高级平替-不锈钢的维多利亚时代 | Ben Dory 「艺术访谈」
欢迎来到木牙Make Unique Young Arts，和我们一起探索科学与情感之间的联系以及可以佩戴的维多利亚时代～～
组成物质的最基本单位是原子(atom)。 一个原子包含着一个原子核和一些围绕着原子核高速运动的电子。 在原子核中又有质子和中子。 ... 原子也一样，许多原子结合在一起形成的原子团叫分子(molecule)。—— 维基百科
点成线，线成面，点是几何中最基本的组成部分。 在通常的意义下，点被看作零维对象，线被看作一维对象，面被看作二维对象。 点动成线，线动成面。 任何一门艺术都含有它自身的语言，而造型艺术语言的构成，其形态元素主要是：点、线、面、体、色彩及肌理等。—— 百度百科
The most basic unit of matter is the atom. An atom contains a nucleus and some electrons moving around the nucleus at high speed. In the nucleus there are protons and neutrons. . The same is true of atoms, many of which are joined together to form a group of atoms called molecule. -- Wikipedia
Points form lines, lines form planes, and points are the most fundamental building blocks of geometry. In the usual sense, a point is considered a zero-dimensional object, a line is considered a one-dimensional object, and a surface is considered a two-dimensional object. A point moves into a line, and a line moves into a plane. Any art contains its own language, and the form elements of plastic art language are mainly point, line, plane, body, color and texture. -- Baidu Baike
The composition of matter in science and the dots, lines and planes in art seem to be two unrelated phenomena. But is it really so? With the frequent occurrence of cross-domain, this boundary is gradually blurred. And the idea already exists. We invited Ben Dory to MUYA to take us into the Victorian era of jewelry.
Ben Dory是一位艺术家和当代首饰金属匠，最初来自堪萨斯州堪萨斯城。 Dory于2014年在堪萨斯大学获得金属加工/珠宝学士学位，并在伊利诺伊州南部大学Carbondale获得了金属锻造硕士学位。在保持工作室实践的同时，Ben探索了艺术领域的各个领域，包括工作室技术员工作，产品设计，非营利组织编程，以及讲习班的指导。Dory最近刚刚在阿拉斯加州小石城的Windgate艺术与设计中心结束了为期3年的常驻艺术家职位。
Ben Dory is an artist and metalsmith originally from Kansas City, KS. Dory received his BFA in Metalsmithing /Jewelry from the University of Kansas and his MFA in Metalsmithing from Southern Illinois University Carbondale in 2014. While maintaining his studio practice, Ben explored various disciplines in the arts, including studio technician work, product design, nonprofit programming, and workshop instruction. Dory recently completed a 3-year artist-in-residence position at the Windgate Center of Art + Design in Little Rock, AR.
Ben Dory is fascinated with the how of granulation, an ancient technique where small, primarily gold spheres are fused together using a torch or kiln. How do spheres of various sizes fit together and form simple, repeatable structures?
Dory is a pioneer of the stainless steel granulation technique and uses special machines to individually micro-weld the steel granules together and onto a base surface. His work both honors the tradition of granulation and breaks from it. His work begins by following certain geometric guidelines, but his creativity is not constrained by them.
According to Dory, “as the granules move away from vertical stacking and onto curved surfaces, the rules bend…” and previously finite strategies blossom with potential. As Dory explores the possibilities, his style shifts from scientific and molecular to emotive and ornate, reminiscent of the Victorian era with all its flourishes. Dory relishes the exacting and inspiring challenge that granulation presents today’s artists.
➤ 木牙MUYA: Ben可以详细的解释一下是如何用不锈钢粒（Simplistic yet descriptive, stainless granulation）来认识工艺历史并反思周围系统的复杂性的呢？
“Simplistic yet descriptive, stainless granulation is a way for me to recognize craft history while reflecting on the complexity of systems that surround me.” – BEN DORY
Could Ben explain in detail how to use simplistic yet descriptive, stainless granulation to understand the process history and reflect on the complexity of the surrounding system?
