從被遺棄的舊物到喬·赫奇斯（Joe Hedges）的藝術

《青蘋果》Granny Smith

收藏級數字印刷 archival digital print

12.5" x 18.5"，2017

《水族箱》Abquarium

收藏級數字印刷 archival digital print

12.5" x 18.5"，2015

「通過撿拾廢棄物品──吹風機手柄、塑料玩具、被磨損的電線、石頭和植物部件等──並將它們重新排列形成新的結構，我試著賦予這些廢棄物品全新的功能與意義。我熱衷於收集舊貨店的電子產品，因此對人類技術和自然世界的關係很感興趣。個人和集體如何賦予物品意義？怎樣的物品有資格成為意義的載體？在信息時代，我們的設備變得更加網絡化、更加無處不在，因此也更加無形，而這些圖像則讓電子材料變得更加有形。」

"Through scavenging for discarded objects–the handles of hair dryers, plastic toys, frayed wires, rocks and plant parts, empty containers–and rearranging them into new configurations I attempt to re-imbue decommissioned objects with a new sense of function and meaning. Motivated by a lifelong interest in collecting thrift-store electronics, I am interested in questions regarding human relationship to technology and the natural world. How do individuals and groups imbue objects with meaning? What kinds of objects qualify as meaning-containers? These images attempt to make electronic materials more corporeal as our devices become more networked, more ubiquitous and thus more invisible in the information age."

──喬·赫奇斯Joe Hedges

《網真》Telepresence

電子設備、竹子、塑料棚布，繩子 electronics, bamboo, plastic tarp, rope

70」 x 40」 x 12」，2016

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《複印術》Xerography

3D 眼鏡、複印照片、木材、蘋果手機、五金配件 forestry glasses, xerox photocopy, wood, iphone, hardware

70」 x 40」 x 12」，2016

《閃電帝國》Empire of Lightning

掃描儀、人造棉、循環計時器、5 加侖桶 scanner, synthetic cotton, repeat cycle timer, 5-gallon bucket

70」 x 40」 x 12」，2016

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‍《銘文》Inions‍‍‍

布面油畫、數字效果處理器、揚聲器、平板電腦、擱板 ‍oil on canvas, digital effects processor, speakers, iPad, shelf‍

‍‍‍36" x 42" x 10"‍‍‍，2018‍‍‍

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「這件懸掛式作品由布面油畫、影像與聲音三個部分組成，其中油畫畫面是源於加利弗尼亞火山岩床國家保護區所拍攝的洞穴內部照片，揚聲器則實時播放相關新聞片段錄像的播報音，並加入了有如置身洞穴的濃厚混響效果。」

"This is wall-mounted piece consisting of an oil painting of the interior of a cave based on a photo taken at Lavabeds National Monument, video and sound. The speaker plays the sound from a compilation of news clips but with a heavy cave-like reverb effect applied to the audio in real time."

──喬·赫奇斯Joe Hedges

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《單色的/姓名縮寫》Monogramatic（截圖 screenshot）*

丙烯顏料於人工合成充氣輪胎上投影、人造毛毯、複印機、彩色透明膠片、木材、回形針 projection with sound on inflatable faux tire with acrylic paint, faux fur blanket, and copy machine, colored transparency sheet, wood, paper clips

4"，2016

* 如藝術家自述（下文所示），Monogramatic 既對應勞森伯格作品的影響關係，其音色亦與羅斯科單色畫（Monochrome）相似，故譯為「單色的/姓名縮寫」。──飛地編注

「《單色的/姓名縮寫》是來自幾年前的創作，它令我想起羅伯特·勞森伯格1959年的作品《姓名縮寫》（山羊在輪胎里的那幅）和馬克·羅斯科的橙色系列單色畫。影像和錄音來自一台舊複印機，其經過輕微過濾和自動調音的音色，突出了機器的音韻，影像中加入的色彩，突出了機械運作的抽象性。最終畫面是通過橙色透明膠片將其投影回這台複印機自身，它被放在一條充氣內胎之中，仿佛在漂浮。」

