so many memories come back to me.

一當我說“學校”這個詞的時候，

It's like after every exam, when I walk out,

我的腦海裏湧現出很多回憶。

the teacher would say, "Hey, come.

就像每次考試後我走出教室時，

How did you do?"

老師會說：“嘿，過來一下，

I would say with a great smile, "I will definitely pass."

做得怎樣啊？”

And I didn't understand why,

我會咧開嘴笑：“我一定會及格的，放心吧。”

in one hand they say, "Speak the truth,"

那時我不懂為什麼

in the other hand, when you say the truth, they hated you.

一方面他們說：“要說真話，”

So it went on like that,

另一方面，當你說真話的時候，他們又不滿意了。

and I didn't know where else to find myself.

所以一直那樣糾結著，

So I remember those nights

找不到自己的位置。

I used to go to sleep

因此我記得以前

with asking help from [the] Unknown

每晚睡覺前

because, for some reason,

我會向未知求助，

I couldn't believe what my father and mother

因為，基於某種原因

hanged in the Puja room as a god,

我不能信奉

because my friend's family

我父母掛在廳前的神，

had something else as a god.

因為我朋友家

So I thought, "I guess I'll pray to [the] Unknown

又信另一種神。

and ask help,"

所以我對自個兒說：“還是不要指名道姓地膜拜好了，

and started getting help from everywhere,

得到幫助的機會會大點兒。”

each and every corner of my life at that time.

至此以後便一發不可收拾，

My brothers started giving me a few tips about drawing and painting.

什麼神都來幫我了。

Then, when I was in eighth standard

比如我老哥開始在繪畫上給我一些指點。

around 13 years old,

然後，

I started working in a part-time job

當我 大概13歲的時候，

in one of the signboard artists called Putu.

開始在一個叫putu的製作招牌的藝術家那兒

And then school also started supporting me.

兼職。

"Oh, he's bad at studies,

又比如，學校開始給我提供支持與幫助：

but let him send to the drawing competitions."

“哦，他在學習上是沒什麼花頭了，

So it was good to survive with that little tool

不過送他去繪畫比賽也許有戲。”

that I found to find my own place in school.

所以我得以倖存，

And one of those competitions,

並找到了自己在學校裏的位置。

I just won a small, little transistor Philips radio.

在其中一次比賽中，

And I didn't have the patience to wait

我贏來了一個小小的philips的晶體管收音機。

until I reached home.

我那時極為猴急。

So I just switched on in the train, loudly.

等不到回家就把它拆開了。

If you travel in Indian trains,

還在火車上，我調大了音量。

you can see people listening to radio

如果你坐過印度火車，

and, you know, even from their mobiles.

就知道人們喜歡聽收音機。

So at that time -- and I was 13 --

甚至用手機聽。

and I was listening to just radio,

而那時候，-我才13--

and someone happened to sit next to me,

所以我也聽收音機，

like these three people are sitting here.

正好就有個人坐我旁邊，

You know, like just adjacent to me.

就像坐在這邊的這三個人一樣。

He just started asking, "Where did you buy the radio? How much is it?"

就是坐我旁邊啦。

I said, "It's a prize from [an] art competition."

他就開問了：“這收音機哪兒買的？多少錢啊？”

And he said, "Oh, I teach at a college of arts.

我說：“這可是畫畫比賽的獎品。”

I think

他說：“哦，我在大學裏教畫畫呢。

you should study in a school of art.

我覺得，

You just quit school and come there."

你應該在藝術學校裏學習，

So, why I'm telling you this,

你直接退了學去那兒吧。”

you know, maybe, you know,

所以，我和你說這個的目的是，

whoever is sitting next to you can change your whole life -- it's possible.

也許，

It is that we need we need to be open and fine-tuned.

無論誰坐在你旁邊，都可能改變你的人生。這是有可能的。

So that's what made me enter

只要我們足夠思想開明並具備潛質。

[the] college of arts after three attempts

所以，這就是支持我

and just continue to inquire

失敗三次仍繼續嘗試， 並最終進入藝術學院，

what I really want to do with art work, or art

去做我真正想要

and finally I'm here in front of you.

