我用的材料，不得不作出了规定，并找到自己的工作方式

杰米Vasta 奥克兰艺术家

“这是重要的，我用的材料，我不得不作出了规定，并找到自己的工作方式。”

随着闪光和胶水并没有太大的意外，让杰米描绘黑暗和戏剧性的叙事大画。 She says working with glitter is, “ more or lesslike it was in kindergarten— I lay down a line of glue (with alittle craft-store paintbrush), sprinkle on a color of glitter, andblow off the excess.” Though the process might be somewhatreminiscent of childhood crafts, the outcomeisn't.她说，有亮粉的工作是，“或多或少就像是在幼儿园，我放下一行胶（一点点工艺品店画笔），洒上闪闪发光的颜色，吹掉多余的。”虽然过程可能会有点让人想起童年工艺品，结果是没有的。Jamie'swork reveals a distinct command of her medium garnered from over adecade of experience;杰米的作品展现出她的媒体从超过十年的经验，囊括了不同的命令;sheunderstands how to technically manipulate its lustrous facets anddepth and attempts to subvert and play with all the glitz andfrivolity with unsettlingcontent.她懂得如何在技术上操纵它的光泽面和深度，企图颠覆和播放所有的浮华和轻佻与令人不安的内容。

当我们参观了她的东屋仑工作室（建筑物一个伟大的大空间曾经主要用于家具仓储），她是工作在不同的工作机构：一是结合头骨，水果和鲜花尝试静物安排及三维度，另一个是一系列滑稽表演全长真人大小的画像。I wascaptivated by the photos she had up on her wall of the burlesquedancers;我被她的照片曾在她墙上的艳舞舞者的迷住了; all dressed-up and full of swagger, standing withhigh chins and arched backs like peacocks fanning theirtails.所有的打扮，和到处招摇，站在高下巴和背部拱起像孔雀扇动它们的尾巴。 Often, Jamie's work pivots on complex femalefigures that challenge our notions of femininity, whether obviouslystepping out from convention or more subtly pushing againstexpectation.通常情况下，在复杂的女性形象是挑战我们的女性的观念，是否明显从常规走出去或更巧妙推挤期望杰米的工作支点。

因为她总是从照片作品，的杰米的过程中的首要步骤之一是建立笋用模型（有时是专业人员，有时朋友）的各种姿势和安排，然后让沿途的调整。But wellbefore the shoots she spends her time researching, gathering upreference material and imagery related to the subject matter she'sworking with and then over time distills this acquired informationdown to key questions andideas.但在此之前还有笋她花时间研究，搜集了参考材料和图像相关的题材她有工作，然后随着时间的推移这种蒸馏获得的信息下到关键问题和想法。

同时与杰米聊天，我注意到她有一本书安吉拉Carter's - 这，对我来说，是一个很能说明问题的细节。 I spent a good portion of graduate schoolobsessing over her short stories, and a lot of Jamie's work mirrorsCarter's fascination with violence and power, myth and fairy tales,and strong femaleprotagonists.我花了研究生院的沉迷在她的短篇小说良好的部分，很多杰米的工作反映了卡特的迷恋暴力和权力，神话和童话，和强大的女主人公。And justas Carter's retelling of classic fairy tales questionspreconceptions, so does Jamie's work withglitter.而且，正如经典童话故事的问题先入为主卡特的复述，这样做杰米的工作与亮粉。

杰米已经得到了她的技术下，这是令人印象深刻，我觉得她的本能来对抗闪光的媚俗和阵营与死亡率她的工作的探索，性别角色，性和暴力是聪明和有趣。Certainly, glitter has become Jamie's signature…but I do wonder how she will manage to continue to push her mediumand maintain the tension she aims to create in herwork.当然，闪光已成为杰米的签名......但我不知道她怎么会设法继续推她中型和维持她的目标是建立在她的作品的张力。ButJamie readily acknowledges the potential for pitfalls whilesimultaneously staying steadfast, telling me “At some point theglitter might no longer be interesting, but so far I haven't wantedto stop working withit.”但杰米欣然承认的缺陷的可能性，同时留坚定，告诉我：“在某些时候的闪光可能不再是有趣的，但到目前为止，我还没有想停止使用它。”

做你的工作有什么媒介？ How would you describe your subjectmatter? 你会如何形容你的题材？
What themes seem to occur/reoccur in yourwork?似乎什么题材发生/再出现在你的工作？

