「兰摧玉折 Withered Orchid, Broken Jade」展览现场 / 图片致谢艺术家与三角洲GODOWN©陈希雅
Withered Orchid, Broken Jade
艺术家欧宝兰（Paula Oberndorfer）于GODOWN空间呈现的最新个人项目「兰摧玉折 (Withered Orchid, Broken Jade) 」即将于7月8日落下帷幕。本次项目展出了艺术家在中国驻地创作的一系列雕塑作品。以下为艺术家自述。
「Withered Orchid, Broken Jade」, the latest solo project by artist Paula Oberndorfer at Godown Space, will come to an end on July 8th. The project features a series of sculptures created during the artist's residency in China. The following is the artist's statement about the work.
颈手枷
Pillory
欧宝兰，《颈手枷（pillory）》，2024，陶瓷（ceramic），97×18×18cm，©黄颖怡
作品的灵感来源于中世纪的枷锁，这种枷锁至今仍在我的祖国——奥地利的一些村庄中可以找到。它们通常是石柱，暴露在公共场所的风雨中。没人真的在意它们，并不是所有的枷锁都标明曾被用作惩罚和公开羞辱的工具。我希望通过美的以及或许有些怀旧的场景，展示过去的痛苦和折磨，而这些都是普遍存在的。关于枷锁的概念——它是一个单方面强迫性的表演交换场所。被锁在枷锁上的人，是观众欲望的对象，而他们保持不动，表达受到限制，被迫回应观众/公众的言语和侵略性对待。受害者/叛徒/违法者被放在舞台上，而公众在交换中成为了积极的主角，同时被公众团体/同谋者的面纱掩盖。通过这件作品，我尝试将中世纪枷锁的核心理念带入此次展览。在这个展览中展示了多种观念和装饰语言的碎片，包括：刺穿、穿刺、锁链、切割、钝刀、枯萎、闪亮、青铜、锈蚀、悬挂和平衡。而这件作品正是展现了刺穿的概念，同时也视觉性地参考了当地的枷锁。这件作品包含多种质感。有装饰性装饰、石质纹理、一个提醒我其功能的单一挂钩，以及重复图案的许多孔洞。顶部是圆形的，因此钉子不是尖的而是圆的，似乎已经被多次使用，或其边缘被雨水和天气磨平。雕塑从地面升起，类似于石笋。材料是黑色粘土，带有明显的火粘土痕迹，以及从顶部到底部略带金属光泽的釉流，覆盖着挂钩，突显出不同的纹理。The image of the work comes from medieval pillories, that can still be found in my country - Austria, in some random villages, commonly a stone pillar, that is exposed to weather in a public place. Nobody really pays them any attention, not all of them are labeled as an old pillory used for punishment and public shaming. I hope to show past pain and suffering, which are universal, through the lens of beauty and perhaps some nostalgia.
The idea of the pillory：it is a place for a one-sided involuntarily performative exchange. The subject chained to the pillory, being the subject of the viewer's lust, while staying immobile and limited in their expressions, was forced to respond to the verbal and invasive treatment of the audience / public. While the victim / traitor / offender against the law is positioned on a stage, the public becomes the active protagonist in the exchange, while being masked by the veil of a public group of people / accomplices.With this work, I try to bring the key idea of the medieval pillory into this exhibition. This exhibition presents multiple ideas and fragments of ornamental language in multiple works, some of the ideas are: spiking, impaling, chaining, cutting, dull knife, withering, shining, bronzing, rusting, suspending, and balance.This work presents the idea of a spike, as well as a visual reference to the local pillories. This work includes multiple textures. There are ornamental decorations, a stone texture, a singular hook that reminds me of its function and many holes in a repetitive pattern. The top is rounded off, so the spike is not a pointy spike. The spike is rounded, so it looks like it has been used many times, or its edge has been smoothed by the rain and weather. The sculpture rises from the ground, similar to a stalagmite. The material is black clay, with visible traces of fire clay and a running stream of slightly metallic glaze dripping down from the top to the bottom, covering the hook and accentuating the varying textures.
