Tag Archives: illustration

A World of Monsters & Plants

In one illustration, a slime-covered shark with jet engines on its fins swims through a tangle of video game cables and old brick cell phones. In another, flowers with fanged petals wrap their stems around a pair of faded blue jeans. One more features floating ketchup and mustard bottles, Chuck Norris as a merman with hair dryers in both hands, plus an array of other surreal elements, all of which are sandwiched between two giant hamburger buns.


在一幅插画中,一只涂满粘液、鳍上装着喷气发动机的鲨鱼正游走于一堆视频游戏电缆和旧式的砖手机中;在另一幅插画里,褪色的蓝色牛仔裤上,画着露出尖牙的花朵;还有一幅,番茄酱和芥末酱的瓶子成为了主角,动作片演员查克·诺里斯(Chuck Norris)变成一条手拿吹风机的人鱼,和其它超现实元素一起,夹在两块巨大的汉堡面包之间,变成了一个巨型汉堡包。

These are the imaginings of Singaporean artist Adeline Tan. Her work—a mixture of illustration, commissioned murals, and personal painting—take on various roles and purposes. “Art is comforting, it helps me manage negative emotions,” she explains. “As a Singaporean child growing up in the ‘80s, there was a lot of pressure to perform academically. Children find ways to cope, and for me, it was drawing. My parents quickly discouraged me, of course.”


这些插画来自于新加坡艺术家 Adeline Tan 的想象世界。她的作品包括插画、委托创作的涂鸦作品和个人绘画作品等等,类型和用途都十分丰富。“艺术有抚慰人心的作用,它可以帮我控制一些负面的情绪。”她解释道,“作为一个生活在 80 年代新加坡的小孩,在学业上常常要承受很大的压力。每个小孩都有自己的排压方法,对我而言,画画就是我排压的方式。当然,我的父母很快泼我冷水了。”

What began as a creative outlet quickly grew to become her passion. She worked for years as a graphic designer, during which she struggled to find time for creating personal works. 2013, when Tan gave birth to her little boy, was a pivotal year for her. “I quit my day job to become a mother and focused more on painting and drawing as it had more flexibility than the long hours of a designer,” she says. “From there, I created a lot more personal work and self-initiated projects.”


这种最初用来排解压力的爱好很快变成为了她的热情。在担任平面设计师的多年期间,她总是想办法抽出时间创作个人作品。2013年,Adeline 生下儿子,对她来说,这是关键的一年。她说:“我辞去了全职工作,成为全职妈妈,也因此可以更专注于画画,比起当全职设计师那种长时间工作,现在我在时间上可以更加灵活。从那时起,我就创作了越来越多的个人作品和项目。”

While Tan’s output is diverse, having a child definitely had an impact on the subject matters she works with. “After my son was born, I began exploring themes like an imagined future of our natural environment, family history, and nightmares,” things that her family deals with and that her son may have to as an adult. “I’ve also taken up more children- and education-related projects. One collaborator I especially love is EYEYAH Magazine.” An example of the work she does with them is her piece on mutant E-waste, and how toxic products end up in the ocean and other places.


虽然 Adeline 的作品类型多样,但是小孩的出生肯定会对她的作品主题有所影响。“儿子出生后,我开始探索一些新的主题,譬如是构想自然环境的未来、家族历史和梦魇等等。”大多是以她的家人以及她的儿子将来成年后不得不面对的问题为主题。“我还开始创作更多与儿童和教育有关的项目。我特别喜欢和 EYEYAH Magazine 杂志合作。”他们曾合作一个关于突变电子废物,以及有毒产品污染海洋和其它地方的项目。

While she does lots of digital work, her favorite medium is painting. Often, that includes watercolors of plants with copious stems entangled in her trademark style. Tan also does a lot of mural work, something the artist began exploring a couple years ago. “I find that the difficulty faced when trying out a new format or medium or size is also exciting in the sense that I get to learn something new,” she says. “You are forced to look at the work in a different way, forced to use different brushes or tools from those you are comfortable with.”


虽然她创作了大量的数码作品,但她最喜欢的媒介依然是绘画。水彩绘画的花卉与相互缠绕的花茎是她的标志性元素。除此之外,从几年前起,她开始探索创作壁画作品。她说:“我发现,在尝试新的形式、媒介或创作不同大小尺寸的作品时,我会遇到的困难,同时也会感到兴奋,因为这意味着我可以学到新的东西。我必须要以不同的方式看待这项工作,抛掉过去用习惯的工具,去尝试不同的画刷或工具。”

The most recent mural she worked on was a collaboration with 32 other artists. Organized by artist Skl0, their work was printed on a replica of the HBD government subsidized housing blocks that the majority of Singaporeans live in. Tan’s work included a three-story unit consisting of a monster floral pattern on the outside wall, with a yeti-like couple dancing inside the windows. She also worked with artist Tiffany Lovage to create a life-sized mural of a tiger in X-ray view, leaping among tiger lilies, with the stripes on its body formed by a pattern of mutant tiger orchids.


最近,她与其他32位艺术家合作创作一个壁画项目。这个项目由艺术家 Skl0 策划,他们在大多数新加坡人所居住的组屋(HDB,政府补贴的住宅区)的复制品上创作壁画。Adeline 的作品包括一个三层楼的单元,她在外墙上画了一个怪物花卉图案,又画了一对像大脚野人(Yeti)一样的情侣在窗户里跳舞的情景;她还与艺术家 Tiffany Lovage 画了一只X射线图的老虎。这只与原物一样大小小的老虎正从虎百合花丛中一跃而出,身上的条纹也突变成老虎兰花。

Her characteristically dense and comical works, with multiple objects thickly entangled with one another, lend themselves to a variety of outlets. But no matter how her work is presented—whether it be a stamp collection, an animated GIF, the painted fabric of a pair of pants and sneakers, or a children’s illustration—Tan’s style always feels like a perfect fit. 


密集而有趣的画面,繁复的物体彼此纠缠在一起,这是她作品的标志性风格,这样的插画适合制作成各种各样的创意作品。无论是邮票、视频投影 GIF、裤子和运动鞋上的彩绘,还是儿童插画,Adeline 的作品总会让人有一种亲切感。

Website: www.mightyellow.com
Instagram: @yell0w

 

Contributor: Mike Steyels


网站: www.mightyellow.com
Instagram: @yell0w

 

供稿人: Mike Steyels

Surrealism in the Search Bar

Flourish 4

“If dreams are a translation of waking life, then waking life is likewise a translation of dreams.”

