我們必須走出去創造東西

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凱西柯倫sculptor, Seattle / WA // July 2013 雕塑家，西雅圖/華盛頓“從本質上講，我很感興趣的研究，我們必須走出去，創造的東西，怎麼說衝動是連線到...我們需要留下的遺產很長的背後我們已經消失後的衝動。”

當被要求描述他的工作凱西說，“簡短的回答將是我把事情動。”這是真的，那基本上是什麼凱西確實，他的雕塑作品彙集不同的元件，如木材，絲綢花，絲，動物毛皮和羽毛成動能的相互作用是出奇的簡單，但完全是如痴如醉。Thesimplicity comes from the fact that most of Casey's sculptures arebuilt piece-by-piece around a very basic crank shaft, so despitethe elaborate appearance of the sculptures they are not actuallyheavily engineered or planned out— the complexity of them has lessto do with mechanics and more to do witharrangement.簡約來自於一個事實，即大多數凱西的雕塑，內建片逐片圍繞一個非常基本的曲柄軸，所以儘管他們實際上並沒有大量的工程或計劃外的他們的複雜性，有較少的雕塑的精巧外觀做力學和更多地與安排。Yet,even when you know this, it's difficult to stand in front of one ofhis works and not feel swept away withwonder.然而，即使當你知道這一點，就很難站在他的作品之一前，不會感到捲走了驚奇。Activated into motion by just a turn of thehand-crank, each sculpture presents a world all itsown;由手搖只是一個轉身啟用成運動，每個雕塑介紹了世界上所有自己的; creaking sounds emanate, flower-like forms openand close, delicate wire tendrils waver like grass in the wind, andanimal parts come alive with just a singlemovement.吱吱作響的聲音發出，花狀的形式開啟和關閉，細膩絲毫不動搖卷鬚像草在風中，和動物器官來活著只是一個單一的運動。Theeffect is powerful— time and our sense of story expand out— in theblooming and withering of mechanical flowers a whole life cycle isrepeated over and over, and notions of emergence and revival,impermanence and loss becomepalpable.其效果是強大的時間和我們的故事的感覺擴大了，在機械花的整個生命週期重複一遍又一遍，並出現和復興，無常和損失的概念變成可觸及的綻放與凋零。

談起卡西約黑暗，怪異的東西......和死亡是不可避免的。 When we visited him at his Seattle home studio inCapital Hill we fell into easy conversation about the experimentalperformance group he is a part of, his desire to make a piece thatincorporates parts (if not all) of a human skeleton, and howunexpectedly beautiful chicken feathersare.當我們參觀了他在他西雅圖的家庭工作室在國會山，我們陷入了方便談話對實驗組的表現是他的一部分，他的願望，使，包含了人體骨骼的部分（如果不是全部）的一塊，如何意外漂亮的雞毛是。He also talked at length about Ernst Becker andhow influential his book Denial of Death has been to hiswork, specifically Becker's belief that so much of our behavior,both individually and collectively, is dictated by the process ofdenying our own mortality.

他還談了恩斯特貝克爾以及如何影響他的著作死亡的拒絕一直對他的工作，特別是貝克爾的信念，說了這麼多我們的行為，無論個人或是集體，被否定我們自己的死亡的程序所決定的。

在我們的談話一點凱西解釋說，他做他的“最好的嘗試，並從我的每一個作品中刪除所有的魔法”，他希望觀眾看到“每一個杆，每個滑輪，並在所有的小互動即建立工作的最終運動。

各條“在此宣告，在他的堅決否認”神奇“，並在他的技術的透明度，凱西正面臨著，並要求他的觀眾也這麼做，生物和社會系統，我們是繫結到一個組成部分和。Thefunny thing is that sometimes when you know how or why somethingworks, the magic of it doesn't dissipate… it just growsbigger.有趣的是，有時當你知道如何或為什麼某些東西有用，它的魔力沒有消散......它只是變得更大。

你會如何形容你的題材或你的工作內容？

這麼多我的工作是為了使一點微小的碎片，所有結合在一起以特定的方式。 The short answer would be I make things move, butthe slightly longer answer would be I make kinetic sculpturescentered around emergence and our psychological relationships tonature andscience.簡短的回答是我做的東西移動，但稍長的答案會是我使周圍出現和我們的自然和科學精神的關係為中心的動感雕塑。Essentially, I'm interested in examining theimpulse that we have to go out and create things and how thatimpulse is connected to death and impermanence and our need toleave a legacy behind long after we havedisappeared.從本質上講，我很感興趣的研究，我們必須走出去，創造的東西，那種衝動是如何連線到死亡和無常和我們需要留下的遺產很長的背後我們已經消失後的衝動。

