Naphu School For The Elderly 一所泰国当地老年学校

December 12, 2018 2018年12月12日

 

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With the sun shining down and the ceiling fans whirring quietly overhead, a sense of tropical warmth radiates through the film’s introduction. The video could be easily mistaken for an indie art film—that is, up until the moment when an elderly lady saunters off the bus, steadying herself with a walking cane. Tidily dressed in a uniform, the old woman looks a schoolgirl on her way to class.

Created by Thai director Bee Supavara, a recent graduate of London’s Central St. Martins, Naphu School for the Elderly is a short film focused on the issue of loneliness and social isolation of senior citizens.


阳光耀眼,风扇呼呼地吹,热带地区的暖风透过镜头扑面而来。不当回事地看,会以为这是一部独立文艺片。直到从公车上走下来一位老婆婆,拄着拐杖、颤颤巍巍,却着装整齐,宛如正要去上学的少女。

这是来自泰国导演 Bee Supavara 拍摄的当地老年学校,刚刚从伦敦中央圣马丁斯大学毕业不久的她,以“老年人的孤独和社会隔离感”为项目主题拍摄的纪录短片。

“My grandma faces these problems with loneliness,” Supavara sighs. “Her days mostly consist of watching T.V. and playing with the dogs. With limited ability to move and see, her social life visit relies on people visiting her. My grandpa used to be a photographer and now he’s losing his sight.”

Visits to her grandparents are what ultimately inspired the idea for the film. “I decided that I wanted to do everything I could to not only make grandparents happy but also other seniors in the world,” she explains.


我的祖母就是一个孤独的老人。” Bee 说,她一天的生活内容,主要就是看电视、和狗一起玩。由于她视力受限,而且移动范围也有限,她的社交范围很小,基本上都是靠别人来造访她的。” Bee 说,这也是促使她关注老年群体、并以此为纪录对象的关键原因。

“而我的祖父曾是个摄影师,擅长捕捉美丽的瞬间,而现在他却渐渐丧失了视力。这让我很揪心。从那时起我就想,只要让他们晚年的生活快乐一点,我做什么事都愿意。”

As a proverb from Chinese philosopher Mencius goes, “Honor your neighbor’s elders as you honor your own.”

Supavara, recognizing the realities of how many of today’s seniors live, hopes for more of them to find happiness in their golden years. To spread this message, she contacted the Tambon Administrative Organization, which runs the Naphu School for the Elderly, for permission to film a documentary at their school. With their support, the film looks to bring about more awareness on this social issue but do it through a lens of joy and happiness


老吾老以及人之老。看到了祖辈的生活,Bee 也想让更多老年人能安度晚年。于是她联系了在和当地的分区管理组织(TAO)及 Naphu 老年学校,在他们的支持和欢迎之下,拍摄了这样一部短片,希望在触发老龄化社会的关注时,也能够让观众感受到镜头内的欢笑。

The Naphu School for the Elderly was established in 2016, and all of the enrolled students are sexagenarians or older.

Thonghom Boonruam, the executive director of Naphu Senior School, offered sobering statistics of Thai’s aging population: “In 2021, 20% of the Thai population will be older individuals,” he says. “One in every five people will be considered as a senior citizen. By 2025, it’ll be one in four. As this number ramps up, what do we do? How can we make their old age enjoyable?”

The answer he ultimately found was to bring senior citizens together and get them laughing and smiling.


片中的 Naphu 老年学校于 2016 年开设,目前已经运营两年有余。而这里所有招收的学生,统统都年逾花甲。

Naphu 老年学校的校长 Thonghom Boonruam 列出了惊人的数据比:“在 2021 年,泰国将要有 20% 的老年人口,也就是每五个人中就有一个老年人。而到 2025 年,就会变成每四个人中有一个老年人。” Thonghom Boonruam 说道,“这个数值不断增长,我们怎么办?有什么办法能让老人们过好晚年生活呢?”

他最后想的办法,是让老年人聚起来,一齐欢声笑语。

Naphu doesn’t teach reading, writing, or arithmetic. The most important thing the “students” do is socialize and engage in activities such as singing, dancing, and exercising. Thonghom has even involved the student body in helping run the actual school, encouraging them to make tea, cook, and tidy up the classroom.

The school is similar to a traditional university in that it’s structured around different tiers of degrees: undergraduate, masters, and Ph.D. But education is hardly the emphasis—the goal is to bring joy to the attending students. “No one is forced to do anything here,” Boonruam says. “They all come here happy.”


