艺术家 | Deirdre McLoughlin

2024-10-31 12:00   中国香港  



Deirdre McLoughlin(1949年出生于爱尔兰)是欧洲韦斯特瓦尔德陶瓷奖(Keramik Europas Westerwaldpreis)的双料得主,并在韩国高敞国际陶瓷双年展(Kocef)上获得荣誉。她的肖像画被收录在爱尔兰国家自画像收藏中,她的作品还曾被印制成邮票以示荣誉。她是国际陶瓷学会(IAC)会员,全职在工作室创作,并在国际上展出作品。2021年,她被授予都柏林大学三一学院荣誉学位,以表彰她在该领域的杰出成就和对社会的贡献。


Deirdre McLoughlin (b. 1949, IR) is twice winner in Keramik Europas Westerwaldpreis and honoured in Kocef, Korea. Her portrait is part of the National Self Portrait Collection of Ireland and her work has been honoured with a stamp. She is an elected member of the International Academy of Ceramics. She works full time in her studio and exhibits internationally. She was conferred with a honorary degrees of the University of Dublin at Trinity College Dublin in 2021. She was awarded in recognition of her outstanding achievements in her field and her contributions to society.





自1974年以来,Deirdre McLoughlin的作品已被全球多个永久收藏馆收录,并持续在国际上举办个人及团体展览,她的艺术风格令人一眼难忘。她几乎专注于使用传统盘筑技法创作陶瓷雕塑,这些作品似乎兼具毫不掩饰的力量与形式上的柔美。20世纪70年代初期,她移居阿姆斯特丹,受Rosemary Andrews雕塑作品的启发,开始涉足陶艺领域。在这一媒介中,她逐渐发现自己所塑造的形态其实是一种表达的语言,正是人们通常所说的艺术。在此之前,她一直无法回答那个持续的问题:“你为什么不制作一些实用的东西?”这一领悟引领她前往日本,在那里她设立了工作室,并与“陶会”(Sodeisha Group)的艺术家们并肩工作。Yasuo Hayashi雕塑中那超凡脱俗的几何形态,对她产生了深远的影响。在京都举办首次个人展览后,她游历了正逐渐开放的中国。1988年,她返回阿姆斯特丹,并在此定居至今。

With work in permanent collections all over the world and a steady stream of solo and group shows internationally since 1974, Deirdre McLoughlin’s art is instantly recognisable.Working almost exclusively with ceramics using a traditional coiling method, Deirdre’s sculptures seem to embody both unapologetic strength and a sort of tenderness of form.Moving to Amsterdam in the early 1970’s she began working in clay inspired by the sculptures of Rosemary Andrews. Finding form in this medium she would eventually come to the realization that the shapes she was making were a language of expression and were what was generally termed art. Up until then she had been unable to answer the continuing question, ‘why do you not make something useful’. The realisation brought her to Japan where she set up studio and worked alongside the artists of the Sodeisha Group. The sculptures of Yasuo Hayashi, in their sublime geometry, have had a lasting influence on her. After her first solo exhibition in Kyoto she travelled throughout China, which was opening up. In 1988 she returned to Amsterdam where she now based.





在Deirdre McLoughlin的作品中,原型形态——卵形,占据着核心地位。她的雕塑作品充满了强烈的物质感和对形态与表面完美的追求,每一层都蕴含着深刻的意义,充满了动感、力量感和纯净感。她曾说:“当雕塑展现出内在的逻辑时,我就知道它已经完成了。”她的创作过程缓慢而严谨,作品需经历长时间的抛光和多次烧制,这一过程可能持续数天乃至数周之久。“在某一刻,作品会呈现出恰到好处的感觉。”

The archetypal form, the ovoid, is central in Deirdre McLoughlin's work. Imbued with an intense physicality and dedication to perfection of form and surface, her sculptures are layered with meaning, charged with movement, a feeling of power, a sense of purity. ‘I know a work has come to an end when an inner logic reveals itself. Her making process is slow and demanding; her pieces undergo a protracted process of polishing and multiple firings. This can last for days into weeks.The work in an instance feels right.’ 



△REDII / 2022 / High fired ceramic / 34×21×24 cm
△WATERWORK V / 2018 / High fired ceramic / 35×28×24cm

△PUSH / 2021 / High fired ceramic / 26×26×23cm



“我所知的一切都在我的作品中;但并非我总能理解自己所知。”


“Everything I know is in my work; I don’t always understand what I know.”



△LANUS / 2022 / 22×21×10cm(左)

△RED / 2022 / 29×25×24cm(右)

△HOPE / 2022 / 30×20×30cm(左)

△WATERWORK II / 2018 / 35×28×24 cm(右)



“在黏土中探寻形态是我非凡的冒险之旅。在创作的过程中,我深刻地体验着生命的韵律。”


“Finding form in clay is my great adventure. In working I am living deeply.“




△WATERWORK IV / 2018 / 35×28×24cm

△NAUGHT / 2021 / 17×17×23cm



内容策划 Content Planning Dinz Lin / 新媒体编辑 Social Media Editor 李薇 Vv Li / 美术编辑 New Media Designer 陈慧 Chen Hui / 文案撰稿 Content Writing 李薇 Vv Li / 翻译 Translation 李薇 Vv Li


视觉设计Design 钉子工作室 Dinz Studio /  陈慧 Chen Hui 陈植贤 Again


特别感谢 Special Thanks Deirdre McLoughlin