美國女藝術家凱蒂石

“在我職業生涯的弧線，我已經以不同的方式駕駛它......我試著提醒自己，一件事導致了另一個，不斷的工作，是正宗的...我不知道是誰這樣說：但我想它常常：“這需要10年的艱苦努力，以一鳴驚人。”

從一開始我們用在化妝帶來的朋友，家人，熟人等什麼藝術家的生活是真的很喜歡，所以他們往往想知道工作室真的是大規模和光線充足的問題擺工作，而不論該名稱是有名的，如果個性是怪異和野生為我們的集體想象總是做出來的人。I feelawkward in the face of these questions because my answers are oftentoo specific, too long, toocomplicated.我覺得彆扭在面對這些問題，因為我的答案往往過於具體，太長，太複雜了。Isuppose as a way of hurrying up my exhaustive attempt to saysomething true, I'm frequently interrupted in the middle of myresponse and asked, “But are these artists making any money, howare they paying the bills?” And honestly, I hate thatquestion.我想，作為匆匆走向我詳盡試圖說一些真實的事情的一種方式，我經常打斷我的迴應的中間，問道：“但這些藝人賺到錢，他們如何支付賬單？”而且說實話，我討厭這個問題。I hateit because it hijacks real meaning and value and takes the wholedamn subject somewhere elsecompletely.我恨它，因為它劫持真正的意義和價值，並採取整個該死的主題在其他地方完全。I hateit because money doesn't legitimize artists or the art they create,despite what Sotheby's might have youbelieve.我恨它，因為錢不合法化藝術家或他們所創造的藝術，儘管什麼蘇富比可能讓你相信。And yetI do understand why that question is so frequently asked, and Kleaand I often find ourselves discussing its importance and how as faras we can tell, every artist works out the money thing a bitdifferently.可是我不明白，為什麼這個問題是如此常見，並KLEA我經常發現自己在討論它的重要性，以及如何就我們所知道的，每個藝術家的作品了錢的事有點不同。

凱蒂的做法包括公共藝術作品相當數量，這有助於她成為自2007年以來的全職藝術家。在此之前，她是教學藝術的各種能力，作為一個教授，兼職和非利潤。I thinkabout Katy a lot when I consider the many ways in which artistsmanage to sustain their art practice while keeping up withfinancialresponsibilities.我想凱蒂了很多，當我考慮到許多方面，其中藝術家設法維持他們的藝術實踐，同時保持了財務責任。It'stough to balance— keeping everything afloat while simultaneouslyfending off the outside voices that sometimes seep in, questioningwhether or not your work is real, whether you've sold out, whetheryou're actually nothing more than ahobbyist.這是艱難的平衡，保持原有的一切漂浮，同時抵禦外界的聲音，有時滲入，質疑你的工作是否是真實的，你是否已經賣完了，不管你實際上只不過是一個業餘愛好者。Iappreciated our visit with Katy for many reasons, but I thinkultimately it's her commitment to her identity as an artist thatwas mostcompelling.我很感激​​我們的拜訪與凱蒂的原因有很多，但我認為最終這是她的承諾，她作為一個藝術家，這是最引人注目的身份。Muchlike her art, I think Katy accepts and embraces a sense ofmovement— she seems able to accommodate different stages, workingwithin them to continue on her trajectory, despite the detours, bykeeping longevity and self-validation inmind.就像她的藝術，我覺得凱蒂接受和擁抱的運動感，她似乎能夠容納不同的階段，在他們合作，繼續在她的軌跡，儘管少走彎路，保持長壽和自我驗證的初衷。

抵達後在凱蒂的工作室在西雅圖我被多少工作，填補了她相當大的空間和方式她的作品運用形狀，顏色和尺寸，以素描，繪畫和雕塑的界限混淆，無論是從杜拉提出拉爾，紙或鋁。Katy'spieces are reminiscent of the natural world influx;凱蒂的作品讓人想起在不斷變化的自然世界; there is so much movement, such a flurry of form,a real sense of strong currents coming andgoing.有這麼大的動靜，形如亂舞，強電流來來往往一個真正意義上的。 Katy was easy to talk to, and she had this way ofoften contextualizing her current work, identity, practices, andgoals into the larger picture of her life as an artist— sheremembered and recounted how she had done things years before,spoke of how her interests and processes had transformed orsnowballed, and how particular paths had beenforged.凱蒂是容易溝通，她有這樣的情境化往往她目前的工作，認同，實踐和目標轉化為她的生活中較大的圖片作為一個藝術家，她想起和她講述瞭如何做前幾年的事情，談到了怎麼她的興趣和工藝已轉化或大勢所趨，而且尤其是如何的路徑已被偽造。Iappreciated how in an everyday, ordinary way she seemed able torecognize and approach her work intotality.我很感激​​如何在日常的，普通的方式，她似乎能夠識別和接近她的工作整體。

