诗人问:如果我曾经厌倦画蓝色,我说:不

“ A poet asked if Iever get tired of painting lumpy blue food. “诗人问，如果我曾经厌倦画蓝色块状食物。 No, I don't. ”不，我没有

在俄勒冈州Corvallis的田园小镇，她的安静的街道上，在她的画面，完美的家，茶和饼干后...茱莉让我哭。 The tears came unexpectedly while staring at thelist of death row executions on the Death Penalty InformationCenter site that she was showing Klea andme.眼泪就意外地在死囚处决的死刑信息中心网站，她展示KLEA和我的名单，同时盯着。I feltembarrassed.我觉得很尴尬。 But Julie looked at me and said, “It's good tosee you react sostrongly.”但朱莉看着我，说：“这是很好的，看你这么强烈的反应。”

Hard-hitting experiences often happen in the mostunlikely of places.强硬的经验往往发生在最不可能的地方。 I've always known this to be true, but ourWESTERN EDGE trip really drove ithome.我一直都知道这是真的，但我们的西部边缘之旅真的开着它回家。 On the road there is no predictability, no realroutine, and even the most run-ofe-mill moments take on amemorable quality.在路上，没有预见性，没有真正的套路，甚至 -的磨的运行时刻，大多数采取一个难忘的质量。 Forexample, I will forever remember a gas station conversation I hadwith a stranger in O'Brien, Oregon because while standing there Iknew I'd never see that wide smile and rumpled, generous lookingfaceagain.例如，我会永远记住一个加油站的交谈，我曾与在奥布莱恩，俄勒冈州一个陌生人，因为虽然站在那里，我知道我从来没有看到灿烂的笑容和皱巴巴的，大方的脸了。As wedrove in and out of each town, meeting all kinds of people alongthe way, I realized my expectations were always overturned, thrownoff course, or done away withcompletely.当我们驱车在每个镇的进出，满足各类一路走来的人，我意识到我的期望总是朝天，揭去过程中，或具有完全免掉。So bythe time we reached Corvallis to meet with Julie I had learned toassume nothing… but still she brought way more to our visit than Ihad bargainedfor.所以的时候我们到达科瓦利斯与朱莉以满足我学会了承担什么......但她还是带来了更多的方式向我们的访问出乎我的意料之外的。As did her exhibition The Last Supper: 500 Plates that wewere lucky enough to see and document at Marylhurst University'sThe Art Gym.象她的展览最后的晚餐：500板 ，我们有幸看到并记录在MarylhurstUniversity旅游的最先进的健身房。 Nothingcan really prepare you for the experience of that installation— 500blue and white plates, all hung together, of the final meals ofdeath row inmates…some simply stating “made no last mealrequest.”没有什么能真正为你准备了安装-500蓝色和白色板的经验，都挂着死刑犯的最后一起吃饭，......有的干脆指出“没有做的最后一餐的要求。”

朱莉并没有告诉我们死刑犯处决名单震撼我们-查看该列表是她日常工作的组成部分时，她的作品在最后的晚餐，一个正在进行的项目，目前由最后一餐的要求从552手绘板死刑犯（和她致力于继续，直到死刑完全取消）。 During our visit Julie took us through her entireprocess step-by-step, beginning with her daily online research toletting us watch her paint a last meal in cobalt blue on acarefully chosen second-handplate.我们访问期间茱莉带着我们穿过她的整个过程一步一步的，与她每天上网研究，以让我们看她作画的钴蓝一最后一餐上精心挑选二手板开始。Whether she's working on The Last Supper orher more personal narrative paintings , an established routine isessential to her artpractice.无论是她的工作在最后的晚餐或她更个人化叙事画 ，一个既定的程序是必不可少的她的艺术实践。 She splits her year up quite practically,alternating every six months between The Last Supper andher narrative work, fully focusing on one project at atime.她打出了她一年了相当务实，交替最后的晚餐和她的叙事之间的工作，每半年，完全专注于一个项目的时间。Intalking with Julie about her work it's apparent nothing isrushed;在与朱莉谈她的工作很明显是没什么赶到; details are executed laboriously, decisions arecarefully weighed, opportunities are taken deliberately, and inbetween each uttered sentence she allows herself long silent pausesto find the rightwords.详情费力地执行，决定仔细权衡，机会是故意拍摄，并在每个发话句子之间，她让自己长的无声停顿找到合适的词语

