和藝術家Sebastian Portillo用攝影唱詩歌
Creative Collaborations at Camac (II)


塞巴斯帝安的攝影作品《女樹》。
塞巴斯帝安的攝影作品《女樹》。

»»來自墨西哥的塞巴斯帝安(Sebastian Portillo)是個時尚攝影師,這次在卡麥當代藝術中心,他提出幾個攝影計畫,結合時尚、裝置藝術、詩歌以及在地環境,企圖打造新的影像思考。而我親自扮演計畫中的某位主角,和塞巴斯帝安一起挑戰用時尚、裝置藝術與攝影不同角度,創造新的視覺藝術。

和來自不同領域的創作者工作,最能激發不同創意火花,可能是發生地、也有可能是合作的夥伴帶得藝術養分。好比我想創作一件關於慟哭的作品,直到和塞巴斯帝安合作拍攝《多極》計畫,腦海對於哭泣有比較具體的畫面;情境可以是我們在人群哭、一個人的時候為了各式各樣社會文化的場合而哭,促使我拍攝另一創作《Julie!》。我特別選用對比手法,在藍天、廣闊田野中哭泣,利用光線反射沿著臉頰滑下的眼淚,強化了哭的動作。對於塞巴斯帝安也一樣,或許向卡麥藝術中心提出計畫案時,一切只是紙上作業,直到創作當下,和現實環境發酵互動後,慢慢去調整原先構想,不斷在實驗中找到想要的,如同塞巴斯帝安的《女樹》,不停嘗試揣摩,跳脫傳統時尚攝影構圖思維,才有現今面貌。

塞巴斯帝安的工作室也是《女樹》展覽現場。

塞巴斯帝安的工作室也是《女樹》展覽現場。

《女樹》 詩與攝影的美麗與哀愁

拍攝《女樹》時,塞巴斯帝安並沒有事先規劃要在三個不同的地點拍攝,畢竟身處新的社會文化環境,原先提出的藝術計畫勢必得有所調整,也因此,從塞巴斯帝安的攝影棚,向外擴及了樹林和農田等地。塞巴斯帝安向我提到,他之所以選在戶外拍攝,也是和我合作之後,慢慢改變既有想法,藝術家的創作火花就是這樣來的。有趣的是在樹林裡拍攝時,天色漸暗,猛然一部龐然大物的農務機朝著我們的方向極速駛來,消失樹林間。黑暗中,拖曳機車頭大燈是唯一可看見的燈,就像是外星人幽浮。之後我們才了解農夫下班,去樹林間特別車位「停車」,意外成為我們這群外來客的鮮體驗。

李:聊聊《女樹》在工作室與田野中不同的呈現,如光線、空間、故事等等?

塞巴斯帝安:《女樹》是一件美麗的視覺作品,參涉詩、攝影、裝置。這故事是一步步寫出來,簡單而平衡完美的視覺呈現。3種不同拍攝都指涉同樣的重點-舞者朝向女樹的死亡。單純在攝影棚內的拍攝都是關於時尚、預先製造與構思、完美的美麗。聽了你的建議後,我開始在戶外拍照,循著同樣的想法概念;並且使用大地的水平線、自然空間;以及法國東南邊的色彩。而《女樹》依序有7張相片,並不是系列。隨著同一水平線引導到故事的結尾。《女樹》的詩,由人們以自然方式念出來呈現。簡單來說,《女樹》這首詩被翻譯成3種語言,由3個人以他們自然熟悉的語言朗讀出來。聽著人們朗誦的結果是非常美的。《女樹》是一種敘事,圍繞著美麗、悲傷、自由、死亡、慈悲。

塞巴斯帝安的《女樹》攝影作品之一。

塞巴斯帝安的《女樹》攝影作品之一。

李:你的背景來自時尚攝影,要如何將在卡麥藝術中心的創作連結到你的時尚攝影?

塞巴斯帝安:駐村期間,我曾以時尚攝影手法拍攝阿根廷女畫家瑪莉亞.哥倫布的絲質圍巾。外拍的環境下,有著華麗自然景致。我了解藝術和時尚之間的平衡。我可以察覺這微小幾乎看不見的線,使得時尚理念中所有質感與維度更深層的變化,不需要像時尚攝影往往都有個分工合作的團隊,如造型、導演、製作、模特兒、編輯等,去創作一個重要、特別、感動的概念。卡麥藝術中心是我對實驗、改變、探索所有可能性的高原,讓我在簡單生活中創造深刻的藝術。

塞巴斯帝安的《女樹》攝影作品之一。

塞巴斯帝安的《女樹》攝影作品之一。

《多極》挑戰試驗者敏感神經

對我來說,協助塞巴斯帝安拍攝《多極》是最困難的計畫,因為要如何在攝影師面前展現我真實的情緒,是一大挑戰之外,我對於相機的存在也很敏感,即便我的創作都是以錄像為主,被拍與拍人總是不同。回想起來,拍《女樹》反而簡單許多,只要照著塞巴斯帝安的指示即可。不過也因為拍攝《多極》,激發我另一個創作靈感。

李:我們都知道這是不同於模特兒在你相機前擺姿勢。我很好奇你如何「引導」人們去表現他們真實情緒?

