藝術家&nbsp;塔拉塔克&nbsp;工作室diy製作 - 拓印製作大全

伯克利

“ A generalobsessiveness for all things 'natural history' pretty much explainswhy I want to work the way I do. ” “一般obsessiveness的一切事物的”自然史“幾乎可以解釋為什麼我要工作我的方式。”

我是個吸盤的動物，我一直特別吸引到任何種類的工作（電影，視覺藝術，文學），能夠同時滿足他們的肉體和其內部運作的奧祕。Tara'sdrawings do just that.塔拉的圖紙做到這一點。 Her West Berkeley studio is small but wellorganized, and full of referencematerial;她西大學伯克利分校的工作室雖小，但良好的組織，並充分參考材料; she's got quite the collection of illustrativebooks on flora and fauna and a binder packed with images she'spulled off theInternet.她有説明性的書籍相當不錯的植物羣和動物羣的收集和包裝與圖片粘合劑她脱下了互聯網。Sheflipped through the binder with us, talked about how her ideas getsparked, and told us about her long-standing love affair with thenaturalworld.她翻了翻粘結劑與我們聯繫，談到了如何她的想法得到激發，並且向我們介紹了長期的戀情與自然世界。

塔拉使用的圖像和信息收集，她以她的工作指導，這樣她就可以得到像一隻狗的晶須或蘭花恰到好處的花瓣細節。 But its not just physical accuracy she's after,her research imparts a nuanced understanding of animal behavior andbody language: the curled upper lip of a pony and the heavy brow ofa bear are rife withmeaning.但它不只是物理精度她後，她的研究賦予動物行為和身體語言細緻入微地瞭解：熊的小馬和重額頭的捲曲上脣都充斥着意義。Tarainformed us that when beginning a drawing she always starts withthe face, and most importantly theeyes.塔拉告訴我們，在開始繪圖時，她總是從臉，最重要的是眼睛。 This part of her process is central, because inthe eyes is where animals most personifyhumanity.她的過程中這部分是核心，因為在眼睛就是動物最人格化人性化。

雖然塔拉告訴我們，她的工作也不會削減它的科學插圖的世界裏，它在技術上是令人印象深刻。 But what's most appealing about her drawings ishow delicately she's managed to render emotional and psychologicalstates and the complexity ofrelationships;但是，什麼是最吸引人的關於她的繪畫是她如何微妙設法使情緒和心理狀態和關係的複雜性;there issuch a range of feeling in the gestures of her animals, but itnever seemsovere-top.有這樣一個範圍在她的動物姿態的感覺，但它似乎從來沒有過的頂。Artworkwith animals can sometimes run the risk of coming across as toosentimental, cartoonish, or shallow, but there's a level of care toTara's work that mostly steers it clear of thosequalities.藝術品與動物有時會遇到的過於多愁善感，卡通，或淺未來的風險，但有照顧Tara的的工作，主要是裝載機清楚這些素質的水平。This ispartly due to Tara's personal connection and love of her subjectmatter;這部分是由於Tara的個人關係和愛她的題材; growing up she had a pack of racing dogs and alsospent a lot of time at the Santa Barbara Museum of Natural History tendingto taxidermy bones.長大了，她有賽車狗一包，也花了很多的時間在自然史聖巴巴拉博物館趨於動物標本骨骼。 She said that since she's been a kid she's onlyever drawn animals, and in a way I think Tara has kept a childlikesensibility to her work— the way in which she brings differentspecies together, mixing both animals and plants, is highlyimagined and playful, but still imbued with a lovingsensitivity.她説，因為她已經有孩子她永遠只能繪製動物，並在某種程度上，我認為塔拉一直保持孩童般的感覺，這和她帶來了不同物種在一起她工作的方式，動物和植物混合，高度想象和俏皮，但仍處處洋溢着愛的靈敏度。

