凯西柯伦sculptor, Seattle / WA // July 2013 雕塑家 ， 西雅图/华盛顿“从本质上讲，我很感兴趣的研究，我们必须走出去，创造的东西，怎么说冲动是连接到...我们需要留下的遗产很长的背后我们已经消失后的冲动。” 当被要求描述他的工作凯西说，“简短的回答将是我把事情动。”这是真的，那基本上是什么凯西确实，他的雕塑作品汇集不同的组件，如木材，丝绸花，丝，动物毛皮和羽毛成动能的相互作用是出奇的简单，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.简约来自于一个事实，即大多数凯西的雕塑，内置片逐片围绕一个非常基本的曲柄轴，所以尽管他们实际上并没有大量的工程或计划外的他们的复杂性，有较少的雕塑的精巧外观做力学和更多地与安排。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，即使当你知道这一点，就很难站在他的作品之一前，不会感到卷走了惊奇。Activated into motion by just a turn of thehand-crank, each sculpture presents a world all itsown;由手摇只是一个转身激活成运动，每个雕塑介绍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.吱吱作响的声音发出，花状的形式打开和关闭，细腻丝毫不动摇卷须像草在风中，和动物器官来活着只是一个单一的运动。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.其效果是强大的时间和我们的故事的感觉扩大了，在机械花的整个生命周期重复一遍又一遍，并出现和复兴，无常和损失的概念变成可触及的绽放与凋零。 谈起卡西约黑暗，怪异的东西......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.当我们参观了他在他西雅图的家庭工作室在国会山，我们陷入了方便谈话对实验组的表现是他的一部分，他的愿望，使，包含了人体骨骼的部分（如果不是全部）的一块，如何意外漂亮的鸡毛是。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. 他还谈了恩斯特贝克尔以及如何影响他的著作死亡的拒绝一直对他的工作，特别是贝克尔的信念，说了这么多我们的行为，无论个人或是集体，被否定我们自己的死亡的进程所决定的。 在我们的谈话一点凯西解释说，他做他的“最好的尝试，并从我的每一个作品中删除所有的魔法”，他希望观众看到“每一个杆，每个滑轮，并在所有的小互动即创建工作的最终运动。 各条“在此声明，在他的坚决否认”神奇“，并在他的技术的透明度，凯西正面临着，并要求他的观众也这么做，生物和社会系统，我们是绑定到一个组成部分和。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，有时当你知道如何或为什么某些东西有用，它的魔力没有消散......它只是变得更大。 你会如何形容你的题材或你的工作内容？ 这么多我的工作是为了使一点微小的碎片，所有结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.简短的回答是我做的东西移动，但稍长的答案会是我使周围出现和我们的自然和科学精神的关系为中心的动感雕塑。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.从本质上讲，我很感兴趣的研究，我们必须走出去，创造的东西，那种冲动是如何连接到死亡和无常和我们需要留下的遗产很长的背后我们已经消失后的冲动。 做你的工作有什么媒介？ 丝，动物标本，黄铜，运动，鲜花，一切有光泽。 Igenerally don't sketch out any of my work prior tostarting.我一般不开始之前，勾勒出我的任何工作。 Despite the elaborate appearance of the pieceseverything is pretty simple;尽管片的精细外观一切都非常简单;they areall on a crank shaft and a little wire that moves it up anddown.它们都是在曲柄轴和一小丝该移动它向上和向下。 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.我没有策划成分的出路工程师可能，因为基本上，我的工作一块一块，创造一个组成我这样做。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.一切都在曲轴上的，所以只要我把周围的曲轴件在一般的半径区域，则组件都聚在一起轻松，有机地围绕这个中心。 您的动感雕塑的目标是有观众直接与你的工作，可以互动交流，告诉我们更多关于这个？ Thisinteraction is probably more a product of hating the “magic” thatsurrounds a lot of computer drivenart.这种相互作用可能是讨厌的“神奇”围绕着大量的计算机驱动的艺术更多的产品。 I do my very best to try and remove all the magicfrom each of my pieces.我尽我所能，从我的每一个作品，试图消除所有的魔法。I wantthe viewer to see every lever, each pulley, and all the littleinteractions of the various pieces that create the final motion ofthe work.我想观众看到每一控制杆，各滑轮，并且创建工作的最终运动的各个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.由于我的很多作品都有一个伪科学的质量对他们很重要的，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?”观看者看到的一切，我不希望他们花太多时间思考“他是怎么做到的？” 当我告诉我的工作，我鼓励人们接触件和转动曲柄上的工作。 Oftenthey are initially hesitant but it's so nice to watch people engagewith the work in a physicalway.他们往往是最初犹豫不决，但它是如此很好看的人从事与物理的方式工作。 除了 你的艺术实践，你在任何其他方面的工作为何？ I workwith a performance art group called Saint Genet inspired by the works andphilosophies of Jean Genet and Jean-PaulSartre.我的工作与一个叫表演艺术团体圣遗传学灵感让热和让-保罗·萨特的作品和理念。 We do really complex, physically exhaustingproductions involving a lot of drugs, blood, andalcohol.我们涉及了很多药，血液和酒精很复杂，身体疲惫的制作。 They're hauntingly beautiful but extremelydifficult to watch.他们是让人流连忘返的美丽，但很难看。 是什么影响了视觉艺术外激励和影响你的做法让工作？ 我总是对自然科学和哲学的启发。 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·贝克尔，谁写的书拒绝死亡，一直为很多的想法，我一直试图在我的作品去探索一个巨大的跳板。 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.它基本上是假定社会是建立在一系列由文化所产生的英雄复合体，当一个公民采取这些身份的特定的社会/道德责任的履行作为一个独立的一个不朽的遗产之一。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.