Naphu 不教 1+1,也不学 ABC,“学生”们在这里最重要的是社交和活动,比如唱歌、跳舞、锻炼等等,甚至,校长 Thonghom 也把后勤管理的事宜让渡给老人们,让他们自己做茶、烧饭、整理桌椅。

学校和一般大学一样,有本科、硕士、博士,但对这个学校的管理员来说,他们在乎的不是学历,而是“幸福”。“在这里,我们从不强迫任何人。每个人来学校都快快乐乐的。”校长如是说。

For Supavara, this documentary is just the beginning. “The aging population is a global problem,” she notes. “I want this project to be an inspiration of what our society can move towards in the future. By the end of the film, I want viewers to feel exactly how I felt when I visited the school, to experience the overwhelming happiness of the students, and see how the founders are doing everything with their heart. I want my audience to feel it all.”


对导演 Bee 来说,这部纪录片只是刚刚开始。“老龄化已经是个全球性的问题,我希望这个项目能启发我们对未来老龄化社会的发展方向。就我个人而言,我也想让他们感受到我参观学校的感受,也就是他们结束电影的时候我的感受是怎样的。在这里,创始人全心全意地投入这项事业,老年人的幸福需求大过一切。我想让我的观众感受到这所有。”

Websitebeesupavara.com
Vimeo
: ~/beesupavara

 

Contributor: Chen Yuan


网站: beesupavara.com
Vimeo
: ~/beesupavara

 

供稿人: Chen Yuan

Bauhaus in Shanghai 度过了一世纪的包豪斯

December 10, 2018 2018年12月10日
Image Courtesy of Bundesarchiv / Photographer: Thomas Lehmann

Bauhaus is turning one hundred. The iconic German art school first opened its doors in 1919, in Weimar, and was shut down just fourteen years later, when the Nazis came to power in 1933. Over the course of its brief life, it became synonymous with modern design. It stripped furniture and building façades of ornamental frills, and its minimalist aesthetic set the tone for architecture around the world. By the middle of the century its imprint could be seen everywhere from Japan to Israel to Yugoslavia—though perhaps nowhere is it so visible as in the United States, where many of the artists and architects who studied and taught at the school, a number of whom were Jewish, fled in 1933.

Today, the “International Style” that Bauhaus popularized is viewed with more ambivalence: on the one hand, it gave us austere masterpieces like Mies van der Rohe’s Seagram Building in New York, and on the other, it led to the soulless corporate blocks that make so many downtowns look identical. In any event, Bauhaus’s function-first ethos still has a devoted following, in Asia as much as in Europe or the Americas. And even though a century has gone by, it may still have something to teach us today. That’s the thinking behind a recent series of workshops held in Shanghai to mark the school’s 100th anniversary.


包豪斯(Bauhaus)即将迎来 100 周年纪念。其代表性的国立包豪斯学校于 1919 年在德国魏玛创办,十四年后随着纳粹上台而被迫关闭。但尽管办学生涯短暂,包豪斯学院却给世界带来了极为重要的影响,并成为了现代设计的代名词。包豪斯主义主张减除家具和建筑外立面的装饰细节,这种简约的美学为世界各国的建筑设计奠定基调。到了上世纪中期,包豪斯风格的影响已遍及全球,从日本到以色列,再到南斯拉夫,到处都能看到它留下的痕迹。但是,受包豪斯主义影响最显著的莫过于美国,因为在 1933 年纳粹当政,在包豪斯学院学习和教学的许多艺术家和建筑师,都纷纷逃离到美国,特别是受到迫害的犹太人。

而如今,很多人对包豪斯倡导的“国际风格”保持矛盾心态:一方面,它给我们带来了像现代建筑大师密斯·凡德罗(Mies van der Rohe)在纽约设计建造的西格拉姆大厦(Seagram Building)这样简朴的杰作,但另一方面,它也催生了世界各个城市中大同小异、没有灵魂的商业大楼。

但不管怎么说,包豪斯强调实用功能性的理念,在亚、欧、美至今依然盛行。一个世纪过去了,关于它的理念,还有很多值得人们去探讨和学习的内容。为此,近来上海为纪念包豪斯学院的百年诞辰,举办了一系列活动和工作坊。

Image Courtesy of Goethe-Institut China / Photographer: Guo Bin
Image Courtesy of Goethe-Institut China / Photographer: Guo Bin

