Leslie Pontz通过钩编金属丝和单丝形式并将它们与铁和纤维元素相结合，创造出独特的雕塑。结果是挑战感官和思想的非传统纤维雕塑。Leslie 拥有雪城大学版画硕士学位，并通过宾夕法尼亚艺术委员会作为驻地艺术家获得了国家艺术基金会的两项资助。她是 Leslie Pontz Design 的前所有者/设计师，这是一家国际制造公司，生产艺术家设计和手工印刷的桌布和相关桌面产品系列。

Leslie Pontz creates unique sculpture by crocheting wire and monofilament forms and combining them with iron and fibre elements. The result is non-traditional fibre sculpture that challenges the senses and the mind. Leslie holds a masters degree in printmaking from Syracuse University and was the recipient of two grants from the National Endowment for the Arts through the Pennsylvania Council of the Arts as an Artist-in-residence. She is the former owner/designer of Leslie Pontz Design, an international manufacturing company that produced an artist designed and hand printed line of table linens and related tabletop products.

Leslie 曾在巴黎、巴西和委内瑞拉以及美国各地的邀请和评审展览中进行国际展示。她的作品获得了多个奖项。Leslie 是 Sedgwick 的 ArtQuilts 的联合创始人，这是一个举世闻名的东海岸艺术被子展览场所。目前，宾夕法尼亚州费城的 Gravers Lane 画廊代表她。

Leslie has shown internationally in invitational and juried exhibits in Paris, Brazil and Venezuela as well as throughout the U.S.A. She is the recipient of several awards for her work. Leslie is a co-founder of ArtQuilts at the Sedgwick, a nationally acclaimed east coast venue for the exhibition of art quilts. At present, the Gravers Lane Gallery in Philadelphia, Pennsylvania represents her.

她的作品被许多私人和公共收藏，包括但不限于 Kamm、Best Western、Chestnut Hill Hotel 和费城艺术博物馆的收藏。

Her work is featured in many private and public collections including, but not limited to, the Kamm, Best Western, Chestnut Hill Hotel and Philadelphia Museum of Art collections.

艺术家：莱斯利庞茨

Artist: Leslie Pontz

告诉我们你的工作？

在我职业生涯的这个阶段，我正在做的工作是雕塑，它是通过使用传统的钩针编织技术和非传统媒体创作的。由此产生的三维有机钩编形式，通常从上方悬挂，结合了钩编金属、单丝、天然羊毛、亚麻、黄麻、木材和生锈的铁元素等材料，让我能够探索共存对比的概念。这项工作是关于对立面的结合，以产生比这些材料中的任何一种单独产生的更强烈的整体陈述。我觉得我们的感官受到女性与男性、刚与软、新旧、大小、重与轻的相互作用的挑战。我不断地被提醒，生活本身就存在着一系列总是需要平衡的冲突。

我也知道艺术史学家和评论家之间正在就美术与工艺之间缩小的差距进行对话。我相信我的纤维雕塑弥合了这一差距，呈现出有机和工业化的纤维雕塑，是对一种代表性不足的艺术形式的及时探索，反映了传统女性钩针编织作品向复杂艺术作品的转变。

Tell us about your work?

The work that I'm doing at this stage of my career is sculpture, created by using a traditional crocheting technique with non-traditional media. The resulting three-dimensional organic crocheted forms, often suspended from above, combine materials like crocheted metal, monofilament, natural wool, linen, jute, wood and rusted iron elements allowing me to explore the concept of co-existing contrasts. The work is all about opposites coming together to produce a stronger statement as a unit than any one of these materials would have separately. I feel ones senses are challenged by the interaction of feminine and masculine, hard and soft, old and new, large and small, heavy and light. I'm constantly reminded that life itself presents an array of conflicts that always need balancing.

I am also aware that there is a conversation taking place among art historians and critics about the narrowing gap between fine art and craft. I believe that my fibre sculpture bridges that gap, presenting sculpture made of fibre that is both organic and industrial, and is a timely exploration of an underrepresented art form that reflects the transformation of traditional women's crochet work to complex works of art.

波浪形（篮子），2012，9.5" x 21" x 49.5"，单丝、木材、黄麻、油漆。钩针编织技术。照片：John Carlano 。

Undulated (Basket), 2012, 9.5" x 21" x 49.5", Monofilament, wood, jute, paint. Technique crochet. Photo: John Carlano.

