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水、光、影，這三個(gè)元素相遇，總能給你無(wú)限驚喜。

藝術(shù)家Louise Durham以英格蘭海濱城市“肖勒姆”為基地，用回收的海防木材和充滿活力的彩色玻璃，在海邊創(chuàng)作了一系列高聳的木雕。她在圖騰式的作品中嵌入了全光譜的條紋和圓圈，當(dāng)這些木雕被照亮?xí)r，會(huì)在周圍投下萬(wàn)花筒般的光影。“這一切都與光有關(guān)，”她說(shuō)，“這就是玻璃的魔力，也是所有生物的魔力。”

在創(chuàng)作過(guò)程中，將所有顏色的玻璃放在面前的切割臺(tái)上時(shí)，五彩斑斕的顏色讓路易絲·達(dá)勒姆感覺(jué)特別美好，她說(shuō)：“我盡量不要在智力層面上進(jìn)行過(guò)多的干預(yù)。這部作品絕對(duì)不是出自頭腦，而是完全出自我的內(nèi)心。”

所以當(dāng)你望著它們，望向遠(yuǎn)方，內(nèi)心總能從喧嘩中慢慢平靜下來(lái)，并緩緩上升著一股愉悅，讓你駐足，不忍離開(kāi)。陽(yáng)光下，感覺(jué)就這樣和它一樣站著，就很美好。

Louise Durham creates driftwood and glass sculptures from her workshop at the end of her garden in Shoreham-by-Sea, where she lives on a houseboat.

While on a “meandering exploration” of creative pursuits”, Louise Durham decided on driftwood and glass as a medium for her art. “Groyne timber is just so gorgeous,” she says, “because of the natural shapes that have been formed after decades of battering by the elements. The two came together because we had some timbers in our garden, and it was just obvious to me what needed to be done – mix in some coloured light.”

The driftwood acts as a natural frame for the coloured glass, which Louise says is the key to the way her pieces are formed. “Ever since I have been working with glass I have had an interest in the way it is framed, and a nice piece of hardwood lends itself beautifully.”

Louise is often inclined to let the wood itself dictate the form a piece is going to take. “Sometimes the wood suggests a certain shape or style of design.” But sometimes the concept inspires her to seek out a particular shape or size, when beachcombing. “If I have an idea for a piece of glass that I want to make, I will go out and find the wood to suit it.”

Louise’s journey with glass began when she took a short evening course in Brighton, about 10 years ago. “Once I bought all the equipment I set up a work bench next to my bed in my rented attic room,” she remembers fondly. “Many happy solitary hours followed listening to music and making well into the early hours. I still enjoy that same feeling every time I walk in to my workshop. The lights and music go on and it all starts to unravel.”

Having qualified as an occupational therapist in 2000, Louise went on to form Moor Arts, a charity which delivers creative workshops to people with mental health problems, before becoming an artist herself. Born in Johannesburg, Louise grew up in Surrey, before moving to the houseboats in Shoreham, where she now works and occasionally teaches one-to-one from her workshop in the garden, which she describes as an “inspirational” place. “The timber I use has been shaped by the elements of the Sussex coast. Some even have barnacles and shingle lodged in them, so they’re literally a part of Sussex. The light and the beach at Shoreham have a big influence on my work.”

When taking commissions, Louise focuses on the client’s preferred colours, combinations and shapes. “I also always want to know where the piece is going – does it need a stand or does it want to be spiked in the ground? A stand would enable a piece to be taken inside, for example.” She goes on to say, “my pieces look beautiful lit up at night too, they do not need to wait for the sunlight to be perfectly aligned behind them – although for me, this is when my pieces hold the most magic.”

