艺术漫谈｜罗敏专访
「艺术漫谈」是SGA与艺术家们进行的一系列轻松、接地气的访谈。每期我们将专访一位艺术家，了解其创意源泉、创作时面临的障碍，或对一些生活琐事的看法等等。艺术家将以文字、图像、视频、音频等任意形式进行回复。一切答案未经任何修改——没有甜言蜜语，没有胡说八道，只有艺术家最坦诚及古灵精怪的一面。
「艺术漫谈」is a series of light-hearted, level-headed artist interviews conducted by SGA. In each session, we interview them to find out what makes them tick, the muddiness they’d faced during their creating process, the minutiae of their daily lives, as well as all sorts of other exposé. Artists are free to respond in any form – be it text, image, video, audio, and etc. All answers are kept raw (and occasionally snappy). No gloss, just a cathartic release of honesty, quirkiness and beautiful chaos (or a pinch of satire).
本期艺术家
Today's Artist：
罗 敏
Luo Min
(1968年，四川) 毕业于西南师范大学、解放军艺术学院、获艺术硕士学位。
(b.1968 Sichuan) graduated from the China Southwest Normal University, and MA in Fine Art Academy of People’s Liberation Army.
现为北京画院专职画家，国家一级美术师，中国油画学会理事。目前工作生活于北京和成都，曾在亚洲和欧洲多个国家举办过个展和群展。
She is a professional painter in Beijing Academy of Fine Arts, a first-class national artist, and also a member of the China Oil Painting Society. Luo currently lives and works in Beijing and Chengdu. Her work has been exhibited across Asia and Europe.
罗敏位于成都的工作室
Luo Min's studio in Chengdu
01
SGA ：
请描绘一下您工作室目前的状态。
Describe what is the status in your studio at the present moment.
罗 敏 Luo Min ：
成都的工作室，一张画开了一个头，准备过年期间回去接着画。是亲情系列最大的一幅，画名已经取好了，叫《春风十里》，但是否能画好，是个棘手的问题。
There's a new painting in my studio in Chengdu, which I plan to continue over Chinese New Year. It's the largest painting of my kinship series to date, and I've already named it: "Ten miles of Spring Breeze". But whether I'm able to finish it, that is the question.
北京工作室二楼有一只木制的小蜻蜓，看上去有飞翔的感觉
A little 'floating' dragonfly crafted out of wood lies on the second floor of Luo’s Beijing studio罗 Luo ：
北京的工作室在为接下来的一个小型展览补充几张小画，以花鸟为主。无论再小的画都憋着劲想画出点新花样，但也不是很容易的事。另外在尝试一种新材料，为下一步的作品拓展一些方法和思路，这个目前不方便说出来，主要是尝试的结果成不成还不确定。
I'm also working on a few small paintings primarily on the bird-and-flower genre for an upcoming exhibition in my Beijing studio. But I'm trying to develop something new here, so the process isn't a breeze even though they're small. I'm also experimenting with a new material to establish methods and ideas for my new works. I'll keep it confidential for now, as I'm still uncertain about its outcome.
02
SGA ：
作为一位艺术家，是什么让您保持动力？
What keeps you motivated as an artist?
罗 Luo ：
如果你是一名职业艺术家，比较密集的工作计划可以让自己保持相当的动力，反之会拖沓一些。当然拖沓也有好处，就是让作品更复杂，更沉淀下来。
If you're a professional artist, depending on your schedule, a tightly packed one sustains your motivation, whereas the opposite slows your momentum. Indeed, working slowly has its appeal too, since it allows your work to simmer and develop into variations.
03
SGA ：
请与我们分享一下您目前欣赏的艺术家/音乐/书籍。
Share with us something that inspires you at the moment.
罗 Luo ：
每个时期都会迷恋不同的艺术家，名字举不胜举。一直都奉为榜样的是美国的艺术家喬治亞·歐姬 (Georgia O’Keeffe)，她坚定、美丽、长寿、绝世无双的孤傲，人格和作品高度统一。
The artist I adore varies at every stage, and there have been countless. But American artist Georgia O'Keeffe has always been my role model. Her determination, beauty, vitality, and unwavering austere resonated profoundly with her work.
