SAT阅读文章：Let There Be Light

2018-07-16 15:50:00来源：网络

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　　In his work, “Tree of Life,” bright fluorescent pinks, yellows, and blues burst from the center of the canvas. Like a tree growing down and out, the colors shoot out towards the edges, as if the canvas could not possibly restrain the momentum of their growth. In darkness, the painting looks like a roaring fire, a mixture of lights that dance vivaciously. Yet, layered on top of the bright light is a mystical figure comprised of open circles and lines. Without knowledge of the title, one would surmise it a chalice, or even a locked jewel of sorts. The symbol pulls the canvas into a sturdy, taut whole, encapsulating the free streaks of glimmering light in the back. Facing the painting, one is grounded in a lasting imprint of balance.

　　在他的作品《生命之树》中，明亮的荧光粉，黄色和蓝色从画布的中心爆发出来，像是从一棵树中长出来的，颜色向边缘射出，好像画布不可能限制其生长的势头。在黑暗中，这幅画像是一场咆哮的火，一种跃动的灯光。然而，层叠在明亮的光之上的是一个由空心圆和线组成的神秘符号。没看过标题的话，人们会猜测它是圣杯，或者甚至一个被封锁的珠宝之类的。这个符号将画布拉成一个坚固，紧密的整体，包裹着背后闪烁光线的自由条纹。面对绘画，会清楚地发现这是一个平衡的印记。

　　In his studio tucked in the calm recesses of Jeju Island, one would find Kim pouring different shades of the material he has invented onto a canvas, waiting for layers to dry before pouring another shade on top.

　　在他位于在济州岛一个平静的凹洞的工作室中，可以发现Kim把他发明的不同色调的绘画颜料涂在画布上，等待这一层干燥，然后在上面再抹上一层。

　　“I work at night, starting when the sun sets. When I’ve worked through the night, I usually have a general outline of what the piece can be. I work on multiple pieces at the same time, because I have to wait for the material to dry before I pour another layer.”

　　“我在夜里工作，从太阳落山开始。当我画了一夜之后，我能对这件作品有一个大概的概念。我在同一时间画很多件作品，因为我必须等待颜料干燥，然后再浇注另一层。”

　　He ponders for a bit then continues: “I cannot control the movement of the material once I pour it onto the canvas. Therefore, I do not start with an idea of what I want the series to look like. I don’t even have a sketchbook in my studio! I let the material inspire me. When I am making a new batch of the material and discover the new hues that can be produced, I think to myself ‘this is amazing’ and let the light guide my instincts. Every work is a continuation of this experiment, and a series is formed by the innovations I make in the material. No work is wasted, as my work does not exist in a formal box.”

　　他沉思了一会儿，然后继续说：“一旦我把颜料倒在帆布上，我就不能控制它的运动了。因此，一开始画的时候我不知道我想让它看起来像什么。我的工作室里甚至没有写生簿!我让颜料来启发我。当我制作出一批新的颜料并发现可以产生新色调时，我觉得‘这是惊人的’，这是光在指导我的直觉。每个工作都是这个实验的延续，一系列由我在颜料创新中形成的作品。不可能有作品被舍弃，因为我的工作完全不是走那种正规路线的。”

　　When describing the process of his work, Kim takes on an almost scientific attitude. He records his creative process, making notes of when colors mix and become different, leaving a log of how his work came to be. Yet, his abstract forms are less an analytical endeavor for the audience than an emotional meditation.

　　在描述他的工作过程时，Kim几乎是采取了科学的角度。他记录他充满想象力的创作过程，记录颜色混合之后变得不同的过程，留下一个工作过程的记录。然而，他的抽象形式对于观众来说，与其努力分析不如凭感觉冥想。

　　“Once a lady who was entering a very competitive contest the next day stood in front of my painting called ‘Gate of Life.’ They were filming a documentary following the contestants of this contest and when the gallery lights turned back on, everybody saw that she was sobbing. When asked why, she said that the painting allowed her to reflect on the pains and difficulties she endured while preparing for the contest, and provided her a healing sense of relief. Now, I do not claim to have a concrete artistic perspective, but I do want to emphasize that I want people to find their way towards their ‘light’ through my work. This is not mere color, this is light.”

　　“有一次，一位第二天要参加一个很有挑战性的比赛的女士站在《生命之门》前，他们为比赛的参赛者在赛后拍摄了一部纪录片，当画廊灯亮起时，每个人都看到她在哭泣。当被问及为什么，她说，这幅画让她回忆起她在准备比赛期间忍受的痛苦和困难，并为她提供了一种治愈。现在，我并不声称拥有一个具体的艺术视角，但我想强调，我希望人们通过我的工作找到他们追寻他们自己的'光'的方式。这不再是单纯的颜色，这是光明。”

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