我的工作与闪光和胶水木板。 Glitteris at the heart of my practice.闪耀在我的实践的心脏。Theprincipal theme of my work is the contradiction between themeanings that glitter carries with it on one hand and the physicalexperience of glitter on theother.我的工作的主要主题是，忽闪着它承载一方面与意义之间的矛盾闪光对其他实体的经验。Glittercarries connotations of childishness, girlishness, craft,kitsch.金葱承载着稚气，girlishness，工艺，媚俗的内涵。 It's frivolous, it'stacky.它的轻薄，它的俗气。 But as a material I love it for its allure, it'schangeability, its flicker.但我喜欢它，它的诱惑力的物质，它的多变性，它的闪烁。I liketo watch the way people behave when they look at my work- they movearound it, they sway a little, it captures them for amoment.我喜欢看人们的行为，当他们看我的作品，他们四处移动它，他们挥洒一点的方式，它抓住了他们一会儿。Sothere's something almost predatory about the dazzle ofglitter.因此，有一些近乎掠夺约亮粉的炫。

金葱粉为材料驱动我的工作; I askmyself: what are the stories that glittertells?我问自己：什么是闪光讲述故事？ And my narratives come fromthere.和我的叙述来自那里。 Often, there's elements of darkness and violencein these stories- I think the glitter needs a hard edge to butt upagainst, or else it would become likecandy.通常情况下，有黑暗和暴力这些元素的故事，我认为亮粉需要一个硬边对接起来反对，否则它会成为像糖果。

十多年来，你一直在做具象绘画与亮粉，在技术方面，都涉及哪些步骤？

我总是从照片的工作，所以对我来说，第一步是拍摄模式，并作出调整，以照片，直到我有我要处理的图像。 I'm pretty old fashioned- I sometimes usePhotoshop, but most often I cut my photos up into paper dolls andrearrange figures and backgrounds, or swap out an arm from one shotand a face from another, with scissors andtape.我很老土，我有时会使用Photoshop，但大多数时候，我把我的照片成纸娃娃和重新排列的数字和背景，或换出一只胳膊从一个镜头和一个面从另一个，用剪刀和胶带。I use anold overhead projector to blow up the drawings to the scale Ineed.我用一个旧的高架投影机炸毁图纸到我所需要的规模。 Am I supposed to say that?我应该怎么说呢？I feellike for a long time using a projector was everybody's dirtysecret.我觉得自己像使用一台投影机是每个人的肮脏秘密很长一段时间。 Well, I map out my drawing on the panel and tryto get the geometry down- once I move from the drawing to theglitter, I have to work flat on a table, and it's harder to seeproblems from the drawing beingoff.好吧，我绘制出我在面板上画图，并得到几何下一次我谨从图纸到闪闪发光，我要工作平放在桌子上，它是很难看到从图纸被关闭的问题。

与亮粉的工作是多还是少，就像是在幼儿园，我放下一行胶（一点点工艺品店画笔），洒上闪闪发光的颜色，吹掉多余的。 I mostly build up my images like a mosaic- onecolor next to the other, or sometimes I'll lay down a large area ofglue and throw the glitter on in gradations, to get a washyeffect.我大多建立我相似图片马赛克一个颜色旁边的其他，有时我会放下了大面积的胶和扔闪光的灰度等级，以获得无物的效果。I try toget it right the first time- I can build up a layer or two ofcorrections, but after a while the texture builds up noticeably anddisrupts the way the light works on thesurface.我设法得到它在第一时间，我可以建立一个或两个修正层，但经过一段时间的质感积聚明显，破坏了作品的光在表面上的方式。If Ihave to make major changes at that point, I'll have to sand downthe whole area and start fromscratch.如果我一定要在这一点上的重大变化，我将不得不向下沙在整个区域和从头开始。

鉴于闪光不是一个传统的媒体，你必须有实验，找出了很多自己的知识有这些步骤经过多年的发展？

你有一天的工作？ What is it?这是什么？ What does it mean to you?是什么意思呀？
When I'mnot in the studio, I'm a barista with Blue BottleCoffee.当我不是在工作室，我与蓝瓶咖啡咖啡师。 I've worked as a barista for more than ten years,and I find it to be an important balance to my studio time, so Ispend half my work days doing something introverted and slow, andthe other half rushing around and talking to people allday.我已经做过咖啡师十余年了，我觉得它是一个重要的平衡，以我的工作室的时候，所以我花了一半的工作日内做一些性格内向，慢，和另一半四处奔波与人交谈一整天。It keepsme from being too much in my own head, and it helps that they offergood healthbenefits.它让我从被太多在我的头上，它可以帮助他们提供良好的保健功效。

