Tag Archives: illustration

Modern Medieval Fantasia

Ctesiphon Secret Chamber

What happens when you cross an illuminated manuscript with a digital collage? Indonesian illustrator Anindya Anugrah offers an appealingly quirky answer. She repurposes archival images to create playful scenes that whisk together Europe and Asia, the middle ages and the twenty-first century. Yet for all their head-spinning, continent-spanning bravura, they never feel forced—just a little uncanny, like images from some alternate universe where Indian royalty dined with European nobles.

Anugrah has a special fondness for medieval or Renaissance touches. “As a child I was very much influenced by the thought that all fairy tales took place in the medieval times,” she explains. Since then, she’s had a bit of an obsession with the European middle ages, and in particular with illuminated manuscripts. “Most figures depicted in these manuscripts have a similar, sad-looking expression, no matter where they come from or what purpose they serve,” she says. “I like the idea of giving those figures a different ‘life’ and ‘role’—a happy one with modern twists.”

当欧洲中世纪的手抄本遇上现代数字拼贴画,会擦出什么火花?印尼插画家 Anindya Anugrah  提供了一个另类却引人入胜的解答。她重新利用这些历史图像,将欧洲和亚洲、中世纪和二十一世纪巧妙地融合在有趣的场景里。然而,这些令人目眩神迷的大胆拼接看起来丝毫没有一点不协调,取而代之的是那异乎寻常的神秘感——她的创作像是撷取自另一个宇宙,在那里印度和欧洲的皇室贵族会一起用餐。

Anindya Anugrah 特别喜欢中世纪和文艺复兴时期的风格。“当我还小的时候,我认为所有童话故事都发生在中古世纪。”她解释道。从那之后,她对中世纪就产生了一点痴迷,尤其是那些带有华美装饰的手抄本。“这些手抄本里的人大多都带有一种类似的悲伤的表情,无论他们来自何方或是要做什么。因此我想要给这些人物一个不同的生活、扮演不同角色的机会——一个现代的快乐颠覆。”

Midnight in Birdland

In “Midnight in Birdland,” musicians decked out in what appears to be Elizabethan garb perform onstage in a crowded jazz hall for an European and Central Asian audience. Likewise, “Macaca Nigra Race” shows medieval lords and ladies watching Indonesian macaques lumbering across a finish line on a racing track, while “Saturn” has knights sporting space helmets and pepperoni shields on an expedition to a distant planet. One can’t quite tell if these cross-cultural hybrids are meant to offer some commentary on European or Asian history, or whether Anugrah just enjoys tossing images from the past into a digital blender.

在《Midnight in Birdland》中,音乐家穿着伊丽莎白时代的服装,在一个拥挤的爵士音乐厅里为来自欧洲和中亚的观众表演。《Macaca Nigra Race》展示了一群中世纪的领主和女士,正在观看印尼猕猴在赛道上向终点跋涉;而《Saturn》则有头戴太空头盔的骑士,拿着披萨盾牌进行一场星球远征。我们无法确定这些跨文化的创作是否意在对欧洲或亚洲历史提供一些评论,或者只是 Anindya Anugrah 单纯喜欢将过去的图像丢进数码世界里混合为一。

Macaca Nigra Race
Music Box

Anugrah began this series of illustrations in law school, while learning about copyright and art appropriation. Like any conscientious lawyer, she uses only images in the public domain, manipulating them and folding them into her own drawings. “I make major alterations to each of these sources, changing the shape and colors of the figures’ clothes, the expressions on their faces, their gestures, etc., and combine them with my own drawings,” she says. The results are entirely unexpected and weirdly familiar—like the picture of the man sitting in a bathtub of fried eggs. So meticulously is the image stitched together that you almost wonder whether she didn’t just unearth an illustration of a bizarre bygone bathing custom.