翻譯：（僅供參考）

路易絲 · 達(dá)勒姆住在肖勒姆海濱的一座房子里，她在花園盡頭的工作室里創(chuàng)作浮木和玻璃雕塑。路易絲·達(dá)勒姆“漫步探索”創(chuàng)意追求時(shí)，決定用浮木和玻璃作為她的藝術(shù)媒介。“丁壩木材是如此美麗,”她說(shuō)，“這美麗源自幾十年的風(fēng)吹雨打，是自然形成的。而我們花園里正好有這樣的木材，我很清楚我需要做什么—尋找彩色的玻璃與之搭配。”浮木作為彩色玻璃的天然框架，對(duì)露易絲而言，是作品的關(guān)鍵。自從我用玻璃工作以來(lái)，我就對(duì)它的框架很感興趣，一塊好的硬木可以讓作品增色不少”露易絲傾向于讓木頭決定創(chuàng)作方向。有時(shí)候木頭本身的形態(tài)就是一種設(shè)計(jì)”也正是這個(gè)理念讓她經(jīng)常根據(jù)玻璃的設(shè)計(jì)去尋找特定的形狀的木材進(jìn)行搭配。”如果我確定了一種玻璃的設(shè)計(jì)，我會(huì)出發(fā)去尋找合適的木材進(jìn)行搭配”

路易斯的玻璃之旅始于10年前，她在布萊頓參加了一個(gè)短期的夜校課程。“當(dāng)時(shí)我買了所有需要的設(shè)備，在租來(lái)的閣樓房間的床邊放了一個(gè)工作臺(tái),”她深情地回憶道。”那些許多快樂(lè)的獨(dú)處時(shí)光，伴隨著音樂(lè)，會(huì)一直持續(xù)到凌晨。每次走進(jìn)工作室，我還是能回憶起并享受那種感覺(jué)。當(dāng)燈光和音樂(lè)響起，一切都那么美妙”2000年獲得職業(yè)治療師資格后，路易絲成立了摩爾藝術(shù)公司(moor arts) ，這是一家慈善機(jī)構(gòu)，為有心理健康問(wèn)題的人提供創(chuàng)意工作坊，之后她自己也成為了一名藝術(shù)家。露易絲出生在約翰內(nèi)斯堡，在薩里郡長(zhǎng)大，之后搬到了肖勒姆的船屋，她現(xiàn)在在那里工作，偶爾在花園里的工作室里進(jìn)行一對(duì)一地教課，在她眼里，花園是一個(gè)“鼓舞人心的”地方。我使用的木材是由蘇塞克斯海岸自然塑造而成的。有些甚至有藤壺和木瓦嵌在里面，所以它們是蘇塞克斯的一部分。肖勒姆的陽(yáng)光和海灘，對(duì)我的工作有很大的影響。當(dāng)談及使命時(shí)，露易絲專注于客戶滿意，按照客戶喜好的顏色、組合和形狀進(jìn)行設(shè)計(jì)。“我也會(huì)去考慮作品是在哪，被如何展示的？—它需要一個(gè)支架還是要被釘在地上？舉個(gè)例子，有的時(shí)候一個(gè)架子可以讓產(chǎn)品更好的被展示。”她繼續(xù)說(shuō),”我的作品在夜晚被點(diǎn)亮的時(shí)候，看起來(lái)也很美，他們需要一定有陽(yáng)光才能被欣賞，當(dāng)然有陽(yáng)光的時(shí)候，才是我的作品最有魔力的時(shí)候”。

In a bid to simply express the “magic of all living things,” English artist Louise Durham creates tall land sculptures made from reclaimed wood and vibrant stained glass. The artist is based in the coastal town of Shoreham-by-Sea, where she often places her finished pieces for people to enjoy.

Durham hand-cuts and embeds colored glass pieces into wooden slabs, arranged in rainbow formations. “Once I have the whole spectrum of glass laid out on my table I feel there's a healing vibration in that, it just makes me feel better somehow,” Durham tells My Modern Met. “I find it hard to imagine anyone who doesn’t wonder at the beauty of a rainbow in the sky, it’s something universal.” She merges the two materials together using traditional stained-glass techniques, including fusing and slumping.

