Q&A｜能尖日 Nhozagri #灵体的痕迹
能尖日
Nhozagri
Nhozagri received her Bachelor's degree from Studio 4 of the Printmaking Department of China Academy of Art in 2010 and her Master's degree from Studio 6 of the Printmaking Department of Central Academy of Fine Arts in 2015.Attempting to construct a cosmological system of self-contained lifeforms, Nhozagri has developed research on the spiritual dimension of various unconventional narrative models. She will continue to forecast the final sweet dream until the very last joule of cosmic heat is exhausted.The works involve easel painting, sculpture, animation, independent publishing, etc., eccentric, cute, and unrestricted.
螺旋光之旅
SPIRLING TOUR LIGHT
Collections
记 Memo
布面丙烯、树脂 Acrylic on canvas, Resin
150*131cm
2022
Q: 对卡通与漫画的兴趣从何时产生？什么样的情况下开始将其纳入你的创作系统？
A: 对于“卡通”的兴趣出生就有。这也是时代性，跟我同时代的人大部分对“卡通”都很感兴趣。而且我对二维世界（类似动画片）的场景语境有一种难以言说的亲切和寄生感。更神奇的是，某一次探索前世，我的某一个前世就是在二维空间，也就是动画片里，被告知这个消息我没有吃惊但是深深的感动，明白了我为什么“只能”做这样的作品；我也明白了，在宇宙大爆炸之后，二维世界（卡通）也是一个平行世界，它就像作为人类的肉体经验一样真实。所以我的作品是一些纪录片。
Q: When did your interest in cartoons and comics begin? When did you start to incorporate them into your creative system?
A: The interest in 'cartoons' was there from birth, and it was also contemporaneity, as most of my contemporaries were interested in 'cartoons'. And I have an indescribable affinity and parasitic feeling for the context of scenes in the two-dimensional world (like cartoons). I was not surprised but deeply moved to be told that one of my previous existences was in a two-dimensional world, i.e. a cartoon, and I understood why I was 'only' able to do such work; I also understood that after the Big Bang, the two-dimensional world (cartoon) was also a parallel world It is as real as the physical experience of being human. So my work is some documentary.
Q: 如何看待作品中散发出的「幼稚力」，这仅仅是作为个人趣味/美学上的策略吗？还是有其他的考量？
A: 这个问题可以回到问题1。其实这是一种审美基因：有些人喜欢吃肉，有些人特别擅长算数，我特别擅长运用这些幼稚力。一直觉得“不得不做”，我“只能”做这种类型的艺术家。我最理想的状态：顺流而下，没有策略，没有杰作，只有杰出的状态和享受。
Q: How do you see the 'childishness' that emanates from your work? Is it just a personal interest/aesthetic strategy? Or are there other considerations?
A: This question goes back to question 1. It's an aesthetic gene. Some people like to eat meat, some are good at counting, and I'm good at doing this childishness. I have always felt that I "have to do it"; I "can only" be a typed artist. The ideal state for me is to go downstream, with no strategies, no masterpieces, just an outstanding status and enjoyment.
Q: 意识、灵体、能量、白日梦、神秘主义这些关键词作为你作品中的重要概念，它们在哪些层面上影响了你的工作？
A: 他们就是我的“真实”生活，哈哈。
Q: Consciousness, spirituality, energy, daydreaming and mysticism are key concepts in your work. On what level do they influence your work?
A: They are my "real" life, lol!
Q: 这些形象是如何在你的世界中「降临」的？你有什么习惯性的「创作仪式」？
A: 其实就是规律的生活，现在我搬到工作室里住了，非常享受。早晨吃完早饭画画，中午睡一下，下午继续，晚上喝一点酒，继续。不怎么看手机，经常记错日子，不怎么看表，就是跟随自然，好像一直在创作，也一直在生活。
Q: How do these images "descend" in your world? What are your habitual "creative rituals"?
A: It's just a routine. Now I've moved into the studio, and I enjoy it very much, I paint in the morning after breakfast, take a nap in the middle of the day, continue in the afternoon, drink a little in the evening and continue. I don't look at my mobile phone much, I often remember the wrong day; I don't look at my watch much, just follow nature. It's like I'm always creating and living.
Q: 从此前更多的集中在装置、手工制品与现场布置的环境作品，到此次展览中以布面绘画为主的创作，这种变化对你来说意味着什么？相比此前的工作，绘画是一个新的挑战吗？
A: 从“一个艺术家个体”的创作线索的历史角度来说，刚好去这个系列的作品只能在架上这种相对隆重的材料上进行，所以诞生了。材料就是一支画笔，我认为不应该用材料来划分“阶段”。挑战的话也确实是有，画布的布纹对我来说太有侵略性，花了很久的时间跟这些布纹相处，才诞生了这么多新图像。
Q: What does this change mean for you, from previously focusing more on installations, handicrafts and site-setting environmental works to painting on canvas in this exhibition? Is painting a new challenge compared to your previous work?
A: From the historical point of view of the creative thread of "an individual artist", it just so happened that the series could only be done on a relatively grand material like the easel, so it was born. The material is a brush, I don't think we should use it to classify 'stages'. There were challenges, too, the texture of the canvas was too aggressive for me, and it took me a long time to work with the linen to create so many images.
Previous Works
一个玩耍结构 A play structure
布面丙烯、毛绒、树脂 Acrylic on canvas, plush, resin
100*80cm
2020
Q: 在你的绘画作品中，「绘画性」并不以一种常规的方式体现，而是以一种更加个人化的，结合进你的图示与概念的方式显现，能否谈一谈你对绘画性的理解？以及你是如何在你的绘画作品中去处理这个「硬核」问题的？
A: 绘画性是一种身体的延伸的痕迹。它是基于长时间和无数次的练习之后形成的身体能量的延伸，从而在周遭的一切材料上形成的完全带有个人灵魂个性“痕迹”。所以“绘画性”不仅仅存在于“绘画”名词上面，这个痕迹也在不断探索自己的范围。
Q: In your paintings, 'painterliness' does not represent conventionally, but in a more personal way, combined with your iconography and concepts. Can you talk about your understanding of pictoriality and how you deal with this 'hardcore' issue in your paintings?
A: Pictoriality is a trace of bodyextension. It is an extension of the body's energy, based on long term and numerous exercises, which creates a "trace" of the individual soul on all the materials around it. So 'pictoriality' is not only in the term 'painting', but also constantly exploring its range.
Q: 能尖日大王国系统是一种多维且包容的世界观模型。这种结构会不会成为一种过度具有吞噬力的系统，进而封锁画面潜在之可能？
A: 不会。“过度”这样的二元对立观点是人类社会的阻碍，我期待的“艺术”模型是绝对的。“潜在“是一个绝对永恒的词汇，生命将尽“潜在”也是永恒存在。所以对应到个人创作范畴，“潜在”其实是个动词和规律，无限的拓展、异化与合一。
Q: The Nhozagri Kingdom System is a multi-dimensional and inclusive worldview model. Does this structure become an overly devouring system that blocks the potential of the picture?
A: No. The dichotomy of "excess" hinders human society, and I expect the "artistic" model to be absolute. "Potential" is an absolutely eternal word, and at the end of life "potential" is eternal as well. Therefore, in the context of personal creation, "potential" is a verb and a law, an infinite expansion of alienation and unity.