約瑟夫.哈靈頓 Joseph Harrington

安德魯.布華頓.如是說

約瑟夫.哈靈頓(Joseph Harrington)於2002至2004年擔任柯林.雷德工作室助手,他的創作與自然景觀有關,運用鹽將冰融化再做雕塑,以創造海岸侵蝕、海和岩石邊緣的磨蝕感,展現時間與空間,歷史與地點之間不斷演變的物質方程式,他稱這為「失冰的過程」。

《虛空》Void /photo by Sylvain Deleu
《虛空》Void /photo by Sylvain Deleu

「我用鹽來雕塑冰塊,這是僅此一次且極為短暫的過程。此創意方法產生的紋理可以反映出自然景觀中的侵蝕感和時間感。在剛開始雕塑時會有粗糙感,但經過拋光與精製處理後,玻璃內在結構,會透過切割面與平面而展現,也因此重新定義了有機體表面的本質。」(註11)

《墨岩iii》Gabbro iii/photo by Sylvain Deleu

作為一種表現形式,不止是模仿自然景觀,而是展現出一種心情,如同站在懸崖邊的緊張感,透過物理與化學作用,在紋理中重現自然隨時間逐漸侵蝕的感受。正如同「所有堅實的物質都會融於空氣中。」(註12)作品《虛空》(Void  2018)以及《墨岩iii  》(Gabbro iii  2018)可以佐證此觀點。「鹽蝕脫冰鑄造」是技法的名稱,透過色彩與光,彷彿將景觀中,大自然被時間所侵蝕的瞬間凝結起來。


Andrew Brewerton said……

Joseph Harrington (b.1979), a studio assistant to Colin Reid from 2002–4, works in relation to the natural landscape, using salt to melt ice into sculptural form invoking coastal erosion and the abrasive interaction of sea and rock edges, of liquid and mineral states, as a constantly evolving material equation of time and space, of history and place. This he calls his ‘Lost Ice Process’:

I use salt to sculpt ice as a one-off ephemeral model to take a direct cast from. The textures this provides and the transient nature of the creative process reflects the erosion and sense of time I want to represent in the landscape. There is a roughness from the initial cast that is ground polished and refined to its final finish, revealing the internal structures of the glass and creating facets and flat planes to redefine the essence of the made against the organic surface.[1]

As a form of representation, this work does not therefore describe the landscape. Rather, it works as it were at the cliff-edge of representation, employing physical and chemical processes to re-create the original inspiration for the work in the texture of disintegration through gradual erosion, in time. All that is solid melts into air, as someone once wrote somewhere.[2]

Void (2018) and Gabbro iii (2018) are two such examples, showing at the Liuli China Museum. ‘Cast Glass, Lost ice Process, with salt erosion’ is their technical designation as pieces in which body colour and light itself appear similarly vulnerable to wear or attrition, their motion cast as arrested time.


[1] Joseph Harrington, at https://www.josephharrington.art/about

[2]All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober sense, his real conditions of life, and his relations with his kind.” Karl Marx and Friedrich Engels, The Manifesto of the Communist Party (1848), Chapter 1; Paragraph 18; Lines 12-14.

回應文章