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尼古拉斯·怀特当代艺术

拓印1.59W

现代的花园趣A4水墨水彩纸

我切换开关上的A4油墨我对水的颜色纸

在墨盒Pileotech A4油墨

在抹布纸Technomess 80x75cm墨汁Nicholas Wright尼古拉斯·怀特

h(°1980,Nottingham, United Kingdom) makes drawings, paintings, collages andinstallations. H（°1980年，诺丁汉，英国），使素描，绘画，拼贴画和装置。

Bydemonstrating the omnipresent lingering of a 'corporate world', hisdrawings references post-colonial theory as well as the avant-gardeor the post-modern and the left-wing democratic movement as a formof resistance against the logic of the capitalist marketsystem.通过展示一个“企业世界”的无所不在的缠绵，他的绘画引用后殖民理论以及前卫或后现代和左翼民主运动为抵抗反对资本主义市场的逻辑形式制度。

Hisdrawings establish a link between the landscape's reality and thatimagined by its conceiver.他的图画建立景观的现实，其构想者想象之间的联系。Theseworks focus on concrete questions that determine ourexistence.这些作品侧重于确定我们的存在具体问题。 By exploring the concept of landscape in anostalgic way,通过探索景观的怀旧方式的概念，

heconsiders making art a craft which is executed using clear formalrules and which should always refer to socialreality.他认为艺术创作是用明确的正式规则，哪些应该总是指社会现实执行的手艺。

Hisworks are notable for their perfect finish and tactilenature.他的作品是著名的为他们的完美的句号和触觉性质。 This is of great importance and bears witness togreat craftsmanship.这是非常重要的，并见证了伟大的工艺。 By focusing on techniques and materials, heinvestigates the dynamics of landscape, including the manipulationof its effects and the limits of spectacle based on our assumptionsof what landscape means tous.通过专注于技术和材料，他调查景观的动态，包括其效果的操纵和奇观根据我们的对我们意味着什么风景假设的限制。Ratherthan presenting a factual reality, an illusion is fabricated toconjure the realms of ourimagination.而不是呈现一个真实的现实，一种幻想是捏造召唤我们想象的境界。

Hisworks demonstrate how life extends beyond its own subjective limitsand often tells a story about the effects of global culturalinteraction over the latter half of the twentiethcentury.他的作品展示如何生活超出了其自身的主观限制，往往讲述了一个关于全球文化互动优于后者在二十世纪上半叶的影响的故事。

That'swhat a computer says about me in international English, worryingwhat a marketing tool can create isn'tit?这就是一台电脑说，关于我在国际英语，担心什么营销工具可以创建，不是吗？

I prefer:我喜欢：

I amcurrently engaged in a long term project based on the media, Thework conveys my personal concern for the way the media around usmanipulates and controls thepeople.我目前从事基于媒体一项长期的工程，这项工作表达我个人的关心我们周围的媒体操纵和控制人民的方式。We donot need half of what we areinfluenced我们不需要什么的一半，我们的影响

to buy,for the benefit of the few.买，对于少数人的利益。 I am not anti capitalist simply antigreed.我不是反资本主义的根本防贪婪。 My current practice ismostly我现在的做法是多

basedaround the idea of taking a commercial medium such as illustrationand subverting and scaling it to a sizeso基于周围的服用市售培养基如插图和颠覆和它缩放到一个大小这样的想法

as tomake it completely useless for its originalpurpose.为使其原来的目的是完全无用的。 Taking the control back to the creator and allthe while以控制返回给创造者和所有的同时

pokingfun at television and the media obsessed world we livein.调侃电视和我们所处的媒体世界的痴迷。

绘画作品

拼贴作品

在一个侧面说明我最初开始创作此片的一边想着信息战的想法。 That the internet allows the people tocommunicate far more freely than the governing bodies of the worldwish. ，互联网让人们远远高于世界的愿望的理事机构更多的自由交流。 This was before the current (december 2010)outcry and witch hunt for the creator of wiki-leaks a site Ibelieve is probably one of the greatest step forwards in humanitiesstruggle against oppression by the over privileged simplyabout information about how all of it should be free, and yet abattle for the very information we crave because of the internetand the digital revolution is being waged silently betweengovernments and the public, remember what they tell you isdangerous to public safety is usually just an inverted way ofsaying its dangerous to their ownsafety.这是目前（2010年12月）强烈抗议和政治迫害的创建者之前，维基泄密反抗压迫的一个网站，我相信可能是最伟大的一步向前人文的一个奋斗的过特权单纯是怎样的所有信息它应该是免费的，但因为互联网和数字革命的争夺战，我们渴望的非常信息正在悄悄发动政府和公众之间，常常记得他们告诉你什么是危害公众安全是通常只是一个倒置的方式的说法其危险自己的安全。