ハイディ・ロウ ー 魂の通り路| Art21 "New York Close Up”

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(空間音楽)
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- [ハイディ] 時折、私が何をすべきか
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土が語りかけている気がします
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私にはこの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
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
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
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
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
子供の頃はその繰り返しでした
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The Portuguese has built
a lot of cathedrals

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and there are a lot of
colonial style houses.

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I would spend a lot of time
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
business in all Manhattan.

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I became friends with the
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
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
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
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,
gives me a lot of like energy

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to create work both
for now and the future.

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

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'cause I want the actual
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
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
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
intensive, almost the most

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impractical thing you can
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
walks during the residency

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and that's kind of how the project

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at the catacomb
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
able to get to that state

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at the time that I could
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
grief is putting emotion

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into clay and really listening to it.

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It becomes something
familiar, something beautiful.

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(calm upbeat music)