Talk to Artist | Andrew Orloski | Stone, Fire, and Iron: The Ghost of Materiality and a Sculptor’s Labor | Interview on Art Yourself Atelier

ANDREW: My journey into sculpture began many years ago during my undergraduate years from 2005-2010. Initially pursuing a degree in painting, I stumbled upon a bronze casting class that sparked my fascination with the material world and the narratives it holds within three-dimensional objects.

After graduation, I landed on a full-time position at a fine art foundry in Lancaster, Pennsylvania, near my alma mater. Working in the foundry was demanding, often hazardous, and physically taxing, but it provided invaluable hands-on experience in bronze and stainless-steel casting and all the many processes that are involved in them. Transitioning from the structured and experimental environment of academia to the fast-paced world of professional fabrication was a stark adjustment. Each task demanded unwavering attention to detail and precision with no room for error. I was one of the only people in that foundry entrusted with a diverse array of responsibilities, from molding to metal finishing to pouring bronze, and I never knew what I was going to do on any given day entering work.

It is fair to say that during my time there, I learned the importance of extreme precision and getting things right from the start. Working under such pressure wasn't easy, as mistakes could cost me my job or even incur some physical jeopardy. However, it also provided me with the opportunity to work alongside seasoned masters who had been in the industry for decades. Through this experience, I gained invaluable insights into casting techniques, far beyond what any classroom could offer.

Realizing that I couldn't sustain this job indefinitely, I eventually transitioned to teaching and sharing my skills with students. Over the course of about a decade, I had the opportunity to teach art at various colleges and universities across the country. Alongside my teaching endeavors, I pursued my own artistic development and obtained my MFA from the School of the Art Institute of Chicago, marking the culmination of my academic journey. Today, I only devote myself entirely to my artistic practice, dedicating all my time and energy in the studio.

ANDREW: Paradoxically, for me, it’s evident that the training and ethos of a sculptor can both challenge and perpetuate elitism within the art world.

On one hand, sculptural training often emphasizes craftsmanship, materiality, and physical labor, fostering inclusivity and accessibility to individuals from diverse backgrounds. This hands-on approach democratizes art-making, grounding it in the tangible creation rather than abstract concepts. By valuing the labor of the hand and the authenticity of material engagement, sculptors historically blurred traditional distinctions between intellectual and manual work, challenging elitist attitudes rooted in notions of artistic superiority.

However, it's essential to recognize that contemporary sculptural practice encompasses a wide spectrum of methodologies and ideologies. While some sculptors may prioritize craftsmanship and labor, others may explore conceptual or abstract approaches that do not necessarily challenge elitism. In fact, the emphasis on traditional craftsmanship in some contexts may reinforce elitist attitudes by valorizing certain forms of artistic labor over others, excluding artists working in non-traditional mediums or exploring conceptual themes.

It’s hard to dedicate a specific role to sculptural artists even under the topic of anti-elitism. As any other medium, sculpturing is an evolving practice, and the evolving nature means that we are continually navigate diverse influences and perspectives. While some may resist elitism by emphasizing accessibility and authenticity, others may perpetuate it by adhering to traditional hierarchies and modes of production. Ultimately, the relationship between sculpture and elitism is complex and multifaceted, and it is a reflection the nuanced nature of artistic discourse and the ever-evolving role of sculpture in contemporary society.

ANDREW: Thanks for bringing that up, and let me answer them one by one. First, as in my work, the tension between disposability and eternity is a deliberate exploration of consumer culture's impact. And I tried to achieve this through casting everyday objects into durable materials like iron, concrete, bronze, steel, and plaster. By immortalizing ephemeral objects in enduring materials, I try to challenge perceptions of value and transience, prompting viewers to reconsider their relationship with commodified goods. I hope this transformation can not only challenges disposability but also complicate it, as the sculptures themselves endure, defying the temporality associated with disposable objects.

I do think there’s a different attitude towards material when it comes to industrial sculpture-making and artistic sculpturing. At some point, I feel that as an artist, my job is almost like a translator, stuck in between these objects and materials; all of which have their own languages and presenting to an audience of those who interpret them and understand them in very different ways depending on their backgrounds. Unlike industrial sculpture, which may prioritize efficiency and replication, at least for me I’d like the aforementioned pieces to embrace complexity, ambiguity, and the interplay between form and material under the lens of art history and all the pioneers that preceded my work.

