 |
||||||||||||
  画廊赞助商 出版物 学校参观 学校奖项 访客信息 联系方式 会员
|
||||||||||||
|
| ||||
 |
||||
 |
||||
 |
||||
 |
||||
陈列您的艺术作品给每天无数的访客观看
|
||||
|
| Toby Short | |
)
|
Born in Wolverhampton, studied in London, and now lives in Athens Greece. |
| 关于此艺术家 | |
As a boy I was fascinated by empty buildings, and deserted spaces. Atypical, idle space, contravening the guidelines of everyday life. The space in-between things. My work concerns the discovery of something integral to all of us which is not immediately perceptible and therefore hard to grasp. I strive to expose that which is logically speaking abundant but not altogether apparent to an information savvy world that believes that there is little left to discover. To some extent we seem to be bound by the logic of our own understanding, overwhelmed by the comprehensive infrastructure of knowledge. A continuing theme for me is he way we view the world via the machines we have created and how this affects, and might alter an aesthetic which has evolved in accordance with our first-hand experience of nature. |
|
| 按此以放大图像 (假如你已上传更大的图像) | |
portable eco-system
2000 |
)
|
| A body-suit of pipes with a circuit of running water in them. The fluid can only be kept in circulation by continual operation of two hand-pumps. Flowing water exits and re-enters the system becoming visible at strategic points around the suit where it emerges to drip into small collectors before it disappears into the system again.
Should the operator neglect the pumps the system will cease to function .
|
|
virtual woman
2005 |
)
|
| The progression of beauty is a modern disease.
The female form has been ‘bottlenecked’ throughout history into becoming a hybrid device for the provocation of the mechanical element of male survival-compulsion.
Who decides on her shape? The woman? The man influencing the woman? Or the woman influencing the man who is influencing the woman?
She is crumpling under the pressure of a disproportionate condition of society to conform to a consensus of physical appearance-aesthetics.
‘virtulal woman’ is packaged, sold, and yet ultimately unobtainable. The beauty is that you can never posses the beauty. Either as a vast majority of women, who want to subscribe to what is recognised as a universal, albeit manufactured, physical identity, or the vast majority of men for whom beauty appears to be a persistent pressing-of-a-button somewhere in the depths of the male genetic framework.
But is this unobtainable aesthetic ultimately more seductive because it transcends the elementary function of wanting/obtaining leaving a more residual but perpetual and poetic dynamic. A dynamic that ceases to exist if the goal is reached. Is this consumer limbo is far more desirable than the product itself. With technology taking a precident we will come to inhabit a realm of singular potentiality beyond the need for reality. Think of the instances of desire in everyday life, think of the attainment of those desires and now, by comparison, consider the relative exultation of their materialization within the imagination.
|
|
headz
2000 |
','Image'))
|
| The head as a vessel holds the key to our fate. If controlled the head can create the ability to prolong our existence as an organism. It is the place where instinct can be overcome. Instinct being the main obstacle to prolongevity. Instinct-linked complications can occur, evolving and diversifying with the expansion of existence, like bugs in a computer program. Physiognomy which float above us. They can be read from the inside as well as the out. Like sculpted air, the line of the wire used just to describe the edges. 'headz' investigates the possibilitiy of emulating the authority of 3D computer graphics. |
|
the edge of a wood
2007 |
)
|
| Chaos and evolution lends itself to the spring cleaning of things that our contemporary methods of living do not consider practical or necessary and manifests itself as the relegation of tradition to museums. Fantasies and fears of the unknown once so strong a sensation, particularly in childhood where a void in our knowledge awaits the conception of our ultimate unease, are now automatically catered for. Universal and standardized foes, collective scapegoats and logically realistic enemies instantly occupy our psyche whenever we require. -a little house on the edge of the forest was a device often used in tradditional childrens fairy tales to begin a story with a slight sense of unease/excitement. The clear contrast between the safe world of the village and the dangers of the forest are conventional antitheses that are essentially medieval. The forest was a place of limited visual command (darkness) and solitude and therefore a distinct possibility of hidden and perhaps perilous surprises like wolves or bears warranted this use in storytelling in order to impart a warning, but more than that (given the fact that these two are something we know about and so do not find particularly traumatic as listeners) what the forest might hold in store is something worse, inexplicable. Magic is found in the woods in fairy tales. The home is symbolic of the safety and security offered by parents in early child-hood and when positioned like this at the threshold between the safety of the recognised/known world of daylight and the unfamiliar twilight world of the wood puts us at once in a position of unease. Will we manage to avoid the magnetic inevitability of the unknown (of growing up, and facing our fears). The forest symbolises the loss of innocence. If small children are to grow up they have to constantly battle against the urge to stay by mothers side where the question of fear does not have to be broached. The forest beckons and we gravitate uncontrollably towards it in the same way that one sometimes feels standing close to the edge of a cliff or river. In artistic terms the great unknown is ideally the realm that artists should inhabit. Once we decide to exist solely by that which we already know then so we cease to fulfil our function as artists. The mystery of the unknown , so well illustrated by the traditional fairy tale, is a force that once compelled us to extremes of conjecture that will become eradicated by the pragmatism of science. In 'the edge of a wood' a pseudo-computer graphic of three-dimensional space destinguished by light disassembles our idea of what we knew of this experience, representing the decline of the unknown as a phenomenon. What we now have ahead of us can be defined in terms of the apparently comprehensive idea we have of ourselves which leaves very little to be afraid of. Or does it? |
|
hiatus
2006 |
','Image'))
|
| The appeal of Greece is somehow spiritual, the spartan geography, the sensation that given such clear light and such blue water we should cast away our worldly belongings and abandon ourselves naked to the elements. The quality of the light is such that it drove the inhabitants to produce artworks which actually use light as a medium, sculptural relief.
