Thoughts on the Studio

Occasionally I work from home, especially on larger sewing projects or if I am making a series of drawings, however, increasingly I find myself wanting to make the work in just one place. The studio contains an energy and the works feed off one another, developing a language of their own which bleeds from one piece to the next. I do not have a solid conceptual plan and because of this the studio is where the work resides more than anywhere, it is born from a practice of making not thinking, an intimate and gestural practice where skill is played with and investigated but not mastered.



The work is often exhibited as it has been hung in the studio, not always but sometimes – a work will be placed at a strange height, often to keep it out of harm’s way or because there happened to be a nail already there, but this becomes part of it, changing my perception of it by the way it activates a space. In the Twentieth Century a special relationship between the work itself and the studio has developed and it is something which has greatly informed the display of contemporary art whether it is the ‘working tables’ of Eva Hesse or Gabriel Orozco which allow left overs or unfinished works to creep into the gallery space or generally a less precious attitude towards exhibiting.

我的作品經常以懸掛的方式陳列在工作室當中,有時候你會發現一個作Speechless品被擱置在一個很奇怪的高度,那通常是為了避免損壞他們,又或者恰巧那個位置有一枚釘子。不管怎麽樣,這些都成為作品的一部分,影響了我的同時也改變了原來的空間。在20世紀,作品本身和工作室之間形成了一種特殊的關系,這在很大程度上也影響了當代藝術的展示方式,無論是伊娃·海瑟(Eva Hesse)的《工作桌》,還是加布理埃爾·奧羅斯科(Gabriel Orozco)的半成品,這些都一並與其作品進行同場展示。

This slippage between the studio and the gallery imbues the work with the ghost of the studio, it remains present in the object both physically in its materiality as well as in its placement. This is certainly true for my practice. The studio is a place where the work has its own life-force, a certain control; retrieving his fag-end from under a table in Giacometti’s studio Jean Genet recalls finding the most beautiful sculpture which had been hidden in the dust, questioning him why, Giacometti replied, ‘If it is truly strong, it will show itself, even if I hide it.’

 作品儘管從工作室移到了畫廊,但其實工作室的靈魂已經融入到作品當中,影響著作品的最終呈現,不管是外觀還是呈現方式。這對我來說是無可置疑的。在工作室裡的作品都有一種生命力,一股自我控制的能量。讓·熱內(Jean Genet)在收拾阿爾伯托·賈科梅蒂(Alberto Giacometti)的工作室時驚訝地發現最美的雕塑竟藏在桌底並佈滿灰塵,問及原因,賈科梅蒂說:“如果這作品足夠好,就算我藏起來也必定會被發現的。”

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