导读:托尼·麦特里(Tony Matelli)的缺陷性人体雕塑和恐怖的自我肖像被视为一种超级写实主义者焦虑的表达。在过去的15年里,他运用诙谐恐怖的手法重新诠释了人类现状。这个呈现斜倚的人体这一经典动作的人风格奇异、模仿拙劣。而这位纽约的“梦游者”正式出自他手。
The image features what appears to be a balding middle-aged man, wearing only a dingy pair of droopy Y-fronts, sleepwalking with arms outstretched, zombie-like, through the streets of New York. What’s especially unsettling about the photo isn’t, ironically, the precariousness of the comatose sleepwalker, but the nonplussed reaction of those among whom he seems blindly to stumble.
图片中的这个人看起来是个秃顶的中年男人，只穿了一条脏兮兮的三角底裤，手臂像僵尸一样直直地伸着正在纽约街头梦游。讽刺地说，关于这张图片令人不安的地方并不是这个梦游者昏睡不醒，而是他似乎一味地跌倒而让周围人不知所措的反应。
What we, as consumers of the image, don’t realise until we read the accompanying caption, is that the imperilled sleepwalker isn’t really a human being at all, but a life-size painted bronze sculpture by the Brooklyn artist Tony Matelli, known for his challenging hyper-realistic works.
作为图片的消费者，看了副标题才意识到这个危险的梦游者并不是一个真正的人，而是一个真人大小的彩绘青铜雕塑，其创作者是布鲁克林艺术家托尼·麦特里，因他挑战性的超现实主义作品而闻名。
Matelli’s work was commissioned for display in the Manhattan public park High Line as part of a new exhibition, Wanderlust, which explores themes of journeying, pilgrimage and walking. By focusing on a figure whose physical and cognitive states appear to be out of step, Matelli challenges observers to reflect on how well synchronised their own actions and principles are.
Matelli的作品作为新展览“漫游”的一部分被授权在曼哈顿市公共公园高线公园展示，其展览探索的主要是旅行、朝圣和行走。通过关注一个身体和认知状态不寻常的人物，Matelli挑战观察者们去反思他们将自己的行动和原则同步得有多好.
John Everett Millais’s The Somnambulist was praised for its portrayal of a sleepwalker in 1871
John Everett Millais的作品《梦游者》在1871年因其对一个梦游者的写照获得赞誉
Millais’s haunting portrait casts a barefoot young woman in an apparitional nightgown, ghosting the edge of a cliff over which her still-sleeping mind might tumble at any moment. The murkiness of the annihilating darkness to her right is amplified by the extinguished taper and blunt brass of the candlestick she carries limply in her hand.
Millais这幅令人难忘的肖像描绘的是一个赤脚的年轻女子，穿着幽灵般的长睡袍，悄悄地走到一个悬崖边上，她依旧沉睡着，随时都有可能从悬崖上摔下去。她右面黑夜的阴暗被熄灭的灯芯和在手上被无力地拿着的钝黄铜烛台扩大了。
Painted in 1871, the work bewitched admirers of the celebrated artist, accustomed to the rich detail and complexity of colour
这幅作品创作于1871年，习惯于丰富的细节描绘和复杂的色彩运用，许多著名的艺术家都为之倾倒，纷纷赞赏
The photo of Matelli’s sculpture taps into that same power that invigorates Millais’s portrait. But in the case of the viral image circulating this week, the “eyes still wide open, though not seeing” are those of the real, unsculpted figures who pass by the sculpture, oblivious to its imminent and metaphoric peril.
Matelli雕像的图片利用了同一种力量鼓舞着他的肖像创作，但是在本周危险性图片的循环传播下，这种“眼睛仍然睁着却什么都不看”的作品反映的是那些真实的未经雕琢的人物，路过这座雕像对这迫在眉睫和隐藏着的危险视而不见。
