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Appreciation towards NACHO CARBONELL for providing the following description:

粗犷，原始，甚至有些狰狞，但却让人驻步观赏。

NACHO CARBONELL
Luciferase
28th January – 16th April 2011

Hybridisations, couplings of shapes, zoo– and geomorphisms: for four years, over the brilliant course that followed his degree at the Eindhoven Design Academy, Nacho Carbonell has continuously developed an experimental work with powerfully narrative implications, liberating itself from conventions to push established boundaries back even further – those which distinguish between design and contemporary art, functional use and sculpture, restraint and exuberance, beauty and ugliness, violence and gentleness.

‘Luciferase’ is no exception to this, while innovative. For the first time, Nacho Carbonell presents work incorporating light, fifteen pieces edited exclusively by galerie BSL. A collection which is above all a set of living organisms capable of surprising us by their colours, textures and demeanor. ‘The root of this word is “carrier of light” *, explains Nacho Carbonell, and reflects the system used by flora and fauna living in abysses, in the total obscurity found at great depths. Even more than lights, I consider these pieces like light-producing creatures.’

* Luciferase, Latin lux fero: photon-producing enzyme, present in the luminous organs of certain plants and animals.

What was his first inspiration? A simple pebble, a fragmented stone collected in Spain this summer. Precise and fragile doodles, wire miniatures, experiments – also presented in this exhibition – have followed by driving matter to its limits so that an aesthetic equilibrium emerges.

After experimenting with paper, glass, leather, wood, latex and even corn, here Nacho Carbonell defies the limits of epoxy resin, ‘a liquid material solidified by heat, which lets through the light from the LEDs placed inside.’ These on the one hand synthetic elements (the resin) and on the other technological (the LEDs), develop into bioluminescent creatures at a sophisticated and primitive pace, in a reversal of both technical and aesthetic conventions. Only one of the fifteen pieces contains a bulb, concealed behind the resin which acts as a filter diffusing mystery.

These creations with communicative presence maintain the equilibrium of the opposites which animates any work of nature. In this family, the exterior soft and velvety materials – epoxy resin mixed with different coloured sands, sometimes covered with plaster or metal dust – resemble the skin of an unknown species. In complete contrast, the interior diaphanous and translucent textures, from epoxy resin mixed with coloured pigments, bring to the fore thorns, rocaille, tongues, straps and filaments, sometimes even sharpened dentition. Some of them conjuring up the translucent sparkle of fine stones like amethyst, quartz or malachite; some the seductive eye of a predator from the great depths; others the avid mouth of a carnivorous plant.

So, abissology, mineralogy, vegetology or genetic manipulation…? A little of each as well as humour, tenderness and poetry. For if in spite of its strangeness, Nacho Carbonell’s art succeeds in imposing its own evidence, recognisable among all, it is also because he knows from the start to prompt a dialogue, an emotional connection which appeals to everyone’s imagination, sensibility and capacity to dream.

Born in 1981 in Valencia (Spain), Nacho Carbonell graduated from the Spanish University Cardenal Herrerra C.E.U. (2003) and graduated with distinction from the Design Academy Eindhoven (2007). He works in Eindhoven, Netherlands, where he has set up his studio.

这是一个糅合克制与热情，美与丑，暴力与温柔等等多重要素的艺术作品。这个创新的作品中，艺术家表达的是一般只存在深渊中的荧光素酶（一些发光动植物身体中的酶）。灵感来自艺术家夏天在西班牙遇见的一颗简单的鹅卵石，上面有精密似乎很脆弱的丝状纹理。这种来自自然的美丽让艺术家非常震撼。

随后艺术家实验了众多的材料，有纸张，玻璃，皮革，木材，橡胶甚至还有玉米，最终找到了一种材料：环氧树脂与发光二极管。环氧树脂被与不同颜色的颗粒混合，有时还和石膏和金属混合，制造出类似未知生物皮肤的东西出来。内侧则做成透光的，给树脂配上不同的颜色，做成不同的表面形状（长条的，圆包的，丝的，像舌头的），就像变戏法似的，你看，多像深处捕食诱人的眼睛，这个呢，像食虫植物的血盆大口。

这个作品如此多面，如此科幻，给予每一个人充分的想象自由。

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