我们死了，但不希望被人遗忘所以是我们已经在不知不觉中创造了这个复杂难辨的社会结构，使每个人一个途径，以他们的感觉是良性和持久的。Forexample— Achilles choosing between a long quiet life versus oneending too short, but yet gaining immortality through story andmyth.在很长一段平静的生活的例子，跟腱选择比一结束太短，但尚未通过故事和神话获得不朽。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.这贝克尔带来整个系统建立在本身变得越来越复杂和深远的新的文化认同的良好的转向坏或坏到好，因为每个文化中道德叙事的发展在过去几个世纪的后果。I feelI've done a poor job explaining it but I really recommend pickingup his book Denial of Death.我觉得我做的不好解释，但我真的建议拿起他的书拒绝死亡 。 什么是有一个物理空间，使艺术的均值为您的过程，你如何让你的工作空间？ It meanseverything.这意味着一切。 I'd be homeless withoutit.我会无家可归离不开它。 To havean actual studio separate from my living space would probably makeme less productive.有一个实际独立的工作室从我的生活空间很可能会令我生产力较低。As itstands now I roll out of bed and I'm atwork.因为它代表现在我摇下床，我在工作。 It's very nice.这是非常好的。 有什么事你当前正在使用，或者是兴奋的开始，你能告诉我们什么呢？ I'm veryexcited to be in the process of creating my first large-scalepublic installation.我很高兴能在创造我的第一个大型公共设施的过程。It'sbeing built for the lobby of a new green building where every flooris monitored by a centralcomputer.这是正在修建一个新的绿色建筑，每一个楼层是由一台中央计算机监控大厅。Thedesigners were interested in having a sculptural installation thatcould act as one part art and one partinformation.设计师有兴趣有一个雕塑装置，可以作为一个部分的艺术和其中的一部分信息。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墙壁数十里的黄铜鲜花和藤蔓将盛开，枯萎的时间与建筑物的一块能源消耗将超过12英尺运行一个大裂缝。Imaginedriving down the freeway or walking down the sidewalk where treeroots push up the bricks and crack the cement, grass and weedstaking root.想象一下驾驶在高速公路上或走在人行道上，其中树根向上推砖和破解水泥，草和杂草扎根。It willbe like a little reminder of what was there before and what willcome next.它会像什么是有前一个小提醒，并接下来会发生什么。 我也是目前一个艺术家驻场两个月在城市雕塑艺术中心在Utica，纽约。 The facilities are amazing.该设施是惊人的。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.我花了我的大部分时间缓慢，但稳步构建我这是要围绕一些我们一直在谈论的主题下一块。Imaginea desiccated body going to bloom.想象一下，一个干燥的身体去绽放。Dozensof plants springing from a tangle of life and geometry, where ahalf formed body breaths and a dark void either births or envelopseverything.植物从生活和几何形状，其中一个半成形的身体呼吸和黑暗虚空无论是出生或笼罩一切的纠结雨后春笋般的几十人。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.我感兴趣的是自组织的系统和方法的物理对象组合在一起，城市的微观和宏观世界，宇宙，有机组织等，将研究结构的不同状态，无论是生活，数学或精神。I hope to evoke the feeling that these systemsare at the same time breaking down and emerging into some newunknown state.我希望唤起的感觉，这些系统同时打破和新兴到一些新的未知状态。 你看到你的工作与在视觉艺术或文化的任何现有移动或方向？ Which other artists might your work be inconversation with?其中其他艺术家也许你的工作是与谈话？ 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动能艺术家在那里，还有人在互联网上松散的乐队。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.但把所有动能艺术家一起并没有真正概念上的工作，因为我们都在做一些与我们解释我们周围世界的方式非常不同。Basically, maybe… but I skirt a lot ofgenre.基本上，也许......但我裙子了很多流派。 你怎么定位的艺术世界？ Haphazardly, with a lot of positivethinking.偶然，有很多积极的思考。 I've been really lucky— after my BFA show I wasfortunate enough to be asked to do a show with a small but greatgallery.我一直很幸运，我以后博鳌亚洲论坛秀我有幸被邀请做一个节目与一个细小但重要的画廊。Thisforced me to immediately create a new body of work and gave me notime to flounder, which can often happen right afterschool.这迫使我立刻创建工作的一个新的身体，给了我来不及挣扎，而放学后常可发生。I'vebeen fortunate in that since graduating from school I've always hadrepresentation.因为从学校我一直有代表性毕业我很幸运在这。 I would love to show outside of Seattle though—that would be great.我喜欢西雅图以外表明，虽然，这将是巨大的。
I alsohope to have more opportunities to make work for large-scalecommissions;我也希望能有更多的机会，使进行大规模委员会的工作; it would allow me to have more sustainability asa working artist.它可以让我有更多的可持续发展作为工作的艺术家。
Words of wisdom?… a motto, favoritequote?智慧之语？......座右铭，最喜欢的报价？ 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，哭在这一天结束时，你没有足够努力。
三毛手工
