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水之狀態

策展人:Steven Evans(美國) 攝影師:Brad Temkin(美國)

“水是一切自然的驅動力”——萊昂納多·達芬奇

  Brad Temkin 的系列作品“水之狀態”(The State of Water)延續了藝術家的長期項目,該項目將人類與環境的關系引入受關注的焦點。 特姆金的水圖像表露了我們通過科技和基礎設施來嘗試處理與水的脆弱之關系。通過他的創造性圖像,特姆金向我們展示了維持我們的生活、健康、農業、旅游、貿易和工業生產等的這一重要元素——水的各種抽象的狀態。

— Steven Evans

“Water is the driving force of all nature.” — Leonardo da Vinci 

 

Brad Temkin’s monumental series The State of Water continues the artist’s long-term project that brings humanity’s relationship with the environment into sharp focus. Temkin’s images of water expose our attempts to navigate our fragile relationship with water through technology and infrastructure. Through his inventive images, verging on the abstract, Temkin shows us the various states of this vital element that sustains our lives, health, agriculture, travel, trade, industrial production, and more.  

 

— Steven Evans

 

 

      地球表面的71%被水覆蓋,水存在于空氣中,如蒸汽,冰蓋和冰川,地下土壤水分和含水層。其中只有2.5%是淡水,其余為生理鹽水和海洋。只有0.007%的地球水能夠為70億人提供燃料和飼料。我們需要水來生存,我們認為它是理所當然的。

 

 大多數雨水被認為是廢物,而現在有700多個城市在回收廢水和雨水,將其用于農業用途和人類消費。當我們模仿自然并分離污泥,鹽或化學品等雜質時,現象就會發生轉變。我有興趣將注意力轉移到這種轉變的視覺和生態美,并展示出無人能見到的基礎設施和建筑的創造感。我被這些形式的陌生感和扭曲的尺度和色彩所吸引,擁抱抽象的,超現實的水回收景觀。  

 

“水之狀態”持續關注著我們與自然的關系 - 我們如何欣賞和容納自然,以及自然如何適應我們。通過展示從污泥到純凈水的各種狀態的美感,我的目的是鼓勵觀者提出自己的問題,提倡我們最寶貴的資源的重要性。

 

 71% of the earth’s surface is covered in water. Water also exists in the air as vapor, in icecaps and glaciers, in the ground as soil moisture and in aquifers. Only 2.5% of this is fresh water with the rest as saline and ocean based. Only 0.007% of the planet’s water is available to fuel and feed its 7 billion people. We need water to survive yet we take it for granted.

 

  Most storm water runoff is considered waste; yet more than 700 cities reclaim wastewater and storm water, recycling it for agricultural uses and human consumption. As we mimic nature and separate the impurities like sludge or salt or chemicals, a transformation occurs. I am interested in bringing attention to the visual and ecological beauty of this transformation and showing the inventiveness in infrastructure and architecture no one ever sees. I am attracted to the strangeness of these forms and the distorted sense of scale and color, embracing the abstract, surreal landscape of water reclamation.

 

  The State of Water continues my attention on our relationship with nature—how we appreciate and accommodate it, and how it accommodates us. By showing beauty in all states of water from sludge to pure, my intent is to encourage the viewer to ask his or her own questions, advocating the importance of our most valuable resource.

 


                                         


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