从被遗弃的旧物到乔·赫奇斯（Joe Hedges）的艺术

《青苹果》Granny Smith

收藏级数字印刷 archival digital print

12.5" x 18.5"，2017

《水族箱》Abquarium

收藏级数字印刷 archival digital print

12.5" x 18.5"，2015

“通过捡拾废弃物品──吹风机手柄、塑料玩具、被磨损的电线、石头和植物部件等──并将它们重新排列形成新的结构，我试着赋予这些废弃物品全新的功能与意义。我热衷于收集旧货店的电子产品，因此对人类技术和自然世界的关系很感兴趣。个人和集体如何赋予物品意义？怎样的物品有资格成为意义的载体？在信息时代，我们的设备变得更加网络化、更加无处不在，因此也更加无形，而这些图像则让电子材料变得更加有形。”

"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."

──乔·赫奇斯Joe Hedges

《网真》Telepresence

电子设备、竹子、塑料棚布，绳子 electronics, bamboo, plastic tarp, rope

70” x 40” x 12”，2016

‍

《复印术》Xerography

3D 眼镜、复印照片、木材、苹果手机、五金配件 forestry glasses, xerox photocopy, wood, iphone, hardware

70” x 40” x 12”，2016

《闪电帝国》Empire of Lightning

扫描仪、人造棉、循环计时器、5 加仑桶 scanner, synthetic cotton, repeat cycle timer, 5-gallon bucket

70” x 40” x 12”，2016

‍

‍

‍《铭文》Inions‍‍‍

布面油画、数字效果处理器、扬声器、平板电脑、搁板 ‍oil on canvas, digital effects processor, speakers, iPad, shelf‍

‍‍‍36" x 42" x 10"‍‍‍，2018‍‍‍

‍

“这件悬挂式作品由布面油画、影像与声音三个部分组成，其中油画画面是源于加利弗尼亚火山岩床国家保护区所拍摄的洞穴内部照片，扬声器则实时播放相关新闻片段录像的播报音，并加入了有如置身洞穴的浓厚混响效果。”

"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."

──乔·赫奇斯Joe Hedges

｜左右滑动查看更多｜

《单色的/姓名缩写》Monogramatic（截图 screenshot）*

丙烯颜料于人工合成充气轮胎上投影、人造毛毯、复印机、彩色透明胶片、木材、回形针 projection with sound on inflatable faux tire with acrylic paint, faux fur blanket, and copy machine, colored transparency sheet, wood, paper clips

4"，2016

* 如艺术家自述（下文所示），Monogramatic 既对应劳森伯格作品的影响关系，其音色亦与罗斯科单色画（Monochrome）相似，故译为“单色的/姓名缩写”。──飞地编注

“《单色的/姓名缩写》是来自几年前的创作，它令我想起罗伯特·劳森伯格1959年的作品《姓名缩写》（山羊在轮胎里的那幅）和马克·罗斯科的橙色系列单色画。影像和录音来自一台旧复印机，其经过轻微过滤和自动调音的音色，突出了机器的音韵，影像中加入的色彩，突出了机械运作的抽象性。最终画面是通过橙色透明胶片将其投影回这台复印机自身，它被放在一条充气内胎之中，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. ⁠"

──乔·赫奇斯Joe Hedges

‍

《玛德琳·斯托》Madeleine Stowe

木板油画，显示屏上互联网电影数据库玛德琳·斯托专页 oil on panel, digital device displaying Madeleine Stowe’s IMDB page

18” x 12”，2018

《我们关心你和你的记忆》We Care About You and Your Memories

布面油画，塑料储存容器，手提电脑，家用电脑，显示器，电子器件，玻璃，混凝土

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

125" x 89" x " 50"，2018

‍

‍

‍

‍《平滑&闪亮‍》Smooth & Shiny

布面油画，画框，磁带机，磁带，循环计时器，木架，塑料杯，铅笔，磁带转动时的沙声‍

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

‍

《得克萨斯》Texas

定制木板上油画，数字设备图像

oil on custom panel with digital image on digital device

16” x 20” 1”，2019

‍

《艺术家观测点（瀑布）》Artist Point (Waterfall)