Anindya Anugrah 在法学院开始创作这一系列插图,同时学习版权和艺术品挪用的相关知识。如同一位尽责的律师,她只会使用公有的图像,将它们再创成符合自己想像的样子。“我大幅更改了这些图像,改变了人物的形状和颜色、脸上的表情、动作等等,并将它们与我自己的绘画结合。”最后结果完全出乎意料,让人感到异常地熟悉——像是那一张有一个男人坐在煎蛋浴缸里的照片。她是如此细致地将图像拼接在一起,让人不禁怀疑她是不是揭露了一个中世纪诡异的洗澡习惯。

Breggfast 1
Breggfast 2
Breggfast 3
Waltz Club
Petites Fleurs Rouges

After experimenting with manual collages, Anugrah eventually switched to image-editing software to get the results she wanted. “These collages are intended to look seamless—almost like paintings—so I tried doing them digitally. That’s the method I’ve been using ever since.” She finds images from online sources—archives, or scanned book pages—and carefully recomposes them.

在尝试手工拼贴后,Anindya Anugrah 最终切换到图像编辑软件以达到她想要的结果。“这些拼贴画需要看起来天衣无缝——就像是画出来的——所以我尝试用数码软件去做,从这之后我就一直使用这种方法。”她从在线资源库里的历史档案或是扫描书页中找到图像,并仔细地重新组合它们。

1001 Sleepless Nights
The Other Side of the Moon
Pulheim Point
Love Potion

Her scenes don’t just hang on walls or glow on digital screens. They also grace a line of products—scarves, tote bags, and post cards—that she sells under the brand name Phantasien. “I first turned my collages into wearable items to make some money and get noticed. But as my works have developed and my ideas become more complex, I’ve been challenged to explore other media,” she says. “Having my works printed on fabric makes them look more painting-esque and alive than they do on paper.”

Whether on paper, on silk, or on fabric, Anugrah’s digital designs bring a clever new life to art from centuries past.

她的作品不只适合出现在墙上或是屏幕上。他们还推出了一系列产品——围巾、手提袋和明信片。她的品牌叫做 Phantasien。“首先我将拼贴画变成了一些可穿戴的物品,以引起注意和赚一点钱。但随着我的作品发展和想法变得更复杂,我一直在挑战探索其他媒介。”她说,“我后来将作品印在布料上,使得它们看起来比在纸上更具绘画风格和活力。”

无论是在纸上、丝绸上还是在布料上,Anindya Anugrah 的设计都成功为百年之前的艺术注入了新生命。

Anindya Anugrah’s tote bags and postcards are now available on the Neocha Shop. Supplies are limited, so order now!

Anindya Anugrah 的手提袋明信片现已于 Neocha 商店发售。数量有限,立即订购!

Instagram: @_phantasien


Contributor: Allen Young
Chinese Translation: Yang Yixuan

Instagram: @_phantasien


供稿人: Allen Young
英译中: Yang Yixuan

Artfully Salacious

Lady Chatterley's Lover

When I asked Taiwanese illustrator Phoebe Chen why so much of her art is about sex, she paused and thought for a moment, then shrugged. “Sometimes you just can’t explain why you’re drawn to something.”

The women in Chen’s drawings have all kinds of appearances and personalities: some are flirtatious, others are headstrong. Some are restless, while others give themselves over to pleasure. Yet they all accept themselves—and they especially embrace the feelings and desires that are often left unspoken.

当我问到台湾插画家 Phoebe Chen,为何选择将“性”作为自己的创作主题时,她思索了一会儿,回答“有时候你就是没办法说明自己为什么会受某些事物吸引。”


Predator & Prey Philosophy
Dirty Talk

“As a woman, and as an artist whose work is about desire, sometimes I get people looking at my art and thinking I’m ‘easy’ or ‘loose,'” says Chen. “It’s frustrating. A lot of people in our society still think that any woman who’s in control of her sexuality is a slut.”

On paper she lets her desire run free and unbridled. These sexually suggestive—not to say explicit—illustrations are an outlet for Chen’s imagination, a way for her to strike back at society. After all, it’s a society that enforces silence around sex and desire.

“The women in my drawings are rebellious-looking, like they don’t care what others think, but that’s actually the opposite of what I’m like,” she says. “I think that in today’s society, there’s hardly anyone who hasn’t wanted to escape from their own life at some point. Luckily I can draw, and through my art I can fully express the things I love and the way I want to be. Maybe I just like naked bodies and the aesthetics of desire. What’s wrong with that?”


