理查.傑克森 Richard Jackson

安德魯.布華頓.如是說

理查.傑克森(Richard Jackson)的作品《生生不息》(Returning Cycle  2019) 以及《一切平等》(All Things Being Equal  2018)是將玻璃材質的不同型式:從熱液體乃至冷凝狀態,都全方位運用的非凡創作。

《生生不息》Returning Cycle/photo by Richard Jackson
《生生不息》Returning Cycle/photo by Richard Jackson

過程中有窯鑄,冷工,雕刻和噴砂技術,並採用抽象但強烈的平面形狀,包括板材、圓形、柱子等造型,讓作品的外觀如同一道被雕琢過的光線。

《一切平等》All Things Being Equal/photo by Richard Jackson

傑克森毫不保留地將光學玻璃從內到外、從外到內的每一吋都仔細檢視並徹底運用,他的創作就在此細緻觀察的過程中成形。傑克森跟福克斯也一起創作兩件作品《當我們站在一起》(Together We Stand  2015)以及 《新觀點》(New Perspective II  2017),也於此展覽展出。雖然跟個人創作的風格不同,我們還是可以看到完整的連貫性。

《新觀點II》New Perspective II/photo by Richard Jackson
《新觀點II》New Perspective II/photo by Richard Jackson

Andrew Brewerton said……

Richard Jackson’s Returning Cycle (2019) and All Things Being Equal (2018) are remarkable, lucid essays in glass across its full range as a hot liquid and as a cooled resistant material. Their appearance is of carved light, addressing abstract, strongly planar forms (the sheet, the circle, the pillar) with a diverse range of kiln-casting, cold-working, carving and sandblasting techniques. Jackson’s forms emerge and are worked unsparingly from the inside–out and from outside–in, the trace of every contrasting mark held up in clear optical crystal and on a monumental scale. Fawkes and Jackson’s collaborative pieces, Together We Stand (2015) and New Perspective II (2017) each, though in different ways, achieves complete coherence as a discrete and free-standing artefact.

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