斯蒂芬妮・蒂玛・海尔
Stephanie Temma Hier
无尽回廊
CORRIDORS
展览时间：2024年5月21日至6月22日
周二至周六 | 10:00–18:00
开幕时间：2024年5月21日，星期二，下午5至8时
Duration: May 21–June 22, 2024
Tuesday–Saturday | 10:00–18:00
Opening: Tuesday, May 21, 5–8 PM
上海市黄浦区云南南路261号6楼
6F, 261 S. Yunnan Rd., Huangpu Dist., Shanghai
关于展览
About the Exhibition
Gallery Vacancy荣幸地呈现斯蒂芬妮・蒂玛・海尔于画廊的第二个个展，“无尽回廊”，展期2024年5月21日至6月22日。
作为我们生活环境中不可或缺的空间形式，走廊的存在常常被忽视，未被充分审视甚至从未被给予过关注，仅仅是一个连接目的地与目的地之间的过渡性非空间。这种基础设施的作用就像是一种前言或是序幕，它的出现暗示着随之而来的情节转折，一个令人意想不到的揭示瞬间在此等待。在海尔最新创作的油画、陶瓷雕塑作品中，看似熟悉的家具用品被转化成为这场戏剧的主人公，徘徊静立于她所编织而成的平行现实中，在回廊的尽头等候剧情的开始。海尔对这些怀旧物件的重新诠释意图唤起我们记忆深处中对于家居生活的点点追忆、长情寄托，而穿插在其中的符号与意象相互交织，提供了新关系和视角产生的可能性。将目光重新投向当代城市生活中易被忽略的细微之处，以及对此的集体性记忆和想象，“无尽回廊”聚焦于日常周遭际遇中的残存性影响，而关于亲密性和个体情感的主题也在图像概念与材料的并置对话中浮出水面。
斯蒂芬妮・蒂玛・海尔
我独自在家的早晨，2024
布面油画、釉面陶瓷
76 × 112.5 × 67.3 公分（30 × 44 1/4 × 26 1/2 英寸）
Stephanie Temma Hier
Mornings at home with myself, 2024
Oil on linen with glazed stoneware sculpture
76 × 112.5 × 67.3 cm (30 × 44 1/4 × 26 1/2 in)
延续了艺术家对于各种媒介之间相互作用的长久兴趣，海尔以一种天马行空的方式，将她的油画作品装载在奇思妙想的陶瓷雕塑之中，原本平凡常见的家居物品形象也在此获得了出乎意料的反转和再发现。陶瓷媒介的绘画性与油画本身的材料性产生了奇妙的视觉连锁反应：在烧制过程中出现的有机、偶然性巧合肌理转而变成绘画传统中的直观笔触。《我独自在家的早晨》（2024）呈现了一个陶瓷的复古炉灶，正面和侧面都嵌有鲜活饱满的蛇形图像。其表面上釉料自然滴落流动形成的纹路呼应了爬行动物蜿蜒蛇形的动态，同时又让人联想到与这一常见家具的日常相处中，熟悉而自然的触觉性经验。艺术家意在突破二维平面的边界，透过图像与材料的视觉表象，探讨其中所暗含的感官和情绪性特质。
斯蒂芬妮・蒂玛・海尔
甜歌苦短，2024
布面油画、釉面陶瓷
63.5 × 216 × 23 公分（25 × 85 × 9 英寸）
Stephanie Temma Hier
Sweet songs don't last long, 2024
Oil on linen with glazed stoneware sculpture
63.5 × 216 × 23 cm (25 × 85 × 9 in)
在当代图像的油画转译与手作陶瓷的介入下，海尔的作品中充斥着层叠错综的符号象征，不仅来源于艺术史的参照，也汲取自现代文化和生活变革中转变式的经验素材。作为她实践中反复出现的主题，海洋生物的形象（譬如龙虾、帝王蟹）在海尔的巧妙再现中成为连接古典与当代的符号通道，其诱人又怪诞的双重性模糊了时间与空间，想象与现实之间的界限。这种如今被认为是代表奢靡生活的珍馐，一度被作为惩罚专供给罪犯食用。在《这些都是我的回忆吗？》（2024）中，一只张牙舞爪的帝王蟹正试图从手推购物车中逃出，这个无处不在的日常用品是城市生活的一个缩影。而这只被刻意安排登场的拟人化角色则带来了一种戏剧性的荒诞感，指向了超现实主义绘画的重要构成，惊奇元素与反逻辑构图相并置，自然与人为造物的对立冲突由此消解，构建出一种再幻想化后的主观现实。而在《她曾经想成为一只纸天鹅》（2024）中，一只跳舞的小龙虾取代了原本珠宝盒中芭蕾舞人偶的位置。海尔以一种幽默诙谐的方式撩拨触及了个人与物品之间的私密时刻，作为情感载体的亲密物件被赋予了新的含义。看似无关联的场景与图像在艺术家的错置和重组下，被连接由一条条虚幻不可见的“走廊”，对于日常生活的常态检视与虚构的重构关系在此离奇化得超现实相遇，暗合了当代网路图像的消费逻辑，彼此独立而又紧密结合。
“无尽回廊”是对于当代家居生活的真诚幻想，有关平凡日常的憧憬与寄托都依托于“家”的概念而展开。毕竟，我们生活在一个开放式，反走廊化的世界。然而，自然与人为系统下个体生活的轨迹和余响，都将栖居在这些或是具象或是抽象的走廊中，连接了历史与当下，图像和物质，转瞬即逝又长久留存。
斯蒂芬妮・蒂玛・海尔
她曾经想成为一只纸天鹅，2024
布面油画、釉面陶瓷、金箔
25.4 × 28 × 33 公分（10 × 11 × 13 英寸）
Stephanie Temma Hier
She used to want to be a paper swan, 2024
Oil on linen with glazed stoneware sculpture, goldleaf
25.4 × 28 × 33 cm (10 × 11 × 13 in)
Gallery Vacancy is thrilled to present Stephanie Temma Hier’s second solo exhibition at the gallery, CORRIDORS, on view from May 21 to June 22, 2024.