"I made this a few years ago but I came across it recently. Rauschenberg’s work Monogramfrom 1959 (the one with the goat in the tire) was in my mind. Also orange Rothko’s. The video and sound recording is from an old copy machine, lightly filtered and autotuned to accentuate the musicality of the machine, with color added to the video to accentuate the abstract nature of its…machinations. I projected this through orange transparency paper onto the copy machine itself, which sat in an inner tube kind of as if afloat. ⁠"

──喬·赫奇斯Joe Hedges

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《瑪德琳·斯托》Madeleine Stowe

木板油畫，顯示屏上網際網路電影資料庫瑪德琳·斯托專頁 oil on panel, digital device displaying Madeleine Stowe’s IMDB page

18」 x 12」，2018

《我們關心你和你的記憶》We Care About You and Your Memories

布面油畫，塑料儲存容器，手提電腦，家用電腦，顯示器，電子器件，玻璃，混凝土

oil on canvas, plastic storage containers, MacBook, PC, monitors, electronics, glass, concrete

125" x 89" x " 50"，2018

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‍《平滑&閃亮‍》Smooth & Shiny

布面油畫，畫框，磁帶機，磁帶，循環計時器，木架，塑料杯，鉛筆，磁帶轉動時的沙聲‍

oil on canvases in found frames, cassette players, cassettes, found sounds, cycle timer, wooden shelf, plastic cup, pencil, the quiet whir of the tape deck

54」 x 44」 x 10」，2019‍

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《德克薩斯》Texas

定製木板上油畫，數字設備圖像

oil on custom panel with digital image on digital device

16」 x 20」 1」，2019

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《藝術家觀測點（瀑布）》Artist Point (Waterfall)

定製木板上油畫，數字設備圖像

oil on custom panel with digital image on digital device

18」 x 12」 x 2」，2019

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《環島旅行》Island Hopping

定製木板上油畫，數字設備上網際網路搜索結果

oil on custom panel with digital image of internet search results on digital device

18」 x 12」 x 2」，2019

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《自由變換》Free Transform

布面油畫，小型播放器，電線，電纜，滾動播放海洋溫度讀數的電腦顯示器，網站頁面

oil on canvas, mini-computer, cords, computer monitor with scrolling ocean temperature data, website

尺寸可變 variable size，2019

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《遮擋錯覺》Occlusion Illusion

布面油畫，小型播放器，網站頁面，電線，電纜，顯示器

oil on canvas, mini-computer, website, cords, cables, monitor

48」 x 76」，2019

《與想像中的河流相望》View with Imaginary River

木板上的油畫，山葉PSR-75鍵盤，吉他踏板，電腦揚聲器，電纜，屬七和弦C大調

oil on canvas, Yamaha PSR-75 Keyboard, guitar pedal, computer speaker, cables, C major chord with a suspended seventh

44」 x 47」 x 6」，2019

「我至今保留著小時候曾用過的鍵盤，不久前我在舊貨店裡找到了同款，那時我知道它一定會出現在某個作品中。我用膠帶粘下幾個按鍵來，以便能彈出和弦。這把琴讓我想起了我已故的父親，他在1992年去世前不久將這把琴送給了我。這並不是我起初創作它時所想的，但不知為何，它就在那裡。現在我已為人父，與父親的許多美好回憶又重現眼前。」

"I had this same keyboard when I was a kid and I still have it. I found an identical one in a thrift store recently and knew it had to go in a piece. I tape down a few keys so it plays a chord. The thing now reminds me of my late father, who bought me the keyboard in the 1992, shortly before he died. It wasn't what I was thinking about when I started the piece, but somehow there it is. Now that I'm a dad and have a son, a lot of fond memories with my dad snapped back into focus. "

──喬·赫奇斯Joe Hedges

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《半人馬》Centaurs

布面油畫，畫框，電視，吉他放大器，箭，木架，電線，電纜，媒體播放器，視頻，音頻

oil on canvas in found frame, television, guitar amplifier, arrow, wooden shelf, cords, cables, media player, video, audio

