Name: 彼得·都伊個展：畫室裡的藝術家！ (Peter Doig - In the Studio)
Uploaded: 2026-01-09T08:31:47.000Z
Duration: 9 min 32 s

過去簡單式

My studio in Trinidad was in an old rum factory, the Fernandez Compound, it's called.

我在千里達的工作室，是在一個舊的蘭姆酒工廠裡，叫做 Fernandez Compound。

It's a big compound with maybe, I don't know, 20 or 30 old warehouse buildings which actually built in.

那是一個很大的廠區，大概有，我不知道，20 到 30 間舊倉庫建築，實際蓋好的。

All the steelwork was shipped down from Scotland and then all the block work which filled in was made in Trinidad.

所有的鋼架都是從蘇格蘭運來的，然後填補起來的磚塊，則是在千里達做的。

It was a big space, way too big for my usage, really.

那是個很大的空間，對我來說真的太大了。

Also allowed me to do my film club in there as well.

也讓我可以在裡面辦我的電影俱樂部。

These two spaces, probably each about 5,000 square feet, quite dusty, not too far from what's known as La Basse, which is the town dump, basically, where they burn lots of rubbish and refuse.

這兩個空間，大概各 5,000 平方英尺，非常多灰塵，離我們知道的 La Basse 不遠，那裡基本上就是垃圾場，他們在那裡燒很多垃圾和廢棄物。

So there was a kind of constant sort of smells and dust and the noise of the city traffic coming into the city.

所以會有陣陣的氣味、灰塵，還有市區的車流聲傳進來。

It was close to the highway, up in the hills, just outside the windows, which weren't really windows, they were just big openings with bars.

它離高速公路很近，在山丘上，就在窗戶外面，那其實不算窗戶，只是有鐵欄杆的大開口。

And so you had these views outside the windows of the hillside.

所以你從窗戶往外看，可以看到山坡的景色。

Depending on the time of year, it was either quite dry or quite humid, whether it was in the dry season or the rainy season.

視乎一年中的季節，有時候非常乾燥，有時候非常潮濕，不管是旱季還是雨季。

Painting, paint and paint reacted differently there than it did to here, which I quite liked.

繪畫、顏料和油漆在那裡的反應跟在這裡很不一樣，這一點我還蠻喜歡的。

I mean, the other thing was that the weather would sometimes come in and paintings would get wet from the rain or.

意思是說，另一件事是天氣有時候會跑進來，畫作會被雨淋濕，或是。

And sometimes they would fade, the canvas would fade.

有時候它們會褪色，畫布會褪色。

And some of my paintings, I used these interventions.

我的一些畫作，我用了這些介入手法。

I left these interventions and worked with them.

我保留了這些介入手法，並與它們一起創作。

I think that the paintings in Trinidad were very much influenced by the city of Port of Spain.

我認為在 Trinidad 的畫作深受 Port of Spain 這座城市影響。

The landscape, things I could see out of the studio window, too, now that I'm here in London, the references are different.

景觀，還有我從工作室窗戶能看到的東西，現在我在倫敦，參考點就不同了。

The references are either memory or photographic.

參考點要嘛是記憶，要嘛是照片。

Whereas when I was there, I could always go and have a look that was much more in the atmosphere.

而當我在那裡的時候，我總是可以去看看，那更貼近當時的氛圍。

So in some ways, I'm actually going back to the way I worked prior to moving to Trinidad, because prior to moving to Trinidad, I worked very much in the way that I'm working now.

所以從某方面來說，我其實是回到搬到 Trinidad 之前的創作方式，因為在搬到 Trinidad 之前，我的創作方式跟現在非常相似。

I mean, traditionally, the way I worked is, you know, on a lot of paintings at the same time, or at least I'd start a lot of paintings.

我的意思是，傳統上，我的工作方式是，你知道的，同時畫很多幅畫，或者至少我會開始畫很多幅畫。

And if I found that I couldn't really move forward for whatever reason, I would.

然後如果我發現我真的無法繼續前進，不管是什麼原因，我都會。

I mean, in some cases I would abandon a painting or completely paint over it.

我的意思是，在某些情況下，我會放棄一幅畫，或者完全把它畫掉。

I mean, for instance, the painting of Alice in Bosco's Yard was actually painted over the beginnings of another painting.

我的意思是，舉例來說，Alice in Bosco's Yard 這幅畫，其實是畫在另一幅畫的開頭上面。

I mean, none of that painting is visible anymore.

我的意思是，那幅畫已經完全看不見了。

But for the most part, like the Night Bathers painting, for instance, I started a long time ago, 2010 or 2011.

但大部分來說，像是 Night Bathers 這幅畫，舉例來說，我很久以前就開始畫了，大概是 2010 年或 2011 年。

I would get stuck and I put it to the side.

我會卡住，然後我就把它放到一邊。

Maybe if I was using a certain color or something I felt that could add to it, I would.

