Absent Gallery 闲聊

Absent Gallery:

How would you describe your creation?

你会如何讲述自己的创作?

増媛:

我的创作大多来源于我潜意识里已经形成的一些画面，它们是我的幻想和我的现实生活交汇处的剪影，记录它们出于我身为人类的一种本能，而用绘画这种方式和媒介去记录则是我有意为之的选择，因为绘画对我而言是一种绝对诚实的艺术，我可以对任何人撒谎，我甚至会在我的日记中隐瞒或夸大一些事，但我无法对面前那块空白的画布撒谎。艺术创作对我而言是一个种将个人融入到画面的体验，在这个过程中包含了我的每一次犹豫、思索、每一个激动与不安，我的绘画创作是与我的情绪和性格最无限贴近的产物。所以我会将我的艺术创作看作为我内心世界的外现，这其中当然不止单纯是情绪，也包含了我对周遭世界的发问。

Most of my creations come from some images already formed in my subconscious, they are the silhouettes at the intersection of my fantasies and my real life, recording them out of a kind of instinct that I have as a human being, and recording them in the way and medium of painting is a conscious choice I made, because painting is an absolutely honest art for me, I can lie to anyone, I will even hide or exaggerate some things in my diary, but I can't lie to the blank canvas in front of me. I can lie to anyone, I may even hide or exaggerate some things in my diary, but I can't lie to the blank canvas in front of me. Art creation for me is a kind of personal experience into the picture, in this process contains my every hesitation, thought, every excitement and uneasiness, my painting creation is the product of the most infinite close to my emotions and character. Therefore, I would regard my art creations as an expression of my inner world, which of course is not only purely about my emotions, but also includes my questions about the world around me.

Absent Gallery:

What factors have influenced your creation?

请谈谈你的艺术创作受哪些因素影响?

増媛:

1. 我的痛苦和我对痛苦的反思

虽然这样回答会显得有些俗套，但事实的确如此。

我从我个体身上存在的小痛苦中看到无数东亚女性生命与生活中普遍留存的身份困惑，并去剖析这种痛苦的历史根源从而获得心理上的解脱。

2. 我母亲

她一直都是对我影响最深刻的人，我无数次在绘画中表达我对她以及她所代表的女性形象的爱与反叛，我将这种过程形容成一次精神弑母，我也通过无数次反思与她之间的情感关系，确立了"如何逃离社会对女性的固有期望”为我的长期创作主题。

1. My suffering and my reflections on it

Although this answer may seem a bit cliché, it is true.

I see the identity confusion that is common in the lives of countless East Asian women in my own small pain, and analyze the historical roots of this pain in order to achieve psychological relief.

2. My mother

She has always been the most profound influence on me, and I have expressed my love and rebellion for her and the female figure she represents in my paintings countless times, which I describe as a process of psychic matricide, and through countless reflections on my emotional relationship with her, I have established "how to escape from society's inherent expectations of women" as the theme of my long-term creative work.

Absent Gallery:

What are your upcoming plans or expectations for the artwork?

未来对作品有什么计划或期待?

増媛:

我一直都是一个对自己未来的规划蛮笃定且明确的人，我希望艺术创作可以成为我终身的职业，所以可预见性的事情是，我的作品风格商业艺术靠拢，这是我正在学习并说服自己接受的事情，虽然短期内（也许是十年）我还是会围绕自己喜欢的主题去创作，不去考虑我的作品能否画廊接受，但在我的长期规划里，我会将如何平衡作品的商业价值和我身为创作者的初心作为我恒久的人生命题去研究。

I have always been a person who is quite certain and clear about my future plans, I hope that art creation can become my lifelong career, so the predictable thing is that my style of work is close to commercial art, which is something I am learning and convincing myself to accept, although in the short term (maybe ten years) I will still create around my favorite themes, not to think about whether my work can be accepted by the gallery, but in my long term plan I will be how to balance the commercial value of the work and my initial intentions as a creator as a constant proposition in my life to be investigated.

Absent Gallery：

Please use one word to describe "Prelude". or describe in one word how you feel about "Prelude".

请用一个词汇描述“序幕”或者 用一个词汇描述对“序幕”的感受/想法。

増媛:

“空白"

序幕这个词在我脑海中的视觉印象是暗红色的实木舞台被厚重的白色缎布挡住，夜色降临时幕布缓缓拉起，白色的光束打在空空如也的舞台上，一场好戏即将开始，一切都是空白的。"Blank."

The word prelude has a visual image in my mind of a dark red solid wood stage blocked by a heavy white satin cloth, the curtain slowly drawn up as night falls, white beams of light hitting the empty stage, a good show about to begin, and all is blank.