另一件事我注意到，朱莉并没有真正说对她的工作。 Throughout our entire visit she never directlyspelled out her thoughts on The Last Supper or even hernarrative paintings and she certainly didn't talk much about whatshe specifically hopes to elicit in herviewers.纵观我们整个访问，她从来不直接叙述，她在最后的晚餐，甚至她的叙事作品的想法，她肯定没有多谈什么，她特别希望能在她的观众引出。 Instead she told anecdotal stories aboutexperiences she had that provoked questions forher;相反，她讲述了她的经历有这样的问题，挑起她的逸闻趣事; questions that ended up prompting her differentbodies of work, and that perhaps still remain unanswered… But whatthe stories she told revealed is that sometimes even when you getan answer, you have to keep askingquestions.问题，最终促使她不同的工作机构，这或许仍然未回答的......但她讲的故事揭示的是，有时，甚至当你得到答案，你必须不断地问问题。This isthe story she told us when I asked how The Last Supperstarted:这是她告诉我们，当我问最后的晚餐是如何开始的故事：

我当时住在俄克拉荷马州和我会读晨报。 In the paper they would print about theexecutions that had happened the night before.在论文中，他们将打印有关这种情况发生的前一天晚上处决。 They would print who it was, what they werewearing, and what they had for their final meal.他们将打印谁是，他们都穿着和他们有什么自己的最后一餐。 I hadn't thought about final mealsbefore. 我以前从来没有想过最后的饭菜。 I guess I knew we had them, but I hadn'tgiven it much thought.我想我知道我们有他们，但我没有给它太多的思考。 Seeing that in the newspaper first thing inthe morning, well, I had a lot of questions… When I started thisproject the first phone call I made was to the newspaper and theprison and I asked “Why is this in the paper” and both the pressand the prison warden said, “The public wants to know.”眼看在早上报纸的第一件事，好了，我有很多问题......当我开始这个项目的第一个电话我做了报纸和监狱，我问：“为什么是这个的文件”和无论是记者和监狱监狱长说，“公众想知道。”

Thatanswer was a can of worms, obviously prompting more questions forJulie instead of silencingthem.这个问题的答案是忌讳的话题，显然促使更多的问题，而不是沉默他们朱莉。 It elicits so many questions for me, too…regarding our justice system and death row, the ritualistic aspectof meals and our relationship to symbolic social acts, our sharedmorbid curiosity, the politics of comfort, punishment and death,and the issue of humanizing everyone no matter what they havedone.它引出这么多的问题对我来说，太......关于我们的司法系统和死囚，三餐的仪式方面和我们的​​社会象征性的行为，我们的共同病态的好奇心，舒适，惩罚和死亡的政治关系，以及人性化的问题每个人，无论他们做了什么。

即使是现在，远离科瓦利斯， 最后的晚餐还是让我想哭。

你会如何形容你的题材或你的工作内容？
Half of each year, I paint The Last Supper , illustrating finalmeal requests of US death row inmates.每年上半年，我画最后的晚餐 ，说明美国死刑犯最后一餐的要求。Theother six months, I work on other paintings, in full color, aboutlife.另一方六个月，我的工作在其他画作，在全彩色，生活。 For my narrative work I keep a big ledger bookthat I put all my ideas in so that I rememberthem.对于我的故事我的工作保持大帐书，我把我所有的想法，让我记住他们。 Much of this imagery is evoked from memory soeverything looks a bitdreamlike.这大部分的图像从内存中诱发所以一切看起来有点梦幻般的。 For The Last Supper , I have a book inwhich I've collected images, cut out of grocery store fliers, torefer to while painting food requests.对于最后的晚餐，我有一本书，我已经收集到的图像，切出的杂货店传单，指而画的食品要求。

