روكسي باين
רוקסי פיין
ロキシー·パイネ
록시 페인

Control Room

source: beautifuldecay
New York-based artist Roxy Paine’s work fuses organic with mechanical, making life-like replicas of natural structures in man-made materials. His stainless steel trees manage to retain the sense of spontaneity that we expect from organic objects, while being completely machine-made and rigidly planned. Paine’s highly detailed reconstructions of natural phenomena explore the tension between the natural and the built. In his piece Crop he carefully reconstructed a small patch of wild poppies and his piece Weed Choked Garden brings a decaying garden to eye level. By bringing reconstructed natural objects into a gallery setting you’re forced to consider things you might have ignored in its usual setting.
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source: eviethorntonwordpress
Roxy Paine
Roxy Paine is an American artist and was educated in New Mexico at the college of Santa Fe and in New York at the Pratt Institute. Since 1990 his work has been exhibited internationally. His work examines processes of growth and decay, creation and entropy, on both man-made and natural levels. From the artist’s best known tree sculptures to works based on weeds and rot to his automated painting and sculpture machines, Paine continues to return to questions of environment as related to the viewer. Encountering his work, often in public settings generates connections between the viewer and other bodies that surround the space, whether the artwork itself or the other objects present. Paine’s work is represented in major museum collections worldwide, and his recent large-scale installation, Maelstrom, is currently on view in the Iris and B. Gerald Cantor Roof Garden at the Metropolitan Museum of Art in New York. Collectively, his works demonstrate the human attempt to impose order on natural forces, depicting the struggle between the natural and the artificial, the rational and the instinctual.
Paine’s meticulous craftsmanship brings to mind the work of model makers employed by natural history museums in didactic displays. He concentrates on poppies and fungi from which hallucinatory drugs are made. This particular piece displays various types of fungi, both beneficial and deadly that lie on a laminate floor. Each mushroom is modeled, cast and hand painted with incredible realism equal to that of traditional painters of the nineteenth century. One of my favourite aspects is the fact that it is so real, some are sitting up straight as though they just grew out of the floor whereas others look like they’ve been there for a while, rotting. I think that pieces like this one are easily read, due to the fact that it is made with incredible attention to detail, which makes it a little more universally accessible. The random clumps of mushrooms make the piece look a lot more realistic and it is unexpected, which is really refreshing.
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source: arteseanpblogspot
Roxy Paine (1966-) Nasceu em Nova York, onde vive e trabalha. Estudou no College of Santa Fé e no Pratt Institute, Nova York. Desenhos, pintura, objetos, instalações são utilizados em suas obras. Por meio de desenhos detalhados e programas de computador, ele executa com grande perícia a representação de elementos naturais discutindo a luta entre o artificial e o natural. Obras em grandes museus do mundo Participou da Whitney Bienial.
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source: kavigupta

Roxy Paine’s work has challenged the perception of visual language and how it affects the understanding of our environments since the genesis of his career in the early nineties. Focusing on objects and their fabrication, Paine strives to evoke a desire to understand how meaning can transcend through time, using our conventional relationships with the visual as an anchor for the exploration of truth. Paine’s contemplative work has ventured into two distinct, yet related, avenues of artistic production. Highly acclaimed for his synthetic replicas of organic forms such as fungi and trees, intricately executed with impressive mastery and ingenuity, and his computer-driven machines programed to auto-produce works of art, Paine presents a complex arena where the balance between what we know to be true and what we can learn from a deeper contemplative observation is considered. A truth dependent on our willingness to accept the beauty in the imperfections within nature and language itself, a balance in paradoxical poetics.

With Apparatus, Roxy Paine introduces a new chapter in his work, a series of large scale dioramas. Inspired by spaces and environments designed to be activated via human interaction, a fast-food restaurant and a control room, the dioramas present spaces and objects which are hand carved from birch and maple wood and formed from steel, encased and frozen in time, void of human presence, making their inherent function obsolete. Rooted in the Greek language, diorama translates to “through that which is seen”, a definition that has evolved throughout time as dioramas became conventionally known as physical windowed and encased rooms used as educational tools. Paine transforms the environments on display by using the diorama’s traditional experience as a tool to create a contemplative experience where what we see behind the glass transitions between being real and being a mere shell of something real. These dioramas are not intended to be specific or accurate replicas, but merely gestures of their real life inspirations. As Paine himself states; “they are translations from one visual language to another”. The environments ask the viewer’s to consider their pre-conceived knowledge of the mechanics and functions of a fast food restaurant and that of a control room, as well as open up to the possibility of how this knowledge can, and will, change through time and context.

