(空間音楽)
- [ハイディ] 時折、私が何をすべきか
土が語りかけている気がします
私にはこの無慈悲な貴婦人に従うしかありません
(怪しげな音楽)
私は媒介だと思い知らされます
何かが私や私の手を通って直接土へいくのです
私が彫刻しているというより
私が作り直されているようです
(ハイディが笑う)
魂の水路のようなものです
私の名前はハイディ・ルウ 彫刻家です
土を主に扱っています
(鳥のさえずり)
本当にやさしく土を触っている時
土の中に潜り込んでいきます
層を作っていく作業の連続です
全て独学です 私のしていることはただ
土を形作って、液状粘土をつけ
それを作品にくっ付ける それだけです
手が
(ハイディの笑い声)
最も長い間私の作品に登場する
題材でしょう
現実的な手を配置したことはありません
私の作る手は、幽霊のような
細長いものです
この世界のものではないと示しているんです
これはカタコンベでのプロジェクトの
準備用のスケッチです
これはアーチです
作品は天窓から吊るします
(穏やかな音楽)
布を被った骨壷を沢山飾ります
悲嘆の象徴です
念願でした
(落ち着いた音楽)
マカオで育ちました
中国的な厳しい育児のもと 一方では家事を投げ出して冒険へ行く
ポルトガルの植民地時代の廃墟が沢山あったんです 子供の頃はその繰り返しでした
The Portuguese has built a lot of cathedrals
and there are a lot of colonial style houses.
I would spend a lot of time wandering into the structures.
I'm trying to capture that essence
of structures you could get lost into.
(soft music)
(bell ringing)
(car hoots)
- Hi
- [Heidi] Wing on Wo is a ceramic store
in Chinatown and it's actually one
of the oldest running business in all Manhattan.
I became friends with the owner Mei, five years ago.
As soon as I stepped into the store,
it just felt so familiar to me
'cause I had grew up in a very similar environment.
I see Chinese diaspora quite similar
to the way I see how Mei runs her store.
Rethinking how ceramics could be interpreted,
or reintroduced to contemporary times.
If I could close my eyes,
I could even see like the books my grandpa had on the shelf
like his garden.
While it's looking in the past,
it's also kind of like, gives me a lot of like energy
to create work both for now and the future.
And that's why I want to bring you this to like
'cause I want the actual elements to kind of reference.
(calm music)
I started thinking about using clay
to make a burial garment after my mom passed away.
As a way to grieve,
I began to look at a lot of burial objects
from Han and Qin dynasty
and also watching a lot of Chinese zombie movies.
(Heidi laughs)
(suspenseful music)
It feels right to grieve with my hands
doing this very labor intensive, almost the most
impractical thing you can think of to do with clay.
The labor of it equals grieving.
(calm music)
(birds chirping)
I started taking very long walks during the residency
and that's kind of how the project
at the catacomb started taking shape slowly
through this aimless, meditative walks.
It's a daily exercise for myself to empty
out my own ego when I am able to get to that state
at the time that I could access this ancestral plane
and find my way on the other side.
(calm music)
(chains clink)
- Got it.
(coins clink)
- I see my work kind of as,
touch points between very opposing ideas
between human and spiritual unknown.
(calm upbeat music)
I feel like at the core
of me making work about grief is putting emotion
into clay and really listening to it.
It becomes something familiar, something beautiful.
(calm upbeat music)