定制木板上油画，数字设备图像

oil on custom panel with digital image on digital device

18” x 12” x 2”，2019

‍

《环岛旅行》Island Hopping

定制木板上油画，数字设备上互联网搜索结果

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

18” x 12” x 2”，2019

‍

《自由变换》Free Transform

布面油画，小型播放器，电线，电缆，滚动播放海洋温度读数的电脑显示器，网站页面

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

尺寸可变 variable size，2019

‍

‍

《遮挡错觉》Occlusion Illusion

布面油画，小型播放器，网站页面，电线，电缆，显示器

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

48” x 76”，2019

《与想象中的河流相望》View with Imaginary River

木板上的油画，雅马哈PSR-75键盘，吉他踏板，电脑扬声器，电缆，属七和弦C大调

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

“我至今保留着小时候曾用过的键盘，不久前我在旧货店里找到了同款，那时我知道它一定会出现在某个作品中。我用胶带粘下几个按键来，以便能弹出和弦。这把琴让我想起了我已故的父亲，他在1992年去世前不久将这把琴送给了我。这并不是我起初创作它时所想的，但不知为何，它就在那里。现在我已为人父，与父亲的许多美好回忆又重现眼前。”

"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. "

──乔·赫奇斯Joe Hedges

‍

《半人马》Centaurs

布面油画，画框，电视，吉他放大器，箭，木架，电线，电缆，媒体播放器，视频，音频

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

49” x 37” x 11”，2019

‍

《海鸥》Gulls‍

原子钟，木制水平仪，明信片，蓝色石英石

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

16” x 20” 1”，2019

“每次展览时，我都会试着用当地物件来创造一件作品或小型装置。当时这件作品所属的墙壁附近并没有插座，但我想利用技术和自然的理念去做一些与其他作品相呼应的东西。在画廊附近的一家古董店里，我找到了这个很棒的电池原子钟、一个50年历史的水平仪（还能用！）与一张旧明信片。在返回的路上，我还在一家珠宝店里找到了这些蓝色石英石。我希望在撤展时，时钟还能精确地运行在几十万亿分之一秒的范围内。”

"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."

──乔·赫奇斯Joe Hedges‍

《云端控制》Cloud Control

布面油画，木板丙烯，显示器，CRT电视，小型播放器，吉他踏板，电线，电缆，丙烯塑料时间胶囊，气泡膜，视频

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的个展中，我采用现成品制作了二十来个这样的小盒子。几年来，我的作品就像一张巨大的城市列车图，有两三条主线在脑海中蜿蜒盘旋，创作的过程则连接了多年来我所沉浸的不同领域，其中包括对组合方法论、模块化工作、现成品及其之间关系的兴趣。虽然我是在创作油画、新媒体类的作品，但在某种程度上，我仍认为自己是一名数码摄影师──我所做的一切最终都会以数码图像的形式传播。这些作品在一定程度上呈现了数码影像与物件本身之间的张力。”

"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."

──乔·赫奇斯Joe Hedges

｜左右滑动查看更多｜

《增强型自拍杆》Augmented Selfie Stick

自拍杆、铅笔、镜子、泡沫、油漆胶带、活页夹 selfie stick, graphite pencil, mirror, foam, painter's tape, binder clip，2019

“这是帕卢斯表演周在普尔曼的一次试行，大家的自拍非常迷人和有趣。我准备了心形贴纸，以便其他人可以点赞这些画。”

"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."

──乔·赫奇斯Joe Hedges

《被延展的保罗（仿伦勃朗）》Paul Extended (after Rembrandt) ⁠

木板油画 oil on wooden panel⁠

48" x 24"，2021

‍‍

‍

‍

《异体》Heterotic

布面油画，平板显示器上双屏录像，金属搁架单元，充气健身球，超细纤维拖鞋，吉他调制效果器，闹钟，桌腿，印度瓜螺旋贝，扬声器，声音 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

“起初创作这件作品时，我并不知道它是关于什么的。几天前我终于完成它并挂在了画廊里，我发现它非常令人不安。昨晚在酒店，我意识到它可能是在无意识地描绘大流行病以及随之而来的断裂和困惑的情绪。多年来，我的作品一直是关于物理/数字鸿沟的，而大流行病、新产生的使用线上视频直播软体的必要性也使讨论这些主题变得更加紧迫。在一次艺术家座谈上，我用了敌托邦这个词，有人提到，无论是在《异体》还是在我的其他作品中都存在着一丝浪漫和幽默。现在回想起来，感觉是对的──敌托邦、浪漫与幽默，不一定是这个顺序，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."