— René Magritte

 

The worlds created by Indonesian artist Musa Esrtungkoro, like those of celebrated surrealist painter René Magritte, have a powerful draw on people: they’re philosophically suggestive and highly enigmatic.


如果梦境是现实的诠释,
那么现实也是梦境的诠释。

——雷内・马格里特(René Magritte)

 

来自印尼的画家 Musa Esrtungkoro 笔下的世界,和举世闻名的超现实主义画家玛格丽特一样,有着让人为之深深吸引的力量:富有哲学的内蕴,同时又极尽诡秘。

Iqro
Empty

In the age of digital media, as opposed to the past, it’s easy to turn a vision into reality. Esrtungkoro can get inspiration from music, news, daydreams, or his immediate surroundings, then find suitable images online and import them into his illustration software. Next, he gives the images a “surrealist” treatment in Photoshop, using characters of his own design.


和传统绘画不同,得益于数媒时代的便利,Musa 在随时随地获取的灵感,诸如音乐、新闻、环境和梦境中汲取的点滴,都可以导入插图软件,再从网上找到合适的图片,然后用 Musa 自己设计创作的人物,在 Photoshop 上进行 “超现实” 处理。

Comfortably Numb

Comfortably Numb is a work inspired by the British band Pink Floyd’s song of the same name,” explains Esrtungkoro. “When I listen to the song I feel unexpected comfort, like being in the subconscious, where my body feels numb, like I’m flying through space and seeing planets while my body stays on earth.”


“比如《Comfortably Numb》这件作品,受英国乐队 Pink Floyd 的歌启发而作,我的作品与它同名。当我听这首歌时,我感受到了意想不到的安慰,就像沉浸于潜意识中,我的身体渐渐变得麻木,仿佛在太空中飞翔。最后,当我的身体停留在地球上时,我就看到了行星。”

Fly
Vandalisme
Waiting

Two constant sources of inspiration and encouragement for Esrtungkoro are the works of Magritte and those of contemporary digital collage artist Julien Pacaud. “When I see their works, I always wonder what they want to convey,” he says.

But he notes that, as an artist, he’s never tried to make his viewers “understand” his own works. “It’s up to them what they want to make of my works,” he explains. “I submit everything to their respective judgments, because I made these works only to pour out the contents of my heart that can’t be conveyed in the real world.”


一直给 Musa 以激励和灵感的,是雷内·马格里特(René Magritte)和朱利安·帕考(Julien Pacaud)两位超现实大家的作品。“当我看到他们的作品时,我总是想知道他们想通过他们的作品表达什么?”

但 Musa 觉得,以艺术家的身份出发,他从来没有想过让观者 “看懂” 自己的作品,“他们想从我的作品中得到什么,这取决于他们想要什么。我把一切都交给了人们各自的判断,因为我做这些作品,只是为了倾吐我内心深处无法表达的东西罢了。”

Undesirable
Modestly to Be High

Modestly to Be High depicts someone who is already tall but keeps looking down (modest),” says Esrtungkoro enigmatically. “I really like this work because he really lives in my head and reminds me of people whose lives are dedicated to helping others and looking after this aging universe, and I dedicate this work specifically to them.”

To approach his strange, surreal world built out of random objects, we may just need to switch up our point of view. Perhaps art is even truer, more moving than daily life.

 


“我最喜欢的作品是 Modestly to be High’(‘虚’高),它描绘的对象是一个已经很高的人,却一直往下看的样子,以示一种谦虚的姿态。” Musa 说,“这副作品一直存在在我的脑海里,它让我想起了那些毕生致力于帮助他人和照料这个宇宙众生的人,这件作品是我向他们致敬之作。”

在 Musa 用各种毫无关联之物所构建出来的超现实奇想世界里,或许我们换用一种超脱的眼界去看待,画,则可能比日常所见更为真实可感吧。

Nick Dark Pink Moon
Cello Song
Introvert

Behance: ~/MusaEsrtungkoro
Instagram@esrtungkoro_


Contributor: Chen Yuan


Behance: ~/MusaEsrtungkoro
Instagram@esrtungkoro_


供稿人: Chen Yuan

Color and Verse

Traditional Chinese images of love—wind, flowers, snow and the moon, or oaths sworn to the mountains and seas—come largely from the world created by Tang and Song dynasty poetry. And in Zhang Mengke‘s works, poetry is a source and drawing is the medium. Her pink, mist-shrouded illustrations convey a poetic simplicity.

Inspired by music, fragrance, and dreams, along with the verse, dialogue, and palace settings of historical dramas on television, Zhang “makes verse visible” with an understated, suggestive style.


风花雪月,海誓山盟,这样的景象,大抵多出现在唐诗宋词营造的世界里。而在张梦珂的笔下,诗词是源泉,笔触是媒介,粉色氤氲的画幅里,透着古朴的诗意。

从音乐、气味、梦境,古代清宫剧中的诗句、对白和建筑场景产生的灵感,融合了淡雅的色彩和意蕴,张梦珂的笔下,“把诗句可视化” 了。

For Zhang, “poetry is profound and demands careful thought and patient appreciation. But because it often uses a particular meter or diction, it relies on reason and insinuation. Drawing, on the other hand, is the most intuitively visual medium—as soon as you look at a picture, you immediately feel something. That’s what I’m able to achieve in my art.”

You can see more of Zhang Mengke’s works below.


对她来说,“诗词,需要将它拼凑起来思考,慢慢品味,非常博大精深。但因为它可能会有固定韵律和字词,在我认为它是相对理性的、隐忍的。但画,则是人最直观的视觉感受,你在看到它的第一眼就会有一定的感受,也是我更擅长可以尽情发挥的。”

更多张梦珂的作品,欢迎继续浏览。

Behance: ~/kk_Meng

 

Contributor: Chen Yuan


Behance: ~/kk_Meng

 

供稿人: Chen Yuan

Water and Ink

For the artist known as Lost Mountain Man, just a few strokes is all it takes to evoke meandering brooks, learned scholars, or gatherings of old friends.

The artist’s light, elemental brushwork—the antithesis of overwrought illustration and design—combines traditional ink painting with modern sensibilities. Traditional Chinese ink paintings usually leave empty space on the scroll, and Lost Mountain Main, fascinated by eastern aesthetics, uses a understated, gentle, pleasantly flowing technique to add a touch of the mystical.