做你的工作有什么媒介？
Ideaequals material.想法等于材料。 It depends on the project.这取决于项目。Lately,I am using a lot of mineral paint on plates, as well as egg temperaon panel.最近，我使用了很多关于平板矿物涂料，以及面板上的蛋彩画。 For The Last Supper , cobalt bluemineral paint is applied to second-hand plates then kiln-fired bytechnical advisor Toni Acock.对于最后的晚餐，钴蓝色矿物涂料被应用到二手板，然后窑烧制由技术顾问托尼Acock。 It turns out that blue is the most difficultmineral paint to apply.事实证明，蓝色是最困难的矿物涂料适用。Luckily,I didn't know this when I began!幸运的是，我不知道这个时候我开始了！Blue onwhite ceramics feels and looks right tome.蓝白色陶瓷的感觉，看起来我的权利。 My approach to the process is a bit artbrut;我的方法的过程是一个有点艺术香槟; I'm not following the traditional, thin layeringtechniques of china painting.我不是下中国绘画的传统的，薄的分层技术。Acock'sexpertise is essential in firing my thickly applied k的专长是在我的射击厚厚地应用于油漆是必不可少的。

You have quoted Andy Warhol saying theartist of the future will simply point… and stated that you paintto point— can you tell us more about thisintention?你所引用安迪·沃霍尔说未来的艺术家会简单点......并说你画的点，你能告诉我们更多关于这个打算？
I aminspired by contemporary society.我对当代社会的启发。Iresearch, and then I point.我研究，然后我点。 This is true for The Last Supper as well as thenarrative paintings and Wallpaper .这是真正的最后的晚餐，以及在叙事绘画和壁纸 。

您正在进行的系列， 最后的晚餐，一直是13年的追求，通过最后一餐的要求画在陶瓷板的亲密肖像，揭示了人类在死囚牢房。 How did this projectbegin? 这个项目是如何开始的？When will it end?世博会什么时候结束？
Oklahomahas higher per capita executions thanTexas.俄克拉何马州具有较高的人均处决比得克萨斯。 I taught there, and that is how I came to readfinal meal requests in the morningpaper.我留校任教，那就是我怎么来读的最后一餐请求的晨报上。 Requests provide clues on region, race, andeconomic background.请提供有关地区，种族和经济背景的线索。 A family history becomes apparent when IndianaDepartment of Corrections adds “he told us he never had a birthdaycake so we ordered a birthday cake forhim.”家族史变得明显时更正印第安纳部补充道：“他告诉我们他从未有过一个生日蛋糕，所以我们点了一份生日蛋糕给他。”

Stateswith the highest numbers of executions make up the bulk of theseries.国处决的人数最多占主体的系列产品。 Texas recently had its 500th execution, a blackfemale.最近，得克萨斯州有它的第500个执行，一个黑人女性。 Texas is the only death penalty state that doesnot offer a final mealselection;得克萨斯州是唯一死刑的状态，不提供最后一餐的选择; they now serve the standard prisonmeal.他们现在所服务的标准监狱餐。 California has few executions, but has a hugedeath row population.加州有几个处决，但有一个巨大的死囚人口。Thisyear, to point a finger at California, I painted twenty FolsomState Prison menus from1896-1955.今年，指向一个手指在加州，我画从1896年至1955年20福尔瑟姆州立监狱的菜单。

Now thatthere are 552 plates, shipping and installation of fragile ceramicsis quite an undertaking.现在，有552片，航运易碎的陶瓷和安装是相当的承诺。I amlooking for a library or a university or a museum- in Texas wouldbe great—to donate the project on a ten-year loan. The LastSupper is not forsale.我在找一个图书馆或大学或博物馆，在得克萨斯州将是巨大的，捐了十一年的贷款项目。最后的晚餐是不卖的。

I planto continue adding fifty plates a year until capital punishment isabolished.我打算继续增加每年50板，直至死刑的废除。 A poet asked if I ever get tired of paintinglumpy blue food.诗人问，如果我曾经厌倦画蓝色的块状食物。 No, I don't.不，我没有。

