A journey through the mind of an artist | Dustin Yellin

譯者: 易帆 余 審譯者: Adrienne Lin

I was raised by lesbians in the mountains,

我是在山上，被女同性戀撫養長大的，

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

而我就像來自森林的精靈一般， 來到紐約市辦點事再回去。

(Laughter)

（笑聲）

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

紐約把我腦子搞得很複雜， 稍後我再說明。

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

我從我八歲開始講起。

I took a wood box,

我拿了一個木盒，

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

把一張紙鈔、一隻筆和一支叉子 放進盒中後埋在科羅拉多洲。

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

我在想，一些奇怪的生物或 外星人會在五百年後找到這盒子，

and learn about the way our species exchanged ideas,

並了解我們人類是如何交換想法，

maybe how we ate our spaghetti.

可能是我們吃義大利麵的方式等等，

I really didn't know.

我真的不知道。

Anyway, this is kind of funny,

不管怎樣，這還是挺有趣的。

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

因為三十年後我來到這演說， 且我仍然在製造盒子。

Now, at some point I was in Hawaii --

在不久前，我在夏威夷。

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

我喜歡健行和衝浪 和嘗試各種奇怪的事情，

and I was making a collage for my ma.

我給我媽做了一個拼貼畫。

And I took a dictionary and I ripped it up,

我拿起了一本字典，然後把它撕了。

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

我將它弄成艾格尼斯．馬丁格子般，

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

倒入樹脂，一隻蜜蜂被困住了。

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

我媽很怕蜜蜂且對牠們過敏，

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

於是我往畫板上倒了更多的樹脂， 希望可以遮蓋那隻蜜蜂什麼的。

Instead, the opposite happened:

然而，卻發生相反的事：

It sort of created a magnification,

像是增加了一種放大效果，

like a magnifying glass, on the dictionary text.

就像用放大鏡來看字典裡的文字。

So what did I do? I built more boxes.

所以接下來我幹什麼了？ 我做了更多的盒子。

This time, I started putting electronics, frogs,

這次，我開始放電子產品、青蛙，

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

我在街上找奇特的瓶子， 任何我可以找到的東西，

because I was always finding things my whole life,

因為我終其一生在尋找東西，

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

和嘗試建立不同的關係， 並述說這些事物之間的故事。

So I started drawing around the objects,

所以我開始畫周圍的事物，

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

而我意識到：天啊， 我可以在空間裡作畫！

I can make free-floating lines,

我可以畫一些天馬行空的線條，

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

就像那些在犯罪現場的 屍體附近畫的線。

So I took the objects out,

所以我將物件取出，

and I created my own taxonomy of invented specimens.

我創造自己的一套分類法。

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

首先是植物類， 你們應該可以了解，

Then I made some weird insects and creatures.

然後我開始弄了一些 奇怪的昆蟲和生物。

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

很有趣，我只是在多層的樹脂上作畫。

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

這超酷的，因為我開始展覽我的東西，

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

我開始賺錢，我可以帶女友去吃大餐，

and like, go to Sizzler.

像是去時時樂用餐等等。

It was some good shit, man.

這超爽的，你懂吧？

(Laughter)

（笑聲）

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

從某個時候開始，我開始做人體模型，

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

有人體繪畫的真人大小樹脂雕塑。

This was great, except for one thing:

這很棒，但有件事例外：

I was going to die.

我快要掛掉了。

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

我不知道該怎麼辦， 因為那些樹脂快要把我毒死了。

And I went to bed every night thinking about it.

我每晚睡前都在想這件事。

So I tried using glass.

於是我嘗試用玻璃。

I started drawing on the layers of glass,

我開始在玻璃上作畫，

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

幾乎像是在窗戶上畫畫， 然後再疊上另一面窗戶，

and another window, and you had all these windows together

再一面窗戶， 然後你把所有窗子都放在一起，

that made a three-dimensional composition.

形成一個3D立體空間的組合。

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

這真的行得通， 因為我可以不再使用樹脂。

So I did this for years,

於是我持續做了許多年，

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

我累積了許多作品， 我稱之為「三聯畫」。

「三聯畫」有很大的程度受到

"The Triptych" was largely inspired

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

耶羅尼米斯．博斯《人間地獄》的啟發，

它是一幅存放在西班牙 普拉多博物館的油畫。

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

Do you guys know this painting?

你們知道這幅作品嗎？

Good, it's a cool painting.

很好，那是一幅不錯的作品。

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

有些人會說，它是走在時代的尖端。

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

我簡單地帶你們看看 這件「三聯畫」作品。

It weighs 24,000 pounds.

它重達 24,000 磅，

It's 18 feet long.

長 18 英尺，

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

它是雙面的，所以總共是 36 英尺。

It's kind of weird.

這有點奇怪。

Well, that's the blood fountain.

是的，那是一個血的噴泉。

(Laughter)

（笑聲）

To the left, you have Jesus and the locusts.

左邊你會看到耶穌和蝗蟲。

There's a cave

那裡有一個洞穴，

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

那些有著動物頭的生物 穿梭於兩個世界之間。

They go from the representational world,

牠們從具象的世界，

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

穿越到躲藏的模擬地底世界。

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

這就是為什麼這些有動物頭的 生物會在燈塔附近，

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

而牠們像是要在大海裡搞集體自殺。

The ocean is made up of thousands of elements.