油水分离
Splitting oil and water
欧宝兰，《油水分离（splitting oil and water）》，2024，陶瓷、钢丝、木头（ceramic、steel wire、wood），80×160×8cm，©黄颖怡这件作品由多种元素组成，包括一块涂漆的木板、大型钩形粘土瓷砖、小型钩形瓷器瓷砖、一把大剑和钢丝。剑的形状源自人形，一种古老的形态。当仔细观察时，可以看到剑的中央包裹着一件粗糙、原始的粘土雕塑，被玻璃和矿物的混合物封闭。剑刃是钝的，因为钝刃有时比锋利的刀刃更能造成伤害。剑上装饰华丽，我希望通过这种装饰引起注意，使观众思考旁边的支撑部件是作为装饰性的还是结构性的添加。我希望捕捉到观众自我质疑的那一刻：这种结构到底有多稳定？它是否足够耐用？或者它们是否正处于互相倾倒的边缘。这种脆弱性和稳定性之间的紧张关系类比于人类的心理。我们很有韧性，但有时我们无法确定结构的耐久性。油和水的分离是一个自然且众所周知的过程，当两种化学性质注定不相混合的物质混合时，就会发生这种现象……This work is composed of multiple elements, including a painted wooden board, large hook tiles from clay, smaller hook tiles from porcelain, a big sword and steel wire. The shape of the sword is derived from a human form, an archaic shape. When looking closer, in its center, a crude, primitive-looking clay sculpture enclosed by a mixture of glass and minerals becomes visible. The blade is dull, as a dull blade can sometimes hurt more than a sharpened one. The sword is heavily ornamented, which I hope brings attention to whether the supporting side pieces are viewed as an ornamental or structural addition beside it. I hope to catch the moment where the viewer is questioning themselves about how stable this construction is, if it is quite durable, or if they are on the verge of falling into each other. This tension between fragility and stability is drawing an analogy to the human psyche. We are resilient, but sometimes we cannot assess the durability of the construction with certainty. The splitting of oil and water is a natural and well-known process that occurs when two substances are mixed that are chemically not destined to mix…
欧宝兰，《瞬态的飞机（transient planes）》，2024，陶瓷、钢丝、木头（ceramic、steel wire、wood），80×160×8cm，©黄颖怡
这件作品展示了一种由多块瓷砖支撑的装饰结构。整体构图从顶部宽阔部分向中部延伸，再向地面分布。中央的大型装饰件让我联想到哥特式世俗建筑中门框上的装饰。瓷砖具有不同的纹理和形状，它们被安装来提供稳定性和支撑，并改变钢丝的方向。木板的尺寸为160x80，是根据我的身高按照1:2的比例选择的。选择这块木板是为了增加一个类似于绘画的明确的框架，使观众可以思考——当遇到一幅挂在墙上的平面物体时，是在观看一幅画还是一件雕塑？。我选择了类似于人体尺寸的这些尺寸，这样观众在观赏作品时，可以体验到与作品中的“对方”相遇的感觉。This work shows an ornamental structure, held by multiple tiles. The composition gives a direction from a wide top to the middle, distributing into the ground. The large ornamental piece in the center can remind me of decorations among doorframes in Gothic secular buildings. The tiles have different textures and shapes. They are mounted for stability and support, as well as changing the direction of the wires.The 160x80 measurement of the wooden boards is chosen by a 1:2 ratio based on my height, which is similar. I chose this wooden board to add a clear framing, referencing painting, so the viewer can contemplate if encountering a painting is a sculpture since it is a flat object mounted on a wall. I chose these dimensions, which are similar to human dimensions, so the viewer can have the experience of meeting the opposite in the work.
欧宝兰，《i c u u c m》，2024，陶瓷、钢丝（ceramic、steel wire），57×81×6cm，©黄颖怡
这件作品基于我以前的作品《无题或大开眼界 / 看，你必须看，Vaata sa vaatama pead》，该作品于2023年在爱沙尼亚的瓦斯克亚拉创作。作品标题《i c u u c m》需要逐字阅读，听起来像“我看见你，你看见我”。这种互相注视的情境可以被理解为一种亲密关系。反光表面唤起了镜子的形象，因为我们可以在彼此的眼中看到自己的倒影。背景的缺失赋予这件作品一种轻盈和通透的感觉。它邀请我们不仅要超越作品本身去观看，还要内省，就像在作品中遇见对方一样。眼睛的主题呈现出一个在蕾丝中找到的具象图像，装饰图案彼此相互支撑，创造出一个连续的装饰景观。
This work is based on my old work, “Untitled or Eyes Wide Shut / Look, You Have to Look, Vaata sa vaatama pead”, that was produced in 2023 in Vaskjala, Estonia. The title “i c u u c m” is to be read as individual letters, sounding like “I see you, you see me”. The situation of looking into each other can be understood as a form of intimacy. The reflective surface evokes the image of a mirror, as we can see our own reflection in each other's eyes. The lack of background gives this work a lightweight and airy feeling. It invites us to look beyond the artwork as well as look within, as if the opposite is met within the artwork. The subject of the eye presents a figurative image found in a lace, where the ornamental patterns are held in place by each other, creating an ongoing ornamental landscape.