除了 ​​你的艺术实践，你在任何其他方面的工作为何？
I am aProfessor of Art at Oregon State University, where I'm blessed withamazing students and terrific support for myresearch.我是艺术系的教授在俄勒冈州立大学，在那里我很幸运只有惊人的学生和我的研究的鼎力支持。I gardenorganically and produce many of the fruit and vegetables weconsume, practice yoga daily, and am an environmentalist, puttingmore miles on the Gazelle bike than the car eachyear.我园有机地产生许多水果和蔬菜我们的消费，练习瑜伽，每天和我一个环保主义者，把更多的英里的瞪羚自行车比汽车每年。I try tocontribute in positive ways.我试着以积极的方式作出贡献。As myyoga teacher Sujita says, In the end, it just comes down toservice.正如我的瑜伽老师Sujita说，最终，它只是归结为服务。

What are you presently inspired by— arethere particular things you are reading, listening to or looking atto fuel your work?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？
Less,rather than more.少，而不是更多。 I attempt to set up life to have fewdistractions: no TV, nosofa.我试图建立的生活有一些分心：没有电视，没有沙发。

My husband Clay Lohmann is the greatest inspiration in mylife.我的丈夫粘土罗曼是我一生中最大的灵感。 We have been together 25years.我们一直25年在一起。 He is my best critic and bestfriend.他是我最好的评论家和最好的朋友。 We were both trained as painters, and now usetraditional craft mediums.我们都是受过训练的画家，而现在使用传统工艺介质。Hequilts, I paint on ceramics.他被子，我画在陶瓷上。 Clay is my personal librarian, and brings mestacks of new editions from our wonderful downtownlibrary.粘土是我个人的图书管理员，并给我带来栈新版本中的从我们的精彩繁华库。I read agreat deal of non-fiction.我读了很多非小说类的。 This week I am reading Matthew Goodman'sEighty Days , a fascinating and accurate account of twowomen journalists' 1889 race around theworld.这个星期我读马修·古德曼的八十天，一个迷人的和准确的帐户的世界围绕两个女记者“1889种族。 Eckhart Tolle's A New Earth gives mehope.埃克哈特托尔是一个新的地球给了我希望。Severalother books that are important to process are Virginia Woolf'sA Room of One's Own , Joe Brainard's I Remember ,and The Essential New York Times Cookbook - only AmandaHesser can write a timeline that makes you laughaloud.其他一些书籍，是很重要的过程是弗吉尼亚·伍尔夫的房间一个人的自己，乔布雷纳德的我还记得 ，和必要的纽约时报食谱-只有阿曼达的HESSER可以写一个时间表，让你笑出声来。

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？
Artmaking is a meditation for me.艺术创作是一种冥想对我来说。Having aclean sparse studio with northern light is my ideal, and that iswhat I have.有一个干净的稀疏工作室与北极光是我的理想，那就是我。

Is there something you are currentlyworking on, or are excited about starting that you can tell usabout?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？
Yes! Set is a series of narrative plates,each displayed in front of an accompanying painting.是的！集是一系列叙事板，每个在随后的画前显示的。Byplacing a painted porcelain platter directly in front of acompleted egg tempera panel, I am critiquing the hierarchy ofWestern materials andtechniques.通过将一个绘瓷盘片直接在已完成的蛋彩画面板的前面，我批判西方的材料和技术的层次结构。Oilpaint, egg tempera, and bronze have long been considered thehigh-art mediums in the US andEurope.油画颜料，蛋彩画，和青铜一直被认为在美国和欧洲的高的艺术媒介。 Mineral painting, on the other hand, ismarginalized as women's work, a craft often delegated to Christmasornaments.矿物绘画，在另一方面，被边缘化的妇女工作，一门手艺往往委托给圣诞饰品。Ceramicsset in front of the panel also obscures the “real”painting.在面板前面设置陶瓷也掩盖了“真实”的绘画。 We are forced to rubberneck to seeit.我们被迫rubberneck看到它。 These retables depict events that are bothpersonal and political, such as Ronald Reagan andMe.这些retables描绘了包括个人和政治事件，如里根和我。 In high school I was a lifeguard at GreenwoodPool in Des Moines, Iowa.在高中时我是一个救生员在泳池格林伍德在得梅因，爱荷华。RonaldReagan was a lifeguard at the same pool fifty yearsearlier;罗纳德·里根是一个救生员在同一个池50年前; we sat on the same stand.我们坐在同一立场。Theplates are functional and made to beused.所述板的功能和制造中使用。 We eat pecan bars off Ronald Reagan's chest,while his mate, the painting on wall, lookson.我们吃山核桃酒吧关闭罗纳德·里根的胸膛，而他的队友，墙壁上的画，看起来。

