詩人問:如果我曾經厭倦畫藍色,我說:不

“ A poet asked if Iever get tired of painting lumpy blue food. “詩人問，如果我曾經厭倦畫藍色塊狀食物。 No, I don't. ”不，我沒有

在俄勒岡州Corvallis的田園小鎮，她的安靜的街道上，在她的畫面，完美的家，茶和餅乾後...茱莉讓我哭。 The tears came unexpectedly while staring at thelist of death row executions on the Death Penalty InformationCenter site that she was showing Klea andme.眼淚就意外地在死囚處決的死刑信息中心網站，她展示KLEA和我的名單，同時盯着。I feltembarrassed.我覺得很尷尬。 But Julie looked at me and said, “It's good tosee you react sostrongly.”但朱莉看着我，說：“這是很好的，看你這麼強烈的反應。”

Hard-hitting experiences often happen in the mostunlikely of places.強硬的經驗往往發生在最不可能的地方。 I've always known this to be true, but ourWESTERN EDGE trip really drove ithome.我一直都知道這是真的，但我們的西部邊緣之旅真的開着它回家。 On the road there is no predictability, no realroutine, and even the most run-ofe-mill moments take on amemorable quality.在路上，沒有預見性，沒有真正的套路，甚至 -的磨的運行時刻，大多數採取一個難忘的質量。 Forexample, I will forever remember a gas station conversation I hadwith a stranger in O'Brien, Oregon because while standing there Iknew I'd never see that wide smile and rumpled, generous lookingfaceagain.例如，我會永遠記住一個加油站的交談，我曾與在奧布萊恩，俄勒岡州一個陌生人，因爲雖然站在那裏，我知道我從來沒有看到燦爛的笑容和皺巴巴的，大方的臉了。As wedrove in and out of each town, meeting all kinds of people alongthe way, I realized my expectations were always overturned, thrownoff course, or done away withcompletely.當我們驅車在每個鎮的進出，滿足各類一路走來的人，我意識到我的期望總是朝天，揭去過程中，或具有完全免掉。So bythe time we reached Corvallis to meet with Julie I had learned toassume nothing… but still she brought way more to our visit than Ihad bargainedfor.所以的時候我們到達科瓦利斯與朱莉以滿足我學會了承擔什麼......但她還是帶來了更多的方式向我們的訪問出乎我的意料之外的。As did her exhibition The Last Supper: 500 Plates that wewere lucky enough to see and document at Marylhurst University'sThe Art Gym.象她的展覽最後的晚餐：500板 ，我們有幸看到並記錄在MarylhurstUniversity旅遊的最先進的健身房。 Nothingcan really prepare you for the experience of that installation— 500blue and white plates, all hung together, of the final meals ofdeath row inmates…some simply stating “made no last mealrequest.”沒有什麼能真正爲你準備了安裝-500藍色和白色板的經驗，都掛着死刑犯的最後一起吃飯，......有的乾脆指出“沒有做的最後一餐的要求。”

朱莉並沒有告訴我們死刑犯處決名單震撼我們-查看該列表是她日常工作的組成部分時，她的作品在最後的晚餐，一個正在進行的項目，目前由最後一餐的要求從552手繪板死刑犯（和她致力於繼續，直到死刑完全取消）。 During our visit Julie took us through her entireprocess step-by-step, beginning with her daily online research toletting us watch her paint a last meal in cobalt blue on acarefully chosen second-handplate.我們訪問期間茱莉帶着我們穿過她的整個過程一步一步的，與她每天上網研究，以讓我們看她作畫的鈷藍一最後一餐上精心挑選二手板開始。Whether she's working on The Last Supper orher more personal narrative paintings , an established routine isessential to her artpractice.無論是她的工作在最後的晚餐或她更個人化敘事畫 ，一個既定的程序是必不可少的她的藝術實踐。 She splits her year up quite practically,alternating every six months between The Last Supper andher narrative work, fully focusing on one project at atime.她打出了她一年了相當務實，交替最後的晚餐和她的敘事之間的工作，每半年，完全專注於一個項目的時間。Intalking with Julie about her work it's apparent nothing isrushed;在與朱莉談她的工作很明顯是沒什麼趕到; details are executed laboriously, decisions arecarefully weighed, opportunities are taken deliberately, and inbetween each uttered sentence she allows herself long silent pausesto find the rightwords.詳情費力地執行，決定仔細權衡，機會是故意拍攝，並在每個發話句子之間，她讓自己長的無聲停頓找到合適的詞語