49」 x 37」 x 11」，2019

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《海鷗》Gulls‍

原子鐘，木製水平儀，明信片，藍色石英石

a‍‍tomic clock, wooden level, found postcard, blue quartz gemstones

16」 x 20」 1」，2019

「每次展覽時，我都會試著用當地物件來創造一件作品或小型裝置。當時這件作品所屬的牆壁附近並沒有插座，但我想利用技術和自然的理念去做一些與其他作品相呼應的東西。在畫廊附近的一家古董店裡，我找到了這個很棒的電池原子鐘、一個50年歷史的水平儀（還能用！）與一張舊明信片。在返回的路上，我還在一家珠寶店裡找到了這些藍色石英石。我希望在撤展時，時鐘還能精確地運行在幾十萬億分之一秒的範圍內。」

"Every time I do an exhibition I try and augment or create a piece or small installation using objects found in the area where I'm showing. For this piece there wasn't an outlet nearby this section of wall, but I wanted to do something that was in conversation with the rest of the work, using technology and ideas of nature. At an antique store just a couple blocks from the gallery I found this great battery operated atomic clock, a fifty-year old level (that still works!) and a vintage postcard. On my way back to the gallery to figure out how to put them together I also noticed a gem store with these blue quartz stones. I expect this clock to still be running accurate within a few tens of quadrillionths of a second when I return for deinstall."

──喬·赫奇斯Joe Hedges‍

《雲端控制》Cloud Control

布面油畫，木板丙烯，顯示器，CRT電視，小型播放器，吉他踏板，電線，電纜，丙烯塑料時間膠囊，氣泡膜，視頻

oil on canvas, acrylic on canvas over wood panel, monitors, CRT television, mini-computer, guitar pedals, cords, cables, acrylic plastic time capsule, bubble wrap, video

80」 x 88」 x 17」，2019

「在2019年Frontier Space的個展中，我採用現成品製作了二十來個這樣的小盒子。幾年來，我的作品就像一張巨大的城市列車圖，有兩三條主線在腦海中蜿蜒盤旋，創作的過程則連接了多年來我所沉浸的不同領域，其中包括對組合方法論、模塊化工作、現成品及其之間關係的興趣。雖然我是在創作油畫、新媒體類的作品，但在某種程度上，我仍認為自己是一名數碼攝影師──我所做的一切最終都會以數碼圖像的形式傳播。這些作品在一定程度上呈現了數碼影像與物件本身之間的張力。」

"I made twenty or so of these small boxes with found objects and instructions for Frontier Space in Montana for a solo show last year. My work was like a big urban train map for several years, with two or three main lines snaking around the city of my mind. when I really think about it, my work now connects a lot of different things I was tinkering with over the years, among them an interest in a combinatorial approach, in working modularly, in found objects and the relations between them. Although I am making oil paintings and new media and whatever else, in a way I sometimes still think of myself as a digital photographer—in the end everything you do gets disseminated as a digital image. These pieces are in part about the tension between digital imaging and objects."

──喬·赫奇斯Joe Hedges

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《增強型自拍杆》Augmented Selfie Stick

自拍杆、鉛筆、鏡子、泡沫、油漆膠帶、活頁夾 selfie stick, graphite pencil, mirror, foam, painter's tape, binder clip，2019

「這是帕盧斯表演周在普爾曼的一次試行，大家的自拍非常迷人和有趣。我準備了心形貼紙，以便其他人可以點贊這些畫。」

"This was a trial run here in Pullman for Palouse Performance Week and the 'selfies' people made were really charming and fun. I also had heart-shaped stickers so others could 'like' the drawings."

──喬·赫奇斯Joe Hedges

《被延展的保羅（仿倫勃朗）》Paul Extended (after Rembrandt) ⁠

木板油畫 oil on wooden panel⁠

48" x 24"，2021

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《異體》Heterotic

布面油畫，平板顯示器上雙屏錄像，金屬擱架單元，充氣健身球，超細纖維拖鞋，吉他調製效果器，鬧鐘，桌腿，印度瓜螺旋貝，揚聲器，聲音 oil on canvases, two video works on flatscreen monitors, metal shelving unit, inflatable exercise ball, microfiber slippers, guitar modulation pedal, alarm clocks, table leg, Indian melon volute seashell, speaker, sound

