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为自然破坏的惨剧恸哭，因幸存者旺盛的生命力而感到自豪，在对人类世（anthropocene）的描绘上，亚历克西斯·洛克曼（Alexis Rockman）堪称是最完美的艺术家。 The son of an archaeologist, the New York-based painter's childhood spanned both rural Peru and the American Museum of Natural History, prefiguring the fascinations that would shape his career: time, biology, ecology and humanity. 因为父亲是考古学家，这位纽约画家在童年时期就曾流连于秘鲁农村和美国自然历史博物馆，幼年经历预示这种迷恋将成为塑造其职业生涯的动力，一种混合了时光、生物、生态和人性的艺术风格。 Traces of museum dioramas can be seen in works like his 1992 mural-sized Evolution (detail, above). So can the Hudson River school landscape tradition, Renaissance realism and a prehistory-infused apocalyptic futurism in which humans shape but can't short-circuit the continuum of life. 1992年洛克曼创作了壁画规模的画作《进化》（Evolution）（上图），这幅作品展示了其博物馆透视画般的创作风格。此外，哈德逊河画派（Hudson River school）的风景画传统、文艺复兴的写实主义和融入史前风格的启示录般未来主义都能在洛克曼的作品中寻得痕迹。 The Smithsonian American Art Museum is now hosting the first major Rockman retrospective, entitled -- with a nod to Rachel Carson's Silent Spring -- "Alexis Rockman: A Fable Tomorrow". He talked to Wired.com about his work. 史密森尼美国艺术博物馆（Smithsonian American Art Museum）正在举办首届洛克曼作品大型回顾展，为了向蕾切尔·卡森（Rachel Carson）《寂静的春天》致敬，这次展览被命名为“亚历克西斯·洛克曼：明日寓言（Alexis Rockman: A Fable Tomorrow）”。围绕自己的作品，洛克曼接受了《连线》记者的采访。 Biosphere: Orchids, 1993: 生物圈：兰花，1993年（Biosphere: Orchids, 1993） "I always wanted to do a body of work that related to Douglas Trumbull's Silent Running," said Rockman. "The idea of the last life on Earth, in these geodesic domes in space. This is one of the botanical versions of that."
“我一直想围绕着道格拉斯·特朗布尔（Douglas Trumbull）执导的电影《宇宙静悄悄》（Silent Running）创作一些作品，”洛克曼说。“作品的创意是去展示地球上最后的生命，它被挂在太空中的这些网格上。这幅图画是从植物的角度去展示这种理念。” Biosphere: Hydrographer's Canyon, 1994: 生物圈：水文学者的峡谷，1994年（Biosphere: Hydrographer's Canyon, 1994） Reminiscent of Ernst Haeckel's anatomical surveys but given context, this work reflects Rockman's question, "How do you take the base of the food chain, and put it in the most hostile environment possible?" he said. "I see that more and more as the way that things are going to be able to survive."
这幅作品使人联想起恩斯特·赫克尔（Ernst Haeckel）的解剖学调查，但在特定的语境中，它却折射出洛克曼的拷问，“我们如何看待食物链的底层，它们有可能被放在最险恶的环境中吗？”他说。“我越来越觉得未来能幸存下来的正是这些不起眼的底层生物们。” Host and Vector, 1996: 宿主和载体，1996年（Host and Vector, 1996） Inspired by a trip to the jungles of Guyana, this work features Rockman playing it straight, painting only what was in front of him. "The wonder, the amazing diversity of what's created when things are competing at a high level," he sad. "Between the fluke, the snail and the Montezuma Oropendola is an isosceles triangle. They're equally dependent on the other."
这幅作品的灵感来自于一次圭亚那丛林之行，洛克曼采用了一种白描式的绘画手法，有什么就画什么。“当生物在高层次相互竞争时，会创造出不可思议的多样性，”洛克曼说。“吸虫、蜗牛和褐拟椋鸟（Montezuma Oropendola）形成了一个等腰三角形，它们彼此之间相互依赖。” Airport, 1997: 机场，1997年（Airport, 1997） "I was reading about how rabbits had created these underground networks of burrows that were compromising the structural integrity of runways," said Rockman. "In the collision between nature and technology, most of the times, the animals lose. But there's a strange battle that's being waged."
“当时我在读一本关于兔子挖地洞网络危及飞机跑道结构完整性的书，”洛克曼说。“在自然和科技的碰撞中，大多数时候动物们都是输家。但这是一场正在展开的奇特战争。” The Hammock, 2000: 吊床，2000年（The Hammock, 2000） "It's more of a joke about the subjectivity of ecotourism and visions of control that run amok, or fail," Rockman said.
“这幅作品更多的是在取笑生态旅游的主观性，以及横行无忌或失败的可控愿景，”洛克曼说。 Cataclysm, 2003: 大灾变，2003年（Cataclysm, 2003） "We all have tremendous amounts of empathy for third-world disasters, man-made or natural," said Rockman. "I've always been fascinated by what happens to things that don't have a voice, that aren't considered, that are unlovable."
“对于发生在第三世界的人为或自然灾难，我们完全能够感同身受，”洛克曼说。“灾难将那些不能发声、被人遗忘在角落且不那么可爱的生灵置于何种境地？这种想法让我一直以来为之着迷。” Manifest Destiny, 2003-2004 (detail): 宿命，2003年-2004年（局部）（Manifest Destiny, 2003-2004） Commissioned by the Brooklyn Museum, the mural-sized work imagines Brooklyn's waterfront drowned by the climate consequences of unrestrained industrial expansion.
这幅壁画作品是受布鲁克林博物馆（Brooklyn Museum）委托而创作的，它虚构了随着无限制的工业扩张导致气候突变，致使布鲁克林海滨被淹没的情形。 "There's a beauty to it. I'm not pessimistic about anything, other than human quality of life," said Rockman. "If you're into biodiversity, you're out of luck. But there's going to be lots of life." “它有种美感。我并不是对什么事都感到悲观，但人类的生命质量却让我乐观不起来，”洛克曼说。“如果你热衷于生物多样性，那当下的情形可是糟透了。但将来会有大量的生命出现的。” Sea World, 2001-2004: 海洋世界，2001年-2004年（Sea World, 2001-2004） Featuring prehistoric Dunkleosteus and Ambulocetus leaping for treats, equal parts Jurassic Park and spring break, "it's the feeling that anything will go, if it's thought that it will create enough commerce," Rockman said.
史前的邓氏鱼（Dunkleosteus）和陆行鲸（Ambulocetus）正在跳跃着要求喂食，这幅虚构的场景将侏罗纪公园和春假融为了一体，“如果能创造出足够的商业效应，不可能发生的事情也会出现，这幅作品给人的感觉正是如此，”洛克曼说。 South, 2008 (detail): 南极，2008年（局部）（South, 2008） Inspired by a trip to the Antarctic Peninsula, the painting "became a group portrait of soon to be extinct things," said Rockman. "That's anthropomorphic, because ice isn't alive. But it's a thing that's under duress."
在南极半岛之旅的启发下，这幅油画“成为了即将衰亡事物的群像描绘，”洛克曼说。“这是一种拟人化的手法，因为冰川是没有生命的，但它同样也遭受到了胁迫。” |
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