Scroll down for English
以下文字截取自采访 Elisa Muscatelli 对谈 Sarah Faux, © Theblank.it, 2020 十月
Elisa Muscatelli 艾丽莎 · 穆斯卡特利 ：在你的作品中，从立体主义到席勒，弗兰肯萨勒和克拉斯纳作为重要的参考很容易识别出来，同时融合了非常流行的颜色选择。有没有一种艺术运动是你认同并且对你影响最大的？
Sarah Faux 莎拉·福克斯: 我花了很多时间观察那些关注色彩感知的画家，比如罗斯科充满活力的色域，或者波纳尔所画的隐匿在远处难以辨别的通道中沉睡的狗。我受惠于那些将充满激情的意象嵌入作品的艺术家们，他们的作品看起来总体上是抽象的，比如 Ghada Amer 和 Ellen Gallagher。但归根结底，我是一个当代画家，不断地咀嚼和吐出所带给我的影响，比起20世纪的运动，我更认同我的同龄人。
Elisa Muscatelli 艾丽莎 · 穆斯卡特利 ：经过几年的绘画，你的切割作品出现了。它们让我想起了70年代 DIY 纸娃娃的成年版: 你是如何接近这种风格化的实践的？你对画布的处理有什么变化吗？
Sarah Faux 莎拉 · 福克斯: 我已经做了至少8年的切割作品，甚至先于我的第一次画展。我做它们是为了帮助我整理思考和油画，这些东西在当时都很模糊，并没有像我希望的那样让我在脑海中产生关于身体的体验。从生活中绘画，然后把我所记录的形体剪切下来帮助我意识到身体本身已经看起来非常抽象了。因此，如果我想创作关于抽象感受的绘画，我意识到我不需要把人物弄得那么模糊，而只需要揭示这个人物的怪诞、诡异、固有的抽象本质。
Sarah Faux 莎拉·福克斯 | Tried to Be Two 试图一分为二 | 2020 | oil, pigment and dye on cut canvas 切割布面上油画，颜料和染料 | 183 x 104.5 cm
Elisa Muscatelli 艾丽莎 · 穆斯卡特利：色彩似乎是你艺术实践的中心部分，或者更广义上你的理论兴趣的中心部分---- 尤其让你印象深刻的一本书是玛吉·尼尔森的《蓝花草》 ，在这本书中，蓝色是主观和哲学沉思的中心。你对色彩的方法是什么？你认为它有某种特定类型的精神，你使用在一个象征的水平？
Sarah Faux 莎拉 · 福克斯: 我记得在大学里学过颜料，并且意识到在一种色调的变化中，有一种特定的语言可以表达细微的差别，比如蓝钴色、天蓝色、群青色、普鲁士蓝、靛蓝色等等。玩弄这些细微差别的兴奋感从未消退。色彩的关系会引发我强烈的感觉，包括渴望或喜悦的感觉，以及性欲或不同温度(即热度)的联觉反应。玛吉·尼尔森的蓝花草表现了蓝色的复杂性，我对此感到无比的感激。至于我自己对色彩的理解，我并不认为它是象征性的，因为每种颜色都是变幻莫测的，不可能象征任何一种东西。但是我深深地感受到了这种变化，同样地，我感受到我的身体和情感世界总是在变化，支离破碎，从来没有形成一个静态的整体。
Sarah Faux 莎拉·福克斯 | Bluet 蓝花草 | 2020 | oil, pigment and dye on cut canvas 切割布面上油画，颜料和染料 | 169 x 133.5 cm | detail 局部
莎拉·福克斯（b.1986, 波士顿）在纽约布鲁克林生活和工作，并且于2015年取得耶鲁大学绘画专业艺术创作硕士学位。她于2009年分别取得布朗大学和罗德岛设计学院的文科学士和艺术创作学士双学位。福克斯近期曾在胶囊上海（中国上海），M+B（美国洛杉矶），以及Stems画廊（比利时布鲁塞尔）举办个展。她的作品展出于国内和国际，包括Loyal Gallery（瑞典斯德哥尔摩）、Thomas Erben Gallery（美国纽约）和Fredericks＆Freiser（美国纽约）。福克斯曾在Yaddo艺术中心，于Cuevas Tilleard Projects中在肯尼亚拉穆进行驻留，也曾在斯沃琪和平饭店有驻留经历。
关于她的报道在Cultured Magazine，i-D Vice，artcritical，Surface Magazine，Modern Painters，华尔街日报，Hyperallergic，Artsy和Artsy Asia等杂志上均有发表刊登。
Elisa Muscatelli: If you had to recount your artistic research to someone who encounters it for the first time, how would you describe it?
