Béatrice Coron: Stories cut from paper

譯者: I-Hsiang Lin 審譯者: Ana Choi

(Applause)

(掌聲)

(Applause)

(掌聲)

I am a papercutter.

我是個剪紙師。

(Laughter)

(笑聲)

I cut stories.

我剪出故事。

So my process is very straightforward.

所以製作過程非常明確。

I take a piece of paper,

我拿一張紙，

I visualize my story,

我將我的故事視覺化，

sometimes I sketch, sometimes I don't.

有時我先畫草圖，有時我不會。

And as my image

當我的影像

is already inside the paper,

都在紙上後，

I just have to remove

我只要去除掉

what's not from that story.

不是故事中的那部分。

So I didn't come to papercutting

我並不是從一開始

in a straight line.

就投入剪紙的。

In fact,

事實上，

I see it more as a spiral.

我繞了迂迴的路才走到這一步。

I was not born

我不是出生

with a blade in my hand.

手上就拿著一把刀。

And I don't remember papercutting as a child.

我也不記得小時候有剪紙過。

As a teenager,

青少年時期，

I was sketching, drawing,

我會素描、畫畫，

and I wanted to be an artist.

而且我想要成為一位藝術家。

But I was also a rebel.

但我也很叛逆。

And I left everything

於是我拋下一切

and went for a long series of odd jobs.

去從事一連串奇怪的工作。

So among them,

例如，

I have been a shepherdess,

我當過牧羊女、

a truck driver,

卡車司機、

a factory worker,

工廠員工、

a cleaning lady.

清潔婦。

I worked in tourism for one year

我從事旅遊業，

in Mexico,

一年在墨西哥，

one year in Egypt.

一年在埃及。

I moved for two years

我搬到台灣去

in Taiwan.

待了兩年。

And then I settled in New York

然後我定居在紐約，

where I became a tour guide.

在這裡當起導遊。

And I still worked as a tour leader,

我同時也帶團出國旅遊，

traveled back and forth

來回奔波於

in China, Tibet and Central Asia.

大陸、西藏和中亞。

So of course, it took time, and I was nearly 40,

當然，這花了很多時間，而我快40歲了，

and I decided it's time

所以我決定是時候

to start as an artist.

開始當一位藝術家。

(Applause)

(掌聲)

I chose papercutting

我選擇剪紙

because paper is cheap,

因為紙很便宜，

it's light,

又輕，

and you can use it

而且你可以

in a lot of different ways.

透過很多不同方法使用它。

And I chose the language of silhouette

我採用黑色輪廓像的表達方式，

because graphically it's very efficient.

因為這是非常有成效的圖像。

And it's also just getting to the essential of things.

只需要放入必要的元素。

So the word "silhouette"

「輪廓 (silhouette)」這個字

comes from a minister of finance,

典故來自一位法國財務大臣

Etienne de Silhouette.

Etienne de Silhouette。

And he slashed so many budgets

他砍掉很多預算

that people said they couldn't afford

以至於人們說他們再也無法負擔

paintings anymore,

畫肖像的費用，

and they needed to have their portrait

於是必需畫肖像時，

"a la silhouette."

只能畫「一個黑色輪廓」。

(Laughter)

(笑聲)

So I made series of images, cuttings,

於是我做了一系列的圖像、剪紙，

and I assembled them in portfolios.

把它們集合成作品集。

And people told me --

人們告訴我 --

like these 36 views of the Empire State building --

這像是帝國大廈的36景 --

they told me, "You're making artist books."

他們告訴我；「你在做藝術家的書。」

So artist books have a lot of definitions.

藝術家的書可以有很多的解釋，

They come in a lot of different shapes.

有很多的不同表現形式。

But to me,

對我而言，

they are fascinating objects

這些是非常棒的實體

to visually narrate a story.

可用來視覺化呈現一個故事。

They can be with words

它們可以和文字結合，

or without words.

或者沒有文字。

And I have a passion

而我很喜歡

for images and for words.

圖像和字。

I love pun

我愛雙關語

and the relation to the unconscious.

和其與無意識的關聯。

I love oddities of languages.

我愛語言的古怪。

And everywhere I lived, I learned the languages,

每到一個地方居住，我就學習當地的語言，

but never mastered them.