Being an indispensable space of our living condition, the corridor is commonly discarded as an under-examined, unregarded, transitional non-space between places. This infrastructure marks on a prologue with the assumption of unexpected plots waiting aside, an unveiling moment of astonishing discoveries. In Hier’s new body of mixed media works with oil paintings and glazed stoneware sculptures, dissimilar domestic objects are transformed into the protagonists that linger down the hallway off her other-worldly realm. The reinterpretations of nostalgic homely items evoke a sense of longing that lurks in the deep back of our memories, while interlaced with symbols and imageries that subtly challenge for reassociations. Gazing at the overlooked places in the modern urban surroundings and our collective imagination, CORRIDORS refocuses on the remnants of daily encounters, while themes of intimacy and sentimentality surface through Hier’s conceptual and material juxtapositions.
斯蒂芬妮・蒂玛・海尔
手作天堂，2024
布面油画、釉面陶瓷
19 × 40.6 × 14 公分（7 1/2 × 16 × 5 1/2 英寸）
Stephanie Temma Hier
Hands made of heaven, 2024
Oil on linen with glazed stoneware sculpture
19 × 40.6 × 14 cm (7 1/2 × 16 × 5 1/2 in)
Continuing her fascination in the interplay between various mediums, Hier frames the painted imageries with a whimsical twist of rediscovered ceramic sculptures depicting mundane household amenities. The painterly quality of the ceramic meticulously tickles with the materiality of painting. Organic, accidental coincidences that occur in the firing and making of ceramic become the decisive brushstrokes in painting traditions. Mornings at home with myself (2024) presents a ceramic vintage oven embedded with delicately painted snakes on the side and front. The liquid dripping of the glaze resembles the slithering of the reptile in mobility, yet simultaneously provokes the tactile familiarity experienced everyday with this kitchen appliance. Pushing the boundaries of two-dimensional surface, the artist delves into the sensual and emotional impacts on visual imageries and texture.
斯蒂芬妮・蒂玛・海尔
这些都是我的回忆吗？，2024
布面油画、釉面陶瓷、铁架
48.3 × 85 × 23 公分（19 × 33 1/2 × 9 英寸）
Stephanie Temma Hier
Are these my memories?, 2024
Oil on linen with glazed stoneware sculpture, powder coated steel
48.3 × 85 × 23 cm (19 × 33 1/2 × 9 in)
Juxtaposing further with concepts and materials, Hier’s works are loaded with symbolism from art history and the transformative process of culture and living experience. Being the recurring subject of her practice, the form of sea creatures such as lobster, crawfish, and king crab are deliberately employed with the duality of being alluring and grotesque. What is now considered as luxury cuisine of decadence was once served for prisoners as punishment. In Are these my memories? (2024), a king crab is crawling its way to escape from the shopping cart, a common houseware spotted in urban living. The absurdity of which speaks to Surrealism as an incongruous element to the sense of uncanniness. Whereas in She used to want to be a paper swan (2024), a dancing crawfish takes the place of the ballerina in the jewelry box. Wittily titillating the personal and intimate moments, the nostalgia of the object takes on new meanings, mirroring the “corridor” of randomness where the depictions of the quotidian world meet with the surreality of invented relationships.
CORRIDORS offers a profound reflection of the longing and fantasies for domestic life. After all, we live in an open-plan, anti-corridic world. Yet the traces of what have existed and what have been left behind still and will inhabit in the channels, connecting the history and the current, the image and the material, the ephemeral and eternal.
