非常感谢 Sophia Heymans 将以下内容授权gooood发行。更多关于她：Sophia Heymans on gooood.
Appreciation towards Sophia Heymans for providing the following description:

继上次给读者朋友们分享了“12 Month Series”之后，来自美国明尼苏达州中部的艺术家Sophia Heymans又给我们分享了她的新作”Coyotes at Night”和”Pond Hockey”。并补全了“12 Month Series”中当初还未创作完成的”September”（当时留言说反处女座而没有九月的朋友们，你们一定不能错过这张九月）。gooood编辑依旧非常喜欢她笔下色彩斑斓，细节丰富，充满活力的乡村风光。她的画不仅使用颜料，还会将苔藓、细绳、纸浆和草籽植入画布上，然后在这些纹理表面和周围画出群山、湖泊和树木，展现出人类与自然的关系。尽管与21世纪的科技世界截然不同，但这并非逃避现实的错觉，也不是浪漫的幻想，而是艺术家眼中，家乡明尼苏达州中部地区，自家农场周围的实实在在的风景。

“Coyotes at Night”

acrylic, moss, paper mâché, mop strings, dryer lint, prairie grass seeds, burrs, oil on canvas.
60″ x 84″. 2015

“夜晚的狼”，是艺术家唯一一副没有人物的夜景图，她为这幅画做了很多想象。画面左下方有一匹嘴里叼着小猫，正在急速飞奔想要给小狼分享美食的大狼。艺术家画这幅画的时候，自己养的猫奄奄一息快不行了，而这幅画减轻了她的悲伤。Sophia Heymans告诉gooood：“这是我纹理最丰富的一幅画，我采用了种子和毛刺团块绘制这幅画的沼泽地和小山”，我希望这幅画中体现出的混乱和野性的基础能够有力的支撑这幅画讲述的野狼吃家猫的故事。“

I kept changing my mind about how I wanted “Coyotes at night” to look. I couldn’t decide if it should be a night scene or a scene just after a storm. I did many layers but it eventually turned out to be a night scene. This is the only painting where I have no human figures. The figures in this painting are coyotes. The coyote in the foreground has a black cat in his mouth and the coyotes in the background run to share the meal. I thought painting this might help relieve me from my sadness about my cat dying in this way. This is my most textural painting yet. I used clumps of seeds and burrs to make the marshy grasses and little hills and ridges of this painting. I wanted the painting to seem very chaotic and untamed to go with the narrative of the wild coyote conquering and eating the domesticated cat.

▼细节，details

“Pond Hockey”

acrylic, moss, paper mâché, string, twine, oil on canvas. 61″x 90.5″. 2015

池塘冰球这幅画对艺术家来讲是艰难的。Sophia Heymans早在一年前就画了这幅画，但画完后她很不满意，于是她开始了长时间的修改，甚至重返了自己的过去。这幅画的场景是以她居住的明尼苏达州中部的泊和山坡为基调而进行的虚构。

“晚冬残血消融，而湖面厚冰仍在，孩子们贪恋玩耍，太阳落山也不回家吃饭，还在湖面上玩冰球。” 艺术家决定将这幅画做成粉色和红色——她之前从未尝试过，但这样做是一个有趣的挑战。湖面和池塘是光滑而有光泽的，周围剩下的一切是粗糙的。

“Pond Hockey” was a difficult painting to make. I had already done a painting on this large canvas a year before and decided that I didn’t really like it. I decided to try to fix it but I ended up painting over everything. For a while I left just one tree from the old painting, but I felt like it was holding me back so I went over it too in the end.

The scene is mostly made-up, but was inspired by lakes and hillsides around my family home in central Minnesota. It is one of those days in late winter when the snow is mostly gone but the ice is still great for skating. I imagined the kids are probably late for dinner but will play until the sun is all the way down and they can’t see the puck anymore. I decided to make this painting very pink and red. I have never really made a pink painting before and thought it would be a fun challenge. When you see the painting in person the lakes and ponds are very shiny smooth and reflective and everything else is rougher, matte and textural.