但我未曾精通任何一種。

So I'm always looking

因此我總是在找尋

for the false cognates

假的同源詞

or identical words in different languages.

或者是不同語言中相同的字。

So as you can guess, my mother tongue is French.

你可能猜到，我的母語是法文。

And my daily language is English.

我每天使用的語言是英文。

So I did a series of work

於是我做了一連串的工作

where it was identical words

有關法文和英文中

in French and in English.

相同的詞語。

So one of these works

其中有一些確實有成效，

is the "Spelling Spider."

像是「拼字蜘蛛。」

So the Spelling Spider

拼字蜘蛛

is a cousin of the spelling bee.

是拼字蜜蜂的親戚 (拼字蜜蜂是美國法國都有舉辦的拼字比賽)

(Laughter)

(笑聲)

But it's much more connected to the Web.

但牠跟網子更有關連性。

(Laughter)

(笑聲)

And this spider

而這隻蜘蛛

spins a bilingual alphabet.

吐絲結網成了一張雙語字母表。

So you can read "architecture active"

所以你可以讀成「建築在進展中」(法文於此，形容詞放在名詞後)

or "active architecture."

或者「進展中的建築。」(英文於此，形容詞放在名詞前)

So this spider goes through the whole alphabet

所以這隻蜘蛛從整個字母表中

with identical adjectives and substantives.

串連起相同的形容詞和名詞性實詞。

So if you don't know one of these languages,

如果你不知道其中一個語言的說法，

it's instant learning.

馬上就可以學習。

And one ancient form of the book

書的一種古老形式

is scrolls.

是卷軸。

So scrolls are very convenient,

卷軸非常方便，

because you can create a large image

因為你可以在一張非常小的桌子上

on a very small table.

創造出一個大圖像。

So the unexpected consequences of that

你想不到的是

is that you only see one part of your image,

你眼睛所見只是你的圖像的一部分，

so it makes a very freestyle architecture.

但它構成了非常自由的結構。

And I'm making all those kinds of windows.

我做了這些窗戶。

So it's to look beyond the surface.

所以可以看到超越表象的事物。

It's to have a look

目的是可以

at different worlds.

一探不同的世界。

And very often I've been an outsider.

我通常都是一個旁觀者。

So I want to see how things work

我要看事情如何運作,

and what's happening.

還有發生了什麼事。

So each window

所以每個窗戶

is an image

是一個影像,

and is a world

也是一個世界

that I often revisit.

是我經常到訪的地方。

And I revisit this world

我反覆來到這個世界，

thinking about the image

思考有關這些影像

or cliché about what we want to do,

還有要如何處理這類的陳腔濫調，

and what are the words, colloquialisms,

還有我們用來表達的

that we have with the expressions.

字語和口語用法。

It's all if.

這全都是假設。

So what if we were living in balloon houses?

假如我們住在氣球房子內？

It would make a very uplifting world.

這會是非常令人振奮的世界。

And we would leave a very low footprint on the planet.

我們會在地球上留下很少的足跡。

It would be so light.

感覺如此輕盈。

So sometimes I view from the inside,

於是有時候我從內部往外看，

like EgoCentriCity

以自我為中心，

and the inner circles.

還有內部的圓圈。

Sometimes it's a global view,

有時候是總體的景觀，

to see our common roots

檢視我們共有的根本

and how we can use them to catch dreams.

和我們如何使用它們來抓住夢想。

And we can use them also

而我們也可以將它們

as a safety net.

用來做為一個安全網。

And my inspirations

而我的靈感

are very eclectic.

是非常不拘一格的。

I'm influenced by everything I read,

我受我所讀的、所見的

everything I see.

每件事所影響。

I have some stories that are humorous,

我創造一些幽默的故事，

like "Dead Beats."

像是「死人敲打」。(英文中deadbeat合為一字，意思是賴債不還的人。)

(Laughter)

(笑聲)

Other ones are historical.

還有有關歷史的故事。

Here it's "CandyCity."

這是「糖果城市。」

It's a non-sugar-coated

不加甜蜜謊言的

history of sugar.

糖果歷史。

It goes from slave trade

從奴隸交易

to over-consumption of sugar

到過度消費糖類

with some sweet moments in between.

中間有一些甜美的時刻。

And sometimes I have an emotional response to news,

有時候，我對新聞做出情感上的回應，

such as the 2010 Haitian earthquake.