I believe for me and for many of my peers alike, the juxtaposition of disposable forms with permanent materials serves as a focal point, allowing for a nuanced exploration of societal values, environmental concerns, and human experiences. The tangled, non-economical considerations towards the materials will make a sculpture innately non-industrial – if we mean industrial in the sense of mass-production, of a cult for efficiency.

ANDREW: I think a little bit of all of that. The exploration of physical mechanisms and natural laws in my work stems from a deep-seated fascination with materiality and process, coupled with a desire to engage with their inherent rules and mysteries while also seeking opportunities to manipulate and refine them. As a sculptor priding myself with a plethora of skill sets, I possess a broad understanding of materials and processes, enabling me to strategically manipulate them at various stages of creation. I deliberately challenge rules and expectations, often subverting the intended purpose of objects to create unexpected outcomes. My practice often finds itself centered around uncovering the latent potential within objects through material exploration and reimagining their significance in new contexts.

In pieces like "Whispers from the Bough”, “Tether”, “Lineage” and others that deal with balance, I enjoy creating tension and instability beyond the original object's static nature. By infusing apparently inert objects like twigs and branches with strength through mediums such as cast bronze, viewers engage instinctively, challenging their understanding of reality. This further exemplifies what I call “the potential of the object”.

In other works, I push the limits of what materials can achieve through their masking. I prefer to maintain the rawness of materials throughout my process; bronze remains unadorned, aluminum is left untouched, and glass is kept clear and uncolored. I believe in allowing materials to speak for themselves rather than masking their inherent qualities and pushing towards pure trompe l'oeil. I am fascinated by exploring how objects can adopt new identities when translated into materials that bear similarities to their original form but differ vastly in terms of material composition. Take for instance my piece 'Bounty Hunter,' where I cast a paper towel roll in solid, milky plaster. The result, when seen in person, challenges your perception as a viewer as you may mistake it for a real paper towel roll, only to discover it is indeed a 25lb solid sculpture if they pick it up.

Similarly, in works like “It Remembers” and "An Alpine Song," I leave bronze untreated, appreciating how its natural color resembles that of a delicately thin brown paper bag. I'm also deeply interested by capturing ephemeral moments that occur in an instant, like deflation, crumbling, breaking, or kicking-in. I then immortalize these fleeting gestures by casting them in durable materials, further emphasizing my belief in finding poetics between the ephemeral and everlasting. It's about seizing a split-second moment and preserving its motion for a lifetime.

The realm of art offers an incredible canvas for exploration, enabling me, as an artist, to weave narratives that seamlessly merge reality with imagination. This distinct capability to infuse fiction with fragments of truth stands as a testament to the transformative power inherent in visual art. Years of dedication have honed my processes and material knowledge, uncovering new depths within the daily routine of my studio practice. Yet, the allure lies in the knowledge that there is always more to uncover, driving me to expand my vocabulary through each new piece. That’s an exciting place to exist.

ANDREW: The relationship between materiality and digital technology in sculptural art is multifaceted, and digital forms such as animation, virtual reality experiences, projection mapping, and NFTs offer alternative avenues for artists to work in, prioritizing immateriality over physicality. While traditional sculptural practice emphasizes the tactile manipulation of materials, digital tools introduce new methods of creation and expression, representing a distinct yet integrated aspect of contemporary sculptural practice. I wouldn't firmly assert that digital art stands in direct opposition to traditional material-focused sculpture. The digital realm possesses its own sense of materiality, albeit one that is not physically altered or manipulated. Instead, this sense of materiality is felt in a more metaphysical sense, existing within the digital space rather than the physical world.

In my own practice, while I primarily engage with physical materials, I recognize the potential of digital forms to expand the boundaries of sculptural art. Similarly, In the casting process, objects often become "ghosts" as they are burned away or melted only to be made physical again, similar to the transient nature of digital work where creations can vanish or transform with the click of a button but reappear in new forms with a few more clicks.

Although I have not extensively explored digital techniques in my practice, I am intrigued by their possibilities and see them as complementary to traditional methods. Technologies such as CNC machining, 3D scanning, and 3D printing offer precision and efficiency, allowing artists to push the boundaries of form, scale, and complexity in their work without replacing traditional craftsmanship. Similar to how photography was initially perceived as a disruptor to painting in the early 1900s but ultimately enhanced the language of painting, we are witnessing a comparable evolution with 3D scanning and printing today. These technologies enrich rather than erase the existing artistic landscape, offering new dimensions of exploration and expression. I think of them as an extension of mold making, taking impressions of our natural world with the aim to translate them into new symbols.