波浪形（篮子），2012，9.5" x 21" x 49.5"，单丝、木材、黄麻、油漆。钩针编织技术。照片：John Carlano 。

Undulated (Basket), 2012, 9.5" x 21" x 49.5", Monofilament, wood, jute, paint. Technique crochet. Photo: John Carlano.

波浪形（篮子），细节，2012 年，9.5 英寸 x 21 英寸 x 49.5 英寸，单丝、木材、黄麻、油漆。钩针编织技术。照片：John Carlano。

Undulated (Basket), detail, 2012, 9.5" x 21" x 49.5", Monofilament, wood, jute, paint. Technique crochet. Photo: John Carlano.

你从哪里获得灵感？

我发现了沙漠景观和生活在沙漠中的开花仙人掌植物的美丽。我记得在想沙漠以灰色的颜色、坚硬的形状、柔软的沙子和多刺的纹理呈现出多么辉煌。从我第一次体验这个环境的那一刻起，它就显得如此平静，充满了看似不在一起的形状和纹理，但绝对想一起生活。我一遍又一遍地画仙人掌，直到圆形成为我自然视觉二维词汇的一部分。然后，突然有一天，那些圆形的形状变成了三维。

除了产生巨大影响的沙漠形态外，我不得不说灵感来自各处。建筑物侧面的质感，岩石的位置，花的颜色，旧的，用过的篮子，逛布店，朋友的评论，作为母亲和祖母的情感都是我过程的一部分。通常，我正在处理的作品会产生后续作品的想法。

From where do you get your inspiration?

I discovered the beauty of both the desert landscape and the flowering cactus plants that lived in the desert. I remember thinking how glorious the desert appeared with its grayed colours and hard shapes and soft sand and prickly textures. From the very first moment that I experienced this environment, it seemed so peaceful, full of shapes and textures that didn't seem to go together, but definitely wanted to live together. I drew the cactus over and over and over until the rounded forms simply became part of my natural visual two-dimensional vocabulary. And then, one day out of nowhere, those rounded forms became three dimensional.

Along with the desert forms, which have been a huge influence, I would have to say that inspiration comes from everywhere. The texture on the side of a building, the placement of a rock, the colour of a flower, an old, well used basket, a stroll through a fabric store, a comment from a friend, and the emotions of being a mother and grandmother are all part of my process. Often, the piece on which I am working will generate the idea for a piece to follow.

皱褶（篮子），2012，19" x 17.25" x 18.25"，单丝、羊毛、亚麻、丝绸。技术钩针编织。照片：John Carlano。

Wrinkled (Basket), 2012, 19" x 17.25" x 18.25", Monofilament, wool, linen, silk. Technique crochet. Photo: John Carlano.

褶皱（篮子），细节，2012 年，19" x 17.25" x 18.25"，单丝、羊毛、亚麻、丝绸。技术钩针编织。照片：John Carlano。

Wrinkled (Basket), detail, 2012, 19" x 17.25" x 18.25", Monofilament, wool, linen, silk. Technique crochet. Photo: John Carlano.

哪些特定的历史艺术家影响了您的作品？ 

我更受艺术史历史时期的启发，而不是受个别艺术家的启发。例如德国表现主义、印象派、日本和美洲原住民艺术。Paul Klee，他的作品似乎适合所有这些时期，Vincent Van Gogh，他的作品非常富有表现力和活力，还有奥古斯特雷诺阿其形式有机而柔和，人物之间充满张力。这些例子的共同点是它们的情感和精神核心，以及对形式的探索。日本艺术有一种安静、温和的张力，通常用几笔来创作。德国表现主义者就是这样，用笔触的运动和夸张的形式表现出来。印象派以许多不同的方式讲述了一个完整的故事。美国原住民的艺术简单而诚实。Paul Klee 本人，受到表现主义时期以及立体主义、超现实主义和东方主义的影响。就个人而言，我喜欢克利的俏皮和童趣的视角。之前没有把它联系起来，但是我在硕士论文中研究了这两个概念。

What specific historic artists have influenced your work? 