也許如果我用了某種顏色或什麼，我覺得可以加分的話，我就會。

I would go back to it, but sort of tentatively.

Other paintings as well have taken a lot of time to resolve, but

其他畫作也花了很長時間才完成，但

I would keep them rather than abandon them because I would think that the elements were worth pursuing.

我會保留它們而不是放棄，因為我會覺得那些元素值得繼續嘗試。

I don't really like the term magical realism.

我不太喜歡「魔幻寫實」這個詞。

You know, the spaces that exist within the painting really are spaces to do with painting itself and what comes about by painting and where, as a painter, you feel you can leave it and where it's giving off to me what I want, whatever that is.

你知道，畫作中存在的空間，其實是跟繪畫本身有關的空間，以及透過繪畫會產生什麼，以及作為一個畫家，你覺得可以把它畫到哪裡，以及它給我的感覺是什麼，不管那是什麼。

And that goes for painting a face or painting a space that may represent sky.

這也適用於畫臉部，或是畫一個可能代表天空的空間。

It's not really a painting of sky or a painting of sea.

它其實不是一幅畫天空的畫，也不是一幅畫海的畫。

I mean, for instance, in the Sokobug painting, this kind of sort of fumey type sea at the bottom.

我的意思是，舉例來說，在 Sokobug 這幅畫裡，底部那種有點煙霧瀰漫的海。

When I painted that, I never really intended to leave it like that.

我畫那幅畫的時候，其實沒打算就這樣留著。

That would have just been part of it, something that I'd gone back into work and probably just like, left little elements of it.

那隻會是它的一部分，是我回去修改時，可能只會留下一些小元素。

But when the painting came to London, there'd been this passage of time.

但當那幅畫來到倫敦時，時間已經過去了。

I realized that I was never going to be able to recreate that.

我意識到我再也無法重現它了。

And it actually had something that maybe I didn't realize.

而且它其實有我當時沒意識到的東西。

Exhibiting at the Courtauld is unique for a contemporary artist because of, I think, the close proximity to painting from another era, and

對於一位當代藝術家來說，在 Courtauld 展覽是獨一無二的，因為，我想，它離另一個時代的繪畫非常近，

particularly in my case, an era of painting that I'm very much interested in.

尤其對我來說，是一個我非常感興趣的繪畫時代。

Over this period of time, I've realized that there's hardly a brushstroke in that room, the great room.

在這段時間裡，我發現那個大房間裡幾乎沒有一筆筆觸，

There's nothing sort of wanton or flailing or sort of, I don't know, gratuitous in a way.

沒有什麼是隨意的、亂畫的，或是，我不知道，有點不必要的。

That, to me, seems like something that's really important about the type of painting that I like.

對我來說，這似乎是我喜歡的那種繪畫中非常重要的一點。

I mean, apart from that, I think there's probably everything that you need to know about painting or can learn from painting in that room as well.

我是說，除此之外，我想那個房間裡大概包含了你所需要知道的，或者可以從繪畫中學到的所有東西。

If you look at, I don't know, for instance, the Renoir painting with a small figure in the kind of field, it's kind of like there's sort of abstract qualities and sort of blurring.

如果你看看，我不知道，舉例來說，雷諾瓦那幅畫中小小的田野人物，它有點像是具有抽象的特質和模糊感。

A paint that predates artists by 100 years or whatever.

一種比藝術家早了100年或更久以前的顏料。

And then there's sort of devices in the Manet painting, for instance, that I think are really, really important about how a painting kind of operates optically for the viewer, you know, with the two sort of very sharp globes of electric light and then the softness in other parts.

然後，舉例來說，馬內那幅畫中有一些技巧，我認為對於一幅畫在光學上如何影響觀者來說非常非常重要，你知道的，有兩團非常銳利的電燈泡，然後其他部分卻很柔和。

I mean, there's so many, so many different things to learn from.

我是說，有太多太多不同的東西可以學習了。

And you know, Cezanne, of course, with his small brush, everything that he was doing with that brush and just the importance of the material is so, so evident in his work and yet you feel a kind of a warmth for the subject.

而且你知道，塞尚當然，他用他的小畫筆，他用那支畫筆所做的一切，以及材料的重要性在他的作品中是如此如此明顯，但你卻能感受到對主題的一種溫暖。

You don't feel that it's just a sort of academic exercise in any way.

你不會覺得這只是一種學術練習。

It feels like he's connected to what he's painting but it's not sentimental in a way.

感覺他跟畫作有關聯，但又不會過於感傷。

So I think there's a lot, a lot to learn but also a lot to enjoy really.

所以我覺得有很多很多東西可以學，但同時也真的有很多可以享受的地方。

I think paintings need to be enjoyed in some ways enjoyed not just the, the making but also the looking for the viewer.

我認為畫作在某些方面需要被享受，不只是創作的過程，對觀者來說，觀賞本身也需要被享受。