David Lynch’s early drawings of heads are characteristically unusual; looking at them does not replicate the feeling of looking in a mirror, of registering recognisable features. A cursory glance provides little, if anything, you might consider your own. The heads are clearly human, but their features are distorted (see S. Huijts, 2019, pp. 44–7). In one, a skull looks cracked and halved like the ground after a tectonic shift, with grass-like hair growing from the gap between the plates. In another, a densely shaded face suggests skin has been pulled back, keeping only the nose and eyes in place, leaving the mouth to gush with transparent liquid. Another shows half of a more traditional portrait seemingly intersected by another face. Smudged, dark shading pulls the mouth downwards as if the figure is suffering from aphasia. If these drawings were put into a filmic sequence, if they were sutured together, we would have something that might resemble the animation work featured in Lynch’s first short media project Six Figures Getting Sick (1967), made while he was still a student at the Pennsylvania Academy of Art. Transformed into a loop and played in quick succession, these images would look like Fred Madison’s horrifying metamorphosis at the end of Lynch’s 1997 film Lost Highway. Though static, these images gesture towards their physicality, their potential for movement.

中文翻译：

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David Lynch，具身与媒介：处理人类形态

大卫林奇早期的头像很不寻常。看着它们并不能复制照镜子、记录可识别特征的感觉。粗略的一瞥几乎没有，如果有的话，你可能会考虑你自己的。头部显然是人类，但它们的特征是扭曲的（参见 S. Huijts，2019，第 44-7 页）。其中一个头骨看起来像构造变化后的地面一样裂开并减半，板块之间的缝隙中长出草状毛发。在另一个例子中，一张浓密的阴影表明皮肤已经被拉回，只保留了鼻子和眼睛，让嘴巴涌出透明的液体。另一个显示了似乎与另一张脸相交的更传统肖像的一半。污迹斑斑的深色阴影将嘴巴拉下，好像人物患有失语症。生病的六个人物（1967 年），在他还是宾夕法尼亚艺术学院的学生时制作。这些图像被转换成一个循环并快速连续播放，看起来就像弗雷德麦迪逊在林奇 1997 年的电影《迷失的高速公路》结尾处的可怕变形。虽然是静态的，但这些图像指向了它们的肉体性和运动的潜力。