美国概念艺术家Tony Orrico通过现场表演创作大型绘画，用自己的身体作为画笔。
Orrico对表演和人类形式的兴趣源于他的舞蹈编排背景和早期职业生涯。他的现场绘画可以持续15分钟到7个小时，并且可以使用他的手和手腕的运动，也可以使用他的整个身体。’Penwald Drawings’是一系列石墨纸插图，采用精确的舞蹈手势创作，吸引人观看。华尔街日报评论家罗伯特格雷科维奇描述了Orrico的表演Orrico是“Leonardo da Vinci的Vitruvian Man，穿着当代休闲服装，从后面看，伸出双臂，用连续潦草的黑色线条勾勒出一股气圈。”看着这些画的表现非常缓慢的形成令人着迷。“我理性地将注意力集中在身体在接受程度上的敏感度”，艺术家解释说，“这个过程是非客观的; 它是对通路和对刺激的反应的延续。“Orrico的作品是一个敏锐的例子，艺术与创作过程一样多，也与最终的视觉效果有关。
American conceptual artist Tony Orrico creates large-scale drawings through live performances, using his own body as a physical tool for illustration.
Orrico’s interest in performance and the human form stems from his background and earlier career in dance choreography. His live-drawings can last anywhere between 15 minutes to seven hours, and use either the movement of just his hand and wrist, or his entire body. ‘Penwald Drawings’ is a series of graphite on paper illustrations, that were created with precise, choreographic gestures that are appealing to watch. Addressing Orrico’s performances, the Wall Street Journal critic Robert Greskovic described Orrico as “Leonardo da Vinci’s Vitruvian Man in contemporary, casual clothing, seen from the back, extending his arms in the act of conjuring a vaporous circle out of continuously scrawling black lines.” Watching the performance of these drawings very slowly take shape is mesmerizing. “I commit my attention, rationally, to the sensitivity of my body at the receptive level”, the artist explains, where “the course is non-objective; it is a continuation of pathway and response to stimuli.” Orrico’s work is a keen example that art is as much about the creative process as it is about the final, visual result.
PROJECT: Penwald Drawings
Author: ©Tony Orrico