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  • 'Painting our Past' is a new exhibition of portraits, six portraits each depicting an

    畫出我們的過去 "是一個新的肖像畫展覽,六幅肖像畫,每幅畫描繪了一個人。

  • historical figure from the African diaspora. Each of them have really interesting links

    來自非洲散居地的歷史人物。他們每個人都有真正有趣的聯繫

  • to properties in the care of English Heritage. Commissioned by English Heritage, these portraits

    對英國遺產組織所看管的財產。由英國遺產局委託,這些肖像畫

  • will be displayed at the forts, abbeys, country houses and even the barracks where these people

    將在這些人所在的堡壘、修道院、鄉間別墅甚至軍營中展示。

  • lived, worked or visited. In many cases their stories are just not well known. This is an

    他們的生活、工作或訪問。在許多情況下,他們的故事只是不為人知。這是一個

  • opportunity through this project and working with these artists to bring these stories

    通過這個項目,並與這些藝術家合作,把這些故事帶給他們。

  • to life and share them with our visitors. From Septimius Severus, the African-born Roman

    我們將與遊客分享他們的生活。從非洲出生的羅馬人塞普提米烏斯-塞維魯開始

  • emperor who strengthened Hadrian's Wallto James Chappell, a servant who lived here

    加強哈德良長城的皇帝......給住在這裡的僕人詹姆士-查普爾。

  • at Kirby Hall in the 17th century, these portraits span the century and shed new light on the

    這些肖像畫跨越了一個世紀,為我們展示了一個新的視角,那就是17世紀時在科比廳出現的那幅畫。

  • presence of African people here in England.

    在英國,非洲人的存在。

  • My name is Hannah Uzor and I'm an artist. I deal with historical figures, particularly

    我的名字是漢娜-烏索爾,我是一名藝術家。我處理的是歷史人物,特別是

  • black historical figures, and I represent them through portraiture and film. I don't

    黑人歷史人物,我通過肖像畫和電影來表現他們。我不

  • always paint historical figures, but there always has to be a narrative behind the character

    總是畫歷史人物,但人物背後總是要有一個敘事。

  • that I'm painting. Hannah's painting portrays Sarah Forbes

    我正在畫的那幅畫。漢娜的畫描繪的是莎拉-福布斯

  • Bonetta, or Aina as she was originally known. Aina was born in 1843 to a West African ruler,

    博內塔,或她最初被稱為艾娜。艾娜於1843年出生在一個西非統治者的家裡。

  • but she was captured by African slavers and taken to modern day Benin. It was in 1850

    但她被非洲奴隸主抓獲,並被帶到了現代的貝寧。那是在1850年

  • that she was presented as a 'diplomatic gift' to Frederick Forbes, the captain of

    她是作為 "外交禮物 "送給弗雷德裡克-福布斯的,他是 "中國 "號的艦長。

  • HMS Bonetta and this is how she got her anglicised name 'Sarah Forbes Bonetta'. Captain Forbes

    博內塔號,她的英文名字 "Sarah Forbes Bonetta "就是這樣來的。福布斯船長

  • took her back to Britain and presented her at the court of Queen Victoria. And Queen

    把她帶回了英國,並把她帶到了維多利亞女王的宮廷。而女王

  • Victoria took a great interest in this young lady and supported her through her education

    維多利亞對這位年輕女士產生了極大的興趣,並支持她完成學業。

  • and effectively became her guardian. And indeed, Sarah visited OsborneQueen Victoria's

    並有效地成為她的監護人。而事實上,薩拉訪問了奧斯本--維多利亞女王的

  • holiday home on the Isle of Wightat many times throughout her life.

