A Complete Workshop and Test Space

TEXT BY 撰文 x Harry Liu 劉競晨
TRANSLATED BY 翻譯 x Syndi Huang 黃煥欣
IMAGE COURTESY BY 圖片提供 x Gary Woodley 加裡·伍德裡


Gary Woodley, a native Londoner, graduated from London’s Chelsea College of Arts in the 70s, and began teaching at Slade School of Fine Art in the late 80s. His works has been widely exhibited all over the world in famous museums and galleries like Tate Britain.

Before the interview, we already heard Woodley had an “incredible” studio. But it is until after the visit to his studio, we found it indeed deserve the name. Woodley’s studio is located in a rugged industrial building which was built after World War II. The original doors, elevator and fence exude a unique charm of that time.

Woodley’s studio is very large, around 300 square meters. It can be described as “luxury” to own a studio of such size in zone 1 area of London. The studio displays a variety of wood working equipment and tools, which completely blow us away. What a dreamland for all boys. We were holding our breath while checking around. Woodley is quite an interesting person, always being very kind with a stern look. He did not talk much, but answered all the questions straight to the point. Mentioning about Hackney, Woodley said the area had great changes since his settlement 30 years ago, but always been an inspiring place. He told us the history of Hackney as the centre of woodwork and furniture in London, as well as its current development. When talking about the safety in Hackney, Woodley showed that he never met any safety problem, the neighbourhood was always very friendly.

With regard to his own creativity, Woodley finds himself with many different roles. For instance, on the one hand, he is a lecturer at Slade School of Fine Art to cope with students for guiding their learning and creation. On the other hand, he also works with a lot of engineers and architects to solve various architectural and construction issues. The more important aspect is his own creativity. His works are generally in very large scales, such as an entire building. There are also quite some his more concerned works. Some indoor works exhibited in galleries are also very interesting. Gary is very obsessed with mathematics, and applies mathematics to his creation. Through the form of mathematics, basic structures and forms can be found in his works.

加裡·伍德裡是土生土長的倫敦人,70年代畢業於倫敦切爾西藝術學院,80年代末開始任教于斯萊德藝術學校(Slade School of Fine Art),他的作品在全世界範圍內都被廣泛的展出過,其中不乏像泰特英國館這樣重量級的美術館和優秀畫廊。





ART.ZIP: How long would you normally spend at your studio? What would you do in your space apart from making your works?

ART.ZIP: 一般來說,你每天會在工作室裡工作多久呢?除了工作以外,還會做些什麼呢?

GW: I am normally in my studio most days except for my usual 2 days teaching. I have set up my studio for also earning a regular income as a fabrication service to artists, designers and architects, specializing in difficult forms and materials. I also design and make furniture.

GW: 我每週會有兩天在學校授課,此外基本上都是在工作室裡工作。工作室里除了做自己的作品以外就是幫藝術家、設計師和建築師來解決製造工藝上的問題,特別是處理複雜的造型和材料上的難題,這些工作讓我能有一個比較穩定的收入來源。同時,我自己也設計和製作傢具。


ART.ZIP: How would you describe your studio, could you use a word or a sentence to conclude the relationship between you and the studio?

ART.ZIP: 你覺得你的工作室是怎樣的一個地方呢,可不可以用一句話或一個詞來概括一下你和工作室之間的關係呢?

GW: It’s very much a complete workshop and test space.

GW: 我的工作室是一個車間,是一個實驗的空間。

ART.ZIP: How would you consider your studio space? Private or public?

ART.ZIP: 你怎麼看待工作室呢,是一個私人空間呢,還是一個公共空間?

GW: The studio is a place to concentrate on making. Clients would visit only to discuss possibilities, check developments and view the finished product. It is open to occasional students who are always curious to see a working space in operation.

GW: 工作室顧名思義,是一個專注于“製作”的空間。客戶在探討製作可能性、追蹤進度和最後驗收作品的時候才會來到我的工作室。我有很多學生對工作車間和機床的使用感到好奇,所以偶爾也會對他們開放一下。


ART.ZIP: Have you been to other artists’ studios? Are there any interesting places or stories?

ART.ZIP: 有沒有接觸過別的藝術家的工作室呢?有什麼有意思的地方?

GW: I’ve noticed that most artists try to keep their studios as clear as possible, avoiding too much equipment which might influence what can be made. It often amazes me how few tools most artists have, preferring factories to make the more involved component parts.

GW: 我注意到很多藝術家都想要儘量保持他們工作室的整潔,儘量避免太多的設備來擾亂他們的創作。當我看到藝術家們是用如此之少的工具來工作的時候,我覺得非常神奇,他們比較傾向將複雜的部件交給工廠來製作。


ART.ZIP: Are you satisfied with your current studio? Do you have any particular preference on location?

ART.ZIP: 你對現在的工作室空間是否滿意?你對工作室地點有沒有什麼特別的要求?

GW: I’ve been in this building since 1984. It’s great here, it has always been an interesting area, but it has changed a lot in that time. 14 years ago we moved to the ground floor to a bigger space with better loading access.

GW: 從1984年開始,我就在這裡工作了,這裡很棒,而且一直以來都是一個很有意思的地方,當然這30年來這裡也有了很大的變化。14年前,我們搬到了一層,這裡空間更大而且有更方便的裝卸貨物的通道。

ART.ZIP: Any interesting items at your studio?

ART.ZIP: 在你工作室裡有沒有什麼非常有趣的物件兒?

GW: The studio is absolutely full of tools and machines, fixings and offcuts of curious materials. I regularly discover things I had forgotten about which might rekindle an idea.

GW: 整個工作室就是一個充滿了工具和機器的車間,有很多組裝好的作品也有好多神奇材質的邊角料。我經常能發現好多被我遺忘了的東西,它們經常能激發我的想法和靈感。

ART.ZIP: Any coming exhibitions or plans?

ART.ZIP: 在不遠的將來有什麼新的計劃或者展覽?

GW: This summer I have a group exhibition with 3 Japanese and 3 British artists at Laure Genillard Gallery. There are also a few good furniture projects to get started, one using bamboo sheet.

GW: 這個夏天我會參加一個群展,由三位日本藝術家和三位英國藝術家組成,在羅蕾吉安那萊德畫廊(Laure Genillard Gallery)展出。我也正在進行幾個很不錯的傢具項目,其中有一個是用竹子進行創作的。

   Slade reception furniture 2012 (bamboo)   Model for a pavilion of projection 2011 (birch plywood)

Find Out More:

Schema – Sukima | Laure Genillard Gallery
26 July – 13 September 2014



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