新墨西哥New Mexico, 1960. 摄影/Photo: Tony Vaccaro
罗 Luo ：
音乐我不好意思说，基本停留在粗浅状态。原来虾米音乐还没关闭时，到工作室就打开，随意听，以老的民谣为主。柯恩 (Leonard Cohen) 是相对喜欢的音乐人，低沉而禅宗的嗓音，适合在画室听。多年前一个朋友送我的B&O的 A9音响，像一个太阳罩一样，一直放在我画室二楼的天窗下面，工作的区域回头就能够看得见，柯恩的声音一响起，整个空间充满了神样的气息，非常奇妙。
I'm embarrassed to say, though, that I'm still very much a music amateur. Before Xiami Music went away, I used to open it whenever I was in the studio and mostly listen to the traditional folk genre. Preferably Leonard Cohen, for his sonorous, zen-like voice fits perfectly in the studio. A friend gave me a B&O A9 stereo years ago, and since then, this sunshade design has been sitting under the skylight of my second-floor studio. I can see it from my workspace, and whenever Cohen's voice comes on, the room’s atmosphere becomes otherworldly; it is amazing.
罗 Luo ：
读书的事情也比较惭愧，经常东一本西一本地买，但都没有好好读，特别是有了微信之后，更减少了仅有的读书时间。
The same goes for reading; I often buy books arbitrarily and don't read them properly. Especially with WeChat, it ate into whatever reading time I've had remained.
04
SGA ：
请用三个词来形容您的作品。
Describe your work in 3 words.
罗 Luo ：
这个问题我实在是回答不上来，很尴尬。不过可以用三个词来给自己提要求：更自由、更放松、更纯粹。
I really can't answer this without being embarrassed. But I do have three words to describe my self-requirement: unfettered, composed, genuine.
05
SGA ：
这次展出的作品分为三个板块, 在《川南忆》这个版块里，有许多关于童年和母亲的形象出现，似乎在传达童年里和母亲的一些故事，可以分享一下这里面的情感吗？
Your works in this solo exhibition are divided into three sections. The numerous depictions of mother and child in your "Memories of Southern Sichuan" series seem to convey personal stories from your childhood with your mother. Could you share some endearing insights about this series?
罗 Luo ：
“川南忆”虽然是以个人角度出发的，但还是想通过这条线索表达一代人的体会。在北京画院美术馆展览时，我得到了相当多的反馈，这个布局是有效的，引起了很多的共鸣。
Although "Memories of Southern Sichuan" is based on my personal perspective, it also serves as a trail to express one generation's experience. Also, I received a lot of feedback during my previous exhibition at the Art Museum of Beijing Fine Art Academy. The show's layout was quite effective as it resonated with many viewers.
06
SGA ：
罗老师本次展览作品的材质以纸本设色为主。在我们展览现场，有细心的观众欣赏完作品后，看到画作中里既有文字、画面以及拼贴，很好奇这里面的创作方式与创作顺序，您能分享一下这其中一二吗？
The works in this exhibition are primarily colour on paper. Some visitors observed that the works are pieced with text and images in the form of collage, hence they’re curious to learn about your creative method and its sequence. Can you share with us some details?
罗 Luo ：
这些纸本作品基本都是晚上在家画的。也就是下午四点后开车回家，做晚餐、吃晚餐、散步之后，基本是9点到11点，在一个很小的空间画的。所以有时候是写字，有时候画几朵花，断断续续地，画了几年积累下来的，所以是真正意义的碎片化、无头序的偶然。
I painted these works on paper at home during nighttime. Basically, I drive home past 4 pm, make dinner, eat, take a stroll, and then from 9 pm till 11 pm, I’ll work on them in my tiny space. Sometimes I’ll write; other times, I’ll draw a few flowers. Over the years, they have accumulated to become the embodiment of fragments and happenstance.
