雜食且形式豐富──東尼‧克雷格的雕塑研究

Omnivorous and Rich in Forms-The Research of Tony Cragg's Sculptures

東尼．克雷格的雕塑創作豐富多變，學生時期正逢當時義大利貧窮藝術當道的年代，這種藝術觀念強調以基本的、「貧窮」的材料為媒介，只有靠雕塑家的雙手進行些微修整，而這樣的精神與他的創作取向不謀而合。雖然當時他選讀的是平面繪畫系，但仍然流露出濃厚的雕塑語彙，以類似偵訊式、類科學式的作法來將海邊拾集的物件分門別類、分裝成袋，並接納更廣泛、更無設限的材質種類。本文剖析克雷格自少年時的科學領域的知識背景積累，對他後來的各種材料與技術發展關係，藝術創作中能運用科學式的思考豐富想像力、創造力的藝術家並不常見，藝術家以媒材本質特性過渡到人類情感，其所強調藝術家生活所及的一切皆是媒材。他以資訊「氣球」特殊的比喻著材質與物件，他認為自然材質如木材，已經是一個非常飽滿的氣球，而工業社會生產的現成物中，挾帶的資訊則相對貧乏，像塑膠這樣的材料已在藝術創作領域成為一種被認可的使用材質，這樣的氣球仍舊相對不飽滿，那顆綁在塑膠上的「關係與聯想的氣球」有一部分觸及了塑膠具有人造與功能主導的本質，因此，就某種程度而言，它是使用者的具形表現，這樣利用現成物的創新思考與華特．班雅明在機械複製年代的藝術作品中，所探討的現成物複製品有異曲同工之妙。

The sculpture art of Tony Cragg is abundant and rich in diversity. While Cragg was studying art, Arte Povera, which focused on using simple objects and throwaway materials, furthermore, only trimmed slightly by sculptors, was dominant. The concept of Arte Povera tracked with Cragg's creative orientation. Although Cragg was studying painting at the time, he then showed a strong sculptural spirit. Cragg collected and sorted out the finds on the shores of the sea with the detective method , according to a scientific scheme of classification. Additionally, he opened up to wider as well as boundless materials. The thesis analyzes the relationship between Cragg's early scientific background and his ability to respond to the forms in his sculptures while in the process of making them. It is uncommon that artists work with scientific thinking in order to enrich their imagination and creation. The artist transferred the material nature to the emotions, also, emphasizing everything in life could be used as art materials. Cragg sees a material or an object as having a balloon of information around it. Materials like wood already have a very occupied balloon. The objects of our industrial society as yet have very little information attached to them, so even if something like plastic can be accepted as a valid material for use, it still remains very unoccupied. The relating and associating balloon which is tied on plastic connects with the essence of plastic, that is artificial and function-oriented. As a result, it becomes the physical manifestation of the user. The innovative thinking that comes with using found objects echoes the found objects replica which was discussed by Walter Benjamin in The Work of Art in the Age of Mechanical Reproduction.