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

(空間音楽)

- [ハイディ] 時折、私に何をすべきか

土が語りかけている気がします

私は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)