美國女畫家吉娜鋁舒克里

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“ Often I'm most proudof individual pieces rather than bodies of work.“通常我最自豪的各個部分，而不是工作的機構。Sometimes I manage to hit on exactly what I'mtrying to say in just onepainting.有時候，我設法擊中正是我想要的只是一幅畫說。 That's what I'm after. ”這就是我要的效果。“

吉娜的工作室坐落在一個工業管道的沿舊金山市中心的海濱土地大規模的，有點破舊的建築。 The Noonan Building, which still belongs to thePort of San Francisco, now houses artist studios instead of officesspaces.該努南大廈，仍然屬於舊金山港，現在的房子，而不是辦公室空間藝術家工作室。Thestairwell smelled of cedar wood and not-quite-dry paint, and in thehallway tiny dust particles drifted in and out of shafts ofafternoonsunlight.樓梯間聞到雪松木和未完全乾漆，並在走廊上微小的灰塵顆粒在漂流午後陽光軸和輸出。Zina'sstudio is big and bright with lots of windows that look out towardsOakland across thewater.吉娜的工作室是大而明亮，有很多窗戶，看的出來對奧克蘭一水之隔的。 There are plants on her windowsills, smallgeometric shapes made from wood and cardboard and a bundle of driedsage, sun-bleached to an almost bonewhite.有關於她的窗臺植物，木材和硬紙板製作的小的幾何形狀和一捆幹鼠尾草，太陽漂白到幾乎骨白色。There istexture, form, dimension and coloreverywhere.有質感，形狀，尺寸，顏色隨處可見。 There are ideas and stories in everydetail.有想法和故事的每一個細節。 I noticed a half empty bottle of Gentleman'sJack, a book titled 536 Puzzles and Curious Problems , andstacks and stacks of familyphotos.我注意到一個半空的瓶子紳士傑克，一本名為536的困惑與好奇的問題，以及堆疊和堆疊的家庭照片。 I wasstruck by the easy functionality of her space— a high wall hungwith portraits in progress, a napping couch, a desk off to theside, a big broad table in the center, littered with sketches andpainttubes.我被她的空間，高牆上的方便功能掛著的畫像在進步，午睡沙發，一張桌子在一旁，在中心的大寬表，散落著草圖和漆管。Zinaseemed to so completely occupy herspace.吉娜似乎這樣完全佔據了她的空間。 She rolled and smoked cigarettes while Klea and Ifreely moved about her studio, taking photos and asking way toomany questions.她熱軋和抽菸，而KLEA我自由移動她的工作室，拍照和詢問太多的問題。Shetalked openly, in a voice that slowly and thoughtfully moved outinto the room, generously sharing her ideas on her work, her life,and herinspiration.她公開談論，在緩慢而若有所思搬出走進房間的聲音，大方分享她的想法在她的工作，她的生活，她的靈感。

當別人問你什麼你“做”，你怎麼回答？
I say,'I'm an artist', with asmile.我說，'我是一個藝術家“，面帶微笑。

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 questions & ideas occur/reoccurin your work ? 有什麼問題和想法發生/再出現在你的工作？
I work with all different mediums: Charcoals,paint-anywhere from gouache to oils to inks, sculpture, ceramic,video, andsound.我的工作與所有不同介質：木炭，油漆，任何地方，從水粉到精油油墨，雕塑，陶瓷，視訊和聲音。

我的主題由不同的問題，從跨越多個種族和文化的感性的人的狀況，身體，科技，宗教等它真正歸結到我們人類是如何使通過世界我們的方式。

即出現在我的工作中的問題通常是流程驅動的，比如，'這是怎麼回事看按照這個'或'哦，上帝，你到底我在幹嘛？“

什麼是藝術創作，你如何處理它們你最大的挑戰是什麼？How do you navigate the artworld? 你怎麼定位的藝術世界？

藝術創作對我最大的挑戰是時間和金錢。 Therejust isn't enough time right now, or ever, and I would be glad todo away with the world's financial exchanges all together, but Imake an effort to be in my studio every singleday.只是沒有足夠的時間，現在，還是永遠，我將很高興與世界金融交流做了所有在一起，但我儘量在我的工作室的每一天。I'moften here for at least six hours, six days aweek.我經常在這裡為至少6小時，每週6天。 I navigate the art world by making (and keeping)friends and having continuous conversations withthem.我使（並保持）朋友，跟他們交談連續航行的藝術世界。