斯蒂芬妮・蒂玛・海尔
片刻休憩，2024
布面油画、釉面陶瓷
72.4 × 110 × 20.3 公分（28 1/2 × 43 × 8 英寸）
Stephanie Temma Hier
A quiet week in the house, 2024
Oil on linen with glazed stoneware sculpture
72.4 × 110 × 20.3 cm (28 1/2 × 43 × 8 in)
关于艺术家
斯蒂芬妮・蒂玛・海尔，1992年生于加拿大多伦多，2014年毕业于安大略艺术设计大学，现生活和工作于纽约布鲁克林。海尔的绘画映射了21世纪信息时代个人在数字图像世界中穿梭的经历。她的作品用一种倒错的视觉方式，模拟了爱丽丝梦游仙境中的经典桥段“兔子洞”，以此来探寻当代图像消费及视觉文化。其中图像的意义借由看似不偏颇的大数据算法或是文化价值中的权力结构，在图像与图像之间临时的建立和解散中不断游移。不断地跨越于诱人与怪诞之间的微妙界限，海尔的写实绘画与生动的陶瓷外框挑战了图像的边界，同时将视线重新投向被注入于日常物品之中的个人记忆和情感依托，意在探讨当代社会对于物质文化的狂热痴迷；无处不在的生活物件塑造了个体的身份认知，也成为了人类存在的一种见证。
近期个展包括：“无尽回廊”，Gallery Vacancy，上海，2024；“Roadside Picnic”，Galerie Bradley Ertaskiran，蒙特利尔，2023；“This must be the place”，Nino Mier Gallery，布鲁塞尔，2023；“Palate Cleanser”，Nino Mier Gallery，洛杉矶，2021；“Soft Options, Hard Edges”，Galerie Bradley Ertaskiran，蒙特利尔，2021；“吞一千根针”，Gallery Vacancy，上海，2020 ;“Spring Now Comes Unheralded”，Franz Kaka，多伦多，2020；“Gridded and Girdled”，Y2K group，纽约，2019。她的作品曾展于：Kotaro Nukaga，东京；德基艺术空间，南京；Jeffrey Deitch，洛杉矶；Bradley Ertaskiran，蒙特利尔；Kasmin Gallery，纽约；Galerie Hussenot，巴黎；Jack Hanley Gallery，纽约；Liberal Arts Roxbury，罗克斯伯里；Arsenal Contemporary，纽约；Fisher Parrish Gallery，布鲁克林；JOHANNES VOGT，东汉普顿；Galerie Antoine Ertaskiran，蒙特利尔；PLUS-ONE Gallery，安特卫普；IQECO，马赛。海尔的获奖及驻留包括: Salon Nino Mier Cologne驻留项目，科隆；Canada Council for the Arts，加拿大; The Elizabeth Greenshields Foundation grant，蒙特利尔；Shandaken:Storm King驻留项目，纽约; The Residency Programme at Hospitalfield，阿布罗斯。
Stephanie Temma Hier, born in 1992 in Toronto, now lives and works in Brooklyn. She received her BFA from the Ontario College of Art and Design in 2014. Her painting reflects the experience of traversing digital space in the 21st Century, mimicking the adage “falling down the rabbit hole” to describe the contemporary imagery consumption and visual culture, in which meanings fluctuate as images are brought together temporarily by seemingly indifferent big data algorithm to hierarchies of high and low culture values. Constantly straddling the fine line between alluring and grotesque, Hier’s photorealistic paintings and their sculptural pairings examine the personal mementos and sentimentality imbued into familiar daily objects, speaking to our obsession with material culture, and how objects shape and represent us as a form for humanity.
Recent solo exhibitions include: CORRIDORS, Gallery Vacancy, Shanghai, 2024; Roadside Picnic, Galerie Bradley Ertaskiran, Montreal, 2023; This must be the place, Nino Mier Gallery, Brussels, 2023; Palate Cleanser, Nino Mier Gallery, Los Angeles, 2021; Soft Options, Hard Edges, Galerie Bradley Ertaskiran, Montreal, 2021; Swallowing the Pit, Gallery Vacancy, Shanghai, 2020; Spring Now Comes Unheralded, Franz Kaka, Toronto, 2020; and Gridded and Girdled, Y2K group, New York, 2019. Hier’s works have been featured in exhibitions at: Kotaro Nukaga, Tokyo; Deji Art+Action, Nanjing; Jeffrey Deitch, Los Angeles; Bradley Ertaskiran, Montreal; Kasmin Gallery, New York; Galerie Hussenot, Paris; Jack Hanley Gallery, New York; Liberal Arts Roxbury, Roxbury; Arsenal Contemporary, New York; Fisher Parrish Gallery, New York; JOHANNES VOGT, East Hampton; Galerie Antoine Ertaskiran, Montreal; PLUS-ONE Gallery, Antwrep; IQECO, Marseille. Hier was the recipient of multiple grants from Canada Council for the Arts, the Elizabeth Greenshields Foundation, and participated in residency programs at Salon Nino Mier Cologne; Storm King Art Center, New York; and Hospitalfield, Arbroath.
更多关于艺术家
More about the artist
V A C A N C Y
周二–周六
Tuesday to Saturday | 10:00–18:00
200021 上海市黄浦区云南南路261号6楼
6F, No.261 S. Yunnan Rd., Shanghai 200021
+86-(0)21-62411239
info@galleryvacancy.com
www.galleryvacancy.com
