我用的材料，不得不作出了規定，並找到自己的工作方式

傑米Vasta 奧克蘭藝術家

“這是重要的，我用的材料，我不得不作出了規定，並找到自己的工作方式。”

隨着閃光和膠水並沒有太大的意外，讓傑米描繪黑暗和戲劇性的敘事大畫。 She says working with glitter is, “ more or lesslike it was in kindergarten— I lay down a line of glue (with alittle craft-store paintbrush), sprinkle on a color of glitter, andblow off the excess.” Though the process might be somewhatreminiscent of childhood crafts, the outcomeisn't.她說，有亮粉的工作是，“或多或少就像是在幼兒園，我放下一行膠（一點點工藝品店畫筆），灑上閃閃發光的顏色，吹掉多餘的。”雖然過程可能會有點讓人想起童年工藝品，結果是沒有的。Jamie'swork reveals a distinct command of her medium garnered from over adecade of experience;傑米的作品展現出她的媒體從超過十年的經驗，囊括了不同的命令;sheunderstands how to technically manipulate its lustrous facets anddepth and attempts to subvert and play with all the glitz andfrivolity with unsettlingcontent.她懂得如何在技術上操縱它的光澤面和深度，企圖顛覆和播放所有的浮華和輕佻與令人不安的內容。

當我們參觀了她的東屋侖工作室（建築物一個偉大的大空間曾經主要用於傢俱倉儲），她是工作在不同的工作機構：一是結合頭骨，水果和鮮花嘗試靜物安排及三維度，另一個是一系列滑稽表演全長真人大小的畫像。I wascaptivated by the photos she had up on her wall of the burlesquedancers;我被她的照片曾在她牆上的豔舞舞者的迷住了; all dressed-up and full of swagger, standing withhigh chins and arched backs like peacocks fanning theirtails.所有的打扮，和到處招搖，站在高下巴和背部拱起像孔雀扇動它們的尾巴。 Often, Jamie's work pivots on complex femalefigures that challenge our notions of femininity, whether obviouslystepping out from convention or more subtly pushing againstexpectation.通常情況下，在複雜的女性形象是挑戰我們的女性的觀念，是否明顯從常規走出去或更巧妙推擠期望傑米的工作支點。

因爲她總是從照片作品，的傑米的過程中的首要步驟之一是建立筍用模型（有時是專業人員，有時朋友）的各種姿勢和安排，然後讓沿途的調整。But wellbefore the shoots she spends her time researching, gathering upreference material and imagery related to the subject matter she'sworking with and then over time distills this acquired informationdown to key questions andideas.但在此之前還有筍她花時間研究，蒐集了參考材料和圖像相關的題材她有工作，然後隨着時間的推移這種蒸餾獲得的信息下到關鍵問題和想法。

同時與傑米聊天，我注意到她有一本書安吉拉Carter's - 這，對我來說，是一個很能說明問題的細節。 I spent a good portion of graduate schoolobsessing over her short stories, and a lot of Jamie's work mirrorsCarter's fascination with violence and power, myth and fairy tales,and strong femaleprotagonists.我花了研究生院的沉迷在她的短篇小說良好的部分，很多傑米的工作反映了卡特的迷戀暴力和權力，神話和童話，和強大的女主人公。And justas Carter's retelling of classic fairy tales questionspreconceptions, so does Jamie's work withglitter.而且，正如經典童話故事的問題先入爲主卡特的複述，這樣做傑米的工作與亮粉。

傑米已經得到了她的技術下，這是令人印象深刻，我覺得她的本能來對抗閃光的媚俗和陣營與死亡率她的工作的探索，性別角色，性和暴力是聰明和有趣。Certainly, glitter has become Jamie's signature…but I do wonder how she will manage to continue to push her mediumand maintain the tension she aims to create in herwork.當然，閃光已成爲傑米的簽名......但我不知道她怎麼會設法繼續推她中型和維持她的目標是建立在她的作品的張力。ButJamie readily acknowledges the potential for pitfalls whilesimultaneously staying steadfast, telling me “At some point theglitter might no longer be interesting, but so far I haven't wantedto stop working withit.”但傑米欣然承認的缺陷的可能性，同時留堅定，告訴我：“在某些時候的閃光可能不再是有趣的，但到目前爲止，我還沒有想停止使用它。”

做你的工作有什麼媒介？ How would you describe your subjectmatter? 你會如何形容你的題材？
What themes seem to occur/reoccur in yourwork?似乎什麼題材發生/再出現在你的工作？