做你的工作有什麼媒介？

絲，動物標本，黃銅，運動，鮮花，一切有光澤。 Igenerally don't sketch out any of my work prior tostarting.我一般不開始之前，勾勒出我的任何工作。 Despite the elaborate appearance of the pieceseverything is pretty simple;儘管片的精細外觀一切都非常簡單;they areall on a crank shaft and a little wire that moves it up anddown.它們都是在曲柄軸和一小絲該移動它向上和向下。 I don't have to plan the components out the wayan engineer might because essentially, I work piece by piece,creating a composition as I'm doingit.我沒有策劃成分的出路工程師可能，因為基本上，我的工作一塊一塊，創造一個組成我這樣做。Everything is on a crank shaft, so as long as Iplace the pieces around the crank shaft in a general radius areathen the components all come together easily and organically aroundthiscenter.一切都在曲軸上的，所以只要我把周圍的曲軸件在一般的半徑區域，則元件都聚在一起輕鬆，有機地圍繞這個中心。

您的動感雕塑的目標是有觀眾直接與你的工作，可以互動交流，告訴我們更多關於這個？
Thisinteraction is probably more a product of hating the “magic” thatsurrounds a lot of computer drivenart.這種相互作用可能是討厭的“神奇”圍繞著大量的計算機驅動的藝術更多的產品。 I do my very best to try and remove all the magicfrom each of my pieces.我盡我所能，從我的每一個作品，試圖消除所有的魔法。I wantthe viewer to see every lever, each pulley, and all the littleinteractions of the various pieces that create the final motion ofthe work.我想觀眾看到每一控制桿，各滑輪，並且建立工作的最終運動的各個部分的所有的小的相互作用。Since alot of my pieces have a pseudoscience quality to them it'simportant for me not to pull anytricks.由於我的很多作品都有一個偽科學的質量對他們很重要的，我不拉任何技巧。Theviewer has to see everything and I don't want them to spend toomuch time thinking “how did he dothat?”觀看者看到的一切，我不希望他們花太多時間思考“他是怎麼做到的？”

當我告訴我的工作，我鼓勵人們接觸件和轉動曲柄上的工作。 Oftenthey are initially hesitant but it's so nice to watch people engagewith the work in a physicalway.他們往往是最初猶豫不決，但它是如此很好看的人從事與物理的方式工作。

除了你的藝術實踐，你在任何其他方面的工作為何？
I workwith a performance art group called Saint Genet inspired by the works andphilosophies of Jean Genet and Jean-PaulSartre.我的工作與一個叫表演藝術團體聖遺傳學靈感讓熱和讓-保羅·薩特的作品和理念。 We do really complex, physically exhaustingproductions involving a lot of drugs, blood, andalcohol.我們涉及了很多藥，血液和酒精很複雜，身體疲憊的製作。 They're hauntingly beautiful but extremelydifficult to watch.他們是讓人流連忘返的美麗，但很難看。

是什麼影響了視覺藝術外激勵和影響你的做法讓工作？

我總是對自然科學和哲學的啟發。 ErnstBecker, who wrote the book Denial of Death , has been agreat springboard for a lot of the ideas I've been attempting toexplore in my pieces.恩斯特·貝克爾，誰寫的書拒絕死亡，一直為很多的想法，我一直試圖在我的作品去探索一個巨大的跳板。 It basically postulates that society is built ona series of hero complexes generated by a culture, and when acitizen adopts one of these identities the fulfillment of thosespecific social/moral imperatives act as a stand in for an immortallegacy.它基本上是假定社會是建立在一系列由文化所產生的英雄複合體，當一個公民採取這些身份的特定的社會/道德責任的履行作為一個獨立的一個不朽的遺產之一。We diebut do not wish to be forgotten so there is this vastly complexsocial structure which we've unwittingly created, allowing eachindividual a pathway to what they feel is virtuous andlasting.我們死了，但不希望被人遺忘所以是我們已經在不知不覺中創造了這個複雜難辨的社會結構，使每個人一個途徑，以他們的感覺是良性和持久的。Forexample— Achilles choosing between a long quiet life versus oneending too short, but yet gaining immortality through story andmyth.在很長一段平靜的生活的例子，跟腱選擇比一結束太短，但尚未通過故事和神話獲得不朽。Thiswhole system posed by Becker has a consequence of building onitself, becoming more complex and reaching as new culturalidentities shift from good to bad or bad to good as each culturesmoral narrative evolves over thecenturies.這貝克爾帶來整個系統建立在本身變得越來越複雜和深遠的新的文化認同的良好的轉向壞或壞到好，因為每個文化中道德敘事的發展在過去幾個世紀的後果。I feelI've done a poor job explaining it but I really recommend pickingup his book Denial of Death.我覺得我做的不好解釋，但我真的建議拿起他的書拒絕死亡 。

什麼是有一個物理空間，使藝術的均值為您的過程，你如何讓你的工作空間？
It meanseverything.這意味著一切。 I'd be homeless withoutit.我會無家可歸離不開它。 To havean actual studio separate from my living space would probably makeme less productive.有一個實際獨立的工作室從我的生活空間很可能會令我生產力較低。As itstands now I roll out of bed and I'm atwork.因為它代表現在我搖下床，我在工作。 It's very nice.這是非常好的。