07
SGA ：
《游春记》系列作品里，我们看到一系列小朋友春游的景象，提及春游，对于小朋友而言是一件快乐的事情，而在作品里面我们感受到更多是一种年代的、质朴的、真挚的情感。似乎春游就发生在昨天，同学们依然年少，想要看清大家的脸庞却已模糊不清，一种强烈的追忆与当下的拉扯，是否作品里传达了这样类似的情感呢？
Your "A journey to Spring" series has captured us with scenes from children's spring outings. The mention of such trips is certainly joyous to children, but for us, these paintings evoke emotions of a different era, simple yet utmost sincere. It is as if the outing was just a day ago when our schoolmates were still young, and as we try to define their blurred features, there lies a tension between this urgency to remember while wrestling against the present. Is your work trying to convey similar emotions?
罗 Luo ：
我很难逃掉自己身处环境的影响，所以叙事的方式一直存在。原来一直想要对抗，现在接受现实了，顺其自然总比无根之木要有依据。以游春为线索，可能是想找到自然与人物之间的一种相对对立的关系吧。也就是相对被束缚的孩子和自然环境的矛盾性。
It's hard for me to escape the influence of my surroundings; hence to say, the narrative aspect was always there. I resisted it at first, but now I've come to accept this reality. To go with the flow is more substantial than to be in a state of rootlessness. The occasion 'Spring outing' is a string that ties up my thoughts about this conflicting relation between nature and humans; that is, the contradiction between a reined child and the natural environment.
“梅兰竹菊”被誉为花中四君子，罗敏非常喜欢画植物，这次展出的《梅兰竹菊》画面十分丰富，四种植物在整个作品里各得其所，并不喧宾夺主，令观者感到身心坦荡，大气优雅。
"Plum, Orchid, Bamboo and Chrysanthemum” are the Four Gentlemen in the realm of plants and flowers. Artist Luo Min is much fond of painting plants. While the pictorial composition of her "Plum, Orchid, Bamboo and Chrysanthemum" series is rich with these four species of plants, each subject's presence does not dominate the other, thus imbuing an elegance that leaves her viewers feeling refreshed.
08
SGA ：
我们常说字如其人，其实画面也能表现画者心境，我们是否可以理解为，罗老师喜欢画植物，而在自己长期培育以及观察植物的过程中，也反过来静养了自己的身心，让自己不为世俗急躁，心平气和进行作品创作？
We often say that one’s handwriting is the judge to one’s character. Likewise, painting engenders a painter's state of mind. Can we understand that by your love of painting, prolong period of cultivation and observation of plants, these qualities have in turn refined you wholesomely, and thus allowed you to paint in realised harmony with the world?
罗 Luo ：
这样理解真是太文雅了吧。养花我其实没有太多经验，花只是画面的一种载体，自然景观中也只有山水风景花鸟人物之类的，所以每一种素材都有很多人在画。
That's an exquisite way to put it. I don't have much experience when it comes to growing flowers; to me, the flower is simply a vessel. Landscape, flowers, birds, and human figures are all elements from nature, so naturally, many people'd paint these subjects.
罗 Luo ：
梅兰竹菊这个说法是一种传统的提法，我画之前是想到这个的，只是并没有想完全颠覆和调侃这样说法，是想打乱传统中的经营位置，但又不是焦点透视。总之，色彩关系的主观性、透视方式的平面性、写实的表现性，是我爱琢磨的事情，不过以后步子还应该再大一点。
The expression "plum, orchid, bamboo and chrysanthemum" is a traditional reference that I had in mind before I started painting. Except, instead of subverting or teasing this expression, my intent is to reshuffle its traditional standards, not the focal perspective. In short, the subjectivity of colour relations, the flatness of focal perspective, and the expressiveness of realism are things I loved to ponder. Perhaps this step will become a leap in the future.
09
SGA ：
谢谢罗老师——最后，您对2022年有什么期待和向往？
Lastly, what are you most looking forward to in 2022?
罗 Luo ：
期待疫情早日结束，向往回到可以满世界看博物馆的前些年。
I look forward to the end of the pandemic days, back to the time where I could visit museums across the world.
图片提供/Image credit: 罗敏 Luo Min
采访/Interview: 王钰 Wang Yu
编辑/Editor: JY
设计排版/Layout Design: Alexa
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