PBS高端访谈:化腐朽为传奇（在线收听）

William Brangham: Now: A Detroit artist is making beauty out of abandoned spaces. Special correspondent Mary Ellen Geist reports. It's part of our Canvas series.

Mary Ellen Geist: Scott Hocking wants to transform Detroit's empty spaces into something extraordinary.

Scott Hocking: A lot of the artworks I do are playing with that idea of taking something you have a stereotype about or maybe a stigma, transforming that into something else so that it becomes loftier.

Mary Ellen Geist: Hocking has spent the last two decades creating sculptures and site-specific works by salvaging industrial materials from Detroit's neighborhoods and using abandoned buildings as his canvas.

Scott Hocking: Early on, wasted material was free, I was broke, but then later it just became clear that I wanted to use this material because I really would like to try and change people's thinking about things, and maybe change their perspectives on what they think of as wasted material, and decay, and abandonment.

Mary Ellen Geist: Hocking's installations look like ancient monuments or temples, and are closely tied to the creation, decline and rediscovery of the city he has lived in his entire life. For his latest work, Hocking has transformed an empty riverfront warehouse into an installation entitled Bone Black.

Scott Hocking: This place was built on the river and the use of boats. There's a phenomenon in Detroit which I have been photographing for 20 years now, which is people take their boats that they can't afford anymore, they don't want to deal with anymore, and they dump them. I call them shipwrecks.

Mary Ellen Geist: Hocking moved 33 shipwrecks into the warehouse, and the exhibition takes its name from a pigment made by charring animal bones.

Scott Hocking: It's probably one of Detroit's oldest industries that no one ever has heard of.

Mary Ellen Geist: The warehouse, the boats and the pigment combine to create an installation that gives a viewer the impression of standing on the bottom of a body of water looking up at boats floating overhead. The materials from Bone Black will be transformed one more time when the exhibition ends.

Scott Hocking: The thing that started these kinds of projects is that they were dumped illegally and they're trash. So, a huge part of these kinds of projects for me is that, when everything is done, these boats will all be properly disposed of.

Mary Ellen Geist: Hocking says he knows he will lose his ability to create large-scale installations as Detroit's empty spaces are developed. And that may be the next transformation in Scott Hocking's work.

Scott Hocking: This time is about to go. I'm not out of spaces yet. But there's just not that many left like this now.

Mary Ellen Geist: For the "PBS NewsHour," I'm Mary Ellen Geist in Detroit, Michigan.

威廉·布朗汉姆：今天的主人公是一位来自底特律的艺术家，他可以化腐朽为神奇，利用废弃空间来创造美丽。下面请听我台记者玛丽·埃伦发回的报道。本期节目是帆布系列报道的部分内容。

玛丽·埃伦：斯科特·霍金想要将底特律的废弃空间变为绝美的艺术作品。

斯科特·霍金：我做的很多作品都采用这样一个方式——将某种固有印象的东西或者人们印象中耻辱一般的存在转变为更神圣的东西。

玛丽·埃伦：霍金过去2年的时间里一直在创作雕塑和特定场景的作品，方式是从底特律附近的地方找到一些工业材料，把废弃的大楼当成自己的画布。

斯科特·霍金：早期的时候，废弃材料是免费的，那时候我穷困潦倒。但随后我越来越明白自己想用这些材料来进行创作，因为我真地想尝试改变人们对一些事物的想法，我或许能改变他们对废弃材料、腐烂物体和废弃物体的看法。

玛丽·埃伦：霍金的艺术作品看起来都很像纪念碑或者寺庙，跟他一生中所生活城市中创立、衰落和复兴都紧密相关。在最近的作品中，霍金将一个空了的河边库房转变成了名为股黑的艺术作品。

斯科特·霍金：这个地方是建在河上的，用到了船。底特律有一个现象，我们已经拍了 20年了——有的人会直接扔掉自己承担不起或者不想要了的船，我称这样的船为沉船。

玛丽·埃伦：霍金将33艘这样的沉船挪到了这个库房里，这个作品的名字来源于烧黑了的动物遗骨制成的颜料。

斯科特·霍金：这可能是底特律最古老的行当之一了，没有人听说过。

玛丽·埃伦：这个库房、船以及颜料一起形成了一部作品，给观者留下了一种站在水体底部抬起头看漂浮船只的印象。《股黑》所采用的材料在展出结束后就会再次转化。

斯科特·霍金：这类项目的导火索是有人会非法丢弃物体，也就是垃圾。对我而言，这类项目从很大程度来说是——当一切都做完了的时候，这些船会得到妥善的处理。

玛丽·埃伦：霍金说他知道自己有朝一日会无法创作大规模艺术作品，因为底特律的废弃空间还在不断增多。而这可能成为霍金作品的下一次转变。

斯科特·霍金：节目时间要到了，我还没听够跟空间有关的故事。现在已经没有那么多像这样的空间了。

玛丽·埃伦：感谢收听玛丽·埃伦从密歇根州底特律发回的《新闻一小时》。