Olivier de Sagazan in "Transformation" (2008).
法国哲学/行为艺术家、画家、雕塑家Olivier de Sagazan（1959 -）
介绍与作品图片均来自Olivier de Sagazan的网站：https://olivierdesagazan.com/
“Olivier de Sagazan一开始主修的是生物学，于是他带着对有机生物的质疑，将想法转向了绘画和雕塑。在他对赋予物质生命的热情中，他想到了用黏土覆盖自己的身体，用来观察所产生的“物体”。这种实验引发了1998年的单人创作《变形记》(TRANSFIGURATION)，在表演中我们看到，一个男人用黏土逐渐把自己毁容成半人半兽的模样，在面具下，他寻找自我也寻找操控者”
"Originally trained as a biologist, Olivier de Sagazan turned to painting and sculpting with the ever-present idea of questioning organic life. From his passion to give life to matter came the idea for him to cover his own body with clay in order to observe the resulting “object”. This experiment gave rise to the creation of a solo, «Transfiguration», in 1998, in which we see a man gradually disfiguring himself with clay into a kind of half-man, half-beast searching beneath his masks for who he is, who is the puppeteer."
一些表演照片：
一些雕塑作品：
（在他的三种呈现方式中，我个人最喜欢雕塑）
一些绘画作品；
很有意思的是他的三种艺术表达方式其实十分相似，有的时候甚至分不清究竟是涂抹了黏土的人体、还是雕塑、还是油画；
而且不知道是否是因为创作的内容都是人体相关（甚至在自己身上创作）导致了恐怖谷效应，让人感觉的不只是horror，更多的是disturbing.
[2023.06.16更新]
一些Olivier de Sagazan的想法 （插入视频需要外链，但UT不适用）
"I am in my workshop. I have been trying for weeks to give life to a sculpture. Suddenly an idea comes to me: I want to immerse myself in the matter – that way, I will be sure to make a lively structure. I place a camera in front of me, surround myself with material I use to sculpt and paint, and then I begin. My head is a pedestal, I work blindly, with my internal perception as my only guide. I cover my face with a layer of clay, then make a first sculpted face, which I erase rapidly. I try again and again. These masks are moveable and transformed at the stroke of the hand. Everything is touch here: my hands explore my modelled face, and my faces feel the deformation of the clay. It spreads across my chest and my limbs and I feel my body in a way I have never experienced before. What guides me is also what I am looking for: this inner perception that constitutes selfhood. What I have recorded fascinates me: I see half- men, half-beasts, between African fetish masks and Francis Bacon’s meat heads. Despite myself, the painter is also a painting and this living painting is also a dance.
“我在工作室，用了几个星期尝试给一个雕塑赋予生命力。然后我有了一个想法：我要让自己入戏在这个问题里——只有这样，做出来的东西才更加生动。我将相机放在面前，用雕刻的材料包围自己，然后，然后就这样开始了。我的头就是基座，我盲目创作，只以自己内在的感知作为唯一的引导。我用黏土覆盖在脸上，做出雕刻的脸，然后再迅速抹去，我不断地尝试着。这些面具是可变的，通过手的触摸发生改变。所有的一切变成了触觉：我的手探索我的雕塑脸，我的脸感受黏土的变化。它从我的胸部蔓延至四肢，我以一种前所未有的方式感知我的身体。而引导我的也正是我在寻找的东西：这种构成自我的内在感知. 我着迷于我拍摄下来的东西：我看到半人半兽，介于非洲面具（*注：de Sagazan出生于刚果）与猪头肉之间，尽管我还是我，画家也可以是画作，而这幅活着的画作也能跳舞。
I have repeated and amplified this experience, this performance, with other actors and dancers on stage. The sight of naked bodies covered in clay, deformed by it, and turned into worm-like creatures is startling to both the dancers and spectators. I am currently working this vision into a theatre piece. Clay forces you to improvise and take risks: masks magnify presence and at the scale of the body or bodies, this presence becomes truly impressive. This practice carries us to unknown terrain, close to primitive dance and trance. There is no such thing as inert matter. All matter is sensitive, alive.
我与其他演员舞者在舞台上重复并放大了这种体验和表演。赤裸的身体被黏土覆盖，被黏土变形，变成像虫子一样的生物，而这让舞者和观众都感到震惊。目前我正设想着将这些融入在戏剧作品中。黏土迫使你即兴创作并且承担风险：黏土外壳放大了面部和身体的规模以及存在感，那种真正令人印象深刻的存在感。这种做法将我们带到了未知的领域，接近原始的舞蹈与游离状态。无生命物质是不存在的。所有的物质都是敏感的、有生命的。
I am matter; you and I are Earth!
我就是物质；我和你就是尘土！
I love works of art, whether in painting or dance, where traces of the body are visible: hesitations, failures, and those that are lost in acts of folly. These traces speak of life and the mystery of its origins. To be alive is to feel lost. All the rest is a pose, or lies we tell ourselves. "
我喜欢艺术作品，无论是绘画还是舞蹈，都能看到身体的痕迹：迟疑、失败，以及那些迷失在愚蠢的行为中的痕迹。正是这些痕迹说明了生命以及起源的神秘性。活着就会感到迷失。其他的，要么是我们告诉自己的谎言，要么只是摆设。”