沉浸在忘川山人的水墨世界,寥寥几笔勾勒的画卷里,却是文人墨客,流觞曲水,畅叙幽情。

对比色彩繁芜的插画或设计,忘川山人笔下那氤氲开的淡淡笔触,让传统水墨与现代审美交相融合。自中国古代传承而来的水墨画,则大多都会在卷幅上留白。忘川山人对这样的东方美学很是着迷,含蓄、温润,娓娓道来的手法,让他笔下那氤氲开的淡淡水墨,也仿佛带着些许仙气。

In most of his works, the artist conveys a certain feeling, one that arises from the dialogue between humans and nature and appears at both the individual and the monumental scale. Watercolor and ink compose and rearrange these subtle relationships, creating an intriguing effect. “Ink and watercolor both involve a play between pigment and water. With practice on the page, with long-term perseverance, you can achieve harmony, coordination, and control. All that remains is the emotion you want to give voice to.”

The landscapes in these works are a reflection of the artist’s own idiosyncrasies. “I’ve always felt I lived in a state of utter loneliness,” he says. “I often reflect on the impermanence of the world and the insignificance of human life. Time passes and stillness persists in the boundless universe above me. And in the contrast between the minuscule and the vast, I find an outlook that teaches humility, that teaches reverence.”


在大部分的画作里,他阐述的是某种情感,在人与自然环境对话时产生,在微小的个体或宏伟的场景中普遍存在着。而水彩和水墨,则在对这些微妙关系的梳理与重构中,让画面的表达变得更为有趣。“其实水墨和水彩都是颜料与水的游戏,还是需要多做纸上练习,长期坚持,就会与之产生和谐的默契和把控力,剩下的,只有你想抒发的情感内容了。”

其实画中的世界,也正是他个人意趣的写照:我始终感觉自己身处巨大的孤独之中,时常念及世事无常,人若草芥,而头上的无边宇宙斗转星移,寂静仍然,我将这种渺小与浩大的事物之间的反差视如一种观照,照见谦卑,照见虔诚。

Douban~/忘川山人
Instagram: @lostmountainman


Contributor: Chen Yuan


Douban~/忘川山人
Instagram: @lostmountainman


供稿人: Chen Yuan

A Diary in Comics

“I guess you could call my work a dumping ground of uncensored thoughts.”

For Ji Sub Jeong, aka Geesubay, a Korean-Canadian artist working in New York, art has been a passion since childhood. “I’ve been drawing obsessively as long as I can remember,” he says. “I’d doodle on anything I could get my hands on, from textbooks and magazines to the walls of my room (which my mom did not appreciate!). Drawing was something that I enjoyed tremendously, and I could never get enough of it.”


“我想你几乎可以把我的作品称为 ‘一团没有经过审查的思想垃圾堆’。”

韩裔加拿大籍插画家 Ji Sub Jeong aka Geesubay,目前在纽约发展艺术事业。他对于艺术的热爱从小就展露无遗,自从有记忆以来,画画就一直是他最着迷的事情。“我会在任何我碰得到的东西上乱画,从课本、杂志、到我房间的墙壁,虽然对此我妈妈很不高兴。我一直非常享受画画,我想我永远不会有觉得画够了的那一天。”

Window Thoughts /《窗边随想》
Everything Is A Blur /《世界是模糊的》
Naked And Shy /《裸体与害羞》
Not Fall Yet /《還沒掉下來》
Getting Over The Hurdle /《跨栏》

Jeong’s art is simple and free, full of a humor that brings a familiar smile your face. The mischievous, pudgy little boy in his drawings, out exploring the world, seems to be a creature of his imagination. As he plays and gets into trouble, he discovers life’s smaller joys. “I’ve never been one to keep a steady diary, but I’ve realized that I feel the most satisfied when I draw something I’ve had on my mind for a while,” he says. “So I guess my illustrations can be viewed as a visual diary that showcases my most private and honest feelings about the world.”


他的创作简单、自由、充满令人会心一笑的小幽默。一个拥有浑圆身躯的小男孩喜欢到处闯荡,也许这个顽皮的男孩就是 Ji Sub Jeong 想像的投射,他总在无趣的规则边缘探索,惹一点事,嬉闹之间发现生活微小却显而易见的乐趣。“我从来不是能每天按时写日记的人,但我发现如果可以用画的把想法记录下来,这让我感到好满足。所以我的作品也可以被看作我的图像日记,诚实地展现了我个人对世界的看法。”

Headspace /《头上空间》
Cig Thought /《烟与随想》
Don't Ground Me/《不要拉我》
Clapping My Own Hands /《和自己击掌》
Peace Sign /《和平标志》
Finger Print /《指纹》
Who Am I /《我是谁》

Websitejisubjeong.com
Instagram@geesubay

 

Contributor: Yang Yixuan


网站jisubjeong.com
Instagram: @geesubay

 

供稿人: Yang Yixuan

Fantasizing in Shades of Blue

Seoul-based artist Jungho Lee creates surreal illustrations that bring the observations of his mind’s eye to life. Chock-full of symbolism, the imaginary settings he’s conjured are populated with an array of peculiarities. From strange books of varying shapes and sizes to cloudy dreamscapes and glowing cabins, his drawings exude a tranquility that’s tinged with a sense of loneliness.

Lee says, “Everyone experiences loneliness deep in their hearts. To be composed and face it head on is something that can make you more mature . . . Ultimately, I hope people can use their personal experiences to interpret my works in their own way and be more attuned to their own inner voice.”


插画艺术家 Jungho Lee 长居韩国首尔,在那里,他画下许多超现实的插画作品。他的作品展现着许多奇谲的视觉隐喻,画作和脑海中现实重叠:微启的书册、迷雾的夜晚、透着光亮的房子……透着安宁的意味,却也让人感到沉寂的孤独。

“每个人都有自己内心深处的孤独,坦然面对它会让自己的内心更加成熟。我希望我的画能根据大家各自的经历自由解读,可以倾听自己内心的声音。”Jungho 说。

Website: leejungho.com
Instagram: @jungho.el


Contributor: Chen Yuan


网站: leejungho.com
Instagram: @jungho.el


供稿人: Chen Yuan

Twinkle Twinkle Little Circle

From A Planet of Seas & Mountains / 《山海星球》系列

“I wish everything in this world were round,” writes Yayi in a project statement.

