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(空間音楽)

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- [ハイディ] 時折、私に何をすべきか

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土が語りかけている気がします

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私は無慈悲な貴婦人に従うしかありません

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(怪しげな音楽)

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私は媒介だと思い知らされます

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何かが私や私の手を通って直接土へいくのです

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私が彫刻しているというより

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私が作り直されているようです

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(ハイディが笑う)

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魂の水路のようなものです

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私の名前はハイディ・ルウ[br]彫刻家です

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土を主に扱っています

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(鳥のさえずり)

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本当にやさしく土を触っている時

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土の中に潜り込んでいきます

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層を作っていく作業の連続です

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全て独学です[br]私のしていることはただ

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土を形作って、液状粘土をつけ

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それを作品にくっ付ける[br]それだけです

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手が

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(ハイディの笑い声)

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最も長い間私の作品に登場する

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題材でしょう

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現実的な手を配置したことはありません

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私の作る手は、幽霊のような

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細長いものです

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この世界のものではないと示しているんです

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これはカタコンベでのプロジェクトの

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準備用のスケッチです

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これはアーチです

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作品は天窓から吊るします

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(穏やかな音楽)

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布を被った骨壷を沢山飾ります

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悲嘆の象徴です

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念願でした

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(落ち着いた音楽)

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マカオで育ちました

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中国的な厳しい育児のもと[br]一方では家事を投げ出して冒険へ行く

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ポルトガルの植民地時代の廃墟が沢山あったんです[br]子供の頃はその繰り返しでした

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The Portuguese has built[br]a lot of cathedrals

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and there are a lot of[br]colonial style houses.

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I would spend a lot of time[br]wandering into the structures.

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I'm trying to capture that essence

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of structures you could get lost into.

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(soft music)

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(bell ringing)

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(car hoots)

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- Hi

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- [Heidi] Wing on Wo is a ceramic store

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in Chinatown and it's actually one

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of the oldest running[br]business in all Manhattan.

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I became friends with the[br]owner Mei, five years ago.

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As soon as I stepped into the store,

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it just felt so familiar to me

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'cause I had grew up in a[br]very similar environment.

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I see Chinese diaspora quite similar

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to the way I see how Mei runs her store.

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Rethinking how ceramics[br]could be interpreted,

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or reintroduced to contemporary times.

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If I could close my eyes,

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I could even see like the books[br]my grandpa had on the shelf

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like his garden.

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While it's looking in the past,

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it's also kind of like,[br]gives me a lot of like energy

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to create work both[br]for now and the future.

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And that's why I want to[br]bring you this to like

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'cause I want the actual[br]elements to kind of reference.

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(calm music)

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I started thinking about using clay

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to make a burial garment[br]after my mom passed away.

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As a way to grieve,

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I began to look at a lot of burial objects

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from Han and Qin dynasty

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and also watching a lot[br]of Chinese zombie movies.

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(Heidi laughs)

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(suspenseful music)

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It feels right to grieve with my hands

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doing this very labor[br]intensive, almost the most

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impractical thing you can[br]think of to do with clay.

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The labor of it equals grieving.

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(calm music)

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(birds chirping)

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I started taking very long[br]walks during the residency

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and that's kind of how the project

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at the catacomb[br]started taking shape slowly

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through this aimless, meditative walks.

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It's a daily exercise for myself to empty

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out my own ego when I am[br]able to get to that state

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at the time that I could[br]access this ancestral plane

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and find my way on the other side.

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(calm music)

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(chains clink)

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- Got it.

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(coins clink)

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- I see my work kind of as,

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touch points between very opposing ideas

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between human and spiritual unknown.

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(calm upbeat music)

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I feel like at the core

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of me making work about[br]grief is putting emotion

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into clay and really listening to it.

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It becomes something[br]familiar, something beautiful.

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(calm upbeat music)