尼古拉斯·懷特當代藝術

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在抹布紙Technomess 80x75cm墨汁Nicholas Wright尼古拉斯·懷特

h(°1980,Nottingham, United Kingdom) makes drawings, paintings, collages andinstallations. H（°1980年，諾丁漢，英國），使素描，繪畫，拼貼畫和裝置。

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.通過展示一個“企業世界”的無所不在的纏綿，他的繪畫引用後殖民理論以及前衛或後現代和左翼民主運動爲抵抗反對資本主義市場的邏輯形式制度。

Hisdrawings establish a link between the landscape's reality and thatimagined by its conceiver.他的圖畫建立景觀的現實，其構想者想象之間的聯繫。Theseworks focus on concrete questions that determine ourexistence.這些作品側重於確定我們的存在具體問題。 By exploring the concept of landscape in anostalgic way,通過探索景觀的懷舊方式的概念，

heconsiders making art a craft which is executed using clear formalrules and which should always refer to socialreality.他認爲藝術創作是用明確的正式規則，哪些應該總是指社會現實執行的手藝。

Hisworks are notable for their perfect finish and tactilenature.他的作品是著名的爲他們的完美的句號和觸覺性質。 This is of great importance and bears witness togreat craftsmanship.這是非常重要的，並見證了偉大的工藝。 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.通過專注於技術和材料，他調查景觀的動態，包括其效果的操縱和奇觀根據我們的對我們意味着什麼風景假設的限制。Ratherthan presenting a factual reality, an illusion is fabricated toconjure the realms of ourimagination.而不是呈現一個真實的現實，一種幻想是捏造召喚我們想象的境界。

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觀限制，往往講述了一個關於全球文化互動優於後者在二十世紀上半葉的影響的故事。

That'swhat a computer says about me in international English, worryingwhat a marketing tool can create isn'tit?這就是一臺電腦說，關於我在國際英語，擔心什麼營銷工具可以創建，不是嗎？

I prefer:我喜歡：

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.我目前從事基於媒體一項長期的工程，這項工作表達我個人的關心我們周圍的媒體操縱和控制人民的方式。We donot need half of what we areinfluenced我們不需要什麼的一半，我們的影響

to buy,for the benefit of the few.買，對於少數人的利益。 I am not anti capitalist simply antigreed.我不是反資本主義的根本防貪婪。 My current practice ismostly我現在的做法是多

basedaround the idea of taking a commercial medium such as illustrationand subverting and scaling it to a sizeso基於周圍的服用市售培養基如插圖和顛覆和它縮放到一個大小這樣的想法

as tomake it completely useless for its originalpurpose.爲使其原來的目的是完全無用的。 Taking the control back to the creator and allthe while以控制返回給創造者和所有的同時

pokingfun at television and the media obsessed world we livein.調侃電視和我們所處的媒體世界的癡迷。

繪畫作品

拼貼作品

在一個側面說明我最初開始創作此片的一邊想着信息戰的想法。 That the internet allows the people tocommunicate far more freely than the governing bodies of the worldwish. ，互聯網讓人們遠遠高於世界的願望的理事機構更多的自由交流。 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.這是目前（2010年12月）強烈抗議和政治迫害的創建者之前，維基泄密反抗壓迫的一個網站，我相信可能是最偉大的一步向前人文的一個奮鬥的過特權單純是怎樣的所有信息它應該是免費的，但因爲互聯網和數字革命的爭奪戰，我們渴望的非常信息正在悄悄發動政府和公衆之間，常常記得他們告訴你什麼是危害公衆安全是通常只是一個倒置的方式的說法其危險自己的安全。