大海是由成千上萬的元素組成。

This is a bird god tied up to a battleship.

這是被綁在戰艦上的「鳥神」。

(Laughter)

（笑聲）

Billy Graham is in the ocean;

葛培理牧師在這大海裡，

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

漏油事件的地平線、瓦多、 賓拉登的藏匿處等。

如果你認真看大海裡的東西，

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

if you look really hard, in the ocean.

就能找到各種奇怪的事物。

Anyway, this is a lady creature.

好的，這是一個女性的生物。

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

她從海洋裡出來， 而她正在往一隻手裡吐油，

and she has clouds coming out of her other hand.

她的另一隻手有雲朵跑出來，

Her hands are like scales,

她的手就像天秤一樣，

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

而她有地球和宇宙之間 平衡的神秘關聯性。

這是「三聯畫」的其中一面，

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

It's a little narrative thing.

有點像是在敘述事情。

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

這是她的手，她正在吐東西到上面。

然後，當你到另一面時，

And then, when you go to the other side,

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

她有著像鳥嘴一樣的東西，

and she's spitting clouds out of her trunk.

而她從尖嘴吐出雲來。

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

然後她有著一個18英尺的蛇尾， 來連接「三聯畫」。

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

總之，她的尾巴在火山的背面著火了。

(Laughter)

（笑聲）

I don't know why that happened.

我不知道為什麼會發生這種事。

(Laughter)

（笑聲）

That happens, you know.

但就是會發生的。

Her tail terminates in a cycloptic eyeball,

她的尾巴在一隻眼珠中結束，

made out of 1986 terrorist cards.

由1986年的「恐怖份子卡」組成的。

Have you guys seen those?

你們有看過嗎？

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

他們是在1980年代產物， 像是恐怖分子版的棒球卡。

他們還真的是走在時代的尖端啊。

Way ahead of their time.

(Laughter)

（笑聲）

That will bring you to my latest project.

接下來是我最近的一個創作。

I'm in the middle of two projects:

我同時進行兩個計畫：

One's called "Psychogeographies."

一個叫「心理地圖」。

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

這是一個需時六年的計畫， 要製造100個這樣的人類。

Each one is an archive of our culture,

每一個是我們文化的舊事件，

through our ripped-up media and matter,

由各種撕碎的媒體和物體拼湊，

whether it's encyclopedias or dictionaries or magazines.

可以是百科全書、字典或者是雜誌。

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

但每一個代表了一種過去事件， 以人類樣貌呈現，

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

而它們會一群一群出現， 每次20個，4個或者12個。

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

它們像是細胞一般， 它們一起被創造、分割。

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

而你可以從它們之中走過， 這花了我很多年的時間。

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

每一個基本上都是3000磅的顯微鏡片，

with a human stuck inside.

裡面存著一個人。

This one has a little cave in his chest.

這一個的胸腔裡面有個小小的洞穴。

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

這是他的頭，那是他的胸腔， 你可以感受到如何開始的。

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

接下來我會向你們介紹其他身體的部分：

There's a waterfall coming out of his chest,

這是一個瀑布，從他的胸腔出來，

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

遮蓋了老二， 或者不是老二，什麼都行，

a kind of androgynous thing.

有點像是雌雄同體的物體。

I'll take you quickly through these works,

我會快速地向你們 帶過一遍這些作品，

because I can't explain them for too long.

因為我不能解釋太久。

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

你可以大概看到這裡面有很多層。

That's a body getting split in half.

這是一個分裂成兩半的身體。

This one has two heads,

這一個有兩個頭，

and it's communicating between the two heads.

好像就在兩個頭之間溝通一樣。

You can see the pills coming out,

你可以看到，有些東西吐出來，

going into one head from this weird statue.

從這個奇怪的雕像進入到這一個頭裡面。

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

這裡有一個小小的樹林在胸腔之間。

Can you see that?

你看到了嗎？

Anyway, this talk's all about these boxes,

總之，這次的演講都是有關於這些盒子，

like the boxes we're in.

就像我們生活在其中的盒子。

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

太陽系就是個盒子， 而我們就在這裡面。

This brings you to my latest box.

這就帶到我最新的盒子。

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

這是個磚頭盒子， 叫做「先驅者之作」。

(Cheers)

（歡呼）

Inside of this box is a physicist,

在這個盒子裡，有個物理學家、

a neuroscientist, a painter, a musician,

一個神經學家、畫家、音樂家、

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

一個作家、廣播站、博物館、學校、

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

一間向全世界宣傳我們 作品內容的出版公司、

a garden.

一個花園。

我們搖動這個盒子，

We shake this box up,

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

而這些人就像顆粒一樣 互相撞擊著對方。

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

我想，這就是你可以改變世界的方法。

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

你重新定義自己的內在， 和你生活在其中的那個盒子。

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

然後你會意識到我們都在這裡面，

that this delusion of difference --

彼此差別的這種錯覺──

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

國家、邊界、宗教差異等── 在盒中全部都不存在。

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

我們其實是在同一個盒子裡 由同樣的物件組成。

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

而如果我們現在不開始好好地、 友好地互相交換這個東西，

we're all going to die real soon.

我們很快就會滅亡了。

Thank you very much.

謝謝。

(Applause)

（掌聲）