聚焦展覽|睽違25年,當代玻璃藝術大師奇胡利50年經典呈現

聚焦展覽|睽違25年,當代玻璃藝術大師奇胡利50年經典呈現

 

Dale Chihuly © Chihuly Studio

生於1941年的奇胡利(Dale Chihuly)在大學念室內設計系時,首次接觸到玻璃這個材質。1968年,他成為第一位獲得傅爾布萊特獎學金(Fulbright Fellowship)的美國玻璃藝術家,並以此去了一趟威尼斯Venini玻璃工廠實習,奠定日後以玻璃作為他的重要藝術創作媒材之一,以及培養團隊合作精神的基礎,成就他在當代藝術的特殊藝術家地位。由於吹製玻璃需要雙眼辨識立體感和縱深感,然而,1976年一場嚴重車禍中,使他失去了左眼視力,因此改變創作方式,以指導團隊製作模式——如電影導演般——持續創作。也因此,讓他能夠更著重於作品藝術性和創意性的呈現,打破玻璃的局限和我們對它的想像,創造出氣勢磅礡的大型玻璃裝置藝術作品,色彩鮮豔、亮麗搶眼的玻璃光芒與造型,令人驚豔動容。他的藝術是從生命經驗與大自然中,吸取靈感變化而來,此次在台北白石畫廊的展出中,可以同時看到他多年藝術創作生涯中,發展出幾個不同主題的重要作品系列。(節錄自奇胡利畫冊,文/王玉齡)


Q1 此次個展展件橫跨年代、系列,題材多元。請問此次展件是如何選擇的不同系列之間的交集為何?

Chihuly: 我對於台北白石畫廊展覽的概念是一致的,先考慮空間,再考慮我的作品如何在空間裡呈現。觀眾將看到我50年來的代表性雕塑作品與繪畫,包括最新系列《層疊玻璃》與《盤繞》。

kebana Glass on Glass Painting © Chihuly Studio
Rotolo 84 © Chihuly Studio

 
Q2 您相當重視建築空間與作品之間的關係,曾以「劇場」代指展間中的各樣要素。此次展出的不同系列,在空間中所扮演的角色各自為何?

Chihuly:對我來說,「空間」才是起點。我不先考慮作品,而是空間以及作品在空間中將呈現出來的樣貌。我特別著迷於玻璃雕塑在空間中所帶來的影響,以及它在空間中主導動線與能量的能力。

Dale Chihuly with Blue Tower Jerusalem 奇胡利與作品《藍塔》,耶路撒冷,1999 © Chihuly Studio

 Q玻璃的透明質感能夠創造出與自然物種相似的形象,這是您創作自然系列作品的動機嗎您如何看待這些與自然界有著相似形式的玻璃藝品?

Chihuly: 我在華盛頓州的塔科馬港口城市附近長大,母親是一位園藝師,所以我想這就是為什麼我的作品大量的反映了大自然,但是我並非嘗試用玻璃去複製大自然。我只是對玻璃的顏色、透明度和有機性,有著直覺的喜好,並加以運用。

 
Q您提到您對自然的熱愛是受到母親的影響,那麼您對異國風俗的興趣,又是源自於什麼呢?

Chihuly: 我從作品本身與創作過程中獲得靈感。對我來說,「旅行」與創作一樣重要,我很幸運在我的職涯中兩者經常能並存。吹製玻璃可以將來自不同文化與背景的人聚集在一起,我認為這很有趣。

 
Q5 光線是您作品中相當重要的一環,有時是由外部打光,有時光線則會從內部透出。對您而言,光線除了能替玻璃藝術增色之外,是否還具有其他功能?

Chihuly: 玻璃的透明與透光性,讓它成為一種不可思議的媒介,會因為光線而活了起來。這就是為什麼「光」在我的創作過程中極為重要。我考慮的始終是光、空間與型態。

Dusky Sky Chandelier © Chihuly Studio

Q6 您一直以來都以不畏於挑戰及框架的創作風格著稱,此次展出新作「Glass on Glass」以層層堆疊的玻璃消弭平面繪畫及雕塑間之區別。請與我們談談這件作品的發想過程。

Chihuly:《層疊玻璃》是繪畫作品的自然延伸,同時體現了我對光影、空間與型態的不斷探索。和吹製玻璃作品一樣,它傳遞了多種維度的體驗,並邀請觀者互動,在不同的觀賞角度下,去發掘作品的實體與構圖深度。

 
Q7 您曾說過,繪畫是您用來與團隊討論作品時,很有效率的溝通工具。而您也曾說希望在平面繪畫中創造玻璃藝術的視覺效果。對您而言,繪畫在您的藝術生涯中,是否扮演著輔助的角色? 若並非如此,您認為繪畫的意義是什麼?

Chihuly: 我不知道怎麼解釋繪畫。對我來說它是很自然的,像是運動健身,同時它始終是我創意發想過程中很重要的一部分。

Dale Chihuly, Columbus, Ohio, United States, 1982 © Chihuly Studio

 

Q8 您以 ”From Sand. From Fire. Comes Beauty.” 形容玻璃藝術,對您而言,玻璃作為一種創作媒介,它的功能與意義為何?

Chihuly: 我一直對玻璃以及它透光的特性很感興趣。沒有其他媒介能傳遞像透過玻璃一樣的光線,玻璃中的顏色也比在其他材質中更為強烈鮮明。

 
Q9 您曾因車禍造成左眼失明,傷後您仍繼續創作,但玻璃藝品講究吹製的角度及力道。請問您當時如何度過心境上的挫折又是如何調整創作模式的呢?