On top of all this, advancements in my own direct processes, such as advanced casting methods and mold making, are revolutionizing traditional processes. Refractory materials are continuously being refined to enhance usability, while metallurgical compositions of metals are evolving to increase flux and castability, resulting in higher quality finishes. Mold making materials are also undergoing advancements to facilitate easier application in various forms, streamlining the mold-making process and contributing to overall improvements in sculptural production. So, even in time honored processes like my own, we're still witnessing continual technological advancements that enhance and refine them.

ANDREW: Humor in art is an intricate yet versatile phenomenon that operates on various levels, from subtle wit to biting satire. In my practice, I leverage it as a tool to engage viewers, prompting them to interrogate established notions of value, consumerism, and cultural identity while sometimes having a laugh at their own expense. Perhaps a sort of self depricating humor in an oddly sadistic way.

Throughout art history, humor has served as a compelling instrument for artists. Renaissance masters like Michelangelo and Donatello infused their works with elements of wit and irony, endowing them with both aesthetic beauty and intellectual depth. In the modern era, artists such as Marcel Duchamp and Claes Oldenburg expanded the boundaries of sculpture by integrating everyday objects and absurd juxtapositions, challenging established notions of artistic value and significance.

In my own practice, humor plays a central role in addressing contemporary issues, particularly concerning modern symbology and objects. Recent works like 'Urn' and 'The Velvet of Neglect' delve into the intricate relationship between materiality and object symbolism. 'Urn' depicts a cast iron rendition of a Gucci box, intentionally rusted over the Gucci lettering, while 'The Velvet of Neglect' showcases a rusted takeaway container with the words 'Have A Nice Day.' These pieces serve as reflections on consumer culture and the commodification of identity, employing humor as a means to prompt viewers to confront uncomfortable truths about society and their role in systems of power and exploitation while also expanding upon my exploration of materiality. Iron, for instance, exhibits a dual nature; it can endure the passage of time, yet it can also rust and deteriorate. I harness this inherent quality of the material while juxtaposing it with themes of cultural decay. In doing so, I aim to serve as a mediator between the identity of the object, the language of the material, and cultural interpretation.

Ultimately, the genealogy of humorous work is rooted in humanity's innate inclination to find levity in our surroundings. However, beneath the veneer of laughter lies a profound seriousness, as humor often serves as a conduit for revealing uncomfortable truths and social commentary. In my practice, I aim to harness the power of humor to provoke critical reflection and dialogue, challenging viewers to reconsider their assumptions and perceptions about the world around them and I am always trying to find a way to do this with my materials and processes.

ANDREW: Traveling has always been a significant part of my life, with many frequent trips all throughout China in recent years proving particularly influential. Studying Mandarin for the past four years has broadened my cultural and linguistic horizons, directly impacting my practice. I enjoy immersing myself in various cultures, drawing inspiration from the contrasts and connections. I'm fascinated by how different cultures respond to disposability and interpret the language of materials and objects, which I constantly bring into my studio.

You might not expect it, but I am also an avid badminton player, and it has even influenced a piece or two of mine. While my series 'The Heresy of Zone Defense' might suggest basketball as my primary sport of interest, pieces like 'Without Exile,' which feature bronze cast shuttlecocks, reveal my deeper interests.

And lately, I've been finding inspiration literally right in my own backyard. Gardening has become a newfound passion, and I've been building a cactus garden around my studio for the past few years. It's a peaceful retreat that I hope will continue to flourish alongside my artistic endeavors in the years to come.

ANDREW: 我觉得这可以追溯到多年前的本科时期，从2005到2010年间，我最初的想法是学习绘画专业，但在偶然间我参加了一个有关铜铸造的课程，让我对材料世界和用三维物体讲述故事产生了很大的兴趣。

本科毕业后，我在宾夕法尼亚州兰卡斯特的一家艺术铸造厂全职工作，铸造厂离我的学校不远，但工作极其辛苦，经常充满危险，而且体力消耗巨大。但在这里获得的实践经验是无比宝贵的，我的工作涉及铜和不锈钢铸造，以及整个流程中繁复的工艺。从学术界有条有理、具有实验性的环境到工业制造业的快节奏是一个巨大的调整。在铸造厂的每项任务都对细节和精确度有极高的要求，不能有任何错误的余地。我是那家铸造厂中极少能操作多项流程工作的人之一，从制模到金属表面处理再到铜浇铸，我每天去上班都是抱有未知和期待的。