我的工作與閃光和膠水木板。 Glitteris at the heart of my practice.閃耀在我的實踐的心臟。Theprincipal theme of my work is the contradiction between themeanings that glitter carries with it on one hand and the physicalexperience of glitter on theother.我的工作的主要主題是，忽閃着它承載一方面與意義之間的矛盾閃光對其他實體的經驗。Glittercarries connotations of childishness, girlishness, craft,kitsch.金蔥承載着稚氣，girlishness，工藝，媚俗的內涵。 It's frivolous, it'stacky.它的輕薄，它的俗氣。 But as a material I love it for its allure, it'schangeability, its flicker.但我喜歡它，它的誘惑力的物質，它的多變性，它的閃爍。I liketo watch the way people behave when they look at my work- they movearound it, they sway a little, it captures them for amoment.我喜歡看人們的行爲，當他們看我的作品，他們四處移動它，他們揮灑一點的方式，它抓住了他們一會兒。Sothere's something almost predatory about the dazzle ofglitter.因此，有一些近乎掠奪約亮粉的炫。

金蔥粉爲材料驅動我的工作; I askmyself: what are the stories that glittertells?我問自己：什麼是閃光講述故事？ And my narratives come fromthere.和我的敘述來自那裏。 Often, there's elements of darkness and violencein these stories- I think the glitter needs a hard edge to butt upagainst, or else it would become likecandy.通常情況下，有黑暗和暴力這些元素的故事，我認爲亮粉需要一個硬邊對接起來反對，否則它會成爲像糖果。

十多年來，你一直在做具象繪畫與亮粉，在技術方面，都涉及哪些步驟？

我總是從照片的工作，所以對我來說，第一步是拍攝模式，並作出調整，以照片，直到我有我要處理的圖像。 I'm pretty old fashioned- I sometimes usePhotoshop, but most often I cut my photos up into paper dolls andrearrange figures and backgrounds, or swap out an arm from one shotand a face from another, with scissors andtape.我很老土，我有時會使用Photoshop，但大多數時候，我把我的照片成紙娃娃和重新排列的數字和背景，或換出一隻胳膊從一個鏡頭和一個面從另一個，用剪刀和膠帶。I use anold overhead projector to blow up the drawings to the scale Ineed.我用一箇舊的高架投影機炸燬圖紙到我所需要的規模。 Am I supposed to say that?我應該怎麼說呢？I feellike for a long time using a projector was everybody's dirtysecret.我覺得自己像使用一臺投影機是每個人的骯髒祕密很長一段時間。 Well, I map out my drawing on the panel and tryto get the geometry down- once I move from the drawing to theglitter, I have to work flat on a table, and it's harder to seeproblems from the drawing beingoff.好吧，我繪製出我在面板上畫圖，並得到幾何下一次我謹從圖紙到閃閃發光，我要工作平放在桌子上，它是很難看到從圖紙被關閉的問題。

與亮粉的工作是多還是少，就像是在幼兒園，我放下一行膠（一點點工藝品店畫筆），灑上閃閃發光的顏色，吹掉多餘的。 I mostly build up my images like a mosaic- onecolor next to the other, or sometimes I'll lay down a large area ofglue and throw the glitter on in gradations, to get a washyeffect.我大多建立我相似圖片馬賽克一個顏色旁邊的其他，有時我會放下了大面積的膠和扔閃光的灰度等級，以獲得無物的效果。I try toget it right the first time- I can build up a layer or two ofcorrections, but after a while the texture builds up noticeably anddisrupts the way the light works on thesurface.我設法得到它在第一時間，我可以建立一個或兩個修正層，但經過一段時間的質感積聚明顯，破壞了作品的光在表面上的方式。If Ihave to make major changes at that point, I'll have to sand downthe whole area and start fromscratch.如果我一定要在這一點上的重大變化，我將不得不向下沙在整個區域和從頭開始。

鑑於閃光不是一個傳統的媒體，你必須有實驗，找出了很多自己的知識有這些步驟經過多年的發展？

你有一天的工作？ What is it?這是什麼？ What does it mean to you?是什麼意思呀？
When I'mnot in the studio, I'm a barista with Blue BottleCoffee.當我不是在工作室，我與藍瓶咖啡咖啡師。 I've worked as a barista for more than ten years,and I find it to be an important balance to my studio time, so Ispend half my work days doing something introverted and slow, andthe other half rushing around and talking to people allday.我已經做過咖啡師十餘年了，我覺得它是一個重要的平衡，以我的工作室的時候，所以我花了一半的工作日內做一些性格內向，慢，和另一半四處奔波與人交談一整天。It keepsme from being too much in my own head, and it helps that they offergood healthbenefits.它讓我從被太多在我的頭上，它可以幫助他們提供良好的保健功效。