另一件事我注意到，朱莉並沒有真正說對她的工作。 Throughout our entire visit she never directlyspelled out her thoughts on The Last Supper or even hernarrative paintings and she certainly didn't talk much about whatshe specifically hopes to elicit in herviewers.縱觀我們整個訪問，她從來不直接敘述，她在最後的晚餐，甚至她的敘事作品的想法，她肯定沒有多談什麼，她特別希望能在她的觀衆引出。 Instead she told anecdotal stories aboutexperiences she had that provoked questions forher;相反，她講述了她的經歷有這樣的問題，挑起她的逸聞趣事; questions that ended up prompting her differentbodies of work, and that perhaps still remain unanswered… But whatthe stories she told revealed is that sometimes even when you getan answer, you have to keep askingquestions.問題，最終促使她不同的工作機構，這或許仍然未回答的......但她講的故事揭示的是，有時，甚至當你得到答案，你必須不斷地問問題。This isthe story she told us when I asked how The Last Supperstarted:這是她告訴我們，當我問最後的晚餐是如何開始的故事：

我當時住在俄克拉荷馬州和我會讀晨報。 In the paper they would print about theexecutions that had happened the night before.在論文中，他們將打印有關這種情況發生的前一天晚上處決。 They would print who it was, what they werewearing, and what they had for their final meal.他們將打印誰是，他們都穿着和他們有什麼自己的最後一餐。 I hadn't thought about final mealsbefore. 我以前從來沒有想過最後的飯菜。 I guess I knew we had them, but I hadn'tgiven it much thought.我想我知道我們有他們，但我沒有給它太多的思考。 Seeing that in the newspaper first thing inthe morning, well, I had a lot of questions… When I started thisproject the first phone call I made was to the newspaper and theprison and I asked “Why is this in the paper” and both the pressand the prison warden said, “The public wants to know.”眼看在早上報紙的第一件事，好了，我有很多問題......當我開始這個項目的第一個電話我做了報紙和監獄，我問：“爲什麼是這個的文件”和無論是記者和監獄監獄長說，“公衆想知道。”

Thatanswer was a can of worms, obviously prompting more questions forJulie instead of silencingthem.這個問題的答案是忌諱的話題，顯然促使更多的問題，而不是沉默他們朱莉。 It elicits so many questions for me, too…regarding our justice system and death row, the ritualistic aspectof meals and our relationship to symbolic social acts, our sharedmorbid curiosity, the politics of comfort, punishment and death,and the issue of humanizing everyone no matter what they havedone.它引出這麼多的問題對我來說，太......關於我們的司法系統和死囚，三餐的儀式方面和我們的​​社會象徵性的行爲，我們的共同病態的好奇心，舒適，懲罰和死亡的政治關係，以及人性化的問題每個人，無論他們做了什麼。

即使是現在，遠離科瓦利斯， 最後的晚餐還是讓我想哭。

你會如何形容你的題材或你的工作內容？
Half of each year, I paint The Last Supper , illustrating finalmeal requests of US death row inmates.每年上半年，我畫最後的晚餐 ，說明美國死刑犯最後一餐的要求。Theother six months, I work on other paintings, in full color, aboutlife.另一方六個月，我的工作在其他畫作，在全綵色，生活。 For my narrative work I keep a big ledger bookthat I put all my ideas in so that I rememberthem.對於我的故事我的工作保持大帳書，我把我所有的想法，讓我記住他們。 Much of this imagery is evoked from memory soeverything looks a bitdreamlike.這大部分的圖像從內存中誘發所以一切看起來有點夢幻般的。 For The Last Supper , I have a book inwhich I've collected images, cut out of grocery store fliers, torefer to while painting food requests.對於最後的晚餐，我有一本書，我已經收集到的圖像，切出的雜貨店傳單，指而畫的食品要求。