她任由欲望在纸上世界悠游,放肆嬉戏,这些带点性暗示的插画,只是 Phoebe 想像力的一个出口,同时也是一种回击社会的方法,毕竟这个社会对于性和欲的讨论,总是维系着一种“保持缄默”的微妙约定。“虽然我画里的女性看来叛逆,总是一副不在乎别人看法、事不关己的样子,但这样的角色个性与我个人正好完全相反。我认为在现今的社会里,没有人不曾想过逃离自己。我很幸运地拥有绘画的能力,能通过创作充分表达我喜爱的事物和我想成为的模样。也许我就是喜欢裸体,和这些关于情欲的美学,这又有什么不好吗?”

Her Guilty Little Hobby
Salty Fantasy
Pussy Cats
Honey Bee After Work
Buffalo Wings
Ice Cream

Website: www.phoebechenartist.com
Instagram: @phoebe_chen_artist 


Contributor: Yang Yixuan
English Translation: Allen Young

Instagram: @phoebe_chen_artist 


供稿人: Yang Yixuan
中译英: Allen Young

The Secret Life of Plants & Fungi

In hidden corners of our world, there exists a group of mysterious but adorable lifeforms. They may appear as a cluster of fallen petals, as a mushroom growing from a rotting log, or as a plump, prickly cactus. These seemingly random florae and fungi all come to life in the illustrations of Hong Kong-based artist Ceci Lam.

Having been a plant lover since childhood—an appreciation inherited from her father—Lam one day noticed a tiny mushroom sprouting on the side of the road. The next day, expecting to see it again, she was surprised when it was nowhere to be found. “At that moment, it felt like the mushroom was just a passerby, and we ran into each other by chance but it’s gone back to its world,” she recounts. “That’s when I believed plants had a life of their own, and that, just out of sight, they had busy lives of their own. I wanted to draw the world they live in.”

在一些我们不知道的角落,其实住着一群很神秘又可爱的生物:随意跌落到地上的花瓣、雨后在腐木上生长的蘑菇,以及圆滚滚胖乎乎的仙人掌,这看似随意却又相互关联的自然万物,组成了香港艺术家 Ceci Lam 的画。

受爸爸影响,从小就很喜欢植物的 Ceci,无意间发现大马路边有一株小蘑菇,隔天再去找,却怎么都找不到了。 Ceci 说:“有一下就觉得,她(蘑菇)昨天只是经过,刚好相遇,今天已经回去自己的世界了!那时候就觉得她们真是存在的,在我看不见的地方,用自己的生活方式努力生活着,只是在很隐密的角落,所以就想把她们的世界都画出来。”

Behance: ~/cecilam
Instagram: @ceciilam


Contributor: Chen Yuan

Behance: ~/cecilam
Instagram: @ceciilam


供稿人: Chen Yuan

Shin Morae’s Rosy World

Korean illustrator Shin Morae‘s work has dazzling gentleness. She takes slices of life from the young generation and places her characters in everyday settings: at home by the window, out in the street, and under the glow of neon lights.

韩国插画师 Shin Morae 的作品,温柔得很耀眼。她很擅长截取当下年轻一代的生活片段,把画中人搬到寻常的生活场景:家中窗前、街头路边、霓虹灯下。

Shin’s drawings often use backdrops of pink, powder blue, or violet. “I don’t like pink, I just think it’s a good ‘material,'” she explains. “My drawings are a little depressing, so I need to tone that down through color. And pink is the best color for conveying a sort of funky mood. “

在粉红、粉蓝、粉紫构建出的色调背后,Morae 却说,“我不喜欢粉色。我只是认为它是个很好的‘材料’。因为我的画有些太忧郁,我需要用颜色来中和一些。而粉色是最能表达这种奇怪心境的颜色。”

She wants her work to resonate with others, so she cleverly combines color and urban youth culture with a highly interactive observational style. “Usually I start by writing in my notebook, then do the drawing with digital software,” she says. “The writing stage puts the emotions in. I want people to read my drawings the way they read an article.”


Website: shinmorae.com
Instagram: @shinmorae_


Contributor: Chen Yuan

网站: shinmorae.com
Instagram: @shinmorae_


供稿人: Chen Yuan

Interior Landscapes

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 hopes people on the outside can softly come 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。


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

Contributor: Chen Yuan

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

供稿人: Chen Yuan

A Year in Pictures

In the world of Taiwanese illustrator Cinyee Chiu, there are no gloomy clouds, or even any people—just endless sunshine and a kaleidoscope of colors, birds, and flowers. Her works are idealized reveries painted as a pleasant routine, and they’re best enjoyed quietly, with a hot cup of tea. One can while away a long, leisurely time looking at them.