Do you have a motto?你有沒有座右銘？
Notreally.不盡然。 I have atable in my studio that I got as a hand-me-down in gradschool.我在我的工作室一個表，我得到了在讀研究生手我向下。 It has written in sharpie on one edge “lessthinking more stinking”, which I think was the motto of itsprevious owner.它寫在騙子在一個邊緣“少想多臭”，我認爲這是它的前主人的座右銘。I'veadded my own phrase: “get here earliertomorrow”.我已經添加了我自己的話說：“得明天早點來。” As long as I have the discipline to keep gettinghere, hopefully earlier, I think the work will sustainme.只要我有紀律，繼續得到這裏，希望更早，我認爲這項工作將持續我。

我開始與亮粉作爲一個本科生在玩弄在2000年美術在波士頓博物館學校 。 Those paintings weren't very good and many of myprofessors at the time weren't interested in talking about them— ittook a while to find people who would have a dialogue about what Iwas trying todo.這些畫是不是非常好，我的很多教授在當時並沒有興趣談論他們，過了好一會兒找人誰也有一個關於我所試圖做的對話。But it'sbeen important to me to work with a material where I have to makeup the rules and find my ownway.但它一直對我很重要一個材料，我不得不作出了規定，並找到自己的方式工作。 When I was a kid in art school, I felt sooverwhelmed by the burden of history in oil paint- like what couldI do that hadn't already been done for hundreds ofyears?當我在藝術學校一個孩子，我覺得很不知所措歷史的重任油漆般的我能做到這一點還沒有已經做了幾百年？Ifigured I'd never be able to paint like Velasquez, so why not tryto do something completely different, youknow?我想我永遠無法像油漆委拉斯開茲，那麼爲什麼不嘗試做一些完全不同的，你知道嗎？

但我覺得我已經幫助了，傷害了大多數由我自己的固執。 I'm verypersistent, and a bit of a plodder- I'll keep working with the sametechnique, trying to push and refine what I can do with it, but thebig leaps in my process have usually come after several years ofpeople suggesting that I try something- exposing the wood panel,for instance, or mixing my own neutraltones.我很執着，有點沉重行走，我會繼續用同樣的技術合作，努力推動和完善我可以用它做，但在我的過程中，大的飛躍都通常會經過數年的人這表明我嘗試的東西，露出了木板，例如，或混合我自己的中性色調。
FinallyI give in and try it, and pow!最後我讓步和嘗試，並POW！Itchanges everything.它改變了一切。

金蔥充斥着關聯，它可能意味着媚俗，魔法，或女人味。 And certainly it's more readily connectedto craft making than art, and therefore might be consideredlowbrow— how do you think your work plays with theseassociations?當然它更容易連接到工藝製作不是藝術，因此可能會被視爲低俗，你怎麼看待你的工作與這些協會發揮？

我喜歡讓我的作品的主題推升對內涵的閃光已經進行，通過意外增加重量，通過暴力，或藝術歷史典故，或正式的細微差別。Glitteris crafty?金蔥粉是狡猾？ Ok, here's a baroquepieta.好吧，這裏是一個巴洛克式的聖母憐子圖。 Glitter is feminine?金蔥粉是女性？Ok,here's a glittery painting of a girl kicking yourass.好吧，這裏有一個女孩踢你的屁股閃閃發光的畫。

我希望人們最初看到的物質和被它迷住了，但隨後的內容來着，我的希望是，該組合是不和諧或意外，因此挑釁性的和有意義的。

什麼是你目前的啓發，在那裏你正在閱讀的特別的東西，聽或看，以推動你的工作？
我是一個大的讀者，但我不一定看的東西，對我的工作立刻得到直接的影響。 Things tend to percolate for awhile.事情往往滲透了一會兒。 Right now I'm going back and forth between ahistory of Oakland by Ishmael Reed, an intense Alice Sebold bookabout a woman who murders her elderly mother, a homesteader epic byWallage Stegner, and a nonfiction audiobook about the history ofplastic.現在，我來回奧克蘭由伊什梅爾裏德，強烈的愛麗絲Sebold書約一個女人誰謀殺她年邁的母親，一個自耕農史詩由Wallage斯特格納和非小說有聲讀物關於塑料史上的歷史之間。Netflixsays that I like “visually striking dark movies with a strongfemale lead,” which I think is a pretty apt description of lix的說，我喜歡“具有較強的女主角視覺衝擊黑暗的電影，”我認爲這是我的工作的一個非常貼切的描述。

