策展人：霍莉·威廉姆斯

展览时间：2019年4月28日 – 2019年10月13日

展览地点：上海玻璃博物馆 设计新馆 H5临展厅

展览规划及平面设计：协调亚洲

Curator: Holly Williams

Duration: April 28, 2019 – October 13, 2019

Venue: H5 Temporary Exhibition Hall, Design Wing ,Shanghai Museum of Glass

Exhibition Planning and Graphic Design: COORDINATION ASIA Ltd.

“光域”触及未知之事物。理查德·怀特利用玻璃浇铸出柔和的色调，让人联想到自然现象，似乎焕发有一种难以捉摸的内在光芒。这些铸造玻璃作品在外部强硬的几何线条，与内部显现出的柔和而近乎转瞬即逝的形态之间形成了一种张力。通过打通真实空间和认知空间的感觉，怀特利创造了一个虚空和实体之间的对话——负形被点亮成为了正形。

理查德·怀特利从十六岁起在一家彩窗玻璃工作室做学徒，三十多年来一直与玻璃打交道，成为了目前澳大利亚最重要的窑制玻璃艺术家之一。在整个职业生涯中，他一直致力于探索光线穿过玻璃的方式——无论被捕捉或被折射——他精于此道，经常会有惊艳之举。

在本次展览中，怀特利探讨了三个主题：有机的身体结构、建筑中的虚空间和想象中的理想空间。他用生动的造型提醒着我们对于看穿并了解我们身体内部运行方式的渴望。每件作品都要花费数月的时间，用掉几十公斤的玻璃，所有作品的创作都经历过一个在加法和减法之间取得平衡的过程。从模型制作到漫长的铸造和冷加工过程，怀特利由内而外构思他的作品，超越了物质性，将光线封存进实体之中。

Illuminated Space touches into the unknowable. Cast in muted colour tones reminiscent of natural phenomena, Richard Whiteley creates forms that appear to glow with an elusive inner light. These cast glass works hold the tension between the strong geometric lines that define the exterior and the soft, almost ephemeral shapes that emerge from the inside. Disrupting the sense of real and perceived space, Whiteley creates a dialogue between voids and solids – negative space becomes illuminated positive.

Richard Whiteley became an apprentice in a stained-glass studio at the age of sixteen and has spent more than 30 years working with glass, becoming one of Australia’s foremost kiln cast glass artists. Across his career he has been driven to explore the way light moves through glass – either trapped or refracted – has mastered its ability to conjure a sense of wonder.

In this exhibition, Whiteley explores three themes: organic bodily structures, architectural voids and an imagined ideal of space. His visual gestures are a reminder of our desire to see within and know the inner workings of our bodies. Each taking many months to produce and dozens of kilograms of glass, each of these works is made through a balancing act between additive and subtractive processes. From model making through to lengthy casting and cold working processes, Whiteley conceives his objects from the inside out, transcending materiality to encapsulate light in solid form.

来自澳大利亚的Richard Whiteley在十六岁时成为了一个花窗玻璃工作室的学徒，自那之后他与玻璃相伴了三十多年，成为了澳洲最负盛名的玻璃艺术家之一。他先后在堪培拉的澳大利亚国立大学艺术与设计学院，以及美国伊利诺伊大学厄巴纳-香槟分校获得了玻璃方向的本科和雕塑方向硕士学位。目前，他任职于澳大利亚国立大学，担任玻璃工作室主管和艺术与设计学院的副教授。同时，他还是杭州中国美术学院的访问教授。

Whiteley在澳大利亚，德国和美国都曾成功举办过个展。他的作品也被选入了横跨澳洲、美国、中国和欧洲的诸多群展。他曾入围欣德马什玻璃奖（2018），汤姆马龙玻璃艺术奖（2017，2009），Ranamok玻璃艺术奖（2014，2011）等。

Whiteley在2009-2011年间曾任澳大利亚视觉艺术理事会的理事成员，并且现在仍是这一机构的一员。他的作品为全球主流博物馆和私人藏家收藏，包括澳大利亚国立博物馆，纽约康宁玻璃博物馆，多伦多艺术博物馆。他在堪培拉科特堤完成了一个大型公众艺术项目。他成功主持了许多研究项目，带领创意发展和技术研究。他最近的研究包括和一项与悉尼玻璃回收公司“Verastone Glass”的合作，一项正在进行的古罗马玻璃浮雕研究项目，以及一项和著名澳大利亚艺术家迈克·帕尔（Mike Parr）的长期创作合作。

www.richardwhiteley.com

Based in Australia, Richard Whiteley became an apprentice in a stained-glass studio at the age of sixteen and has spent more than 30 years working with glass, becoming one of the country’s most respected kiln cast glass artists. He holds an undergraduate degree from The School of Art & Design, Australian National University (Glass) and a Masters of Visual Art (Sculpture) from the University of Illinois at Urbana-Champaign. He is a currently Associate Professor and currently the Head of the Glass Workshop at the School of Art & Design at The Australian National University, Canberra and a visiting professor for the China Academy of Art, Hangzhou, China.

Whiteley has held successful solo exhibitions in Australia, Germany and the United States. His work has been included in significant group exhibitions in Australia, the United States, China and Europe. He was a finalist in the Hindmarsh Glass Prize (2018), the Tom Malone Glass Prize (2017, 2009) and the Ranamok Glass Prize (2014, 2011) among others.

Whiteley was a board member for the Visual Art Board of the Australia Council from 2009-2011 and now serves as a peer for this organization. His works are held in major museums and private collections worldwide, including the Australian National Gallery, the Corning Museum of Glass, Corning NY and the Toledo Museum of Art. He has completed a large permanent public art commission at the Cotter Dam in Canberra. A successful recipient of numerous research grants to develop creative works and perform technical research, his recent research includes a collaboration with Sydney-based glass recycling company Verastone Glass, a current research project on Roman cameo glass and a multi-year project working with renowned Australian artist Mike Parr.

www.richardwhiteley.com

空间所具有的物理和观念上的可能性令我十分感兴趣。通过玻璃我得以浇铸出层叠的形态，并以此让虚实之间产生对话。这次的展览“光域”探索了三个主题：有机的身体结构，建筑的虚空间，以及想象的理想空间。每一件作品内部都嵌有一个虚空间，看起来像是在收集和传递光线一般——这一负形由此成为被点亮的正形。

我的作品建立在对玻璃特质和光线传播的理解与把握之上。玻璃透明和半透明的特质能够产生一种二重感知——创造出一种在真实空间与观念空间，内部与外部，正形与负形之间的张力或倒置。

展览中的一些作品有着有机的身体形态，以此让我们意识到我们的，一种想要窥视自己的身体或别的系统的内部情形的愿望。这些作品是自内而外被创造出来的——先是借抽象而不对称的形态生成内部的虚空间，再加上外部结构将虚空间像胶囊一样封存起来。

I am interested in the physical and conceptual possibilities of space. Through cast glass I can create layered forms that create a dialogue between voids and solids. This exhibition “Illuminated Space” explores three key themes: organic bodily structures, architectural voids and an imagined ideal of space. In each of these works an internal void appears to collect and transmit light – a negative space becomes illuminated positive.

My work is underpinned by understanding and manipulating the properties of glass associated with light transmission. These properties of transparency and translucency can generate perceptual duality – creating a tension or inversion of real and perceived space, interior and exterior, positive and negative.

The organic, corporeal gestures in some of the pieces in this exhibition are a reminder of our desire to see within and know the inner workings of our bodies or other systems. These works are created from the inside out – the abstract and asymmetrical forms which create the voids are generated first, with the external structure built to encapsulate them.