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南希·科兹考斯基 南希·科兹考斯基1943年出生于美国。长期在新墨 西哥州从事印第安织物艺术的研究与纤维艺术创作。出 版专着有:《南希·科兹考斯基纤维艺术作品集》和《印 第安传统织物艺术与美国现代纤维艺术研究》。二十世 纪八十年代以来南希·科兹考斯基致力于纤维艺术的应 用研究并取得显著成果。她同时也是全美艺术大展和国 际纤维艺术展参展次数最多的美国纤维艺术家,于1978 年获阿布奎基博物馆纺织奖,1981年获新墨西哥州政府 奖,1997年获新墨西哥州阿布奎基市视觉艺术卓著成就 奖,2002年获“从洛桑到北京——国际纤维艺术双年 展”荣誉奖。南希·科兹考斯基现为美国新墨西哥州纤 维艺术家协会主席,中国工艺美术学会纤维艺术专业委 员会顾问, “从洛桑到北京——国际纤维艺术双年展暨 学术研讨会”顾问。 编织设计通常都比较抽象,具有几何风格。没有人会问: “这是什么?”绘画则不同 了。我深深沉迷在编织艺术的抽象世界中,条纹、菱形、十字形、正方形,这些纹样蕴涵 了丰富的文化和传统。当一个美国人看到某种具有一定均衡感的条纹图案时,这会令他想 起美国国旗,并会触动他内心深处。我认为这些图案通常都能产生非常积极的意义,让人 联想到家园并产生安全感。所以我对编织和纺织品所蕴藏的巨大能量深信不疑。任何一种 文化中都存在着纺织品及其相应的图案。对美国而言,更好的例子是牛仔裤、每一代人、 社会的每一个阶层都穿牛仔裤。李维斯牛仔裤是唯一一个仍然使用植物靛蓝染料染色的品 牌。这种染料将牛仔裤和历史连接起来,并且颜色褪去后仍然好看。美国人喜欢牛仔裤, 新的时候颜色很深,渐渐褪色,直到穿破。我的大部分编织作品都是对传统编织抽象艺术 的呼应和体现。传统技术使我可能在作品中体现深度和三维空间。为了达到三维效果,我 作品的每一种色彩都是染色的。所以我拥有一个完整的色阶,明暗对比。我的编织作品更 像是在编织物上画画,这是一次革新。
Nancy Kozkowski Nancy Kozkowski Born in 1943 in the United States. Long in New Mexico engaged in Indian fabric art research and fiber art creation. Published monographs: “Nancy Kozkowski fiber art portfolio” and “Indian traditional fabric art and American modern fiber art research.” Since the 1980s, Nancy Kozkowski devoted himself to the applied research of fiber art and achieved remarkable results. She is also the American fiber artist with the highest number of exhibitors at the National Art Exhibition and International Fiber Art Exhibition. She was awarded the Textile Award of Albuquerque Museum in 1978, the New Mexico State Government Prize in 1981, the Visual Arts in Albuquerque, New Mexico in 1997 Outstanding Achievement Award, in 2002 won the “Lausanne to Beijing - International Fiber Art Biennale” honorary award. Nancy Kozkowski is currently Chairman of the Association of Fiber Artists of New Mexico, USA, Consultant of the Fiber Art Committee of China Arts and Crafts Institute, and Consultant of Lausanne to Beijing - International Fiber Art Biennale and Symposium. Braided designs are usually more abstract, with a geometric style. Nobody asks, “What is it?” The drawing is different. I am deeply addicted to the abstract world of weaving art, stripes, rhombuses, crucifixes, squares, which embody rich cultures and traditions. When an American sees some sort of stripe pattern with a certain balance, it reminds him of the American flag and touches him deep inside. I think these patterns can often have a very positive meaning reminiscent of home and have a sense of security. So I’m convinced of the tremendous amount of energy that braids and textiles hold. There is a textile and its corresponding pattern in any kind of culture. For the United States, a better example is jeans. Every generation, every class of society wears jeans. Levi’s Jeans is the only brand that still uses plant indigo dyes. The dye links the jeans to history and looks good after the color faded. Americans like jeans, the new color is deep, faded until worn. Most of my weaving works are echoes and manifestations of traditional weaving abstract art. Traditional techniques have enabled me to show depth and three-dimensional space in my work. In order to achieve the three-dimensional effect, every color of my work is dyed. So I have a complete color scale, light and dark contrast. My knit work is more like drawing on braids, which is an innovation.