其中其他艺术家也许你的工作是与谈话？
Besides Clay, I am in conversation with RogerShimomura , Lisa Cole-Kronenburg , Rachel Hines , DeborahBrackenbury , Jaune Quick-to-See Smith , and Don Kottmann about mywork.此外粘土，我与谈话罗杰下村 ， 丽莎·科尔-克罗嫩堡 ， 雷切尔海因斯 ， 德博拉Brackenbury ，云庭快捷到见史密斯 ，和唐KOTTMANN对我的工作。 Giotto, Goya, Fay Jones, and Judy Chicago areimportant influences.乔托，戈雅，费伊·琼斯和朱迪芝加哥是重要的影响。

Specificto the final meals, many others are doing work on final meals andPete Brook has a comprehensive list on hissite.具体到最终的饭菜，很多人都在做最后的餐点和皮特布鲁克在他的网站上的完整清单的工作。Pete Brook— The Last Meals of the Executed: ASelection of Projects in Photography and Painting.皮特布鲁克-最后的膳食的执行的：项目在摄影和绘画选择。

你怎么定位的艺术世界？
Slowly.慢。

I havemuch to be grateful for.我有许多要感谢的。 Recently I was honored to receive a Joan MitchellPainters and Sculptors Grant.最近我很荣幸地收到琼·米切尔画家和雕塑家格兰特。It isencouraging for a painter working quietly in Oregon to be noticedby a major New York artfoundation.令人鼓舞的是，对于一个画家要由主要的纽约艺术基金会注意到在俄勒冈州默默工作。Friendshave said my receiving this award restored their faith in thesystem.有网友说我接受这个奖项在系统恢复他们的信心。 In the past few years, T he Last Supperhas generated a great deal of press, far more than I ever imaginedit could.在过去的几年中，T他最后的晚餐已经产生了大量的记者，远远比我想象它可以。 Recognition can bestressful.识别可以很紧张。 The night before an interview with Kirk Johnsonof The New York Times , I was so nervous I almost threwup.与纽约时报的柯克·约翰逊接受记者采访的前一天晚上，我很紧张，我都快吐出来了。Thecurator Deborah Gangwer once told me something that has helped withpublic speaking;馆长黛博拉Gangwer曾经告诉我一些帮助与公众演讲;she said“It's not about you, its about thework.她说：“这不是关于你的，关于它的工作。 Honor the work.”兑付工作。“

它可以是具有挑战性的找到一个平衡点。 Becauseof my opposition to capital punishment, it is easy to promote thatproject.因为我反对死刑，很容易推广该项目。 The narrative paintings, while also political,are subtle.叙事作品，同时也是政治，是微妙的。 It is acurrent goal to find more opportunities to exhibit the Setnarratives.这是一个当前目标寻找更多的机会展示了集叙述。

智慧之语？......座右铭，最喜欢的报价？
Studiopractice is just that.工作室的做法就是这样。 It takes focus andcommitment.这需要重视和承诺。 Unless your mother is in town visiting, Irecommend spending at least three hours, six says a week, in thestudio making work or staring at thewalls.除非你的母亲是在城里参观，我建议的开支至少三个小时，六个星期说，在录音室制作工作或盯着墙壁。Anddon't have your computer in yourstudio.而没有您的电脑在你的工作室。

Twoquotes I live by:两个引号我住：
Stare,pry, listen, eavesdrop.顾盼，撬，听，窃听。
Dieknowing something.知道死的东西。 You are not herelong.你是不是在这里长。
—WalkerEvans沃克·埃文斯

If theonly prayer you said in your whole life was “thank you,” that wouldsuffice.如果你在你的一生说唯一的祈祷是“谢谢”，这就够了。
—EckhartTolle - 埃克哈特托尔

By theway, thank you for your interest in mywork.顺便说一句，感谢您对我的工作的兴趣。

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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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