In the production of the Parthenon an extraordinary leap of creative sophistication created an artefact of iconic proportions. So mystified by the past are we in this place and yet it is our burgeoning future that will define whether or not this symbol of human ideals will cease to endure.
As the economic necessity to perform the many basic functions of living with the aid of computers becomes more apparent, so the way that we interpret the world around us is obliged to conform to a common language. The application of systematic thinking is the highway that leads to the future, but the economical necessity of effective information-storage is dictating a series of progressively narrowing portals through which we receive the world.
The construction of form within the numerical sphere is restricted to the shortest path between two points and thus a curve, the basic building block of form in nature, becomes a series of straight lines.
|
|
nike
2008 |
','Image'))
|
Δέρας
2009 |
)
|
hole III
2002 |
)
|
| 'holes' are a series of large-scale painted plaster reliefs depicting excavations in Athens They invite us to look and yet at the same time may even repel us with images seemingly lacking in beauty or interest. These spaces show views which exist outside contemporary life hidden behind hoardings and sandwiched between tall buildings. They are generally inaccessible to the public and the alien environment holds no attraction for the visitors. Consequently these places become like oases in the city . Places where the complexities of everyday living are stripped away to reveal the raw material of everything , space . Gaps between the buildings and voids in the earth expose the nothingness. I am drawn to these places, which are like glitches in a computer program; momentary lapses in the ceaseless regeneration of the city, where we can see once more bare earth and open space, the exposed raw material from which all the rest of the visible creation around us has sprung. |
|
hole I
2002 |
','Image'))
|
| Relief work does not fit entirely comfortably within either of the two categories of painting or sculpture.
It exists somewhere between. Unlike a 3-D sculpture a relief work has the additional reference of perspective or environment, either as the distortions necessary to make a 3-D object into relief indicate a vanishing point, or the relationship between several objects implies a dynamic in the direction of the distance. Most of the time though the inclusion of a background, sky or horizon create a place within which the relief exists. A sculpture without a background is a sculpture which inhabits our world whereas a relief is the entire world that the artist wants to portray. A work of relief encompasses all, objects infront of the viewer in the foreground plus the distance, and often the sky.
So if the observer is prepared to immerse themselves fully in the scene infront of them it will contain their entire field of vision. |
|
hole IX
2002 |
)
|
holeV
2002 |
','Image'))
|
hole VI
2002 |
','Image'))
|
hole VII
2002 |
)
|
| 教育程度与个人自传 | |
| STUDIES • ST. MARTIN’S SCHOOL OF ART AND DESIGN (1985 – 1986) Certificate of Foundation Studies Tutor: Ben Nicholson • CAMBERWELL SCHOOL OF ART AND CRAFT (1986 - 1989) B A (hons) Fine Art Sculpture Tutors: Paul de Monchaux Cornelia Parker Brian Catling Philida Barlow TEACHING • ‘Sculpture From the Life model’, at Camden Institute of Further Education. (1993) EXHIBITIONS • ‘last periptero’ –‘where is the Art?’ a parallel project to the Biennale of Athens, Gr. (2007) • ‘messanger of the gods’ relief sculpture,Spilioti Projects, Athens, Gr. (2007) • ‘melontikiAE’ performance/installation, Dimotiki Agora Kipseli, Athens.Gr. (2007) • ‘little house on the edge of the wood’, relief sculpture, Spilioti Projects, Athens, Gr. (2006) • ‘hiatus’, relief sculpture, ‘Souvenir from Greece’, Spilioti Projects, Athens, Gr. (2006) • ‘vehicle’, performance/installation, ‘Sculpture-Sculpture’, Sarantopoulos Mills, Piraeus, Gr. (2006) • ‘connection speed’, performance/installation, ‘Pixeldance’, Thessaloniκι, Gr. (2006) • ‘gyfteikastika’, performance/installation, ArtTower gallery, Athens, Gr. (2005) • ‘virtual girl’, stainless-steel figure/installation, Orea Mera shop. (2005) • ‘holes’, relief sculptures, Akgathi gallery, Athens, Gr. (2004) • ‘earthnet’, interactive installation, Magna Science Center ,Sheffield, UK. (2001) • ‘critical resonance’, relief sculpture, LiquiMer, Athens, Gr. (2001) • ‘headz’ , 3d portraits, open studio, Athens, Gr. (2000) • ‘portable ecosystem’ , ‘PretArt Porter’ -Art fashion-show. Deste Art Foundation ,Athens, Gr. (1999) • ‘Instrument’, installation Greek National TV, Athens, Gr. (1997) • ‘cage’ , installation, Hidesign Shops, Athens, Gr. (1996) • ‘print factory‘ installation, in condemned building, Clapham ,London. (1989) • ‘s.q.u.a.t gallery’, installation, empty factory, Brixton, UK. (1988) • ‘keep out’, installation, South London Art Gallery, Camberwell, London, UK. (1988) • ‘expansion’, group installation, Camberwell School of Art, UK. (1987) • ‘school’, Brookfield School, performance/installation, Ruskin school of Art, UK. (1987) |
|
| 未来的展览 | |
| Please contact me If you are interested.I am looking for the chance to exhibit. tobyshort@gmail.com |
|
| 如果你有兴趣联络此位艺术家, 请按此 | |
按此 传送此个人档案给你的朋友 |
|
下一位艺术家
回到上面
回到您的画廊首页
回到首页
|
|
)
)
)