I have been more inspired by historic periods of art history rather than by individual artists. For example the German Expressionists, the Impressionists, Japanese and Native American Art. Paul Klee, whose works seems to fit into all of these periods, Vincent Van Gogh, whose work is very expressive and energetic, and Auguste Renoir whose forms are organic and gentle, and full of tension between the figures. The common thread throughout these examples is their emotional and spiritual core, as well as the exploration of the forms. Japanese art has a quiet, gentle tension, often created with a few brushstrokes. German Expressionists were just that, expressive with the movement of their brushstrokes and exaggeration of their forms. The Impressionists told a whole story in many different ways. Native American art is simple and honest. Paul Klee was himself, influenced by the Expressionist period, as well as Cubism, Surrealism and Orientalism. Personally, I like Klee's playfulness and childlike perspective. I didn't connect it before, but I investigated these two concepts in my master's thesis.

棕色和白色（篮子），2010 年，27" x 18.5" x 11.75"，单丝、线、铁。技术钩针编织。照片：John Carlano。

Brown and White (Basket), 2010, 27" x 18.5" x 11.75", Monofilament, thread, iron. Technique crochet. Photo: John Carlano.

棕色和白色（篮子）细节，2010 年，27" x 18.5" x 11.75"，单丝、线、铁。技术钩针编织。照片：John Carlano。

Brown and White (Basket) detail, 2010, 27" x 18.5" x 11.75", Monofilament, thread, iron. Technique crochet. Photo: John Carlano.

哪些特定的当代艺术家影响了您的作品？  

很长一段时间，三十多年来，我一直受到戴尔·奇胡利作品的影响，来自美国华盛顿州西雅图市的玻璃艺术家。他对有机形式有着惊人的理解，我总是对光线与他的形状和颜色的互动方式感到惊讶。这是非常感性的。对我来说，这件作品也回应了对立面的概念。我对他用这种脆弱的媒介创作的大型、情感强烈的作品很感兴趣，推动、弯曲和挑战媒介。我喜欢形式中形式的分层，以及一种形式如何在另一种玻璃上绘画并创造新形式。我知道我在玩这些相同的原则，并且一直对光及其与物体的相互作用很感兴趣。作为一名新手艺术学生，我记得我的第一个绘画任务，试图画出透过彩色玻璃窗射进来的光。当我回想起那个任务时，我仍然在笑。

另一位艺术家希拉·希克斯 ( Sheila Hicks)让我印象深刻的是，她用纤维进行了巨大的工作，并将纤维作为她的媒介，而不是她的信息。艺术界通常将纤维作品视为一种工艺媒介，但希克斯女士认为她的作品是用纤维制成的。

Lino Tagliapietra是另一位影响我思维过程的玻璃艺术家，原因与 Dayle Chihuly 影响我的许多原因相同。Tagliapietra 的作品比 Chihuly 的大多数作品都更加线性，他将媒介推向极限，拉伸材料和形式，创造出似乎挑战媒介的形状。他的许多作品都被暂停了，这又是一次出人意料的展示。

我需要提到的另一位艺术家是一位名叫Tracy Krumm 的女性。她的作品非常棒，当我第一次看到她的大钩针线时，我就对它产生了强烈的本能反应。从来没有见过她，我打电话给她并通过电话询问技术信息；特蕾西非常乐意分享她必须分享的一切。

What specific contemporary artists have influenced your work?  

For a very long time, well over thirty years, I have been influenced by the work of Dale Chihuly, who is a glass artist from Seattle, Washington, USA. He has a fabulous understanding of organic form, and I am always amazed by the way the light plays with his shapes, and colours. It is very sensual. To me, the work also responds to the concept of opposites. I am intrigued by the large, emotionally strong pieces that he creates with this fragile medium, pushing, bending and challenging the medium. I love the layering of form within form, and how one form paints over another glazing and creating new forms. I know that I play with these same principals and have always been intrigued with light and its interaction with objects. As a novice art student, I remember my first drawing assignment, trying to draw the light coming through stain glass windows. When I think back on that assignment, I still chuckle.

Another artist, Sheila Hicks, has impressed me with her ability to work monumentally with fibre and to use fibre as her medium, not her message. The art world normally considers fibre work as a craft medium, but Ms. Hicks considers her work art that is made with fibre.

Lino Tagliapietra is another glass artist that has influenced my thought process for many of the same reasons that Dayle Chihuly has affected me. Tagliapietra, whose work is more linear than most of Chihuly's, pushes the medium to its limits, stretching the material and the forms, creating shapes that seem to defy the medium. Many of his pieces are suspended, again an unexpected presentation.