Kling
欧宝兰，《Klinge》，2024，陶瓷、钢丝、木头（ceramic、steel wire、wood），80×160×11cm，©黄颖怡
这件作品包含了4块来自杭州富阳木烧窑的瓷砖。木烧工艺使这4块角落瓷砖呈现出严重风化的外观，仿佛它们已经生锈或长期暴露在盐水中。由于木烧过程不可预测性，在这过程中其他作品的釉料滴落在这些瓷砖上，以及残留着可见的木烧窑灰烬。标题“Klinge”是德语单词，翻译为刀刃或刀剪的锋利部分，这是“兰摧玉折”中反复出现的主题。作品的形态可能让人联想到螺栓连接，这是一种用于船舶和飞机制造的金属加工连接工艺，也可以让人联想到用于陶瓷石膏模具的锁定系统。
在这件作品中，左上角缺失的一颗钉子引人注目。这个缺失的钉子是对Nairy Baghramian作品《屏息咒》的致敬。
This work includes 4 tiles from the wood firing kiln in Fuyang, Hangzhou. The wood firing gives the 4 corner tiles a heavily withered look, as if they became rusty or exposed to salty water for an extended amount of time. As the wood firing process is not completely predictable, some of the glaze from other pieces dripped onto it, as well as the remains of ashes, are visible. The title “Klinge” is a German word, translated to blade, or the sharp part of knives and scissors, a reoccurring topic in “lan cui yu zhe”. The form of the work may evoke the idea of bolt connections, a metalworking connection technique used in shipbuilding and aircraft manufacturing. It may also remind one of the locking systems used for ceramic plaster molds.
In this piece a missing nail in the top left corner catches attention. This missing nail is a hommage to Nairy Baghramian’s cycle “breath holding spell”.
b #12
欧宝兰，《b #12》，2024，陶瓷、钢丝（ceramic、steel wire），114×56×8cm，©黄颖怡
这件作品有更加轻盈的感觉。在其表面上反射着异样的光线，同时这件作品也突出了我关于雕塑模块化的理念。作品的标题取自我重新命名的釉料的名称。这件作品具有金色黄铜的闪光效果，同时也呈现出一种陈旧的外观。当仔细观察时，刀刃和凹痕显得黯淡，就像一件随时间推移而风化和氧化的古老物品。This work has a more airy feeling. Its surface reflects unusual light, while also highlighting my concept of modularity in sculpture. The title of the piece comes from the name of the glaze I renamed. This work features a golden brass sheen and simultaneously exhibits an aged appearance. Upon closer inspection, the edges and indentations appear dull, reminiscent of an ancient artifact weathered and oxidized over time.
欧宝兰，《BW tile 1/1》，2024，陶瓷、钢丝（ceramic、steel wire），114×56×8cm，©黄颖怡
这块瓷砖是来自一系列用黑陶做的安装式瓷砖，但采用了不同的表面处理工艺，使用了白色的釉以创造不同的效果。它是一件独版作品，同时突显了安装式瓷砖系列的概念，它与其他一些安装式瓷砖的尺寸相同。
This tile is a part of the series of mounting tiles from black clay, but painted differently, including white glaze, to create a different effect. It is a unique 1/1 piece while highlighting the serial idea of the tile because it is the same size as some of the other mounting tiles.
欧宝兰，《CYTW-I》，2024，陶瓷（ceramic），21.5×6×6cm，©黄颖怡
这件瓷砖是向白色单色画的致敬之作，许多雕塑家和画家都做过白色单色画，我想就这一主题阐述我的观点。对我来说，Cy Twomblys的雕塑系列尤其有趣。他以绘画闻名，但他长期从事雕塑创作，将不同的物体组合在一起，涂上无数层白色。这些作品看起来优美、失重，有时甚至是无重力的、不朽的，但又相当小巧。在我看来，这些作品做得相当成功，所以我用他的名字命名这件作品。This vertical tile is painted in a white monochrome way. This is an homage piece, as many sculptors and painters completed white monochromes in a successful and compelling way. I want to present my viewpoint on this topic. Especially interesting to me are the Cy Twomblys sculpture series. He is known for his painting, but he has a long practice of sculpture, where he assembles different objects and paints them with countless layers of white. They appear graceful, weightless, sometimes gravity-defying and monumental while being quite small. They are done quite successfully, in my view, so I name this work after him.