    懷特島的度假屋--在她的一生中多次出現。

  • I was really intrigued with her story. And I discovered her through reading a book by

    我真的對她的故事很感興趣。而我是通過讀一本由

  • David Olusoga 'Black and British: A Forgotten History' and when I found her story it was

    大衛-奧盧索加'黑人和英國人。被遺忘的歷史",當我發現她的故事時,我很高興。

  • quite intriguing and I began to research a bit more, particular as I needed to know more

    我開始了更多的研究,因為我需要了解更多的資訊。

  • about her life and her experience. In my depiction of Sarah I wanted the audience

    關於她的生活和她的經歷。在我對莎拉的描述中,我想讓觀眾

  • to see a strong, black, confident womanbut also an elegant black womanand comfortable

    看到一個強大的、黑人的、自信的女人...但也是一個優雅的黑人女人...而且很舒服

  • in her own skin, and comfortable in the position that she found herself in.

    在她自己的皮膚上,在她發現自己所處的位置上,她很舒服。

  • She was royalty, she'd always been royaltyand here was a picture that I wanted to depict

    她是皇室成員,她一直是皇室成員......而這裡是我想描繪的一幅畫。

  • showing that royalty in her black skin. It looked like a perfect painting without

    在她黑色的皮膚上顯示出那種皇家氣質。它看起來像一幅完美的畫,沒有

  • the fabric on it but I really wanted to see if I could stretch the limits of the experience

    但我真的想看看我是否能擴展經驗的極限。

  • of the audience by adding this additional layer… a contrast, an antagonistic moment

    通過增加這個額外的層次......一個對比,一個對立的時刻,使觀眾的注意力集中起來。

  • for me as an artist but also for the audience when they see this depictionthis black

    對我這個藝術家來說,也對觀眾來說,當他們看到這種描述時......這種黑

  • woman in an untraditional dressing. I think it's a really great privilege to

    擔任非傳統裝扮的女性。我認為這是一個真正偉大的特權,以

  • be part of such a wonderful project by English Heritage, and having these other artists tell

    成為英國遺產組織如此美妙的項目的一部分,並讓這些其他藝術家講述他們的故事。

  • stories of how black historical figures have been forgotten is a really important thing,

    關於黑人歷史人物如何被遺忘的故事是一件非常重要的事情。

  • not only for those who are living now but for the future generationsthe legacy of

    不僅為現在生活的人,而且為未來的世代......的遺產。

  • those individuals and telling their stories from generation to generation.

    這些人並將他們的故事代代相傳。

  • Sometimes when we look at history we feel very disconnected from the subject matter

    有時,當我們看歷史時,我們感到與主題非常脫節。

  • that we're looking at because we think it's something that's happened in the past. But

    我們正在看,因為我們認為這是在過去發生的事情。但是

  • in terms of historical figures, we know that their descendants are actually living today

    就歷史人物而言,我們知道他們的後代實際上生活在今天

  • and some of those individuals we've actually been contact with…I've been in contact

    其中一些人我們實際上已經接觸到了......我已經接觸到了

  • with as well, and so history is a very living thing. It's not something that's set in

    是以,歷史是一個非常有活力的東西。它不是一個固定的東西。

  • stone but it's something that's continuing. And in Sarah Forbes' case, her descendants

    石頭,但這是正在繼續的事情。而在莎拉-福布斯的案例中,她的後人

  • are still living here in the UK and in Nigeria as well.

    他們仍然住在英國這裡,也住在尼日利亞。

  • Before I started painting Dido Belle I'd say I didn't know a lot about her, but working

    在我開始畫Dido Belle之前,我說我對她瞭解不多,但工作時

  • through this whole process for English Heritage they gave me a lot of info on her. I was so

    通過這整個過程的英語遺產,他們給了我很多關於她的資訊。我是如此

  • excited to try and get in to creating my version of Dido Belle.

    興奮地嘗試和進入創建我的Dido Belle版本。

  • Dido Belle was the daughter a young, enslaved black woman and a white royal navy officer.