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？

我剛剛完成了一系列的人誰是顏色的水粉肖像畫，這意味著，不是白色。 Portraits are a very emotional experience, a lotof connection needs to happen between me and thesitter.畫像是一個很情緒化的經驗，很多方面都需要我和保姆之間發生。 I need to dig around quite a bit, ask a lot ofquestions, get them talking to capture the exact mood and emotionalstate my sitter happens topossess.我需要周圍挖了不少，問了很多問題，讓他們開口說話捕捉精確的情緒和情感狀態我的保姆恰好具備的。I know Iwill never actually be done with portraits, seeing that it is agift of talent bestowed upon me(lol).我知道我將永遠不會真正與肖像做，看到它是天賦的禮物在我身上賦予（笑）。But,right now I am focusing on a film I am making of my family about anArab family living in the South(US).但是，現在我專注於我正在做我的家庭有關的阿拉伯家庭生活在南方（美國）的薄膜。Film insome ways is just another iteration ofportraiture;電影在某些方面是肖像畫的只是另一次迭代; it's an intimate view into someone'slife.這是一個親密的檢視到別人的生活。

一切你曾經做，是你最值得驕傲的？

通常我最自豪的各個部分，而不是工作的機構。 Sometimes I manage to hit on exactly what I'mtrying to say in just onepainting.有時候，我設法擊中正是我想要的只是一幅畫說。 That's what I'mafter.這就是我要的效果。

那你想你的工作怎麼樣？

吸引人們來看待它，並質疑我們的當前狀態，並探討我們的情緒和精神領域，它總是被受外界影響。 I'd like to think of myself as picking up whereAlice Neel left off.我想，認為自己是撿了愛麗絲尼爾不放過。

貧困與時間性的不斷焦慮，我留下來提醒自己，個人是短暫的，但人的存在保持不變。 Especially now, there are no areas devoid ofsociality.尤其是現在，沒有地區缺乏社會性。 Everything a person expresses is reactionary orresponsive to the happenings surroundingthem.一切的人表示是反動或響應他們周圍發生的事情。 These reactions and responses are oftencontributed by another body.這些反應和反應往往導致另一個身體。Theexterior life of the subject creates the interior qualities andvice versa.主體的外部生活創造的內在品質，反之亦然。 The people in my work are a representation ofthis interior/exteriorrelationship.在我的工作的人，都該內部/外部關係的表示。 These figures are generally exaggerated andaltered to heighten their expressive and emotive qualities in orderto explore personal and culturalexperiences.這些數字通常誇大和改變，以提高他們的表現力和感情的特質，以探討個人和文化體驗。Comingfrom a diverse multicultural background makes me particularlyinterested in others socioculturalexperiences.我來自一個不同的多元文化背景使我在別人的社會文化經驗特別感興趣。I seemyself in the people I like to lookat.我看到自己在我喜歡的人看的。

觀察人的是，從小一直讓我著迷的做法。 As animmigrant child displaced from Iraq and freshly immersed into a newculture, I was naturally curious about the people around me andoften trying to find new ways torelate.作為一個移民的孩子流離失所從伊拉克和新鮮浸入到一種新的文化，我當然好奇我身邊的人，往往試圖尋找到與新的途徑。Sharinginterests and conversations, mimicry, playing games were all myearly methods ofinteraction.共享利益和對話，模仿，玩遊戲都是我早期的互動方式。 And we were always moving.而且我們永遠向前。Everyfew years my family and I would relocate to another academic schemaand acclimate ourselves to our newsurroundings.每隔幾年，我和我的家人將移居到其他學術架構和適應自己，我們的新環境。This wasnot the easiest task considering we were an Arab-Muslim familytrying to fit into a predominantly Southern-Christianenvironment.這不是最簡單的任務，考慮到我們是一個阿拉伯穆斯林家庭試圖融入一個主要南方基督教的環境。Nevertheless, I made friends and that is who Ipaint, with the same curiosity I had as a child trying to fit e paintings map shared conversations, mimicry and the naturallyevolved intellectualplay.不過，我交了朋友，這是誰，我畫畫，用同樣的好奇心，我作為一個孩子努力適應。這些畫作對映共享的對話，模仿和自然進化的智力遊戲。

我看和做其他人的人像時，同時提供一種方法，讓保姆來與自己和我與我自己。 These paintings are an exploration of genuineinteractions happening in real life over extended periods of actualtime.這些畫是真正的互動發生在現實生活中比實際時間長時間的探索。 As I develop the image, the subject is invited towatch and respond to my progress hence a feedback loop occursbetween us.至於我自己開發的影象，主題是應邀觀看和我的進步作出迴應，因此我們之間的反饋迴路發生。Theirimage unfolds before them, creating a vulnerable and enchantedstate which can often create a difficult emotional/socialjuncture.他們的形象展現在他們面前，營造出脆弱和迷惑的狀態，往往可以創造一個艱難的情感/社交關口。Givingattention or a psychological 'checking in' to create a space ofdialogue, to illustrate the relationship between the individualsubjects and their experience of social conditions is a key elementof thework.給予注意或心理上的'檢查'創造對話的空間，來說明個別科目和他們的社會狀況的經驗之間的關係是工作的一個關鍵因素。Thisexperience is shaped by a full collaboration between the sitter andme to create a tangible, intimate and visceralencounter.這方面的經驗是由保姆和我建立一個有形的，親密和內臟邂逅之間的充分協作型。