装置艺术--Kaylee Carrington：万物得其所
所有事物都应该处在它应该处于的位置上：万物得其所。
Everything in its right place.
因为我的艺术作品不会被展示在传统的画廊背景下，所以能够激发哪些不常接触艺术的人感受我的艺术作品。我的装置艺术设施会造成一种巧合的感觉；在没有偏见的情况下，每一个路过的人都可以看得到我的装置艺术设施，并且去近距离的感受艺术。
Because my artwork isn't and cannot be displayed in the traditional gallery setting, the work is able to inspire people who aren't typically exposed to art. There is a sense of serendipity attached to my environmental installations; any unsuspecting passersby can stumble on them and experience the art without institutionalized preconceptions.
活跃在美国中部的艺术家 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。
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.
纹理、颜色和形状既可以呼应风景，也可以鲜明对比。每一件作品的照片记录都是在一个季节和一天的时间内完成的，最突出的是工作与环境之间的基本共生关系。这张照片也是这项工作唯一永久的证明。故事的其余部分留给自然的暴力缺陷，而不是画廊的无菌。
The textures, colors and shapes can either echo that of the landscape or stand in palpable contrast. The photo documentation of each piece is done in the season and time of day that best highlights this essential symbiosis between the work and the environment. The photograph also stands as the only permanent testimony to the work. The rest of the story is left to nature’s violent imperfection—not the sterility of a gallery wall.
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