Ileana Moro
Ileana Moro是一位古巴裔的哥斯达黎加艺术家，现居于比利时安特卫普。她通过在亚麻布上进行油画创作来表达自己的艺术理念。其作品有意避免具体的形象，而是有着抽象的本质，她探讨了“空灵”与“神秘”的意象，同时深入研究转瞬即逝的、神秘的和心理学的主题。
Ileana moro is a cuban-costa rican artist, based in Antwerp, Belgium. She expresses her artistic vision - self taught through oil on linen.Her work encompasses ethereal and enigmatic semblance, often abstract in nature, while intentionally avoiding the human figure. Instead, she delves into transient, mystic, and psychological subjects.
她的绘画以其对暗色调的探索而闻名，旨在揭示人类阴影的深度与层次，以及和无形领域的内在联系。她的艺术创作总是基于内心的真实想法，以此唤起了一种强烈的怀旧之感。她认为，无论是个人还是集体，人类都是通过情感表达、自我发现和灵魂的展现来塑造自我的。
Her paintings is recognized for its exploration of dark tones, aiming to reveal the depths and layers of human shadows and the instinctive connection to the invisible realm. With a deeply personal artistic process, she is rooted within her own being, evoking a strong sense of nostalgia. She believes that human beings are shaped through emotional expression, self-discovery, and the unfolding of the soul, both individually and within the collective sphere.
"显然，我们每个人无不受理性世界所存在的事物以及来自更高宇宙意识所干预，这是一种超越客观的常数。”
“It is eminent there is a constant that is beyond, what the rational world could offer and the awareness intervention from the higher cosmos is present in each individual.”
她将阴影视为精神导师，在黑暗的指引下，进行着她的艺术探索。
She views shadows as powerful teachers, dark omens that guide her artistic exploration.
- Art: Ileana Moro
您开始明确意识到绘画是自己内心的一种真实投射，大概源于何时，起因又是什么？
When did you start to consciously realize that painting is a true projection of your inner self, and what was the initial trigger?
在我看来，绘画作为自我内心真实投射的呈现并非是有意识的决定，而是我独自在工作室时偶然探索出的一种抒发情感的方式。有时，绘画会让我热泪盈眶，它是发自内心的，不是表面上的自我感动。同时，我也会偶尔感到莫名的愤怒，甚至拿画布进行发泄。我认为最初的起因是我内心有着强烈地自我表达欲望，通过绘画或文字的媒介来表达我的想法、情感和经历。
I believe that the realization of painting as a true projection of my inner self was not a conscious decision, but rather a deep feeling that emerged organigly while I am alone in my studio. There have been moments when I’ve been so moved by the process of painting that tears would well up within me. These tears were genuine and couldn’t be faked. Additionally, there were times when I would feel a surge of anger and would even hit the canvas. I think the initial trigger for me is that I knew inside a strong desire to express myself, to communicate my thoughts, emotions, and experiences through the medium of painting or words.
创作过程中，感性的感知和理性的觉察对您而言，是否同时存在或更具有偏向性？
During the creative process, do both sensory perception and rational awareness coexist for you, or does one tend to predominate?
在这个过程中，它们是并存的，对我来说于二者之间取得某种平衡尤为重要。如果仅仅依靠感性的感知，我的作品可能会趋向阴暗或愤世嫉俗，虽然我个人喜欢，但很难引起观众的共鸣；如果仅仅依靠理性的觉察，那它可能会缺乏情感与难以令人信服的叙事性。理性的觉察令我从不同的角度去理解世界和人；而感性的感知则可以促使我挖掘自己更深层次的情感，创作出有意义的艺术作品。
During the creative process, both sensory perception and rational awareness coexist for me. It’s crucial to strike a balance between the two. If I solely rely on sensory perception, my paintings may become dark and cynical, which I personally enjoy but may not resonate with everyone. On the other hand, if I rely solely on rational awareness, my paintings may lack emotion and a compelling narrative. Rational awareness helps me understand the world and people from different perspectives, while sensory perception allows me to tap into my emotions and create meaningful artwork.
在一些采访里，您曾提到“转变是一个破坏性的过程”，如何理解它？
In some interviews, you mentioned that "transformation is a destructive process." How do you interpret this statement?
当我提到“转变是一个破坏性的过程”时，我指的是我自己的个体经历。转变通常涉及打破原有的模式、观念和思维方式，这可能是一个痛苦的过程。然而，正是通过这种破坏，才有治愈和成长的机会。这句话体现了我在生活中所面临的各种挑战，以及它们最终影响我个人和艺术发生转变的可能。
When I mention that ‘transformation is a destructive process,’ I am referring to my own personal experiences. Transformation often involves breaking down old patterns, beliefs, and ways of thinking, which can be a painful process. However, through this destruction, there is also an opportunity for healing and growth. This statement is a reflection of the challenges I have faced in life, and how they have ultimately led to my personal and artistic transformation.
您的作品多表现类似于“黑暗”的基调，但在光的作用下，逐渐有了强弱、轮廓、肌理、光泽等，您是如何协调与光的关系？
Your works often exhibit a tonality resembling "darkness," but under the influence of light, they gradually acquire aspects such as strength, contours, textures, and gloss. How do you coordinate your relationship with light?
在作品中，我经常融入一种类似黑暗的基调，但同时也会引入光的元素。这是从我钦佩的古代大师画作中获得的启发，光线的微妙使用为他们的作品增加了深度，质感和神秘感。我也尝试在我的抽象画中进行实践，而不是依赖于具象的元素。
In my works, I often incorporate a tonality resembling darkness, indeed. But I also introduce elements of light. This is inspired by my admiration for paintings from the old masters, where the subtle use of light adds depth, texture, and a sense of mystery. I aim to implement this beauty in my abstract paintings without relying on figurative elements.
如果说绘画是一种媒介，您是怎样通过它建立内心的“微观世界”与客观存在的“宏观宇宙”之间的联系的？
If painting is considered a medium, how do you use it to establish a connection between your inner "microcosm" and the objective existence of the "macrocosmic universe?
在我内心的“微观世界”和客观存在的“宏观世界”之间建立联系，是我在绘画中积极探索的主题。我也曾就我的作品写了一篇文章，尝试描述这种不可描述的联系，并探索其来自有形世界之外的渊源。虽然我相信有联系，但却不是一个轻易表达的概念。
Establishing a connection between my inner ‘microcosm’ and the objective existence of the ‘macrocosmic universe’ is something I am actively exploring through my paintings. While I believe there is a connection, it is not an easy concept to express tangibly. In my artwork, I wrote An attempt to translate the untranslatable, means from sources beyond the tangible world.
