A journey through the mind of an artist | Dustin Yellin

翻译人员: Zhiting Chen 校对人员: lin quan

I was raised by lesbians in the mountains,

我被一群生活在山上的 女同性恋人士养大，

and I sort of came like a forest gnome to New York City a while back.

不久前我还像是个误入纽约的 森林小矮人。

(Laughter)

（笑声）

Really messed with my head, but I'll get into that later.

我的脑子变得很混乱， 待会儿再细说这部分。

I'll start with when I was eight years old.

先从我八岁时开始说起吧。

I took a wood box,

我有一个木盒子，

and I buried a dollar bill, a pen and a fork inside this box in Colorado.

在里面放了一张纸币，一支笔，和一只叉子， 并把盒子埋在了科罗拉多。

And I thought some strange humanoids or aliens in 500 years would find this box

我觉得一些奇异的机械人 或外星人会在五百年后发现它，

and learn about the way our species exchanged ideas,

并以此来了解人类是 如何交流想法的，

maybe how we ate our spaghetti.

可能是我们怎样吃意大利面。

I really didn't know.

我真的不知道。

Anyway, this is kind of funny,

不管怎样，我觉得这还是挺有趣的，

because here I am, 30 years later, and I'm still making boxes.

因为三十年后的我，仍在制造盒子。

Now, at some point I was in Hawaii --

从前我在夏威夷呆过一段时间 ——

I like to hike and surf and do all that weird stuff,

我喜欢远足，冲浪， 以及尝试所有奇怪的事情，

and I was making a collage for my ma.

我给我妈做了一个拼贴画。

And I took a dictionary and I ripped it up,

我拿来一本字典，把它撕碎，

and I made it into a sort of Agnes Martin grid,

然后弄成艾格尼斯·马丁 风格的那种格子，

and I poured resin all over it and a bee got stuck.

我倒了一些树脂上去， 然后一只蜜蜂被粘住了。

Now, she's afraid of bees and she's allergic to them,

她本来就很怕蜜蜂而且对蜜蜂过敏，

so I poured more resin on the canvas, thinking I could hide it or something.

于是我往画板上倒了更多的树脂， 希望可以遮盖住那只蜜蜂。

Instead, the opposite happened:

然而事与愿违：

It sort of created a magnification,

我几乎算是放大了瑕疵，

like a magnifying glass, on the dictionary text.

就像放大镜一样，盖在字典的文字上。

So what did I do? I built more boxes.

然后呢？我做了更多的盒子。

This time, I started putting electronics, frogs,

这一次，我开始放置 一些电子产品，青蛙，

strange bottles I'd find in the street -- anything I could find --

和在街上捡到的奇怪的瓶子—— 任何东西我可以找到的东西 ——

because I was always finding things my whole life,

我的一生都不断地在寻找，

and trying to make relationships and tell stories between these objects.

试着在事物之间建立联系， 讲述它们之间的故事。

So I started drawing around the objects,

于是我开始以它们为主题去作画，

and I realized: Holy moly, I can draw in space!

而我意识到：“天啊天啊， 我可以在空间中作画！

I can make free-floating lines,

我可以画出不受限制的线，

like the way you would draw around a dead body at a crime scene.

就像那些在犯罪现场的尸体周围画的线。

So I took the objects out,

于是我把那些物件取出来，

为我的作品创造了一套分类学。

and I created my own taxonomy of invented specimens.

First, botanical -- which you can kind of get a sense of.

首先，植物类的—— 这类你们应该有些了解。

Then I made some weird insects and creatures.

然后我开始弄了一些 奇怪的昆虫和生物。

It was really fun; I was just drawing on the layers of resin.

在一层又一层的树脂上作画， 真的非常好玩。

And it was cool, because I was actually starting to have shows and stuff,

而且这非常酷， 因为我开始可以办展览和各种活动，

I was making some money, I could take my girlfriend for dinner,

赚到了一些钱， 可以带我的女友去吃大餐，

and like, go to Sizzler.

比如去时时乐餐厅。

It was some good shit, man.

它真是美味至极，亲们。

(Laughter)

（笑声）

At some point, I got up to the human form,

一段时间之后， 我又开始用人体模型创作，

life-size resin sculptures with drawings of humans inside the layers.

在树脂内部，按照真实人体尺寸 绘制的作品。

This was great, except for one thing:

这其实挺赞的，但是有一点：

I was going to die.

这简直不是人干的活儿。

I didn't know what to do, because the resin was going to kill me.

