渲染织物的拼贴重生 | Romina Schimpf 「艺术访谈」
欢迎来到木牙Make Unique Young Arts，和我们一起探索有机物与无机物的生命过程～
Romina Schimpf将这个过程称为“生锈”。作为视觉艺术家，她将自己对于大自然以及生命的感悟用纺织品展现了出来。今天让我们和Romina Schimpf一起来到木牙MUYA感悟生物与非生物在不同阶段下不断“生锈”的过程吧！
Lives - objects that have the kinetic energy of life. As the master of nature, it has the ability to survive and reproduce.
Abiotic - an inanimate substance.
There is a special process between the beginning and the end of things, we call this process "aging", and time is one of the important parameters used by human to judge the process of material movement. This means that, from the moment we are conscious, all matter begins its own countdown.
Romina Schimpf calls this process "rusting." As a visual artist, she uses textiles to express her feelings about nature and life. We invited Romina Schimpf at MUYA to learn about the process of living and non-living things "rusting" in different stages.
视觉艺术家, 1977年，出生于Misiones (阿根廷)在马拉加大学(西班牙)就读社会工作学位。这种抽象的三维纺织品深受其出生地阿根廷米松尼斯的影响，那里的土壤和岩石的主要特征是由于富含铁的红土矿物的存在而呈现出明显的红色。不仅是这种矿物质的存在和它珍贵的颜色影响和决定了作品，而且这里丰富的植物和动物群，产生了丰富的有机和无机元素的共生关系，它们同时汇聚在一起，在一般生命的不同阶段和过程之间建立一种同质的流动和关系。
Visual artist，Misiones (Argentina) 1977Degree in Social Work, University of Malaga ( spain)The abstract three-dimensional textiles are strongly influenced by their birthplace, Misiones Argentina, where the main characteristic of the soil and rocks is their unmistakable red color due to the presence of iron-rich laterite minerals.Not only the presence of this mineral and its precious color influence and determine the works, but also the exuberant flora and fauna of the place, giving rise to a rich symbiosis of organic and inorganic elements that converge simultaneously to establish a homogeneous flow and relationship between the different stages and processes of life in general.
对于Romina Schimpf 来说构成作品的材料是多样的，不仅根据作品本身来选择，而且要在作品的物质意义、精神层面上与客观统一;这就是为什么金属、植物、纸张、织物、纸织物、颜料，从亚克力到含有金属颗粒的颜料，手工和机器的刺绣线，都与一些坚固而同时又精致的材料(如毡、羊毛、高密度聚乙烯纤维)交织在一起，这些材料是用闪光纺和卢特拉杜尔聚酯纺粘布纺成的。
Textiles express that fusion between living and non-living organisms, that very repetition of nature in every detail, in every being and object. Everything has a beginning and a course in time, aging, which in each work is intrinsically determined by rust.
The materials that make up the works are diverse and are chosen not only according to the piece, but also with the objective to unify in the material sense, the spiritual aspect of the work; That is why metals, plants, papers, fabrics, paper fabrics, paints, from acrylics to those containing metallic particles, embroidery threads by hand and machine are intertwined with strong and at the same time delicate materials such as felts, wool, high-density polyethylene fibers spun with flash and lutradur.
➤ 木牙MUYA: Romina 是如何在创作中思考材料与自然，身份和性别之间的关联的呢？
How does Romina think about the relationship between materials and nature, identity and gender in your art creation?
First of all, I want to thank you for this interview and your interest in knowing more about my work. Regarding the question ... I do not think that my gender significantly influences my artistic production, since my works express the vital process of the organic and inorganic from an abstract approach. My identity does influence in a significant way in the artistic work since the process of dyeing the fabrics with oxidized metals not only refers to the strength and deterioration of life, but is intrinsically related to my place of birth in the Province of Misiones Argentina, where the color of the earth is oxide, which is determined by the presence of laterite, a ferrous mineral that produces this color. From the aforementioned, it can be deduced that, in my particular case, the relationship between materials and nature is essential since one determines the other and vice versa. My works are not only made with recycled organic textiles but also with a series of synthetic and metallic materials that make up the visual essence of the finished work.
➤ 木牙MUYA: Romina的作品充满着不规则的形状和原始颜色的填充，颜色灵感来源于自然，不规则的形状又是怎样抽象的化身呢？
Romina's works are filled with irregular shapes and original colors. The colors are inspired by nature. What is the inspiration of irregular shapes?
Indeed the colors are inspired by nature, but also by objects that undergo a significant deterioration process in which the change of really beautiful and evocative tones can be observed.The irregularity of my works is intentional and responds precisely to that vital process that living beings and objects go through, which is not the same for everyone. We all experience a unique life journey and leave a unique, particular and unrepeatable mark.
➤ 木牙MUYA: 当下艺术创作转向对材料的敏感追求，使得平面画作也开始向立体画作的方向进行创意。Romina怎么样看待，材料性在平面画作和立体画作中的不同呈现的呢？
At present, artistic creation turns to the sensitive pursuit of materials, which makes plane paintings begin to be creative in the direction of three-dimensional paintings. How does Romina feel about the difference in materiality between a planar painting and a three-dimensional painting?
