非常感谢 Collin Pollard 予gooood分享以下内容。更多关于他们：Collin Pollard on gooood.
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该项目由旧金山的视觉艺术家Collin Pollard完成，他的摄影和雕塑作品总会让人们对周围事物产生更多思考。大多数作品也与工业空间有关，通过利用混凝土、水泥或其他建筑结构来强调空间维度。纹理、线条、形状以及颜色都对他图像编辑方面发挥着至关重要的作用。摄影师本人喜爱每天在城市里的不同街区散步，总会思考一系列的问题：为什么人们会形成一个社会；为什么用颜色区分男性或女性？从而再进一步去想，为什么“女性化”的颜色与其他颜色相比更加独特？当代文化中有着一种根深蒂固的想法，即男孩应该喜欢蓝色，女孩应该喜欢粉红色。而设计师试图使用更柔和的色调来凸显这种归类方式的弊端，以“少即是多”的方式拆开复杂的概念，并完成他的相关创作。

His name is Collin Pollard and he isa visual artist working in the San Francisco Bay Area. His photographic as well as sculptural work is a commentary on how we think and interact with our surroundings. Most of his pieces deal with industrial spaces, where he hopes to highlight the strength that is often associated with concrete, cement or any architectural structure really.Texture, line, shape and color all play a crucial role in how he goes about editing and composing images. As he goes on daily walks around different neighborhoods in the city, he always tends to ask myself similar types of questions. Why do they, as a society, prescribe certain colors to be masculine or feminine? And to take that question a step further, why are “feminine” colors linked to being more queer than others? This idea that is so ingrained in contemporary culture that boys should like blue and girls should like pink. he uses a softer, more pastel palette to highlight the flaw in societal norms of what is considered masculine and feminine. To strip down the complexity of this notion relates directly to how he approaches his creative practice. Less is more.

Collin利用建筑物的几何构造之美，呈现给观者一种极具冲击力的色彩感觉，赋予日常生活中的乏味事物不同的意义。如今每个人都专注于他们的手机，无论是通过社交媒体还是电视广告，人们快速浏览图片，当他们点进下一张图像时，其关注的时间还不到一秒钟。设计师试图从概念层面改变这一现象，他通过利用建筑的空间几何感迫使观众不得不在图像上停留更长时间。他希望观众问自己这样的问题：“这是一个真实存在的场所吗，还是在后期制作中捏造的？”这个过程也是作为一个艺术家探索与思考性别规范，以及颜色的表达。摄影师认为颜色本身并不具有男性化或女性化或同性恋类的特征，这种观念是在社会和外部的影响下形成的。

He uses depth as a metaphor for the shallowness we often run into as we conduct our day to day lives. Everyone is glued to their phone, saturated by images. Each image being thrown at us, whether that be through social media or advertisements on television, gets less than a second of our attention until we are onto the next. This level of shallowness, on a conceptual level, is key to understanding how he uses composition and depth to his advantage. He plays with the depth of the architectural space as a way of forcing the viewer to look twice at the image. His hopes are the viewer initially has to ask themselves the question, “Is this a real location or just just fabricated in post production?” This process is a way for me as an artist to explore ideas associated with gender norms, queerness and to communicate my opinion that colors are not inherently masculine or feminine or queer, this notion came from societal and outside influences.

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