One other artist I need to mention is a woman name Tracy Krumm. Her work is fabulous and I had a strong visceral reaction to it the first time I saw her large crocheted wire pieces. Never having met her, I called her and asked for technical information and over the phone; Tracy very willingly shared all that she had to share.

社区， 2013，6' x 12'，单丝、丝绸、羊毛、粘土、亚麻、棉、橡胶。技术钩针。照片：约翰·卡拉诺

Community, 2013, 6' x 12', Monofilament, silk, wool, clay, linen, cotton, rubber. Technique crochet. Photo: John Carlano

社区，细节，2013，6' x 12'，单丝、丝绸、羊毛、粘土、亚麻布、棉花、橡胶。技术钩针。照片：约翰·卡拉诺

Community, detail, 2013, 6' x 12', Monofilament, silk, wool, clay, linen, cotton, rubber. Technique crochet. Photo: John Carlano

社区，细节，2013，6' x 12'，单丝、丝绸、羊毛、粘土、亚麻布、棉花、橡胶。技术钩针。照片：约翰·卡拉诺

Community, detail, 2013, 6' x 12', Monofilament, silk, wool, clay, linen, cotton, rubber. Technique crochet. Photo: John Carlano

刚开始的时候，你有导师吗？

在我很小的时候，作为建筑师的父亲是我的导师，经常带我去博物馆，并鼓励我追随内心的声音。我在很小的时候就失去了他，每当我质疑我走这条迂回道路的智慧时，我都试图让他的声音留在我身边。然而，在我最近的职业生涯中，我还有另一位导师。布鲁斯霍夫曼，他担任画廊总监近三十年，十五年前对我的作品产生了兴趣，并一直在挑战我的思想和我看待作品的方式。布鲁斯从不让我对新工作感到太自在。他总是希望我问，“我怎样才能让这变得更好？接下来会发生什么？” 他总是希望我对自己有更多的期望。我非常感谢他经常发表令人不快的评论，以及他相信我的工作总能走得更远的信念。

When you were starting out, did you have a mentor?

When I was very young, my dad, an architect, was my mentor, taking me to the museum regularly and encouraging me to follow my internal voice. I lost him when I was fairly young, and whenever I have questioned my wisdom in following this circuitous path, I have tried to keep his voice along side of me. I have had another mentor, however, in the more recent history of my career. Bruce Hoffman, who has been a gallery director for almost thirty years, took an interest in my work over fifteen years ago and has been challenging my mind and the way I look at my work. Bruce never lets me get too comfortable with new work. He always wants me to ask, "How can I make this better? What comes next?" He always expects me to expect more from myself. I am very grateful to his oft times uncomfortable comments, and his belief that my work can always go miles further.

交叉孵化豆荚， 2009 年，13.5" x 6" x 15.5"、23.5" x 9" x 15.25"，电线、木头、铁、油漆。技术钩针。照片：约翰·卡拉诺。

Cross Hatched Pods, 2009, 13.5" x 6" x 15.5", 23.5" x 9" x 15.25", Wire, wood, iron, paint. Technique crochet. Photo: John Carlano.

交叉影线吊舱，细节，2009 年，13.5" x 6" x 15.5"、23.5" x 9" x 15.25"，金属丝、木头、铁、油漆。技术钩针。照片：约翰·卡拉诺。

Cross Hatched Pods, detail, 2009, 13.5" x 6" x 15.5", 23.5" x 9" x 15.25", Wire, wood, iron, paint. Technique crochet. Photo: John Carlano.

请解释您是如何发展自己的风格的。

这是一个非常困难的问题。我知道这从来都不是一个有意识的过程。总是有一个声音在跟我说话/一个思考过程正在发生。我倾听我内心的声音，然后继续前进，直到它开始感觉对了。

Please explain how you developed your own style.

This is a very difficult question. I know that it was never a conscious process. There is always a voice talking to me/a thought process happening. I listened to my internal voice, and just kept moving forward until it began to feel right.

Seed Pod 2, 2010, 39.5" x 33.5" x 18", 线材、木头、油漆、铁。钩针编织技术。照片：John Carlano。

Seed Pod 2, 2010, 39.5" x 33.5" x 18", Wire, wood, paint, iron. Technique crochet. Photo: John Carlano.