你會如何形容你的題材或你的工作內容？
Ohthat's such a hard question to answer without going on andon.哦，這是如此艱難的問題，而不是怎麼回事，就回答。 Partly, my work is about materiality, visualformal language and perceptual experience, pure andsimple.天色，我的工作是關於物質性，視覺形式語言和感性經驗，純粹而簡單。 On another level, I'm interested in using theforms and forces of nature as metaphors, to express/embodydifferent states of emotion andbeing.在另一個層面上，我有興趣使用的形式和自然力量的隱喻，表達/體現情感的不同狀態和存在。There'san ongoing theme in my work that has to do withtransformation/transmutation, and at a deepest level there issomething about the relationship between the momentary and thepermanent.有一個持續的主題我的工作，有做與改造/嬗變，並在最深的層面有一些關於瞬時和永久的關係。

What mediums do you workwith? 做你的工作有什麼媒介？
Iprimarily use acrylic paint and inks on Duralar (a polyesterdrafting film) and paper and tracing paper, acrylic or oil on lasercut aluminum, but over the past twenty years, I've used a reallywide array of craft based materials like pipecleaners, balloons,yarn, sequins…I love colorful, shinymaterials;我主要使用丙烯酸塗料和油墨上Duralar（聚酯起草膜）紙和描圖紙，丙烯酸或油的鐳射切割鋁，但在過去的二十年中，我使用了一個非常寬的像pipecleaners工藝基礎材料陣列，氣球，紗，亮片......我愛多彩的，有光澤的材料;materials that are fluid, and materials thatinteract with light or that are physically light, transparent ortranslucent.與光或相互作用的材料是液體，並且材料是物理上的光，透明的或半透明的。

你的作品展現出的形狀和形式是無定形的，但不夠熟悉，以喚起陣列懷舊哪裡這些表格是從哪裡來的？Is nostalgia a purposeful aim for yourwork?懷舊是一種有目的的目標對你的工作？

該表格​​由行和手勢起源，從有意識的標記製作和系統的重複流的活動。 I'm interested in gesture and in the expressivelanguage of line.我感興趣的手勢和線的表現力的語言。 For many years, my works were completelyabstract, but around 2001 I made this shift where the marks beganto coalesce into what I call “nameable”things.多年以來，我的作品是完全抽象的，但在2001年左右我做了這個轉變，其中的標記開始凝聚成我稱之為“可命名”的事情。I'venever been interested in actual pictorial representation but when Istarted to make work that was suggestive of actual things in theworld, it opened up a deeper pool of meaning within the work,something that could be accessed in multiple ways by differentviewers.我從來沒有關心實際的圖形表示，但是當我開始做的工作，這是暗示在世界上實際的東西，它開闢了意義更深池的工作中，可能以多種方式被不同的觀眾進行訪問的東西。The workis still on the border between abstraction and representation,because it's meant to be suggestive, notliteral.這項工作仍在進行抽象和代表之間的邊界，因為它的意思是暗示，沒有文字。I wantit to inhabit that space between illusion andallusion.我希望它棲息的錯覺和暗示之間的空間。 There are collective associations we have withthe “nameable things” that pop up in my work: water, waterfalls,trees, roots, fire, wind, clouds,light.還有我們的“可命名的東西”，彈出我的工作集體協會：水，瀑布，樹木，根，火，風，雲，光。I likethe idea of tapping into those somewhat universal associations– theidea of flow, mutability, cycles oflife…我想進軍流動，可變性，生命週期的那些有點普遍協會 - 這個想法的想法...

你用的是“懷舊”，因為我真的沒有在這個詞方面認為我的工作很有趣，但我可以看到這可能是一個切入點，在懷舊是一種感覺，無論是擁有的經驗和，涉及到時間的流逝和短命和理想的思想損失。I alsothink maybe nostalgia also has to do with the experience ofsuspension, of a moment trapped intime.我也想，也許懷舊也有做暫停的時刻被困在時間的經驗。 I feel as if my work definitely has that sense ofthe suspended moment.我覺得，如果我的工作絕對有暫停的那一刻那感覺。

除了 ​​你的藝術實踐，你在任何其他方面的工作為何？
I'vebeen able to be a full time artist since 2007. Before that I wasteaching art in various capacities, as a professor, adjunct, fornon-profits, the wholerange.我已經能夠成為自2007年以來的全職藝術家。在此之前，我在教學領域的各種能力，作為一個教授，兼職，為非營利組織，整個範圍。

