聚焦展览 | 亚当·博伊德 | 从宝丽来到绗缝

亚当·博伊德：绘画、布料与摄影的转译

通过摄影、布料、绘画等媒介之间的转译，亚当·博伊德的创作旨在将无形之物具象化。面对照片中捕捉到的转瞬即逝的一刻的短暂性，亚当以基于纺织材料的作品作为回应，从聚酯材质上的 UV 照片打印到刺绣与珠饰工艺。一件衣物在角落处的折叠，便化作画布上的针脚；水面上的粼粼波光则通过带有虹彩效果的织物得以呈现。

Through translations between media such as photography, fabric, and painting, Adam Boyd’s work seeks to give form to the intangible. In response to the transience of a fleeting moment captured in a photograph, Boyd creates textile-based works, ranging from UV photographic prints on polyester to embroidery and beadwork. The fold of a garment in a corner becomes stitches on the canvas; the shimmering light on water is rendered through iridescent fabrics.

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亚当·博伊德 《三岔口》

绗缝和刺绣缎布、塔夫绸、手工缝制金属人造纤维绳、聚酯面料上UV印刷、喷漆、涤棉混纺、衬料和线，122 × 51.5 cm

Adam Boyd,Trifurcate

Quilted and embroidered satin, taffeta, hand stitched metallic rayon cord, UV print on polyester, spray paint, polycotton, wadding and thread,122 × 51.5 cm

从英国斯莱德艺术学院的美术硕士学位毕业以来，亚当一直在寻找机会在机构及其设施之外进行创作。他在学习期间所发展出的纺织实践，恰好幸运地能够顺利融入这一新环境。用他的话来说，这种实践方式可以灵活地在家中工作室中进行。小型织物实验在亚当的家中工作室中萌芽，并与已完成的作品一同逐渐成形。这种实践方式就这样自我演进，旧作品为新作提供灵感:从《三岔口》这一墙面作品底部延伸而出的登山绳，正向着不断发展的实验方向垂落。这是一个活跃的交叉交流场所，各种想法和流程在此相互碰撞。

Since graduating with an MFA from the Slade School of Fine Art in the UK, Adam has been seeking opportunities to create work outside institutions and their facilities. The textile practice he developed during his studies fortunately adapted seamlessly to this new environment. In his words, this way of working offers the flexibility to be carried out in a home studio. Small-scale fabric experiments take root in Adam's home studio, gradually taking shape alongside completed works. In this way, the practice evolves on its own terms, with older works providing inspiration for new ones: from the base of the wall-based piece "Trifurcate," a climbing rope descends, reaching towards this ongoing experimentation. It is a vibrant site of cross-pollination where ideas and processes intersect.

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亚当·博伊德 《星光之河》2024，226 × 130 cm

绗缝式喷墨印刷于多孔帆布上，手工编织羊毛、tatteta材料、棉布、绉缎缎带、刺绣、丝线、反光乙烯基胶带、环扣、钩子

Adam Boyd, River of Brakelights 2024,226 × 130 cm

Quilted inkjet on poly-canvas, hand felted wool, taffeta, cotton, grosgrain ribbon, embroidery, thread, reflective vinyl tape, rings and hooks

尽管亚当的作品带有某种工艺倾向，但其内容却超越了可能束缚纺织技艺的居家感范畴。这源于他对作品背后概念逻辑的执着追求，尤其是对时间观念的探讨：平行时间线及其割裂、多重宇宙。这些概念在与纺织语言的关联中有着深厚的历史积淀。因此，亚当的创作选择在此扎根，以探究现实的织物本质也就显得顺理成章。

Although Adam's work has a certain craft-oriented tendency, its content transcends the realm of domesticity that might constrain textile techniques. This stems from his dedicated pursuit of the conceptual logic behind the work, particularly his exploration of the notion of time: parallel timelines, their ruptures, and multiverses. These concepts have a deep historical foundation in their connection to textile languages. Thus, it is only natural that Adam's creative choices are rooted in this intersection, seeking to probe the very fabric of reality.