例如2010年的海地地震。

Other times, it's not even my stories.

其它時候，這甚至不是我的故事。

People tell me their lives,

人們告訴我他們的遭遇，

their memories, their aspirations,

他們的回憶，啟發，

and I create a mindscape.

而我創造一個腦內風景。

I channel their history

我為他們的歷史開渠道，

[so that] they have a place to go back

所以他們有管道

to look at their life and its possibilities.

可以回顧他們的生命和其可能性。

I call them Freudian cities.

我將這些稱為佛洛伊德城市。

I cannot speak for all my images,

我無法為我的圖像發聲，

so I'll just go through a few of my worlds

所以我就用標題帶過一些

just with the title.

我創造的世界。

"ModiCity."

「中庸城市。」

"ElectriCity."

「電力城市。」

"MAD Growth on Columbus Circle."

「哥倫布圓環的瘋狂成長。」

"ReefCity."

「暗礁城市。」

"A Web of Time."

「時間之網。」

"Chaos City."

「混亂城市。」

"Daily Battles."

「日常生活戰場。」

"FeliCity."

「幸福城市。」

"Floating Islands."

「漂浮島。」

And at one point,

曾經一次，

I had to do "The Whole Nine Yards."

我做了「九個院子。」(yard有院子和長度碼等不同意思)

So it's actually a papercut that's nine yards long.

所以它的確是一張九碼長的剪紙。

(Laughter)

(笑聲)

So in life and in papercutting,

在生活和剪紙中，

everything is connected.

每件事都是有關連的。

One story leads to another.

一個故事導向另一個。

I was also interested

我對這個形式的物質性

in the physicality of this format,

也有興趣，

because you have to walk to see it.

因為你必需沿著走才能看見。

And parallel to my cutting

我用類似剪紙的模式

is my running.

來訓練跑步。

I started with small images,

剛開始我做小的圖像，

I started with a few miles.

我跑幾英哩。

Larger images, I started to run marathons.

我做大的圖像，我開始跑馬拉松。

Then I went to run 50K, then 60K.

然後我跑50公里，接著60公里。

Then I ran 50 miles -- ultramarathons.

然後我跑50英哩 -- 超級馬拉松。

And I still feel I'm running,

而我仍然感覺我在奔跑。

it's just the training

這是在訓練我

to become a long-distance papercutter.

成為一個長跑的剪紙師。

(Laughter)

(笑聲)

And running gives me a lot of energy.

而且跑步帶很我很多精力。

Here is a three-week papercutting marathon

這是一個為期三周的剪紙馬拉松

at the Museum of Arts and Design

在紐約市的

in New York City.

藝術與設計博物館。

The result is "Hells and Heavens."

成果是「地獄和天堂。」

It's two panels 13 ft. high.

這是兩塊13尺高的板子。

They were installed in the museum on two floors,

它們占據了博物館中的兩層樓，

but in fact, it's a continuous image.

事實上，這是相連的圖像。

And I call it "Hells and Heavens"

而我稱它為「地獄和天堂」

because it's daily hells and daily heavens.

因為它是日常生活的地獄和天堂。

There is no border in between.

兩者之間沒有邊界。

Some people are born in hells,

有些人在地獄出生，

and against all odds, they make it to heavens.

排除萬難，他們成功到達天堂。

Other people make the opposite trip.

其他人則從天堂掉到地獄。

That's the border.

這是邊界。

You have sweatshops in hells.

在地獄有血汗工廠。

You have people renting their wings in the heavens.

在天堂有人們出借翅膀。

And then you have all those individual stories

於是你看到這些獨立的故事，

where sometimes we even have the same action,

有時候我們也採取一樣的行動，

and the result puts you in hells or in heavens.

而結果將置你於地獄或天堂。

So the whole "Hells and Heavens"

所以整個「地獄和天堂」

is about free will

是有關自由意志

and determinism.

和宿命論。

And in papercutting,

剪紙時，

you have the drawing as the structure itself.

圖像本身就是結構。

So you can take it off the wall.

所以你可以把圖從牆上移開。

Here it's an artist book installation

這是個放入藝術家的書中的作品，

called "Identity Project."

稱為「身分企劃。」

It's not autobiographical identities.

