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拍品专文
"I think about my work like a sort of equation: you start with nothing and try to make something, and at the same time try not to make anything, to get back to zero" -Martin Creed, 1999 (M. Creed, quoted by J. Jones, 'What's so minimal about 15,000 balloons?,' The Observer, March 14, 1999).
Martin Creed's exuberant installation examines our perceptions of space by filling a room with balloons and drastically altering one's physical experience of the environment as well as exploring the relationship between sculpture and architecture. Conceptually precise, yet constantly shifting, the parameters of this work are continually changing and adapting to an infinite number of factors both environmental and human. Part installation, part Happening and part performance piece, the immersive nature of this Work is central to the inclusive nature of Creed's art, "If you make a movement, you make a balloon rub up against someone else, what you do effects people" (M. Creed, quoted by J. Jones, 'What's so minimal about 15,000 balloons?,' The Observer, March 14, 1999).
Creed is often described as a Minimalist and in its purest form, Work No. 204: Half the air in a given space consists of a room filled with balloons fulfills this description. But like Sol LeWitt's iconic wall drawings, the work's title is in essence the process by which the work comes into existence. A space is chosen, and calculating the volume of air contained within this space a number of sixteen inch Qualtex balloons are filled with air that is equivalent to half the volume of the room. In the process, Creed encloses and makes visible things which are normally invisible, a dimension enhanced by the public's participation in the work, which adds another level of dynamism to the work.
Creed's prolific oeuvre spans medium and defies categorization. From his Work No. 227: The lights going on and off to his neon installations placed on the exterior of Tate Britain in London, the Turner Prize winning artist plays on definitions of art. Like his hero Marcel Duchamp, Creed values the placement of items, rather than their intrinsic qualities, in qualifying their meaning as art objects.
Martin Creed's exuberant installation examines our perceptions of space by filling a room with balloons and drastically altering one's physical experience of the environment as well as exploring the relationship between sculpture and architecture. Conceptually precise, yet constantly shifting, the parameters of this work are continually changing and adapting to an infinite number of factors both environmental and human. Part installation, part Happening and part performance piece, the immersive nature of this Work is central to the inclusive nature of Creed's art, "If you make a movement, you make a balloon rub up against someone else, what you do effects people" (M. Creed, quoted by J. Jones, 'What's so minimal about 15,000 balloons?,' The Observer, March 14, 1999).
Creed is often described as a Minimalist and in its purest form, Work No. 204: Half the air in a given space consists of a room filled with balloons fulfills this description. But like Sol LeWitt's iconic wall drawings, the work's title is in essence the process by which the work comes into existence. A space is chosen, and calculating the volume of air contained within this space a number of sixteen inch Qualtex balloons are filled with air that is equivalent to half the volume of the room. In the process, Creed encloses and makes visible things which are normally invisible, a dimension enhanced by the public's participation in the work, which adds another level of dynamism to the work.
Creed's prolific oeuvre spans medium and defies categorization. From his Work No. 227: The lights going on and off to his neon installations placed on the exterior of Tate Britain in London, the Turner Prize winning artist plays on definitions of art. Like his hero Marcel Duchamp, Creed values the placement of items, rather than their intrinsic qualities, in qualifying their meaning as art objects.