90」 x 110」 x 40」⁠，2022

「起初創作這件作品時，我並不知道它是關於什麼的。幾天前我終於完成它並掛在了畫廊里，我發現它非常令人不安。昨晚在酒店，我意識到它可能是在無意識地描繪大流行病以及隨之而來的斷裂和困惑的情緒。多年來，我的作品一直是關於物理/數字鴻溝的，而大流行病、新產生的使用線上視頻直播軟體的必要性也使討論這些主題變得更加緊迫。在一次藝術家座談上，我用了敵托邦這個詞，有人提到，無論是在《異體》還是在我的其他作品中都存在著一絲浪漫和幽默。現在回想起來，感覺是對的──敵托邦、浪漫與幽默，不一定是這個順序，也不一定是同等比例。」

"Honestly when I started making this I didn't really know what it was about. After I finally finished it and hung it in a gallery the other day, I found it pretty unsettling. In the hotel last night I realized the piece is probably, mostly unconsciously, about the pandemic and the accompanying emotions of fracture and confusion. My work has for years now been about the physical/digital divide. The pandemic and new requisite Zooming and Instagramming have made these themes feel a bit more urgent. At the artist talk today I used the word dystopian. Someone suggested that there's also some romance and humor in the piece and in my work in general. Reflecting on this now, that feels about right--dystopia, romance, humor, not necessarily in that order or in equal proportions."

──喬·赫奇斯Joe Hedges

| 關於藝術家 |

About The Artist

喬·赫奇斯（Joe Hedges，中文名喬哲思），1980年生於美國俄亥俄州特倫頓，2008年畢業於北肯塔基大學（Northern Kentucky University）油畫專業，2012年獲辛辛那提大學DAAP（University of Cincinnati College of Design, Architecture, Art, and Planning）數字媒體藝術專業碩士學位。現生活、工作於美國華盛頓州，於華盛頓州立大學擔任繪畫/跨媒體專業副教授。

赫奇斯的作品以繪畫，裝置，影像，網絡多媒體藝術等多種媒材綜合表達為主。在近期創作中，他嘗試從新媒體藝術及具象油畫史中汲取靈感，創作了一系列混合媒介作品（藝術家稱之為hypercombines，意在強調是兩種跨度比較大的媒介形式組合，如油畫和新媒體藝術）。赫奇斯的作品通常以義大利文藝復興時期或荷蘭黃金時代風格的畫布為特色，螢幕、磁帶播放器、揚聲器等其他零散的電子元件或隱或現穿插其中。這些作品深入探討了當代媒體的現狀，包括社交媒體的負面影響、注意力經濟和大數據技術等。對赫奇斯來說，傳統繪畫與數字螢幕、電視等其他中古電子產品的結合，是對物理世界和數字世界兩者之間張力的探索，也是反思技術的一種全新方式。

喬·赫奇斯主要個展包括：《聲波挑動星辰協奏》，飛地藝術空間，深圳（2023）；《畫作重現》，北肯塔基大學，肯塔基（2022）；《考古學》，斯波坎瀑布社區學院，華盛頓（2022）；《Hypercombines》，Chase畫廊，華盛頓（2020）；《神秘荒野》，Mantle藝術空間，德克薩斯（2019）；《Pudicae Sacerdotes Naturæ》，Frontier Space畫廊，蒙大拿（2019）；《經驗證據》，Kenneth J Minnaert藝術中心，華盛頓（2017）；《檔案記憶》，Alexander Brest畫廊，佛羅里達（2016）；《好奇清單》，Childlaw畫廊，辛辛那提（2015）等。主要群展包括：《北京當代·藝術博覽會 — 重聚》，北京農業展覽館，北京（2023）；《失物招領》，The Umbrella藝術中心，麻薩諸塞（2022）；《新媒介之於抽象藝術》，線上展覽，獨立映像藝術空間，重慶（2022）；《邁向更好的繪畫：透過實踐思考》，Hoffman畫廊，俄勒岡（2020）；《重影》，GEM藝術中心，愛達荷（2019）；《解放西部》，PNCA西北太平洋藝術學院，俄勒岡（2018）；《CICA國際實驗電影和錄像評比展》，CICA博物館，京畿道（2018）；《漂洋過海》，思塾畫廊，北京（2016）；《Momento/Memento》，Reverse Space畫廊，紐約（2015）等。

Joe Hedges, born in Trenton, Ohio, USA in 1980. He graduated from the oil painting department of Northern Kentucky University with a BFA, then studied painting and electronic media at The University of Cincinnati DAAP, graduating with an MFA in 2012. Hedges is currently living in Pullman, Washington where he is an Associate Professor of Painting/Intermedia at Washington State University.