做你的工作有什麼媒介？
Ideaequals material.想法等於材料。 It depends on the project.這取決於項目。Lately,I am using a lot of mineral paint on plates, as well as egg temperaon panel.最近，我使用了很多關於平板礦物塗料，以及面板上的蛋彩畫。 For The Last Supper , cobalt bluemineral paint is applied to second-hand plates then kiln-fired bytechnical advisor Toni Acock.對於最後的晚餐，鈷藍色礦物塗料被應用到二手板，然後窯燒製由技術顧問託尼Acock。 It turns out that blue is the most difficultmineral paint to apply.事實證明，藍色是最困難的礦物塗料適用。Luckily,I didn't know this when I began!幸運的是，我不知道這個時候我開始了！Blue onwhite ceramics feels and looks right tome.藍白色陶瓷的感覺，看起來我的權利。 My approach to the process is a bit artbrut;我的方法的過程是一個有點藝術香檳; I'm not following the traditional, thin layeringtechniques of china painting.我不是下中國繪畫的傳統的，薄的分層技術。Acock'sexpertise is essential in firing my thickly applied k的專長是在我的射擊厚厚地應用於油漆是必不可少的。

You have quoted Andy Warhol saying theartist of the future will simply point… and stated that you paintto point— can you tell us more about thisintention?你所引用安迪·沃霍爾說未來的藝術家會簡單點......並說你畫的點，你能告訴我們更多關於這個打算？
I aminspired by contemporary society.我對當代社會的啓發。Iresearch, and then I point.我研究，然後我點。 This is true for The Last Supper as well as thenarrative paintings and Wallpaper .這是真正的最後的晚餐，以及在敘事繪畫和壁紙 。

您正在進行的系列， 最後的晚餐，一直是13年的追求，通過最後一餐的要求畫在陶瓷板的親密肖像，揭示了人類在死囚牢房。 How did this projectbegin? 這個項目是如何開始的？When will it end?世博會什麼時候結束？
Oklahomahas higher per capita executions thanTexas.俄克拉何馬州具有較高的人均處決比得克薩斯。 I taught there, and that is how I came to readfinal meal requests in the morningpaper.我留校任教，那就是我怎麼來讀的最後一餐請求的晨報上。 Requests provide clues on region, race, andeconomic background.請提供有關地區，種族和經濟背景的線索。 A family history becomes apparent when IndianaDepartment of Corrections adds “he told us he never had a birthdaycake so we ordered a birthday cake forhim.”家族史變得明顯時更正印第安納部補充道：“他告訴我們他從未有過一個生日蛋糕，所以我們點了一份生日蛋糕給他。”

Stateswith the highest numbers of executions make up the bulk of theseries.國處決的人數最多佔主體的系列產品。 Texas recently had its 500th execution, a blackfemale.最近，得克薩斯州有它的第500個執行，一個黑人女性。 Texas is the only death penalty state that doesnot offer a final mealselection;得克薩斯州是唯一死刑的狀態，不提供最後一餐的選擇; they now serve the standard prisonmeal.他們現在所服務的標準監獄餐。 California has few executions, but has a hugedeath row population.加州有幾個處決，但有一個巨大的死囚人口。Thisyear, to point a finger at California, I painted twenty FolsomState Prison menus from1896-1955.今年，指向一個手指在加州，我畫從1896年至1955年20福爾瑟姆州立監獄的菜單。

Now thatthere are 552 plates, shipping and installation of fragile ceramicsis quite an undertaking.現在，有552片，航運易碎的陶瓷和安裝是相當的承諾。I amlooking for a library or a university or a museum- in Texas wouldbe great—to donate the project on a ten-year loan. The LastSupper is not forsale.我在找一個圖書館或大學或博物館，在得克薩斯州將是巨大的，捐了十一年的貸款項目。最後的晚餐是不賣的。

I planto continue adding fifty plates a year until capital punishment isabolished.我打算繼續增加每年50板，直至死刑的廢除。 A poet asked if I ever get tired of paintinglumpy blue food.詩人問，如果我曾經厭倦畫藍色的塊狀食物。 No, I don't.不，我沒有。

