布魯斯‧亞連 Bruce Allan

藝術家簡歷：

畢業於英國貝斯藝術學院雕塑系在英國以及其他各國有非常豐富的展出經驗，如亞美尼亞、德國、喬治亞、日本、波蘭、瑞典、俄羅斯等國都可以看到他的作品。與高加索藝術家也有連結。2004年，布魯斯‧亞連擔任亞美尼亞國當代藝雙年展邀請策展人，策展可攜帶作品於糾恩禮城。

Experience：
Bruce Allan has exhibited widely in Britain and abroad. His work has been seen in Armenia, Germany, Georgia, Japan, Poland, Sweden and Russia. Particular links have been made with artists in the Caucasus. In 2004 Bruce was a guest curator for portable works to the 4th Gyumri International Biennale of Contemporary Art, Armenia.

作品名稱：視覺策略
Title：Optical Devices

作品年代 Year：2004

媒材尺寸或裝置方式：用花盆與三腳架組合而成的造型放置在裝置在花園中
Material, Size, Setting：plant pots, camera tripods on the garden

創作自述或自述說明：

我想藉著在台灣參展的機會，聚焦於自然環境，並藉此提供沉思與幻想。

今年年初，我在英國包頓花園「好奇者與好奇者」的展出中，我用小花盆作成視覺裝置，不用鏡頭與觀景窗去攫取張力十足的影像，我要的是事物正常的樣子。當時我說：我用小花盆圍繞著花園而不用相機，放在我喜歡的植物上方，透過花盆底的孔看花園，這個觀點是一個奇想，它是如此的好笑，花盆是用來栽培植物的，不是為了看。然而，觀看中的植物，卻變成了作品了。

在我的實作中，主要考慮的是我們如何看世界，這個觀看通常是經過語言而形成，但裝置或表演是從場所、時間和記憶所造成的，作品經牽涉到行為。觀者被看成是作品的一部份，是促使事情發生的原動者，他使作品活起來。

Comments：

Optical Devices

My intention is to use the opportunities afforded in Taiwan to focus on natural phenomena that offer a chance for reflection and reverie.
Earlier in the year, for curiouser and curiouser at Bourton House Garden, Gloucestershire, UK I used a plant pot as an optical device. Eliminating peripheral vision and focussing on an object without the use of a lens allowed framing to take place that brought an intensity of vision not found when the same object is viewed normally. At the time I wrote:
"I wandered around the garden with a plant pot rather than a camera and came upon three plants whose roundness I liked. The idea of looking at the garden through a plant pot is a conceit. There is something absurd about this: plant pots are for growing plants in, not for looking through. The name of the plant (in view) becomes the name of the work."
A central consideration in my practice is how we view the world, and how that view is informed and accessed through language. Installations and performance may be made in response to place, time and memory. Work made in situ often involves a performative aspect. The viewer is seen as a component and vital agent who animates the works.