Joe Hedges is an intermedia artist with an expansive practice that weaves together oil painting, new media and installation. In recent years, Hedges has drawn from the history of both new media art and representational oil painting to create works he calls 「Hypercombines」. Hedges' pieces usually feature painted canvases or panels in art historical styles that evoke the Italian Renaissance or Dutch Golden Age. Alongside, in front of or within the painted areas screens or other contemporary or vintage media objects such as screens, cassette players, speakers are incorporated. These works explore ideas about contemporary media including the negative effects of social media, the attention economy and technology in general. For Hedges, pairing painting with televisions, vintage electronics, and other screens serves as a way to reflect on the lens of technology.

Joe Hedges’s recent major solo exhibitions include: Sound Waves Set Off A Starry Accompaniment, Enclave Contemporary, Shenzhen (2023); Pictorial Redux, Northern Kentucky University, Kentucky (2022); Archeolatry, Spokane Falls Community College, Washington (2022); Hypercombines, Chase Gallery, Washington (2020); Arcane Wilderness, Mantle Art Space, Texas (2019); Pudicae Sacerdotes Naturæ, Frontier Space Gallery, Montana (2019); Empirical Evidence, The Gallery at the Kenneth J Minnaert Center for the Arts, Washington (2017); Archive Memory, Alexander Brest Gallery, Jacksonville University, Florida (2016); A Curious Inventory, Childlaw Gallery, The Art Academy of Cincinnati, Ohio (2015), etc. Major group exhibitions include: Beijing Contemporary Art Expo REUOION, National Agriculture Exhibition Center, Beijing (2023); Lost and Found Show, juried exhibition (juror Jessica Straus) The Umbrella Arts Center, Massachusetts (2022); Abstract Art with New Media, online exhibition, Independent & Image Art Space, Chongqing (2022); Making a Better Painting: Thinking Through Practice, Group Invitational Exhibition and Symposium, Hoffman Gallery, Lewis and Clark College, Oregon (2020); Double Vision, Two Person Exhibition with Mana Mehrabian, GEM Center for the Arts, Idaho (2019); Unwalking the West Exhibition, PNCA Pacific Northwest College of Art, Oregon (2018); CICA International Juried Experimental Film & Video Exhibition, CICA Museum, Gimpo-si Gyeonggi-do (2018); Telepresence, Two Person Exhibition with Xun Fan (Invited), Sishu Gallery, Beijing (2016); Momento/Memento, Reverse Space Gallery, New York (2015), etc.

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About Enclave Contemporary

作為飛地品牌旗下的畫廊，飛地藝術空間ENCLAVE CONTEMPORARY立足中國大灣區深圳，以輸出開創性的展覽與內容為核心己任，與今天的藝術家和觀眾共同探討全球語境和背景下的當代藝術如何參與社會與時代的激變和革新。除了為充滿活力與獨創性的藝術家們提供持續專業的代理、推廣與學術研究工作，飛地藝術空間也將積極為全球視野下的藝術機構與收藏家提供具有建設性和前瞻力的諮詢與服務。

As a gallery under the Enclave flagship, ENCLAVE CONTEMPORARY, based in Shenzhen, an essential integral of the Greater Bay Area of China, whose core mission is to produce ground-breaking exhibitions and contents that explores the way in which contemporary art practices engage in radical changes and innovation in a global context, with the artists and audience. In addition to providing ongoing professional representation, promotion, and academic research for dynamic and unique artists, Enclave Contemporary will also actively offer constructive and forward-looking advice and services to art institutions and collectors with a global perspective.

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