做你的工作有什麼媒介？ How would you describe your subjectmatter or the content of your work?你會如何形容你的題材或你的工作內容？
I mostlydraw with graphite (pencil) on paper, but I did start painting lastyear using acrylic paint onlinen.我大多與石墨（鉛筆）在紙上畫，但我沒有開始畫，去年用丙烯顏料在亞麻布。Some ofthese paintings I have stuffed and sewn into sculpturalforms.一些這些畫我已經和塞縫成雕塑的形式。 I love sculpture and miss working with my handsin that way.我喜歡雕塑和思念我的手以這種方式工作。 When I was in school I worked a lot withmicrocrystalline wax and cast some of the pieces into bronze when Icould afford it.當我在學校裏，我工作了很多與微晶蠟和一些投件成古銅色的時候我能買得起它。I'mthinking about getting back into that, only with a less priceymedium.我想買一台回，只有一個不太昂貴的媒介。 Because I work with fairly fragile materials, Ilong to produce something that I can put outside into theelements.因為我用相當脆弱的用料做工，我渴望生產的東西，我可以把外面進入的元素。

動物是普遍存在於你的工作，你怎麼去選擇，代表哪些動物？
I thinkof myself as a portrait artist most of thetime.我覺得自己是一個畫師的大部分時間。 Animals, for me are representations of myself,relatives, or friends.動物，對我來説是我自己陳述，親戚或者朋友。I don'tlike to draw humans at all, so I use animal and plant forms torepresent the “essence” of aperson.我不喜歡畫人所有，所以我用的動物和植物的形式來表示一個人的“本質”。I'm notsaying that: “John over there is just like a parrot or a rooster.”I just think about which animals have the gesture and emotionalbody language that I'm looking for at thetime.我不是説：“約翰在那裏就像是一隻鸚鵡或一隻公雞。”我只是想想哪個動物的姿態和情感的肢體語言，我正在尋找的時間。I alsolike to add into the composition plants and other animals thatbring some kind of interesting visual dialogue or personal storythat has meaning forme.我也想加入到該組合物的植物和其他動物帶來某種有趣的視覺對話或個人的故事，有意義的我。

有這個圖紙，我沒有在去年夏天被稱為“榫槽”，這是兩個馬來熊相互搏鬥。 I made their already very long tongues evenlonger and entwined.我什至不再使他們已經很長的舌頭和牽連的; My friend saw it and told me that it looked likeone of her recent datenights!我的朋友看見了，告訴我，它看起來像她最近的日期晚一個！ Awesome!真棒！ That's another reason why I love using animalsfor subject matter;這是另一個原因，我喜歡用動物做題材; the viewer feels free to read into the piecewhatever they want.觀眾覺得免費閲讀到任何他們想要的作品。 I can keep my own ideas of what may be going onand everyone is stillhappy.我能保持什麼可以去我自己的想法和大家還是開心。

你經常把動物一起在一個意想不到的方式，有時野生和馴化物種混合在一起，或與特定的動物，什麼是在這些配對的意義某些植物？

首先，我在不具有任何的藝術規則的堅定信仰者。 So, inmy fantasy world where there aren't any humans left on earth andanimals have filled in that space, domestic animals have gainedsome new and fascinating symbiotic relationships with oneanother.所以，在我的幻想世界裏，沒有任何人留在地球上的動物填補了這個空間，家畜都獲得了彼此的一些新的和有趣的共生關係。I alsolove the subliminal idea of domestic animals meeting up with theirmuch more wild and unpredictablebuddies.我也很喜歡滿足了他們更脱韁的哥們家養動物的潛意識想法。 I do admit to doing a little bit of research onmy animals and plants so that they jive with oneanother….我不承認自己做了一點研究我的動物和植物，使它們彼此牛仔舞, norules.但是，沒有規則。

我做代表我的母親和我到一個蜘蛛猴。 She'sholding the arm and hand of another older, screaming spider monkey(my grandma).她抱着另一個年長的胳膊和手，尖叫蜘蛛猴（我奶奶）。 It's kind of a disturbing pieceactually.這是怎樣的一個令人不安的一塊實際上。 My grandmother was sick with dementia at the timeI drew this piece.奶奶病痴呆患者在我畫了這件作品的時間。 I used an orchid that her husband, mygrandfather, had genetically crossbred using two parent plants fromSouth America where the spider monkeys arefrom.我用她的丈夫，我的祖父，使用兩個親本植物從南美那裏的蜘蛛猴是從遺傳上了雜交蘭花。It'sbeautiful like she was, and he officially named the orchid afterher.它的美麗就像她和他正式命名後，她的蘭花。 I intended the plant to be a kind of dying andbroken corsage on the animal'swrist.我打算植物是對動物的手腕一種垂死的和破碎的胸花。 There's another of the same orchid on the youngermonkey's wrist that is in better shape, but for me, the roots aregrasping its wrist in a painfulway.還有另外一個相同的蘭花對年輕猴子的手腕是在更好的狀態，但對我來説，根抓住其手腕以痛苦的方式。It was adifficult part of my life, but I could see that my mom, grandmotherand I were all going to go through the process of deathtogether.這是我生命中的一個難點，但我看得出來，我的媽媽，奶奶和我都經歷死亡過程一起去。

