{"id":21175,"date":"2015-11-05T17:39:13","date_gmt":"2015-11-05T09:39:13","guid":{"rendered":"http:\/\/pearllam.com\/creators-project-vice-colossal-wood-sculptures-track-death-and-regeneration\/"},"modified":"2020-08-17T11:06:06","modified_gmt":"2020-08-17T03:06:06","slug":"creators-project-vice-colossal-wood-sculptures-track-death-and-regeneration","status":"publish","type":"post","link":"https:\/\/www.pearllam.com\/zh-hant\/creators-project-vice-colossal-wood-sculptures-track-death-and-regeneration\/","title":{"rendered":"Creators Project \u2013 Vice | \u2018\u4ee5\u5de8\u578b\u6728\u96d5\u8ffd\u5c0b\u6b7b\u4ea1\u8207\u91cd\u751f\u2019"},"content":{"rendered":"<p>The Creators Project has published a post of interview with Leonardo Drew.<\/p>\n<p style=\"text-align: justify;\">A massive hanging black sculpture made of wood, paper, rope, a raccoon skull, and dead bird feathers emerges in abstract expressionist sculptor Leonardo Drew\u2019s seminal 1989 woodwork, Number 8. It draws from Drew\u2019s personal history, referencing Jackson Pollock\u2019s all-over drip paintings, and Piet Mondrian\u2019s use of the grid to allude to dawn and decay. Drew\u2019s upcoming solo show, Leonardo Drew at Pearl Lam Galleries&#8217; Pedder Building in Hong Kong, continues the Brooklyn-based artist career-long exploration of materiality and the cyclical nature of existence, and, for the first time, introduces color into the artist&#8217;s work.<a href=\"http:\/\/pearllam.com\/wp-content\/uploads\/2015\/11\/Screen-Shot-2015-11-05-at-5.16.11-pm.png\" rel=\"nofollow noopener\" target=\"_blank\"><img decoding=\"async\" class=\"size-full wp-image-5363\" src=\"http:\/\/pearllam.com\/wp-content\/uploads\/2015\/11\/Screen-Shot-2015-11-05-at-5.16.11-pm.png\" alt=\"Screen Shot 2015-11-05 at 5.16.11 pm\" width=\"649\" height=\"519\" srcset=\"https:\/\/www.pearllam.com\/wp-content\/uploads\/2015\/11\/Screen-Shot-2015-11-05-at-5.16.11-pm.png 649w, https:\/\/www.pearllam.com\/wp-content\/uploads\/2015\/11\/Screen-Shot-2015-11-05-at-5.16.11-pm-300x239.png 300w\" sizes=\"(max-width: 649px) 100vw, 649px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\">Creators Project \u2013 Vice | International | Antwaun Sargent | 3 November 2015<\/p>\n<p style=\"text-align: justify;\"><a href=\"http:\/\/thecreatorsproject.vice.com\/blog\/colossal-wood-sculptures-track-death-and-regeneration\" rel=\"nofollow noopener\" target=\"_blank\">For more information, please click here.<\/a><\/p>\n<h1><\/h1>\n","protected":false},"excerpt":{"rendered":"<p>The Creators Project has published &#8230;<\/p>\n","protected":false},"author":19,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[12],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/www.pearllam.com\/zh-hant\/wp-json\/wp\/v2\/posts\/21175"}],"collection":[{"href":"https:\/\/www.pearllam.com\/zh-hant\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.pearllam.com\/zh-hant\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.pearllam.com\/zh-hant\/wp-json\/wp\/v2\/users\/19"}],"replies":[{"embeddable":true,"href":"https:\/\/www.pearllam.com\/zh-hant\/wp-json\/wp\/v2\/comments?post=21175"}],"version-history":[{"count":0,"href":"https:\/\/www.pearllam.com\/zh-hant\/wp-json\/wp\/v2\/posts\/21175\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.pearllam.com\/zh-hant\/wp-json\/wp\/v2\/media?parent=21175"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.pearllam.com\/zh-hant\/wp-json\/wp\/v2\/categories?post=21175"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.pearllam.com\/zh-hant\/wp-json\/wp\/v2\/tags?post=21175"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}