Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

 

 

Sculptures call upon childhood social anxiety presents a ‘perfect’ appearance to the outside world but fails to stop the fears and emotions from bursting out.

 

Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

 

▏Sculptures Call Upon Childhood Social Anxiety

For any of us who are shy or anxious about interacting with others in the outside world, we might think of the face we “put on” that enable us to feel less fearful. For Lena Guberman (previously), a recent series of ceramic sculptures titled INS_IDE_OUT delves into her childhood experiences with social anxiety and the uncertainties of the unknown.

“The mask provides a protective shell and presents a ‘perfect’ appearance to the outside world but fails to stop the fears and emotions from bursting out,” Guberman says.

 

Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

 

▏Emotionally evocative

Each piece is modeled on the same melancholy face of a young, brown-haired girl, with painted and sculpted elements that range from spikes to arrows to a dead bird. Emotionally evocative and sometimes slightly unsettling, her sculptures explore the spectrum of feelings associated with anxiety.

Guberman is currently planning a project that expands upon her use of ceramics by adding other materials. See more work on her website, and Behance.

 

Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

 

Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

 

Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

 

Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

 

Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

 

Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

 

Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

 

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Lakota 與西方藝術史在 Dyani White Hawk 充滿活力的作品中交融

Lakota與西方藝術史在Dyani White Hawk充滿活力的作品中交融

    縱觀歷史,那些掌握最大權力或資源的人的故事通常被載入教科書,代代相傳,並銘刻在我們的集體意識中。如果不刻意去努力,我們很難聽到不只一個故事,在藝術史上,現實也大致如此。但那些長期以來被忽視的、極其廣泛的藝術形式——尤其是原住民藝術形式——又該如何看待呢?   縱觀歷史,那些掌握最大權力或資源的人的故事通常被載入教科書,代代相傳,並銘刻在我們的集體意識中。如果不刻意去努力,我們很難聽到不只一個故事。 在藝術史上,現實也大體如此。從米開朗基羅這樣的文藝復興巨匠,到傑克遜波洛克這樣不羈的美國現代主義藝術家,白人男性藝術家始終享有特權。例如,19世紀美國風景畫的根基與「昭昭天命」的信仰密不可分,當時美國政府正大力向西擴張。西方繪畫和雕塑在歷史上一直佔據著畫廊和拍賣行等市場主導地位。但那些長期以來被忽視的、極其廣泛的藝術形式——尤其是原住民藝術形式——又該如何看待呢?     對西恰日烏拉科塔族藝術家戴亞妮·懷特霍克(Dyani White Hawk)而言,美國藝術史的建構是她跨領域實踐的核心。 「她揭露了長期以來支配文化合法性、權威性、價值和可見性的排他性等級制度,」亞歷山大·格雷聯合公司(Alexander Gray Associates)和博克利畫廊(Bockley Gallery)的一份聯合聲明中寫道。 “從這個角度來看,懷特霍克將原住民藝術和西方抽象藝術重新定義為不可分割的實踐——它們通過共同的歷史聯繫在一起,而主流敘事卻竭力將其割裂和模糊。” 巴勃羅·畢卡索有句名言:「好的藝術家抄襲,偉大的藝術家竊取。」如果不是他對非洲面具的痴迷,像《亞維農少女》以及其他創作於20世紀初的開創性畫作就不會存在。懷特霍克將20世紀的色域藝術與極簡主義運動進行了類似的對比,以強調美洲原住民藝術形式在這些風格演變中的影響。她引導觀眾思考這些觀念如何塑造我們的美感感知和判斷,同時也思考文化記憶和社群的角色。 懷特霍克的作品涵蓋繪畫、雕塑、攝影、表演和裝置藝術。除了油畫和壓克力顏料外,她還運用了拉科塔藝術形式中常用的材料,例如珠子、豪豬刺和鹿皮。 「我致力於創作誠實、包容的作品,汲取我豐富的人生經歷,」懷特霍克在一份聲明中說道,融合了原住民和非原住民、城市、學術和文化教育體系的影響。她繼續說: “這讓我能夠從中心出發,加深對自我與文化的複雜性、個人歷史與國家歷史之間的關聯,以及原住民藝術史與主流藝術史之間的理解。”     從精心串珠的服飾到抽象的鹿皮畫,白鷹畫廊 (White Hawk)

House of Dancing Cactus

House of Dancing Cactus

  The Frame Residence, Amman: 1000m² of modern elegance. Double-height atrium, panoramic windows, sleek balconies, and a geometric stone facade radiate timeless charm.    

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