▼细节，details

“September”

acrylic, paper mâché, pine needles, roots, sticks, prairie grass seeds, dried dill, oil on canvas. 48″ x 60″. 2014

“九月”这幅画是艺术家Sophia Heymans和男朋友Paul Spring在明尼苏达州北部进行一次野营后而作。他们野营的地区被称为独木舟荒野区，区域内拥有1200英里独木舟路线和超过2000个露营地。各个小岛之间只能通过独木舟往来–这里不允许任何机动船，也人烟罕至，甚至连湖水也能直接饮用。

Sophia Heymans带了一些颜料到他们露营的岛上，而她的男朋友则带来了吉他写歌。这个岛在19年前曾遭遇过火灾，至今还有许多老枯木屹立，不过新的生命也在其间欣欣向荣的萌发。艺术家很喜欢小绿树和黑色的枯木之间的对比。艺术家回到家后，就开始画画，并在画中增加了松针，根，枝等质地。于此同时，艺术家的男朋友Paul Spring也创作了一些好听的歌曲，他将这些歌曲收录进自己刚刚发布的新专辑，并采用了艺术家画得”三月 March”作为自己的专辑封面。

可以在这里听到这首歌：https://paulspring.bandcamp.com/album/towards-a-center

I painted “September” after going on a camping trip with my boyfriend, Paul Spring, in Northern Minnesota. The camping area is called the Boundary Waters Canoe Area Wilderness and has over 1200 miles of canoe routes and over 2000 campsites. You have to go in with a canoe and you paddle all day and camp usually on small islands. It is very peaceful because no motor boats are allowed on the lakes. You can drink the water straight out of the lake! Sometimes you do not see another person for many days.

When we went up there I brought some art materials and did sketches and watercolors from a cliff on the island we were staying. Paul brought his classical guitar and wrote some songs. On that island there had been a forest fire about 19 years ago. Many of the old burnt dead trees were still standing but the new young bright trees were coming through and taking over. I loved the contrast of the tall black and white dead trees against the small green ones. It somehow seemed very playful.When I got home and I started my painting using the sketches. I added lots of texture to the canvas including pine needles, roots and sticks to help give that playful look to the painting.

It was rewarding to use a camping trip as an artist retreat. Paul also made some nice songs up there. His new album was just released and some of the guitar parts he made on that trip are on his new album. He used my painting “March” for the album art. You can listen to the songs here: https://paulspring.bandcamp.com/album/towards-a-center

▼细节，details

更多信息|More Information

创作油画作品时，我首先用丙烯颜料和其他植入材料形成表层，然后用油画颜料进行创作。至于风格，我认为我是用极其抽象的表现手法、以比喻的方式来阐述美国民俗艺术。薄薄的天际线下，活力无限的室外场景和精心布局的植物、动物和其他形象出现在同一画面中，构成连续的臆想故事。这些簇拥的形象表现了一个地方的独特特质，也体现了那些期望在此永久停留却匆匆离去之人的情结。

我的家乡位于明尼苏达州中部地区，油画作品便取材于我们家农场周围的风景。那里人烟稀少，景致优美。遍布在Avon山间的湿地、大草原和树木繁茂的湖泊是我作品的重要素材。我将苔藓、细绳、纸浆和草籽植入画布上，然后在这些纹理表面和周围画出拟人化的群山、湖泊和树木，如低头注视自己影子的树干，伸出枝叶靠近同伴的灌木，还有那倒映着月亮的池塘……这些自然地标与隐藏其中的人们有着同等的价值。画面中，我将人物形象刻画得很小，他们通常都在休闲玩耍：在雪中嬉戏的孩童、迎着大风向山上前行的一家人、以及独自滑雪的妇人……这些画面展现了人类与自然的关系，尽管与21世纪的科技世界截然不同，但这并非逃避现实的错觉，也不是浪漫的幻想，而是实实在在的存在。

I make large scale landscapes painted with oils layered over a surface of acrylics and embedded found materials. In terms of style, I think of my paintings as placing the figurative narrative of American Folk Art on top of the textural assemblages of Abstract Expressionism. With only a thin banner of a horizon line, I compose energetic outdoor scenes with carefully arranged representations of plant, animal, and structural subjects interacting in an ongoing imagined story. For me these crowded images express the unique personalities of places, and the momentary persons who engage those places in desire of a culminating relationship.

My point of departure is the sparsely populated environment surrounding my family’s farm in Central Minnesota, particularly the wetlands, prairies, and wooded lakes situated within the Avon hills. I attach pieces of moss, string, paper mâché and prairie seeds to the canvases. On and around these textures, I paint groupings of little hills, lakes and trees in personified roles: a tree staring down at its own shadow, a pair of shrubs reaching out to one another, or a large puddle holding the reflection of the moon. The landmarks are characters of equal value to the persons among them. Within the crowded scenes, I paint the people very small and portray them in leisurely activities: children playing in the snow, a family walking up a hill on a windy day, a lone woman skiing at dusk. These pieces embrace our often comic relationship to nature, separate from our 21st century technological existence but not as some sort of escapist delusion or romantic fantasy.

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