原地址
For her fifth solo exhibition, and first in London, “The Innocents”, the painter Laurel Holloman takes us on an emotional journey and an exploration of how life changes us, as we age.
在Laurel Holloman第五次个人画展——同时也是在伦敦举办的第一次个人画展上，艺术家凭借其作品带领我们踏上情感的探索之旅——生活是如何随着年龄增长而改变我们的。
“The Innocents” is a portrait exhibition (oil on canvas and oil and acrylic on canvas) of women and children with subjects from 18 months to late 80’s.
“无辜者”是一个从18月大的孩童到80岁的老太太为主题的肖像展，它由布面油画和丙酸洗颜料与油料混合绘制的布面画共同组成。
“My goal is to photograph, then paint, early childhood and innocence, i.e, life without the heartbreak to the challenges of adulthood, and then contrast it with more mature portraits.”
先是将还没经历过社会的童真与无辜的人和已经在社会摸爬滚打后的人拍摄下来，然后将她们绘制在画布上进行对比，这就是我的目的。
Brother Love (oil on canvas) 20×30 in
10 :00 am (oil on canvas) 34×34 in
I have worked with models, all women, and I asked them to share something painful, before the shoot. Something to do with grief. I was curious as to how difficult events change us when we grow older. For example, a 24-year-old’s portrait may have an air of discovery or curiosity or even defiance, while a 47-year-old’s, after a break-up, may have more heaviness and sadness.
与女性模特们共同工作时，我要求她们先回顾分享她们的心碎时刻，然后再拍摄下那个与悲伤相关的瞬间。我很好奇同样是面对困难，但随着年龄增长，我们是怎么改变心态的。比如说，24岁的模特展示出来的可能是探索、好奇与反抗的模样，而47岁的模特回顾分手后，更多展现的还是沉重与悲伤。
The Undecided (oil on canvas) 48×36 in
The pieces that portray children (boys and girls) include mostly motion and wonderment. They may be staring at a sunset or taking a bath or looking at a butterfly.
而描绘儿童（不管男孩还是女孩）时，不管是日落、洗澡又或者观摩蝴蝶，他们的动作神情总是带着惊叹感。
I found that, with my oldest subject who was in her late 80’s, there was a sense of awe at the world and it was reflected in her eyes and the energy of her spirit, much like the spirit of a child. It seemed my middle aged subjects displayed the most burden. When my subject in her 80’s spoke of her past, there was a sincere feeling of joy and pride. She seemed to be on the other side of mid- life worries that I was seeing in women in their forties. With many women in the mid- life range, I purposefully shot nudes and partial nudes. I saw that even with the sorrow, there was this interesting openness and frankness about their bodies. I loved the simplicity and naturalness of the nudity combined with the history of mourning. Often, it is easier to show a body you may have lived with for many years but harder to reveal all the history of pain it may have endured.
至于那位80多岁的老人家身上总带着对世界的敬畏感。那些敬畏感不仅反映在她眼神中，也反映在她的精神上，而且和孩子式的敬畏感很相像。虽然中年模特看上去更像是沉重的负担感，但老人家回顾过去时，展现的却是真诚的喜悦与自豪，这与四十多岁的中年模特截然不同。与中年模特在一起时，我拍摄了很多全裸或半裸的身体。有趣的是，我发现她们身体非常坦率地展现出当时身处的悲伤情绪中，我喜欢那种不遮掩的自然感。一般来说，即便相处多年，也是展露身体易，展现情绪难。
The Sunset (oil on canvas) 24×20 in
By starting with children I was able to find the juxtaposition between the candidness of our youth and the stillness of adulthood where life has thrown us curves such as loss or affliction and the memories that go with it. I also noticed a certain self consciousness that started to show in my teenaged subjects. Capturing this, was really exciting and painting it even more so. I feel it is the eyes that reveal so much in these moments.