Yayi is a Shanghai-based artist who spends her days designing, doodling, and searching for inspiration in the trivial details of life. Her unique style is characterized by minimal colors, collage elements, and perhaps most distinct of all, an assortment of circles. But why circles?

“I just like it,” Yayi shrugs. “I’ve always thought circles were such a mysterious shape. They’re soft yet plump. They can be energetic or they can be lethargic.”


“希望这个世界上的一切都是圆圆的”,是 Yayi 给某个系列写介绍时说的。目前生活工作于上海的她,日常画画、做设计,采集生活里能够感动自己的细枝末节,画着圆圆圈圈,配上简单的颜色和一些拼贴元素,就形成了她独特的风格。

但真要为“圆”找出个所以然来的话,Yayi 却说,其实只是因为喜欢这个形态罢了。“一直觉得圆是个微妙的形态,是柔软的、饱满的,有时活泼有时慵懒的感觉。”

From Twinkle, Twinkle series /《Twinkle, Twinkle》 系列
From Twinkle, Twinkle series /《Twinkle, Twinkle》 系列
From A Planet of Mountains & Seas / 《山海星球》系列

Yayi describes her process of drawing circles within the confines of a rectangular frame as “daydreaming within a sequestered universe of my own.”

In Passing By, a series of short animated clips, she presents everyday scenes (with circles, of course) from three different perspectives: as a lover of idle walks, as a lover of parks, as a lover of stories. The series is intimate yet playful, inspired by her observations of strolling around the city. From a lone trashcan in an empty shopping plaza to a flashing traffic sign lighting up the darkness of night, Yayi reimagines mundane settings as delightful works of art.


在一方方的小世界里画圆,Yayi 形容是“时不时在自己臆想的‘断层世界里做着‘清醒梦’”。

以“遛弯儿爱好者”、“公园爱好者”和“小故事爱好者”的身份来分类的《路过》系列,Yayi 放上了一些脑回路的场景画面,非常随意,也相当个人化。在生活里看到的某一个场景和画面的延展,比如凌晨商场里的垃圾桶,夏日深夜空旷马路边被交通警示灯反射过的禁止通行路牌,等等。这些过去的画面,被 Yayi 捕捉在记忆里,又重新翻出来构图创作。

From the Passing By series / 《路过》系列
From the Passing By series / 《路过》系列
From the Passing By series / 《路过》系列
From the Passing By series / 《路过》系列

For times when Yayi wants to create but isn’t feeling particularly creative, collage is her go-to medium. “It’s just me piecing together scattered visuals to try and jolt my brain into coming up with new ideas. That’s why I titled one of my collage series Losing My Mind.”


而在想创作又没有想法的时候,Yayi 会玩拼贴。她的回答很温柔得可爱:“算是通过把零碎的画面重组来刺激自己有些新的想法。所以我把我拼贴的系列叫做‘失心疯’。”

From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列

In her collage works, the elements Yayi selects reveal a fascination with films about space. “I suppose there really are quite a lot of movies about space that I’ve loved over the years,” she says, “from  A Trip to the Moon (1902), to the Soviet-era Solaris (1972), to the more recent Coherence (2013).”

She also cites a love for the work of installation artists Olafur Eliasson and Cai Guoqiang. “I recently watched a documentary about Cai Guoqiang’s Sky Ladder. His ongoing Project for Extraterrestrials series is also quite interesting; in it, he plays with the idea of space exploration but through the innocence of a young boy. All of his works are extremely impressive.”


殊不知,拼贴的素材或灵感来源,背后都会或多或少地融入她沉迷的星球和宇宙的元素。“从 1902 年的《月球旅行纪》,到后来苏联的《飞向太空》……再到近几年的《彗星来的那一夜》。关于宇宙和星球题材的电影,仔细想想我喜欢的还真的挺多的。”

她毫不掩饰她对当代装置艺术家 Olafur Eliasson 的钟爱,还有蔡国强。最近看的纪录片有蔡国强的《天梯》。他用男孩天真的一面去表达对外星世界的探索,做的一系列‘为外星人做的计划’行为和装置艺术都是让人印象非常深刻的作品。”

From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列
From Twinkle, Twinkle series /《Twinkle, Twinkle》 系列
From Twinkle, Twinkle series /《Twinkle, Twinkle》 系列

Her delicate recollections and observations of life, along with her love and longing for outer space, gives Yayi’s circles an ingenious romance.

Depending on the viewer, Yayi’s circles can take on different meanings. Some could see them as symbolic of deeper ideas. Others may just enjoy them simply as circles. Less than a bridge between artist and viewer, for Yayi, art is “an outlet for my own emotions, and hopefully something that resonates with the viewer’s emotions.”


对生活细腻的感知与记忆,对宇宙星球的喜爱与憧憬,让 Yayi 的圆形作品显得玲珑且浪漫。

这些圆,可以被赋予形形色色的含义,也可以干干净净地理解为圆本身。要说 Yayi 所想要搭建的那座桥梁,不过是“我自己的情绪出口,同样也希望大家解读出自己的情绪。”

From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列

Website: yayifsoso.com
Douban: ~/yayi_ifsoso

 

Contributor: Chen Yuan


网站: yayifsoso.com
豆瓣: ~/yayi_ifsoso

 

供稿人: Chen Yuan

An Eye for Change

As a child, Pat Lee, the colorist perhaps best known for his comic-book adaptation of Transformers, spent hours leafing through penny-bin comics, taking in all that he could from every corner of the world. Heavily influenced by Japanese works like AKIRA, Gundam, Ghost in the Shell, and Fist of the North Star, Lee integrates manga into a traditional Western style, a skill that landed him his first job at Image Comics and eventually established his reputation in the comics industry.


从小时候开始,Pat Lee 这位以改编《变形金刚》漫画作品而出名的漫画上色师,就喜欢把自己沉浸在漫画的世界里,常常一看就是好几个小时的时光飞逝。他从来自世界各地的漫画书中吸取不同的灵感刺激,其中对他影响最深的是日本漫画,譬如《阿基拉》(Akira)、《机动战士高达》(Gundam)、《攻壳机动队》(Ghost in the Shell)和《北斗神拳》(Fist of the North Star)等作品。他尤其擅长将日本漫画美学融合进传统的西方漫画,这样显着的风格不仅为他带来在美国漫画出版商 Image Comics 的第一份工作,最终也让他在漫画界获得一席之地。

“I kind of teetered off a bit when I was doing Marvel and DC stuff – it was very dark with a strong presence of very heavy blacks,” says Lee. “But I’ve realized I truly love making work that’s a hybrid of Japanese anime and American culture. It’s interesting to fuse things together.”