It is an interesting question ... personally I think that this difference is extremely radical since it not only expresses a new temporal journey that is very visible in contemporary art, but also allows whoever observes a three-dimensional work a much more tactile experience through sight. , that is, it is to be able to touch with the eyes. My works invite this exercise, to think and observe using all the senses, in this way the detail of my work encourages us to stop at each aspect of it and see carefully the layers of work, and that something deeper is happening there. I feel that observing a flat painting produces certain emotions and sensations, but the textures, the three-dimensional dimensions, invite us to experience a work as something more real, as if what was exhibited came to tangible life. It is transcending the usual and traveling from what is desired to what is possible, being able to really feel beyond the play of light and shadow that perspective gives.
➤ 木牙MUYA: Romina每一幅的创作尺寸还是很大的，看到技术中有应用绣花机和手工结合进行创作。Romina如何看待现代化时代，机械工作对于当代艺术的介入的呢？
The creation size of each piece of Romina is still very large. We can see that there is a combination of embroidery machine and handwork in the technology of creation. How does Romina view the involvement of mechanical work in contemporary art in the modern era?
The implication of technology or mechanics that help when doing artistic is fundamental because it allows to express and be able to create what is in the artist's imagination. In my case I use various methods of creation, all different in each work since each work is unique, I introduce both manual work and machinery. This also depends on the materials I use for the work, currently I work on a work that incorporates a lot of metal, which forces me to work manually molding and adapting said element to the textile. The sewing machine is for me like the brush for a painter, it is what allows me to unify with the embroidery all the colors of the different elements that are part of the work.
➤ 木牙MUYA: Romina的作品中有留白的部分，也有着细腻的空间布局。Romina是如何看待二维作品里关于空间布局的重要性？
Romina's work has a blank space and a delicate spatial layout. How does Romina view the importance of spatial layout in two-dimensional works?
In a general sense, space is a physical notion where phenomenal reality is located and I like to believe that the spirit of my work transcends that general concept, which is both spiritual and material, the receptacle of what exists in my work. That is to say, the concept of my work is not only in a spiritual sense, but, by occupying a three-dimensional or two-dimensional space, it transcends a direct vital relationship with the observer. This designed and occupied space gives real presence, the abstract materializes thanks to the importance of spatial design.
➤ 木牙MUYA: Romina的作品相似性极高，Romina是如何定义每个作品背后的不同？如何在原有基础上做出突破？
Romina's works are very similar. How does Romina define the differences behind each work? How to make a breakthrough on the original basis?
What perhaps makes my works look the same is the use of iron cloth, which is what I like to call textile dyed with oxidized metals, but each work has its own essence, each work is born from a unique imprint. I always start from a primal concept (the vital process) that expands during artistic making and is unified in the finished work. Thus, in the same work, I always speak of the force of life, of the deterioration of life, but not only in a biological sense but also in an inorganic aspect, leading both notions to be expressed and represented in an abstract way in unique ways. The advance on the original base is in a certain way subject to the work on a pre-established concept that is combined with an intuitive approach and absolute creative freedom.
➤ 木牙MUYA: 材料的应用一直是艺术作品中的大热门。Romina所使用的布料以及羊毛等都来自于大自然。相比于讨论自然的馈赠，Romina是如何理解现在的新型材料在二维作品中的应用的？例如导电的特殊纤维等。
The use of materials has always been a hot topic in art. Romina uses fabrics and wool that come from nature. Instead of discussing the gifts of nature, how does Romina understand the application of new materials in two-dimensional works?
For example, special fibers that conduct electricity). I believe that the artist has the innate facility to create without destroying, that is to say that the materials used are almost always reused for the making of the work. The application of new materials I think is a very personal decision, it is an intimate alliance between artist and work, in my case, I use a huge diversity of materials ranging from fabrics, fibers, threads, papers of all kinds, polyethylenes, oxidized metals and restored etc. everyone must tell the story in the play, the spirit of it. I am not afraid to use any material as long as I get to work. I would fear that I would not be able to see the potential of some material and lose the possibility of experimenting with it and obtaining something really beautiful.
➤ 木牙MUYA: Romina最近在读什么书？有哪些关于材料应用在艺术领域的书籍是值得给我们推荐的？
What is Romina reading recently? What books about the application of materials in the field of art are worth recommending to us?
This is a really difficult question for me since I don't read artistic literature, in this sense I prefer to experiment with all kinds of materials and have fun in the process. It is when I stop having fun experimenting with new materials and techniques that my creativity suffers. I cannot recommend artistic literature, but I can recommend observing nature as much as possible and seeing its movement, learning from it and letting yourself be carried away, experimenting and playing, bringing out the inner child and resignifying everything taken for granted, making each artistic experience personal and above all, always work from a concept.
“we ignore our true stature until we stand up" -- Emily Dickinson
“只有站起来，我们才会忽视自己真正的地位” -- 艾米莉·狄金森
✤ Romina Schimpf邮箱（Romina Schimpf Email)：email@example.com