Durham’s totems feature simple glass symbols—including hearts, stars, rain drops, and leaves—which add a nostalgic charm to her work, allowing the viewer to reminisce about childhood. “I suppose when we use these kind of shapes we are directly communicating something about what we all innately seem to understand, our connection to each other, our connection to nature, ourselves, and the universe and beyond.”

As well as using universal motifs, Durham explores the nature of humanity by embracing imperfections in her work. “I’m not your usual stained-glass artist,” she says, “It's an exact art form that is really for the perfectionist.” She adds, “I’m the opposite, I'm an imperfectionist, and I think that that is part of my work.”

For Durham, the relationship between light and glass is often more beautiful than the sculpture itself. When sunlight hits her perfectly imperfect glass shapes, the piece illuminates in vibrant hues and casts colorful shadows. “Maybe the glasswork is not as flawless as you would find in a church window, but when the light shines through, the wonky line is no longer an issue, the colors just come alive, and we can appreciate what is seen,” she says. “This is how I feel about us imperfect beings, at the end of the day we all have the same hurts and insecurities, it's just whether we are given the opportunities to let our light shine anyway.” The artist adds, “Glass gives me this moment of magical transformation.”

翻譯：（僅供參考）

為了更好的展示”生命的魅力”英國(guó)藝術(shù)家路易絲 · 達(dá)勒姆用回收的木頭和充滿活力的彩色玻璃，創(chuàng)作了高大的雕塑。這位藝術(shù)家的故事發(fā)生在海濱小鎮(zhèn)肖勒姆，她經(jīng)常把自己完成的作品擺放在那里，讓人們盡情享受。 路易絲 · 達(dá)勒姆進(jìn)行手工切割并將彩色玻璃嵌入木板中，排列成彩虹般的形狀。“當(dāng)我把這樣的作品展示時(shí)，我感覺(jué)有一種治愈的感覺(jué)，它讓我感受到美好,”達(dá)勒姆告訴我，”幾乎所有人都會(huì)對(duì)天空中彩虹的美感到驚奇，這毫無(wú)疑問(wèn)”她用傳統(tǒng)的玻璃技術(shù)將兩種材料完美融合。達(dá)勒姆以簡(jiǎn)單的玻璃符號(hào)為特色，包括心、星星、雨滴和樹(shù)葉，這些都為她的作品增添了懷舊的魅力，讓觀眾回憶起童年。”我想當(dāng)我們使用這些形狀時(shí)，我們和所有人都能直接交流，我們似乎天生就能理解這些東西，這是我們彼此之間的天然聯(lián)系，我們與大自然，以及宇宙之外的聯(lián)系”除了運(yùn)用普遍的主題，達(dá)勒姆通過(guò)在作品中展現(xiàn)不完美，探索人性的本質(zhì)。“我和很多的彩色玻璃藝術(shù)家不同,”她說(shuō)，“他們通常是追求完美主義。”她補(bǔ)充說(shuō)”我正好相反，我是個(gè)不完美的人，我覺(jué)得這也應(yīng)該是我設(shè)計(jì)的一部分”對(duì)達(dá)勒姆來(lái)說(shuō)，陽(yáng)光與玻璃的關(guān)系，往往比雕塑本身更美麗。當(dāng)陽(yáng)光照射到她完美而不完美的玻璃形狀時(shí)，這件作品會(huì)以明亮的色調(diào)照亮，并投射出五顏六色的光影。”也許玻璃制品并不像教堂的窗戶那樣完美，但是當(dāng)光線照射進(jìn)來(lái)時(shí)，線條在搖曳，色彩變得鮮活起來(lái)，這些都是我們可以欣賞的東西”她說(shuō)。”我們都不是完美的人，我們也都會(huì)有同樣的傷痛和迷茫，我們也同樣有機(jī)會(huì)光芒萬(wàn)丈”藝術(shù)家補(bǔ)充道”而這些玻璃正向我們展示著這樣的魅力”