Printing Photos onto Living Plants把照片印在活體植物上

Spanish artist Almudena Romero knew from a young age that she loved plants： “I must have been about four or five—my granny would call and say， ‘What do you want for your birthday？’ And I’d be like， an olive tree.”

西班牙藝術(shù)家阿爾穆德娜·羅梅羅從小就知道自己喜愛植物：“大概在我四五歲時(shí)，奶奶打電話問我：‘你生日想要什么禮物？’我就會(huì)說，想要一棵橄欖樹。”

With her inclusion in exhibitions in London and Paris， she’s showcasing her unique plant-based art that’s pushing audiences to question their hyper-consumerism whilst showing that it’s possible to create art in an eco-friendly manner.

羅梅羅受邀參加倫敦和巴黎的展覽，通過展示自己獨(dú)特的植物藝術(shù)作品，引導(dǎo)觀眾反思過度消費(fèi)主義，同時(shí)向人們證明可以用環(huán)保的方式進(jìn)行藝術(shù)創(chuàng)作。

In her four-chapter series called “The Pigment Change，” rather than developing photos on photographic paper， she prints them directly onto plants.

在名為《色素變化》的四章節(jié)系列作品中，羅梅羅沒有在相紙上沖洗照片，而是直接將照片印制在植物上。

“I just put a negative on top of the leaf and leave it to the sunlight， and then the image gets recorded on the leaf，” Romero said. “But I also print on living plants using a digital projector， and the plant makes photosynthesis with the light from the projector and records an image.”

“我就是把底片放在葉子上，讓陽(yáng)光照射，然后圖像就記錄在葉子上了。”羅梅羅解釋道，“我也會(huì)用數(shù)碼投影儀在活體植物上投影，植物借助投影儀的光線進(jìn)行光合作用，進(jìn)而將圖像記錄下來(lái)。”

In a chapter from that series， called “Family Album，” she spreads watercress seeds on a stretched canvas， and lets them grow in the dark， before projecting a negative onto the watercress.

在該系列的“家庭相冊(cè)”一章中，羅梅羅將豆瓣菜種子撒在展開的畫布上，先讓種子在黑暗中生長(zhǎng)，然后將底片投射到豆瓣菜上。

“The parts that receive more light produce chlorophyll， hence the dark green tones， and the parts that receive less light remain yellow， pale，” she said. “[It’s] exactly like in a photographic darkroom. But instead of having an enlarger， I have a projector， and my watercress canvas is my photo paper. That’s how I grow photographs.”

“菜葉上得到更多光照的部分會(huì)產(chǎn)生葉綠素，因此呈現(xiàn)出深綠色，而光照較少的部分仍然是黃色，顏色很淺。”她說，“這就像在攝影暗房里一樣，只不過我沒有用放大機(jī)，而是用投影儀，豆瓣菜畫布就是我的相紙。我就是這樣‘種出’照片的。”

The chlorophyll process adopted by Almudena was popularized in the 90’s by Heather Ackroyd and Dan Harvey， who projected photographs onto grass using a negative and light cast by a projector bulb. Allegedly， the British artists came up with the technique when they noticed random outlines of a ladder cast onto one of their grass installations.

羅梅羅采用的葉綠素成像法在20世紀(jì)90年代由藝術(shù)家希瑟·阿克羅伊德與丹·哈維推廣，他們使用底片和投影儀燈泡發(fā)出的光線將照片投影到草地上。據(jù)稱，這兩位英國(guó)藝術(shù)家是注意到他們的一個(gè)草坪裝置上隨機(jī)呈現(xiàn)出一個(gè)梯子的輪廓，從而想出了葉綠素成像法。

Despite being an innovative process， it wasn’t simple. It required a lot of space and preparation. Later， Artist Binh Danh enhanced this method by using photosensitive1 materials from plants， securing a positive straight into a leaf and enabling sunlight to bleach the photo onto its surface.

這種成像法很新穎，卻并不簡(jiǎn)單，需要大量空間和準(zhǔn)備工作。后來(lái)，藝術(shù)家丹平利用植物中的光敏物質(zhì)改進(jìn)了這種方法，他直接在葉片上固定正片，讓陽(yáng)光將影像“漂白”到葉面上。

Learning from plants

向植物學(xué)習(xí)

Romero， who was raised in Madrid， used to spend holidays on her grandparents’ avocado farm in Valencia， in eastern Spain. Breathing fresh air， picking fruit， and learning from her grandmother about plants during her formative years instilled in her the eco-conscious values she embraces today.