「兰摧玉折 Withered Orchid, Broken Jade」展览现场 / 图片致谢艺术家与三角洲GODOWN
这件作品是一系列由8块平面陶瓷砖组成，灵感来自用于中国画和书法的镇纸形状。它们安装在较低的位置，就像水平展示的中国画一样。标题引用自一首中国古代汉乐府诗歌。我在此追问：雕塑的最终结局是什么?它是否包含着它的支撑系统？艺术品在哪种程度上被展出？关于“支撑物”，这也是此次展览所讨论的主题，正如中世纪的枷锁所展示的那样，用于惩罚的器物需要支撑系统，那么我们是否可以反问：用于希望与审美的器物是否同样需要支撑？那么在这一点上，艺术家希望从中国古代器物中寻找灵感。欧宝兰，《长歌行》局部，2024，陶瓷（ceramic），46×4×3cm，©黄颖怡This work is a series of 8 flat ceramic tiles, inspired by the shape of the acrylic mountings used for Chinese painting and calligraphy. They are installed on a lower level, as a horizontal Chinese painting would be presented. The title is derived from an ancient Han dynasty folk song from Chinese classical literature.
What is the ultimate fate of the sculpture? Does it include its support system? To what extent is the artwork exhibited? The theme of "support structures" is also discussed in this exhibition. Just as medieval stocks, used for punishment, required a support system, we can ask: do objects of hope and aesthetics require support in the same way? On this point, the artist seeks inspiration from ancient Chinese artifacts.欧宝兰，《小东西（XIao Dong Xi）》，2024，陶瓷（ceramic），4×4×1cm，©黄颖怡
这件作品展示了画框背面的安装系统，其中钉子可以安全地插入而不会损坏任何东西。瓷砖和我在在陶瓷窑房中经常听到的中文指示“循序渐进”有关，也表现了我在地工艺方面的进步。
This work represents the backside mounting system of a wooden frame for painting, where a nail can go safely without damaging anything. The tile relates to the ‘little by little, step by step’ progress of my basic understanding of the Chinese language that is used in the ceramic kiln room, as well as my progress in the local craft.欧宝兰，《弯曲的瓷砖（curved tile）》，2024，陶瓷（ceramic）27×6×9cm，©黄颖怡
这件作品是在富阳的窑中烧制的。钩形瓷砖的形状一般完全服务于其功能，但这种功能因瓷砖弯曲的外观及其用一颗钉子安装的方式而被否定。它的外观风化、陈旧、生锈，颜色从蓝色、绿色到黄色、棕色和紫色不等，表面粗糙。它被垂直挂在平整的墙面上，观众可能会认真思考这种形状应该具有什么用途。
This work is fired in the Fuyang wood firing kiln. The shape of the hook tile is entirely dedicated to function. In this case, this concept is negated by the curved appearance of the tile and its mounting by a singular nail. The appearance is withered, old, rusty, with colors ranging from blue, green to yellow, brown and purple and a grainy surface. Hanged in a vertical way on a flat wall, the viewer can seriously question what use this shape should fulfill.欧宝兰，《油水混合（mixing oil and water）》，2024，陶瓷（ceramic）18×9×6cm，©黄颖怡
将油和水混合比将它们分离要困难得多，只有通过加入其他化学成分，产生剧烈的反应才能实现。这件作品带有蓝色调，同样是在富阳的窑中烧制的。它的表面像烧焦的铁一样，呈现出重度炙烤的痕迹。这里有一个双钩，引发人们去思考它可能的功能。
Mixing oil and water, a more difficult process than splitting it, only through the addition of other chemical components and fierce motion. This work has a blueish tint, also from the wood firing kiln in Fuyang. The surface is heavily cooked, like burned iron. Here a double hook is present, also seriously questioning its possible function.欧宝兰，《兰花指手（Lan Hua Zi Shou）》，2024，陶瓷（ceramic）23×11×3cm，©黄颖怡
兰花指具有着多重的象征，在艺术家眼中，它象征着优雅、美丽、意图、敏感、柔软、果断、纪律和轻盈。The "Lan Hua Zhi" gesture carries multiple symbolic meanings. In the eyes of the artist, it symbolizes elegance, beauty, intention, sensitivity, softness, decisiveness, discipline, and lightness.