從事的藝術工作，

When I look back, you know,

並最終站在你們面前的動力。

on what happened between that time

當我回首往事，

and now here --

去想在那時候與現在這段時間之間，

the last 10/15 years --

發生的事，

I can see that most of the works

在過去的10或15年裏，

revolve around three subjects,

我總結出大部分作品，

but it was not intentional.

都圍繞著三個主題，

And I just start out with a trace because I was thinking,

但這不是故意的。

"What really makes us?" -- you know,

我的腦海裏浮現出一道軌跡，

it's actually [the] past, what makes a person.

因為我在想，“究竟什麼造就了我們？”

So I was thinking,

然後我恍然：是過去啊，是過去造就了我們。”

but when you look at the past,

所以我想，

the way to understand the past

當你回首過去，

is only by the traces available,

去理解過去的方法，

because we cannot go back [to] the past.

只有沿著留下的痕跡去追尋。

It can be ruins, or it can be music,

因為 過去已如泥沙沉澱。

or it can be painting or drawing or writing, whatever it is.

它可能是一堆殘骸，也可能是一曲仙樂，

But it is just a kind of trace of that time.

又或者留在油彩或墨水中，任何方式，

And that fascinated me,

但，這些都是時間的指紋。

to explore that territory.

我沉迷於此，

So I was working on the line,

沉迷於開拓這片藝術的疆土。

but instead of working about traces,

所以當我遨遊於線條之間，

I started capturing traces.

去收拾這些痕跡，

So here are some of the works I would like to show you.

捕捉它們，描繪它們。

So this is called "Self In Progress."

現在我想給你們展示其中的一些作品。

It's just a trace of being in this body.

這叫做：“進步的自我。”

So here, what happened then,

它是寄居於這個身體的一道痕跡。

you know -- what I really enjoyed the most

然後呢，

is that this sculpture

身體真的非常享受這個模具，

is nothing but a trace of myself.

就像這個雕像，

It's almost like a 3D photograph.

就是從我自己的過去而來的。

So there is an element of performance,

簡直就像一張3D照片。

and there is an element of sculpture,

裏面有表演的元素，

and there is an element of feeling one's self, so close to one's self.

雕刻的元素，

So it's almost like fossils for the future.

還有接近自我，感知自我的元素。

And then moved slowly

簡直就像獻給未來的化石。

to explore the other possibilities of capturing traces.

然後呢，慢慢移動，

So this is what I was talking about, while molding,

去探索捕捉過去的各種可能。

it's such a great experience,

所以，這就是我制模時候講的話。

because we have freedom of like walking,

這種體驗非常之棒，

or moving my hand or, moving around in the space,

因為我們擁有自由如走路，

but the moment this becomes solid,

自由地揮揮手。

when you cannot move even an inch,

但是在一瞬間這些都凝固了，

because this is plaster of Paris, so the moment you pour it it's like liquid;

你一動也不能動，

but after 20 minutes, it's almost like a hard stone.

因為是熟石灰，這一刻它流動自如，

So this is capturing the trace of a thumbprint

20分鐘後，他就硬如磐石了。

because, knowingly or unknowingly,

這是對指紋的捕捉，

whatever we do, you know, we leave our traces here.

因為，知覺或不知，

So I just thought, "I'm going to capture

無論我們做什麼，總是留下痕跡。

thumbprint, footprint,

所以我想，我將捕捉，

or whatever traces we leave as humans."

指紋，趾紋。

This is the trace of fire,

任何我們作為人類留下的痕跡。

this is the trace of sun.

這是火的痕跡，

Because when I was capturing traces, you know,

這是太陽的。

this thought comes to me always:

因為當我捕捉痕跡時，

is it, only when the object touches the thing and it leaves the trace,

我總是想到， 是不是，

or is there other ways to capture it?"

一個物體自由移動，碰到了另一個物體，留下了痕跡，

So this work is nothing but like --

或有沒有其他方法來捕捉呢？”

because of the focal length of the lens,

這個作品是--

it just shows what is on the other side.

