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拍品专文
Kelley Walker, master of appropriating cultural symbols, here turns to the Rorschach inkblot. The Rorschach image is notorious for its duality--simultaneously not meant to represent any one thing, yet intended to reveal everything about an individual.
One imagines these blots as an object to be examined, small, black and easily approachable. Walker's Rorschach, however, examines the viewer. Larger than life, candy-colored and reflective, it forces its audience to scrutinize itself in an unfamiliar way. With this mirror, Walker, "adds another 'empty space,' a double-negative far more disquieting in the ambiguous visual experience it induces." (Artforum, New York, April 2005, p. 152).The metallic surface allows for the object itself to take on aspects of its surroundings, in both reflected color and form.
Andy Warhol, too, has utilized this motif of self-analysis and psychosis in his own interpretation of the Rorschach inkblot. Kelley, himself, has commented on the influence the artist had on him when he began work in New York in the 1990s: "Warhol was trouble. Warhol's work seemed much more intuitive, which I was attracted to not because of fashion or Glam or style or publicity but because of its direct expression, often in the form of a failed self-negation coupled with violence" (Artforum, New York, October 2004).
One imagines these blots as an object to be examined, small, black and easily approachable. Walker's Rorschach, however, examines the viewer. Larger than life, candy-colored and reflective, it forces its audience to scrutinize itself in an unfamiliar way. With this mirror, Walker, "adds another 'empty space,' a double-negative far more disquieting in the ambiguous visual experience it induces." (Artforum, New York, April 2005, p. 152).The metallic surface allows for the object itself to take on aspects of its surroundings, in both reflected color and form.
Andy Warhol, too, has utilized this motif of self-analysis and psychosis in his own interpretation of the Rorschach inkblot. Kelley, himself, has commented on the influence the artist had on him when he began work in New York in the 1990s: "Warhol was trouble. Warhol's work seemed much more intuitive, which I was attracted to not because of fashion or Glam or style or publicity but because of its direct expression, often in the form of a failed self-negation coupled with violence" (Artforum, New York, October 2004).