欧宝兰、斯丽娜，《三个守望者（three watchmen）》，2024，陶瓷（ceramic），©黄颖怡
欧宝兰、斯丽娜，《三个守望者-大哥（three watchmen-dage）》，2024，陶瓷（ceramic），10×8×11cm，©黄颖怡
“这个罐子更加平静，但也更容易感到不安。他像一个受过训练的战士守卫一样，时刻保持警觉。他更注重斯多葛哲学的价值观和诸如忠诚和一致性等美德，能够独立思考。作为守卫，他不仅持续关注周围环境，也关注自身。他对表面的公众意见不太在意，花时间培养内在的稳定性。只有在他感受到保护对象的危险时，他的情绪才会迅速转变为更具敌意和战斗准备的状态，但由于长期的修炼，他能够轻松控制情绪。
“Warrior jar” ，“watchman jar”“This jar is more calm-spirited; he is upset more easily. He is paying attention, like a trained watchman who is a warrior. More occupied with the values of Stoic philosophy and virtues like loyalty and consistency, he is able to think for himself. As a watchman, he is consistently not only watching but also watching himself; he cares little about superficial public opinions and spends time cultivating inner stability. Only when he can sense danger to what he is protecting can his mood switch easily to a more hostile and ready-to-combat stance while controlling his emotions easily, thanks to extensive time spent in cultivation.
欧宝兰、斯丽娜，《三个守望者-二哥（three watchmen-erge）》，2024，陶瓷（ceramic），10×8×11cm，©黄颖怡
“封装着一个小（善良的）幽灵”
“只有在生气时，他才会用恶臭吓到周围的人，将他的柄变成邪恶的脸和蛇，使他鼓胀的形态显得更加恐怖。当他处于合适的环境中时，他喜欢有其他罐子在他附近或视线范围内，和谐的平衡将恢复，他可爱的积极态度将增强并照亮空间。”
“情感”
“Small jar with handle”
“encapsulating a small (benevolent) ghost”
“Only when upset, he can startle his surroundings with a stench smell, transforming his handles into evil faces and snakes and making his bulbous form appear more frightening. When put into the correct surroundings, he likes to have other pots in his vicinity or range of sight, the harmonious balance will be restored, and his cute positive attitude will enhance and brighten up the space.”
“Emotion”
欧宝兰、斯丽娜，《三个守望者-弟弟（three watchmen-didi）》，2024，陶瓷（ceramic），10×8×11cm，©黄颖怡
“素瓷罐”
“与他的伙伴相比，这个守卫最为朴素。没有兄弟们的陪伴，他依然保持公正。朴素的外表暗示着光滑的表面，防止外界的灵体附着在他身上。他能够未雨绸缪，连接守卫们的现在和位置与未来和过去的可能性。缺乏装饰赋予他其他美德，这是他的兄弟们无法达到的。这对他们三个人来说都是真的。所有的对立都包含第三部分，那就是和解。”
“视界”
“plain jar”
“This watchman is most plain in comparison with his fellows. Without his brothers, he remains impartial. A plain outside hints at a smooth surface, preventing outside spirits from attaching to him. He is able to plan and think ahead, preparing and connecting the watchmen's present and location with future and past possibilities. The lack of ornament grants him other virtues that his brothers will not reach. This remains true for all three of them. All polarities include a third part, which is reconciliation.”
欧宝兰，《喷泉（fountain）》，2024，陶瓷（ceramic）15×15×12cm，©黄颖怡
这件作品类似于中世纪的枷锁柱，同时也像喷泉或莲花形状，可以在其隔层中盛水。在花瓣之间可以看到带有眼孔和口孔的小脸，这是一个反复出现的装饰细节。柱子上装饰有4个圆形挂钩，类似于枷锁上的铁钩。这个物件有一个孔，因此可以作为花瓶或烛台供日常使用。由于它来自富阳的木烧窑，作品的一半被灰覆盖，呈现出风化的外观，仿佛上面长满了地衣。釉色从绿色到灰色，从棕色到明亮的蓝色，令人联想到海洋的颜色。This piece resembles medieval pilloried pillars, as well as a fountain, or lotus flower shape, that can hold water in its compartments. The details of a small face with holes for eyes and moth can be seen between the petals, which is a recurring ornamental detail.The pillar is decorated with 4 circular hooks, resembling the iron hook on a pillory. The object has a hole, so it can serve as a vase or candleholder for daily use. As it comes from the wood firing kiln in Fuyang, half of the work is covered by ash, giving it a withered look, as if a lichen had grown over it. The glaze color ranges from green to gray, from brown to a bright blue reminiscent of ocean colors.