你看到你的作品為自傳呢？ Is there a personal history between youand the animal kingdom that's relevant to the work you makenow?是否有你和動物王國這是有關你現在做的工作之間的個人歷史？
Ohyes.哦，是的。 Theanimals I use for myself are often really quirky and not usuallyvery beautiful in an obviousway.我用我自己的動物往往是真古怪，通常不很漂亮的一個明顯的方式。 I tend to see myself likethat.我傾向於看到自己喜歡的。 I'm an only child and was raised by my mom whowas single for most of mychildhood.我是獨子，並提出我的媽媽誰是單身的童年時光。 When I was eleven we got our first dog, a Whippet(looks like a smallGreyhound).當我還是11，我們得到了我們的第一條狗，一個惠比特（看起來像一個小灰狗）。We endedup joining an amateur racing club and got a few moredogs.我們結束了加入一個業餘賽車俱樂部，並得到了一些更多的狗。 Those dogs were a huge part of my life and Icould read their body language prettywell.這些狗是我生命中巨大的一部分，我能讀懂他們的身體語言非常好。 It's like they were speaking to me and I couldsee what they needed or were about todo.這就像他們對我説話，我能看到什麼他們需要或即將做的。

另外，我媽主動請纓在自然史聖巴巴拉博物館，把我所有的時間，她學會了如何做動物標本鳥類實驗室。I got tonumber bones and catalogue them.我到的骨頭和編目他們。Therewas a Chanel Islands fox in the lab that used to steal the“projects” from the taxidermists if itcould.有一個香奈兒羣島狐狸在用於從剝製師，如果能偷到“項目”實驗室。 I thought that was sofunny.我認為這是太有趣了。 I was able to see things in that lab that stillinfluence me.我能看到的東西在實驗室，還是影響了我。 Like the two black bears that were shot byrangers after they decided to repeatedly come intotown.像由護林員被槍殺後，他們決定將反覆進入城鎮，這兩個黑熊。 They were skinned and hung on hooks to drain inthe larger lab.他們是皮膚和掛在鈎子在較大的實驗室流失。 I thought they looked like two big men hangingthere.我認為他們看起來像兩個大男人掛在那裏。 It was really awful, but mesmerizing for me as achild to see that.這真是太可怕了，但迷人，我作為一個孩子看到。

我的童年確實起到了很多到現在我在我的工作中使用什麼想法。 Mygrandparents were huge orchid enthusiasts and my stepfamily owns anorchid nursery in SantaBarbara.我的祖父母是巨大的蘭花愛好者和我再婚擁有聖巴巴拉的蘭花苗圃。 So, I have always had a fondness for unusualplants.所以，我一直有一個鐘愛不尋常的植物。 The dog racing and the taxidermy days with my momand a general obsessiveness for all things 'natural history' prettymuch explain why I want to work the way Ido.該賽狗和動物標本天跟我媽和一般obsessiveness的一切事物的“自然歷史”幾乎是解釋為什麼我要工作，我做的方式。

你有一天的工作？ What is it?這是什麼？ What does it mean to you?是什麼意思呀？
I workthree days a week at the Creative Growth Art Center inOakland.我每週工作三天的創造性發展藝術中心在奧克蘭。 It's the best job in the world forme.這是最好的工作在世界上我。 I'm surrounded by artists allday.我被藝術家們整天包圍。 Creative Growth is a giant art center for adultswith disabilities.創意成長為一個巨大的藝術中心為殘疾成人。 It's possibly the most famous one of its kind inthe world and I'm so proud to be a part ofit.這可能是其在世界上最有名的之一，我很榮幸能成為其中的一部分。