可以说是在铸造厂里我学会了极度精确和保证每个流程的正确。在这样的压力下工作并不容易，因为错误可能会让我失去工作，甚至导致很多切身的危险。不过也是因为这样，我得以和在这个行业里工作了几十年的老前辈共事，我从他们那儿学习的宝贵的铸造技术远远超出了任何课堂所能教导的范围。

不过我也意识到我无法持续进行这项工作，并最终转业去学校教授雕塑技巧课程。在将近十年的时间里，我在全国各地的各个学院和大学教授艺术课，而在我教学的同时，我也在摸索自己的艺术表达，并最终从芝加哥艺术学院毕业。在此之后我便将全部时间和精力都投入到工作室里，成为了一位独立雕塑艺术家。

ANDREW: 或许这很矛盾，不过就我个人的感受来说我认为作为雕塑家的训练过程，以及我们所有艺术理念既能松动这种精英主义，也会在某种程度上固化它。

一方面，雕塑家的训练强调工艺、强调物质性和无法逃脱的体力劳动，能让来自不同背景的人们参与到这项活动中。这种亲身的劳动让创作变得更亲民、民主，因为它植根于有形的、直观的物质世界，而非门槛很高的抽象概念之中。雕塑是一个尊重手工劳动和与材料真实对话的媒介，历史上的雕塑家们也极大模糊了智力与体力劳动之间的界限，这可以说是挑战了根深蒂固的艺术至上主义观念。

但是也需要承认的是现当代雕塑艺术涵盖了广泛的方法论和意识形态。虽然一些雕塑家仍注重精湛的工艺和耗时的过程，但也有流派会更深入探索概念或抽象领域，而不再那么关心劳作。并且有些讽刺的是，有的时候如果你过于强调传统工艺和劳作，反而可能会无意中强化精英主义。因为能进行这样的劳作在当下或许已经成为了一种特权，而优先考虑某种形式的艺术劳动，也就是无意中排斥了非传统媒介和偏向概念主题的艺术家。

I雕塑家总是在与复杂性为伍而工作，这种复杂性也让我们很难将反精英主义归结为一个单一的角色。雕塑，和所有其他的艺术形式一样，是不断演变的，不断适应多样化的影响和观点。当一束光打向我们的时候，你永远猜不到我们折射出去的这束光又会是什么模样。虽然我们中的一些人致力于通过倡导低门槛和真实性来对抗精英主义，但其他人可能无意中通过坚持既定的等级制度和生产模式而延续了它。只能说雕塑与精英主义之间的关系是复杂而多面的，就如同我们和任何一个社会议题的关系一样。

ANDREW: 我想这是一个复合问题，让我来一个一个单独回答。首先，我作品中呈现出来的随意可弃和永恒的冲突是想要突出消费主义文化对我们产生的影响。当日常生活中的一次性物件拥有了铁、水泥、铜、钢以及石膏铸造而成的筋骨的时候，本来转瞬即逝、非常短命的消耗品就会长久地站立在实践中。我希望这样的冲突能挑战人们固有的观念，认为很多东西本来就是该随意被抛弃、更换的，我也希望人们在看到作品后可以重新思考自己与商品、消费品的关系。现在市面上有很多“可弃式”的产品，这些产品往往意味着便捷、无负担，但我的作品想提出的是人们与可弃式产品的关系远没有这么简单。我能抛弃一个塑料饭盒是因为塑料饭盒的生命短于我，我拥有更长的时间——但由铜、铁铸造的饭盒就扭转了这种时间关系。它们或许会有远长于我的生命，或许这种可抛弃的概念与时间便不再做数。

我认为在艺术雕塑与工业雕塑中对待材料的态度确实有所区别。从某个时刻开始我觉得我的工作很像一位翻译，处于物件、形象与材料之间，它们都有着各自不同的语言，拥有不同背景的译者也能从中读出不同的内容。对于工业雕塑制造一个比较粗略的理解是它确实首先强调效率与可复制性，而对于艺术雕塑或者至少对于我而言，我的重点更多落在解读形象与材料之间复杂、模糊的互动。可弃式的物件与更永恒的材料一直是我的出发点，从这个矛盾开始我可以探究很多的社会价值、人们的生命体验，以及与环境相关的话题。也正是因为我对于材料的需求是这般的，这使得它其实非常的不工业化——如果我们说的工业化意味着大规模生产、崇拜效率的话。

