美国女画家吉娜铝舒克里

“ Often I'm most proudof individual pieces rather than bodies of work.“通常我最自豪的各个部分，而不是工作的机构。Sometimes I manage to hit on exactly what I'mtrying to say in just onepainting.有时候，我设法击中正是我想要的只是一幅画说。 That's what I'm after. ”这就是我要的效果。“

吉娜的工作室坐落在一个工业管道的沿旧金山市中心的海滨土地大规模的，有点破旧的建筑。 The Noonan Building, which still belongs to thePort of San Francisco, now houses artist studios instead of officesspaces.该努南大厦，仍然属于旧金山港，现在的房子，而不是办公室空间艺术家工作室。Thestairwell smelled of cedar wood and not-quite-dry paint, and in thehallway tiny dust particles drifted in and out of shafts ofafternoonsunlight.楼梯间闻到雪松木和未完全干漆，并在走廊上微小的灰尘颗粒在漂流午后阳光轴和输出。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，有很多窗户，看的出来对奥克兰一水之隔的。 There are plants on her windowsills, smallgeometric shapes made from wood and cardboard and a bundle of driedsage, sun-bleached to an almost bonewhite.有关于她的窗台植物，木材和硬纸板制作的小的几何形状和一捆干鼠尾草，太阳漂白到几乎骨白色。There istexture, form, dimension and coloreverywhere.有质感，形状，尺寸，颜色随处可见。 There are ideas and stories in everydetail.有想法和故事的每一个细节。 I noticed a half empty bottle of Gentleman'sJack, a book titled 536 Puzzles and Curious Problems , andstacks and stacks of familyphotos.我注意到一个半空的瓶子绅士杰克，一本名为536的困惑与好奇的问题，以及堆栈和堆栈的家庭照片。 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.我被她的空间，高墙上的方便功能挂着的画像在进步，午睡沙发，一张桌子在一旁，在中心的大宽表，散落着草图和漆管。Zinaseemed to so completely occupy herspace.吉娜似乎这样完全占据了她的空间。 She rolled and smoked cigarettes while Klea and Ifreely moved about her studio, taking photos and asking way toomany questions.她热轧和抽烟，而KLEA我自由移动她的工作室，拍照和询问太多的问题。Shetalked openly, in a voice that slowly and thoughtfully moved outinto the room, generously sharing her ideas on her work, her life,and herinspiration.她公开谈论，在缓慢而若有所思搬出走进房间的声音，大方分享她的想法在她的工作，她的生活，她的灵感。

当别人问你什么你“做”，你怎么回答？
I say,'I'm an artist', with asmile.我说，'我是一个艺术家“，面带微笑。

做你的工作有什么媒介？ How would you describe your subjectmatter? 你会如何形容你的题材？What questions & ideas occur/reoccurin your work ? 有什么问题和想法发生/再出现在你的工作？
I work with all different mediums: Charcoals,paint-anywhere from gouache to oils to inks, sculpture, ceramic,video, andsound.我的工作与所有不同介质：木炭，油漆，任何地方，从水粉到精油油墨，雕塑，陶瓷，视频和声音。

我的主题由不同的问题，从跨越多个种族和文化的感性的人的状况，身体，科技，宗教等它真正归结到我们人类是如何使通过世界我们的方式。

即出现在我的工作中的问题通常是流程驱动的，比如，'这是怎么回事看按照这个'或'哦，上帝，你到底我在干嘛？“

什么是艺术创作，你如何处理它们你最大的挑战是什么？How do you navigate the artworld? 你怎么定位的艺术世界？

艺术创作对我最大的挑战是时间和金钱。 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.只是没有足够的时间，现在，还是永远，我将很高兴与世界金融交流做了所有在一起，但我尽量在我的工作室的每一天。I'moften here for at least six hours, six days aweek.我经常在这里为至少6小时，每周6天。 I navigate the art world by making (and keeping)friends and having continuous conversations withthem.我使（并保持）朋友，跟他们交谈连续航行的艺术世界。