My jobthere is to run the rug-makingdepartment.我的工作有運行地毯製作部門。 We make beautiful one of a kind rugs out ofdesigns from within the artstudio.我們做的一種地毯設計出漂亮的一個來自藝術工作室中。 Textiles were never my thing, but now that I'vebeen at CG for about 12 years, I have learned a lot and haveembracedtextiles.紡織從來沒有我的事，但現在，我已經在企業管治約12年，我學到了很多東西，已經接受紡織品。It'seven been working its way into my ownartwork.它甚至已經工作的方式進入我自己的作品。 I made my own traditional style hooked rug out ofrecycled wool clothing.我做我自己的傳統風格鈎地毯出來的回收羊毛衣物。It isaround 5 x 10′ and now resides in the American Embassy inMadagascar.它是大約5×10'，現在居住在美國駐馬達加斯加使館。 I was really bummed that I couldn't fly overthere to help install it!我真的很攝影課，我不能飛過去那裏幫助安裝它！That'sone place I'd love to visit.這是一個地方，我很想去參觀。

你不得不做出犧牲，以你的生命活得像一個藝術家？Do you encounter misconceptions aboutthat life or choice?你遇到有關生命或選擇的誤解？
e Love, my high school art teacher said it best: “When you arean artist, you are always in a recession.” Truer words there neverwill be forme.奧迪愛先生，我的高中美術老師説得好：“當你是一個藝術家，你總是在經濟衰退時期。”更真實的話也永遠不會有我。I don'tmake tons of money being an artist but I am superhappy.我不做金錢噸作為一個藝術家，但我超開心。

I havenever had much money.我從未有過多少錢。 If I'm making sacrifices, I'm not feelingit.如果我做出犧牲，我覺得不舒服吧。 I'm a very happy person.我是一個很快樂的人。Myfamily is the most important thing, then art, then myjob.我的家庭是最重要的事情，那麼藝術，那麼我的工作。

The onlything that kind of pains me is, that I've noticed some friends andfamily seem to peg me aslazy.那種痛苦，我的唯一的事情是，我注意到了一些朋友和家人似乎掛我的懶惰。 Over the years, people have told me that I have anice hobby with art, or that I'm just not quite doing what I'msupposed to be doing with mylife.多年來，人們告訴我，我有一個好愛好藝術，或者説我只是不太做我應該做的事情與我的生活。Mostlythey act as if I were wasting mytime.他們大多表現得好像我是在浪費我的時間。 I've never felt that way about myself, but I'vebeen told to take a different path in life a few times by people Ihold near anddear.我從來沒有覺得這樣我自己，但我一直在告訴人們我抱近，親愛的在生活中採取了不同的路徑幾次。So, I'vealways mentally flipped them the bird and gone my ownway.所以，我總是精神上翻轉他們的鳥走了我自己的方式。 These days I think most of them seem to approveof my life choices.這些天，我想大多數人似乎認同了我的生活選擇。But, Idon't live my life so that I can have people approve ofme.但是，我不活了我的生活，讓我可以有人民都贊成我的。

什麼是有一個物理空間，使藝術的均值為您的過程，你如何讓你的工作空間？
Thestudio I have right now is new for me and really small, yetcozy.該工作室我現在是新的我，真的很小，又舒適。 Most of the doodads in it areold.在大多數它的裝飾物都老了。 Like my 1986 electric drafting table and mycollection of animal books that I've had since I was akid.像我1986電動繪圖桌和我的收藏，我已經有，因為我還是個孩子的動物的書籍。A coupleof months ago I was in West Oakland sharing an amazing space withtwo others, but I felt that I needed to be closer to home inBerkeley and wanted to have myprivacy.幾個月前，我在奧克蘭西部的兩個人分享一個驚人的空間，但我覺得我需要更好地貼近家庭在伯克利，並希望有我的隱私。There issomething to be said for just knowing that I won't need to pick upafter myself or that I can listen to all of my bad vampire,werewolf, sexy mystery thrillers onCDs.也有一些是隻知道我不需要照顧自己拿起或者説我可以聽我所有的壞吸血鬼，狼人，在CD性感神祕驚悚片可説的。I lovethat stuff, but it could be offputting.我喜歡這些東西，但它可能會關閉放。 There is a little corner desk for my husbandDavid.有一個小角落辦公桌我的丈夫大衞。 But, since we've been together for so long, Ifeel like he's part meanyway.但是，既然我們已經在一起這麼久，我覺得他的部分我反正。 He knows about my CDs.他知道我的CD。