Sponsored by the Department of Culture and Education of the German Consulate General in Shanghai, the workshops were organized by Shen Qilan, a Chinese curator, educator, and writer who maintains close ties to Germany, where she completed her doctorate in philosophy. “Bauhaus is an outstanding intellectual tradition, but it’s not often talked about here,” says Shen. She organized the events with two aims. “First, to introduce people to the existence and value of the Bauhaus tradition. And second, to ask what that tradition has to do with our current moment in 2018 or 2019. Often we see things from 1919 as documents, as something from the past. Yet Bauhaus, I firmly believe, is relevant to the present.”


这一系列工作坊由德国驻上海领事馆文化教育处主办,由中国策展人、教育家及作家沈奇岚负责组织。曾留学德国的沈奇岚,在那里修完了哲学博士学位,至今还与德国保持着密切的联系。“包豪斯是一个很出色的思想传统,但是这边好像说得不太多。”沈奇岚说。关于组织这些活动的她有两个目标:“一个是让大家知道,包豪斯这个传统的存在和它的价值,第二是,这个传统它跟我们当下的 2018 年、2019 年有什么关系,因为很多时候我们去看 1919 年的东西,它就是个文献,是一个过去的东西。但我强烈感觉到,包豪斯跟我们当下还有联系。”

The workshops began in the spring, with a series of four sessions titled Bauhaus Class 1.0. “Shen Qilan invited several prominent scholars from the Chinese cultural scene,” says Oliver Hartmann, head of the Department of Culture and Education. “The first class was really successful: there were 100, 120 people sitting there drawing, working with fabrics, being creative, learning from Chinese experts about Bauhaus.” That success led them to organize Bauhaus Class 2.0, a longer set of six classes in the fall. “The first course focused on Bauhaus’s past, and the second one focused more on its legacy,” he explains. “The second course also had a practical dimension, because we did city walks: students went outside to experience and compare buildings, and they also visited our experts in their studios.” Both courses filled up quickly with people from a variety of backgrounds who shared little more than an interest in design—at least one parent even brought a child. Students who attended all four classes in the spring, or all six in the fall, and successfully completed the homework, received a certificate.


这一系列工作坊从春季开始,包豪斯课堂 1.0 (Bauhaus 1.0)包括了四个课程。领事馆文化教育处负责人郝立夫(Oliver Hartmann)说:“沈奇岚邀请了几位来自中国文化界的著名学者。第一次的课堂非常成功,来了一百多人,大家坐在一起画画,发挥创意,以面料为主题创作,向中国大师们学习有关包豪斯的知识。”

这一次课堂的成功使得他们又组织举办了包豪斯课堂 2.0(Bauhaus 2.0),在秋季开办,共包括了六节课。“包豪斯 1.0 关注的是包豪斯的过去,而 2.0 则会更关注它的传承与影响。包豪斯 2.0 也会更注重实践。我们组织了城市漫步,让学生到街上去体验和比较建筑,到工作室里与我们的专家会面。”郝立夫说。这两次开课吸引的学员都来自不同背景,甚至还有一位带孩子来听课的家长。所有学员们齐聚一堂,而他们之间仅有的共同点就是对设计的兴趣。所有参加包豪斯 1.0 或 2.0 并成功地完成作业的学员,​​都会获得一份证书。

Still, what does Bauhaus have to do with Shanghai, a city that after all is better known for its art deco treasures and its postmodern skyscrapers? As Shen explains, Bauhaus had an important, albeit indirect, influence in China. “The most profound impact it had was on architectural thought. Of course there wasn’t any direct influence, because no Chinese students studied at the Bauhaus, but its thinking was passed on,” she says.

When the Bauhaus school opened in 1919, at the start of the interwar period, German society found itself in the midst of radical economic and political upheavals. “It was a time of large-scale industrial production, and society as a whole was figuring out how to respond, in thought, in art, in culture, in design,” says Shen. Bauhaus responded with designs that prioritized efficiency above all else: from high rises to chairs, its forms are sleek and linear, reduced to their core elements. “What’s fascinating is that, at a time of momentous change, a group of particularly independent-minded people came to use their own means to address problems raised by the society and the times.” They offered an elegant visual language for a newly industrialized world.


