Shaun Gladwell

Shaun Gladwell, Pacific Undertow Sequence (Bondi), 2010, video still: HD video, 11:21 minutes, 16:9, colour, stereo sound. Videography: Josh Raymond. Image courtesy the artist & Anna Schwartz Gallery

Profile: Shaun Gladwell

Shaun Gladwell critically and poetically links personal experience with contemporary culture and historical references through performance, video, painting, photography and sculpture. His works engage these concerns through forms of urban expression such as skateboarding, hip-hop, graffiti, BMX bike riding, break-dancing and extreme sports.

Gladwell grew up in Sydney’s western suburbs and has a background as a competitive skateboarder and street artist. After graduating from Sydney College of the Arts in 1996, Gladwell became a founding member of Imperial Slacks artists collective and quickly gained a reputation as one of Australia’s leading contemporary artists. His earlier video works Storm Sequence (2000) and Pataphysical Man (2005) are now iconic examples of Gladwell’s slow-motion cinematography.

Gladwell’s videos portray seemingly casual feats of physical coordination, grace, and endurance by him and other[s]…Yet, the easy grace of these movements belies their intrinsic, complex motivations.[1]

Gladwell completed Associate Research at Goldsmiths College, London, in 2001 and has since undertaken international residencies and commissions in Europe, North and South America, and the Asia Pacific. In 2009 Gladwell represented Australia at the Venice Biennale and travelled to Afghanistan as the official Australian War Artist. Recent group exhibitions include On Apology, Wattis Institute, San Francisco, USA, 2012 and The Power of Doubt, Guangdong Times Museum, China, 2012.

In The Floating Eye Gladwell’s video work, Pacific Undertow Sequence (Bondi) (2010), continues an ongoing inquiry in the artist’s video practice, to present a pictorial inversion that calls into question our perception of space and its physics.

Shaun Gladwell是一位多媒体艺术家,其创作将个人经验与现今文化现象和历史沿革透过表演,影像,绘画与雕塑结合。他透过滑板,嘻哈,涂鸦,街舞极限运动 等街头文化来探讨他所关注的议题。他称他的录像创作为”演艺图像” Gladwell利用专业的摄影功法捕捉高难度的演出,吟咏速度与空间交互穿梭於时间洪流的诗篇。

Pacific Undertow Sequence (Bondi)延续了Gladwell以往的影像创作风格,以探讨我们对於空间与物理的主观感知。影片开头,全蓝的画面我们看见一个冲浪客独坐在他的浪板 上随着海波静静的摆动着,才发现他并不是在海面上而是坐在海面下    ,原本看似静谧悠闲的影像背後其实是在静止来自强大的意志与力量以反抗地心引力和暗洮汹涌。被白浪吞没的瞬间是灭顶还是解放的一口气只在一念的转换之间。 Gladwell确实被大海的无限给吞没其中,所有湛蓝的美丽所有的恐惧完完全全的包覆了他。从这样颠倒反转的视角更是清楚的显现了自然的无限力场。

虽 说这片无名的水体有可能是地球上任何一片海滩,Gladwell特别在题目中点出这是雪梨知名观光胜地邦黛海滩(Bondi Beach)。Bondi在当地原住民语中意思是“海浪打在石头上的声音“。影片中的背景音乐将浪涛拍打的声响与实验性电子音乐结合,在音轨的回路中我们 看见那孤独的冲浪客不断隐没再现於白沫和震耳的海涛生中。

[1] Nicholas Croggon and Charles Green, Shaun Gladwell: Critique, Gesture, and Skateboarding, 2011.

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