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Alana 威尔逊

As we enter lockdown again on the Northern Beaches, Alana 威尔逊’s work inspires us to look closer at nature and our immediate surroundings.

Looking at 威尔逊’s ceramics is akin to looking into the ocean. At first, you notice the movement and texture, but the longer you stay with it, the more the details and depth grow from the seemingly vastness. Falling into the poetic category of soft minimalism – a movement that cherishes the slow and meaningful aspects of the everyday – 威尔逊’s ceramics invites conscious thought of the complexities of reduction.

威尔逊’s的工作着眼于船只或功能对象,其过程被称为炼金术或化石材料的重新挖掘-使用经典形式探索表面,材料和过程。 '一世’她解释说,在尝试探索我经常看到的某些事物时,观看者可能看不到。” ‘手势,手感,表面,材料以及使用粘土的过程-不仅仅是末端的客观感。”

该艺术家两年前移居悉尼的北部海滩,寻求改变步伐和风景。将自己从城市的紧迫感中解脱出来,使她可以重新专注于自己的艺术创作手法,而不是专注于陶瓷的更多商业方面。威尔逊现在正进行另一种对话-去年因Covid锁定和限制而陷入困境的对话。她的Curl Curl工作室里沉浸在反思中,专注于在没有旅行和承诺的情况下可以探索当前情况。

‘It forced me to slow down and meant that I had more time and space to think about things a little differently,’ shares 威尔逊. ‘I’能够使用过去的六到八个月来暂停一些其他商业项目,并专注于我想要从实践中得到的东西。’

Alongside her art practice, 威尔逊 also teaches swimming, which allows her balance and opportunities to engage with different audiences. She comments, ‘It is important to feel connected to your community and the people around you. Especially swimming, I’我一生都在做,并在我的早期学习中教过它。所以’也是该过程的一部分。’

由于游泳课程因锁定而取消,威尔逊被重新任命为北海滩委员会的雇员,前往不同地区。在这里,艺术家发现自己与她周围的风景联系在一起,这是不断变化的短暂情感的来源。 ‘我们一直在协助沙丘再生,植树和灌木丛以及图书馆书籍的运送;她说:“我开始真正考虑北部海滩的历史,并且对多年前殖民之前的状况进行了大量研究。” ‘我开始拍摄很多视频,研究自然的许多方面以及随着时间的变化–我开始将其引入我的工作中。

Engaging this research and found material from nature, 威尔逊 uses her surroundings – the beach only moments away from her studio. Sand can be used to protect kiln shelves from glaze; shells will leave a mark – they can be used as a tool. ‘I’她开始将更多的这些元素引入我的工艺中,因此实际上将沙子与釉料混合,并故意留下贝壳印记作为证据,’她补充说。

创意是同时产生的。观看一系列过程的发展会影响下一个。正在进行中的周期很多,每件作品可能需要一个月或更长时间,而收藏品最多需要两年才能完全解决。这些工作机构相互告知。 ‘有了Covid,我’她能够延长流程时间,并有更多时间来讨论想法。’ ‘您的过程也开始成为您工作的重点。’

威尔逊’s practice is also grounded in time, something she became aware of during the travel restrictions when she was unable to travel to Japan for her solo exhibition ‘Planets, Mercies, &The Flow(惑星,慈爱,そして绝间ない流れ)’ 在美浓加茂的Crossing画廊。起初,她想推迟展览,但经过反思,该系列本来打算在2020年展出。当我’在创作过程中,这就是我对世界的看法以及对世界的追求的方式。’

Hopefully, 2021 will bring a residency in Mallorca, Spain, at the Potter’s House. Here 威尔逊 wants to focus on the simplicity of the island and house itself, honouring the earthy yet refined interiors of the ceramicist Maria Antonia Carrio’s former home and studio. The Potter’s House is an ode to a natural palette, allowing 威尔逊 to explore the raw materiality of clay, light against gesture, and imprint.

对软极简主义运动的本质是对客观性价值的考虑。但是威尔逊质疑并鼓励她的观众考虑在艺术史上受到蝴蝶效应影响的艺术-她指出了梵高的经典案例,他一生中从未受到欣赏。 ‘如果回顾历史,就会有重要的时刻,有时并不总是最重要的时刻,但是如果它们’重新串在一起,它们成为转折点。’

‘I know a lot of artists have gone through that thought process of, why am I making this?’ 威尔逊 considers. ‘Some of my favourite artists have gone through the same thing. And so, I question, what would my practice be like if that artist didn’真的可以使这项工作吗?我认为所有这些想法已经付诸实践,然后付诸实践,’s still important.’

即使Wilson摆脱了功能上的客观性,她仍然认识到船只在世界各地的文化和历史中的价值。她的作品使一件艺术品成为日常生活的一部分。她的实践体现在形式的感觉,外观或从中获得的感觉。时间和机会充斥着她的作品;每个手势都会在过程中引起特定的外观或感觉。但是它们也鼓励我们思考自然,我们与自然的联系,使我们在时间和地点上扎根。

本文是北部海滩委员会赞助的系列文章的一部分‘电晕时代的记录艺术.’

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