When thinking about the structures that granulation creates, nesting spheres that form pyramids and tetrahedra as the basic units, I’m amazed that these humble shapes can create such ornate and beautiful patterns when repeated. Since my approach to stainless granulation is much quicker than the traditional methods, I’m able to explore and experiment with a large variety of patterns. I think about artists and jewelers throughout history working to execute the same pattern with traditional jewelry techniques. As an extension of that thought, I’m reminded of the time, skill, and discipline that craft demands in the creation of objects - often by anonymous workers throughout history.
Reflecting on the systems around us, I find it overwhelming to try to comprehend the enormous amount of moving parts that create any given system, whether it is governmental, emotional, racial, educational, economic… To help with this feeling, I break down the larger components into simpler, manageable ideas, motives, or building blocks. This is a process I use to try to understand the difficult complexities of the world. Much like the process of granulation, basic beginning structures build into intricate systems.
➤ 木牙MUYA: 可以从艺术或美学的角度，简要谈谈，在材料使用方面，不绣钢和银之间呈现的效果有怎么样的不同吗？
Could you talk about, as an artistic or aesthetics viewpoint, what the difference in material is between stainless and silver?
While they can be visually similar, each represents very different environments and moods. Both can represent materials of utility - household items such as flatware, cups, and platters, but, especially now, true silverware and household goods imply a specialized taste, economic status and skilled labor. Stainless, on the other hand, is almost ubiquitous - so much that in using it, I don’t know if we consider how or where it was made. Silver is wonderfully malleable, moving and cutting easily with simple tools. Stainless is, simply, hard to work with. Most of my forms require a hydraulic press and specially hardened cutting tools.
When we think about both materials in terms of jewelry, silver could traditionally be considered the introductory metal for higher quality pieces. Of course, this notion is continually challenged everyday with so much exploration and experimentation with new materials and methods. Stainless jewelry often has a swagger to it - which may come from big curb chains or piercings. It is industrial, non-traditional, and counter cultural. In fine- and art jewelry, stainless is not seen much outside of pin backs and findings. I love the challenge of presenting a material outside of its expected context.
➤ 木牙MUYA: Ben将不锈钢粒作为最主要的作品灵感来源或者说是一定会使用的材料。不锈钢粒更是成为了Ben的一种标志，Ben是怎么理解这件事情的呢？拥有自己的专属标志是好是坏？
Ben takes stainless steel grains as the main source of inspiration for your works, or a material you will definitely use. Stainless steel grains have become a symbol of Ben. How does Ben understand this? Is it good or bad to have your own exclusive logo?
This is a great question that ties into thinking about systems. Once a system begins to be sustained, it can be hard to extract yourself (or its components) from it. Finding a unique voice or style represents a long term commitment to a studio practice, involving a great amount of experimentation and failures along the way. I am very content to be associated with a specific style and approach. With that, I’m looking forward to taking risks and experimenting with more techniques and materials.
➤ 木牙MUYA: 风格不是一天形成的，Ben是在什么时间发现自己对于不锈钢粒有着不同的认知？在什么时期（本科，硕士）有了自己的风格？是否有以前完全不同风格时期的作品图片作为对比?
Style is not formed in a day. When did Ben find that you had a different perception of stainless steel grains? When (undergraduate / master / others) did you have your own style? Are there pictures of works from previous periods with completely different styles for comparison?
The stainless granulation process started to take shape in 2016. This was a thrilling time because I had never seen the look of granulation executed in stainless steel. After graduating with a master’s degree in 2014, my work making books had run its course, and I wasn’t convinced that the direction I was heading with steel jewelry was something I wanted to sustain. On a whim and with some deductive leaps, my process for stainless granulation came about. Older work is documented on my website, going back to when I was making sculptural steel forms in graduate school.
➤ 木牙MUYA: 在当下的时代，越来越多自主品牌和设计师独立品牌的优秀设计产品流入市场，对于Ben而言，如何看待作品作为产品的形式在市场进行售卖的这件事情呢？
Nowadays more and more excellent products of designer independent brands are flooding the market. For Ben, how do you view the work being sold in the market as a form of products?
In the upcoming years, I want to strike a balance between production, limited runs, custom pieces, and exploratory work. On one hand, I want to make more affordable work that can be enjoyed by a wider audience. On the other, commission and one-of-a-kind pieces are exciting and create a personal connection with the buyer.