When Iget down to the process of working, I need to think hard about whatI'm going to do for each mark on thepaper.當我坐下來工作的過程中，我需要認真思考什麼，我要做的紙張每個標記。 There isn't really any going back once I draw inthe eyes.是不是真的有任何回去一次，我畫的眼睛。 They are so dark and embossed into the paper thatI need to have a lot of concentration, or else I can screw itup.他們是如此的黑暗和壓花成，我需要有很多的濃度，否則我可以把事情搞砸的文件。 Also, I study the pattern of an animal's hair byusing my old animal books and photos that I print off theInternet.另外，我研究的動物的毛髮模式通過使用我打印出來，在網上我的老動物的書籍和照片。Eachhair has a direction and can evoke a movement or emotion that makesor breaks a piece.每根頭髮都有一個方向，能喚起一個運動或情感，使或打破了一塊。Soduring this time I listen to music or just sit insilence.所以在這個時候，我聽音樂或只是坐在沉默。 The new space is great forthat.新的空間是非常適合的。

你最近遇到你強烈地感到對一個藝術家或藝術作品？
Yes!沒錯！ My friend Sara at work just emailed me a link toan amazing South African photographer by the name of Daniel Naude.我的朋友莎拉在工作中只是給我發電子郵件鏈接到一個驚人的南非攝影師用的名字丹尼爾駱特。 He just blows my mind.他只是吹拂我的心靈。He hasphotographed landscape and portraits of animals in his native SouthAfrica.他拍攝的風景和動物的畫像在他的祖國南非。 They are incredibly emotional photos, withoutbeing sappy or overdone.他們是令人難以置信的情感的照片，而不傻的或者過頭了。They arebreathtaking.他們是驚人的。 I actually wrote him a fanletter.其實，我給他寫了一封信風扇。

Also, Ihad a wonderful stay at the JB Blunk Residency in Inverness,CA.另外，我有一個美好留在JB Blunk的居住在加利福尼亞州Inverness。I hadnever encountered Blunk's work before theresidency.我的居留以前從未遇到過Blunk的工作。 He isn't alive anymore, but his artis.他是不是還活着了，但他的藝術。 I stayed by myself for two months in the house hebuilt by hand, surrounded by hisart.我在他由手工打造，由他的藝術所包圍的房子住了自己兩個月。 I used his studio too.我用他的工作室了。While Iwas there, I know that he was watching me as I soaked it all in. Alight downstairs in the kitchen would turn on by itself in themiddle of the night and I could always feel something hanging outwithme.而我在那裏，我知道他在看我，我泡了一切。一個光在樓下的廚房裏會變成由自己在半夜，我總是可以感覺到的東西掛了我。Itstarted freaking me out at night, so I tended to ask him to go awayand let me get somesleep….它開始嚇到我了，晚上，所以我傾向於叫他走開，讓我睡個安穩覺.... Perhaps I'm just silly, but I tend to believethat he is still in thathouse.也許我只是傻，但我傾向於認為，他仍然是在那所房子。

JB Blunkwas a wood sculptor mostly, but worked in ceramics and painted aswell. JB Blunk的是一個木雕居多，但在陶瓷的工作和彩繪為好。 At first his aesthetic was so overwhelminglybeautiful that I wanted to try making something similar, but I usedthe inspiration to create something of myown.起初，他的審美是如此壓倒性的美麗，我想嘗試做類似的東西，但是我用了靈感，創造出自己的東西。The workI did make was all about my experiencethere.我曾經提出的工作是所有關於我的經驗在那裏。 And I still feel that living around JB's work haschanged me for the better.我還是覺得生活周圍JB的工作改變了我好了。

