十方駐留 | 《超凡》美國藝術家Jacqueline Shea Caraglior個展

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■ ■ 藝術家自述 ■ ■

Artist Statement of Exhibition

我漫步在城市，從重慶神秘的氛圍中找到了靈感。空門窗和門道這些人類曾居住的空間與蜿蜒曲折、充滿自然生機的路道形成了鮮明的對比。我深深的被這樣的畫面吸引：森林試圖收回被城市佔用的空間，交結的樹根、藤蔓和蕨類植物從混凝土的裂縫中蜿蜒開；因潮濕的氣候，沾滿斑漬的牆壁、破碎的石頭和生鏽的欄杆被侵蝕和風化。這些平常情景之下，有一種張力存在於被佔領的和被遺棄的、活躍的和惰性的、飄渺的和在地的反差之間。有序的生活空間和混亂的植被交織在一起，這是我想捕捉的薄薄邊界的振動感。這些廢棄住宅的存在提醒我，即使是在一個快速成長和發展的城市，穩定可能性的承諾和突然崩潰的焦慮作為人類與生俱來的的二分法思維並存著。在這些神聖的廢墟上，有一些超凡脫俗的、令人難以忘懷的誘惑。當我看著大自然闖進並奪回這些邊緣空間時，我忍不住奇怪地被吸引，凝視著這個不易察覺的深淵，沉思著狂野戰勝了文明。

In my wanderings around this city, I found inspiration in Chongqing’s uncannyvibe. Vacant windows and doorways of formally inhabited spaces are contrastedby a winding labyrinth of passageways that hum with activity. I wasparticularly taken with moments in which the forest attempts to reclaim thecity’s occupied spaces. Tangles of roots, vines and ferns twist and furl upfrom the cracks in the concrete. Stained walls, crumbling stones and rustedrailings are worn and weathered from the humid climate. In these mundanemoments, there is a tension between the occupied and the abandoned; theanimated and the inert; the ethereal and the telluric. I wanted to capture thevibratory quality of this thin boundary between ordered lived spaces and thechaotic vegetation that intertwines. The presence of these discarded dwellingsreminds me that, even in a city of rapid growth and development, the promise ofpossibility and the anxiety of collapse exist side by side as an innately humandichotomy of thinking. There is something otherworldly and hauntingly seductiveabout these hallow ruins. As I watch the nature push in and take back overthese liminal spaces, I can’t help but feel strangely drawn to staring intothis subtle abyss and musing about the wild prevailing over the civilized.

– Jacqueline Shea Caraglior（美國｜USA）

■ ■ 策展人前言■ ■

Curator’s Foreword

不得不承認重慶確實魔幻，也更感嘆藝術家把這魔幻直接生動的展示給了我們，呈現了藝術家具有獨特美學的繪畫作品。藝術家Jacqueline此次駐留僅為期一個月，時間固然短暫。

I have to admit that Chongqing is indeedmagical, and also praise that artist Jacqueline has directly and vividlydisplayed this magic to us, presenting paintings with unique aesthetics. Thistime, Jacqueline’s residency is only one month, which is short.

重慶為什麼魔幻，一種可見的闡釋是這座城市呈現了自然生態與人類活動相互滲透的繁茂景象。或者說，我們在移山順水，自然也在正其自然的沁透我們。通常我們會提到城市人類與自然生態的對撞，帶出兩者間的對立性和邊界感，但這些描述一旦落到重慶就會瞬間融化，更多的感受是隨然，少了些糾結。

Why is Chongqing magic? A visibleexplanation is that the city presents a prosperous scene including mutualpenetration of natural ecology and human activities. In other words, we aregoing along the mountains and rivers, nature is also refreshing us. Usually, wemention the collision between human cities and nature, which brings out theopposition and boundary sense between the two. However, once these descriptionsfall to Chongqing, they will melt instantly. More feelings are random and lesstangled.

藝術家Jacqueline也在談“邊界”，當我們去讀藝術家的以往作品時，總會感受到那種“邊界”從畫面中橫穿而過。在平面化、構成化，藝術家主觀的藝術處理下，其中蘊含著藝術家對自然與人類兩者相互對峙的濃烈表法。

Artist Jacqueline is also talking about”boundary”. When we read the Jacqueline’s previous works, we can feelthat the “boundary” are crossing through on the paintings. Under theartistic treatment of complanation, composition and artist’s subjectivity, itcontains the artist’s expression of the confrontation between nature and humanbeings.

但這次，“邊界”已然是另外一種狀態展現在批新的創作中，藝術家從容且真實寫照了重慶這般自然生機的城市景象，跟隨這些曲折蜿蜒的植被穿越“邊界”，蔓延過塵世間，由此獲得了新的感悟。關於自然與人類的相剋相生，是藝術家始終專注的命題。我想，這個命題也在重慶駐留的這段時間中得到了不一樣的解答。藝術家把此經歷形容為“Transmundane”，暫譯為“超凡” – 越過世間。

But this time, “boundary” isalready another state, which is displayed in the new batch of paintings,Jacqueline calmly and truly portrayed the natural and vibrant urban scene fromChongqing, followed these winding vegetation, through the “boundary”,and spread across the reality, thus obtaining a new understanding. It is aproposition that Jacqueline focus on the mutual restraint and coexistence ofnature and human beings. I guess this proposition also got a different answerduring Jacqueline’s residency in Chongqing. Artist Jacqueline described thisexperience as “transmundane”, translated as “超凡” – beyond the ordinary.