但是,包豪斯与上海之间到底有何联系呢?毕竟在上海,更为人熟知的是这里的 Art deco 建筑和后现代风格的摩天大楼。沈奇岚解释说,包豪斯对中国是有影响的,虽然说是间接性的。“最深刻的影响就体现在建筑思想上。当然,直接影响是没有的,因为没有中国学生去包豪斯学院上过课。但是它的思想流传了下来。”她解释道。

1919 年,包豪斯学院成立时,正值两次世界大战的战间期,德国社会正经历一系列激进的经济和政治动荡。“这是一个大工业生产的时代,而整个社会在变迁的过程当中大家在考虑如何去应对,就是思想上、艺术上、文化上、设计上,其实都是在一个锻炼的状态。”沈奇岚说。对此,包豪斯的回应是一系列以效率优先的设计:从高楼到椅子,所有的外形设计均是圆滑、线性的,简约到只剩下核心要素。“这一点很刺激,当时代大变迁的时候,有这一批特别有想法的人用他们的方式去解决时代和社会给的问题。”他们为新工业化社会带来了一种优雅的视觉语言。

One hundred years later, artists and architects face a different context and a different set of challenges. For one thing, cities today are vastly bigger than they were in 1919, as Shen readily acknowledges. “Today in Asia, cities with populations in the tens of millions are normal. With tens of millions of people, how do you design housing, how do you design offices, how do you design streets? The spaces we live in are totally different.”

Yet that doesn’t mean that Bauhaus is no longer relevant. “We can’t use products designed by the Bauhaus to meet our current needs,” Shen explains, “but the school’s thought, its belief in responding to the needs of the times—that’s something we can use in the present.” 


100 年后, 艺术家和建筑师面临着不同的背景和挑战。首先,今天的城市比 1919 年规模要大得多,在新时代更需要我们在建筑和城市化方面提出新的解决方案,这点沈奇岚乐于承认。“现在在亚洲,几千万人口很正常,但是如果几千万人的话,住宅该怎么设计?办公室怎么设计、街道怎么设计呢?我们的生活空间,已经跟原来完全不一样了。”

然而这并不意味着和包豪斯也不再相关了。沈奇岚说:“我们不能用包豪斯设计的产品,去解决我们当下的需要。但是它的思维,它的那种‘面对时代要求去回应’的这个理念,是可以用在我们现在的。”

Both courses, Bauhaus Class 1.0 and 2.0, used the philosophy of this design tradition to look at the urban environments. One class, led by Bu Bing, turned students’ attention to the street just outside the cultural center, Middle Shandong Road. Students spent time watching the street, sought to understand it, and then invented their own symbolic system to respond to it. “You first observe the street, then you condense it to a symbol. You can capture this symbol in a photo, you can respond through dance, you can draw a map.” For students and teachers alike, this requires looking at a familiar environment with fresh eyes. “You have to look at the street again, this short stretch of road that’s only 400 meters long. We found that not one person had ever looked at it so closely.”


包豪斯课堂 1.0 和 2.0 这两个系列的课程,遵循这一设计传统的理念,审视着当代城市环境。其中一节课,由建筑家卜冰老师带领学生,将注意力投向了山东中路文化中心外面的街道。学生们通过观察街道、理解街道,然后创作出自己的象征系统。“你需要先观察街道,然后把它浓缩成一个符号。你可以在照片捕捉这个符号,也可以通过舞蹈、画地图来作出你的回应。”无论是对学生或是导师,这都需要你以全新的目光在熟悉的环境里搜索。“你必须到街上再看看,这 400 米长的短短的街道。但我们发现,没有一个人曾那么密切地观察过它。”

Image Courtesy of Goethe-Institut China / Photographer: Guo Bin
Image Courtesy of Goethe-Institut China / Photographer: Guo Bin

The Bauhaus workshops are part of a varied array of courses, exhibitions, film series, talks, and other events that the German consulate puts on in Shanghai. Shen sees these as an important platform for cultural exchange, where people can learn not just about a particular topic but about different modes of thought. “Germany has a very important tradition of kritisch zu sein, that is, being critical. If you say something, I won’t just agree with it—I’ll analyze it and maybe say that 70% I agree with, 30% I doubt,” she says. “They really respect intellectuals.” Both Hartmann and Shen stress the importance of making sure these exchange go both ways, so that people in the West can learn about China.