有什麼事你當前正在使用，或者是興奮的開始，你能告訴我們什麼呢？
Before Iwent to the Blunk residency I had sketched lightly on a large pieceof paper an idea about two miniature horses withdwarfism.之前我去Blunk的居住權我曾在一大張紙上大約兩個微型馬侏儒症的想法輕輕勾勒。The guyhorse is kind of being a prick and the girl horse looks a bitoffended.樣的傢伙馬是被紮了一下，女孩的馬看起來有點冒犯。 They are prancing together with long flowingmanes and the female horse is going to have an entire orchid plantgrowing all over herbody.它們與長期流動的鬃毛和母馬都將有一個完整的蘭花植物在她的身體越來越騰躍起來。I hadcompleted a drawing of another mini horse for a show last winterand wanted to do one more.我已經完成了另一迷你馬繪圖的顯示去年冬天，想要做一個。It's alarge drawing for me.這是一個大的圖紙給我。 Maybe 3 x 5?也許3×5？ It's graphite on paper.這是石墨在紙上。I lovethat this piece is just totally nuts.我愛這片就是完全瘋了。What theheck is it about?!: Love, wacky encumbered, bizarre mini horseylove?到底什麼是它關於：？！愛，古怪的拖累，離奇的迷你霍西愛？ I don't know…?我不知道......？I'llfigure it out while I'm making it.我會看着辦吧，而我正在做它。

I wantto explore some more painting.我想探索一些更多的油畫。Maybe onwood panel.也許木板上。 I tend to paint like I draw on paper, so I'vecalled my previous paintings: drawings inpaint.我傾向於畫畫就像我在紙上畫，所以我打電話給我以前的作品：塗料圖紙。 Paint also makes me want to use color, so I'mgoing to explore that a bitmore.塗料也讓我想用的顏色，所以我要去探索多一點。

你怎麼定位的藝術世界？
Truthfully, I wish I were much better at doingthe things that people say one should do to succeed in the artworld.説實話，我希望我是在做的事情要好得多，人們説一個人應該做的藝術世界中取得成功。I wantto spend all of my time making art, not applying for things orshowing up to receptions, or artyscenes.我想用我所有的時間做藝術，而不是申請的事情或顯示高達招待會，或附庸風雅的場景。But, Itry to make myself go sometimes, and I always keep up with mycorrespondence.但是，我儘量讓自己去，有時，我總是跟不上我的信件。 People are so nice out there in theworld.人是如此美好赫然出現在世界上。 I love to get an occasional email from a personthat saw my art somewhere and thought to send me a kindword.我喜歡從一個看見我的藝術的地方，並想送我一句好話的人得到一個偶爾的電子郵件。

My twogalleries do an amazing job at representing my artwork for me and Itrust them so much to let me know about events or shows that Ishould apply for, but it does take a lot of my personal time tolook for myself and think about how I can expand on my artcareer.我的兩個畫廊做在代表我的作品對我來説是了不起的工作，我相信他們這麼多，讓我瞭解事件或表明，我應該申請，但它確實採取了很多我個人的時間去尋找自己想想我怎麼能在我的藝術生涯擴大。My jobat Creative Growth Art Center has been my biggest asset to my artcareer.我在創造性發展藝術中心的工作一直是我的我的藝術生涯最大的資產。 It's like a magnet for creativepeople.這就像一塊磁鐵為創意的人。 So, through working there, I've met some excitingpeople and friends.因此，通過在那裏工作，我遇見了一些令人興奮的人們和朋友。It hasbecome a kind of social network forme.它已成為一種社會網絡，對我來説。 I'm beginning to think that Creative Growth is myown personal art world, and through being there, I've learned howto speak about art (mine and others), I met my gallery peoplethere, and have a constant think-tank to draw on for what isimportant out there in the artworld.我開始認為創新成長是我個人的藝術世界，並通過在那裏，我學會了如何談論藝術（礦等），我遇到了我的畫廊那裏的人，並有恆定的智囊團畫上什麼是重要的在那裏的藝術世界。

Are you involved in any upcoming shows orevents?你在任何即將到來的表演或活動參與？
I justhad two solo shows at both of the galleries that represent me thislast winter, plus a two month long residency at the JB Blunk residencyprogram.我只是有兩個個展在兩個代表我這個去年冬天的畫廊，加上兩個月長居住在JB Blunk的居住方案。 So, I'm just working in my studio a lot right nowtrying to get some new ideas going and participating in group showshere andthere.所以，我只是在我的工作室的工作很多，現在試圖讓去一些新的想法和參與組顯示在這裏和那裏。Sometimes, I just need a little time toregroup.有時候，我只是需要一點時間來重整旗鼓。