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万物恰得其所。—Kaylee Carrington
“Everything in its right place.” — Kaylee Carrington

Kaylee Carrington 的作品从不是为传统画廊而创作，并意在激发较少关注艺术的人群的兴趣。照片是其作品留下的唯一永恒的宣言，余下的故事则交给自然、而不是美术馆苍白的白墙来书写。

活跃在美国中部的Kaylee Carrington收集电线、螺丝、金属刨花和其他工业废料，将它们整合成与其原本形态完全相异的结构。他的环境装置往往蕴涵了一种奇妙的偶然性，艺术以一种不带任何制度化偏见的最纯净的形式呈现，环境则与形式本身一样重要。Kaylee Carrington相信任何事物都蕴含一种暴力感，并通过肌理、色彩和形状来表达这种既存在于自然世界也存在于人造世界的暴力感。

物体以扭曲自身的方式与缓解达成一种离奇的和谐感，Kaylee Carrington在她一直以来的成长过程中也总与周围环境保持着一种奇怪的关系，由此认为作品从某种程度上也是一种自我投射。她理解自己的作品为一种混乱的秩序、脆弱的力量和重生的衰弱。

Kaylee Carrington’s artwork is never made for displaying in the traditional gallery setting, and tends to inspire people who aren’t typically exposed to art. The photography is the only permanent testimony, and the rest of the story is left to nature’s imperfection – not the sterility of a gallery’s white wall.

Based in central U.S, Kaylee Carrington collects wires, screws, metal shavings, and other industrial refuse and assembles them into structures that seem at-odds with the material from which they are constructed. A sense of serendipity is always embedded in her environmental installations which present the art in its purest form without any institutionalized preconceptions, and the environment is considered as much important as the form. In the belief of the inherent violence in all things, K. Carrington uses the texture, color and shapes to reveal the violence in both the natural and man-made worlds.

Living in a similar way to those objects that twist themselves in order to achieve an uncanny harmony, Kaylee Carrington thinks her works as a self projection in some degree, since she always had a peculiar relationship with her environment when she grew up. She also considers her works are about the structure with chaos, the strength with fragility, and the decay with rebirth.

Fur
Aluminum, Polyethylene Foam, Steel.

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36.21N/-106.33W
Corrugated cardboard, grocery bags, wood glue, glass, metal, wood, wire

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39.14N/-109.80W
Earthenware

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Kaylee Carrington

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