這不是自傳形式的本體意識。

They are more our social identities.

更像是我們的社會身分。

And then you can just walk behind them

於是你可以走到它們之後

and try them on.

而且穿上它們。

So it's like the different layers

所以這就像是

of what we are made of

我們被組成

and what we present to the world

且呈現在世界前

as an identity.

不同層次的身分。

That's another artist book project.

這是另一個藝術家的書的企劃。

In fact, in the picture, you have two of them.

事實上，在這張圖片中，你看到兩個。

It's one I'm wearing

一個是我穿上的，

and one that's on exhibition

還有一個是展覽中的，

at the Center for Books Arts in New York City.

這是在紐約市的書籍藝術中心。

Why do I call it a book?

為什麼我稱這為一本書？

It's called "Fashion Statement,"

它被稱為「時尚宣言。」

and there are quotes about fashion,

上面有跟時尚相關的引言，

so you can read it,

所以你可以讀它，

and also,

而且，

because the definition of artist book

因為藝術家的書的定義

is very generous.

非常廣泛。

So artist books, you take them off the wall.

你可以將它們從牆上移下來。

You take them for a walk.

你可以帶著它們散步。

You can also install them as public art.

你可以將它們作成公共藝術。

Here it's in Scottsdale, Arizona,

這是在美國亞利桑那州史考特戴爾市，

and it's called "Floating Memories."

被稱為「漂浮的記憶。」

So it's regional memories,

所以這是片段的記憶，

and they are just randomly moved by the wind.

它們隨機地隨風飄動。

I love public art.

我愛公共藝術。

And I entered competitions

長久以來

for a long time.

我參與競賽。

After eight years of rejection,

被拒絕八年之後，

I was thrilled to get my first commission

我非常興奮能夠得到我第一個委託，

with the Percent for Art in New York City.

來自美國紐約市文化事務局百分比藝術專案。

It was for a merger station

這是為了一個緊急救護員和救火員的

for emergency workers and firemen.

綜合急救站。

I made an artist book

與其用紙，

that's in stainless steel

我選擇用不鏽鋼

instead of paper.

做成一本藝術家之書

I called it "Working in the Same Direction."

我稱之「朝同個方向努力工作。」

But I added weathervanes on both sides

但我在兩邊都加上風標

to show that they cover all directions.

以表示它們涵蓋了所有方向。

With public art,

我也可用切割玻璃

I could also make cut glass.

來呈現公共藝術。

Here it's faceted glass in the Bronx.

這是在布朗克斯的刻面玻璃。

And each time I make public art,

每次我製作公共藝術時，

I want something that's really relevant

我想要創造跟擺置地點

to the place it's installed.

真正有關聯的東西。

So for the subway in New York,

講到紐約的地鐵，

I saw a correspondence

我看到

between riding the subway

搭乘地鐵和閱讀

and reading.

之間的關聯性。

It is travel in time, travel on time.

搭地鐵是及行和準時地旅行。

And Bronx literature,

布朗克斯的文學，

it's all about Bronx writers

就是布朗克斯的作家們

and their stories.

和他們的故事。

Another glass project

另一個玻璃創作

is in a public library

是在加利福尼州聖荷西市

in San Jose, California.

的一間公共圖書館。

So I made a vegetable point of view

所以我從蔬菜的觀點

of the growth of San Jose.

描述聖荷西市的成長。

So I started in the center

從中心點開始

with the acorn

是橡子

for the Ohlone Indian civilization.

代表歐隆族印地安人的文明。

Then I have the fruit from Europe

接著是來自歐洲的水果

for the ranchers.

代表農場。

And then the fruit of the world for Silicon Valley today.

然後是世界各地的水果，代表矽谷。

And it's still growing.

而這還在成長中。

So the technique, it's cut,

我使用到的技術是切割，

sandblasted, etched

噴砂，蝕刻

and printed glass into architectural glass.

和印刷玻璃到建築物的玻璃上。

And outside the library,

另外在圖書館外面

I wanted to make a place to cultivate your mind.

我想要創作一個陶冶心智的地方。

I took library material

我取材自圖書館中

that had fruit in their title

書名中有水果的作品，

and I used them to make an orchard walk

使用這些水果，

with these fruits of knowledge.

將它們做成一條果樹園步道。

I also planted the bibliotree.