– 何京

來自移居重慶的同感

-HeJing

from asame feeling of migrant to Chongqing

■ ■ 藝術家介紹 ■ ■

Introduction to the Artist

2019年7月畢業於泰國曼谷新澤西大學，參與西班牙馬洛卡全球研究生課程，基礎教育碩士。

2009年6月畢業於美國洛杉磯加利福尼亞大學，加州大學藝術與建築學院，藝術學士

The College of New Jersey, Bangkok, Thailand and Mallorca, Spain — Global Graduate Program

Masters in Elementary Education, July 2019

University of California, Los Angeles, Ca — School of Arts and Architecture

B.A. in Art, June 2009

我對俗世中的新奇十分著迷。通過探尋異常的意識狀態，我試圖將神秘具體化，將日常陌生化。在我的作品里，光與影的關係既是視像，也是隱喻。自然界中秩序與混亂的界限常常體現為生長與衰敗的對峙。這種並置關係也存在於城市空間的郊外、荒蕪與人跡的對抗之中。我以此為出發點，通過探索齊亂、興衰的邊界來揭開感知的面紗。在這個閾限空間里，我體會到了一個清晰而又顫動著的、汲取了萬物之靈氣的奇異時刻。我相信探索世俗和神聖的本質是人類與生俱來的追求。懷志如此，便以我的見聞感悟落筆作畫。

I am attracted to novelty within the mundane. By tapping into an altered state of awareness, I attempt to crystallize the uncanny and de-familiarize the common. The relationship between light and shadow operates both visually and metaphorically in my work. In nature, the line between order and chaos plays out in the tension between growth and decay. In inhabited spaces, this juxtaposition can be found in the wild pushing up against the constructed. By examining the boundaries in-between, these thresholds have the potential to reveal what is beyond the veil of perception. In this liminal space, I find a strange moment of clarity, a certain vibratory quality, that captures the animistic quality of our world. I believe it is an innately human pursuit to attempt to carve out the sacred and the profane. It is with this goal in mind, I paint from my experiences.

我已經發現了一些與我所好奇的觀念相關的具體美學對象。廢棄空間的內部遺留細節里有一種獨特的鄉愁特質存在，它們昏暗的門廊和窗戶好似深淵的入口。過道、橋、台階之類的連接處即使已被閒置，卻依舊在擁抱生機。圍起來的城市和花園不僅是描繪和宣示領地的意圖，還是荒蕪與文明的切換入口。我在亂石堆砌的廢墟中記錄幸存的人類定居點時，總覺得交織、蠶食著這些建築物的植被在提醒人們生命的短暫和無常。最近，我還被牆壁上投下的陰影和舊牆上積累的風化所吸引，因為風化是時間流逝的標誌；而陰影顯示了一天中微小的、稍縱即逝的時刻，並放大、凸顯了風化雕刻時光的筆觸。

I have found several specific aesthetic subjects of curiosity related to these concepts. Abandoned spaces have a certain nostalgic quality in the domestic details left behind, while their dark doorways or windows seem like portals into the abyss. Places of transition such as pathways, bridges and stairways seem to hum with activity even when vacant. Walled cities or walled gardens illustrate an attempt to delineate and claim space, ultimately representing the threshold between the wild and the civilized. The records of past settlements and rituals survive within ruins and stacked stones. The vegetation that ultimately intertwines and reclaims them is a reminder of life’s ephemerality and impermanence. Most recently, I have been entranced by the shadows cast on walls and the weathering that accumulates on old walls as markers of the passage of time. Shadows showing the micro, fleeting moments of the day and weathering the macro, longer strokes of generations gone by.

關於本次駐留︱About this Residency：

我被重慶獨特的氛圍和風格迷住了，尤其是那些作為城市歷史實物記錄的建築遺跡，它們有的被重建，有的被遺棄。這些空心結構是如何與那些在整個渝中半島靈活地蜿蜒而行、迷宮般的通道形成鮮明對比的呢？沿著河流行走時，我看到層層風化的支撐物在水流中心剛性地支撐起城市的邊界。所以在此期間，我想要更多地瞭解、考察河流的內在界限和與建築的交匯處的象徵意義。我很榮幸有機會在 DAC 駐留，希望在駐留期間能夠更深刻地認識、感受重慶。

在我的駐留初期，我將在城區及城外郊區寫生並拍攝一些參考照片。我特別想在一系列大型繪畫中探索意識和潛意識、居住區和無人區這兩組概念間的關係和它們的中間地帶。我覺得重慶是我探究知與不知之間的界限的理想地點。

I am captivated by Chongqing’s unique vibe and aesthetic. I am particularly fascinated with the physical record of the city’s history in the remains of old structures, sometimes built over and sometimes abandoned. I am taken by how these hollow structures are contrasted by a labyrinth of passageways that hum with activity, as they wind throughout the peninsula. Along the rivers, you can see layers of weathered walls and supports rigidly holding up the boundaries of the city from the confluence of flowing waters. The inherent liminality of rivers and the symbolism of the crossroads is something I would like to consider, when learning more about Chongqing. I feel very fortunate for the opportunity of my residency at DAC and hope to find a deeper sense of place during my stay.

At the start of my residency, I will spend time drawing plein-air and capturing photographic references out in the city and in the wild spaces beyond its reach. I would specifically like to explore the concepts of the conscious and subconscious mind in relation to inhabited and uninhabited space, and the thresholds in-between, in a series of large-scale paintings. I feel that Chongqing is an ideal location for my inquiry into the margins between knowing and not-knowing.

以往作品介紹︱Introduction to Previous Works：