That’s exactly what he’s done with his ongoing series, Interference. Over the last 6 months, Lee has been gradually transforming images of Western pop-culture icons like Mickey Mouse and Marilyn Monroe into something more foreign.


Lee 说:“每当我给漫威或 DC 创作时,总是感到不太有把握。这些作品风格非常黑暗,像是压抑着一大片深沉的黑色色调。我意识到自己真正喜欢的是将日本动漫和美国文化相结合的作品。把不同的东西融合在一起比较有趣。”

他目前进行中的系列作品《Interference》(《干扰》)正是遵循这一理念来创作。在过去六个月里,Lee 将米老鼠和玛丽莲·梦露这些西方流行文化中的经典形象进行创新的演绎。

Each iteration of a figure changes in subtle ways, challenging the viewer to spot minor alterations, like an iris turned into a camera shutter, or a shoelace that’s actually a fiber-optic cable. While some pieces in the series involve futuristic technology, with aliens and robots seated alongside a bionic Bambi with exposed brain matter, all are a part of a larger narrative about technological development in a structure that mirrors that of a comic book.


他以极为微妙的方式去重新设计每一个角色,挑战观众是否能发现那些微乎其微的变化。譬如将角色眼睛的虹膜画成相机快门,或是将鞋带变成光纤。虽然系列中有一些作品涉及未来的科技,像是一只暴露着大脑、和外星人和机器人坐在一起的仿生小鹿斑比,但所有角色都座落于一个更宏观的叙事里——对于科技发展问题的探讨。

Lee, known for his work with Copic markers, primarily uses acrylic for the paintings in Interference, which he often makes in quick succession. “Acrylic is just fun to apply, because it’s not as technical as Copic,” he says. “If you compare the two, acrylic has a kind of glow to it, this shine, texture, tone. It’s a thicker feeling, where Copic is very light, very illustrative. Really, they’re a pair – I have to have both.”


Lee 先前以他用 Copic 马克笔(源于日本的马克笔品牌,因其优良品质深受设计人士喜爱)来作画的作品闻名,但在《Interference》中他改用压克力颜料,这让他的创作过程更加一气呵成。他解释道:“压克力用起来比较有趣,因为它不像 Copic 马克笔那样讲究技巧。如果你认真比较一下这两种媒介:压克力颜料会有一种光泽,更有质感和色调,有一种更浓厚的感觉;而 Copic 马克笔则更加轻盈,更加清晰。应该说它们是一种互补吧,两种颜料我都需要。”

Lee says he doesn’t know what his paintings are going to look like when starting – he works backward and forward without a final image in mind. His process aligns with how he sees the development in technology, be that VR, the sex industry, or personal communications, playing out – in steps, leaps, and sometimes sprints. “I think Interference is about asking if we’re prepared for the technology that’s coming. Is our society ready for these kinds of tools, this tech? Should we be scared about our future, or is it exciting?”


Lee 表示,一开始创作时他不会知道自己最终会画出什么样子,过程中他会不断地来回调整,但不会去预先设定一个最终结果。他的创作方式体现了他对未来科技,像是虚拟现实、性行业或个人通讯等等,如何一步一步、或者说是大步发展的看法。“我认为《Interference》其实是在提问,我们是否已经为即将到来的科技做好了准备?我们的社会是否准备好迎接这些工具和科技?我们应该对未来感到害怕?还是感到兴奋?”

Lee’s work draws no conclusions on its own but asks viewers to actively notice changes, both big and small. Interference can help train our eyes and minds to focus on what’s happening right now, and to ask where we want technology to take us.


Lee 的作品本身并没有提供任何结论,但他要求观众去主动发现其中或大或小的变化。《Interference》可以帮助训练我们的眼睛和头脑,去专注于当下发生的事情,并提出问题:我们到底希望科技带領我们到哪里?

Website: www.patleeart.com
Instagram
: @patleeart

 

Contributor: Sarah Forman


网站www.patleeart.com
Instagram
: @patleeart

 

供稿人: Sarah Forman

Prey & Predator

Details of The Resistance of the Prey (2017), Oil on canvas.

For many viewers, the eyes alone are enough to induce a sense of unease.

But is it the look of desperation that’s found in the eyes of an animal facing imminent death? Or is it the look of excitement that’s found in the eyes of a predator following a successful kill?

Created by Korean artist Moon ChanpilPrey & Predator is a series of paintings that depicts predator-prey relations through unsettling portraits. On a basic level, the series revolves around predation and the artist’s personal experiences, but closer scrutiny reveals a deeper narrative – the project aims to highlight the disturbing similarities between the behavior of humans and wild animals. “Predators cannot always be predators, nor can prey always be prey,” Chanpil tells us. “All beings are predator and prey at once.”


仅仅一个眼神,就能让你被画面中的恐惧牢牢攫获。

这可能是猎物濒死前绝望的眼神,也可能是捕食者终于果腹时渴求的眼神。

这一系列《猎物和捕食者》(Prey & Predator)的作品,来自韩国的插画家 Moon Chanpil。仅仅直视这系列作品中的眼睛,就会感到一种让人恐惧的力量迎面而来。画布上狩与猎的故事,也不只是个体化的经历,更像是创作者在诠释整个人类社会乃至自然界的普遍法则。“捕食者不可能永远是捕食者,猎物也不可能永远是猎物。所有的生物都既是捕猎者,也是猎物。”Chanpil 说。

The Resistance of the Predator (2017), 90.9 X 72.7 cm, Oil on canvas.
The Resistance of the Prey (2017), 90.9 X 72.7 cm, Oil on canvas.

As a self-professed nature documentary fanatic, Chanpil’s infatuation with predator-prey relationships can be traced back to his childhood. “I loved seeing scenes of big cats hunting when I was younger; I cheered for their success,” he recalls. “But at the same time, [when I saw the prey], my mind cried out, ‘Run away! Survive!’ Although it was just television, it was sad to see a deer bitten in the neck and watch as the life disappeared from its eyes. I saw the lion’s eyes as he bit down into the deer’s neck as well, and in those eyes, I saw desire and fatigue.”