──乔·赫奇斯Joe Hedges

| 关于艺术家 |

About The Artist

乔·赫奇斯（Joe Hedges，中文名乔哲思），1980年生于美国俄亥俄州特伦顿，2008年毕业于北肯塔基大学（Northern Kentucky University）油画专业，2012年获辛辛那提大学DAAP（University of Cincinnati College of Design, Architecture, Art, and Planning）数字媒体艺术专业硕士学位。现生活、工作于美国华盛顿州，于华盛顿州立大学担任绘画/跨媒体专业副教授。

赫奇斯的作品以绘画，装置，影像，网络多媒体艺术等多种媒材综合表达为主。在近期创作中，他尝试从新媒体艺术及具象油画史中汲取灵感，创作了一系列混合媒介作品（艺术家称之为hypercombines，意在强调是两种跨度比较大的媒介形式组合，如油画和新媒体艺术）。赫奇斯的作品通常以意大利文艺复兴时期或荷兰黄金时代风格的画布为特色，屏幕、磁带播放器、扬声器等其他零散的电子元件或隐或现穿插其中。这些作品深入探讨了当代媒体的现状，包括社交媒体的负面影响、注意力经济和大数据技术等。对赫奇斯来说，传统绘画与数字屏幕、电视等其他中古电子产品的结合，是对物理世界和数字世界两者之间张力的探索，也是反思技术的一种全新方式。

乔·赫奇斯主要个展包括：《声波挑动星辰协奏》，飞地艺术空间，深圳（2023）；《画作重现》，北肯塔基大学，肯塔基（2022）；《考古学》，斯波坎瀑布社区学院，华盛顿（2022）；《Hypercombines》，Chase画廊，华盛顿（2020）；《神秘荒野》，Mantle艺术空间，德克萨斯（2019）；《Pudicae Sacerdotes Naturæ》，Frontier Space画廊，蒙大拿（2019）；《经验证据》，Kenneth J Minnaert艺术中心，华盛顿（2017）；《档案记忆》，Alexander Brest画廊，佛罗里达（2016）；《好奇清单》，Childlaw画廊，辛辛那提（2015）等。主要群展包括：《北京当代·艺术博览会 — 重聚》，北京农业展览馆，北京（2023）；《失物招领》，The Umbrella艺术中心，马萨诸塞（2022）；《新媒介之于抽象艺术》，线上展览，独立映像艺术空间，重庆（2022）；《迈向更好的绘画：透过实践思考》，Hoffman画廊，俄勒冈（2020）；《重影》，GEM艺术中心，爱达荷（2019）；《解放西部》，PNCA西北太平洋艺术学院，俄勒冈（2018）；《CICA国际实验电影和录像评比展》，CICA博物馆，京畿道（2018）；《漂洋过海》，思塾画廊，北京（2016）；《Momento/Memento》，Reverse Space画廊，纽约（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.

艺术家和飞地艺术空间

图片由艺术家提供

转载请联系后台并注明个人信息

收藏咨询请添加微信：Enclave_Contemporary

关于飞地艺术空间

About Enclave Contemporary

作为飞地品牌旗下的画廊，飞地艺术空间ENCLAVE CONTEMPORARY立足中国大湾区深圳，以输出开创性的展览与内容为核心己任，与今天的艺术家和观众共同探讨全球语境和背景下的当代艺术如何参与社会与时代的激变和革新。除了为充满活力与独创性的艺术家们提供持续专业的代理、推广与学术研究工作，飞地艺术空间也将积极为全球视野下的艺术机构与收藏家提供具有建设性和前瞻力的咨询与服务。

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.

Follow us

Wechat: 飞地Enclave

Weibo: 飞地Enclave

Ins: enclave_contemporary

点击导航-飞地艺术空间 Enclave Contemporary

飞地艺术空间开放时间

周二-周日 10:00-19:00