椴木木雕，美国 / Stefanie Rocknak

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Appreciation towards Stefanie Rocknak for providing the following description:

Stefanie Rocknak是一名杰出的女性雕塑家，同时她也是纽约Hartwick大学的教授。从小在美国长大的她，在经历了欧洲之旅后便被欧洲传统经典大理石雕塑所震撼，特别是三大巨头米开朗基罗，Dontatello和贝尔尼尼的雕塑让她印象最为深刻。回到美国后，她因为木材的温暖和不可预测性而选择其作为她的雕塑媒介，发出她冷静，自我，审视，回望历史却又创新突破的观念。

Stefanie Rocknak最近的作品主要采用椴木雕刻，每组都仿佛具有灵魂，它们只是被瞬间冻结上了：游泳者的速度感，运动感，以及水花的溅射如此栩栩如生；国王低头望向手，他沉思什么？眉头紧锁望向一边的女王看见的是什么？创作灵感来自莎士比亚十四行诗的暗夜无边，抱头的人被什么所困，是爱、性欲、死亡还是时间？

一瞬的永恒，跨越过去与现在。

 

泳者
the swimmer 

 

女王
the queen 

 

国王
the king 

 

暗夜无边
ghastly nights 

ABOUT STEFANIE ROCKNAK

Philosophy Professor at Hartwick College, in Oneonta, NY, USA

Professor Rocknak majored in American Studies and Art History and minored in Painting at Colby College. She received her Ph.D. in Philosophy from Boston University. She specializes in David Hume and the philosophy of art. Her work has appeared in a number of journals and books, including Brain and Mind, Hume Studies, The Journal of Scottish Philosophy and The Humean Mind.

 

ABOUT STEFANIE ROCKNAK’S WORK

Steff Rocknak: Figurative Wood Sculpture

Although I was born and raised in the United States, there is no doubt that my sculpture has been significantly influenced by my trips to Europe. In fact, having been trained as a painter, I may not have started sculpting had it not been for the semester I spent in Rome in 1987梠r at the very least, it may have taken me longer to realize that I prefer three dimensions over two. While there, I was especially impressed by traditional marble sculpture, particularly, the work done by three classical giants: Michelangelo, Dontatello and Bernini. But never once did Intertain the (currently popular) idea that their work is superficial, trivial, or even trite, primarily because it has been so popular, particularly with the masses. So, quite content with the vulgar appeal of representational sculpture, I returned to the U.S. and began working in wood, which was the only medium available to me; I made George at this time. But in the back of my mind, I was certain that I would eventually work in some kind of stone. However, over the next few years, I grew attached to the warmth and unpredictability of the wood. I was hooked.

……

Finally, as a philosopher, let me return to my initial comments about the marble-carving giants, i.e. Michelangelo, Bernini, Donatello; particularly, my remarks concerning their popular appeal. I have to confess that I am very suspicious (if not occasionally contemptuous) of gratuitous intellectual complexityn affliction that plagues academia as well as the art world. As a result, some, but certainly not all, conceptual art leaves me cold. So my figures, quite intentionally, are immediate and obvious; ideally, they do not need a theory to do their talking. And that precisely why I haven spun out a theoretical artist statement here, but instead, indulged myself in an autobiographical account of my favorite influences. Eventually, I hope to crawl out from under all of them, but not in attempt to destroy the past, or to ignore it, but instead, to absorb it in a way that makes it my own.

 

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