Do you have a motto?你有没有座右铭？
Notreally.不尽然。 I have atable in my studio that I got as a hand-me-down in gradschool.我在我的工作室一个表，我得到了在读研究生手我向下。 It has written in sharpie on one edge “lessthinking more stinking”, which I think was the motto of itsprevious owner.它写在骗子在一个边缘“少想多臭”，我认为这是它的前主人的座右铭。I'veadded my own phrase: “get here earliertomorrow”.我已经添加了我自己的话说：“得明天早点来。” As long as I have the discipline to keep gettinghere, hopefully earlier, I think the work will sustainme.只要我有纪律，继续得到这里，希望更早，我认为这项工作将持续我。

我开始与亮粉作为一个本科生在玩弄在2000年美术在波士顿博物馆学校 。 Those paintings weren't very good and many of myprofessors at the time weren't interested in talking about them— ittook a while to find people who would have a dialogue about what Iwas trying todo.这些画是不是非常好，我的很多教授在当时并没有兴趣谈论他们，过了好一会儿找人谁也有一个关于我所试图做的对话。But it'sbeen important to me to work with a material where I have to makeup the rules and find my ownway.但它一直对我很重要一个材料，我不得不作出了规定，并找到自己的方式工作。 When I was a kid in art school, I felt sooverwhelmed by the burden of history in oil paint- like what couldI do that hadn't already been done for hundreds ofyears?当我在艺术学校一个孩子，我觉得很不知所措历史的重任油漆般的我能做到这一点还没有已经做了几百年？Ifigured I'd never be able to paint like Velasquez, so why not tryto do something completely different, youknow?我想我永远无法像油漆委拉斯开兹，那么为什么不尝试做一些完全不同的，你知道吗？

但我觉得我已经帮助了，伤害了大多数由我自己的固执。 I'm verypersistent, and a bit of a plodder- I'll keep working with the sametechnique, trying to push and refine what I can do with it, but thebig leaps in my process have usually come after several years ofpeople suggesting that I try something- exposing the wood panel,for instance, or mixing my own neutraltones.我很执着，有点沉重行走，我会继续用同样的技术合作，努力推动和完善我可以用它做，但在我的过程中，大的飞跃都通常会经过数年的人这表明我尝试的东西，露出了木板，例如，或混合我自己的中性色调。
FinallyI give in and try it, and pow!最后我让步和尝试，并POW！Itchanges everything.它改变了一切。

金葱充斥着关联，它可能意味着媚俗，魔法，或女人味。 And certainly it's more readily connectedto craft making than art, and therefore might be consideredlowbrow— how do you think your work plays with theseassociations?当然它更容易连接到工艺制作不是艺术，因此可能会被视为低俗，你怎么看待你的工作与这些协会发挥？

我喜欢让我的作品的主题推升对内涵的闪光已经进行，通过意外增加重量，通过暴力，或艺术历史典故，或正式的细微差别。Glitteris crafty?金葱粉是狡猾？ Ok, here's a baroquepieta.好吧，这里是一个巴洛克式的圣母怜子图。 Glitter is feminine?金葱粉是女性？Ok,here's a glittery painting of a girl kicking yourass.好吧，这里有一个女孩踢你的屁股闪闪发光的画。

我希望人们最初看到的物质和被它迷住了，但随后的内容来着，我的希望是，该组合是不和谐或意外，因此挑衅性的和有意义的。

什么是你目前的启发，在那里你正在阅读的特别的东西，听或看，以推动你的工作？
我是一个大的读者，但我不一定看的东西，对我的工作立刻得到直接的影响。 Things tend to percolate for awhile.事情往往渗透了一会儿。 Right now I'm going back and forth between ahistory of Oakland by Ishmael Reed, an intense Alice Sebold bookabout a woman who murders her elderly mother, a homesteader epic byWallage Stegner, and a nonfiction audiobook about the history ofplastic.现在，我来回奥克兰由伊什梅尔里德，强烈的爱丽丝Sebold书约一个女人谁谋杀她年迈的母亲，一个自耕农史诗由Wallage斯特格纳和非小说有声读物关于塑料史上的历史之间。Netflixsays that I like “visually striking dark movies with a strongfemale lead,” which I think is a pretty apt description of lix的说，我喜欢“具有较强的女主角视觉冲击黑暗的电影，”我认为这是我的工作的一个非常贴切的描述。

