我总是希望观众会不由自主地沉浸到我的画中。之前的创作大多都有一个入画的边界或入口。一道篱笆、一个洞窟、一棵树或者一丛灌木，在不经意的环顾中，人们就已经进入画面，甚至不会意识到自己已经抵达我的世界。它们通常是竖构图，带着一种门或窗的效果。I’ve always wanted to immerse the viewers in my paintings without them having the choice to enter. In the past many of my works involve somewhat of a boarder or entry way into the paintings. There is a barrier, a cave, a tree, a bush, something you are looking around to enter into the painting. Without knowing it you are already inside my world. My paintings have always been vertical to create this window or doorway effect.莎拉·休斯过往作品
Previous artworks from Shara Hughes
我过去从没有试过传统的构图方式画风景，也就是横幅风景。这次的方案主要是希望完成一件四联幅，用全景画的形式挂在展墙上。进入展厅后，你必须后退一步才能一览全貌。对我来说，这是一次全新的尝试。作品中同样会呈现一些进出口，以便观众出入画面，这样，大家就不需要去依靠图示导航。我也发现，每当自己开始规划要画什么的时候，画出来的内容就总是缺少一些活力和灵动感。这种规划会剥夺很多下意识的反应，而直觉恰恰又是即兴创作的本质。我通常会以不同的方式起笔，即兴选择创作思路。我追求的是初见某个事物时的原始感受。只有这样，我才能不断描绘“第一次”，我对每件作品的创作也会像观众初见我的画时一样纯粹。我一直在捕捉对空间的感受，寻求突破，并试着以不同的方式看待绘画和风景。I have never made a landscape painting in the typical landscape orientation, horizontal. My proposal is to create a 4 panel landscape panoramic painting that fits proportionately to the project space gallery wall. When you enter the room, you will have no choice to stand back and view it all at once. This is very new for me. There will be entries and exits within the painting that lead you in and out of the picture plane without a real map to navigate how to see the painting. The way that I work does not involve sketches. I find that when I plan something the painting lacks energy and vulnerability. The planning takes the immediacy of intuition out of the essence of making a painting in that moment. The way I start a painting varies so that I can change my decisions on the cuff. I want the purity of seeing something for the first time to come through. In this way, I am painting something for the first time and reacting to each new painting as purely for the first time as the viewer will be seeing it fresh in the same way. I am looking for a feeling of space, invention and seeing painting and landscapes differently.“莎拉·休斯：桥”，余德耀美术馆展览现场，2021“Shara Hughes: The Bridge”, installation view at Yuz Museum, 2021
我感到这种尺幅的作品或许可以展现同一景象的不同视角，并通过不同方式去呈现它们。当今世界毋庸置疑面临着各种各样的困境，不过，每个人看待问题的角度是不同的。有时看起来欣欣向荣，有时又显得混乱不堪。创作时，我会同时展开几条路径，它基本上直接传达了我对驾驭混沌，调度与自由的迫切心情。我确信它会变成一幅里程碑。I can only assume a painting this large will have multiple perspectives of the same landscape. I can associate the idea of “different perspectives” in multiple ways within my paintings. Currently there are many issues the world is facing at the same time although we may see it from different perspectives. Sometimes the harmony is beautiful and sometimes the chaos is evident. I’ve always tried to paint in multiple ways at once which translates directly to my anxiety of trying to organize chaos, trying to understand control and understand freedom all at once. I think how the painting unfolds will be monumental.The view along the Rip Van Winkle Bridge这幅为余德耀美术馆创作的全景画是在纽约北部的哈德逊河谷完成的。这片地区在美国油画历史上有着重要意义。几位最著名的画家就曾对这一带作过探索。我就住在托马斯·科尔故居的对街，河的对面是弗雷德里克·丘奇的住宅和工作室。在这一片区，我走过瑞普·凡·温克尔大桥无数回，它就架在哈德逊河上，衔接科尔和丘奇的住所。卡兹奇山横在一边，河流生生不息，景致轮转。当你站在桥上，你可能会感知到事物既大又小。宽广的河域中，小洲随着弯曲的河流或隐或现，河道顺势变换。这对我的创作产生了巨大的启发。水平面接踵而至，人一时顺流而下，一时眺望参天大树也觉得微不足道。我希望这幅作品既能使观众沉浸其中，又可以随意游览画中变化的景色。作品大致按照从左向右的顺序创作，叙事性会强一些。在这种规模的绘画里，你真的很难规避叙事性，所以我选择拥抱它。由于之前我没有试过画横幅绘画，这对我来说也是一场未知的挑战。在酝酿它的时候，我也在哈德逊河谷创作别的绘画，当时我正在历经失却的痛苦，对时间的流逝也思考了很多。所以，它是有关生命和死亡的。作品画的是美好生命在一天中的模样，从日出到日落。由于我当时置身在自然中，它也凸显了自然远超人类的宏伟。希望观众们能从我的画中体会到不同的情感，喜悦、伤悲、压迫、平和、希望、嘈杂、活力和平静。The panoramic painting I made for the YUZ Museum was created in the Hudson Valley in upstate NY. This region is very important in the history of American painting. Some of the most important painters explored upstate. I was living right across the street from Thomas Cole‘s home and directly across the river from Fredrick Church‘s home and studio. While being up in this region, I took countless walks across the Rip Van Winkle bridge that directly connects Thomas Cole‘s house to Frederic Church‘s house over the Hudson river. The catskill mountain range on one side and the river tide coming in and out of the day changing the landscape as you see it. When you are on the bridge, you have a feeling of being large and small at the same time. The river is expansive, but as the tide changes, islands appear and disappear that changes the water passageways. I can‘t help but think this was a huge part of my influence for this painting. The horizon fluctuates from one end to the other. At times you are almost wading through the river while at other times, you are looking far out into the distance where the tallest trees feel the smallest. I wanted to create something that the viewer felt engulfed in and almost tossed around in a changing landscape. The painting was made mostly from left to right and feels quiet narrative in that way. It‘s almost impossible to escape that kind of narrative at this scale so I tried to embrace it. Having never worked in the horizontal format to make landscapes, this was an unknown challenge to myself. Simultaneously while planning this painting and during the time I was in this region making the painting I was experiencing a loss and thinking a lot about the passing of time. This painting is about life and death. It can be seen as a full beautiful life over the span of one day. Sunrise to sunset. Surrounding myself in nature while making this painting really emphasized how nature can be so much more powerful and larger than we are as humans. I hope viewers can experience this painting with multiple emotions. Happy, sad, challenging, peaceful, hopeful, jarring, energetic and still.展厅中的“日”与“月”作为描绘心境、彼此独立的绘画，是这次展览的起止符。它们简洁地向观众传达了一个整一的概念：日月尽管形貌相似，但意蕴不同。The paintings The Sun and The Moon included in the show act as separate more spiritual paintings that act as a beginning and end punctuation for the show. They are specifically simple to allow the viewer to connect with one formal idea of the sun and moon being the same shape in the sky but having different meanings and emotions.
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