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David Altmeejd-极具诗意的令人不安

Dudu Du Laboratory 2023-05-03




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create or self-destruct

创造或自我毁灭











David Altmeejd





The God Chord (detail), 2020





加拿大雕塑家大卫·阿尔特梅德 (David Altmejd) 使用多种多样的材料制作了形式多样、主题复杂的作品。这位艺术家对生物学和建筑的兴趣与对变态的迷恋相结合,创作出令人信服的奇异图像,让人联想到大卫·柯南伯格和大卫·林奇梦幻般或噩梦般的世界,或者豪尔赫·路易斯·博尔赫斯的迷宫般的叙述。

Altmejd 的作品以丰富的细节为特征,为单个元素提供了正式的动力,在某些情况下,这些细节似乎源自元素本身。受到内在力量的激励并散发出紧绷的能量感,它们就像是持续进化过程中单个时刻的快照。他的雕塑中展示的自然力量被能量流所抵消。Altmejd 的作品展现了一种令人不安的模棱两可的叙述:即使他们用未回答的问题挑战观众,这些雕塑也证实了他们的感受和解释。



The Canadian sculptor David Altmejd has produced a wide variety of formally and thematically complex works in surprisingly diverse materials. The artist’s interest in biology and architecture combines with a fascination with metamorphosis to produce compellingly strange images reminiscent of the dreamlike or nightmarish worlds of David Cronenberg and David Lynch, or the labyrinthine narratives of Jorge Luis Borges.

Altmejd’s works are characterised by a wealth of detail that lends formal momentum to individual elements, which in some instances seems to originate from within the elements themselves. Animated by inner forces and radiating a taut sense of energy, they are like snapshots of single moments within a continual process of evolution. The natural forces illustrated in his sculptures are counterbalanced by currents of energy. Altmejd’s works unfold a disturbingly ambiguous narrative: even as they challenge viewers with unanswered questions, the sculptures validate their feelings and interpretations.
















“The Vector” “!” and “Twin Flame”














Hare, 2022, Expanding foam, epoxy, acrylic paint,

quartz,coloured pencil, pencil, steel and wood, 

95.3 x32.4 x 32.4 cm









(partial)







(partial)







The Man and the Whale2022

Expanding foam, epoxy, glass eyes, acrylic paint, coloured pencil, steel, concrete and wood

Overall:174.6x60x57.3 cm














(partial)







2022,Resin, expanding foam, epoxy, acrylic paint, quartz, glass eyes, coloured pencils, glass rhinestones, Sharpie, pencil, wood, steel, concrete and fibreglass,96 x 57 x 57 cm




Untitled,2011,epoxy clay, plaster, glass eyes, synthetic hair, acrylic paint, minerals, quartz, malachite and assorted minerals, fabric, and stainless

steel 97.8x25.4 x33 cm







Red Bat2022,Expanding foam, epoxy, acrylic paint, coloured pencil, concrete, quartz, glass rhinestones, steel and wood,76x27.6x50 cm



















Stargazing2022,Expanding foam, epoxy, acrylic paint, quartz, pencil, spray paint, concrete, steel and wood,80x48x33.3 cm








Crystal System2019,Expanded polyurethane foam, cement, resin, epoxy clay, epoxy gel, synthetic hair, acrylic paint, quartz, steel, coconut shell, glass eyes, paper, graphite, pearl mica flake and glass gemstone

Overall: 72.4 x44.5x43.2 cm






Splitting Smurf” is part of “The Enlightenment of the Witch”





Stargazing2022,Expanding foam, epoxy, acrylic paint, quartz, pencil, spray paint, concrete, steel and wood,80x48x33.3 cm







enter,2020,wood,steel,resin,expandable foam, epoxy clay, epoxy gel, artist's hair, poodle hair, acrylic paint, quartz, glass eyes, glassrhinestones, 

76.2 x55.9 x44.5 cm






The Mother2022
Expanding foam, epoxy, acrylic paint, resin, concrete, pencil, crayon, Sharpie, glass eyes, steel and wood,79x37.5x41 cm311






The Vibrating Man: The Fractured Prism2019
Plexiglas, expanded polystyrene foam, quartz, resin, epoxy gel, epoxy clay, Spandex, acrylic paint, bronze, glass eyes, synthetic hair, graphite and glass gemstones,Overall: 186.1x182.9 x182.9 cm




































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Du/Laboratory is a comprehensive experimental platform, involving creative media spanning all levels of contemporary art, maintaining a vigilance against the international contemporary art trend that airs everywhere, and at the same time committing to the full and in-depth excavation of the artist's own system, continuously  Focus on practices that hover in the "middle state" on the fringes of art and non-art.
Du/Laboratory是一个综合性的试验平台,涉及的创作媒介跨越当代艺术的各个层面,对四处空降的国际化当代艺术潮流保持一种警惕性,同时致力于艺术家自身系统的充分、深入挖掘,持续关注徘徊在艺术和非艺术边缘“中间状态”的实践。
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