针 I-VIII
「兰摧玉折 Withered Orchid, Broken Jade」展览现场 / 图片致谢艺术家与三角洲GODOWN
这一系列作品是一组针，同时也是对展览中釉料的研究。通过尝试不同的纹理，为作品赋予了不同的感觉。作为纤细却坚硬的器物，针展现了我所关注的器物自身的矛盾性，我在创作过程中拓展了这种矛盾性——例如将针转变为看似柔软，依然坚硬，看似坚硬，依然脆弱的存在物。This series of works is a group of needles that also serves as a study for the glazes used for the exhibition. Different textures were tried out to give different feelings to the work.As a slender yet hard object, the needle exemplifies the inherent contradictions that the artist is interested in. In the creative process, the artist expands on these contradictions—for instance, transforming the needle into something that appears soft yet remains hard, and seems hard yet is fragile.欧宝兰，《针 I（needle I）》，2024，陶瓷（ceramic），11×10×3cm，©黄颖怡
欧宝兰，《针Ⅱ（needle Ⅱ）》，2024，陶瓷（ceramic），30×17×2cm，©黄颖怡
欧宝兰，《针III（needle III）》，2024，陶瓷（ceramic），54×6×1cm，©黄颖怡
欧宝兰，《针IV（needle IV）》，2024，陶瓷（ceramic），30×13×3cm，©黄颖怡
欧宝兰，《针V（needle V）》，2024，陶瓷（ceramic），24×5×1cm，©黄颖怡
欧宝兰，《针VI（needle VI）》，2024，陶瓷（ceramic），21×16×1cm，©黄颖怡
欧宝兰，《针VII（needle VII）》，2024，陶瓷（ceramic），24×14×1cm，©黄颖怡
欧宝兰，《针VIII（needle VIII）》，2024，陶瓷（ceramic），16×18×1cm，©黄颖怡
「兰摧玉折 Withered Orchid, Broken Jade」展览现场 / 图片致谢艺术家与三角洲GODOWN
Paula Oberndorfer（欧宝兰）肖像，图片致谢艺术家与三角洲GODOWN@黄颖怡Paula Oberndorfer 1996 年出生于奥地利维也纳，2020-2024 年就读于维也纳美术学院，2022-2023 年在爱沙尼亚塔林交换学习，2018-2019 年就读于林茨艺术大学，曾被提名 2023 年爱沙尼亚青年雕塑家奖。2023 年，Oberndorfer 在爱沙尼亚 Vaskjala 的 Copper Leg Residency 担任驻地艺术家，受托制作户外装置作品。
一直以来，她创作脆弱而敏感的金属和陶瓷作品，这些作品以艺术家的表演背景为基础，与身体形态有关。她通过创作悬挂的雕塑作品来探究美的脆弱与稳定性，这些易碎的作品通过釉面和形状模仿金属的质感，显得十分坚固。她目前正在中国进行研究旅行，研究瓷器及其古老的历史。
Paula Oberndorfer，born in 1996 in Vienna, Austria, studied at the Academy of Fine Arts Vienna from 2020-2024, with an exchange period in Tallinn, Estonia from 2022- 2023, and at the Kunstuniversität Linz from 2018-2019. The artist was a nominee for the Estonian Young Sculptor Award in 2023. Oberndorfer was a resident at the Copper Leg Residency in Vaskjala, Estonia in 2023, commissioned with the production of an outdoor installation.
Paula Oberndorfer is known for her fragile and sensitive creations from metal and ceramics. Building on the artist’s background in performance, the objects relate to physical form and exist in relation to the body. Oberndorfer investigates the fragile stability of beauty by creating sculptures that hang in suspension. Mimicking metal through glaze and shape, these fragile objects appear deceptively robust. Currently Oberndorfer is on a research trip in China, studying porcelain and its ancient history of ceramics.
三角洲The Delta INST ＋ GODOWN三角洲GODOWN出现于2023年，位于中国杭州，是由当代艺术创作与策划平台三角洲(The Delta INST)的艺术家联合发起的独立空间项目。三角洲GODOWN的工作聚焦于：组织独立策展项目及艺术家展览；邀请艺术家创作和展示实验性的作品；搭建常态化的多元艺术社群。同时，三角洲致力于与同时代艺术家分享资源、共同成长，并通过艺术家“自组织”的工作方式发起三角洲国际工作室(Inter-Studio)，组织国内外艺术驻地，以及平行展览等项目。