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首页> 外文期刊>Ceramics:Art and Perception >Brian Rochefort 2030 at Van Doren Waxter Gallery,New York City Jan 9-Feb 16,2019
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Brian Rochefort 2030 at Van Doren Waxter Gallery,New York City Jan 9-Feb 16,2019

机译：布莱恩Waxter罗什福尔2030年在范多伦画廊,纽约,2019年1月9-Feb 16

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Clay is everywhere in New York galleries these days,and the distinction between controlled(or crafted)work and that which focuses on clay's malleability without concern for mastery seems to be evaporating.Andrew Lord is one who has always escaped that distinction,since his works have had everything to do with touch yet are conceptual enough to please those who prefer subject matter in their art.Los Angeles-based Brian Rochefort may be mapping out his own happy position in that spectrum,with his second essentially sold-out show in a prominent New York art gallery.A few years back,Rochefort(b.1985)had a body of utilitarian forms cast from Styrofoam packaging.Now he has left function behind to concentrate on sculptural work.While essentially these are still container forms,they are so irregular in contour and so layered in texture and color that they make Betty Woodman's vessels look conservative in comparison.Rochefort extensively tests materials in advance so that these massive accretions(16 inches in every dimension is typical)are assured combinations of clay,glaze and glass fragments.They are brilliantly colored and staggeringly haptic.
机译：粘土在纽约到处都是画廊天,之间的区别(或控制精心设计)工作,重点是克莱的延展性不关心掌握似乎被蒸发。逃脱了这个区别,因为他的作品一切不过是概念与联系请那些喜欢的主题在他们的艺术。可能会映射出自己的快乐的立场谱,他的第二个基本满座在一个著名的纽约艺术画廊。年前,罗什福尔(b.1985)的身体功利主义的形式从泡沫塑料包装。专注于雕塑工作。这些仍然是容器形式,他们是如此不规则的轮廓和分层结构和颜色,他们让贝蒂樵夫的船只穿比较保守。广泛的测试材料提前,这样在每一个这些巨大的多样化(16英寸维度是典型的)保证的组合泥、釉和玻璃碎片。色彩绚丽的和触觉的惊人了。

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