    迪多-貝勒是一個年輕的、被奴役的黑人婦女和一個白人皇家海軍軍官的女兒。

  • She spent most of her time as part of the Murray household and she grew up right at

    她的大部分時間都是作為默裡家的一員,她就在默裡家長大的。

  • the heart of Georgian London and spent most of her life at Kenwood House on Hampstead

    她在倫敦喬治亞時代的中心地帶,在漢普斯特德的肯伍德大廈度過了大部分的生活。

  • Heath. She is someone to pay attention to, someone

    希斯。她是一個值得關注的人,一個

  • I believe had a voice because she had an important role... she is not just the daughter of a

    我相信她有發言權,因為她有一個重要的角色......她不僅僅是一個人的女兒。

  • slave, of a white man, and she was just lucky to be brought up in Kenwood House.

    她是一個白人的奴隸,她只是幸運地在肯伍德之家被撫養長大。

  • I like the placement of her hands where she's just softly resting in front of her body.

    我喜歡她的手的位置,她只是輕輕地放在身體的前面。

  • It's almost giving a sense of femininity… I also think, femininity doesn't seem to

    它幾乎給人一種女性化的感覺......我也認為,女性化似乎並不意味著

  • be linked with people of colour, of women, seems to be harsh, hard

    與有色人種、婦女聯繫在一起,似乎是很苛刻的,很難...

  • She's a strong figure. She also can be soft, not all these other narratives sometimes placed

    她是一個強有力的人物。她也可以是柔軟的,而不是所有這些其他的敘事有時被置於

  • on Black women, maybe harsh, rough, mean… A lot of my paintings have head wraps and

    我的很多畫作都有頭巾和頭盔,這些都是對黑人婦女的描寫,也許是苛刻的、粗暴的、刻薄的。

  • I like to work with them because there's this history about black women needing to

    我喜歡和他們一起工作,因為有這樣的歷史,即黑人婦女需要

  • cover up their hair and I thought at that timethey didn't know what to do with

    我想在那個時候......他們不知道該如何處理他們的頭髮。

  • curly hair! So the solution was to simply cover it up.

    捲曲的頭髮!所以解決方案是簡單地把它遮起來。

  • To have this kind of fabric wrapped around her head it's not just any type of cloth

    在她的頭上纏著這種布,這不是普通的布。

  • that's just to show the importance of her. In my head I wanted her silk dress to be this

    這只是為了顯示她的重要性。在我的腦海中,我希望她的絲綢禮服是這樣的

  • dark, deep green because I know from experience that it goes well against brown, melanated

    深綠色,因為我知道,根據經驗,它可以很好地襯托出棕色、黑色的皮膚。

  • skinit just makes you stand out when wearing green.

    皮膚......它只是讓你在穿上綠色衣服時脫穎而出。

  • There was this distinct shadow line right down the middle of her faceyou've got

    她的臉正中有一條明顯的陰影線......你有

  • this very, very light side, and this very dark side, and you put it together and you've

    這非常,非常光明的一面,和這非常黑暗的一面,你把它放在一起,你就有了

  • got Dido Belle. So I thought that was just a good commentary on who she is and what she

    得到了Dido Belle。所以我認為這只是對她是誰和她的工作的一個很好的評論。

  • is. It feels great to be part of this almost like

    是。能成為其中的一部分感覺很好,幾乎就像

  • a… it's a group exhibition even though everyone's a different places, it's just

    a......這是一個集體展覽,儘管每個人都是不同的地方,但它只是

  • to see how everyone interpreted painting these historical figures. People of colour who were

    來看大家如何解釋畫這些歷史人物。有色人種的人,他們是

  • embedded in British history that we're trying to bring to the front like 'look, we've

    嵌入英國曆史,我們試圖把它帶到前面,如 "看,我們已經

  • always been here' [laughs]. We just wanted to show them in a really good light and show

    一直在這裡'[笑]。我們只是想以一個非常好的光線來展示他們,展示

  • all the things that they did. So, it's quite an exciting thing to try and bring light to

    他們所做的所有事情。是以,試圖讓人們瞭解到這是一件相當令人興奮的事情。

  • such a topic.

    這樣一個話題。

  • Whilst you're painting, I think a bit like perhaps when an actor is taking on a role

    在你作畫的時候,我覺得有點像演員在扮演一個角色時的感覺

  • they really try and understand that personMy background is in history and art history

    我的背景是歷史和藝術史。

  • so that often begins my researchoften begins with those, going to the past to look

    是以,我的研究往往是從這些開始的......往往是從這些開始的,到過去去尋找

  • at things which I'm finding interesting or very relevant to what's going on now.

