對於他的第六個展與裏森畫廊，英國藝術家賈森·馬丁提出了一個新的系列鑄造銅和鎳的作品。 Trained as a painter in oil and acrylic, Martinbegan manipulating his chosen material in the early 1990s,dragging, scraping, combing, raking and squeegeeing paint acrossthe surfaces of his canvases and aluminium panels until their edgesbled colour and the surfaces picked up textures, gestures andhappenstance along theway.訓練作為油和丙烯酸畫家，馬丁開始操縱他所選擇的材料在上世紀90年代初，拖着，刮痧，梳理，耙和碾滾漆在他的畫布和鋁板的表面，直到其邊緣流血的顏色和表面拿起紋理，手勢和沿途的偶然事件。Thisperformative process has been complicated in this latest set ofcast works, available exclusively through Lisson Gallery, in whichthick impasto marks made from brusque, almost baroque sweeps ofhand-sculpted material have been solidified into metal in themanner of traditional bronze sculptures orstatues.這個表演的過程變得複雜在這最新的一組鑄鐵的作品，僅通過裏森畫廊，其中從手工雕刻材料的粗暴，幾乎巴洛克式掃描較厚厚塗痕已經凝固成金屬在傳統的青銅雕塑的方式或雕像。
Thisjewel-like series of eight panel reliefs hovers between dualregisters: between painting and sculpture, between the singular andthe serial, between movement and stasis and even betweenabstraction and figuration, as each viewer is mirrored in thesmooth, unpainted sections of thesupports.雙寄存器之間的這種寶石般的八大系列面板浮雕徘徊：繪畫和雕塑之間，單數和串行之間，運動和瘀滯，甚至之間的抽象和成形的，因為每個觀眾反映在的順利，未上漆的部分支持。Bravuraswirls and snaking rivulets of painterly gesture form endlesslyperusable eddies of incident and yet the metallic sheen refutes andrepels easy interpretation, making these simultaneously seductiveand unyielding, adamantine URA漩渦和事件的繪畫姿態形式不休perusable漩渦，但該金屬光澤駁斥蜿蜒的溪流和排斥容易解釋，使這些誘人的同時不屈，金剛對象。
Martinhas further explored the boundary between painting and sculpture ina new floor-bound sculptural work, titled Anathema , whichresembles a giant alien seedpod or a chromed meteorite crashed inthe gallerycourtyard.馬丁進一步探討在新的地板綁定的雕塑作品繪畫和雕塑之間的界限，名為詛咒，它類似於一個巨大的外星子房或鍍鉻隕石墜落在畫廊的庭院。 Alsocast in electro-polished steel, this composite object is based onchunks of virgin cork bark found near his studio inPortugal.也投中電拋光鋼，這種複合物是基於靠近他在葡萄牙的工作室找到了原軟木樹皮塊。Itsknotty, abstract exterior adding a further remove from the notionof handmade artistic expression normally ascribed topainting.它的棘手的，抽象的外觀加入了更多的手工藝術表現通常歸因於繪畫的概念中刪除。
夢想與現實之間的磨合讓我讀懂很多生活的語言，風雖改變了方向，卻沒有改變我的行程-----
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