亚当正试图摆脱的以墙面为基础创作作品的倾向，部分源于他的绘画背景。在他获得 MFA 学位之前，他的创作几乎完全局限于具象油画领域，将源图像视为需要直接复制而非转换的对象。这种新的创作方式源自一种渴望——即希望创造出一种基于研究的实践，这种实践在创作过程中可以被重新构想，被视为一种能够不受控制且出人意料地发展的事物。在亚当精心雕琢的色彩与形式处理中，绘画的概念依然深深烙印于作品之中。然而，探索这些新媒介的能量却在作品的缝隙中迸发出来，绘画感伴随着一种欢愉的放纵感而得以扩展。

Adam’s inclination to move away from a wall-based practice partly stems from his background in painting. Prior to his MFA, his work was confined almost exclusively to figurative oil painting, treating source imagery as something to be reproduced rather than transformed. This new approach emerges from a desire to cultivate a research-based practice—one that can be reconceived in the process of making, and regarded as something that develops uncontrollably and unpredictably. In Adam’s meticulous treatment of colour and form, the logic of painting remains deeply embedded in the work. Yet the impulse to explore these new media erupts in the interstices, where the painterly sensibility expands with a sense of joyful abandon.

《两种断层》展览现场 

2025年，亚当博伊德受邀去往日本参加艺术家驻地，而本次展览《两种断层》中的作品正与其日本的驻地经历息息相关。这系列作品是一场由西向东的误读与物质化尝试，但也保留了之前作品中常见的冲突、荒谬、不合理感。摄影在其实践中始终居核心位置——本次回归宝丽来摄影，利用即时影像对温湿敏感的物质性，生成印象式、绘画般的色斑、渗流与纹理。博伊德从东亚地区的视觉文化与日常纪念品景观中取材：挂轴、织物、旅游纪念物等视觉经验被剥离历史语境并转译为物质事件。他以布料缝制、软雕塑化的填充、塑料夹、钥匙圈等日常物件，将影像的情绪、色调与材质印象具体化；通过镜像、复制与模块化策略，摆脱对数字影像的依赖，回归即物与手工的影像书写，使色域、纹理与抽象形式成为对场域感受的情感蒸馏。作品在东方传统表征与当代消费物件之间制造断裂，从而呈现一种既含礼仪感又被商品化记忆打断的视觉场域。

Adam's current exhibition, "Two Kinds of  Fracture," is closely related to his residency experience in Japan. This series of works is an attempt at misinterpretation and materialization from west to east. Photography has always been at the core of his practice - this time, he returns to Polaroid photography, taking advantage of the materiality of the medium that is sensitive to temperature and humidity to generate impressionistic, painting-like color spots, seepage and textures. 

Adam draws materials from the visual culture and the landscape of daily souvenirs in East Asia: visual experiences such as hanging scrolls, fabrics, and tourist souvenirs are stripped of their historical context and translated into material events. He materializes the emotions, tones and material impressions of the images through daily objects such as fabric sewing, soft-sculpture-like stuffing, plastic clips, and keychains; through mirroring, replication and modular strategies, he breaks away from the reliance on digital images and returns to the material and handcrafted image writing, making the color range, texture and abstract forms an emotional distillation of the field experience. The works create a rupture between traditional Eastern representations and contemporary consumer objects, thus presenting a visual field that is both ceremonial and interrupted by commercialized memories.

这件作品得名于日语词汇“Sosei”，这是一个依据汉字书写而具有双重含义的词语；「蘇生」意为重生或复活，而「組成」意为构成或形成。作品中这些有机形态的结构打破了挂轴的传统形制。刺绣而成的卷须藤蔓从矩形的框架向外延伸，为光影在作品表面的流转变幻创造了条件。《Sosei》试图体现博伊德在日本所体验到的那种新旧交织的奇异碰撞；一种古典装饰、批量生产的商品、纪念品与模块化时尚潮流的融合。这件作品于2025年6月他在日本富士吉田市的 Saruya AIR 驻留后不久创作完成。作品中融入了从富士吉田当地纺织工厂收集来的丝绸和提花织物面料。

The work is named after the Japanese word "Sosei", a term with dual meanings based on the Chinese characters; "Sosei" means rebirth or resurrection, while "Sosei" also means composition or formation. The organic forms in this work break the traditional format of hanging scrolls. The embroidered tendrils and vines extend outward from the rectangular frame, creating conditions for the transformation of light and shadow on the surface of the work.Sosei attempts to embody the strange collision of old and new experienced by Boyd in Japan; a fusion of classical ornamentation, mass-produced merchandise, souvenirs and modular fashion trends.Produced shortly after his residency at Saruya AIR, Fujiyoshida Japan in June 2025. This work incorporates silk and jacquard materials collected from Fujiyoshida’s textile factories.

更多阅读：

展览现场：现开放预约 | 亚当·博伊德、李依宸 | 两种断层

3月6日展览预告 | 亚当·博伊德、李依宸 | 两种断层

艺术家 ARTISTS