WEBVTT

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(水在流動)

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清潔所有木材後

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我把它們浸在水中

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令木材光滑並可再使用

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你看，木材中有一隻小生物

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我一直認為自己是普通的城巿女孩

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我很喜愛動物、植物及昆蟲

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[萬格奇·穆圖：天與地之間]

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(溫柔的小提琴聲)

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大自然走進我的作品

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讓我可以把我的愛與興趣

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融合到細小的生物中

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賦予物們更大的意義

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我希望作品能夠置身於大自然中

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在天空及太陽下、在雨及風中

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一切都整理好

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(小提琴聲持續)

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[萬格奇·穆圖工作室，位於肯亞內羅畢]

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(叮噹聲)

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(嗡嗡的機器聲)

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(叮噹聲)

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我把一隻鳥放在這哨兵的頭上

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很好

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(哨兵在咕噥著)

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雖然我釘了釘子

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但我仍然須用漿糊

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因有些木材較短

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你是否可幫忙溶解這些樹脂？

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我會把這些漿糊塗在上面

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這樣挺好的

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(嗡嗡的機器聲，像電鑽的聲音)

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我通常能同時進行多項工作

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這是我做事的方式

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有時是這裡有一點工作

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那裡有一點工作

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周圍都有事情在進行

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(溫柔的鋼琴聲)

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我在雕塑或繪畫時

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總有一些潮濕的地方

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等待乾燥是很重要的部分

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我須為那些事物分配時間

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有時一塊三面的物件

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將完全影響我最後

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在兩面物件的工作

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我的工學需要很多學習和理解能力

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(輕拍聲)

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(溫柔的鋼琴聲持續)

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(鳥在啁啾)

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我最早童年的回憶

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是在居住的地方Woodley

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很小的平房

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那房子有一層

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外面有個花園

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我記得在花園裡玩樂

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我也記得乾燥的草地

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我們在花園一些禁區

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經常玩玩具

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弄得全身都很骯髒

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那是沒有經過打理的地方

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那些回憶影響我工作的方式

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(鳥在啁啾)

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我就讀天主教學校，全是女生

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我身邊都是女性

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女教師

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女同學

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聖母瑪利亞

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各種的女性事物

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我認為這是全球並廣泛

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是人性的一部分

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我能夠堅持並體現這特質

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這對我是一種永恆的靈感

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(溫柔的小提琴聲)

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["新事物釋放我們" (2019)，大都會藝術博物館]

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我們敬仰女性形象的方式

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貶低真實女性

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那種分裂令我煩擾

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有些事物明顯困擾我們

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很長、很長的時間

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這是我一直尋找的

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(小提琴音持續，另有豎琴的聲音)

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["哨兵"]

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哨兵滿有威嚴

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一直站著

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代表女性

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非常神聖、女性化的形象

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我想確保她是絕對穩定的

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能夠站立

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我發現她們像這些軍人

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守護我和各位

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守護語言

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守護孕育她們的土地

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所以我稱她們為"哨兵"

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我在肯亞長大

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於七、八十年代學習英國地理、歐洲歷史

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我們沒有接觸過非洲文學

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我們甚至沒有看自己的歷史

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遺跡及文化

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因很多肯亞人受基督文化影響

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沒有一個特定的方式看事物

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其實

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當只有單一的聲音或故事

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是較為專橫

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很多問題，且經常是虛構的

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你應該知道

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完整事件要從多個角度反映

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不能只從單一角度反映

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我希望自己能夠講

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我來自這個地方

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我來自這群人中

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因此我決定報讀藝術學校

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而我要朝最高目標進發

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所以我報讀紐約的學校

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(輕快的音樂)

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首先，大學是最容易並有效的途徑

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令我工作

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大型有名的大學

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所提供的工具及物料都沒了

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我冀望能變成認真的藝術家

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但我沒有方法

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一開始便以水彩畫畫

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濕潤及液體的物料

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經常為工作帶來驚喜

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(輕快的音樂持續)

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但我同時明白這種張力

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是我一直尋找的

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我會把從野生、時裝雜誌

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或復古元素中的素材混合

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我會把那些跟我的水彩混合

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我喜歡把它傷塑造在一起

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然後你們將按現在的樣子閱讀

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(龬琴音樂)

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大學發展且規模漸大

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我認為在那時候

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我真正在想攝影的歷史

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攝影及殖民主義帶來的影響

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非常相似

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還有我們如何拍攝"其他人"

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"其他人"被拍攝、包裝並消化

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當看見自己以那種方式呈現

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令你感到自己是受殖民的"其他人"

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而你的形象就變成你認為的

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(小提琴音樂)

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照片帶給我的價錢

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是非常重要

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我認為這些是無法計算的

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但經常有照片

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在畫作背後跳動

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(小提琴音樂繼續)

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結合人與動物

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這跟人的思想一檥久遠

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(不同絲弦樂器的音樂)

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這混合種就如鱷魚類品種

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由一位女性與有力量的動物結合

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[紐約巿，格莱斯頓畫廊]

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我們經常欣賞某種物種

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牠們的優雅與巨大的力量

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曾經我首要做的事

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就是看看一些生物並談論

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"我的天，我希望擁有那種速度或能力。"

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"或隠身能力、或勇氣。"

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(不同絲弦樂器的音樂)

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"MamaRay"是位充滿神秘感的女人

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像海洋

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盾牌

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及光線

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我對於吸引注意力的記號

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十分有興趣

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材質提供影子、風格、燈光及節奏

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激發我們長時間注視事物

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我所有基礎的教學及工作都在紐約

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當我開始展覧，我的根本在那裡

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所以在那裡是合理的

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但曾經有段很長時間

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我不能在羅畢及紐約之間

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往返來回

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在那些年

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我對所謂的家感到煩惱

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(輕柔音樂)

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我明白，"好的。"

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"這是我一直嘗試找出和思考"

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"達到某種方法的秘密"

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可以比較

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並看清自己

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由一個地方

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而這個在其他角度是背景

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有這個背景作支持

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然後就能理解

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(輕柔音樂)

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(鳥在啁啾)

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(嗡嗡的機器聲)

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我在這羅畢工作室裡，泥土予我重要

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因從這泥土可辨認我

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這泥土與我記憶中的童年一樣

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泥土的顏色

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感覺、質感

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泥土濕與乾的狀態

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下雨時的狀態

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我在紐約沒有似曾相識的感覺

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對於紐約的泥土

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我不相信那些泥土

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我認為泥土裡有其他東西

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我沒有放在裡面的

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也不是由大自然開始放在裡面的

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我與大地有距離

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但在這裡，我傾向立即抓住

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泥土的可塑性及顏色

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脆度、顆粒狀態

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