羅梅羅在馬德里長(zhǎng)大，以前經(jīng)常在祖父母位于西班牙東部巴倫西亞的牛油果農(nóng)場(chǎng)度假。在成長(zhǎng)的歲月里，她呼吸新鮮空氣、采摘果實(shí)、聽祖母講述植物知識(shí)，這些經(jīng)歷向她灌輸了如今她所信奉的生態(tài)意識(shí)價(jià)值觀。

“When you grow close to nature， it becomes a really important thing in your life，” she said. “Plants for me are important， partly because of the legacy of my family and because as a photographic material， it’s impressive in quality.”

“當(dāng)你親近大自然，它就會(huì)成為你生命中至關(guān)重要的部分。”她說，“植物對(duì)我意義非凡，既來(lái)自家族傳承，也因?yàn)樗鼈冏鳛閿z影材料自帶令人印象深刻的質(zhì)感。”

But she concedes that her eco-friendly techniques wouldn’t work for all artists. “It is a niche2 because it produces ephemeral pieces， so it’s a lot more difficult to be financially sustainable when your art is ephemeral， but I guess it’s also depending on how you understand life and what you want to do with your practice，” she explained.

但羅梅羅坦言，她所用的這套環(huán)保創(chuàng)作方法并非對(duì)所有藝術(shù)家都適用。她解釋道：“由于作品不能長(zhǎng)期留存，屬于小眾范疇，藝術(shù)作品轉(zhuǎn)瞬即逝，在經(jīng)濟(jì)上實(shí)現(xiàn)可持續(xù)發(fā)展會(huì)困難許多。不過我覺得這也和個(gè)人對(duì)生命的理解以及在創(chuàng)作中想要達(dá)成的目標(biāo)有關(guān)。”

She is not alone in her love for plants. In the past few years， Millennials have embraced the “plant-parent” craze， sharing photos and care tips on social media. But for Romero， plants are much more than something to look after： they’re beings we can learn from.

對(duì)植物的熱愛并非她一人獨(dú)有。近年來(lái)，千禧一代掀起“植物養(yǎng)護(hù)”熱潮，紛紛在社交媒體上分享植物照片和養(yǎng)護(hù)技巧。但對(duì)羅梅羅而言，植物遠(yuǎn)不只是需要照料的對(duì)象，它們還是能啟迪人類的生命體。

“Plants have been [around] for way longer than us on the planet and they have succeeded in doing that without causing any extinction，” she said.

羅梅羅說：“植物在地球上存在的時(shí)間比我們?nèi)祟愰L(zhǎng)得多，且它們?cè)诔晒ι娴耐瑫r(shí)并未導(dǎo)致任何物種滅絕。”

Romero points to plants in deserts and arid environments that have evolved strategies that limit reproduction， saying they allow her to better argue that it’s not an “unnatural behavior” to choose to be child-free. “I am a person who doesn’t want to have children because of climate change，” she explained. “I simply don’t feel comfortable.”

羅梅羅指出，生長(zhǎng)在沙漠和干旱環(huán)境中的植物已經(jīng)進(jìn)化出限制繁殖的策略，這讓她能夠更好地證明，選擇不生育并非“反自然行為”。“我是一個(gè)因?yàn)闅夂蜃兓幌胍⒆拥娜恕！彼忉屨f，“我就是覺得不舒服。”

In her series “The Pigment Change” she questions whether maternity or parenthood is something “beyond one’s control” or a “question of will，” reflecting on plants’ selective reproduction strategies and opening a broader reflection on procreation.

在她的系列作品《色素變化》中，她質(zhì)疑母性或?yàn)槿烁改妇烤故恰安豢煽氐谋灸堋边€是“主觀的選擇”，反思植物的選擇性繁殖策略，開始從更寬泛的層面思考生育問題。

In 2020， she won the BMW Residency Award3 for the project and her work was exhibited at the renowned photography festival Rencontres d’Arles4， in France.

