Name: 拉希德-約翰遜談 "靈魂畫作"、藝術史與意識 | 《The Now Issue》 | Harper's BAZAAR (Rashid Johnson on 'Soul Paintings,' Art History and Consciousness | The Now Issue | Harper's BAZAAR)
Uploaded: 2025-07-18T18:59:53.000Z
Duration: 5 min 6 s

I'm an artist living and working in New York, and I'm here to discuss the now issue and my soul paintings for Harper's Bazaar.

我是一名生活和工作在紐約的藝術家，我在這裡是為了討論本期雜誌和我為《時尚芭莎》創作的靈魂畫作。

So I've always been interested in the idea of now or nowness.

是以，我一直對 "現在 "或 "未知 "的概念很感興趣。

The idea that prescience are kind of the moment that you're in is a space of value.

先見之明是一種你所處的時刻，是一個有價值的空間。

I think the most interesting artworks typically are related to things that are, to some degree, forever.

我認為最有趣的藝術作品通常都與某種程度上永遠存在的事物有關。

So the idea of timelessness I think is also really essential.

是以，我認為永恆的理念也非常重要。

So when you get to marry the two spaces, when you marry the now and the timeless, I think is where you find the most interesting innovations and the most interesting kind of ambitious moments in an artist's project.

是以，當你把這兩個空間結合在一起，當你把現在和永恆結合在一起，我認為這就是你在藝術家的項目中發現最有趣的創新和最有趣的雄心勃勃的時刻。

On the cover of the issue for April, the now issue, I include a body of work that I call soul paintings.

在四月刊的封面上，也就是現在這一期，我有一組作品，我稱之為靈魂畫作。

And this particular painting really speaks to what I think is the present moment.

這幅特別的畫作真正表達了我認為的當下。

Collectively and individually, we're doing a lot of soul searching.

無論是集體還是個人，我們都在進行深刻的檢討。

I think we're at a time in our history and a time in this country's history and in world's history where we're having to explore obstacles and think really, really deeply about the world that we want to occupy and what it looks like and what we hope it to look like.

我認為，在我們的歷史上，在這個國家的歷史上，在世界的歷史上，我們正處於一個不得不探索障礙、真正深入思考我們想要佔據的世界、它的樣子以及我們希望它是什麼樣子的時代。

So these soul paintings are an opportunity to kind of explore the idea of illustration.

是以，這些靈魂畫是探索插畫理念的一個機會。

How does one begin the process of illustrating the soul?

How do we understand what the soul looks like?

The soul paintings to me really just started in the process of me kind of exploring new themes and trying to kind of grow as an artist.

對我來說，靈魂繪畫其實是在我探索新主題、嘗試成長為藝術家的過程中開始的。

And as you grow as an artist, you know, you have to think what's next for me.

隨著藝術家的成長，你必須考慮我的下一步是什麼。

And so it really relocates you in the space of nowness and say, what's happening now?

是以，它真的讓你重新置身於 "無 "的空間，並說，現在發生了什麼？

And so as a result of all of that kind of curious exploration, you kind of come into the process of thinking about kind of gesture and thinking about identity and thinking about the complexity of how we begin the process of imagining the self or imagining the collective.

是以，在所有這些好奇探索的過程中，你會開始思考姿態，思考身份，思考我們如何開始想象自我或想象集體的複雜性。

And these soul paintings are an attempt to kind of explore that both interior space and then the collective exterior space through gesture, through amplification and through palette.

這些靈魂畫作試圖通過姿態、放大和調色來探索內部空間和集體外部空間。

Creating something in the moment is really vital to capturing kind of where we are at any given moment.

當下的創作對於捕捉我們任何時刻的狀態都至關重要。

When we think about now, our nowness, we think about how people are being affected by the current conditions and circumstances.

當我們思考 "現在"、"我們的本體 "時，我們就會思考人們如何受到當前條件和環境的影響。

I think if you become bogged down too much by the circumstances to which you are exposed, it takes you away from the opportunities of thinking about, you know, the interior discourse or the kind of forever discourse and the challenges of history and the challenges of the future.

我認為，如果你過多地受制於你所處的環境，你就會失去思考的機會，你知道，內部話語或永遠的話語，以及歷史的挑戰和未來的挑戰。

So you have to have kind of one foot planted kind of firmly in the space that you are, but also have one kind of foot planted in the possibilities of what the future can look like and how we've been affected by the past.

是以，你必須有一隻腳穩穩地踏在你所處的空間裡，同時也要有一隻腳踏在未來的可能性上，以及我們如何受到過去的影響。

And so I've always been deeply affected by history and the past and had a real awareness of the way that things that happened previously can affect things that happen in the future.

是以，我一直深受歷史和過去的影響，真正意識到以前發生的事情會影響未來發生的事情。

So doing an exhibition like the one I'm currently working on, which is really so focused on things that I've done over the last 30 years and thinking about how those have affected the things that come after it and how you kind of stockpile ideas and anthems and themes and explore kind of new ideas based on things that you've previously navigated.

所以，像我目前正在做的這個展覽，其實非常關注我在過去 30 年裡做過的事情，並思考這些事情對之後的事情有什麼影響，以及你是如何儲存想法、頌歌和主題，並在你之前所經歷的事情的基礎上探索新想法的。

It's an interesting and complicated time for me to think about certain histories and certain spaces that affect what it is I'm making going forward.

對我來說，這是一個有趣而複雜的時期，我需要思考某些歷史和空間，它們會影響我今後的創作。

This may sound in some ways abstract, but the medium that I'm kind of most interested in and this takes everyone taking a leap with me is consciousness.

這聽起來可能有些抽象，但我最感興趣的媒介是意識，這需要每個人都和我一起飛躍。

So thinking about medium specificity outside of the specifics of how you would naturally approach it, thinking, painting, sculpture, et cetera.

是以，在你自然而然的創作方式之外，思考媒介的特殊性，如思考、繪畫、雕塑等等。

But I think consciousness, our awareness, our even nowness can be a certain version of medium.

但我認為，意識、我們的認知，甚至我們的本體，都可以成為某種版本的媒介。

拉希德-約翰遜談 "靈魂畫作"、藝術史與意識 | 《The Now Issue》 | Harper's BAZAAR (Rashid Johnson on 'Soul Paintings,' Art History and Consciousness | The Now Issue | Harper's BAZAAR)