Chihuly:「持續不懈」就是我突破的方式。即便是沒有什麼想法的時候,我依舊不停地創作,作品本身會指引我方向。

James Mongrain, Chihuly, and Andrea Lesnett, The Boathouse hotshop, Seattle, United States, 2013 © Chihuly Studio

 

Q10 出道多年,隨著時間遞嬗,您所扮演的角色也不斷變化。身為當代藝術大師,亦有人認為您是成功的企業家,  您也曾以拓荒者、教育家、領導者等不同的名詞形容自己。如前文所述,您平時如何在諸多角色之間進行切換您又如何定義自己?

Chihuly: 我是一位藝術家,我的目標就是讓藝術作品盡善盡美,就這麼簡單。

Aqua Blue and Amber Chandelier © Chihuly Studio

 

奇胡利:台北
展期|2018年8月11日 (六) – 9月23日 (二)
開幕|2018年8月11日 (六) 4:00-7:00 pm *奇胡利工作室主席兼執行長 萊斯莉‧奇胡利(Leslie Jackson Chihuly)將蒞臨致詞
地點|白石畫廊 · 台北 內湖空間 〈台北市內湖區基湖路1號1樓〉
更多資訊|www.whitestone-gallery.com

 


The solo exhibition “Chihuly Taipei” exhibits works spanning dozens of years, including Basket series inspired by the Indian culture, and the Ikebana, Persian series that echo the Central Asian and East Asian culture. There are also Fiori, Chandelier series that take forms from the natural world, and drawings, which are less known to the public.

Q1. This Taipei exhibition consists of artworks from different series and themes. How were they selected and what’s the relationship between different series?

Chihuly: My approach to the exhibition at Whitestone Taipei was the same as for all my exhibitions – consider the space first, and how my work can hold its own in that space. Those who visit will see a selection of sculptures and paintings that represent more than 50 years of my work, including my latest series, Glass on Glass and Rotolo

Q2. You attach great importance to the relationship between the architectural space and the work, referring it as “theatrical display”. What are the roles played by different series in this Taipei exhibition space?

Chihuly: For me, it always starts with the space. I don’t think about the artwork first, rather, I think about the space, and how an object will look in that space. I’m inspired by the impact glass sculpture can have in a space, how it can command attention and direct the energy. 

 
Q3. The transparent texture of the glass creates an image similar to that of natural species. Is this the motivation for your creation around plants and flowers? How do you see the resemblance between glass and nature?

Chihuly: I grew up near the water in Tacoma, Washington, and my mother was a gardener, so I suppose that’s why a lot of my work looks inspired by nature, but I don’t look at something in nature and try to replicate it in glass. I just have a natural feeling for working with glass, for its color, transparency and organic nature.

Q4. You mentioned that your love for nature (garden) is influenced by your mother, how about your interest in exotic cultures? What inspires you?

Chihuly: I’m inspired by the work itself, by the creative process. As important as my work is, travel is also important, and I’ve been fortunate to combine the two many times in my career. Glass blowing can bring so many people together from different backgrounds and cultures, and that appeals to me.  

 
Q5. Lighting is a very important part of your work; the placement of lighting can be varied to create different effect. For you, does lighting (may be daylight or in-door spotlight) serve other purposes/functions besides enhancing a work of glass?

Chihuly: Glass is extraordinary because of its transparency and how it transmits light. It really thrives on light, which is why light is a critical consideration in my creative process. I’m always considering light, space and form. 

 
Q6. You’ve always been known for creating styles that challenge and break limits. The new series Glass on Glass is a layered glass work that seems to come between a painting and an installation work. Please tell us about the process of your inspiration for this particular series.

Chihuly: Glass on Glass is a natural evolution of my painting practice and it embodies my continual exploration of light, space and form. The dynamic is like my blown glass works in that they impart a multi-dimensional experience and invite interaction, revealing physical and compositional depth as the viewer changes position.

 
Q7. As you mentioned, drawing is an efficient communication tool with your team. And you also said that you wanted to create the visual effect of “glass” in your drawings. For you, does drawing play an auxiliary role in your artistic career? If not, what do you think is the meaning of it?

Chihuly: I don’t know what it is about drawing. It is a very physical thing for me – almost like a workout, and it’s always been an important part of my creative process.

 
Q8. You describe glass art as “From Sand. From Fire. Comes Beauty.” What are the significance and purpose of using glass as creative medium for you?

Chihuly: I’ve always been interested in glass, and the way light passes through it. No other medium transmits light like glass and color is more intense in glass than any other material.

 
Q9. You lost your use of left eye in a serious car accident, yet still continued to work with glass. How did you get through the setbacks in your career (if any)? How did you adjust the working mode?  

Chihuly: Working is how I become inspired, so I just keep working, and even if I’m not feeling especially creative, I know the work will take me there. 

 
Q10. As mentioned above, you have many different roles, some seem to be extremely different (for example, artist vs entrepreneurs). How do you shift from one to another? How would you define yourself ?

Chihuly: I am an artist. My goal is to make my work as beautiful as possible. It’s that simple.

CHIHULY Taipei 
Date|11th August – 23rd September, 2018
Opening|11th August, 2018 4:00-7:00 pm *Leslie Jackson Chihuly, President and CEO of Chihuly Studio, will present a welcome talk at the event
Venue|Whitestone Gallery Taipei Neihu : 1/F, No.1, Jihu Road, Neihu District, Taipei, Taiwan