理查德?迪肯（Richard Deacon）

(1984年獲“透納獎(jiǎng)”提名，1987年獲得“透納獎(jiǎng)”)

生于1949年

威爾士雕塑家。1980年，他開始創(chuàng)作一系列金屬和木頭薄板的簡單機(jī)體形狀，表面與結(jié)構(gòu)相一致。迪肯認(rèn)為他自己是一個(gè)制作者，而不是一個(gè)建造者，他利用未經(jīng)加工成型的基本材料制作雕塑，通過比喻的方法來探索語言和感覺決定的人類體驗(yàn)。雖然迪肯創(chuàng)造的形狀從表面看來是抽象的，但是他卻通過富有含義的命名來體現(xiàn)作品對(duì)身體的比喻和收集信息的方法，例如《親眼所見（The Eye Has It）》”（1984，倫敦，ACGB；見于England, fig. 34）。迪肯不斷拓寬他的語言表達(dá)和選取材料的范圍，例如，在“《男孩和女孩（Boys and Girls）》”（1982，倫敦，英國文化協(xié)會(huì)）中加入了乙烯樹脂和層壓木板。他由此創(chuàng)造了更深刻更復(fù)雜的比喻含義，形成了極為靈活多變的個(gè)人風(fēng)格。

Richard Deacon

(nominated for Turner Prize in 1984 / won in 1987)

born 1949

Richard is a Welsh sculptor. In 1980 he began making a series of sheet metal and laminated wood sculptures in simple organic shapes, their surfaces congruent with their structure. Deacon considered himself a fabricator rather than a constructor and used unformed basic material to make sculptures that explored, by the use of metaphor, ideas that defined human experience through language and the senses. Although the forms devised by Deacon were fundamentally abstract in appearance, this metaphorical reference to the body and its methods of gathering information was alluded to in idiomatic titles such as The Eye Has It (1984; London, ACGB; see England, fig. 34). As Deacon widened both his vocabulary and his range of materials, incorporating, for instance, vinyl and plywood into Boys and Girls (1982; London, British Council), so he increased the depth and complexity of metaphor into a highly flexible personal idiom.