Japanese culture has a term known as Wabi-Sabi, the idea of art and architecture addressing how the natural change and uniqueness of objects helps us connect to the world and how we can transcend significance and meaning with inevitable change and time. Paine has constantly innovated ways that address impervious knowledge and challenged it with almost impossible transformations, taking into consideration the concepts behind Wabi-Sabi to find a balance in the inevitable changing nature of the world. Though human language relies heavily on social convention and learning, Paine strives to push the boundaries of that process. Paine’s dioramas, along with his previous bodies of work, serve as reminders of the knowledge and enlightenment that comes from actual, real, experience with our natural and fabricated worlds.
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source: ignantde

With the project ‘Apparatus’ which contains the ‘Control Room’, Roxy Paine introduces a new chapter in his work, a series of large scale dioramas. Inspired by spaces and environments designed to be activated via human interaction, the dioramas present spaces and objects which are hand carved from birch and maple wood and formed from steel. Encased and frozen in time, void of human presence, they’re making their inherent function obsolete. The ‘Control Room’ is a stunning installation made out of wood, steel, automotive paint and glass worth visiting.
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source: 607visual

Artist Roxy Paine takes the concept of a diorama to a new level, creating life-size recreations of fast-food restaurants or a control room. Payne is inspired by environments that are meant to be activated by human interaction. This installation, titled Control Room, is hand-carved from birch wood, formed with steal, and finished with automotive paint.
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source: ignantde

Mit der Arbeit ‘Control Room’, hat Roxy Paine ein neues Kapitel seiner Arbeit eingeleitet, eine Serie aus überdimensionalen Dioramen. Inspiriert von Räumen und Umwelten, die gestaltet wurden, um von Menschen aktiviert zu werden, präsentieren die Dioramen Räume und Objekte, die Roxy Paine in detailgetreuer Handarbeit formte . Sie bestehen hauptsächlich aus Ahornholz und Stahl, umhüllt und eingefroren in der der Zeit, verlassen von Menschen und damit ohne jeden ursprünglichen Sinn. Der ‘Control Room’ ist eine faszinierende Installation aus Holz, Stahl, Fahrzeuglack und Glas, die es einen zweiten Blick sicher Wert ist.
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source: artnau

El artista Roxy Paine lleva los dioramas a otro nivel. Si la sala de control a tamaño real, con todos los detalles posibles es espectacular, el restaurante de comida rápida hecho al 100% de madera nos deja sin palabras.
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source: journal-du-design

L’artiste contemporain Roxy Paine, né à New York en 1966, nous livre une nouvelle orientation dans son travail artistique avec cette installation baptisée « Control Room ».

Cette oeuvre réalisée avec du bois et du métal représente un univers aseptisé et figé dans le temps, une salle de contrôle dépourvue de présence humaine qui donne une fonction obsolète aux instruments.
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source: thewowa

罗西·潘恩的作品自其九十年代初的职业生涯开始，便挑战着视觉语言的感知，以及其影响我们对于周围环境的理解的方式。他一直关注物品及它们的制造，潘恩通过使用我们与视觉的传统关系作为一种探求真理的基点，努力地去唤起理解意义如何能够超越时间的欲望。

潘恩的作品总是涉足两个不同的但相关的艺术生产的途径。他总是能够在计算机驱动的机器程序自动生产的复制品，与备受赞誉的合成的有机形体，比如真菌和树木，之间达到一种复杂的平衡。展示出一种错综复杂的，在我们所知的真实，和我们从更深层次的深思和观察中能学习到的东西，之间的平衡地带。

在本场展览“Apparatus（设备）”中，潘恩以一系列的大型立体模型，将他的作品引入了新的篇章。此灵感来自为了通过人机交互而活动的设计空间与环境，一间快餐店和一间控制室，展出的空间和对象都是手工雕刻的桦木和枫木，再用钢成形，它们被包裹和冻结在了时间里，对人类的存在免疫。

植根于希腊语，立体模型（diorama）可以被翻译为“通过其所见之事物”，这个定义已经随着时间而转变，变成了一种被以窗户隔着的，被包裹着的用于教育工具的地方。潘恩将其展示出来，通过使用将立体模型的传统经验作为一种工具，去创造一种丰富的体验，感受我们在玻璃后面看到的东西，它在其本身真实和作为一个真实的东西的空壳之间转化。

这些立体模型并非是特定的或不准确的副本，它们只是它们的现实生活的灵感的指示。就像潘恩本人所言，“它们是从一种视觉语言到另一种视觉语言的翻译”。
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source: nwaris

صمم فنان أمريكي اسمه روكسي باين Roxy Paine بعمل غرفة كاملة تتحدث عن مطعم ومطبخ مطعم الوجبات السريعة مصنوعة بالكامل من الخشب ، من الأدوات والأجهزة التي نراها عادة في المطاعم ولم يدع أي تفاصيل صغيرة تغيب عن هذا المشهد الغريب ، وقد صنع أيضا غرفة للتحكم بتفاصيلها الدقيقة من أزرار ومؤشرات .
وقد عرضها في معرض Kavi Gupta بمدينة شيغاغو الامريكية .