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雕塑艺术家大卫 · 奥利维拉 1980 年生于里

斯本，并在里斯本油画学院学习绘画。
这位年轻的葡萄牙艺术家所创作的雕塑作
品精巧又新奇，看上去就像一个三维的素

David Oliveira
描图在空间中悬浮。有时用看不到的灯丝
悬挂，有时也可以随着想象进行自由设
计。自 2005 年起，他就开始参见各种独
立或是联合的展览。从看到他作品的第
一眼，我们就被完全地征服了。此次有机
会能采访到这位著名的艺术家，我们也深
感荣幸。

大卫·奥利维拉

采访：Emanuel Barbosa

能介绍一下你的工作吗？是因为怎样的契机开始 灵感来源于每天的生活，生活中的一切，让我们
从事这项工作的？ 笑，让我们哭或是满足的各种元素…去表 现这
些东西会让我更加增强良心感。
是从我发现自己急于想要将自己对生活以及生
命的观点表达出来的时候，我选择了艺术，选择 我像猎人追踪猎物般，随时从各种媒介、网络、
了用这样可塑的材质来 作 艺术。有的艺术家选 图片以及博物馆中来捕捉尽可能多的信息。
择音乐为基点，有的人选择文字或是舞蹈，而我
选择了雕塑。正是出于对它的喜爱和崇敬，我两 我的作品 99% 来自于我的记忆，剩下的 1% 来自
次进入油画学校进修。第一次，我在雕塑方面获 于 这 些 线。非常环保吧。为什么会 选 择 金 属线
得学位，作品是在一件特殊工艺的陶瓷品。那段 呢？是因为这样一条线可以对抗重力存在，这是
课程 之后我就开始探索各类的金属丝材料。然 一种纯真，简单又自发的感觉。
后，我又在艺术解剖学方面获得了硕士学位，专
业方向在绘画上。我不断地发展技法，也尝试很 你的作品在世界上都得到了广泛的认可，也可以
多新的方法来传递我想表达的信息。久而久之， 在网络上经常看到你的作品图片。你是怎么看待
我的想法 也变得越 来越多，不过 还算正常的方 这样的国际化进程呢？
向。我希望可以表现出生命的短暂。
我主要还是生活工作在葡萄牙里斯本。
大卫，在我看来，你的作品像是一种三维素描。
你利用了绘画的表现质感然后再将它们转换成 网络 是一 个推 广的好工具。让我的作品可以在
一种三维的感觉让它们看起来像是真实的铅笔线 全球范围内推出。也可以 给 我带来很 好的机会
条，采用的是金属丝。用这些纤细的丝线小心翼 参加 世界各地 的 艺 术 盛 会，比 如 葡 萄 牙，西 班
翼地描绘出作品的轨迹，让它们可以在空间中完 牙，土耳其，英国，意大利，美国，日本等。所幸
美呈现，真是太与众不同的创意。你的这种灵感 都是很好的经历。
来自于什么地方？为什么要采用这种材质呢？