There is also the chance that exploratory work will never sell, but those are often sent to exhibitions, taking the form of a type of research. The similarity with all of these approaches is that I will always have a hand in the making of each object. Something like mass production does not sound appealing at this time. Jewelry lives in a unique area where it can be both a wearable commodity and a stand alone art object. If we are saying that a product is a repeated design meant for retail, I am ok with that, but I do separate that work from larger, more complex pieces.
➤ 木牙MUYA: Ben的首饰作品有戒指，胸针还有项链，在您进行不同类别的首饰作品设计的时候，有因为最终输出的产品类别而对设计（大小，造型等）存在限制吗？又是怎么巧妙解决这样的局限性呢？
Ben’s jewelry works include rings, brooches and necklaces. When you were designing different kinds of jewelry, were there any restrictions on the design (size, shape, etc.) due to the final product category of output? And how do you solve such limitations in general?
Brooches are one of the most open and fun formats in which to work. They need to be pinned on, but the where and how is completely up to the artists. I think about brooches more as a blank canvas, and it is in this format that many experiments with new materials emerge.Rings and necklaces require that the piece works with the human anatomy much more specifically. With all of that said, I enjoy making each type of jewelry equally.
Especially with rings, I like to push how large they can become and still be comfortably (perhaps not practically) worn. I want the mechanisms to be easy and convenient to use, so much that necklaces now are often big enough that a clasp is not needed, and when they are, a simple hook will suffice. Shapes for each format are simple prisms and hydraulically formed cushion shapes. Overall, I want the wearer to feel that they have a statement piece on, always aware of the form on their body while projecting a certain outgoingness or gregariousness to others.
➤ 木牙MUYA: 在Ben的网站上看到了您的雕塑书籍，做的精致又可爱，像小小的积木，可以与我们分享下在设计首饰和设计书籍装帧的不同经历中，有哪些相似或互相借鉴的地方吗？
We saw your sculpture book on your art website. It is delicate and lovely, like a small building block. Could you please share with us the similarities or mutual references in the different experiences of designing jewelry and book binding?
Thank you. That body of work came about when I realized I could no longer effectively work with carbon steel or in a smithy due to some health concerns. That knowledge started the process of looking for alternative ways to maintain my creative path with metalwork. From steel, I transitioned from aluminum in the books to titanium jewelry and then to the stainless jewelry now. In the books, you can see repeated patterns and systems that are echoed in my jewelry. I’ve always sought to find a repeatable or modular way of working, and the books were no different. After the noise and dust of a smithy, bookbinding is clean, quiet and often meditative. These working qualities are continued today in the studio. Books also share a personal intimacy with jewelry - these are objects that are held close, sharing space with the body over long periods of time. Finding connections between disciplines, media, and processes is something I find incredibly rewarding.
➤ 木牙MUYA: 作为一个职业的当代首饰艺术家，对于Ben来说需要具备哪些的能力？（从技术，思想，身体等）在这其中什么样的品质又是Ben最看重的呢？
As a professional contemporary jewelry artist, what abilities does Ben need to possess? (From technology, mind, body, etc.) What kind of qualities does Ben value most?
I value curiosity, tenacity, and persistence to a great degree. With these, my studio practice continues to evolve, and a steady stream of inspiration motivates me everyday. A sense of determination encourages me to get to work. Those represent attitudes that I believe to be essential, but other factors are so important such as an awareness of developing technologies and processes. In these I look for new efficiencies and approaches that can help in the studio. Risk also plays a large role while designing new work. Risk can also mean challenging yourself mentally, working to overcome barriers that I have internally created.
“I have a modest proposal: let’s all try to cultivate our material intelligence. By this, I mean literacy in the physical world: the ability to understand it, just as someone who reads English can understand this sentence. If we can anchor ourselves in this way, attending closely to the objects near to us, we might just be able to regain our bearings, despite the complicated flux of 21st century life.” Glenn Adamson from The Case for Material Intelligence
✤ 邮箱（Contact Email): Benjamindory@gmail.com