Lukas Cober
Lukas Cober是一位生活及工作在荷兰的手工艺人和设计师。他将每件作品都视为“静态雕塑”，在材料和形状之间构建一种纯粹的对话，并强调所选原材料的价值与美感，创造具有永恒之美的简约性产品。
Lukas Cober is a craftsman and designer based in the Netherlands. He considers each piece of his work as a "static sculpture", building a pure dialogue between materials and shapes. Cober emphasizes the value and aesthetics of the chosen raw materials, creating minimalist products with timeless beauty.
以材料为媒介，在他看来，只有通过耐心的等待和深入探索，才能呈现出最终的各种可能。Lukas Cober时常通过材料特性和手作方式来构思一件产品，甚至融入当下的感受，材料和形状会构成物体本身的功能，即便是一把椅子、一个包或一盏灯。
Using materials as a medium, he believes that only through patient waiting and thorough exploration can various possibilities be ultimately revealed. Lukas Cober often conceptualizes a product through the characteristics of materials and handmade techniques, incorporating present feelings. The materials and shapes contribute to the functionality of the object itself, be it a chair, a bag, or a lamp.
- Art: Lukas Cober
材料是理性的探索，形态则是感性的结果。您是怎样控制二者间的平衡的？
Materials are a rational exploration, and shapes are the result of sensibility. How do you maintain a balance between the two?
我并不受传统意义上的某些形式所局限，而是以一种毫无偏见和“天真”的态度来对待每一种新材料，这使我的探索更加趋于感性而非理性。所以，二者之间的平衡在我看来是一件非常自然的事情。
I think not being an “educated” craftsman in a classical sense and how I approach every new material in an unbiased and “naïve” way makes the exploration not very rational but more emotional. For me balancing an emotional approach and sensible shapes comes very natural.
如何理解“静态的雕塑”所表现出的流动性？
How do you interpret the fluidity expressed in "static sculpture"?
我作品中表现出的流动性无所不在，它贯穿于从初期的概念到最终的完成。当然，一切都始于某个“灵感”的诞生，以此为切入，并不断地完善。从来没有一蹴而就的顺利，往往最后的呈现与一开始的设想是存在出入的，所以创作是一个非常灵活的过程。
The fluidity in my work comes from all directions. It’s the fluid way of how an object comes to live, from concept to creating. Obviously everything starts with the “idea” but from there I move forward and develop the pieces in the process. Not a single time I sketched out a new idea and ended up doing what I had initially in mind. So it’s a very fluid process.
构成我作品的材料也是“流动”的，它一度是液态，之后才凝固。所有的形态都有如线条般流畅。不是一个元素简单地粘合在另一个表面之上，它们都历经打磨，每一处都有着平滑的过渡，使其浑然一体。虽为“静态的雕塑”，但其形态会唤起我们对创作过程中各种动态情景的联想。
Fluid is also the material on many of my works that at one point in a liquid state, then solidifies. All the shapes that you will find in my works resemble a fluid line. No element is simply glued flush against the other surface. Everything will have a fluent transition that is hand carved to make a piece feel like its “one-piece”.A static sculpture that reminds the motion of everything that went into the creation of this piece is the result of it.
与设计师或艺术家和“一名寻常的体力劳动者或工匠”的身份相比，您更喜欢哪个，为什么？
Do you prefer to identify more as a designer or artist, or as an "very physically working person or skilled craftsman"? Why?
我更多地自认为是一位艺术家，因为我的作品主要基于好奇心和自我意愿的表达，而非试图定义和迎合潮流。为了实现这一构思，我会采取许多的方式，包括进行大量地实践及对各种工艺的大胆探索。
I think I would define myself mostly as an artist because my work evolves from curiosity and the will of self expression rather than trying to define and please trends. I do what is necessary to achieve for what I have in mind. This involves a lot of experimenting and fearless craftsmanship.
“KURO系列”作品中，作为必要存在的“顶面厚度”，被重新解构之后似乎逐渐消失了，您是如何思考的？
In the "KURO Series", the "thickness of the top surface", which is necessary for the existence of the works, seems to have disappeared after being deconstructed,How do you think about this transformation?
与我处理其他作品的方式相同，通过去除多余的材料，使其得以成型。这种雕刻创作的方式，就像石匠处理石头一样，通过手工打磨，赋予了“原材料”以形状和细节。如此，每一件作品才有了“灵魂”。
In the same way how I tread all my works, the pieces come to live by removing material. It’s a sculptural way of creating. Same as a stonemason would treat a block of stone, I take the “blank material” and give it its shapes and details by carving material off by hand. Like this every piece gets its own unique twerks and its “soul”.
如果不经过后续的打磨工作，Kuro桌只是一些厚重的方形木板的简单组合而已。从简单的形态到具有明确的定义，这一转变成为它的独特标志。
The Kuro table would simply be very thick square wooden plates combined, if not carved afterwards.
This transformation from getting from something very simple to something very defined is the signature that makes the piece unique.
“反对潮流”是不是也是进化的另一种方式？
Is "going against the trend" another form of evolution?
并不是要反对潮流，而是希望在被算法所分析、日渐商业化和受强制支配的世界中寻找一种真实性和价值感。我尝试创作一些注入了时间和热情而有着真正价值的作品，它们具有独特的个性和灵魂，因为不迎合潮流，所以无法适应商业环境。这正是社会发展的矛盾之处，随着商业化的加重，我们追求自我真实性的渴望则将变得愈加迫切。
I don’t think its about going against the trend but about finding authenticity and value in a world where taste is being analized, commercialized and dictaded through algorithm´s. I am trying to create something that is not build to please a trend but to create work that has real value because of the dedication, time and passion that has been put into it.Objects with a signature and a soul that would not fit into a commercial context. I believe this is the antipole to the evolution of our society and the more we commercialize things to feed the mass the deeper our inner urge will become to find individualism and authenticity.
