黎明之柱（I）

2019年|带音频的4K视频装置，20' x 20'（尺寸可变）

· 全系列正在制作中

· 专著

凯利·理查德森：黎明之柱

由德国Kerber出版

文本：Sarah Cook博士，Madeleine Kennedy，Alistair Robinson，Emily Stamey博士，Carmen Victor博士

“在她最近的作品中，理查森想象了一个沙漠景观，其中的环境条件使地形具体化。”影像装置和版画作品充满了艺术历史的联想。理查森首先提到了她收集的古代地理和天文版画，以及她对历史木刻和平版印刷的兴趣。你也可以找到19世纪画家卡斯帕·大卫·弗里德里希(Caspar David Friedrich)的影子，他的浪漫风景画经常把光秃秃的树木和中世纪的废墟描绘成令人难以忘怀的梦幻场景。这些版画也让人想起了20世纪的概念艺术家罗伯特·史密森，他的土方工程——最著名的是螺旋码头，他在大盐湖上不朽的玄武岩卷——探索了地质时间和宇宙秩序的主题。然而，或许最恰当的艺术历史对照是摄影师安塞尔·亚当斯(Ansel Adams)，他标志性的西方风景黑白照片既是艺术作品，也是对环境保护的热切呼吁。就像她的许多艺术作品一样，《黎明之柱》中的图像展示了一个场景，在这个场景中，我们可能不得不超越我们目前的星球寻求庇护和生存，它们提出了无数的问题，即我们是如何到达这样一个环境危机的时刻的，以及我们将从那里走向何方。”Emily Stamey, SMoCA当代艺术策展人

“‘雕刻’每棵树的每一根树枝，用数百万颗个性化的水晶点缀整个景观，这是一项充满爱心的艰苦劳动。粗略地说，在每一个景观中都有一个晶体，代表着每一个仍然活着的物种。在我们生活的这个时代，许多科学家认为，人类正在导致成千上万的其他物种大规模灭绝;理查森的作品问我们，世界上什么对人类有价值。在我们遇到的每一个场景中，我们都看到了一个美丽、空虚、结晶的世界。这几乎就好像所有的生命形式都变成了纯碳——也就是说，变成了自然界中纯度最高的纯碳——钻石。虽然没有人在场欣赏，但地球的威严和无限财富却得以展现。”北方当代艺术馆馆长阿利斯泰尔·罗宾逊说

由加拿大艺术委员会支持

PILLARS OF DAWN (I)

PILLARS OF DAWN (I)
2019 | 4K video installation with audio, 20′ x 20′ (dimensions variable)

· full series in production

· MONOGRAPH

Kelly Richardson: Pillars of Dawn
Published by Kerber, Germany
Texts by Dr Sarah Cook, Madeleine Kennedy, Alistair Robinson, Dr Emily Stamey, Dr Carmen Victor

“In her most recent body of work, Richardson imagines a desert landscape in which environmental conditions have crystallized the terrain.” The video installations and “prints are rich with art historical associations. Richardson cites first and foremost her collection of antique geographic and astronomic prints and her interest in historic wood engravings and lithography. One can also find echoes of the 19th century painter Caspar David Friedrich, whose romantic landscapes often depicted barren trees and medieval ruins in haunting, dreamlike scenes. The prints also recall the 20th century conceptual artist Robert Smithson, whose earthworks — most famously – Spiral Jetty, his monumental basalt coil in the Great Salt Lake—explored themes of geologic time and cosmic order. Perhaps the most apt art historical comparison, however, is with photographer Ansel Adams, whose iconic, black-and-white images of western landscapes functioned both as works of art and ardent calls for environmental preservation. As do so many of her artworks, the images in Pillars of Dawn present a scenario in which we might have to look beyond our current planet for refuge and survival, and they raise myriad questions about how we arrived as such a moment of environmental crisis and where we might go from there.” Emily Stamey, Curator of Contemporary Art, SMoCA
“‘Sculpting’ every branch of each tree and populating the entire landscape with millions of individualised crystals has been a painstaking labour of love. Roughly speaking, there is one crystal in each of the landscapes for every species still alive today. We live in a time when many scientists believe humans are causing the mass extinction of thousands upon thousands of other species; Richardson’s work asks us what it is in the world that has value for humans. In each of the scenarios we encounter, we see a beautiful, empty, crystallised world. It is almost as though all life-forms had been transformed into pure carbon – that is, into the most concentrated forms of pure carbon in the natural world – diamonds. The majesty and infinite wealth of the Earth is revealed, although no humans appear present to appreciate it.” Alistair Robinson, Director of Northern Gallery for Contemporary Art

Supported by Canada Council for the Arts