    在我發現有趣或與現在發生的事情非常相關的事情。

  • Elena's portrait shows us the Roman emperor, Septimius Severus. Septimius Severus was born

    埃琳娜的畫像向我們展示了羅馬皇帝塞普提米烏斯-塞維魯。塞普蒂米烏斯-塞維魯生於

  • in Leptis Magna which is in modern day Libya in North Africa. And he came to Britain in

    在Leptis Magna,也就是今天北非的利比亞。他於1999年來到英國。

  • the early 200s to strengthen the Roman presence in the north of Britannia. He subjugated

    在200年代初,為了加強羅馬人在不列顛尼亞北部的存在。他征服了...

  • certainly attempted to subjugate the local tribes there before falling back effectively

    當然,在有效撤退之前,他曾試圖征服那裡的當地部落。

  • to strengthen Hadrian's Wall. So not only did he make his mark on Roman Britain but

    以加強哈德良長城。是以,他不僅在羅馬英國留下了自己的印記,而且

  • he actually also died in Britain, in York, in 211.

    他實際上也死在英國,在約克,211年。

  • It was really important to have a kind of total version of him, the good and the bad.

    有一個關於他的完整版本,好的和壞的,真的很重要。

  • He is a person, no one's perfectand I think that gives also a more rich version

    他是一個人,沒有人是完美的......我認為這也給了一個更豐富的版本

  • of history. People would ask me like 'oh but you know, he did this, and he did that,

    的歷史。人們會問我:"哦,但是你知道,他做過這個,也做過那個。

  • and that's not so great' you're like 'but you know, you have to consider this'

    你會說'但你知道,你必須考慮這個'。

  • and you become very kind of forgiving, maybe? Maybe too forgiving!

    而你變得非常寬容,也許?也許是太寬容了!

  • The symbols in the fresco on the top, they reference the narrative of his life as well

    上面的壁畫中的符號,也是參考了他的生活敘事。

  • as the way he chose to represent himself in his coins.

    作為他選擇在硬幣中代表自己的方式。

  • You know, I really found it interesting the way that he seemed so astute and clever and

    你知道,我真的覺得很有趣,他看起來如此精明、聰明和

  • very original in the way he thought. When it comes to the face in my initial sketches

    他的思維方式非常新穎。當涉及到我最初的草圖中的臉時

  • I actually did one side of the face which was kind of frowning and the other side had

    實際上,我做了一邊的臉,那是一種皺眉的臉,另一邊有

  • a small smiling expression, cos I kind of wanted to have this inability to pin the expression

    一個微笑的小表情,因為我有點想有這種無法確定的表情。

  • down which whilst painting it reduced a little but I hope that kind of stays in the painting.

    在畫的時候,它減少了一點,但我希望這一點能在畫中保持下去。

  • He was very much in control of the information about him, and I really got this image of

    他在很大程度上控制著關於他的資訊,而我真的得到了這樣的形象

  • someone who was a bit of a moralist, who was very quick at solving problems and a very

    他是一個有點道貌岸然的人,他解決問題的速度非常快,而且是一個非常有能力的人。

  • inquiring mindThe hand over the knee and then the hand which

    問心無愧......在膝蓋上的手,然後是那隻手。

  • is over the scroll again referencing that kind of control over information and the way

    在卷軸上再次提到對資訊的那種控制和方式

  • he was seen. I actively chose a pose where he was leaning

    他被看到了。我主動選擇了一個他靠在一起的姿勢。

  • forward because I thought that really conveyed the fact that he was somebody who was always

    因為我認為這真的傳達了這樣一個事實,即他是一個一直在努力的人。

  • moving about and that was quick to act. The fall of the garments, particularly of the

    搬家,而且行動迅速。衣服的掉落,特別是衣服的掉落。

  • top area was quite important. Leaning forwards towards us and in dialogue with us directly

    頂部區域是相當重要的。向我們靠攏,直接與我們對話

  • but also kind of perhaps holding something backand somebody who's quite severe

    但也有可能是保留了一些東西......和一些相當嚴重的人

  • and quitethere's a little bit of secrecy always there with him.