“包豪斯课堂”隶属德国驻上海总领事馆在上海举办的一系列课程、展览、电影、讲座等活动。在沈奇岚看来,这些活动是文化交流的重要平台,人们不仅可以从中学习像包豪斯这样特定的主题,同时能了解不同的思维模式。“德国有一个很重要的传统,这个德语叫‘kritisch zu sein’,就是说保持评价审慎的态度。如果你说了什么,我不会仅仅只是表达同意——我会分析一下,可能 70% 我会接受,30% 我要怀疑。他们很尊重知识分子。”她说。她和郝立夫同时强调要确保这些交流是双向的,让来自西方国家的人们也可以从中了解中国。

Shanghai is a few months ahead of the curve in celebrating the Bauhaus centenary. In 2019 events will take place around the world to commemorate the school, most notably a series of exhibitions called Bauhaus Imaginista. Shen is excited for so many people to learn about this tradition, whose life was a short as it was transformative. “Everyone can experience the power of art to change your life,” she notes. “That’s part of Bauhaus.”


上海其实是提前了几个月来庆祝包豪斯的百年诞辰。2019 年,全球将会举办一系列的活动来纪念这座著名的德国设计学院,其中最引人注目的是名为“Bauhaus Imaginista”的系列展览。沈奇岚很高兴能让这么多的人了解到包豪斯。包豪斯的生命很短,但它是一场巨大的变革。“大家会发现艺术它具有改变生活的力量。”她说,“而这就是包豪斯的一部分。”

Website: goethe.de/shanghai
WeChat: AKuB_Shanghai

 

Contributor: Allen Young
Photographer: David Yen
Additional Images Courtesy of Goethe Institut China


网站: goethe.de/shanghai
微信: AKuB_Shanghai

 

供稿人: Allen Young
摄影师: David Yen
附加图片由 德国驻上海领事馆文化教育处 提供

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Graffiti Abstraction 他的情绪穿行在每一面墙上

December 5, 2018 2018年12月5日

The murals of Taiwanese artist Debe balance deep dives into abstract patterns with a healthy respect for letter work. Kaleidoscopic, geometric wormholes and melting clouds swirl around graffiti-style words, while ripped paper edges and stark, angular shifts of color cut across his work. His pieces vibrate with energy, hypnotically drawing the eye into or along the wall.

Despite having no formal art or design training, Debe creates paintings with a studied personal style, avoiding the trends that dominate the world of street art. The swirling mandalas and interlocking shapes are an evolving element in his work. “Abstract shapes are a way for me to transfer my emotions. Whether I’m angry or anxious, I throw it up on the wall,” he explains.


台湾涂鸦艺术家 Debe 的作品,如同一片抽象图案的汪洋,还有艺术字体穿插其中。万花筒般的虫洞、融化的云层簇拥着涂鸦风格的文字,撕破的纸张边缘和突兀、棱角分明的色彩,从中贯穿而出。他的作品总是跳动着蓬勃的能量,令人着迷,目光不由得随着墙上的作品游走。

尽管没有接受过正式的艺术或设计训练,但 Debe 成功摆脱了街头艺术世界的主流风格,创作出极具个人风格的绘画作品。旋转的曼陀罗图案,相互扣联的几何图案是他在作品中不断发展的元素。“抽象图案是我表达情绪的一种方式。不管我是生气还是焦虑,我都能将这些情绪在墙上画出来。”

Originally inspired by a local graffiti crew named Soul Skool and an online forum called Art Crimes, Debe began lurking along train tracks in his hometown Taoyuan during high school in 2005. He would experiment on tunnel walls with a local aerosol brand called PP. “When I was really young, my mom said I loved drawing on walls and the furniture, so maybe I was just meant to do it,” he laughs. The trackside walls were covered with pieces by other artists who further inspired him, like Dabs, one of the island’s best-known graffiti writers.


关于 Debe 的创作,最初的影响来自于当地一个名为 Soul Skool 的涂鸦团队和一个名为 Art Crimes(艺术罪)的在线论坛。2005 年在家乡桃园读高中时,Debe 常常偷偷沿着火车轨道涂鸦,用名为 PP 的本地品牌气雾漆,在隧道墙上进行实验创作。“小时候,我妈妈说我喜欢在墙壁和家具上乱画,所以也许我天生就注定做这个的吧。”他笑着说道。轨道旁的墙面上布满了其他艺术家的作品,这些艺术家中包括了台湾最有名的涂鸦艺术家之一 Dabs,也正是这些艺术家进一步启发了他。

Local recognition first came from Debe’s posts on Wretch, a now-defunct Taiwanese social media platform. “I’m still trying to figure out how to connect the culture from home with my graffiti and street art,” he says. “Taiwanese society has always felt too traditional to me.”