With scene like this imprinted in his mind, Chanpil began to question the nature of existence. “Why are we designed like this? Is that our world? Just a tragic existence?”


Moon Chanpil 从小就是自然纪录片的忠实粉丝。“当我还是个孩子的时候,我喜欢看着纪录片里大猫狩猎的场面,为他们狩猎的成功而欢呼。这实在很酷。但同时,另一种声音也一样在我脑海中回响——‘快跑!’‘活下去!” Chanpil 说,“虽然我和这一切隔着电视屏幕,但直面它依然一件很可悲的事。我看到狮子紧紧咬住鹿的脖子,我看到小鹿的生命气息渐渐从它的眼睛里消失;我还看到狮子眼中的欲望,看到了它竭力猎杀后的疲倦。”

所以,现在的 Chanpil 会忍不住想知道,“我们为什么生来如此?这就是我们所处的世界吗?我们就是某种悲惨的存在吗?”

Breath in the Predator (2015), 65 X 50 cm, Oil on canvas.
An animated version of Breath in the Predator
An animated version of Breath in the Prey

But of course, humans are different from lions and deer. We’re afforded the luxury of not having to be a part of the predator-prey cycle that every other living animal is fated to endure. Humans have escaped the food chain, but we’re the only exception. Other living creatures are unable to escape this vicious circle, and at the core of Chanpil’s paintings, there’s a sense of sadness that comes from this realization. He explains, “As I see the eyes of the dying deer, I feel sadness and empathy. It seems like its very purpose is to be killed and eaten. At the same time, for that lion, whose cruel fate is to kill again and again to survive, I also feel sadness and empathy. By projecting my own emotions through these animal’s lives, I’ve gained insight into the truth or secrets of human life. In my series, the events that occur between prey and predator come from my personal stories, but I think there’s a universality to them. This predator and prey dynamic may be happening within the mind of one individual, or between two individuals, or between an individual and a group, or between two groups of people.”


从某种意义上来说,或许人类和小鹿类和狮子是不同的,人类得以试着避开食物链系统中捕食者与猎物的关系,甚至人为地进行改变。Moon Chanpil 觉得,我们存活在一个“没有任何回旋余地”的世界中,自然系统很少允许像人类这样的例外发生。

现在,对我来说,最核心的情感反应是‘悲伤’——当我看到小鹿在被狮子咬伤后失去生命,我为之悲伤也为之同情。那只鹿生存的意义,或许就是为了死亡、为了被狮子捕食;而狮子则必须不断捕猎和杀戮才能得以存活,它的命运也一样残酷。” Chanpil 说,“我通过他们的生活投射我自己的情感,在这个过程中洞察人类生活的真相或秘密。在这个系列中,捕食者和被捕食者之间所发生的事,也就是发生在我身上的事。我认为这存在着普遍性。捕食者与被捕食者可能是发生在个人内部,或个人与个人之间,或个人与群体之间,或群体与群体之间的一个事件。”

Breath in the Prey (2015), 65 X 50 cm, Oil on canvas.
Hello There (2018), 72.7 X 53.0 cm, Oil on canvas. An extension of the Prey & Predator series.

Describing the creative process behind his series, Chanpil tells us, “When I approached the initial character design, I first needed to feel maximum empathy. So I drew a portrait based on my own face rather than creating a fictional character. However, in order to convey the theme of predator and prey more dramatically, I referenced the actual eyes of predator animals and prey animals, using the eyes of cattle or tigers in lieu of my own. For my predator paintings, the character’s eyes are those of the archetypal predator – the tiger.  Their mouths are rarely dry of blood, and in a way, I wanted to console them by removing that blood from their mouths. The blood-colored whale symbolizes what’s in the mind of a predator. While whales aren’t typically preys in the food chain, I’ve always thought that they have all the features of prey. They’re slow, kind, beautiful, and solitary.”


“要谈论角色的设计的话,首先,我得展现出极大的同理心。所以我根据我的脸画了一张自画像,而不仅仅创造了一个人物角色来。为了更生动地传达主题,我通过借用真实的掠食动物或猎物的眼睛来设计了人物的眼睛,我通常会大猫和牛的眼睛。比如‘捕食者’,他的眼睛是典型的食肉动物:老虎。老虎的嘴角常会凝结着干血,我想用抹去他们嘴上的血来告慰他们。而一只血红的鲸鱼,则象征着猎物的心灵。虽然鲸并不是食物链中的猎物,但我一直认为鲸具有这样的特性——缓慢、善良、美丽而孤独,满足了所有猎物的特征。”

The Encroaching Prey (2017), 90.9 X 72.7 cm, Oil on canvas.
The Encroaching Predator (2017), 90.9 X 72.7 cm, Oil on canvas.

For each painting, Chanpil taps into his own experiences and memories to convey emotions with depth and authenticity. “When I draw a predator, I like to imagine myself as the predator in the painting as I work on it. When I draw a prey, I like to imagine I’m the prey in the painting. But no matter which role I take, I always feel a sense of sadness.”

“Similar to real life, I like to express emotions with moderation in my work, so the emotions I paint aren’t that extreme. The characters aren’t loudly crying or yelling out in fury. But if the viewers are seeing strong emotions in my work, I believe it’s because they’re reacting to the character’s inner feelings. As I’ve previously said, it’s all rooted in a sense of melancholy – this is a sadness that no being in this world can escape from or get rid of. Aside from this sadness itself, I wanted to express my own feelings of fear that came from this realization. […] Prey & Predator is the world through my eyes. I want to show people the true essence of our world, but not necessarily the visible parts of it.”


在这一系列中,Chanpil 在画布上展现出的思想和情绪相当真实,真实到他无需设计,画布上所展现的内容本身,就已是他全部的思想和情绪。“当我画捕食者的时候,我会想象我是一个捕食者,是捕食者在作画,我就是它;同样地,我画猎物时就会假想自己是猎物本身。而两种角色的表情都很悲伤。”

“就像我自己在现实世界里一样,我更喜欢适度的情绪表达,而不是在工作中将之爆发。所以作品中人物的面部表情并不极端,他们不会大声号哭。但是,如果画中的情感被传递给你为某种极端的感受,我想那是因为你对角色的内在情感作出反应。正如我前面提到的,这种感觉是悲伤。这个世界上没有人能够从这种悲伤中逃离或解脱。‘我们无法动弹。’——我也想借此表达我的恐惧。” Chanpil 说。

“《猎物和捕食者》是我看到的真实世界。我想要透过这个系列去讲述世界的本质,而不是表面上的可见世界。”

A Predator (2014), 53 X 46 cm, Oil on canvas.
A Prey (2014), 41 X 32cm, Oil on canvas.