什么事你当前正在使用，或者是兴奋的开始，你能告诉我们什么呢？

我刚刚完成了一系列的人谁是颜色的水粉肖像画，这意味着，不是白色。 Portraits are a very emotional experience, a lotof connection needs to happen between me and thesitter.画像是一个很情绪化的经验，很多方面都需要我和保姆之间发生。 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.我需要周围挖了不少，问了很多问题，让他们开口说话捕捉精确的情绪和情感状态我的保姆恰好具备的。I know Iwill never actually be done with portraits, seeing that it is agift of talent bestowed upon me(lol).我知道我将永远不会真正与肖像做，看到它是天赋的礼物在我身上赋予（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，现在我专注于我正在做我的家庭有关的阿拉伯家庭生活在南方（美国）的薄膜。Film insome ways is just another iteration ofportraiture;电影在某些方面是肖像画的只是另一次迭代; it's an intimate view into someone'slife.这是一个亲密的视图到别人的生活。

一切你曾经做，是你最值得骄傲的？

通常我最自豪的各个部分，而不是工作的机构。 Sometimes I manage to hit on exactly what I'mtrying to say in just onepainting.有时候，我设法击中正是我想要的只是一幅画说。 That's what I'mafter.这就是我要的效果。

那你想你的工作怎么样？

吸引人们来看待它，并质疑我们的当前状态，并探讨我们的情绪和精神领域，它总是被受外界影响。 I'd like to think of myself as picking up whereAlice Neel left off.我想，认为自己是捡了爱丽丝尼尔不放过。

贫困与时间性的不断焦虑，我留下来提醒自己，个人是短暂的，但人的存在保持不变。 Especially now, there are no areas devoid ofsociality.尤其是现在，没有地区缺乏社会性。 Everything a person expresses is reactionary orresponsive to the happenings surroundingthem.一切的人表示是反动或响应他们周围发生的事情。 These reactions and responses are oftencontributed by another body.这些反应和反应往往导致另一个身体。Theexterior life of the subject creates the interior qualities andvice versa.主体的外部生活创造的内在品质，反之亦然。 The people in my work are a representation ofthis interior/exteriorrelationship.在我的工作的人，都该内部/外部关系的表示。 These figures are generally exaggerated andaltered to heighten their expressive and emotive qualities in orderto explore personal and culturalexperiences.这些数字通常夸大和改变，以提高他们的表现力和感情的特质，以探讨个人和文化体验。Comingfrom a diverse multicultural background makes me particularlyinterested in others socioculturalexperiences.我来自一个不同的多元文化背景使我在别人的社会文化经验特别感兴趣。I seemyself in the people I like to lookat.我看到自己在我喜欢的人看的。

观察人的是，从小一直让我着迷的做法。 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.作为一个移民的孩子流离失所从伊拉克和新鲜浸入到一种新的文化，我当然好奇我身边的人，往往试图寻找到与新的途径。Sharinginterests and conversations, mimicry, playing games were all myearly methods ofinteraction.共享利益和对话，模仿，玩游戏都是我早期的互动方式。 And we were always moving.而且我们永远向前。Everyfew years my family and I would relocate to another academic schemaand acclimate ourselves to our newsurroundings.每隔几年，我和我的家人将移居到其他学术架构和适应自己，我们的新环境。This wasnot the easiest task considering we were an Arab-Muslim familytrying to fit into a predominantly Southern-Christianenvironment.这不是最简单的任务，考虑到我们是一个阿拉伯穆斯林家庭试图融入一个主要南方基督教的环境。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.不过，我交了朋友，这是谁，我画画，用同样的好奇心，我作为一个孩子努力适应。这些画作映射共享的对话，模仿和自然进化的智力游戏。

我看和做其他人的人像时，同时提供一种方法，让保姆来与自己和我与我自己。 These paintings are an exploration of genuineinteractions happening in real life over extended periods of actualtime.这些画是真正的互动发生在现实生活中比实际时间长时间的探索。 As I develop the image, the subject is invited towatch and respond to my progress hence a feedback loop occursbetween us.至于我自己开发的图像，主题是应邀观看和我的进步作出回应，因此我们之间的反馈回路发生。Theirimage unfolds before them, creating a vulnerable and enchantedstate which can often create a difficult emotional/socialjuncture.他们的形象展现在他们面前，营造出脆弱和迷惑的状态，往往可以创造一个艰难的情感/社交关口。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.给予注意或心理上的'检查'创造对话的空间，来说明个别科目和他们的社会状况的经验之间的关系是工作的一个关键因素。Thisexperience is shaped by a full collaboration between the sitter andme to create a tangible, intimate and visceralencounter.这方面的经验是由保姆和我建立一个有形的，亲密和内脏邂逅之间的充分协作型。