我不知道要怎么办， 那些树脂快要把我害死了。

And I went to bed every night thinking about it.

我每晚睡觉时候都在想着它们。

So I tried using glass.

然后我尝试改用玻璃。

I started drawing on the layers of glass,

我开始在一层层的玻璃上绘画，

almost like if you drew on a window, then you put another window,

这就像在一扇扇的窗户上绘画，

and another window, and you had all these windows together

然后需要把所有窗户叠在一起，

that made a three-dimensional composition.

这样便形成了一个三维作品。

And this really worked, because I could stop using the resin.

这还真的行得通， 于是我可以不再用树脂了。

So I did this for years,

我持续做了许多年，

which culminated in a very large work, which I call "The Triptych."

积累出了一件庞大的作品， 我称它们为“三联画”。

"The Triptych" was largely inspired

“三联画”在很大程度上

by Hieronymus Bosch's "[The] Garden of Earthly Delights,"

是受到耶罗尼米斯·博斯 “人间乐园”的启发，

是一幅存放在 西班牙普拉多博物馆的油画。

which is a painting in the [Museo del] Prado in Spain.

Do you guys know this painting?

你们知道这幅作品吗？

Good, it's a cool painting.

很好，那是一幅很酷的画作。

It's kind of ahead of its time, they say.

人们说，它是一幅超前的作品。

So, "The Triptych." I'll walk you through this piece.

好，“三联画”，我会慢慢 跟你们解释这件作品。

It weighs 24,000 pounds.

它重约10900多公斤。

It's 18 feet long.

长约5.5米。

It's double-sided, so it's 36 feet of composition.

它是双面的，所以总共是差不多11米。

It's kind of weird.

这听上去有点奇怪。

Well, that's the blood fountain.

这里有个血喷泉。

(Laughter)

（笑声）

To the left, you have Jesus and the locusts.

左面你们会看到耶稣和蝗虫们。

There's a cave

那里有一个洞穴，

where all these animal-headed creatures travel between two worlds.

那些有着动物头的怪物 穿梭于两个世界之间。

They go from the representational world,

他们由具象的世界

to this analog-mesh underworld, where they're hiding.

回到这个它们所藏身的 错综复杂的下层世界。

This is where the animal-headed creatures are by the lighthouse,

这些有着动物头的生物 聚集在灯塔附近，

and they're all about to commit mass suicide into the ocean.

准备在大海里集体自杀。

The ocean is made up of thousands of elements.

大海是由成千上万的元素组成。

This is a bird god tied up to a battleship.

那里有一只鸟神绑在一只战舰上。

(Laughter)

（笑声）

Billy Graham is in the ocean;

比利·葛培理在大海里，

the Horizon from the oil spill; Waldo; Osama Bin Laden's shelter --

油污里的海岸；瓦尔多； 本拉登的藏匿处 ——

there's all kinds of weird stuff that you can find

如果你们认真地观察那片大海的话，

if you look really hard, in the ocean.

就能找到各种奇怪事物。

Anyway, this is a lady creature.

另外，这是一个雌性生物。

She's coming out of the ocean, and she's spitting oil into one hand

她从海洋里出来，一只手在泼着油污，

and she has clouds coming out of her other hand.

另一只手中飘出云朵。

Her hands are like scales,

她的手如天平一般，

and she has the mythological reference of the Earth and cosmos in balance.

有着神话中 对地球和宇宙平衡的表达。

So that's one side of "The Triptych."

这是“三联画”的一部分。

It's a little narrative thing.

是叙述类画作。

That's her hand that she's spitting into.

这边她在向手心吐着什么。

And then, when you go to the other side,

然后，当你们从另一边观察，

she has like a trunk, like a bird's beak,

她又像树干，像鸟的喙，

and she's spitting clouds out of her trunk.

还会从那里吐出云来。

Then she has an 18-foot-long serpent's tail that connects "The Triptych."

她还有着一条5.5米的蛇尾， 来连接“三联画”。

Anyway, her tail catches on fire from the back of the volcano.

她的尾巴还在火山的背面着火了。

(Laughter)

（笑声）

I don't know why that happened.

我不知道怎么会出现这种效果。

(Laughter)

（笑声）

That happens, you know.

这种事儿有时候确实会发生。

Her tail terminates in a cycloptic eyeball,

她的尾巴在一只独眼里终结，

made out of 1986 terrorist cards.

由1986年的恐怖卡片组成的。

Have you guys seen those?

你们看见了么？

They were made in the 1980's, they're like baseball cards of terrorists.