Behance: ~/moon_on
Instagram: @moonchanpil

 

Contributor: Chen Yuan


Behance: ~/moon_on
Instagram: @moonchanpil

 

供稿人: Chen Yuan

Darting Between Fiction & Reality

  • Book by Wo Shi Bai. Swipe to read.

“Ludicrous.”

“A fiction within a fiction.”

“Cuts between perspectives in time and space.”

“Just read through your comics, some of them are really deadpan and really funny, some of them I don’t quite get, some of them really hit you in the gut.”

“The author is 30? Hahaha.”

“The author’s got to be a woman…”

All these are messages and comments left by readers of the comics of Wo Shi Bai, whose pen name literally means “I Am White.” For his fans, these comments have just about become required reading. Sometimes they point out a detail in a comic you missed, sometimes they leave you marveling at the reader’s overactive imagination.

And sometimes Wo Shi Bai will write a few words in reply, such as: “Thanks for the messages. I notice most of the feedback comes from people who don’t understand the comics or don’t get the point. Honestly, I drew them to record boring everyday experiences, really ordinary stuff. The first part is about the book the main character’s reading, or related to his mental state.”


“好荒诞!”
“虚构性虚构。”
“时空视角切换。”
“刚刷了遍你的漫画,有些很冷很好笑,有些看不太懂,也有些一下击中心脏。”
“作者 30 岁?哈哈哈~”
“作者是女生吧……”

这些是读者看了我是白的漫画后,给他的留言和评论。这些内容几乎成了观看他的漫画之后,大家必不可少也会去阅读的一部分。甚至有的时候,这些留言会让你发现漫画里之前没有发现的一个细节,或者竟然读者的脑洞可以这样大之类的感叹。

有的时候我是白也会回复大家几句,比如:“谢谢楼上的留言,我发现大部分反馈是看不懂或者不知道点在哪里,其实我画这篇漫画就是记录一段日常琐事,很平淡的内容,开头一段是表达男主在看的书的内容,或者是与他的精神状态的联系。”

From Chuck & The Portal / 来自《查克与传送门》
From Chuck & The Portal / 来自《查克与传送门》

As a comic artist in the internet age, Wo Shi Bai has been in dialogue with these unseen critics from the start. You could even say that the very existence of these readers, both the ones who get it and the ones who don’t, is what gave Wo Shi Bai the chance to change his life and focus on his creative work. That’s jumbling the timeline, though: in reality, it was an assignment from Gummi Comics in early 2017 that led Wo Shi Bai to start drawing seriously. Yet as anyone who’s read his work knows, this kind of jumble is the precisely what makes his comics so engaging: they leap and dart across space and time. Comics have an expressiveness that gives him a great deal of creative freedom.

“After drawing a few comics,” he says, “I found that a lot of ideas I couldn’t express in a single image I could express easily in comic form.”


作为一个互联网时代的漫画家,我是白的创作从一开始就和这些看不见的读者紧密地联合在了一起,或者说正是有这些看不懂和看得懂的读者的存在,才得以让我是白遇到了一个改变了他生活和创作的机遇。

这样讲似乎有点时间逻辑混乱,其实是因为 2017 年初的一次来自于《软糖漫画》的约稿,才让我是白真正开始画起了漫画。但是如果你也看过他的那些漫画,你就会明白这样的混乱恰恰是他漫画里一个很有趣的特质。从一个空间跳跃到另一个空间,从一个时间穿越到另一个时间。漫画的这种表达方式,给了他很大的创作自由,“在画了一些漫画之后,我发现我有蛮多单幅画面传达不了的想法可以用漫画的形式顺畅表达。”

  • Swipe to read.

  • This is my last story for Gummi Comics.

  • When I was coming up with the story, I started getting a migraine.

  • It usually takes three to four hours before I feel better.

  • I’ll feel better with the lights off. I’ll just sit in the dark and wait for the headache to pass.

  • Not doing anything, I began to drift into the recesses of my memories.

  • In 1997, my mom went to Japan to work at a clothing factory there. Seeing her off at the airport was the first time I took a taxi.

  • I was in first grade at the time, and I got extremely carsick. I regretted going along to see her off. (If I’d known I wouldn’t have come…)

  • My dad had been in a hospital long-term, and for the next three years I lived with my grandparents, aunt, and uncle.

  • All I did the whole day was play with the kids living nearby.

  • We brewed concoctions with pills, dead insects, and leaves.

  • Stuck firecrackers in toads’ mouths.

  • There was a kid a few years younger than us, and we didn’t always include him.

  • To grab our attention, he’d pretend to poop or masturbate.

  • Most of the time in the summer I’d watch T.V. by myself at home.

  • Sometimes I’d climb out of the second-floor windows and get lost gazing up at the sky.

  • The rooftop panels were burning hot in the sun.

  • In the building across the way, I’d sometimes see a little girl.

  • We’d undress for each other.

  • My memory is hazy. Maybe it was just me who undressed.

  • At the time, landlines had just become commonplace.

  • But I was terrified of picking up the phone. I don’t know why. Whenever it rang, I’d throw a blanket over it to muffle the sound.

  • Or sometimes I’d quietly pick it up and listen for a bit before gently hanging up. (Hello? Hello? Hello? That’s weird, someone definitely picked up…)

  • One particularly boring afternoon, I went through every corner of our house.

  • In a bedside cabinet, I found a pile of five-mao coins. I exchanged them for a kind of popsicle called “Mr. Banana.”

  • I also dug up my aunt and uncle’s book that taught newly married couples how to maintain their relationship.

    I also flipped through my aunt and uncle’s

  • At the time, Hong Kong just transferred its sovereignty back to China. By the time Macau was handed back over, my mom moved back.

  • I used the allowance money she gave me to buy accessories for my Mini 4WD racer.

  • Not long after, this entire neighborhood where I grew up was demolished.

  • Revisiting the area, there are no traces of my childhood to be found.

  • I think the migraine is easing up.

  • I think I still remember the phone number from that old house. I wonder what would happen if I called it.

