Diana Orving
1985年出生的瑞典纺织艺术家Diana Orving以微妙的方式创造了精美绝伦的雕塑般艺术装置，旨在表达一种运动之势和个体情感。她的作品以纺织品为媒介，深入探讨了根源、保护、记忆和自我消解等主题。在她从事艺术工作之前，曾是一名时装设计师。
Born in 1985, Swedish textile artist Diana Orving creates exquisite sculptural installations in a subtle manner, aiming to express a sense of movement and individual emotions. Her works, utilizing textiles as a medium, delve into themes such as origins, protection, memory, and self-dissolution. Before she became an artist, she was a fashion designer.
Diana Orwing的艺术风格具有联想性和内在的流动性，试图通过形式与运动来表达和诠释精神状态、社会关系以及心理或身体变化的过程·她的作品有着强烈的存在感·扭曲和转动的姿态创造了一种动态的舞蹈其身影投射于所处空间的墙壁上·彼此之间产生相互的作用·借此隐喻无形与不可触摸性
Diana Orving's artistic style is associative and inherently fluid, attempting to express and interpret states of mind, social relationships, and processes of psychological or physical change through form and movement. Her works have a strong presence, and the twisted and rotating postures create a dynamic dance. Their silhouettes are cast on the walls of the surrounding space, interacting with each other, metaphorically alluding to the intangible and untouchable.
您认为时尚、舞蹈、艺术之间有何共通之处？
What do you think are the commonalities between fashion, dance, and art?
我认为三者之间的共通之处在于无需言语。就我个人而言，更喜欢倾听而不是讲述，我觉得自己之所以被这种表达形式所吸引，是因为它们是一种通用的语言，与我们期望拥有诗意生活的愿景产生了共鸣。
I believe that fashion, art, and dance share a common thread of wordless communication. Personally, I am someone who listens more than I speak, and I think I am drawn to these forms of expression because they offer a universal language that resonates with my desire to infuse life with poetry in all forms.
家庭环境给了您怎样的影响？
How has your family environment influenced you?
我成长于一个充满创造力的家庭，围绕我的总是母亲的布料、缝纫机与织布机，以及父亲的建筑图纸和模型。母亲是一位艺术家，与各类纺织品打交道，从小我耳濡目染。母亲很早就鼓励我使用她的颜料、布料和缝纫机，使我可以尝试通过表达自我的方式进行创作。
I grew up in a creative household surrounded by my mother's fabrics, sewing machines, and looms, as well as my father's architectural drawings and models. My mother, an artist, worked extensively with textiles during my childhood, immersing me in her materials. She encouraged my early use of her paint colors, fabrics, and sewing machine, fostering a natural way for me to experiment and express myself through creation.
纺织品作为您的主要创作媒介，源于何时以及何种原因？
Fabric is your primary medium for creation. When and why did you choose it?
童年时期的耳习目染对我产生了深远的影响，我一直将缝纫这种行为和用心及时间的投入相联系，在我看来，编织和缝制的一针一线都是爱的表现。以纺织品为创作媒介总会唤起我童年记忆和美好想象，这是我很早就发现的一种创造性语言，即使我不断地改善我的工作方法，我依然对此饶有兴趣。我喜欢纺织品所呈现的可塑性和轻盈感，使我能够创作出几乎失重但体量巨大的雕塑般艺术作品。
My childhood experiences, immersed in my mother's textile art, had a profound impact on me. I've always associated sewing with care and a deliberate investment of time. The act of weaving and sewing every stitch is an expression of love. Creating art with textiles connects me to memories and fantasy. It's a creative language I discovered early on, maintaining a playful approach even as I refined my technique. I appreciate working with textiles for their transformative qualities and lightness, enabling me to create sculptures that are almost weightless, yet monumental.
女性独有的感知力在您的创作之中是否有着重要的作用，又是如何体现的？
Does women's unique perception play an important role in your creations and how does it manifest itself?
我的艺术以女性视角为切入，是一种极其个人化的创作。例如在最近的作品中，孕育和分娩是我关注的母题。当我描绘自己的个体经验时，它们也呼应作为女性而存在的整个时期的普遍经验。
My art is deeply personal, rooted in a woman's perspective. For instance, themes of pregnancy and childbirth have featured prominently in my recent work. When I portray my personal experiences, they also echo universal experiences shared by women across time.
“Magical Thinking”艺术展中展出的作品，形态不一，除了织物的物理特征之外，它们的内在联系是什么？
The works exhibited in the "Magical Thinking" art exhibition vary in form. Besides the physical characteristics of the fabric, what is their inherent connection?
在心理学上，“Magical Thinking”是指一个人的信念、思想、行动或符号会影响周围的物质世界。我的想法与这个概念不谋而合，包括仪式感，个体象征和统一性的探索。这个展览深入地探讨了一种对“无常”的恐惧。其中某些丝茧作品里有我的头发缝制而成的愿望、誓言或咒语，它们成为被投射的表面，促使人们对禁锢的欲望进行反思。
In psychology, "Magical Thinking" refers to the belief that one's ideas, thoughts, actions, or symbols can influence the material world. My thinking system aligns with this concept, embracing rituals, private symbols, and a search for synchronicities. The exhibition delves into encapsulating moments—a fear of impermanence. The silk cocoons, for example, contain notes with secret wishes, vows, and spells sealed with my hair. They serve as projection surfaces, prompting reflection on sealed desires.
对我来说，创作是一次通往未知的旅程，我通过赋予它形式来更好地理解它。我的艺术作品几乎都是独立的个体，每一个都有自己的意志和性情。这个过程中我本身只是一种工具，全凭手的直觉来捕捉、倾听并思考，即便是一根线、一棵树也有其存在的意义。
Creation, for me, is a journey into the unknown, and I understand it better by giving it form. My sculptures almost become autonomous entities, each with its own will and temperament. I act as an instrument for the work, intuitively seeking sources with my hands, listening, and meditating on the essence of, for example, the lines of a being or a tree.