细节：Seed Pod 2, 2010, 39.5" x 33.5" x 18", 线材、木头、油漆、铁。钩针编织技术。照片：John Carlano。

Detail: Seed Pod 2, 2010, 39.5" x 33.5" x 18", Wire, wood, paint, iron. Technique crochet. Photo: John Carlano.

Leslie Pontz 与 Seeded Pod 2，照片：John Carlano。

Leslie Pontz with Seeded Pod 2, Photo: John Carlano.

您何时以及如何意识到您有信心继续您的艺术？

我不确定信心是否与一开始的艺术创作有关。这真的更像是按照这个顺序学习走路、说话和画画。艺术一直是我的一部分。我需要呼吸，顺理成章地，我需要做艺术。首先是我的父母，然后是我的丈夫，总是比我更了解我的那部分，并且总是让我有空间走自己的路。多年来，我曾多次质疑我继续创作艺术的有效性，而当时的成功很小而且相差甚远。成为一名专业艺术家需要大量的时间、金钱和个人投资，而我从没想过成为一名业余爱好者。对我来说，将自己视为专业人士并拥有专业艺术家的基准总是很重要的。当这些基准并不总是得到满足时，有时很难回到工作室继续创作艺术。但创作艺术的需求总是让摇摆不定。

由于我取得了一些成功，信心部分来得更慢，也更近。我们都需要验证来帮助我们建立自信。个展、文章、博物馆购买和收藏家购买都是重要的验证。这些成功对我建立自信很重要。

我生命中还有一个人对我帮助很大。Christina Saj Farrell 本人是艺术家，也是艺术家的商业顾问。她鼓励了我，并教会我有勇气面对艺术界的商业方面。我已经学会了伸出援手，让艺术界知道我在这里并且有兴趣被认识。对我来说，这不是，也不是一条容易走的路，但我已经学会了在这个不适区域中导航，以获得我想要的成功。

When & how did you realize that you had the confidence to proceed with your art?

I am not sure confidence has anything to do with proceeding with art at first. It is really more like learning to walk and talk and draw in that order. Art was always a part of me. I had a need to breathe, and in logical progression, I had a need to do art. My parents in the first instance, and then my husband, always understood that piece of me much better than I did, and always allowed me the space to follow my own path. There have been many times over the years that I questioned the validity of my continuing to make art when the successes were small and far between. It took a lot of time, money and personal investment to be a professional artist, and I never wanted to be a hobbyist. For me it was always important to think of myself as a professional and have the benchmarks of a professional artist. When those benchmarks were not always met, sometimes it was hard to go back into the studio and continue to make art. But the need to make art always out weighed the wavering.

The confidence part has come much more slowly and more recently as I have had some successes. We all need validation to help our self-confidence. Solo shows, articles, museum purchases, and collector purchases are all important validations. And those successes have been important to the development of self-confidence that I have.

There is also a person in my life that has been a great help. Christina Saj Farrell, an artist herself, is a business consultant to artists. She has encouraged me, and taught me to have the courage to face the business side of the art world. I have learned to reach out and let the art world know that I am here and interested in being known. It was not, and is not, an easy path for me to take, but I have learned to navigate in this discomfort zone in order to have the success that I want.

Sack 2, 2011, 41.5" x 14.25" x 5.5", 丝绸、单丝、木头、铁。技术钩针编织。照片：John Carlano。

Sack 2, 2011, 41.5" x 14.25" x 5.5", Silk, monofilament, wood, iron. Technique crochet. Photo: John Carlano.

Sack 2，2011年，细节，41.5" x 14.25" x 5.5"，丝绸、单丝、木头、铁。钩针编织技术。照片：John Carlano。

Sack 2, 2011, detail, 41.5" x 14.25" x 5.5", Silk, monofilament, wood, iron. Technique crochet. Photo: John Carlano.

你的艺术对你意味着什么？

当我在做我的艺术时，我最平静，无论是我做了这么久的素描、版画和绘画，还是我现在正在做的雕塑。我觉得自己很完整，有时还为自己的成就感到自豪。

What does your art mean to you?

I am most at peace when I am working on my art, whether is was the drawing, prints and painting that I did for so long, or the sculpture that I am doing now. I feel complete, and at times, pride in my accomplishments.

