文 Text｜謝蕎安 Joanne Hsieh
圖 Image Courtesy｜Aubrey Ingmar Manson
攝影 Photos｜謝蕎安 Joanne Hsieh
Arvia, LA 洛杉磯 Los Angeles
"Faster! Hammers! We're Almost There!"
洛杉磯藝術家 Aubrey Ingmar Manson ，用趣味性的手法，將主題圍繞在女權或各種社會不公義的現象。她使用勞作黏土、紙巾或紙板，各種日常生活用品，讓她可以自由揮灑創造各種形式的作品，小至掌中的香菇花，大至蓋滿整片牆的裝置藝術。
Manson 今年在洛杉磯一戶外藝術空間 “Arvia LA" 的展覽「快點！槌子們，任務即將達成！」（“Faster! Hammers! We're Almost There!”）便是將女權議題完全發揮的裝置藝術。
此裝置藝術建立由她編撰的科幻故事上：觀者被引導成從未來的角度回到現在，一個在天災和氣候變遷，地球將毀，經濟和比特幣崩盤，以及女人在散落於洛杉磯各處的荒廢的泳池畔建立起一個自主社會的故事。以「打倒父權」（"Smash the Patriachy"）的口號為發想，鎚子成為女人社會的象徵符號。科幻又不脫離現實，嚴肅而不乏趣味，Manson 的作品讓觀者細細反芻當代社會議題。
Manson 用紙巾創作有絨布錯覺、層疊起伏的立體畫作，將家庭用品（紙巾）融入藝術，把藝術的「高度」拉至日常生活，也把日常生或帶入藝術殿堂。
Manson 運用了女性主義藝術中常見的「家庭式」手作藝術，用趣味幽默的顏色和手感傳遞嚴肅的話題。對 Manson 來說，語言和文字也是視覺效果上的元素之一，因此她經常在畫面上直接加上 text 與作品的標題相呼應。畫面中的 "Mother May Be"，便直接強化了作品整體欲傳達的涵義。或是英語中的 “The Ones” 指零錢、紙鈔，被掃帚掃到地毯下的紙鈔，意指貪污錢財的政治人物。
Manson 用紙巾創作有絨布錯覺、層疊起伏的立體畫作，將家庭用品（紙巾）融入藝術，把藝術的「高度」拉至日常生活，也把日常生或帶入藝術殿堂。Aubrey 坦承，最早使用紙巾和紙箱是因為這些材料很便宜，讓她可以隨心所欲的創作大型作品，而不需擔心花費。
社會上的各種不公義、資本主義對環境和個體帶來的衝擊、女性社會地位的不平等... 都是她的不安來源。而紙巾的可塑性高，她用之做出類似抱枕、毛毯的作品，也柔軟如女性的體態，將自己心中的不安和情感，幻化成各式各樣的藝術。
“WomenBe" 這幅作品，在回應年中美國沸沸揚揚、引發眾怒的法官性侵案件，以及史上首次由多位少數族裔女性當選議員，由這兩起事件所引發的創作。佔滿半幅畫面的字體 ”Women" 直指 ”believe women“, 以及 "Women" 在現代社會代表的意義。
Text｜ Aubrey Ingmar Manson
How do I clean up a mess? And then there are so many of them...
I began using napkins and cardboard unintentionally at first, it was a way to build installations and artwork with less worry about financing their production, since the napkins were picked up in bulk from $0.99 stores and the cardboard from trash bins or various donations. The materiality reduced economic barriers, but could also nicely capture, in a manipulated material form, anxieties present when digesting my idiosyncratic concepts of current politics, feminist thought, anti-capitalist theory, and ultimately, my feelings. The result is uncanny painting-like sculptures that symbolically provide comfort; similar in shape to pillows, mattresses, blankets, and feminine bodies... sometimes incorporating bold words to emphasize a feeling. Most theory I understand through reading at first, so it made sense for me to incorporate language into the artwork in a way that the words could also function similarly to the other materials.
The ceramic work thematically continues in this matter, such as in ‘Can I Melt Uncertainty Into a Flower?’, it is a metaphorical stage of hand-flowers huddling together on the last polar ice cap where they have staked their claim, but overarchingly demonstrates my concerns for climate change. The ceramics are more humorous, almost to make light of the serious situations they are reenacting.
It's not all gloom, I do receive happiness in my creative space and I find making artwork is much like playing, this is how I still play as an adult. I build worlds through installation and sculpture, and the pieces have generated their own quirky look and feel.
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Aubrey Ingmar Manson (b.1987, Chicago, IL) currently lives and works in Los Angeles, CA. She completed her MFA in 2015 from The School of the Art Institute of Chicago and her BFA in
Painting at Northern Illinois University in 2010. She shows regularly in Los Angeles, CA and Chicago, IL, while also being an active co-director of the project space Dalton Warehouse. Recently she has exhibited at Art Los Angeles Contemporary with AWHRHWAR, Botschaft & L'oiseau présente... in Berlin, Germany, Galeria Garash in Mexico City, Mexico, The Shrine in New York City, NY, and Five Car Garage in Santa Monica, CA. Manson’s artwork has been written about in Cool Hunting, Art & Cake, and Maake Magazine. Her most recent solo show, Faster, Hammers...We’re Almost There!, comprised of an outdoor installation for the artist-run project space Arvia LA, and explored a feminist-matriarchal narrative.