Away from the Flock is one of a group of sculptures collectively entitled Natural History. It is a floor-based sculpture consisting of a glass-walled tank filled with formaldehyde solution in which a dead sheep is fixed so that it appears to be alive and caught in movement. Thick white frames surround and support the tank, setting in brilliant relief the transparent turquoise of the solution in which the sheep is immersed. Away from the Flock is unusual for a Hirst sculpture in that it exists in three versions, all created the same year
Away from the Flock, a flock of sheep. When a sheep gets lost from all the other sheep. Then I suppose that it has those religious connotations ... being an outsider, not being connected to something. That was a title that came right at the very end. I don't know where that title came from ... Away from the Flock in a way is like: it is dead, so it is away from the living as well in that kind of way, the flock of living things. All those things, I never really look for a meaning, it is just if it feels right, gives a lot of the right kinds of meaning ... And Christ is often represented as a sheep in art.
羊群之外，还有一群羊。当一只羊从其他羊群中迷路时。那么我想它有////宗////教/////内涵……作为一个局外人，没有任何联系。这是一个在最后出现的标题。我不知道这个名称是怎么来的……从某种意义上说，远离羊群就像：它是已经噶了的，所以它也从某种意义上说，离开了活着的动物，远离了活着的动物。所有这些事情，我从来没有真正去寻找意义，只是如果感觉对了，就会有很多正确的意义……在艺术中，///基///督///经常被描绘成一只羊。
J.C.Leyendecker is one of the key players in modern advertising, though few have heard his name. Working with Cluett Peabody＆Company (the makers of Arrow collars), Leyendecker proposed not just one ad, but an entire campaign. He helped them work out the look and feel of the "Arrow man" and demonstrated the power of branding. This image is one of the Arrow collar ads, and it shows an emphasis not on the shirt or collar itself, but instead on an ideal. The ideal is that of the upper-class American man, at the same time masculine and refined.
J·C·莱恩德克尔是现代广告界的重要人物之一，尽管很少有人听说过他的名字。莱恩德克尔与克鲁特·皮博迪公司（“箭领”的制造商）合作，不仅策划了一个广告，还策划了整个活动。他帮助他们设计了“箭领男”（Arrow man，是出现在“箭领”广告中的各种男模特的名字）的外观和感觉，并展示了品牌的力量。这张图是“箭领”广告中的一张，它强调的不是衬衫或者衣领本身，而是一种理想。理想的美国上流社会男人，同时又阳刚又文雅。
真人模特
Leyendecker used live models almost exclusively. ... The models for this image were Phyllis Frederick and Brian Donlevy.
德恩莱克尔几乎只使用真人模特。......这张照片的模特是菲利斯·弗雷德里克和布莱恩·唐列维。
（资料来源：scottmcd.net #4: Couple Descending Staircase, by J.C. Leyendecker，2009.08.26）
↑布莱恩·唐列维 Brian Donlevy
Waldo Brian Donlevy (February 9, 1901 – April 6, 1972) was an American actor, who was noted for playing dangerous and tough characters. Usually appearing in supporting roles, among his best-known films are Beau Geste (1939), The Great McGinty (1940) and Wake Island (1942). For his role as the sadistic Sergeant Markoff in Beau Geste, he was nominated for the Academy Award for Best Supporting Actor.
沃尔多·布莱恩·唐列维（1901年2月9日 - 1972年4月6日）是一位美国演员，以扮演危险和强硬的角色而闻名。他通常以配角的身份出现，其中最著名的电影有《火爆三兄弟》（Beau Geste，1939）、《江湖异人传》（The Great McGinty，1940）和《复活岛》(Wake Island，1942)。凭借在《火爆三兄弟》中扮演的马尔科夫中士一角，他获得了奥斯卡最佳男配角提名。
The Travelers, Catalano’s most renowned series, is an exhibition of bronze sculptures that have captured the hearts and imaginations of viewers around the world. Each piece in the collection tells a story of journey and self-discovery, embodied in the figure of a traveler with significant portions missing from their bodies.
《旅行者》是卡塔拉诺最著名的系列作品，是一个青铜雕塑展览，吸引了世界各地观众的心和想象力。该系列中的每件作品都讲述了一个关于旅程和自我发现的故事，体现在一个旅行者的形象中，他们的身体中缺少了很大一部分。
One of the defining features of the series is the sense of movement that Catalano imbues in each statue. The travelers, despite their fragmented bodies, appear in mid-stride, their faces often looking forward with a determined gaze. The suitcases and bags they carry serve as both literal and metaphorical representations of the burdens and experiences they bring along on their journey.
该系列的显著特征之一是卡塔拉诺在每座雕像中注入的运动感。旅行者们尽管身体支离破碎，但大步走来，他们的脸经常以一种坚定的目光向前看。他们携带的行李箱和背包既写实，又有象征意义，表现出了他们在自己的长途旅行中，也将（自己的）负担和经历一同带了去。
A closer look at the individual sculptures reveals intricate details that add layers of meaning to each piece. The travelers are portrayed in a variety of poses and attire, each one unique in its expression of the voyage. Some travelers appear casual, dressed in simple clothing, while others are more formally dressed, suggesting a wide range of journeys, from the mundane to the profound.
仔细观察每个雕塑，就会发现其复杂的细节，为每件作品增添了层次感。旅行者们被以各种姿势和衣着描绘，每一种都是对于旅行的独特表达。一些旅行者看起来很随意，穿着简单的衣服，而另一些旅行者则穿着更正式，暗示着从平凡到深刻的各种各样的旅程。
The "missing"pieces of the sculptures are as important as the solid parts, if not more so. They represent the sacrifices made and the parts of self left behind when one embarks on a journey, especially when it involves leaving one’s homeland. The voids are both a tribute to the lost parts of the self and a challenge to the viewer to complete the image, to fill in the gaps with their own experiences and interpretations.
雕塑中“缺失”的部分与固体部分一样重要，甚至是更加重要。它们代表了一个人踏上旅程时做出的牺牲和留下的自我部分，尤其是当它涉及离开家园时。这些空白既是对自我缺失部分的体现，也是对观众的挑战：完成雕像，用他们自己的经历和理解填补缺口。
The Travelers, collectively and individually, are striking embodiments of Catalano’s artistic genius. They encapsulate the essence of human resilience in the face of adversity and the ongoing quest for identity and belonging. Their fragmented forms, far from being a weakness, are a source of strength and inspiration, a testament to the enduring spirit of the traveler within us all.
旅行者，无论是集体还是个人，都是卡塔拉诺艺术天才的惊人体现。它们浓缩了人类面对逆境时的韧性，以及对身份和归属感的持续追求。它们支离破碎的形式，远非弱点，而是力量和灵感的源泉，证明了我们所有人内心永恒的旅行者精神。
——资料来源——
网站：STREET ART UTOPIA
帖子作者：Vidar
帖子标题：9 Fragmented travelers – Amazing sculptures by Bruno Catalano
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