Wo Shi Bai was born in Shanghai’s Songjiang district, and in a comic titled Migraine, he talks about his childhood there. The main character, drawn simply as a boy with hair, represents the author himself. But in Song, another comic, the story he tells is fictional, and for that fiction, he created a character with nothing but eyes and a mouth. That’s right: no eyebrows, nose, ears, or hair.

“I only kept the eyes and mouth, and added a human outline, to have a minimal vehicle of expression. That’s how the blank little guy came about,” he says.

Readers often think this blank character – xiao bai ren (小白人) – is Wo Shi Bai, because their names are so similar.

“Some of my moods and states come through in that character,” he concedes, “So there’s a part of ‘myself’ inside. Really, every writer’s characters probably have something of themselves inside.”


我是白出生在上海松江,在他的一个漫画《偏头痛》里,他讲述了他童年在松江的往事,里面的那个有头发的男孩角色就是作者自己。而在另一个漫画《Song》里,他又讲述了一个虚构的故事,并且为了这个虚构的故事,他创作了一个只有眼睛和嘴巴的角色(是的,连眉毛、鼻子、耳朵还有头发都没有),“只保留眼睛和嘴巴,加上人的轮廓这些用来‘演出’最低限度的‘工具’,小白人就这样诞生了。”

很多时候,读者也会把小白人和我是白本人联系起来,因为他们的名字太像了。“通过 ta,我的一些状态和情绪具象化了,所以有一部分的‘我’在ta里面。实际上每个作者创作的人物都有一部分自己存在吧。”

  • Swipe to read.

Wo Shi Bai’s comics always alternate between these two figures. Maybe the one with the hair represents reality, while the blank one represents fiction, and only by combining both their stories can you come close to getting a complete picture of Wo Shi Bai. You start to see how much he enjoys this “back-and-forth” creative style – darting back and forth between fiction and reality. It’s like the series of illustrations he once drew called Chuck and the Portal. The feeling of being here one moment and flying somewhere else the next is what he likes best about his creative work. “When I’m at home drawing by myself, I feel like I’m on some remote island,” he says. It’s a solitary, quiet feeling, and I get lost in my thoughts and my creative work. Especially when it’s raining – then I feel even more cut off. The rain adds another barrier between you and the outside world.”


我是白的漫画总是在这样的 2 个主角里摇摆,有头发的那个或许代表的是现实,而那个小白人代表了虚构。而将这两个不同角色的漫画故事混合在一起看,似乎才能更为接近一个完整的“我是白”,你会发现其实他很享受这样的一种“穿行”式的创作方式,在现实和虚构里穿行。就像他曾经画过一套名叫《查克与传送门》插画作品一样,这种忽而在这里,忽而又飞到了那里的感觉,恰恰是他在创作时最享受的时刻。“一个人在家里画画的时候,我感到仿佛置身孤岛。这样孤独而平静的感受让我完全沉浸在思考和创作中。特别是下雨的时候,更加会觉得和外面隔绝。下雨把你和外面的世界又隔了一道屏障。”

  • Closet by Wo Shi Bai. Swipe to read.

  • When my grandmother was in my great grandmother’s body

  • My mother was already in my grandmother’s body.

  • And at the same time, I was already in my mother’s body.

  • But there’s no one inside my body because I’m a boy.

  • I didn’t quite understand how people were born into this world, so that was my theory.

  • The grown-ups told me that babies are born after you get married, but this didn’t feel like a satisfying answer.

  • Isn’t getting married just a bunch of people getting together to eat a meal?

  • How does eating food produce babies?

  • So the only explanation is that everyone already exists inside other people. I was quite happy with myself after coming up with this answer.

  • I thought about all of this inside a closet at my kindergarten.

  • Ten minutes ago, I talked in class, and my teacher put me in here as a timeout.

  • I didn’t feel like I was being punished. It felt fun.

  • Seeing all my peers outside, all well-behaved, and me not having to be part of it gave me inexplicable joy.

  • On my way home, I shared the baby theory with my mom. After hearing it, she laughed, and that’s when I knew something was off about my answer.

  • A few years later, an older kid in the neighborhood told me the truth of it all.

  • And much to my surprise, it turns out the answer was hidden in the curse words that we commonly used.

  • Since then, nothing has shocked me more.

In fall 2017, Wo Shi Bai held his first solo exhibition in Shanghai where he met his online fans for the first time. “Maybe because everyone there was a fan of my comics, I felt they all had a few similar traits: they were delicate, shy, and quiet,” he says. Yet they may have even more in common with the blank character in his art. Maybe they too go to work by themselves, come home by themselves, eat takeout by themselves, read by themselves. Maybe they have also a pet at home and a fantasy world inside their heads. And maybe in Wo Shi Bai’s comics they find a resonance with their lives that they’ve long been missing.


在 2017 年秋天,我是白在上海举行了他的一次个人展览,在这个展览上,也是他第一次和互联网上的粉丝见面。“可能是因为喜欢我的这些漫画的缘故,所以感觉大家身上都有一种相似的特征:细腻,害羞,还有安静”。不过,他们和漫画故事里的那个“小白人”,也许真的有不少的相似性,也许他们也是一个人上班,一个人下班,一个人住,一个人吃便当,一个人看书,然后家里也有个小宠物,在脑海里有一个幻想的世界,而我是白的这些漫画,让他们找到了那种久违的共鸣。

  • 158 Days by Wo Shi Bai. Swipe to read.

  • After every shower, I have to wipe the floor dry.

  • My bathroom has a slanted floor, so a lot of the water ends up not going down the drain.

  • The carpenter didn’t realize this until after he finished laying all the floor tiles.

  • He said: (Sorry about that).

  • It takes me five minutes to dry the floor every single day.

  • Over the course of a year, that adds up to 76 hours.

  • Over 50 years, that adds up to 158 days.

  • 158 days…

  • In Interstellar, there was a planet where the entire surface was covered in shallow water.

  • If I had to wipe water off the floor without any sleep or rest for 158 days straight, I’d imagine the scene would look something like that.

  • (Drip drip)

  • This is some kind of punishment.

  • It’s a sentence passed down to me by that carpenter.

  • To be precise, it’s the result of him mentally checking out for a moment.

  • Some stray thought that distracted him.

  • (A-choo!)

Weibo: ~/WoShiBai
Douban: ~/WoShiBai
WeChat: WoShiBai

 

Contributor: Dawen Ding


微博: ~/WoShiBai
豆瓣: ~/WoShiBai
微信: WoShiBai

 

供稿人: Dawen Ding