Debe 最开始在台湾受到关注,是源于他在“无名小站”上发的帖子(目前这个社交网站已停止服务)。他说:“我一直努力试图将这里的文化与我的涂鸦和街头艺术联系在一起。我总觉得台湾社会太传统了。”

He got early international acclaim in 2013 by painting in the first POW! WOW! Taiwan and Hong Kong Walls festivals. Now that the world knows his work, he gets to travel, painting in distant cities like Montreal and Brooklyn. It’s a good thing being an artist has worked out for him: “I used to do odd jobs, like working in a convenience store or a factory, but never for longer two months. I was never able do a ‘normal’ job well.”


2013年,他的作品亮相第一届的 POW!WOW!艺术节台湾站Hong Kong Walls 艺术节,开始受到国际范围的赞誉和关注。现在他开始获邀到世界各地去旅游、创作,包括蒙特利尔和布鲁克林这样遥远的城市。对他而言,成为一名艺术家是一件好事:“我以前经常打零工,比如在便利店或工厂工作,但从来没有超过两个月。我一直都没办法做好所谓‘正常’的工作。”

Multi-color, wildstyle pieces have always been Debe’s focus, but when he just starting out he also liked to tag around town. Back then the police didn’t really even care and would simply tell him stop or to paint over his tags. But now that Taiwan has become a destination for traveling graffiti writers, the authorities have started to catch on. He still likes to tag now and then, but he mostly prefers more thoughtful interventions. “I’d rather paint some fun emojis on an advertising poster or something,” he says. “Something that inspires people, or makes them smile or think in a different way.”


色彩缤纷、风格狂野的作品一直是 Debe 的创作重心,但刚开始的时候,他也喜欢在街上到处喷上自己的签名 Tag。那时的警察对此也不会太在意,最多叫他停下来或盖掉自己的 Tag。但随着台湾成为旅行涂鸦艺术家的热门打卡地,当地政府也已经开始重视起来。Debe 还是喜欢时不时地到街上创作签名 Tag,但现在会更喜欢经过思考的创作。他说:“我宁愿是在广告海报或什么上画一些有趣的表情之类的内容,一些能激励人们的东西,能让他们笑一笑,或是以不同的方式思考的作品。”

Websitedebetwomuch.com
Instagram: @debetwomuch
Facebook~/debetwomuch

 

Contributor: Mike Steyels


网站debetwomuch.com
Instagram@debetwomuch
Facebook: ~/debetwomuch

 

Contributor: Mike Steyels

Sour Strawberries No. 223 的“加密”摄影书

December 4, 2018 2018年12月4日

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Interior Landscapes 一个现实的理想主义者

December 3, 2018 2018年12月3日

Zeng Linshu defines herself as a “realistic idealist.” Her paintings are mostly inspired by her active inner world and the society around her. Inspiration can alight on any piece of space or scenery, people or things, actions or forms.

There’s a world at the heart of her work, but she doesn’t try to advertise it. Instead she wants people on the outside to quietly venture in. Through warm, muted, reserved tones, Zeng gives voice to her inner feelings and her stubborn pursuit of beauty. “The world in my paintings is free and unbound, brimming with the limitless possibilities of art,” she says. “And it’s these endless possibilities that lead the public deep in thought—an exploration of humanity, life, and philosophy.”


Linshu 琳姝定义自己,是“一个现实的理想主义者”。她的绘画,多数的灵感来源都是活跃的内心世界或者现实的社会,一切的空间与景、人与物、行为与形态都有被灵感恩赐的可能。

画的内心有一个世界,但琳姝并不渴望对外宣扬,而是希望外面的人能够悄然走进。在内敛、含蓄的温柔色彩背后,琳姝在表达着自己的内心所感和对“美”的执着追求。“绘画里的世界,自由且奔放,充斥着艺术领域的无限可能;也正是这种‘无休止’的可能引领大众走进了意识的空间深层——对人性、生活及其哲学的探讨。”

Website: linshu.strikingly.com
Behance
: ~/Linshu Zeng


Contributor: Chen Yuan


网站: linshu.strikingly.com
Behance
: ~/Linshu Zeng


供稿人: Chen Yuan

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