因為鏡頭的焦距問題，

So I just put the paper on the focal length,

只顯示出了另外一邊是什麼。

which was an etching print,

所以我就把紙放在焦距上，

then I got the portrait of [the] sun from sunlight.

它是張蝕刻畫，

This is called "Dawn to Dawn."

然後從陽光那兒我就得到了太陽的肖像。

What I did here, I just put like 10 feet [of] paper

這個叫“黎明”

then put a coconut rope,

我做的呢，就是，放了10英尺的紙

and just burnt it.

然後 嗯，

So it took about 24 hours to get this line.

嗯，

So wherever the fire is eating the paper,

花了24小時弄的。

that's what becomes the work --

所以無論哪兒紙張在被火侵蝕，

detail.

就成了作品了。

Even though we have traces

細節。

when we try to understand them,

即使我們有痕跡，

the perception and context

當我們試圖理解它們，

play a major role to understand it.

知覺和環境

So do we really understand what it is,

起的作用最大。

or are we trying to get

所以我們真正理解了嗎?

what we think it is?

或我們只是

Then move towards questioning the perception

按我們臆想去理解它的呢?

because, even though there are traces,

那麼就提問直覺吧

when you try to understand them, you know you play a major role.

因為，即使有痕跡，

So like let's say even a simple act.

當你去理解時，你扮演的角色也是責任重大。

How many of you saw a cow crossing in India

就像，比如說，一項簡單的行為中。

while you were coming from Bangalore to Mysore?

你們中多少人看到過印度的牛過馬路，

Can you just raise the hand?

當你們從班加羅爾到邁索爾的時候？

If you just ask an opinion

舉下手好嗎?

of how, everyone can interpret it.

如果你問一個觀點意見什麼的，

Like, let's say, if a schoolteacher says,

每個人的理解都不一樣。

she'll simply say, "To get to the other side."

比如，一老師說的話，

Why the cow was crossing the road, you know.

她會直接說，“為了到另一邊去。”

The answer can be so different if Potter said it.

當被問及為什麼奶牛穿越馬路，

He would say, "For the greater good."

如果哈利波特說的話，答案又不一樣了。

Martin Luther King would say,

他會說，“為了更大的利益。”

"I imagine a world where all cows will be free

馬丁路德金會說，

to cross the road,

我有一個夢想，所有奶牛都獲取自由去

without having their motives called into question."

穿越馬路，

(Laughter)

而不受任何爭議。”

Imagine Moses comes now, and he sees

（笑）

the same cow walking around the street.

想像一下摩斯現在來了，然後他看到了

He would definitely say,

那頭同樣的奶牛在穿越馬路。

"God came down from heaven,

他一定會說，

and he said unto the cow,

“神從天而降，

'Thou shalt cross the road.'

然後祂對奶牛說，

And cow crossed the road,

“汝應穿越馬路。”

and there was much rejoicing as a holy cow."

然後奶牛穿越了馬路，

(Laughter)

然後大受鼓舞，天降神牛啊，天降神牛啊。

Freud would say,

（笑）

"The fact that you're at all concerned

佛洛伊德會說，

reveals your underlying sexual insecurity."

“你如此關注的事實

(Laughter)

揭露了你隱藏的性欲。”

If we ask Einstein,

（笑）

he would say, "Whether the cow crossed the road,

如果我們問愛因斯坦，

or the road moved underneath the cow,

他會說：“是奶牛穿越馬路，

depends on your frame of reference."

還是奶牛身下道路的移動，

(Laughter)

都取決於你的參照系。”

Or Buddha --

（笑）

if he saw the same cow, he would say,

那麼，佛陀呢。

"Asking this question denies your own nature [as a] cow."

如果他看見了同一頭奶牛，他會說，

(Laughter)

“問這個問題否定了你自身的奶牛本性。”

So, what we see

（笑）

is just what we think often,

所以，我們看見的，

and most of the time, we don't see what it is.

經常只是我們的所想而已，

It just all depends on one's perception.

並且大部分時候，我們看不見事物的本質。

And context, what is really context?

我們只是依靠於我們的直覺。

You know, I could just show you this little piece of paper.

那麼語境呢，語境是什麼？

Because I always think meaning doesn't really exist.