完整（篮子），2011，66" x 12.5" x 16.25"，单丝、线、铁、丝绸。

技术钩针编织。照片：约翰·卡拉诺

Full (Basket), 2011, 66" x 12.5" x 16.25", Monofilament, thread, iron, silk.

Technique crochet. Photo: John Carlano.

完整（篮子），2011，66" x 12.5" x 16.25"，单丝、线、铁、丝绸。

技术钩针编织。照片：约翰·卡拉诺。

Full (Basket), 2011, 66" x 12.5" x 16.25", Monofilament, thread, iron, silk.

Technique crochet. Photo: John Carlano.

你早期的工作与现在的工作有何不同？

这两个工作时期之间有如此巨大的差异。首先是最明显的，那就是媒体。我早期的作品都是二维的。我现在所做的工作都是立体的。我现在做的工作肯定更加成熟和有方向。在早期的工作中，为了了解媒体、形式和过程，进行了大量的搜索和试验。现在我很享受这个过程，但这与过程无关。它是关于完成的作品以及那件作品所说的内容以及它如何添加到我的整个工作中。

How does your early work differ from what you're doing now?

There is such a huge difference between the two periods of work. First is the most obvious, and that is the media. My early work was all two-dimensional. The work that I am doing now is all three-dimensional. The work I am doing now is certainly more mature and directed. In the early work, there was a ton of searching and experimenting just to understand the media, the forms and the process. Now I enjoy the process, but it is not about the process. It is about the finished piece and what that piece says and how it adds to my whole body of work.

21. 悬垂（篮子），2011，73.5' x 20" x 16.5"，单丝、丝绸、铁。技术钩针。照片：约翰·卡拉诺。

21. Draping (Basket), 2011, 73.5' x 20" x 16.5", Monofilament, silk, iron. Technique crochet. Photo: John Carlano.

悬垂（篮子）细节 2011，73.5' x 20" x 16.5"，单丝、丝绸、铁。技术钩针。照片：约翰·卡拉诺。

Draping (Basket) detail 2011, 73.5' x 20" x 16.5", Monofilament, silk, iron. Technique crochet. Photo: John Carlano.

哪个项目让您最满意，为什么？

无论我现在正在做什么，都让我最满意。那是因为它是最能挑战我的思想、能力和想法的作品。

What project has given you the most satisfaction and why?

Whatever piece that I am working on at the moment gives me the most satisfaction. And that's because it is the piece that challenges my thoughts, abilities and ideas the most.

Sack 1，2011年，76.25" x 14.75" x 7.5"，单丝、丝绸、黄麻、木头、铁。技术钩针编织。照片：John Carlano。

Sack 1, 2011, 76.25" x 14.75" x 7.5", Monofilament, silk, jute, wood, iron. Technique crochet. Photo: John Carlano.

Sack 1，2011，细节，41.5" x 14.25" x 5.5"，丝绸、单丝、木头、铁。钩针编织技术。照片：John Carlano。

Sack 1, 2011, detail, 41.5" x 14.25" x 5.5", Silk, monofilament, wood, iron. Technique crochet. Photo: John Carlano.

你会给刚开始作为艺术家的人什么建议？

仅当您绝对必须这样做时，才从事艺术事业。做任何事都比做艺术家更容易。其他专业人士也有真正的工作。艺术家们必须走自己的路，创造自己的目的，发展自己的工作，并且经常不得不在工作室外工作，才能把食物放在桌子上。请记住，金钱上的成功并不总是艺术整体成功的试金石。学会理解艺术的商业。最重要的是，请记住，您是一名艺术家，因为您需要从内到外。

What advice would you give to someone starting out as an artist?

Only follow an art career if you absolutely have to do this. It is easier to be just about anything else than an artist. There are real jobs out there for other professionals. Artists have to make their own way, create their own purpose and develop their own jobs, and often have to work outside the studio in order to put food on the table. Remember that monetary success is not always the litmus test for overall success in art. Learn to understand the business of art. And most of all, remember that you are an artist because you need to be, from the inside out.

折叠？（篮子），2012 年，12 英寸 x 14 英寸 x 21 英寸。单丝、丝绸。技术钩针编织。照片：约翰·卡拉诺。

Folded? (Basket), 2012, 12" x 14" x 21". Monofilament, silk. Technique crochet. Photo: John Carlano.