ANDREW: 我想可能都有一点。其实挑战物理规律和自然法则是因为我真的非常对材料以及材料的过程与规律着迷，我想要深入它们最基础的规律，想要了解它们的神秘性，也想要在这最深处的空间看看我进行创作和改良的可能。我是一位雕塑家，我最骄傲的点可能就在于我掌握了非常多种类的技术，了解很多的材料和制作流程，这让我可以在雕塑制作的不同阶段去介入材料和流程本身，进行创造性的发挥。我总是喜欢扭转规则和人们对特定物件抱有对期待，甚至完全逆反一个物品本身的功用以达到意料之外的效果。其实有很多的日常物件，只要替换它原有的材料就可以激发出很多全新的潜能以及围绕着这个物品的想象力。

在作品“枝桠低语”、“系链”、“脉络”以及其他和平衡有关的作品中，我都想创造出一种张力和失衡的感觉来打破原有物体的静态。真实生活中的树枝本是虚弱的、惰性的，但当你用铜铸造成一根树枝的时候，树枝就会本能地表现出一种力量感，突破原有的特性，这也就是我所说的物件的潜能。而在其它作品中，我会通过不断剔除伪装的方式来扩宽特定材料的边界。我喜欢在整个创作过程中保留材料原有的质地，铜永远是没有上色的，铝也不会有任何镀膜的处理，玻璃一直是无色透明的状态，这样材料才会慢慢展露自己原有的特性，而不是被覆上某种面纱。我的另一种创作路径是将物件用与它们原本构成相似但又显著不同的材料制作出来，类似一种用不同材料的翻译。比如“赏金猎人”这个系列，当观众第一眼看到它的时候可能会认为只是平平无奇的厨房卷纸，但当你走近感受它的真实材料的时候会发现这是许多重达25磅的奶白色石膏实心雕塑。类似的作品还有“记忆”、“高山歌”，在这两个作品中我保留了铜原本的颜色和质地，让它们的自然颜色拟态轻薄的棕色牛皮纸袋。

我还非常感兴趣用雕塑的形式去凝固一个动态的瞬间，例如泄气、倒塌、破碎或者刺入的瞬间。当我用一种会相当长久的材料来表现这种转瞬即逝的动态时，我会觉得在所有看似久长或短暂的事物之间，艺术家依旧享有思考自己诗学的自由。其实尽管广泛的现实与个体有着诸多限制，我还是认为艺术是相对空白且自由的，让人能将现实与想象编织交错。在想象中注入一丝一毫的现实，或是在现实中融入会颠覆一切的想象，这都意味着视觉艺术有着改变现实的力量。我花了许多年的时间学习材料、学习铸造处理的过程，日复一日地在工作室进行切实的劳作，但这有魅力的点也在于这么多年过去了，我依旧日日都能多认识材料一点，多收集一点属于自己的新的表达词汇。

ANDREW: 我想雕塑艺术和电子虚拟技术并不是完全的对立，它们之间的关系还要更复杂一点。动画、VR、光雕投影、NFT等技术相当于为雕塑艺术家提供了另一重可以创作的空间，在这个空间里它的主导规律确实不再强调一种可触摸的物质性。它和传统的以物质为基础，并且强调可触摸性的雕塑艺术的确不同，但它也提供了新的电子工具和方法来进行艺术表达。这和传统雕塑不同，但也包含着传统雕塑的一部分。这也是为什么我坚持雕塑艺术和电子虚拟技术并非完全对立的。虚拟空间里有属于虚拟空间的“物质性”和真实，尽管这种物质可能并非物理意义上的物质，也无法被物理地改变，是一种更接近形而上学的理念。

我自己的方法更多地关注物理材料本身，但很多虚拟的形式也与现在的雕塑艺术有很多共通点，并且能扩展雕塑艺术的边界。拿铸造这个过程来说，许多物件在铸造中起到的是提供一个形状模具的作用，铸造中很关键的一步是让这个模具融化，让新的材料获得这个形状。在这里这个物件便成为了一个仅短暂存在的幽灵，而虚拟艺术中也是这样，许多形象在一次点击之后就消失或者改变了，那或许它们也能被理解为“幽灵”。尽管我还没有在雕塑制作中尝试过很多的电子技术，但新技术比如数字控制加工、3D扫描、3D打印都是我非常期待有朝一日可以尝试的，或许这些技术能在保留传统手工艺的同时让我的作品突破现有的形态、尺度和复杂性的限制。