Sarah Faux: I paint people without clear boundaries, bodies that cannot be seen quickly because they've dissolved into fields of sensation.
Elisa Muscatelli: In your works important references, from Cubism to Schiele, up to Frankenthaler and Krasner, are easily identified and combined with a very pop color palette. Is there an artistic movement with which you identify yourself and that has influenced you the most?
Sarah Faux: I've spent a lot of time looking at painters who play with color perception, like Rothko's vibrating color fields or Bonnard's sleeping dogs hidden within passages of far-out optical mixing. I'm also indebted to artists who've embedded charged imagery into works that read overall as abstract, like Ghada Amer and Ellen Gallagher. But ultimately I'm a contemporary painter, chewing up and spitting out influences constantly, and more identified with my peers than with any 20th-century movement.
Sarah Faux 莎拉·福克斯 | Complicated Game 复杂的游戏 | 2020 | oil, pigment and dye on cut canvas 切割布面上油画，颜料和染料 | 248.6 x 351.6 cm
Elisa Muscatelli: After a few years of painting production, your cut-outs came out. They remind me a lot of a grown-up version of the '70s DIY paper dolls: how did you approach this stylistic practice? And how has your approach to the canvas changed?
Sarah Faux: I've made cut-out pieces for at least 8 years now, and actually they predated my first painting shows. I made them to help me organize my thoughts and my oil paintings, which were really ambiguous at the time and weren't conjuring up bodily experiences as much as I wanted them to. Drawing from life and then making cut-outs of the forms I recorded really helped me to see that our physical bodies look very abstract already. So if I wanted to create paintings about abstract feelings, I realized that I didn't need to obscure the figure so much as I just needed to reveal the figure's weird, shifty, inherently abstract nature.
Sarah Faux 莎拉·福克斯 | Headrush 眩晕 | 2020 | oil, pigment and dye on cut canvas 切割布面上油画，颜料和染料 | 152.4 x 96.5 cm
Elisa Muscatelli: Color seems to be a central part of your artistic practice and more generally of your theoretical interest, in fact, one of the books that particularly struck you is Maggie Nelson's Bluets, in which blue is at the center of a subjective and philosophical meditation. What is your approach to color? Do you think it has a certain type of spirituality that you use on a symbolic level?
Sarah Faux: I remember learning about pigments in college, and realizing there was really specific language for small differences between the variations of one hue, like for example blue - cobalt, cerulean, ultramarine, prussian, indigo, etc. The thrill of playing with those subtle differences has never worn off. Color relationships trigger intense sensations for me, both feelings like longing or joy, and also synesthetic responses like sexual desire or a distinct temperature (i.e. heat). Maggie Nelson's Bluets does justice to the complexity of the color blue in a way that I feel incredibly grateful for. As for my own approach to color, I don't see it as symbolic because every color is too shifty to symbolize any one thing. But I feel that shiftiness profoundly, in the same way, I feel my physical and emotional worlds always shifting, fragmented, never forming a static whole.
Sarah Faux 莎拉·福克斯 | Perfect for Her 于她完美 | 2020 | installation view 现场图
ABOUT THE ARTIST
Sarah Faux (b. 1986, Boston) lives and works in Brooklyn, NY. Faux received her MFA in Painting from the Yale School of Art in 2015. She received a joint BA/BFA from Brown University and the Rhode Island School of Design in 2009. Faux has had solo exhibitions at Capsule Shanghai (Shanghai, China), M+B (Los Angeles, USA) Cuevas Tilleard (New York, USA), Thierry Goldberg Gallery (New York, USA) and at Stems Gallery (Brussels, Belgium). Faux's work has been exhibited in group shows nationally and internationally, including at Loyal Gallery (Stockholm, Sweden), Thomas Erben Gallery (New York, NY) and Fredericks & Freiser (New York, USA). Faux has participated in several residencies including Yaddo (New York, USA), Cuevas Tilleard Projects (Lamu, Kenya) and at the Swatch Art Peace Hotel (Shanghai, China).
Her paintings have been written about in Cultured Magazine, i-D Vice, artcritical, Surface Magazine, Modern Painters, The Wall Street Journal, Hyperallergic and Artsy, among others.