塞巴斯帝安:指導這樣的攝影計畫是困難的、非常非常難;因為我永遠要加以說明、示範,以及掌控拍攝狀況。雖然這是關於純粹的情感,參與者會失控,也讓我失去控制。「導」在《多極》是去創作安全感、信心的空間。這項計畫一步步地小心翼翼地打開參與者強烈敏感情緒面;這個敏感情緒面會接著來到表層。這個計畫試圖捕捉以及讓參與者保持開放與探尋情緒,如同在暴風雨海上的船。這要非常微妙地不失去感性,以及辨識出參與者是演的、還是表露真實的情緒。除此之外,這項計畫不要以過分逼迫的方式去引導參與者的情緒。

這些看似枝微末節的小東西,在我們眼裡,都是值得再挖深、觀察的無價珍寶。藝術創作就是這樣來的。««

塞巴斯帝安的《多極》攝影作品。
塞巴斯帝安的《多極》攝影作品。

 



»»In response to Womantree

Without planning ahead, we did this project at three different locations, including woods, Sebastian’s studio, and farms. During the residency, our processes of materializing our ideas which were proposed to Camac before we came were really about experimenting due to the new socio-cultural environment. We first started the shooting in the woods. It was just right before dusk arrived. When we finished our shooting, a farmer drove his gigantic tractor fast towards us and then passed by us. The huge tractor disappeared in the woods. In the dark, the tractor’s huge headlamps looked like an alien UFO. Then, we realized that the farmer took off from work and parked his tractor in a special parking slot in the woods.

Lee: Would you like to talk about the different presentation of Womantree, including shooting in your studio, in the woods, on the fields, such as light, space, stories, and so on?

Sebastian: Womantree was a beautiful visual project along with a poem, a photo sequence, and an installation. This story was written step by step in a narrative format, which presents simple and balanced in a perfect visual composition. The three photo shoots were directed to the same point: The way and the dance towards the womantree’s death. At the end of the project, I decided the coherence of the story, rather than presenting photography, which was realized in the studio. Shooting in a studio all was more about fashion, prefabricate, and perfectly beautiful. Following your suggestion, I again took pictures outside under the same idea and further made the use of the horizon, the natural space, and the colors of south-east France.

Womantree has a sequence of 7 photos, not a series, which the same horizon line lead the end of the story. The poem of Womantree was read in a natural way. Let me put it this way: My poem was translated into 3 languages and was read by 3 peoples in their own language. The result of listening to the poem reading was beautiful. So, Womantree is a narrative between the beauty, the sadness, the freedom, the death, and the compassion.

Lee: You come from a fashion photography background. Usually fashion photography would have a crew to work on shooting, for example stylists, artists, models, editors, etc. How do you see your work at CAMAC connected to your fashion photography?

Sebastian: During my residency at Camac, I did a short session of fashion photography of Argentina painter María Colombos’ silk scarf. It was done outside with the background of gorgeous natural scenes. I understand the balance between the art and the fashion. I can see this little and almost invisible line that makes all deeper changes of textures and dimensions in a fashion idea. And again, I can probe that I don’t need all production to create one important, different, and touching idea. Camac was my plateau for experiments, changes, and explorations of all possibilities of making deep art in the simple life.

In response to” Multipolar

Lee: For me, posing for Multipolar was the most difficult project. How could I express my true emotions to a photographer whom I knew for a couple of weeks in this foreign place? In particular, I am so aware of a camera. Also, it would be so embarrassing to show my real expressions to a new friend. Womantree now seems much easier for me because what I did there was to follow your directing. At the beginning of the shooting, I remember that we sat and talked for a very long time. I am curious about how you “direct” people to express their true emotions. Of course people’s posing in Multipolar was very different from models’ acting and posing for your camera. Would you like to talk about your directing process in Multipolar?

Sebastian: The directing in this kind of project was hard, really hard because I always demonstrated and had to control. Although Multipolar is about pure emotions, the participant could lose control and then made me lose my own control too. Directing in Multipolar was to create a safe and confident space where the project step by step and carefully opened the participant’s sensitive layers of emotions which then came to the surface. This project attempts to capture and allow the participant to open up and to explore emotions as a ship in the ocean under a thunderstorm. It was very subtle not to lose the sensibility and to recognize the participant who acted or experienced a real feeling. Further, the project led the participant’s emotions without pushing too much.««

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