非常感谢Ingrid Baars将项目介绍和项目图片授权gooood发行。更多请至：Ingrid Baars on gooood
Appreciation towards Ingrid Baars for providing the following description:
荷兰鹿特丹艺术家英格丽巴尔斯创造了一系列灵感来自非洲艺术的数码摄影拼贴作品。
This is a large series of photographical digital collages shot and created by Ingrid Baars. It is an ongoing project inspired by Classical African Art.
英格丽巴尔斯被非洲立体木雕的巨大魅力所感染。她的创作主要以女性为主，拍摄出这些女性照片，用后期的处理让二维图片散发出三维木雕的气场，活灵活现，强烈逼真。英格丽巴尔斯认为让平面的二维图像具有逼真三维感染力这个过程很有趣。她的照片中拥有让人感动的真实的部分，这些美丽的女性具有各自温柔的特征：纤细的脖子；胎记；细嫩皮肤的纹理；轻柔的皱纹…..这些真实也不会被后期的处理所掩盖。
相较于摄影师，英格丽巴尔斯认为自己更接近于艺术家，她认为摄影是有限而且总是从视觉开始，而艺术这不是。选择探索非洲艺术是因为非洲艺术十分具有创造力，充满自由和渴望，并能反过来影响西方现代艺术。她希望自己的作品仿佛是“活”的，而不仅仅是一个对象，虽然人们知道他们并没有真实的生命。但是这种对比更可以激发那种紧张感。她不选择男性，因为女性浪漫，柔软，甜美，性感。或者说，她创造的是她自身。她的工作：雕塑，美，脆弱却有力，感性。
Ingrid Baars 1969, Duth artist
Willem de Kooning Academy of Arts in Rotterdam
About “L’Afrique c’est Chique” :
This is a large series of photographical digital collages shot and created by Ingrid Baars. It is an ongoing project inspired by Classical African Art.
“I find it challenging to combine an antique, wooden object with a human being of flesh and blood. Three-dimensional African sculptures can have a very strong presence. I thought of the female human form, which is my main subject for as long as I remember, melted together with already existing objects and tried to imagine these two “elements” giving them the same ‘treatment’. My treatment of sculpting and manipulating the way I tend to do. I always work with human beings, women actually, never with “dead” objects and I’m sure I never will, but the combination of the two excited me.
What I want to achieve is to build a large series of two-dimensional sculptures based on African art that would have the same strong presence I find in some wooden statues. I explore my freedom as an artist within the boundaries of this theme. The combination of strong expression and presence with a sensitive vulnerability is what I find most interesting and this is what I’m looking for. As bold and forceful as my images may be, there’s always a very tender component. I aim for this. There would not be any power without this. I search for touches of humanity that move me. Wrinkles in a beautiful young woman’s neck, stretch-marks, birthmarks, tender skin with goose bumps, little downy hairs….I cherish this proof of humanity and give it a solid part in my creations. It’s criminal to kill this with Photoshop.”
Ingrid Baars said:” I would keep it at ‘Artist’. I find photography in itself quite limited. Yes, I take my own photo’s to work with, I don’t want anybody else to take them. It needs to be my
vision from scratch and so I do a shoot every once and a while. But I’m always anxious when a shoot is finished… with my 3000 shots safely on my hard disc the party begins: creating on my computer. This is when I’m at work, where the magic happens. I give myself a rough direction but I never have the slightest idea where to end up and I love it this way. I just start with a million choices to make and knowing exactly what I don’t want…Creativity in Classical African Art is beyond amazing and the variety of how the human body is translated is endless. It stimulates me to explore corners of my creativity I’ve never even been. To step of that safe train and wonder around in full freedom and expectation of the places I’m about to discover. I feel that I just started my search.
Besides this, it is interesting to realize the important influence African Art has had on Western modern art…My aim is to make sculptures with photographic material. Sculpting with wood, bodies, metal, fabric… but all in 2D. I need to feel a direct intimacy with the images I’m making at the moment of creation. I couldn’t just create an ‘object’. It needs to appear alive and although I want my work to stand on it’s own like a powerful ‘sculpture’ with a certain distance and untouchability, I think it becomes really interesting when my ‘sculptures’ are alive at the same time. It is the contrast between a ‘dead’ object and the vulnerability of life that makes it work. It’s about the tension between distance and attraction…I did work with men and especially some dancers I found absolutely intriguing. For sure, pretty strong and beautiful lines can be found in a man’s body and face. But still…I rather work with the female form because I need the contrast between romantic, soft, sweet, polished aestheticism and bold, angular power. Sensuality en sensitivity is an important aspect of my work. The female sensuality inspires me much more, probably because I need to feel what I create myself. I can relate to this femininity because I’m a woman myself, obviously. I can’t cope with the
hairy legs and stubbed chins in my pictures…, it makes me feel cranky and un-sexy, like I didn’t shave my own legs. I’m creating through me, it is me.”She described her work in 5 words :” sculptural, aesthetic, vulnerable, powerful, sensual.”
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