西班牙桑坦德力量系列藝術(shù)設(shè)計 | PEJAC

“‘力量’系列旨在表達(dá)對Valdecilla醫(yī)院醫(yī)務(wù)工作者的感激之情，尤其是感謝他們在疫情期間的付出。我所能做的，就是通過自己最擅長的繪畫傳遞出這份心意?！?– PEJAC

^{“The idea of the ‘Strength’ project arises as a gesture of gratitude to the heath workers of Valdecilla, for their work in general and during this Covid crisis in particular. Offering them what I do best, which is painting.” – PEJAC}

在這場載入全球史冊的疫情中，藝術(shù)家Pejac的家鄉(xiāng)也深受影響，目前，疫情已奪走了那里的50,000多條生命。作為紀(jì)念，Pejac在家鄉(xiāng)Marqués de Valdecilla大學(xué)的醫(yī)院創(chuàng)作了三組作品。這一系列以“力量”為名，映射出人們面對疫情最需要的態(tài)度。在綜合醫(yī)院樓的墻上，“力量”系列以三組作品詮釋了當(dāng)前的危機(jī)與應(yīng)對的方法。

^{Marking the historic moment in global history, a pandemic that strongly affected his homeland taking over 50,000 lives so far, Pejac recently created 3 interventions at University Hospital Marqués de Valdecilla in his hometown Santander. Entitled after the quality of being strong, much needed in the world we live today, and especially within the walls of a hospital complex, ‘Strength’ is addressing 3 different aspects of the current crisis and proposes the ways we could respond to them.}

^{▲“力量”系列，“社交距離”，Strength, Social Distancing ? Pejac}

^{▲“力量”系列，“克服”，Strength, Overcoming ? Pejac}

^{▲“力量”系列，“關(guān)懷”，Strength,  Caress ? Pejac}

“從一開始，醫(yī)院便以開放和熱情的態(tài)度為項(xiàng)目提供了和諧輕松的氛圍。此外，他們還給了我完全的創(chuàng)作自由，這種信任與支持是如此奢侈與珍貴。” – PEJAC

^{“From the first moment, the hospital has been receptive and enthusiastic and that has made the project flow in a harmonious and easy way. In addition, they have given me total creative freedom and it has been a luxury to have their trust and support”. – PEJAC}

“社交距離”

Social Distancing

“社交距離”是一種錯覺干預(yù)，藝術(shù)家在平整的水泥墻面上刻畫下一條深深的溝壑。走近觀看，溝壑由許許多多出逃的小人構(gòu)成，墻上的創(chuàng)口正象征著疫情留下的創(chuàng)傷，藝術(shù)家借此向醫(yī)務(wù)工作者和逝去的人們致敬。

^{Social Distancing is a trompe l’oeil intervention that creates an illusion of a deep gaping crevice on a rigid surface of a cement wall. Made from countless human silhouettes that are trying to escape it, the artist wanted to represent the wound that this pandemic has left and do it as a tribute to health workers for their respect and solidarity towards the victims.}

^{▲“社交距離”概覽，overview of Social Distancing ? Pejac}

在描述疫情傷害同時，作品還提出了“社交距離”作為解決方案。擁擠的人群中也包含著重聚、同情、愛與關(guān)懷的場景，象征著更加光明，充滿希望的未來。

^{While the image serves as a metaphor for the damage done by the pandemic, it also literally proposes Social Distancing as a way to fix them. In between the large crowd, the artist included scenes of reunion, empathy, care, and love, suggesting a door to a better, hopeful future.}

^{▲溝壑由許多出逃的小人構(gòu)成 the image made from countless human trying to escape ? Pejac}

^{▲細(xì)部，重聚、同情、愛與關(guān)懷的場景 details, scenes of reunion, empathy, care, and love ? Pejac}

^{▲作品與醫(yī)務(wù)工作者的互動 interaction between the work and the health workers ? Pejac}

^{▲藝術(shù)家創(chuàng)作現(xiàn)場，creation scenes ? Pejac}

“克服”

Overcoming

“克服”是該系列的第二個作品，由患腫瘤的孩子們參與完成，他們和藝術(shù)家一起，用手掌再現(xiàn)了梵高的“麥田與柏樹”。這件作品與Pejac2015年在挪威的創(chuàng)作異曲同工，在那件作品中，一個男孩用玩具車重現(xiàn)了蒙克的名畫“尖叫”。藝術(shù)家還在“克服”中描繪了一個男孩，他以輪椅為支撐，卻比任何人都畫的更高。這也寄托了藝術(shù)家的美好心愿，希望社會跨越這場危機(jī)，繼續(xù)前進(jìn)。

^{Overcoming is the second piece from the series which was realized with on-hand help by young oncology patients. Depicting a child recreating Van Gogh’s ‘Wheat Field with Cypresses’ with his hands, the piece is somewhat a take on Pejac’s work he created in Norway in 2015, showing a boy recreating Munch’s Scream with his toy cars. In the piece, a child is propped on the wheelchair, able to paint higher than the rest. “This is something that we, as a society could do – take this crisis and use it to propel us forward,” the artist suggests.}

^{▲輪椅上的男孩比任何人都畫的更高， the child on the wheelchair able to paint higher than the rest ? Pejac}

^{▲患腫瘤的孩子們參與完成的“克服”，Overcoming realized by young oncology patients ? Pejac}

^{▲細(xì)部，details ? Pejac}

“關(guān)懷”

Caress

“關(guān)懷”作為該系列的最后一件作品，詩意地描繪了疫情期間醫(yī)患間的聯(lián)系。雖然雙方正在對視，但身體卻保持著物理距離。倒映的身影訴說著對彼此的需要，充滿對肢體接觸的渴望。Pejac將影子描繪成五彩繽紛、寧靜平和的睡蓮池塘，以致敬莫奈的“睡蓮”，莫奈正是他最喜歡的畫家之一。

^{Caress is the final piece that poetically describes the new dynamics of the relationship between the patients and the health workers imposed by the COVID virus. While physically standing distant and only looking at each other, their shadows are depicting the need and wish to return to physical contact. Pejac also added a sense of serenity and beauty by turning their shadows into a colorful and peaceful pond with water lilies, paying homage to one of his favorite painters, Monet, along the way.}

^{▲詩意地描繪醫(yī)患間的聯(lián)系， poetically describing the relationship between the patients and the health workers ? Pejac}

^{▲致敬莫奈的“睡蓮”，paying homage to Monet ? Pejac}

^{▲藝術(shù)家創(chuàng)作現(xiàn)場，creation scenes ? Pejac}

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