Name: Anj Smith：工作室直擊！ (Anj Smith: In the Studio)
Uploaded: 2026-01-19T04:34:57.000Z
Duration: 3 min 59 s

I always worry the studio is going to burn down, so I leave all my flammable things in the sink overnight.

我一直很擔心畫室會燒起來，所以我會把所有易燃的東西整晚放在水槽裡。

I think that's quite a good idea in case.

我覺得這樣以防萬一，是個不錯的主意。

第二類條件句型

If there was a fire, then it would just go out in the sink.

如果真的發生火災，那火就會在水槽裡熄滅。

I'm Ange Smith and we are in my London studio.

我是 Ange Smith，我們現在在我倫敦的畫室。

I've always painted, even as a very young child, and

I think it was my way of processing the world.

I've worked largely with representational imagery.

我大部分的作品都以具象圖像為主。

Genre is very slippery and, you know, time, perspective, and

題材非常難捉摸，你知道的，時間、視角，

so the work can become a kind of visual insurgency.

所以作品可以變成一種視覺上的反抗。

It can reflect a historical context, but at the same time new meanings can be forged.

它可以反映歷史脈絡，但同時也能創造新的意義。

The actual process of painting is akin to a kind of waiting, attempting to access a kind of psychological spaciousness where unexpected things can creep into the process.

實際的繪畫過程，有點像是在等待，試圖進入一種心理上的寬敞空間，讓意想不到的事物悄悄進入創作過程。

My foray into the female nude started when I was commissioned to paint a ceiling and it was a physically incredibly demanding process.

我開始畫女性裸體，是因為有人委託我畫一個天花板，那是一個體力上非常艱鉅的過程。

I was using my own body as reference material and it was interesting to think about the post pregnant body, places of nurture and tenderness, being an engine for creativity equally and just as powerfully as the perhaps more macho standard.

我用自己的身體作為參考素材，思考產後身體，孕育和溫柔的地方，也能像比較陽剛的標準一樣，強大有力地成為創意的引擎，這很有趣。

But I realised that what I really wanted to add was an oscillating sense of self and something that is not singular and easy to define.

但我意識到，我真正想加入的是一種擺盪的自我感，以及一些不是單一、容易定義的東西。

There's a particular painting, but tell it slant, where the figure is just standing in water.

有一幅特別的畫，但要委婉地說，畫中的人物只是站在水中。

something that's also very malleable and something that constantly changes shape, felt like a very apt contextualization for the figure.

同時也很有延展性，而且不斷改變形狀，這感覺很適合用來描繪這個人物。

I think it holds connotations of rising sea levels and ecological disaster.

我認為它帶有海平面上升和生態災難的意涵。

And I was thinking about how our environment globally is shifting and morphing.

我當時在想，我們全球的環境是如何在轉變和演變的。

Attitudes towards the figure and conversations around gender are also similarly on the move.

人們對於畫中人物的態度以及關於性別的討論，也同樣在轉變中。

I started to think about a philosophical impulse of atopia, which is the idea of wandering off from a point in order to re evaluate a lot of conventional conclusions and definitions and classifications.

我開始思考一種無地點（atopia）的哲學衝動，也就是為了重新評估許多傳統的結論、定義和分類，而從某個點上遊離出去的想法。

Roland Barthes described this atopia as drifting habitations.

羅蘭·巴特（Roland Barthes）將這種無地點描述為漂泊的居所。

All of these things were at play and could be activated by that title.

所有這些元素都在起作用，並且可以由這個標題來啟動。

This is 20 years worth of my brushes, these little watercolor ones.

這是我的畫筆，這些小小的水彩畫筆，累積了二十年的量。

At this point in my studio practice, I feel as though I have only just scratched the surface of what painting could be.

在我目前的創作實踐中，我覺得自己才剛剛觸及繪畫潛力的表面。

It cultivates a sense of criticality and I think when we are in this age of disinformation, that's one of the few remaining tools that we have to sharpen our sense of psychological openness as an act of rejecting the old codes, Sam.

它培養了一種批判精神，我認為在我們這個充斥著假消息的時代，這是少數能讓我們保持心理開放的工具之一，用來拒絕舊的準則，Sam。