我們來看一下這張小紙片就知道了。

The meaning of what we create in this world doesn't exist.

因為我總是認為根本就沒有什麼意義之說。

It's just created by the mind.

我們在這世上的創造物根本是沒什麼意義的。

If you look at this piece of paper,

意義什麼的只存在於我們的腦袋裏。

this is the breadth

如果你看著這張紙，

and this is called length.

這是寬，

This is how we've been taught in school.

這是長，

But if you tear it in the middle --

這就是我們在學校裏學到的。

now, I didn't touch this breadth,

但是如果你從中間把它撕開。

but still, the meaning of this changes.

現在，我不碰到這寬，

So what we conceive as a meaning

但改變仍然已經發生。

is always not there;

所以我們所謂意義，

it's on the other side,

根本是不存在的；

even when we say dark, light,

它在事物的另一面，

good, bad, tall, short --

即使是我們說的黑暗，光亮，

all meaning it doesn't exist in reality.

好，壞，高，矮--

It's just that being a human,

現實中並不存在。

the way we train to perceive the reality

那只是，作為一個人類，

creates this meaning.

通過被訓練一些看待事物特定方法，

So this work from this period

我們自個創造了意義。

is mostly like --

所以這階段的這個作品，

you know, this is a work called "Light Makes Dark."

很像是--

It's just captured through from the lamp.

呃，他叫做“光明製造黑暗”

So the lamp is not just giving a light, it's also giving a darkness.

這是從臺燈那兒捕捉到的。

So this is a work of art, which is just trying to explore that.

所以臺燈不僅創造了光亮，也創造了黑暗。

This is called "Limit Out."

所以這就是一個試圖探索這個主題的藝術作品。

This shows how limited our eye or hearing sense or touch --

這叫“無極限”

do we really see?

他展示了我們的視覺聽覺的極度受限--

This is an exact negative.

我們真的看到了嗎？

It's about six inches deep in the wall,

這是個極好的佐證。

but it just appears like it's coming out of the wall.

它嵌在牆裏大約6英尺，

You know the wall is almost like --

但看上去好像他正要從牆裏鑽出來呢。

this is the first skin, and this is the second,

這個牆就像是--

and there's a third, and each creates a meaning.

這是第一層表皮，第二層，

And we're just pulling the wall off the gallery.

第三層，每一層都有一個意義。

Again, "Inward Out."

我們只是把牆脫離出整個畫廊。

It's a full-figure cast from myself.

再一次，“裏外”

It's about eight inches deep.

它是由我自己鑄成的。

When I was doing that, I always wondered since I've worked with creators --

大概8英尺深。

and now you know, I've moved to questioning the perception --

當我在做它的時候，總是懷疑自己曾與造物主合作--

whenever I see the bird flying in the sky,

現在到了提問知覺的時候了--

it just makes me feel like:

無論何時我看到有鳥在天上飛

is there anything behind, are there any traces up there,

就感到--

which as a human, we don't see them?

他們有沒有留下什麼痕跡呢，有沒有呢?

Is there any way to capture the thought

作為人，我們無法用肉眼看到的痕跡?

into visual art?

有沒有一種方法能夠把這種想法

I couldn't find it.

投射到視覺藝術當中？

But a solution arrived

我找不到。

after being quiet and not working for about six, seven months,

但是停止工作安靜思考6、7個月後，

in the restroom,

我終於想到了，

when I was changing the air freshener

在一個餐館裏，

that goes from solid substance to vapor.

當我在換空氣清新劑的時候。

It's called Odonil.

它從固體昇華為氣體。

This is the work I made out of that material.

它就叫Odonil。

The process to get to make the sculpture was interesting,

這是我對那個素材的創作。

because I wrote to Balsara,

做雕塑的過程非常有趣。

who produces that air freshener called Odonil,

因為我給做空氣清新劑Odonil的

saying, "Dear Sir, I am an artist. This is my catalogue.

Balsara公司寫信。

Will you help me to make this sculpture?"

信上說，“親愛的先生，我是名藝術家，這是我的履歷。

They never wrote back to me.

你能幫我做這個雕塑嗎？”