你是否在中国做过什么项目呢？如果没有的话， 品要考虑到结构，雕塑的方式等。有时明暗的元
你是否有兴趣去中国实现一些项目呢？ 素也会考虑进去，其实很多方式都 和绘画的技
法有相通之处。
如果一个项目非常空泛或是浅显我是绝不会有
兴趣的，无论谁也不能破坏我的原则。 你的作品都是大尺寸的么？你是否会创作一些小
的作品？
中国是 一 个很有文化也很有趣的国家，我 对此
很有兴趣。 我经常会想要把作品做得接近自然尺寸。
你现在是否有任何国际画廊代理你的作品呢？ 我的一件较大的作品是一个室内空间中悬浮的
没有。 树，从头到脚一共7米长。
你的作品是否出售过呢？如果需要出售，你更希 我 的 较小 的 作品 还包 括一 些昆 虫：有 草 蜢，蜗
望是出售给私人藏家还是画廊或是博物馆？ 牛，蜜蜂，蜘蛛，蜻蜓等。他们那些繁复的结构
令我沉醉，但也因为太小而太脆弱。
画廊和博物馆会更加“安全”些，也可以让更多
的人看到你的作品，尽管这并不是 一 个自然的 能介绍一下你的整个创作过程吧。当你想要开始
环境。 一个新的项目的时候，你考虑的最主要的方面是
什么呢？
私 人收藏 或是收藏家都无所 谓，我的作品也 不
会永远属于我自己，会经历各种各样的人，这些 首先，我 需 要 考虑 和 项目相 关 的问 题，选 择 材
东西是我控制不了的。总之各有利弊吧。 质，查看空间还有它们之间的一种关系。我需要
清 楚其中的目的，这 是一 个非常实用又 严谨的
你的创造过程是先通过图像再来雕塑还是先进行 过程。
雕塑再来结构图像呢？
空间需要足够开放才 能接收到新的元素，因为
两种情况都有。这要取决于当时的想法。我的作 它们要互相融合，让整个空间关系达到平衡感。
INTERVIEW CASA专访
如果你没有成为一个雕塑家，你会做什么呢？ David Oliveira was born in Lisbon in 1980. He
studied at the Lisbon Fine-Arts Faculty. This
我还是会做雕塑的，感知环绕在我周围的一切。 young Portuguese artist creates delicate and
或许也会从事生物方面的工作吧。 surprising figurative sculptures that look like
three-dimensional ink sketches floating in
作为一个职业艺术家总是有苦有乐。在这里你有 space. Sometimes hung by invisible filaments,
什么寄语想送给那些年轻的艺术学生呢？ sometimes hung by our imagination. Since
2005 he participates in solo and collective
学 校艺术是一 个长期的工作。你需要学 校各种 exhibitions. From the first view of his work
方式来表达自己，塑造、手工制作、视觉感官等 we became immediately huge admirers of
等。就像学习一种新的语言。当然中心在于你想 his work. It was a pleasure and an honor
要表达的东西是 什么以 及它的重要性。你需要 to interview him in exclusive for CASA
有激情，有毅力但也不能用力过猛。一定要忠诚 INTERNATIONAL.
地反映你所相信的一切事物。
How did it all start? Tell us about your career.
对未来有什么样计划？
It all started when I felt the urge to
我希望有一天能够在英国泰特博物馆做一个展 communicate my point of view trough life,
览，那里的空间感很强。 and chose the plastic arts to do so. Some do
it with music, others with words or dance, I
chose sculpture. This led me to the University
of fine-arts, twice. First I got a degree in
Sculpture, being my specialty ceramics. After
ended the course I started to explore the
wire, this lead me to start a master degree
in artistic anatomy with a special focus in
drawing. I kept developing my technique,
PAGE 43
always experimenting new ways to clarify my
message. Meanwhile my message become
wider, but with a common nominator- life.
I want to represent life in its ephemeral
expression.
David, your work seems to me like three
dimensional sketches. You use the expressive
qualities of drawing and transport them to
the third dimension using something that
looks like a solid pencil line: metal wire. By
using thin wires to carefully trace figures with
passion and expression in space, you leave no
one indifferent. Where does your inspiration
come from? Why this medium?
Inspiration comes with the day to day
life. What makes us smile, cry or tickles...
Representing it makes me more conscience.
I activate my "hunting-eye", and try to fill that
moment with the most information possible,
from the most several mediums, Internet,
pictures, museums.
My work 99% comes from my memory the
other 1% is wire. Very ecological, right?

Why wire? Because is a line that can stands
against gravity..., because is naïf, easy and
spontaneous...
Your work is internationally recognized, it is
not difficult to be surprised by images of it in
the Internet in all kinds of websites. Can you
describe your international activity?
I live and work mainly in Portugal, Lisbon.
Internet is a great tool for promotion. That took
my work around the world, this brought me
some invitations that allowed me to participate
in art events in Portugal, Spain, Turkey, the UK,
Italy, USA, Japan. Luckily all turned out to be
great experiences.
Have you made any projects or exhibitions
in China? If not, would you be interested in
that?
I would not be interested in a project if it
seemed empty or shallow or, for any reason it
would upon against my principles.
China is a very interesting culture, I would be
trilled.  My bigger work is a suspended tree in an
Do you have galleries representing you
internationally?
No.
Do you sell your works? If so, do you prefer
INTERVIEW CASA专访
to sell it to private collectors or galleries and
museums?
Galleries and museums are "safer" and allow
more people to see it, although I think it´s an
artificial environment.
Private persons, collectors or not - my work
will no longer be mine, will be adopted and
raised by someone else, something I can’t
control. There are pros and cons in both.
Do you have a graphic approach to sculpture
or a sculptural approach to graphics?
Both I think. It will depend of the idea. There
are some works i have to think the work by its
structure, there four approaching sculpture.
Others come by the contrast light/dark,
by composition or point of view more similar
with a drawing approach.   What would you like to say to young art
Are your works always large in scale or do you
also make smaller sculptures?
I always try to work close to natural scale.
interior space, 7meters from top branches to
roots.
My smaller works are insects: grasshoppers,
snails, bees, spiders, dragonfly's. They
wonder me by their complexity in such a
fragile existence.
PAGE 45
Tell us about your process. What are you main
concerns when you approach a new project?
First I need to connect with the project, know
things, see the space, and interact with it.
I need to understand the purpose of my
intervention, this is always a very pragmatic
and logic process.
The space has to be open to receive this new
element because they will merge and this
balance has to be positive. 
If you were not a sculptor, what would you like
to do?
I would like to do the same I’m doing know, be
aware of what surrounds me. Maybe biology.
Pleasures and difficulties of being an artist.
students?
Study art is for any age, it´s learning a plastic/
manual/ visual way to express yourself. Like
learning a new language. It will always depend
of what you have to say, and how important
is for you to say it. There is passion, hard
work and not so hard work. Try to be honest
showing what you believe.
Plans for the future?
I would like to exhibit in TATE UK, has a great
high-feet. (By Emanuel Barbosa)