《完美女孩》是一件“组合式”作品，由11个单独的铸造青铜件构成。由于脸部和头发连成一体，其余的10个单独部位都填充了透明吹制手机万博登录。这件作品反映了艺术家Miles Van Rensselaer对人类关系的“完善”，那是我们期望及追求的理想之爱。作品中的女孩形象低头凝视，那或许自省，抑或沉思，抑或悲伤的表情似乎表明她在思考这个问题：我是否追求到了理想的爱，是否还差一点？每个观众都会基于自己的经历得出不同的结论，没有谁的答案是完全标准的。
Perfect Girl Redux is a “modular” piece composed of 11 individually cast bronze components . Since her face and hair come together as one, 10 individual parts are filled with clear blown glass. The piece is about that “perfection” in human relations, that ideal love for which we all long and strive after. Her downward gaze and slightly introspective, perhaps pensive, perhaps sorrowful expression seems to be pondering this very notion. Has she reached that ideal level or fallen short? Each viewer will reach a different conclusion based largely on his or her own life’s experience – no one is more valid than the other.
Glass intrinsically captures and reflects light. As her “internal” material, glass conjures the spiritual world, whereas her metal “exterior” alludes to the more tangible, physical one. Glass as spirit; bronze as body. A literal aside regarding the title: getting her “perfect” went on years, thus making ours very much became one of those proverbial “love/hate” relationships.
艺术家简介 About The Artist
Miles Van Rensselaer
Having worked in a foundry and glass studio for 5 years right out of college, my professional work has largely been cast metal with blown glass. Far from a convenience, however, this unexpected marriage of materials requires a patient coaxing. Itis a careful seduction of two terrible and disparate temperaments with technique, design and idea. I’ve been refining my glass, metal and wood working techniques for over 15 years yet seem to create new challenges and technical dilemmas to solve the very moment a given process or piece becomes successful. Easily bored? A bit masochistic perhaps…
Whatever the case, I push my processes as I push myself – repeatedly into the realm of the unknown. In exploring and exploiting (at times perhaps even expanding) their unique characteristics, I seek to combine age-old materials in new compositions, compositions that lock material to form a give a certain unshaken ability to the idea. Having been fortunate enough to travel, live, even carve among many indigenous cultures of the world, I strive to make works of art which recognize, celebrate and pay modest homage to their noble and all-too-often vanishing ways of life – and the profound impact they’ve had upon mine.