吃境 卡尔.华纳的古典主义食象之旅

开篇：润墨网以专业的文秘视角，为您筛选了一篇吃境 卡尔.华纳的古典主义食象之旅范文，如需获取更多写作素材，在线客服老师一对一协助。欢迎您的阅读与分享！

人们对某一时空产生的记忆总是多元官能的，那些寄托了各种情愫的碧海蓝天、深谷回声、馥郁芬芳 、拂面微风……但传说其中最深刻明丽的，总是味觉。现居伦敦的艺术家Carl Warner创作出了一系列足以乱真的古典主义食材艺术，内里层次错综交叠、光影栩栩如生，被人们称为“食物景致”。毕业于艺术学院的Carl本打算成为职业画师，但摄影工作饱含的激情与创造力却让他走向另一个全新领域，他说：“人们最初总以为这些仅是逼真的绘画作品，但当他们意识到所见之实，便会心一笑。于我，这是最棒的瞬间。”

ZEST:这个“食物景致”的创意是从何而来的？食物与自然景致于你来说是否存在着某种微妙的关联？/ Carl Warner: 我可以用琐细、零件般的存在重塑宏大的外界，这让我感到无比欣喜。作为幕后的设计师和创作者，我认为隐含其中的设计原动力是不可思议和令人安慰的。自然万物在宏观与微观两种观察视角之间都存在着联系，我们会发现它们在纹理、结构和形态方面存在着惊人的相似性，就如同有机物的生长都遵循着类似的模式。这千丝万缕的联系正是激发我创作的源泉所在，同时我也将由此产生的作品视为向它们致敬的表征。另外我也很乐意观察观众看作品时的反应，当他们发现所见之景并非真实而是食物所制，往往闪出会心一笑，我称之为“愉快的欺骗”，于是我会热衷于创作更多的“食物景致”，以此为世界带来更多微笑。

1.ZEST: What inspires your idea of this "foodscapes" series? Is there any subtle connection between food and landscape for you ? / Carl Warner: I find it fascinating that I can make the lager elements of the larger world out of the smaller elements within it. It is the aspect of implied design and therefore a designer or creator behind it that I find both incredible and reassuring. Everything in the natural world seems to be connected in such a way that in looking at it from close up or far away, we see that there are amazing similarities in the textures, structures and formations, as the growth of organic material appears to follow similar patterns.I am greatly inspired by these connections and I see my work as a celebration of them.I also love that my work makes people smile and I enjoy seeing their reaction when they realise that the scenes are not real but made of food. I call it a 'pleasant deception' and I am keen to do more 'Foodscapes' to bring more smiles into the world.

ZEST: 你的作品中充满了风情迥异的景象和意境，比如伦敦、意大利、阿拉伯……这说明你很喜欢旅行么？ / Carl Warner:对，我很喜欢到世界各处游历，而且我也喜欢美食，所以这两者对我来说是有内在联系的。与此同理，一个国家的饮食文化时常反映在那里的景观和建筑上，比如，一个地区的农业可以塑造那里的独特景致；本土的果蔬能够影响当地的建筑或船形。因此，理清这些相辅相成的元素是我旅途中重要的一环，之后我会把它们转化、融入到作品中，好似这些微妙的联系被绘制到画作里一般。ZEST: There are so many different landscapes in your work, just like London ,Italy , Arab……So ,do you like traveling? / Carl Warner: I do love traveling to different parts of the world and I enjoy food, so these two things for me are intrinsically linked, as the food culture of acountry is often reflected in its landscape and architecture for example the agriculture of a region can shape a landscape, and it's indigenous fruit and vegetables can shape it's buildings or boats. Recognising these complementary influences is part of what I do when I travel and that translates into the work as those relationships are illustrated within the imagery.