它们是上世纪80年代的产物， 像是棒球卡那种东西。

真的是走在时代的尖端。

Way ahead of their time.

(Laughter)

（笑声）

That will bring you to my latest project.

这引申到我最近的一个项目。

I'm in the middle of two projects:

我现在同时进行两个项目：

一个叫“心理地图”。

One's called "Psychogeographies."

这是一个长达六年的项目， 去制造100个这样的人类。

It's about a six-year project to make 100 of these humans.

Each one is an archive of our culture,

每一个都是人类文化的一份存档，

through our ripped-up media and matter,

由各种撕碎的传媒产品和物件拼凑，

whether it's encyclopedias or dictionaries or magazines.

可以是百科全书、字典或者是杂志。

But each one acts as a sort of an archive in the shape of a human,

每一样都可以被当做是一种存档， 以人体的轮廓呈现，

and they travel in groups of 20, 4, or 12 at a time.

它们结队出行，每次20个， 4个或者12个。

They're like cells -- they come together, they divide.

它们像是细胞一般—— 一起出现，然后分裂。

And you kind of walk through them. It's taking me years.

你可以在它们之中走过。 这花费了我许多年的时间。

Each one is basically a 3,000-pound microscope slide

每一个，基本上 是一个1360多公斤的显微镜片，

with a human stuck inside.

里面封存着一个人。

This one has a little cave in his chest.

这个人的胸膛上 有一个小小的洞穴。

That's his head; there's the chest, you can kind of see the beginning.

这是他的头；那是他的胸膛， 你几乎可以看到起始点在哪里。

I'm going to go down the body for you:

接下来我会介绍其他的身体部分：

There's a waterfall coming out of his chest,

这是一个瀑布从他的胸膛喷涌而出，

covering his penis -- or not-penis, or whatever it is,

遮盖他的生殖器——或者不是生殖器， 什么都行，

a kind of androgynous thing.

有点像是无性别的个体。

I'll take you quickly through these works,

我会快速地跟你们介绍一遍这些作品，

because I can't explain them for too long.

因为我没有太长时间来解释它们。

There are the layers, you can kind of see it.

你们可以大概看到这里面有很多层。

That's a body getting split in half.

这是一个身体在分裂成两半。

This one has two heads,

这个作品有两个头，

and it's communicating between the two heads.

两个头在互相沟通着。

You can see the pills coming out,

在这个奇怪的造型中，你们可以看到

going into one head from this weird statue.

一些药片一样的东西 从一个头到另一个头。

There's a little forest scene inside the chest cavity.

在胸膛中间 有一个小小的树林。

Can you see that?

能看到吧？

Anyway, this talk's all about these boxes,

总之，这次的演讲都是 关于这些盒子，

like the boxes we're in.

就像我们生活在其中的盒子。

This box we're in, the solar system is a box.

太阳系就是我们生活在其中的盒子。

This brings you to my latest box.

这引申到我最近的盒子作品。

It's a brick box. It's called Pioneer Works.

这是一个砖盒。 它叫做“先驱者之作”。

(Cheers)

（欢呼）

Inside of this box is a physicist,

在这个盒子里，有一个物理学家，

a neuroscientist, a painter, a musician,

一个脑神经科学家， 一个画家，一个音乐家，

a writer, a radio station, a museum, a school,

一个作家，一个广播站， 一间博物馆，一所学校，

a publishing arm to disseminate all the content we make there into the world;

一间出版公司 向全世界宣传我们的作品；

a garden.

一个花园。

We shake this box up,

我们摇动这个盒子，

and all these people kind of start hitting each other like particles.

而这些人就像粒子一样 互相撞击对方。

And I think that's the way you change the world.

而我想，这就是 你可以改变世界的方式。

You redefine your insides and the box that you're living in.

你重新定义你的内在， 和你生活的那个盒子。

And you come together to realize that we're all in this together,

然后所有人共同意识到， 我们都生活在这里，

that this delusion of difference --

我们之间的千差万别不过是虚幻——

this idea of countries, of borders, of religion -- doesn't work.

有关国家，边界， 宗教——全部都不存在。

We're all really made up of the same stuff, in the same box.

我们在同一个盒子中， 由同样的物质构成。

And if we don't start exchanging that stuff sweetly and nicely,

而如果我们不开始试着 去互换一些美好的事物，

we're all going to die real soon.

我们其实很快就会灭亡。

Thank you very much.

非常感谢大家。

(Applause)

（掌声）