2020年，她憑借該項(xiàng)目獲得寶馬駐地藝術(shù)獎(jiǎng)，作品在法國(guó)著名的阿爾勒攝影節(jié)上展出。

It’s not only about what we can learn from plants， though. For the Spaniard， we should also consider non-anthropocentric ethics （a philosophical perspective which challenges the idea that humans are the most important beings， emphasizing the value of all living organisms and ecosystems）， seeing other species as having their own agendas and intentionality.

不過，重點(diǎn)不僅在于我們能從植物身上學(xué)到什么。對(duì)西班牙藝術(shù)家羅梅羅而言，我們還應(yīng)該考慮非人類中心主義倫理（這種哲學(xué)視角駁斥人類是最重要生物的觀點(diǎn)，強(qiáng)調(diào)所有生物和生態(tài)系統(tǒng)的價(jià)值），要承認(rèn)其他物種擁有自己的能動(dòng)性和意向性。

The artist explained that she sees photoperiodism （the way plants respond and adapt to light changes throughout the seasons） as a performance by plants. “Why do we tend to think that we only have these capacities as humans？” said Romero. “The problem is the perspective that we have that we think that we are very different until science proves the opposite.”

羅梅羅解釋說，她認(rèn)為光周期現(xiàn)象（植物在四季對(duì)光照變化的反應(yīng)和適應(yīng)方式）是植物的表演。“我們憑什么認(rèn)為只有人類才具備這些能力？”羅梅羅說，“問題出自我們的視角，我們總認(rèn)為自己與眾不同，直到科學(xué)證明事實(shí)恰恰相反。”

Studies have shown that plants can be more complex than we may think. According to an article published in The Plant Journal， plants like Arabidopsis feel stressed when touched， which stunts their growth， while in 2019， another research group found that beach evening-primrose respond to the sound of pollinators.

研究表明，植物遠(yuǎn)比我們想象的復(fù)雜。《植物雜志》刊登的一篇文章指出，像擬南芥這樣的植物在被觸摸時(shí)會(huì)感受到壓力，進(jìn)而生長(zhǎng)受阻；而在2019年，另一個(gè)研究小組發(fā)現(xiàn)，海邊月見草會(huì)對(duì)傳粉者的聲音做出反應(yīng)。

Romero is collaborating with scientist Nicolas Langlade， with the help of AI， to use genetically different wheats and grasses to achieve a color palette sufficiently rich to produce a distinguishable image.

目前，羅梅羅正與科學(xué)家尼古拉·朗格拉德合作，借助人工智能，利用基因不同的小麥和草來(lái)獲取足夠豐富的色調(diào)，進(jìn)而用于生成易辨別的圖像。

The artwork reflects on the human relationship with land and plants， our impact on the environment and our interdependency with nature. For Romero， this art-science project is like coming full circle. “It’s a combination of my family’s background because we are going to farm it，” she said. “I love my passion for plant photography， so I’m really happy about it.”

這類作品反映的是人類與土地和植物的關(guān)系、人類對(duì)環(huán)境的影響，以及人類與自然的相互依存。對(duì)羅梅羅而言，這一藝術(shù)與科學(xué)結(jié)合的項(xiàng)目仿佛一場(chǎng)輪回。“它結(jié)合了我的家庭背景，畢竟我們需要種植。”她說，“我很喜歡自己對(duì)植物攝影的這份熱情，所以做這件事我真的特別開心。”

（譯者為“《英語(yǔ)世界》杯”翻譯大賽獲獎(jiǎng)?wù)撸?/p>

1 photosensitive光敏的。

2 niche（有特定的要求、顧客群和產(chǎn)品的）專營(yíng)市場(chǎng)。

3寶馬駐地藝術(shù)獎(jiǎng)，旨在為世界各地的文化項(xiàng)目提供支持，涉及現(xiàn)代與當(dāng)代藝術(shù)、爵士與古典樂、建筑與設(shè)計(jì)等領(lǐng)域。" 4法國(guó)阿爾勒攝影節(jié)，創(chuàng)辦于1970年，是全世界規(guī)模最大、歷史最悠久、影響力最強(qiáng)的攝影節(jié)，有“國(guó)際攝影界的奧斯卡”之稱。