    而且相當......他身上總是有一點兒祕密。

  • To get to know these incredible other artists and see how they've approached the project

    要了解這些令人難以置信的其他藝術家,看看他們是如何對待這個項目的

  • and how they've brought to life these other figures which are so importantthey exist

    以及他們如何將這些其他的人物帶入生活,這些人物是如此重要......他們的存在

  • among many other figures lost to history so I'm really excited to see that this is just

    在許多其他消失在歷史中的人物中,所以我真的很高興看到這只是

  • the beginningIt's so important that Septimius kind of

    開始的時候......塞普蒂米烏斯的這種做法非常重要。

  • exists within a space that he belongs to. I hope that it helps visitors to kind of re-envision

    存在於他所屬的空間中。我希望它能幫助遊客重新認識

  • this pastthis British past, that point in time in which that area of the world must

    這段過去......這段英國的過去,這個時間點上,世界上的那個地區必須

  • have been so multicultural and so interesting.

    這是多文化的,非常有趣。

  • My energy comes from my Dad. My Dad showed me how to draw and I haven't looked back

    我的能量來自於我的父親。我爸爸教我如何畫畫,我一直沒有回頭。

  • since, you know. I've been painting for a long time… I don't need energy anymore

    既然,你知道。我已經畫了很久了......我不再需要能量了

  • it's something that you do! [Laughs] Clifton's portrait will be displayed at

    這是你所做的事情![笑] 克里夫頓的畫像將被展示在

  • St Augstine's Abbey in Canterbury and it shows us St Hadrian. St Hadrian was the Abott

    坎特伯雷的聖奧古斯丁修道院,它向我們展示了聖哈德良。聖哈德良是阿博特人

  • of St Augstine's and he arrived in the England in the 7th century. He was a man renowned

    聖奧古斯丁的,他在7世紀來到了英格蘭。他是一個著名的人

  • for his diplomacy as well as for his great learning.

    因為他的外交能力以及他的偉大學識。

  • The first thing about the process iswas the time, the century. And I think that's

    關於這個過程的第一件事是......是時間,是世紀。而我認為那是

  • the first challenge. And the next thing is about where he's fromwhat tribe or,

    是第一個挑戰。而接下來的事情是關於他來自哪裡......什麼部落或。

  • you knowIt's not only the person, it's who the

    你知道......這不僅是人的問題,也是誰的問題。

  • person iswhat the person does. I use music to connect with the painting that

    人是什麼......人做什麼。我用音樂與繪畫相聯繫,這

  • I do. For this painting I used Gregorian chant and this helped me to connect spiritually

    我是這樣做的。在這幅畫中,我使用了格里高利聖歌,這有助於我在精神上的聯繫。

  • with the work. The face was important, because the face tell

    與工作。臉是很重要的,因為臉告訴我們

  • the personal of where he's from… I didn't want…a passive looking Hadrian.

    我不希望......一個看起來很被動的哈德良,他來自哪裡的個人......。

  • I wanted to read from his face and his eyes, and that's what I was looking into. But

    我想從他的臉和他的眼睛中讀出,這就是我在尋找的東西。但是

  • to get that reading, everything had to come in place like a jigsaw. But I didn't want

    為了獲得這種閱讀,一切都必須像拼圖一樣到位。但我不希望

  • a nice, smiling, lovely, passive person… I wanted to look in his soul, deep within

    一個好的、微笑的、可愛的、被動的人......我想看看他的靈魂,在內心深處

  • his soul, because that is Hadrian when you look into his soul.