除了 ​​你的藝術實踐，你在任何其他方面的工作爲何？
I am aProfessor of Art at Oregon State University, where I'm blessed withamazing students and terrific support for myresearch.我是藝術系的教授在俄勒岡州立大學，在那裏我很幸運只有驚人的學生和我的研究的鼎力支持。I gardenorganically and produce many of the fruit and vegetables weconsume, practice yoga daily, and am an environmentalist, puttingmore miles on the Gazelle bike than the car eachyear.我園有機地產生許多水果和蔬菜我們的消費，練習瑜伽，每天和我一個環保主義者，把更多的英里的瞪羚自行車比汽車每年。I try tocontribute in positive ways.我試着以積極的方式作出貢獻。As myyoga teacher Sujita says, In the end, it just comes down toservice.正如我的瑜伽老師Sujita說，最終，它只是歸結爲服務。

What are you presently inspired by— arethere particular things you are reading, listening to or looking atto fuel your work?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？
Less,rather than more.少，而不是更多。 I attempt to set up life to have fewdistractions: no TV, nosofa.我試圖建立的生活有一些分心：沒有電視，沒有沙發。

My husband Clay Lohmann is the greatest inspiration in mylife.我的丈夫粘土羅曼是我一生中最大的靈感。 We have been together 25years.我們一直25年在一起。 He is my best critic and bestfriend.他是我最好的評論家和最好的朋友。 We were both trained as painters, and now usetraditional craft mediums.我們都是受過訓練的畫家，而現在使用傳統工藝介質。Hequilts, I paint on ceramics.他被子，我畫在陶瓷上。 Clay is my personal librarian, and brings mestacks of new editions from our wonderful downtownlibrary.粘土是我個人的圖書管理員，並給我帶來棧新版本中的從我們的精彩繁華庫。I read agreat deal of non-fiction.我讀了很多非小說類的。 This week I am reading Matthew Goodman'sEighty Days , a fascinating and accurate account of twowomen journalists' 1889 race around theworld.這個星期我讀馬修·古德曼的八十天，一個迷人的和準確的帳戶的世界圍繞兩個女記者“1889種族。 Eckhart Tolle's A New Earth gives mehope.埃克哈特托爾是一個新的地球給了我希望。Severalother books that are important to process are Virginia Woolf'sA Room of One's Own , Joe Brainard's I Remember ,and The Essential New York Times Cookbook - only AmandaHesser can write a timeline that makes you laughaloud.其他一些書籍，是很重要的過程是弗吉尼亞·伍爾夫的房間一個人的自己，喬佈雷納德的我還記得 ，和必要的紐約時報食譜-只有阿曼達的HESSER可以寫一個時間表，讓你笑出聲來。

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？
Artmaking is a meditation for me.藝術創作是一種冥想對我來說。Having aclean sparse studio with northern light is my ideal, and that iswhat I have.有一個乾淨的稀疏工作室與北極光是我的理想，那就是我。

Is there something you are currentlyworking on, or are excited about starting that you can tell usabout?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？
Yes! Set is a series of narrative plates,each displayed in front of an accompanying painting.是的！集是一系列敘事板，每個在隨後的畫前顯示的。Byplacing a painted porcelain platter directly in front of acompleted egg tempera panel, I am critiquing the hierarchy ofWestern materials andtechniques.通過將一個繪瓷盤片直接在已完成的蛋彩畫面板的前面，我批判西方的材料和技術的層次結構。Oilpaint, egg tempera, and bronze have long been considered thehigh-art mediums in the US andEurope.油畫顏料，蛋彩畫，和青銅一直被認爲在美國和歐洲的高的藝術媒介。 Mineral painting, on the other hand, ismarginalized as women's work, a craft often delegated to Christmasornaments.礦物繪畫，在另一方面，被邊緣化的婦女工作，一門手藝往往委託給聖誕飾品。Ceramicsset in front of the panel also obscures the “real”painting.在面板前面設置陶瓷也掩蓋了“真實”的繪畫。 We are forced to rubberneck to seeit.我們被迫rubberneck看到它。 These retables depict events that are bothpersonal and political, such as Ronald Reagan andMe.這些retables描繪了包括個人和政治事件，如里根和我。 In high school I was a lifeguard at GreenwoodPool in Des Moines, Iowa.在高中時我是一個救生員在泳池格林伍德在得梅因，愛荷華。RonaldReagan was a lifeguard at the same pool fifty yearsearlier;羅納德·里根是一個救生員在同一個池50年前; we sat on the same stand.我們坐在同一立場。Theplates are functional and made to beused.所述板的功能和製造中使用。 We eat pecan bars off Ronald Reagan's chest,while his mate, the painting on wall, lookson.我們吃山核桃酒吧關閉羅納德·里根的胸膛，而他的隊友，牆壁上的畫，看起來。