我也種了一棵書之樹。

So it's a tree,

這是一棵樹，

and in its trunk you have the roots of languages.

在樹根處有語言的起源。

And it's all about international writing systems.

這是國際間的書寫系統。

And on the branches

在樹枝的部分，

you have library material growing.

可看到圖書館的組成物在成長。

You can also have function and form

公共藝術也是帶有

with public art.

功能性和型體的。

So in Aurora, Colorado it's a bench.

展現在科羅拉多州奧羅拉市的是長椅。

But you have a bonus with this bench.

這張長椅帶給你的額外好處是，

Because if you sit a long time in summer in shorts,

如果你在夏日穿著短袖坐了很長一段時間，

you will walk away

你離開時

with temporary branding of

大腿處會短暫留下

the story element on your thighs.

故事的元素。

(Laughter)

(笑聲)

Another functional work,

另一個有功能性的作品，

it's in the south side of Chicago

是在芝加哥南方的

for a subway station.

一個地鐵車站。

And it's called "Seeds of the Future are Planted Today."

稱作「未來的果實在今日種下。」

It's a story about transformation

這是個和轉變及連接

and connections.

有關的故事。

So it acts as a screen

這是用來保護軌道和通勤者，

to protect the rail and the commuter,

不讓東西掉入軌道的

and not to have objects falling on the rails.

防護隔板。

To be able to change fences

能將柵欄和窗戶欄杆

and window guards into flowers,

變成花朵

it's fantastic.

是非常棒的事情。

And here I've been working for the last three years

接著這是我過去三年來一直在做的事情，

with a South Bronx developer

和一位南布朗克斯開發者合作，

to bring art to life

將藝術落實在

to low-income buildings

低收入住宅群

and affordable housing.

和經濟價位房屋中。

So each building has its own personality.

所以每棟建築都有自己本身的特性。

And sometimes it's about a legacy of the neighborhood,

有時，這和鄰近區域的傳統有關係。

like in Morrisania, about the jazz history.

譬如莫瑞薩尼爾的爵士樂歷史。

And for other projects, like in Paris,

至於其它的企劃，像在巴黎，

it's about the name of the street.

這和街名有關。

It's called Rue des Prairies -- Prairie Street.

這條街叫做Rue des Prairies(法文) -- 大草原之街。

So I brought back the rabbit,

於是我帶來兔子、

the dragonfly,

蜻蜓，

to stay in that street.

將牠們留在街上。

And in 2009,

2009年時，

I was asked to make a poster

我應邀製作一張海報

to be placed in the subway cars in New York City

要擺放在紐約市的地鐵車廂中，

for a year.

時間長達一年。

So that was a very captive audience.

觀眾們被困在車廂中，

And I wanted to give them an escape.

所以我想要給他們一個出口。

I created "All Around Town."

我創造了「圍繞的城鎮。」

It is a papercutting,

這是剪紙，

and then after, I added color on the computer.

然後我用電腦加入顏色。

So I can call it techno-crafted.

所以我可以稱它為科技工藝。

And along the way,

在創造過程中，

I'm kind of making papercuttings

我使用剪紙

and adding other techniques.

還有添加其它技術。

But the result is always to have stories.

而結果總是要創作故事。

So the stories, they have a lot of possibilities.

講到故事，它們有很多的可能性。

They have a lot of scenarios.

有很多的情節。

I don't know the stories.

我不知道這些故事。

I take images from our global imagination,

我從我們的國際化想像中，

from cliché, from things we are thinking about,

從一成不變的事物中，從我們思考的事情中，

from history.

從歷史中擷取影像。

And everybody's a narrator,

所以每個人都是敘事者，

because everybody has a story to tell.

因為每個人都有故事可告訴別人。

But more important

更重要的是，

is everybody has to make a story

每個人都能創作一個故事

to make sense of the world.

以理解這世界。

And in all these universes,

在全部這些宇宙中，

it's like imagination is the vehicle

想像力就像是

to be transported with,

用來運載的交通工具，

but the destination is our minds

但終點站是我們的心智

and how we can reconnect

還有我們如何使用魔法

with the essential and with the magic.

再次和本質相連。

And it's what story cutting is all about.

所以這就是剪紙的目的。

(Applause)

(掌聲)