    他的靈魂,因為當你看向他的靈魂時,那就是哈德良。

  • You think as a painter you could just do it, but it takes more than that. It takes study,

    你認為作為一個畫家,你可以隨便做,但它需要的不僅僅是這個。它需要學習。

  • just to know who you're painting, and it makes you feel more, you know, involved and

    只是為了知道你在畫誰,這讓你感覺更多,你知道,參與和

  • special to be doing something like that. I went to the Abbey on a virtual tour during

    特別是要做這樣的事情。我在虛擬旅遊期間去了修道院。

  • lockdown, sowhen you're doing something like that you have to be there. I'm taking

    鎖定,所以......當你在做這樣的事情時,你必須在那裡。我正在採取

  • notes, they have loads of cameras going around and they showed me everythingthings that

    筆記,他們有大量的相機到處拍,他們給我看了所有的東西......那些事情

  • I need to know, and things I didn't know that I needed to know.

    我需要知道的,以及我不知道的,我需要知道的事情。

  • We identified where the painting is going to go. So the wall settings of the work, you

    我們確定了繪畫要去的地方。所以作品的牆面設置,你

  • know, that dark red look, all the setting is designed for that space.

    知道,那種暗紅色的外觀,所有的設置都是為那個空間設計的。

  • I try and get the colours to fit where it's going to be hung, with what it's going to

    我試著讓顏色適合它要掛的地方,和它要掛的東西。

  • be there with, with the rest of the exhibit that is there.

    在那裡,與其他的展品一起。

  • I'm impressed by his accomplishment. As an artist to paint him now, today after all

    我對他的成就印象深刻。作為一個藝術家,在今天為他作畫,畢竟

  • those yearsit's overwhelming. It's an overwhelming feeling.

    這些年......它是壓倒性的。這是一種壓倒性的感覺。

  • My name's Chloe Cox. I go by the artist name Artcee, and I'm an oil painter focusing

    我叫克洛伊-考克斯。我的藝名是Artcee,我是一名油畫家。

  • on portraiture. In my work I usually paint people from ethnic

    關於肖像畫。在我的作品中,我通常會畫一些來自不同民族的人。

  • minority backgrounds or ethnic minority communities. I just like to really represent the underrepresented.

    少數民族背景或少數族裔社區。我只是喜歡真正代表未被代表的人。

  • Chloe's portrait depicts an individual called Arthur Roberts. He's the son of a Trinidadian

    克洛伊的畫像描繪了一個叫阿瑟-羅伯茨的人。他是一個特立尼達人的兒子。

  • man who was born in Bristol and brought up in Glasgow. In 1917, Arthur Roberts enlisted

    他出生在布里斯托爾,在格拉斯哥長大。1917年,阿瑟-羅伯茨入伍。

  • into the British army and he joined the King's Own Scottish Borderers. Now that regimental

    他加入了英國軍隊,並加入了國王的蘇格蘭邊防軍。現在,該團

  • base was at Berwick-Upon-Tweed. This regimental base would have been the heart, the home of

    基地位於特威德河畔貝里克(Berwick-Upon-Tweed)。這個團部的基地本來是一個心臟,是一個 "家"。

  • the regiment and everybody who was in that regiment would have strongly identified with

    該團和該團的每個人都會強烈認同

  • that place. Arthur served for the remainder of the First World War and even fought at

    那個地方。阿瑟在第一次世界大戰餘下的時間裡一直在服役,甚至還參加過

  • the battle of Passchendaele. Before I started the painting, I didn't

    帕桑代爾戰役。在我開始作畫之前,我並沒有

  • know anything about Arthur Roberts and it was a pleasure to find out a lot more about

    我對阿瑟-羅伯茨的情況有所瞭解,很高興能瞭解到更多關於他的情況。

  • him. I have this book called 'As Good as Any

    他。我有一本書,叫做《不負如來不負卿》。

  • Man' which sort of explores his diary entries, and reading that really enlightened aspects

    人》,該書探討了他的日記條目,讀了這本書後,真的是豁然開朗。

  • of his personality, his journey throughout the war

    他的個性,他在整個戰爭期間的旅程...