折叠？（篮子），细节，2012 年，12 英寸 x 14 英寸 x 21 英寸。单丝、丝绸。技术钩针编织。照片：约翰·卡拉诺。

Folded? (Basket), detail, 2012, 12" x 14" x 21". Monofilament, silk. Technique crochet. Photo: John Carlano.

告诉我们您的工作室以及您的工作方式：

我被完成的作品和正在进行的作品包围着。我发现一件和另一件之间的联系对我来说非常重要。我每周留出两天神圣不可侵犯的时间，在这两天之间花 16 到 20 个小时进行创意工作。本周剩下的时间我做生意的一部分。我寻找展览机会、建立联系、处理机会、运送作品、拍摄完成的作品、订购材料、寻找新材料、支付账单、参加开幕式、参观博物馆和画廊。

Tell us about your studio and how you work:

I am surrounded by finished pieces, and pieces in progress. I find that the link between one piece and another is very important to me. I set aside two full days a week that are sacrosanct and do the creative work for about 16 - 20 hours between those two days. The rest of the week I do the business piece of the business. I search for show opportunities, make contacts, process opportunities, ship work, photograph finished work, order materials, search for new materials, pay bills, attend openings, visit museums and galleries.

工作室。照片：莱斯利庞茨

Studio. Photo: Leslie Pontz

你想象你五年后的工作在哪里？ 

我无法想象我五年后的工作。我不这么认为。我现在正在制作一个系列，这可能需要我一年左右的时间才能解决，而且我脑子里有一个系列正在等待中。我一直在忙着下一场展览，希望是下一场重要的拍卖会，但实际上它会在五年内完成——也许是在艺术与设计博物馆或泰特现代美术馆的个展。（我笑着说。为什么不高射呢？）

Where do you imagine your work in five years? 

I don't imagine my work in five years. I don't think in those terms. I am working on a series now, that could take me another year or so to resolve, and I have a series in my head that is waiting in the wings. I am always working on the next show, and hopefully the next important sale, but where it will actually be in five years, well – maybe a solo show in the Museum of Art and Design or the Tate Modern. (I say this with a chuckle. Why not shoot high?)

安装麻袋 2 , 2011, 79.75" x 68" x 6.5", 丝绸、黄麻、单丝、亚麻、木材、油漆、铁。钩针编织技术。照片：John Carlano。

Installation Sacks 2, 2011, 79.75" x 68" x 6.5", Silk, jute, monofilament, linen, wood, paint, iron. Technique crochet. Photo: John Carlano.

您对线程世界节感兴趣的地方是什么？

我参与了费城的一个名为 FiberPhiladelphia 的音乐节，它在概念上与 World of Thread 音乐节非常相似。我很感兴趣，还有另一个场所致力于建立光纤世界的广度和重要性。

What interests you about the World of Threads festival?

I have been involved with a festival in Philadelphia, called FiberPhiladelphia, which is very similar in concept to the World of Thread Festival. I was intrigued that there is another venue working towards establishing the breadth and importance of the fibre world.

安装袋 2，细麻袋，2011 年，79.75 英寸 x 68 英寸 x 6.5 英寸，丝绸、黄麻、单丝、亚麻、木材、油漆、铁。技术钩针编织。照片：约翰卡拉诺。

Installation Sacks 2, detail linen sack, 2011, 79.75" x 68" x 6.5", Silk, jute, monofilament, linen, wood, paint, iron. Technique crochet. Photo: John Carlano.

安装袋 2，折叠篮细节，2011，79.75" x 68" x 6.5"，丝绸、黄麻、单丝、亚麻、木材、油漆、铁。钩针编织技术。照片：John Carlano。

Installation Sacks 2, detail collapsed basket, 2011, 79.75" x 68" x 6.5", Silk, jute, monofilament, linen, wood, paint, iron. Technique crochet . Photo: John Carlano.

安装袋 2，折叠篮细节，2011，79.75" x 68" x 6.5"，丝绸、黄麻、单丝、亚麻、木材、油漆、铁。钩针编织技术。照片：John Carlano。

Installation Sacks 2, detail collapsed basket, 2011, 79.75" x 68" x 6.5", Silk, jute, monofilament, linen, wood, paint, iron. Technique crochet . Photo: John Carlano.