有什麼事你當前正在使用，或者是興奮的開始，你能告訴我們什麼呢？
I'm veryexcited to be in the process of creating my first large-scalepublic installation.我很高興能在創造我的第一個大型公共設施的過程。It'sbeing built for the lobby of a new green building where every flooris monitored by a centralcomputer.這是正在修建一個新的綠色建築，每一個樓層是由一臺中央計算機監控大廳。Thedesigners were interested in having a sculptural installation thatcould act as one part art and one partinformation.設計師有興趣有一個雕塑裝置，可以作為一個部分的藝術和其中的一部分資訊。Thebasic idea is to create a large crack running along the wall wheredozens of brass flowers and vines will be blooming and wilting intime with the energy usage of the building— the piece will be over12feet.其基本思路是建立沿牆壁數十里的黃銅鮮花和藤蔓將盛開，枯萎的時間與建築物的一塊能源消耗將超過12英尺執行一個大裂縫。Imaginedriving down the freeway or walking down the sidewalk where treeroots push up the bricks and crack the cement, grass and weedstaking root.想象一下駕駛在高速公路上或走在人行道上，其中樹根向上推磚和破解水泥，草和雜草紮根。It willbe like a little reminder of what was there before and what willcome next.它會像什麼是有前一個小提醒，並接下來會發生什麼。

我也是目前一個藝術家駐場兩個月在城市雕塑藝術中心在Utica，紐約。 The facilities are amazing.該設施是驚人的。I'mspending the majority of my time slowly, but steadily constructingmy next piece which is going to center around some of the themeswe've been talkingabout.我花了我的大部分時間緩慢，但穩步構建我這是要圍繞一些我們一直在談論的主題下一塊。Imaginea desiccated body going to bloom.想象一下，一個乾燥的身體去綻放。Dozensof plants springing from a tangle of life and geometry, where ahalf formed body breaths and a dark void either births or envelopseverything.植物從生活和幾何形狀，其中一個半成形的身體呼吸和黑暗虛空無論是出生或籠罩一切的糾結雨後春筍般的幾十人。I'minterested in self organizing systems and the way physical objectsfit together, the micro and macro worlds of cities, the cosmos,organic bodies, etc. It will be examining different states ofstructure, be that living, mathematical orspiritual.我感興趣的是自組織的系統和方法的物理物件組合在一起，城市的微觀和巨集觀世界，宇宙，有機組織等，將研究結構的不同狀態，無論是生活，數學或精神。I hope to evoke the feeling that these systemsare at the same time breaking down and emerging into some newunknown state.我希望喚起的感覺，這些系統同時打破和新興到一些新的未知狀態。

你看到你的工作與在視覺藝術或文化的任何現有移動或方向？ Which other artists might your work be inconversation with?其中其他藝術家也許你的工作是與談話？
I knowthere are a lot of other kinetic artists out there, and there's aloose band of people on theInternet.我知道有很多其他的動能藝術家在那裡，還有人在網際網路上鬆散的樂隊。But togroup all kinetic artists together doesn't really work conceptuallybecause we're all doing something very different with the way weinterpret the world aroundus.但把所有動能藝術家一起並沒有真正概念上的工作，因為我們都在做一些與我們解釋我們周圍世界的方式非常不同。Basically, maybe… but I skirt a lot ofgenre.基本上，也許......但我裙子了很多流派。

你怎麼定位的藝術世界？
Haphazardly, with a lot of positivethinking.偶然，有很多積極的思考。 I've been really lucky— after my BFA show I wasfortunate enough to be asked to do a show with a small but greatgallery.我一直很幸運，我以後博鰲亞洲論壇秀我有幸被邀請做一個節目與一個細小但重要的畫廊。Thisforced me to immediately create a new body of work and gave me notime to flounder, which can often happen right afterschool.這迫使我立刻建立工作的一個新的身體，給了我來不及掙扎，而放學後常可發生。I'vebeen fortunate in that since graduating from school I've always hadrepresentation.因為從學校我一直有代表性畢業我很幸運在這。 I would love to show outside of Seattle though—that would be great.我喜歡西雅圖以外表明，雖然，這將是巨大的。

I alsohope to have more opportunities to make work for large-scalecommissions;我也希望能有更多的機會，使進行大規模委員會的工作; it would allow me to have more sustainability asa working artist.它可以讓我有更多的可持續發展作為工作的藝術家。

Words of wisdom?… a motto, favoritequote?智慧之語？......座右銘，最喜歡的報價？
Uh, ifyou're not bleeding or crying at the end of the day you didn't workhard enough.呃，如果你不流血，哭在這一天結束時，你沒有足夠努力。