什么是有一个物理空间，使艺术的均值为您的过程，你如何让你的工作空间？
Having aspace outside my home is essential tome.有一个空间，我家外面是必不可少的了。 Partly, because my medium is so messy, and partlybecause I'm pretty easilydistracted.部分原因，因为我的媒体是如此凌乱，部分是因为我很容易分心。 Left to my own devices at home, I would probablymake pickles and putter in the garden rather than get any paintingdone.留给我自己的设备在家里，我可能会做泡菜和推杆在花园里，而不是得到任何绘画完成。I try tokeep my space as free of distractions as I can- noInternet!我尽量保持我的空间免费杂念尽我所能，不上网！

您最近完成了你的卡拉瓦乔的项目，在其中解释了他的组成和叙述，但带来一个更现代的感性（和闪光！）的作品。Can you tell us more about thatprocess?你能告诉我们更多关于这个过程？
With theCaravaggio project I wanted to bring a personal take to SanFrancisco's queercommunity.与卡拉瓦乔的项目，我想带个人拿地旧金山的同性恋社区。 I worked collaboratively with the models (all ofwhom are my friends) to come up with concepts for thepaintings.我的工作与合作的模式（所有的人都是我的朋友）来与概念的画作。 I took photos of the models in their apartments,discussed ideas, and worked fromthere.我拍了照片的车型在他们的公寓，讨论的想法，并从那里工作过。 Each person brought something of their own to theproject.每个人都带来了自己的东西到项目中。 The Caravaggio series very much falls in linewith my interest in combining storytelling withportraiture.在卡拉瓦乔系列非常落在我与肖像画结合讲故事的利益。

有什么事你当前正在使用，或者是兴奋的开始，你能告诉我们什么呢？
At themoment I've got two bodies of work going in mystudio.目前，我已经得到了两个工作机构要在我的工作室。 One is an attempt to tie together work that isart historical, three-dimensional, and references still lifearrangement.一个是企图绑在一起的工作，是艺术史，立体，和引用仍然生活安排。I'vebeen thinking a lot about the still life Vanitas paintings of theBaroque period and Golden Age of Dutch Art, and the mortality anddecay in the beautiful things of theworld.我一直在思考了很多关于巴洛克时期的静物画VANITAS与黄金时代的荷兰艺术，和世界的美好事物的死亡和腐烂。I'vebeen doing skulls and fruit and flowers both in paintings, and alsoexperimenting with 3D, which is very new tome.我一直在做无论是在绘画的头骨和水果和鲜花，也有3D，这是非常新的给我尝试。 It's been fun to play with somethingnew.这是很有趣的东西新的发挥。

I'm alsostarting a series of full-length, life size portraits of burlesqueperformers, with poses based on royal portraiture, very elegant andpowerful with lots of sequins and feathers in thecostuming.我也开始了一系列的全长，真人大小的滑稽戏演员的肖像，基于皇室肖像画，非常优雅和强大的，有很多亮片和羽毛的服装的姿势。I'mstill in the middle of photo shoots for those, so it's early daysyet, but I'm really excited aboutthem.我仍然在照片中间拍摄的那些，所以它的尚早，但我真的很兴奋。 Working with models who are professionalperformers has been great because they know their bodies well andreally understand movement andangles.配车型谁是专业演员的工作一直是伟大的，因为他们知道自己的身体很好，真正理解运动和角度。

你怎么定位的艺术世界？
I guessI try to just be genuine and remember that the art world is alljust people, and keep things cooperative rather thancompetitive.我猜我尝试只是真正的，记住，艺术世界是一切正义的人们，并让一切合作而不是竞争。Ifthere's something I can do to help somebody out it'll probably comeback around to me in one way or another, especially since the BayArea art scene is so small andinterconnected.如果有什么事情我可以做些什么来帮助别人了它可能会回到我的身边对我这种或那种方式，尤其是海湾地区的艺术场面是如此之小，相互关联的。I feellike there's a difficult balance between the part of being in theart world that involves hunkering down and making things, and thepart that's about getting out, getting inspired and doing thenetworkingthing.我觉得自己有在艺术的世界，涉及蹲下下来，使事情成为了一部分，一部分是关于失控，得到启发，做网络的事情之间取得平衡。I'vebeen in hermit mode a little too much lately, but I'm making aresolution to get out more, go see things in person, reconnect withpeople.我一直在隐士模式有点太多了最近，但我正在做一项决议，多出去走走，去看看事情的人，重新与人。

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梦想与现实之间的磨合让我读懂很多生活的语言，风虽改变了方向，却没有改变我的行程-----

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