伍迪.德.奥赛罗(Woody De Otherlo)令人头晕目眩的家庭生活:像普通物体一样屈服于重力的雕塑。
在伯克利艺术家伍迪.德奥瑟罗(Woody De Otherlo,生于1991年)的雕塑作品中,日常生活中的手工艺品——桌子、椅子、电视遥控器、电话接收器、灯具、空气净化器——都是用釉面陶瓷、青铜、木材和玻璃拟人化的。奥赛罗对这些物体按比例放大后的表现经常会因重力而崩溃,仿佛被自己的使用耗尽了精力。奥赛罗了解自己的海地血统,对伏都教民间传说中的超自然物体感兴趣。像沃杜器皿、恩基西人物和其他启发他灵感的万物有灵论文物一样,奥赛罗的陶瓷人物也变得栩栩如生。劳伦.狄更斯(Lauren Dickens)写道:“奥赛罗(Otherlo)的容器和残缺的物体似乎是当代nkisi的一种形式,它们对所居住空间的能量作出反应并保持着能量,这表明压力的力量是可以承受但看不到的。”这本综合性的、有充分插图的书探索了奥赛罗从2016年到2020年的陶瓷作品,包括劳伦.狄更斯、马里奥.古登和瑞奇.斯沃恩的三篇新文章。
The woozy domesticity of Woody De Othello: sculpture as ordinary objects succumbing to gravity.
In the sculptures of Berkeley-based artist Woody De Othello (born 1991), everyday domestic artifacts―tables, chairs, television remotes, telephone receivers, lamps, air purifiers―are anthropomorphized in glazed ceramic, bronze, wood and glass. Othello’s scaled-up representations of these objects often slump over, overcome with gravity, as if exhausted by their own use. Informed by his own Haitian ancestry, Othello takes interest in the supernatural objects of Vodou folklore. Like the Vodou vessels, nkisi figures and other animist artifacts that inspire him, Othello’s ceramic characters come alive. “A form of contemporary nkisi, Othello’s vessels and misshapen objects seem to react to and hold the energies of the space they inhabit,” writes Lauren Dickens, “suggesting the power of pressures endured but not seen.” This comprehensive, fully illustrated volume explores Othello’s ceramic works from 2016 through 2020, and includes three new essays by Lauren Dickens, Mario Gooden and Ricky Swallow.
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