裝置藝術(shù)--Kaylee Carrington：萬(wàn)物得其所

        所有事物都應(yīng)該處在它應(yīng)該處于的位置上：萬(wàn)物得其所。
        Everything in its right place. 

        因?yàn)槲业乃囆g(shù)作品不會(huì)被展示在傳統(tǒng)的畫(huà)廊背景下，所以能夠激發(fā)哪些不常接觸藝術(shù)的人感受我的藝術(shù)作品。我的裝置藝術(shù)設(shè)施會(huì)造成一種巧合的感覺(jué)；在沒(méi)有偏見(jiàn)的情況下，每一個(gè)路過(guò)的人都可以看得到我的裝置藝術(shù)設(shè)施，并且去近距離的感受藝術(shù)。
        Because my artwork isn't and cannot be displayed in the traditional gallery setting, the work is able to inspire people who aren't typically exposed to art. There is a sense of serendipity attached to my environmental installations; any unsuspecting passersby can stumble on them and experience the art without institutionalized preconceptions. 

        活躍在美國(guó)中部的藝術(shù)家 Kaylee Carrington 收集電線、螺絲、金屬刨花和其他工業(yè)廢料，將它們整合成與其原本形態(tài)完全相異的結(jié)構(gòu)。他的環(huán)境裝置往往蘊(yùn)涵了一種奇妙的偶然性，藝術(shù)以一種不帶任何制度化偏見(jiàn)的最純凈的形式呈現(xiàn)，環(huán)境則與形式本身一樣重要。Kaylee Carrington相信任何事物都蘊(yùn)含一種暴力感，并通過(guò)肌理、色彩和形狀來(lái)表達(dá)這種既存在于自然世界也存在于人造世界的暴力感。
        Based in central U.S, Kaylee Carrington collects wires, screws, metal shavings, and other industrial refuse and assembles them into structures that seem at-odds with the material from which they are constructed. A sense of serendipity is always embedded in her environmental installations which present the art in its purest form without any institutionalized preconceptions, and the environment is considered as much important as the form. In the belief of the inherent violence in all things, K. Carrington uses the texture, color and shapes to reveal the violence in both the natural and man-made worlds. 

        紋理、顏色和形狀既可以呼應(yīng)風(fēng)景，也可以鮮明對(duì)比。每一件作品的照片記錄都是在一個(gè)季節(jié)和一天的時(shí)間內(nèi)完成的，最突出的是工作與環(huán)境之間的基本共生關(guān)系。這張照片也是這項(xiàng)工作唯一永久的證明。故事的其余部分留給自然的暴力缺陷，而不是畫(huà)廊的無(wú)菌。
        The textures, colors and shapes can either echo that of the landscape or stand in palpable contrast. The photo documentation of each piece is done in the season and time of day that best highlights this essential symbiosis between the work and the environment. The photograph also stands as the only permanent testimony to the work. The rest of the story is left to nature’s violent imperfection—not the sterility of a gallery wall. 

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