什麼是有一個物理空間，使藝術的均值爲您的過程，你如何讓你的工作空間？
Having aspace outside my home is essential tome.有一個空間，我家外面是必不可少的了。 Partly, because my medium is so messy, and partlybecause I'm pretty easilydistracted.部分原因，因爲我的媒體是如此凌亂，部分是因爲我很容易分心。 Left to my own devices at home, I would probablymake pickles and putter in the garden rather than get any paintingdone.留給我自己的設備在家裏，我可能會做泡菜和推杆在花園裏，而不是得到任何繪畫完成。I try tokeep my space as free of distractions as I can- noInternet!我儘量保持我的空間免費雜念盡我所能，不上網！

您最近完成了你的卡拉瓦喬的項目，在其中解釋了他的組成和敘述，但帶來一個更現代的感性（和閃光！）的作品。Can you tell us more about thatprocess?你能告訴我們更多關於這個過程？
With theCaravaggio project I wanted to bring a personal take to SanFrancisco's queercommunity.與卡拉瓦喬的項目，我想帶個人拿地舊金山的同性戀社區。 I worked collaboratively with the models (all ofwhom are my friends) to come up with concepts for thepaintings.我的工作與合作的模式（所有的人都是我的朋友）來與概念的畫作。 I took photos of the models in their apartments,discussed ideas, and worked fromthere.我拍了照片的車型在他們的公寓，討論的想法，並從那裏工作過。 Each person brought something of their own to theproject.每個人都帶來了自己的東西到項目中。 The Caravaggio series very much falls in linewith my interest in combining storytelling withportraiture.在卡拉瓦喬系列非常落在我與肖像畫結合講故事的利益。

有什麼事你當前正在使用，或者是興奮的開始，你能告訴我們什麼呢？
At themoment I've got two bodies of work going in mystudio.目前，我已經得到了兩個工作機構要在我的工作室。 One is an attempt to tie together work that isart historical, three-dimensional, and references still lifearrangement.一個是企圖綁在一起的工作，是藝術史，立體，和引用仍然生活安排。I'vebeen thinking a lot about the still life Vanitas paintings of theBaroque period and Golden Age of Dutch Art, and the mortality anddecay in the beautiful things of theworld.我一直在思考了很多關於巴洛克時期的靜物畫VANITAS與黃金時代的荷蘭藝術，和世界的美好事物的死亡和腐爛。I'vebeen doing skulls and fruit and flowers both in paintings, and alsoexperimenting with 3D, which is very new tome.我一直在做無論是在繪畫的頭骨和水果和鮮花，也有3D，這是非常新的給我嘗試。 It's been fun to play with somethingnew.這是很有趣的東西新的發揮。

I'm alsostarting a series of full-length, life size portraits of burlesqueperformers, with poses based on royal portraiture, very elegant andpowerful with lots of sequins and feathers in thecostuming.我也開始了一系列的全長，真人大小的滑稽戲演員的肖像，基於皇室肖像畫，非常優雅和強大的，有很多亮片和羽毛的服裝的姿勢。I'mstill in the middle of photo shoots for those, so it's early daysyet, but I'm really excited aboutthem.我仍然在照片中間拍攝的那些，所以它的尚早，但我真的很興奮。 Working with models who are professionalperformers has been great because they know their bodies well andreally understand movement andangles.配車型誰是專業演員的工作一直是偉大的，因爲他們知道自己的身體很好，真正理解運動和角度。

你怎麼定位的藝術世界？
I guessI try to just be genuine and remember that the art world is alljust people, and keep things cooperative rather thancompetitive.我猜我嘗試只是真正的，記住，藝術世界是一切正義的人們，並讓一切合作而不是競爭。Ifthere's something I can do to help somebody out it'll probably comeback around to me in one way or another, especially since the BayArea art scene is so small andinterconnected.如果有什麼事情我可以做些什麼來幫助別人了它可能會回到我的身邊對我這種或那種方式，尤其是海灣地區的藝術場面是如此之小，相互關聯的。I feellike there's a difficult balance between the part of being in theart world that involves hunkering down and making things, and thepart that's about getting out, getting inspired and doing thenetworkingthing.我覺得自己有在藝術的世界，涉及蹲下下來，使事情成爲了一部分，一部分是關於失控，得到啓發，做網絡的事情之間取得平衡。I'vebeen in hermit mode a little too much lately, but I'm making aresolution to get out more, go see things in person, reconnect withpeople.我一直在隱士模式有點太多了最近，但我正在做一項決議，多出去走走，去看看事情的人，重新與人。

---

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-----

來源網址：_感謝獨茂蘭石授權轉載，再轉請保留本信息。