CYE × 邹子瑶：梦中的“怪物”
收录于话题
邹子瑶描绘的“怪物”，是依存着生物混合体的存在，来自于自我内在的投射。它是外界威胁的象征，亦是内心深处的敌人。
The ‘monster’ depicted by Zou Ziyao is an existence dependent on a mixture of organisms, a projection from within the self. It is a symbol of the threat from the outside world and an enemy from within.
这些“怪物”诞生于各种文化的影响之下，但不属于任何一个传说故事也不具备明确的身份。她说：“我对人类处境的探索，源于对身份定义的困惑和多元文化背景带来的内在冲突。在局势动荡的环境里，文化，政治和个人利益相关的冲突混杂在一起；许多概念变得模糊不清，需要不断再次分辨新的对错，令人难以找到平静和平衡。”
These ‘monsters’ were born under the influence of various cultures, but do not belong to any one legend or have a clear identity. She says, ‘My exploration of the human condition is rooted in the confusion of defining identity and the inherent conflict of a multicultural context. In a volatile environment, where conflicts related to cultural, political and personal interests mix; where many concepts become blurred and new rights and wrongs need to be constantly discerned again, it is difficult to find peace and balance.’
“即兴创作”(improvisation)，给艺术家创作过程中激发出来很多新的刺激，艺术家的灵感在创作中由被动接受化为主动生发。这种创作手段给艺术家带来很多元的形式和不确定性，这种方式生发于偶然带有些许荒谬，但它需要创作者对于四处滴溅的颜料、随机生成的画面构成等做出快速的决选和反应。邹子瑶在创作中，对于“即兴”的把控，不是仿照波洛克那样对于偶然极致的画面呈现。她在画面中更多想要寻求的是有意识的创作与意外之间一个微妙的平衡。
‘Improvisation’ (improvisation), gives the artist a lot of new stimuli in the process of creation, and the artist's inspiration is transformed from passive acceptance to active generation in the process of creation. This means of creation brings the artist a lot of meta-forms and uncertainty, which is born by chance with a little bit of absurdity, but it requires the creator to make a quick decision and reaction to the splattering of paint and randomly generated composition of the picture. Zou Ziyao's control of ‘improvisation’ in her work is not modelled on Pollock's extreme presentation of chance. Instead, she seeks a delicate balance between conscious creation and accident.
抽象的颜料痕迹将在想象力的影响下转换为具象的图像，因为她渴望给予观众一个观看的切入点。
Abstract traces of paint will be transformed into figurative images under the influence of imagination, as she aspires to give the viewer an entry point for viewing.
“材料自身特性给予的启示，比如木板上的纹理和颜料在棉布上的蔓延痕迹，总是带有一种自然生长的合理性，使这种创作方式具有一种占卜的仪式感。仿佛中世纪解读茶叶的巫师一样，我在自己潜意识的引导下翻译着自然带给人的灵感。”
‘The revelations given by the material's own characteristics, such as the texture on the wooden boards and the spreading traces of paint on the cotton fabric, always carry a rationality of natural growth, giving this way of creation a sense of divination ritual. As if a medieval wizard interpreting tea leaves, I am guided by my own subconscious to translate the inspiration that nature brings.’
“我对人类处境的探索，源于对身份定义的困惑和多元文化背景带来的内在冲突。在局势动荡的环境里，文化，政治和个人利益相关的冲突混杂在一起；许多概念变得模糊不清，需要不断再次分辨新的对错，令人难以找到平静和平衡。”
‘My exploration of the human condition is rooted in the confusion over the definition of identity and the inherent conflict that comes with a multicultural background. In volatile environments where conflicts related to cultural, political and personal interests mix; many concepts become blurred and the need to constantly discern new rights and wrongs again makes it difficult to find peace and balance.’
“在怀疑和探索中，我开始追寻人类的共同特质——例如对生命的庆祝和对幸福的追求，作为在摇摆不定的危险时刻唯一稳定的中心。这种对人类共同点的关注，在我的作品中显现为对我们本质的哲学探讨，以及我们是否能在共同的经历中找到共鸣和解答。”
‘In the midst of doubt and exploration, I began to trace common human traits - such as the celebration of life and the pursuit of happiness - as the only stable centre in times of wavering danger. This focus on human commonalities reveals itself in my work as a philosophical exploration of our nature and whether we can find resonance and answers in our shared experiences.’
对万物的感受和对意识里平衡的异质形态，经过她的处理走进画面中，像是梦境般的运作，记忆与幻想在其中被裂解成碎片，再重新拼接，交织出意料之外的景象。
It is a work in which memories and fantasies are cracked into fragments and reassembled, interweaving unexpected sights.
好像毛毛虫一样哎。
邹子瑶
零零年生人
2023年毕业于芝加哥艺术学院
现工作生活于芝加哥和深圳
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个展：2023 邹子瑶个展 Habitat 栖息地 伯年艺术空间 北京798/群展：2021 红眼艺术节 重庆；魔女的盛宴艺术节 深圳；沸腾Partyer 空体 深圳/2023 Winter Dreams, A Very Serious Gallery 芝加哥 美国；4C Exhibition 2023Q1 4C Gallery 圣加布里埃尔 美国；华丽的冒险 山上艺术空间 X 津波社 厦门；芝加哥艺术学院本科毕业展 芝加哥 美国；陌生的名单 山上艺术空间 厦门；2023 艺术家工作室开放 Takt Berlin 柏林 德国
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