其中其他藝術家也許你的工作是與談話？
Besides Clay, I am in conversation with RogerShimomura , Lisa Cole-Kronenburg , Rachel Hines , DeborahBrackenbury , Jaune Quick-to-See Smith , and Don Kottmann about mywork.此外粘土，我與談話羅傑下村 ， 麗莎·科爾-克羅嫩堡 ， 雷切爾海因斯 ， 德博拉Brackenbury ，雲庭快捷到見史密斯 ，和唐KOTTMANN對我的工作。 Giotto, Goya, Fay Jones, and Judy Chicago areimportant influences.喬託，戈雅，費伊·瓊斯和朱迪芝加哥是重要的影響。

Specificto the final meals, many others are doing work on final meals andPete Brook has a comprehensive list on hissite.具體到最終的飯菜，很多人都在做最後的餐點和皮特布魯克在他的網站上的完整清單的工作。Pete Brook— The Last Meals of the Executed: ASelection of Projects in Photography and Painting.皮特布魯克-最後的膳食的執行的：項目在攝影和繪畫選擇。

你怎麼定位的藝術世界？
Slowly.慢。

I havemuch to be grateful for.我有許多要感謝的。 Recently I was honored to receive a Joan MitchellPainters and Sculptors Grant.最近我很榮幸地收到瓊·米切爾畫家和雕塑家格蘭特。It isencouraging for a painter working quietly in Oregon to be noticedby a major New York artfoundation.令人鼓舞的是，對於一個畫家要由主要的紐約藝術基金會注意到在俄勒岡州默默工作。Friendshave said my receiving this award restored their faith in thesystem.有網友說我接受這個獎項在系統恢復他們的信心。 In the past few years, T he Last Supperhas generated a great deal of press, far more than I ever imaginedit could.在過去的幾年中，T他最後的晚餐已經產生了大量的記者，遠遠比我想象它可以。 Recognition can bestressful.識別可以很緊張。 The night before an interview with Kirk Johnsonof The New York Times , I was so nervous I almost threwup.與紐約時報的柯克·約翰遜接受記者採訪的前一天晚上，我很緊張，我都快吐出來了。Thecurator Deborah Gangwer once told me something that has helped withpublic speaking;館長黛博拉Gangwer曾經告訴我一些幫助與公衆演講;she said“It's not about you, its about thework.她說：“這不是關於你的，關於它的工作。 Honor the work.”兌付工作。“

它可以是具有挑戰性的找到一個平衡點。 Becauseof my opposition to capital punishment, it is easy to promote thatproject.因爲我反對死刑，很容易推廣該項目。 The narrative paintings, while also political,are subtle.敘事作品，同時也是政治，是微妙的。 It is acurrent goal to find more opportunities to exhibit the Setnarratives.這是一個當前目標尋找更多的機會展示了集敘述。

智慧之語？......座右銘，最喜歡的報價？
Studiopractice is just that.工作室的做法就是這樣。 It takes focus andcommitment.這需要重視和承諾。 Unless your mother is in town visiting, Irecommend spending at least three hours, six says a week, in thestudio making work or staring at thewalls.除非你的母親是在城裏參觀，我建議的開支至少三個小時，六個星期說，在錄音室製作工作或盯着牆壁。Anddon't have your computer in yourstudio.而沒有您的電腦在你的工作室。

Twoquotes I live by:兩個引號我住：
Stare,pry, listen, eavesdrop.顧盼，撬，聽，竊聽。
Dieknowing something.知道死的東西。 You are not herelong.你是不是在這裏長。
—WalkerEvans沃克·埃文斯

If theonly prayer you said in your whole life was “thank you,” that wouldsuffice.如果你在你的一生說唯一的祈禱是“謝謝”，這就夠了。
—EckhartTolle - 埃克哈特托爾

By theway, thank you for your interest in mywork.順便說一句，感謝您對我的工作的興趣。

---

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。