从绘制儿童开始，我发现经历生活带来的痛苦与回忆的加成后，我们与生俱来的坦率与成年之后的静默弯曲成一条曲线。我同时也意识到这曲线在十几岁的模特身上已经开始体现，能够捕捉到这个让我很兴奋，将它固定在画布上让我更加兴奋。我想这是因为眼睛不会撒谎。
I have a history in painting large-scale abstracts that capture emotional landscapes. I felt compelled to tell a different kind of story, as I was indeed myself in middle age and raising two daughters that were changing so quickly. I have been working very hard to produce a different kind of show that incorporates traditional portraiture while humanizing it with the emotion of my work. I played with the balance between some pieces that may have larger brushstrokes and less blended and other pieces that are very delicately blended and feminine, because it was more appropriate to each piece than to maintain a certain style. I find, with the paintings of the children, the brushstrokes are softer and blended, while with some of the adults, more harsh, hog brush style and the definition not as blended. This was still to remind the audience that the focus is the painting, not the initial photograph which inspired it. I often completely changed the background but not the foreground in order to give my subject a feeling of being anywhere, as the location is not of importance and should not detract from the emotion.”
我曾经绘制过捕捉情感的大幅抽象画。而我现在人处中年，同时还抚养着两个急速成长的女儿，这让我觉得我需要有所变化。我一直在努力做一个基于传统肖像画，但加入自己情感的画展。我试着平衡技巧与女性特有的情感，因为这样的方式更适合所有作品而不是其中某一幅作品。绘制孩子时，我的笔触会更加柔和协调；而绘制成年人时，则会更加粗暴与矛盾。这是为了提醒观众将重点放在画作上而不是它灵感来源的照片上。我经常改变画作背景而不是前景，因为位置不重要，重要的是模特展露出的情绪应该完全表达出来。
Laurel Holloman
Sandra’s Eyes (oil on canvas) 34×34 in
Mona Lisa Smile (oil on canvas) 30×36 in
Biography:（这段个人艺术界成就就不翻了，反正每次展出都要说一次）
The artist lives and works in Los Angeles (U.S.A.). After an acclaimed debut with her New York studio collection, TriBeCa in summer 2011, Holloman has had four international solo shows. Coeur Libre, exhibited at the Pantheon Town Hall (Paris, April 2012) sold out in its first week. This show was followed by Free Falling only three months later at The Ateneo Veneto and ran during the 2012 Venice Architecture Biennale to a record breaking attendance and was the first exhibition to contain two 14 ft murals. Her third solo show, All The World Inside, took place in Berlin in spring 2013 and included 17 large scale murals in three rooms at the Grand Palazzo Italia. In summer 2013, her painting Swell was
picked for the group show, Nell’Acqua Capisco at the Venice Art Biennale and was chosen for the official catalogue.
Her latest solo exhibition, The Fifth Element, was held in Paris (Galerie Joseph) in July 2014 and has met with a public increasingly seduced by the poetic emotion that emerges from the works of Laurel.
This show was followed in October 2014 by an invitation at the International Contemporary Art Biennale in Buenos Aires (Argentina). The Reach and Map of The World were chosen for the installation. The Reach was awarded by the First prize of the Biennale in the paintings category and Laurel won the Banco Ciudad Award for the Best Work in all categories.
Laurel Holloman earned her Bachelor of Arts at The University of North Carolina-Chapel Hill majoring in performance art and visual art. She continued her studies at UCLA and the British American Drama Academy in London alternating between theatre and visual art. Her early focus was on performance art especially Dadaism and sculpture and then progressed to painting.
（译者注：Dadaism，达达主义：1916年于瑞士兴起的一个绘画、雕刻与文学上的革命运动，主要创始人有德国的演员和剧作家胡戈·巴尔(Hugo Ball,l886–1927)和诗人理查德·许尔森贝克(Richard Huelsenbeck,1892–1974)、法国艺术家让·阿尔普等。通常来说，是借助抽象化的有机形状和随意涂抹、非描绘性的色彩创造了一个超然于可见世界之外的幻想世界。）
The Warrior (oil on canvas) 24×42 in
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