ZEST:你为很多著名厂牌拍摄过很成功的广告，依据你的体验，这种命题性质的工作与你这组充满古典主义绘画风格的食物摄影最大的不同之处在哪？ / Carl Warner:我不确定我是否正确理解了这个问题，我拍摄广告是因为它确实酬金优厚，而且也我可以创作更多自己的作品。但是我完成命题与非命题的工作途径并无差异，因为我的目标始终是在核心概念的基础上创造出最棒、最具创意的画面。至于古典主义的绘画风格，它是一种为人们所熟知的画面构成模式，也是能够让观众产生实景错觉的辅助手段。ZEST:Youe made successful advertisements for many famous brands, what the biggest difference between commissionedworking andthisfood shooting experience which is full of classical painting style ? / Carl Warner: I am not sure I understand this question, I make the images for advertising as it pays well and allows me to make more of my own images, but I approach both commissioned and non-commissioned work in the same way, as my aim is to make the best and most creative image possible from the brief and concept. The classical painting style is a form of composition that everyone is familiar with and so this is a device that helps to fool the viewer into thinking they are looking at a real scene.ZEST:一般来说，你怎样收集你的创作材料？这里面有什么可以分享的有趣体验么？ / Carl Warner: 我与食物造型师和模型制造商合作，他们在明了我的意图之后，会为我准备大多数的拍摄材料。不过在着手拍摄前，我也时常到外面寻找某些特定的材料来启发拍摄灵感，并判断它们是否适于拍摄。我最近在为我的新书创作一个海底的珊瑚礁场景（新书将在2010年秋季出版），我使用了很多来自中国、印度和亚洲市场上的原材料。我在伦敦的中国城买了5个榴莲，它们真的奇重无比，也奇臭无比。店主好奇，问我为什么要买5个，我告诉她是为拍摄准备材料时，她很担心我会不吃它们就直接扔掉，于是我不得不向她保证我一定会尝试吃它们的。当她终于同意卖给我时，费了很大周章才把5个榴莲包裹好（保护它们，也保护我），之后给了我一张125英镑的账单，这着实是笔“巨款”，我才意识到它们如此昂贵，这令我震惊不已。而整件事最有趣的一点在于：她花了那么多时间劝导我吃，而我则花了那么多时间说服她卖榴莲给我。

4.ZEST:Generally, how do you collect your materials? Is there any amusing experience to share? / Carl Warner:I work with a food stylist and a model maker, and they usually source most of the ingredients for the shoots for me after I have told them what I want. But quite often I will go out to look at certain ingredients beforehand so that i know what I want and whether it will work for the picture.I recently made an undersea scene of a coral reef for my new book (which will come out in Autumn 2010)and I used many ingredients from Chinese, Indian and Asian markets. While at a supermarket in London's Chinatown I bought five Durian's which were very heavy and very smelly! The manager of the shop was intrigued as to why I wanted five, and when I told her that I was going to use them in a photograph she was very worried that I would not eat them and that I would throw them away and so I had to promise that I would try and eat them. When she finally agreed to sell them to me she them spent a long time wrapping them up to protect them (and me), then when they were all bagged up she gave me the bill of ?125.00, which was a lot of money and I had not realised how expensive they were, so I was very shocked. But as she had spent so much time with me and I had spent so much time convincing her to sell them to me I had to buy them!

ZEST:下一步的创作计划是什么？有新的主题么？ / Carl Warner: 目前我还有很多“食物景致”要创作，另外也有些为我的新书准备的“秘密武器”，不过出版之前我必须保密。在这之后，我会开始为第2本书创作。另外，我也期望能制作一部食物世界的动画片，这能教育孩子（和成年人）养成健康的饮食习惯。ZEST:what's your next step of creating, do you try to plan a new topic? / Carl Warner:I have many more Foodscapes which I want to create and I have been working on some new ones for the book which I have to keep secret until it comes out. I will then have a second book to work on after that.I am also looking at making a childrens animation of the food world which will help to educate children (and adults) about diet and healthy eating.