| 莎拉?盧卡斯（Sarah Lucas）
莎拉?盧卡斯1962年生于倫敦，1982-1983年在倫敦的工人學(xué)院學(xué)習(xí)，1983-1984年在倫敦版畫藝術(shù)學(xué)院學(xué)習(xí)，1984-1987年就讀于倫敦哥德史密斯學(xué)院。目前在倫敦生活和創(chuàng)作。
盧卡斯得作品主要集中于對(duì)性別的表現(xiàn)。她利用多種媒介進(jìn)行創(chuàng)作，比如攝影、拼貼以及雕塑等，并且把日常生活里的材料用于作品之中。
她的作品也大部分建立在自我表現(xiàn)上。《自畫像系列》[Self-Portrait Portfolio]囊括了她1990年到1998年間創(chuàng)作的很多肖像作品，她頻繁地使用食物或是日常用品，作為一種對(duì)靜物的隱喻。每幅作品中，盧卡斯都用可笑的場(chǎng)景來戲弄觀眾。她在性別主題上作文章，除了讓觀眾重新審視自身對(duì)兩性角色的看法以外，也揭示了英式幽默里令人不安的東西，盧卡斯的作品具有某種自然狀態(tài)下的活力，帶著對(duì)峙的感覺，她常常對(duì)男性姿態(tài)進(jìn)行一種滑稽模仿，使作品以其另類的幽默讓觀眾覺得既有些氣惱又很好笑。
盧卡斯的另一個(gè)主要興趣，是通過雕塑來拓展這種自我表現(xiàn)力。而名稱也是構(gòu)成作品含義的一個(gè)重要組成部分，比如《Donkey-Kong-Diddle-Eye》（2000），這個(gè)名字結(jié)合了一個(gè)電腦游戲的名稱和一首英國童謠里的擬聲句，從一開始就表達(dá)了一種輕松愉快的氛圍。作品的主題仍然是兩性。一張沙發(fā)背分成了兩部分，就像性別的分類一般，作品通過使用照明材料區(qū)分兩性：一個(gè)雙泡代表女性，一根霓虹燈管則代表男性。整個(gè)作品看起來就像是以貧乏的材料不經(jīng)意間做成的組合，但實(shí)際上表達(dá)的卻是對(duì)當(dāng)前性別及其劃分的一種看法，換句話說，它們坐落在沙發(fā)對(duì)立的兩側(cè)，從而表現(xiàn)了性的劃分。同時(shí)，這個(gè)作品也巧妙地映射了大眾媒體對(duì)人們生活的操作，即人們樂于待在家里，坐在沙發(fā)上看電視。
Sarah Lucas was born in London in 1962. She attended the Working Men’s College, London, 1982-3, the London College of Printmaking, 1983-4, and Goldsmiths College, London, 1984-7. She lives and works in London.
Lucas’ work is centred around gender representation. Working across several media such as photography, collage and sculpture, she often uses everyday materials in her works.
Her work is also very much based around self-representation. Her Self-Portrait Portfolio encapsulates many of the iconic works made during the period 1990-1998, frequently using items of food or everyday objects as metaphoric still-lives. In each of these, she teases the viewer with comical situations. Playing on sexual themes, she reveals uncomfortable aspects of British humour, in addition to asking the viewer to re-assess their judgement of gender roles. Her work always has a certain raw energy, it is confrontational as she often impersonates masculine poses with travesty, and its wry sense of humour leaves the viewer both provoked and amused.
Another major interest is the extension of self-representation through sculpture. Titles also play an important part in the work’s meaning as in Donkey-Kong-Diddle-Eye (2000), which is an amalgamation of a computer game’s title and an onomatopoeic line taken from an English nursery rhyme - the work proclaims its light-heartedness from the onset. Playing on gender stereotypes a sofa is divided in two, like the division of the sexes with gender underlined by the use of lighting materials, a double lamp for the female half, and a neon tube for the male. The work looks like a casual assembly of poor materials, but is a comment on current sexuality and the gender divide, in other words sitting on opposite sides of the couch. It is also a sly observation about subservience to the mass media, or being happy to stay at home and to sit on the sofa. |
