
答:我希望每个人都能有所得,仅仅是获得一些感官的体验也好。当我在澳大利亚悉尼搭建雕塑的时候,住在那条街上的一个人推着百货车,他上前来问我这是个什么作品,同时分享了他的看法。或许,他在艺术博物馆中会感到不舒服,但是大家都有权利走在大街上。街道就像空气一样,大家都可以使用。我希望我的作品也能够像空气一样,是免费的、触手可及的。他的参与对我而言是种奖励,这给艺术作品带来更深的含义。我关注的是与世界各地的城市居民分享艺术,使更多的人接触艺术作品,看艺术在风中摇曳,在天空下沐浴阳光,在他们的日常生活中发生变化,我觉得艺术和生活是不可分割的。
 
A: My hope is that each person creates their own narrative or becomes aware of their own sensory experience. When I installed a sculpture in Sydney, Australia, a man who lived on the street came up pushing a grocery cart. He asked me what the work was and shared with me what he thought. He might never have felt comfortable entering an art museum, but everybody feels entitled to be on the street. It's like breathing air. I want my work to be as accessible and free as breathing air. I felt rewarded that he was engaged in creating meaning about this artwork. My focus is to share art with cities around the world, so more people can have a chance to form a relationship with it, watching its interaction with wind and sunlight as it changes in the midst of their daily life. I don’t believe art should be separate from life. 

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