Once you’ve seen Qimmyshimmy‘s work, it’s hard to look away.
You slip into a candied nightmare, where a jarring mix of grotesque and cute overwhelms you. In the rose-colored world she’s created, the miniature babies on display are either serenely sleeping or already dead—it’s not clear which. They seem as though they’d fall apart at the slightest touch, and their realism teases your curiosity, urging you deeper into the rabbit hole.
一旦发现 Qimmyshimmy 的作品，就很难再把视线移开了。
你即将陷入一场甜蜜的恶梦，可爱又诡异的混乱冲突感向你袭击而来。在她创造的粉红色世界里，躺着的是分不清是在安详沉睡、或是已然逝去的宝宝模型。他们的生命感觉一碰就碎，却是栩栩如生到你会皱起眉头，忍不住继续深究的地步。
“Why some parts of the body are desirable, while other parts are repulsive?”
“为什么有些身体部位会引起人们欲望，有些部位又会让人感到噁心？”
Qimmyshimmy, who comes from Singapore, has a knack for fashioning these freakish creatures. What kind of mind gives birth to such strange artistic notions? “I’ve always had a fascination with the human body,” she says. “I’m always wondering why some parts of the body are desirable while other parts are repulsive, and these contrasts have always fascinated me as an artist. In my works, I usually thread between the beautiful and the grotesque, so it’s interesting for me to see how far I can push this.”
来自新加坡的艺术家 Qimmyshimmy ，最擅长的就是制作这种怪诞至极的雕塑作品。到底是怎么样的奇思异想，催生出她这样怪异的创作念头？ “我对人体一直感到很迷恋，同时很好奇为什么有些身体部位会引起人们欲望，有些部位又会让人感到噁心或反感。作为一个艺术家，这种对立很吸引我，所以我想把这种视觉和感受上的矛盾放在一起，然后实验看看我能把它推到多远。”
A pie filled with hearts, a birthday cake of raw meat, macarons with human faces—Qimmyshimmy’s sculptures sometimes turn body parts into dessert. Blood-soaked organs take on a dreamlike quality to create an atmosphere of comedy and horror. “I make use of a lot of symbolism in my works, re-appropriating familiar everyday objects in a different way,” she explains, “so I think they are quite relatable and easy to understand.”
心脏馅做的派、布满生肉的奶油蛋糕、人脸马卡龙…… Qimmyshimmy 的雕塑有时候会化身成甜品，此时血淋淋的人体器官突然梦幻了起来，通过这样不寻常的叙事手法，营造出一种玩笑和恐怖兼具的气氛。“我的作品的确用到很多象征和对日常物品的意义的挪用，因为和生活息息相关，所以我认为它们应该不难理解。”
Poking around in Qimmyshimmy’s horror show, we’re free to come up with our own plot. But when these deathly, lifelike babies shed their pink sugarcoating and appear in something as freighted with metaphor as a pill or a condom, you can’t help but ask whether the work conceals some deeper layer, some more specific meaning. Perhaps a commentary on abortion? “There are definitely some ideas and messages that viewers can associate with my work,” she replies, “but I have always wanted my personal stance to remain ambiguous. I like to leave my work up to the viewer’s interpretation.”
我们悠游在 Qimmyshimmy 的恐怖电影里，她也任由我们去发展出自己的剧情。但是，当这些生死未卜的宝宝离开了甜美的粉色糖衣，躲进像药丸、或是避孕套这样充满隐喻的装置里时，让人不禁想问作品背后是否有更深层、更特定的含义——她想说的，是否跟堕胎议题有关？ 对此她回答 “我的作品的确容易会有某些特定的联想，但我一直坚持不去表明立场或多做解释，我想让你们自己去诠释。”
“I want you to look at my work and feel attracted and uncomfortable at the same time.”
“我想要你们看到我的作品，同时感到极度被吸引和不舒服。”
“I think sculpting helps me to visualize my ideas better. I used to illustrate, but in a two-dimensional plane, my works were never quite as arresting,” Qimmyshimmy explains. Making these sculptures is extremely complex and time-consuming; from the choice of size to the choice of background color, if something is off by even a little bit, it can upset the balance between cute and frightening. “I want my audience to look at my work and feel attracted and uncomfortable at the same time. “
“雕塑是最能实现我的想像的媒介。以前我也画画，但平面作品没办法充分表现这种我想营造的情境。” Qimmyshimmy 解释道这些雕塑的制作非常复杂和费工，从大小比例、到背景颜色的选择，只要落差一点点，就会影响她追求的这种 “可爱/可怕” 的平衡。“我想要观众看到我的作品，同时感到极度被吸引和不舒服。”