是什麼影響了視覺藝術外激勵和影響你的做法讓工作？
I'mreally interested in language itself, and I often use words as thestarting point for bodies ofwork.我在語言本身很感興趣，而且我經常使用的話作為起點的工作機構。 I like reading thedictionary.我喜歡閱讀的字典。 I'm also interested in ideas about language andnature from other cultures.我也有興趣在語言和自然來自其他文化的想法。I justwatched this really interesting documentary called “IntangibleAsset Number 82” and it's about a jazz musician who travels toKorea to meet this shaman/mastermusician.我只是看著這真是有趣的紀錄片，名為“無形資產號碼82”，這是關於一個爵士音樂家誰前往韓國，以滿足這個薩滿/音樂大師。It wasfascinating, learning about the relationship between music and thedivine in their culture.這是迷人的，瞭解他們的文化音樂與神之間的關係。It alsorevealed a couple of really beautiful cultural ideas aboutwaterfalls and trees that really resonated with me in that“aha-moment” sort ofway;它也透露了一些關於瀑布和樹木很有共鳴。我說：“啊哈，那一刻”的那種感覺真美的文化理念;itilluminated why I'm attracted to them as a subject oricon.它照亮我為什麼吸引了他們作為一門學科或圖示。

剛剛過去的這個秋天，我開始了很多關於自然界隱藏的模式研究，在科學數學和宇宙學。 I have no idea where it willlead.我不知道它會導致。 I stillfeel like most of my “research” comes directly from making and frommaterials.我還是覺得像極了我的“研究”直接來自制造和材料。

什麼是有一個物理空間，使藝術的均值為您的過程，你如何讓你的工作空間？
Becausemy work is about the wall and using it as a ground (I started outas a painter who hated canvas and hated the restriction of arectangle format) and it's also about responding to space (I didonly temporary installation based work for a number of years), aphysical studio space has always been super important for me, and Ihave always made it a bigpriority.因為我的工作是關於在牆上，用它作為地面（我開始了作為一個畫家，誰恨帆布和討厭的矩形格式的限制），它也是關於響應空間（我為一些做只是暫時的基礎安裝工作年），一個物理的工作室空間一直是我非常重要，我一直做了一個很大的優先權。

我在所有尺度的工作，但大多數時候，我的工作真的很大，我得有時有創意，即使我有一個體面的大小的空間。 For a project last fall, I had to pretend that myfloor was a wall, because I was making a piece that was 17 feettall, to be installed on a 23 foot tall wall, and my actual wallsare only 10 1/2 feet tall, so I had to move all the tables out ofmy studio and compose the whole thing on the floor and climb up ona ladder and look down onit.對於一個專案去年秋天，我只好假裝我的地板是一堵牆，因為我是在這一塊是17英尺高，要在一個23英尺高的牆安裝，和我實際的牆壁只有10條1/2英尺身材高大，所以我不得不將所有的表了自己的工作室和撰寫地板上的整個事情，爬上一個梯子，往下看就可以了。I'veactually had to do that a few times, come to think ofit!其實我已經不得不這樣做了幾次，想起來了！ I'm always big on maximizing storage, too, whichcame from years of having smaller studio spaces and workinglarge.我總是大最大化儲存，太，這是來自幾年有小的工作室空間和工作大。

你怎麼定位的藝術世界？
Bynature, I'm a bit of a studio hermit and really a hard worker, sosometimes it's a challenge to engage with the part of the art worldthat is openings, social events, etc. Over the arc of my career,I've navigated it in differentways.從本質上講，我是一個有點工作室隱士，真的一個勤奮的人，所以有時它是一個挑戰，與藝術世界的一部分，這是開口，社交活動等。在我的職業生涯的弧線，我已經以不同的方式駕駛它。In thebeginning, nearly 20 years ago, I was really propelled by the DIYethos and did a lot of collaboration with friends around creatingopportunities to exhibit and gainexposure.一開始，近20年前，我真的被DIY的精神推動和周圍創造機會展示並獲得曝光做了很多與朋友合作。(Westarted an artist-run gallery in Seattle called SOIL, that's aboutto celebrate its 20th anniversary in 2015.) Then, I began workingwith commercial galleries and began winning public art commissionsand my focus changed somewhat, and it got harder to be as social/collaborative because of being so busy in the studio.（我們開始一個藝術家經營的畫廊在西雅圖被稱為土壤，這就是即將慶祝其成立20週年，2015年。）然後，我開始與商業畫廊合作，並開始贏得公共藝術委員會和我的重點有所改變，而且它得到更難被社會因為如此忙碌在工作室/協作。On theother hand, some of my projects have involved being able to hireassistants, and that's allowed for a social aspect and also forsomementorship.在另一方面，我的一些專案涉及能夠聘請助手，那就是允許的社會方面，也為一些導師。I'verecently been involved with a group of artist friends who arehelping by sharing professional connections and motivating eachother to keep reaching out and taking on those things that stillseemintimidating.我最近參與了一群藝術家朋友誰是幫助分享專業連線和激勵彼此不斷深入和承擔那些東西，似乎仍然令人生畏。I amvery lucky to have met and worked with some really amazing peopleover the years.我很幸運能遇到，並有一些很了不起的人工作了多年。 I try to remind myself that one thing leads toanother, keep making your work, and beauthentic.我試著提醒自己，一件事導致了另一個，不斷的工作，是正品。

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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-----

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