概念是不够的,物体和意义的不寻常生活 ｜Lynn Aldrich
林恩·奥尔德里奇(Lynn Aldrich)曾获得古根海姆奖，她的作品被收藏于洛杉矶艺术博物馆LACMA，当代艺术 博物馆MOCA，纽约公共图书馆等大型机构和博物馆中，而她的艺术世界不仅限于此。在时间和空间中，在每一个生命 里，在世界上每一件事物对于她都是神秘而奇怪的，由此她通过创作，合理的概念化我们看起来的世界。普利策奖艺术评论家Doug Harvey 称林恩·奥尔德里奇(Lynn Aldrich)为最应该被认知的洛杉矶雕塑家之一。
Though Guggenheim Foundation awarded Lynn Aldrich, her artworks have collected by numerous public and private collections, including the Los Angeles Museum of Art LACMA, the Museum of Contemporary Art MOCA, the New York Public Library, and other large institutions and museums, her world of art is not limited in there. Art is a part of time and space, and it is in every creature. To her, everything in this universe is mysterious and strange. Aldrich reasonably and conceptualizes the world that we are looking at through her creation. Pulitzer Prize awarded critic writer Doug Harvey calls her "one of the most under-recognized sculptors in L.A.,".
ROSE GHOST ｜玫瑰魂
183 x 183 x 18 cm
More Light Than Heat at Edward Cella Art+Architecture,2015, Los Angeles
作品所在地：中国大陆地区
奥尔德里奇的创作方式受到极简主义的影响，她减少物件本身的属性，简单直接的带着谦虚或幽默，讽刺或类比的方式在作品中体现她对于环境的关注，和启发性的描述。她挑战着观看者的通常逻辑，通过叠放，重置，累积，无处不在的日常物品，来建立与水，光，恒星行星的相互关联，在关联与挑战的体验中引发对于实体世界与本体论维系的相关问题。
Aldrich's creative approach is influenced by minimalism. She reduces the object's attributes, simply and directly reflects her attention to the environment and inspiring descriptions with humility or humor, satire or analogy. She challenges the viewer's logic and establishes the interrelationships with water, light, stars, and planets through stacking, resetting, accumulating, and ubiquitous daily objects while raising questions about physicality ontological moorings.
ROSE GHOST ｜玫瑰魂 首次由DOSE出展中国大陆地区于2021年厦门艺博会，并持续受到关注。
ROSE GHOST ｜玫瑰魂 的色彩由浅色通过不同的颜色组合逐步变深，由艺术家亲手裁切缝合。亲肤的质感，拉近观者的距离，空灵的透视，光线穿透时产生极强的力量感，在想要靠近的同时让人敬畏。
讲起于宇宙，人类，宗教，环境相关的艺术作品，往往会呈现宏大的形式，然而在与林恩一起合作的开始，首先让我感到惊讶的是她使用材料的简单与普通，基本所有材料都来自于HOME DEPOT连锁五金店。从最基础的日常商品材料里，林恩找到了自己的视角去看待，经过她的创作，没有什么物件是可以普通的存在，它们都超出自身功能的存在。物件与人和环境的关系，也被架构上新的关系，而人本身在作品里，有了重新定位自我存在的机会。
Artworks discussing the universe, human beings, religions, and the environment, are usually grand in form. At the same time, at the beginning of cooperation with Lynn, I was suppressed by how ordinary and straightforward the material is. She gets everything from the HomeDepot. Lynn has found her perspective to view the most basic daily materials. Through her creation, there are no objects that can exist normally; they all exist beyond their own functions. The relationship between objects and people and the environment has also been structured in a new connection, and people themselves can re-identify themselves in the artworks.
ROSE GHOST ｜玫瑰魂
Aldrich uses the most common eave pipe that you can found in the US as the material of her works like Water Tangle(2018), Reverse the Rain(2019), etc. Under her remodeling, the pipe that led rainwater from the eaves to underground becomes agile and full of vitality. The original functionality has disappeared. What remains at different locations and with different shapes is water's characteristics - the source of life for all things.
This series of works use grotesque shapes to observe people passing by. The dry nozzles, arousing people's reflection on environmental changes and urban life. At the same time, in transforming such ordinary materials, Aldrich also gives new spiritual meaning to the object itself.
Starting Over: Neo-Atlantis，海绵原本是自然中的生物，人类在发现了它的特性后，制造的海绵被广泛应用于生活中。而这些制造物却慢慢的开始污染海洋，影响自然。在这个作品里，奥尔德里奇使用了不同的海绵和清洁物品。对于自然来说人造清洁物品是否是清洁的，或许永远是一个问题。
In Starting Over: Neo-Atlantis，sponge is originally a creature of nature. After humans discovered its characteristics, the artificial sponge has been widely produced and used in human society. However, these artifacts slowly began to pollute the ocean and affect nature. In this work, Aldrich used different sponges and cleaning items. For mother nature, whether human-made cleaning items are clean may always be questionable.
Renew Your Reef, 2021
Scouring pads, brushes, sponges, dusters, scouring pads on wood support 18 x 14 x 9 inches
刷新珊瑚，2021
洗涤垫，刷子，海绵，抹布固定在木材支架上
46 x 36 x 23 cm
Location：China
作品所在地：中国大陆地区
Hermitage's material is the paper molds used for pouring bridge piers. With the hollow inner body, the artist created a small and comfortable space, walked into it, looked up, through two layers of colors, the outside light been projected into the deep and dark tube bottom. The heaviness of the architectural materials is in sharp contrast with the bright color light that penetrates. Entering this work for the first time reminded me of James Turrell's light piece. Turrell's work extends or restricts light along with a broader space, while Aldrich is pulling the light from the outside, this tube becomes a channel connecting ego to the higher ground.
Lynn's studio, Los Angeles.
林恩·奥尔德里奇(Lynn Aldrich)的作品围绕着所有宗教和艺术活动的核心悖论“超欲望（hyper-desire）”展开，试图以现实主义为基础，将浪漫主义与自然科学的经验主义相融其中。同时对于浪漫主义和精神追求保持着渴望，以此寻求新的启示和真正本源的超然性。
Lynn's artworks attempt to be grounded in Realism or what is present, influenced by the natural sciences' empiricism. But remain open to the Romanticism of a spiritual or sacred longing for revelation and authentic transcendence, what would call 'hyper-desire'. This is the profound paradox at the core of all true religion and artistic activity.
Lynn Aldrich & DOSE主创人员 沈雨晴, Los Angeles.
DOSE
公众号二维码
关注公众号-更多洛杉矶当代艺术