  • Reading what he had written in his diary really felt like I was building a connection with

    閱讀他在日記中所寫的內容,真的感覺到我與他建立了一種聯繫。

  • him as a person, and almost made me want to honour him even more in my painting.

    他作為一個人,幾乎讓我想在我的畫中更多地紀念他。

  • I definitely felt I got to know him. He was quite a relatable character actually.

    我絕對感覺到我瞭解他了。他實際上是一個很有親和力的人物。

  • What was a step away from my comfort zone was the fact that the photos were all black

    離開我的舒適區的一步是,這些照片都是黑色的。

  • and white, they were quite grainy, cos I'm used to either taking my own photos or requesting

    因為我習慣於自己拍照或要求別人拍照,所以這些照片的顆粒感很強。

  • really high quality photos to draw from. There were a few photos of him in his uniforms

    真正高質量的照片可以借鏡。有幾張他穿軍裝的照片

  • for me to choose from, and some of them were him as a new recruit, and others were him

    供我選擇,其中一些是他作為一個新兵,而另一些是他

  • later in his career and higher up in rank as a solider. And so I specifically chose

    在他的職業生涯後期,作為一名軍人,他的軍銜更高。是以,我特別選擇了

  • one where he had gotten higher in the ranks and looked more the part, and looked a lot

    在這裡,他的地位越來越高,看起來更像一個人,而且看起來很有氣質。

  • more comfortable in his uniform. I liked that… I wanted to show him in some level of seniority.

    他穿著制服更舒服。我喜歡這樣......我想在某種程度上展示他的資歷。

  • When people see this painting, I just want them to see a real human being and not see

    當人們看到這幅畫時,我只想讓他們看到一個真正的人,而不是看到

  • just a black man. I want them to see a person who's got a sense of charm and confidence,

    只是一個黑人。我想讓他們看到一個有魅力和自信的人。

  • and someone who contributed to the war effort the same as his fellow counterparts in the

    他是一個為戰爭做出貢獻的人,與他的同事們一樣,在戰爭中也是如此。

  • army. I'm really proud to have my work displayed

    軍隊。我真的為自己的作品得到展示而感到自豪

  • at Berwick-Upon-Tweed barracks. It's the first time that my work has been commissioned

    在Berwick-Upon-Tweed軍營。這是我的作品第一次被委託。

  • to be part of a museum collection. So far most of my work goes into someone's home

    成為博物館收藏的一部分。到目前為止,我的大部分作品都進入了別人的家裡。

  • which is great but I don't get to see it ever again, whereas here it's on public

    這很好,但我再也看不到它了,而在這裡,它是公開的。

  • display and I'm really excited about that and honoured to be part of the project.

    我真的很興奮,很榮幸能成為這個項目的一部分。

  • As a person of mixed heritage as wellrepresenting a lost sort of figure in history and bringing

    作為一個混合血統的人......代表了歷史上的一種失落的人物,並帶來了

  • them to life and representing Arthur basically, doing that for himhas been a real accomplishment

    他們的生活和代表亞瑟基本上,為他做這些事......已經是一個真正的成就。

  • for me.

    對我來說。

  • It was only around the time that I started uni that I really delved into portraiture

    大約在我開始上大學的時候,我才真正深入研究肖像畫。

  • but before that everything was an adventure, an experiment and I wasn't quite sure what

    但在此之前,一切都只是一種冒險,一種實驗,我不太確定什麼是真正的冒險。

  • I wanted to do. I used to work in a lot of these art renaissance

    我想做的。我曾經在很多這樣的藝術復興時期工作過

  • halls and things like that, and I just loved to look around the art when I was free on

    廳和類似的東西,我只是喜歡在我有空的時候看看藝術。

  • my break. I didn't see myself represented in it. What if I could represent the black

    我的休息。我沒有看到自己在其中被代表。如果我可以代表黑人

  • people, the black Europeans that I don't see? What if I could put something I don't

    人,那些我沒有看到的歐洲黑人?如果我可以把我沒有的東西

  • see into a world that I love? Glory's portrait shows us James Chappell.