在艺术的发展过程中，早期摄影艺术的出现最开始被认为是对绘画的一种破坏，但现在我们也看到了摄影艺术实际上更加强化了绘画自己的视觉语言。这和我们如今面临的变化或许是具有可比性的，3D扫描、3D打印并不会让现存的艺术形式消亡，而是让它的边界更广阔，让现有的形式更丰富。如果说很多的艺术归根结底是用自己的方法翻译自然界中本就存在的形象，那我想这些新技术就是进一步扩展我们的译法。

而回到传统的雕塑制作领域，其实我们的技术也在不断的进化革新。我会在过程中加入很多新的铸造方法，以及模具制造的方法，耐火材料总在不断地更新以变得更加实用，而金属冶炼技术的提高也改良了材料的构成，使得它们更加柔韧更便于铸造，从而成品的质量也更高。制造模具的材料也有所变化，使它们能被轻易塑造成不同的形状，让整个铸造过程更便捷。所以即使我的雕塑制作方法已经是十分经典，已经经过了时间的认证，但变化和进步也还是在持续的发生。

ANDREW: 艺术中的幽默是很精妙又多变的，它的形式可能是很柔和的机灵，又或是单刀直入的嘲讽。我主要把幽默当作一种和观众发生联结的方式，通过召唤出一种会心一笑促使他们观看、思考，以及对现有的价值、消费与文化的观念提出挑战。不过这种幽默常常是有代价的，一种自贬、自嘲、古怪，几乎有受虐主义倾向的幽默。

幽默是一个能很好将艺术史串联起来的手法，文艺复兴时期的雕塑大师米开朗琪罗和多纳泰罗就在作品中融入了机灵与讽刺的成分，让作品在美学和智性上都让人感到兴奋。进入现代后，艺术家如杜尚、克拉斯.欧登伯格都将荒谬这一修辞融入了雕塑艺术，让日常物件以十分荒谬的组合排布在一起，引起观者的惊愕与怀疑。

与此同时幽默其实能让我更安全地讨论切实的社会话题。拿“瓮”与“漠视的丝绒”这两个作品来说，它们分别是一个由铸铁打造的Gucci盒子和一个生锈了的打包盒，Guccid 标志上也有刻意的锈蚀，而打包盒上写着“祝你有愉快的一天”。在这两个略带荒谬的作品中我其实想讨论的是消费主义文化与我们身份的商品化，而因为有了幽默我便可以提出更尖锐的观点，或是讨论一些会让人不舒服、具有冒犯性的话题——比如观众自身在这个权力与剥削系统中的位置，比如，我的自我嘲讽——我同时也在剥削着材料。铁具有双重特性，一方面它是一种长久的材料，另一方面它又会锈蚀腐化。我的幽默就是利用这种特性，并把它作为我们文化退化的一种表达。作为雕塑家，当你看到材料、物件和文化议题中的巧合时，这种巧合便可以成为你作品中幽默的根基。

归根结底，我想幽默也是人性中一种本能的机巧，在幽默的大笑之下其实是无尽的严肃和认真，让我们能更好地适应周围的环境，更好地面对和吞咽十分艰难的现实，以及表达具有批判性的观点。我使用幽默因为我希望能借助它撬动一些具有批判性的观点和反思，让观众重新思考被我们默认了的前提，或已经成为公理的理解。

ANDREW: 旅行一直是我生活中很重要的一部分。近年来我比较常去往中国，我觉得这对我的创作有很大的影响。过去四年我也有在学习中文，这让我在文化与语言上更加开阔。因为能了解不同的文化，以及不同文化中对于“可弃式”物件的理解，我能频繁地进行比对，了解差异与共性。这些理解都在缓慢地渗入我的工作室。

人们或许不知道，但我也是一个很狂热的羽毛球手，并且我的个别作品也直接受到了这项运动的影响。尽管在“区域防守的邪说”这个作品里篮球是主要的运动，“放逐之外”里则有铜铸的羽毛球，而这才是我最喜欢的运动。

最近我也是真的在自己的后院里寻找灵感。园艺算是我的新爱好吧，过去几年我也一直在工作室周围打造一个仙人掌花园。园艺让人感觉很平静，我也希望在来年播种下去的植物能和我的艺术创作一同昌盛。