    看到一個我愛的世界?格洛麗的畫像向我們展示了詹姆斯-查普爾。

  • James was a servant at Kirby Hall in Northamptonshire and he entered the service of the Hatton family

    詹姆斯是北安普敦郡科比莊園的一名僕人,他進入哈頓家族服務。

  • at around about the age of 15 in 1672. And he worked in the service of the Hatton family

    在1672年大約15歲的時候。他曾為哈頓家族服務。

  • until the death of Christopher Hatton in 1706. And at that point he was given a pension which

    直到1706年克里斯托弗-哈頓去世。而在這時,他得到了一筆養老金,這

  • enabled him to setup home in the local area, and indeed the stories say that he became

    使他能夠在當地建立家園,事實上,故事中說他成為了

  • the landlord of the local pub. I went on a historical trip to Kirby Hall

    當地酒吧的房東。我去柯比廳進行了一次歷史之旅

  • where James Chappell actually lived and it was really inspiring. I love being in the

    詹姆斯-查普爾實際居住的地方,這真的很鼓舞人心。我喜歡在

  • presence of where these historical figures actually existed.

    存在這些歷史人物實際存在的地方。

  • The fact that he could look back at his life and be proud of his service to the Hatton's…

    事實上,他可以回顧自己的生活,併為自己為哈頓家族的服務感到自豪。

  • I just want people to look at him and see like a stoic figure, someone who was proud

    我只是想讓人們在看到他時,看到像一個堅毅的形象,一個自豪的人。

  • of his life. He is in these 18th century aristocratic clothing,

    他的生活。他穿著這些18世紀的貴族服裝。

  • probably a tailcoat with a cravat, he has an afro

    可能是一件帶圍巾的尾巴大衣,他有一個非洲人的頭髮......

  • He's in this lovely baroque chair, lovely ornamented chair, with the curtains draping

    他坐在這把可愛的巴洛克式椅子上,可愛的裝飾品椅子,窗簾垂下。

  • behind him… I wanted to give him the presence that, like,

    在他身後......我想讓他有一種存在感,就像。

  • he wanted you to know he's there, he's not just a hidden figure anymore, he's coming

    他想讓你知道他的存在,他不再是一個隱藏的人物,他要來了。

  • out and he's going to be among all of those other characters.

    出來,他將在所有這些其他的角色中。

  • He's part of the story! He's not just going to be hidden for any longer. There might

    他是故事的一部分!他不會再隱藏下去了。有可能

  • be many more. I'd love to bring their story to life through portraiture, through a painting.

    還有很多。我很願意通過肖像畫,通過一幅畫,把他們的故事帶入生活。

  • All these unnamedthey don't have any historicalvisual references, I'd love

    所有這些未命名的... 他們沒有任何歷史... 視覺參考,我很喜歡

  • to give them a name and a face.

    給他們一個名字和一個面孔。

  • 'Painting our Past' is perhaps an unusual exhibition in so far as it's spread right

    畫出我們的過去 "也許是一個不尋常的展覽,因為它的分佈是正確的。

  • across England in these six wonderful places. But what better time has there been to see

    在這六個美妙的地方,我們可以在英格蘭各地看到。但是,還有什麼比這更好的時間來看看

  • these fantastic sites, these locations, and to look at these wonderful, arresting portraits

    這些奇妙的地方,這些地點,看看這些精彩的、令人驚歎的肖像畫

  • and to understand more about the impact of the lives of people from Africa in England's

    並更多地瞭解來自非洲的人在英格蘭的生活影響。

  • story. The exhibition opens on 9 June and you can find out much more information about

    故事。該展覽於6月9日開幕,你可以找到更多關於

  • the artists and about the individuals portrayed in the portraits by following the links below.

    通過下面的鏈接,可以瞭解藝術家和肖像畫中所描繪的個人。

'Painting our Past' is a new exhibition of portraits, six portraits each depicting an

畫出我們的過去 "是一個新的肖像畫展覽,六幅肖像畫,每幅畫描繪了一個人。