In her most well-known work, she’s drawn the jieqi, the two-week unit of the Chinese lunisolar calendar. People in former times divided the year into 24 such periods according to the position of the sun and moon, the passing of the seasons, and the changes in the weather. Chiu uses illustration to reinterpret this tradition, imagining each jieqi as an animal colored in a seasonal pattern, giving new life to a time-honored part of Chinese culture.

在台湾插画师 Cinyee Chiu 的画中世界,没有抑郁的阴雨,只有永恒的阳光、和数不尽的彩色的鸟与花。这里流光溢彩、却袅无人烟,她把脑海中对于乌托邦的遐想,都描绘出来,成了这一片和煦的日常。她的画作适合静静地欣赏,佐一杯热茶,就这样缓缓地,虚度一个漫长的时光。


春 Spring: 立春 Start of Spring / 雨水 Rain Water / 惊蛰 Awakening of Insects / 春分 Vernal Equinox / 清明 Clear and Bright / 谷雨 Grain Rain
夏 Summer: 立夏 Start of Summer / 小满 Grain Full / 芒种 Grain in Ear / 夏至 Summer Solstice / 小暑 Minor Heat / 大暑 Major Heat
秋 Autumn: 立秋 Start of Autumn / 处暑 Limit of Heat / 白露 White Dew / 秋分 Autumnal Equinox / 寒露 Cold Dew / 霜降 Frost Descent
冬 Winter: 立冬 Start of Winter / 小雪 Minor Snow / 大雪 Major Snow / 冬至 Winter Solstice / 小寒 Minor Cold / 大寒 Major Cold

Chiu is a freelance illustrator, yet as she admits, she didn’t consider art as a career until after she graduated from university. She majored in economics and for a time worked in an unrelated field. Then one day she took up the brush she’d put away during college, quit her job, and began a degree at the Maryland Institute College of Art. That’s when she finally started pursuing her dreams.

Chiu says she feels most successful when she can use art to give form to the images in her head. “This kind of success is quite addictive,” she says.” If I don’t satisfy the craving once in a while, I start to get depressed.”



Cinyee Chiu 形容,能通过绘画将心中的画面确实呈现出来,传递出所想的讯息,是她认为自己最能获得成就感的时候,“这种成就感可能有点成瘾性,时不时就必须补充一下,不然我的心情就会隐隐低落。”

Instagram: @ccinyee


Contributor: Yang Yixuan

网站: www.cinyeechiu.com
Instagram: @ccinyee
Behance: ~/cinyeechiu


供稿人: Yang Yixuan

Land of 8,000,000 Spirits

From Kazuki Okuda‘s pen comes a crocodile peeking out among the branches of an ancient tree and a giant graceful dragonfly perched on a girl’s chest. Other illustrations feature golden carp, green frogs, and emerald-headed mallards. We’re far from cities of concrete: this is a story of humans and nature.

Okuda’s works are exquisite and expansive, like a cicada’s delicately veined wings that, though small, create a resounding chorus from high in the trees. His works teem with all sorts of tiny creatures, and viewed from a distance, they form an epic, cinematic composition.



Okuda was born in Nara Prefecture and now lives in Kyoto. “The place I grew up has a lot of nature near where people live,” he says. In his view Japan is a mystical country, and the close relationship of nature and culture has given rise to a unique spiritual concept called yaoyorozu no kami (八百万の神, literally “eight million spirits”). Spirits, or kami, live in all things and are part of nature’s diversity. “While living there [in Nara], nature gave me the impression of both extreme charm and extreme fear,” he recalls.

这个奥田一生,生于日本奈良县,目前生活在京都,一个“被大自然环抱着,比邻人群之地”。在他眼里,日本是一个神秘的国家,自然和人文交织混合,因而也有一种独特的神学理论,“八百万の神”,即这个神灵 Kami 存在于一切事物里,囊括在自然万物中。“因而在奈良县生活,大自然给我留下的印象是既迷人又恐惧的。” 他说。

Insects feature prominently in Okuda’s art. These organisms have a particularly complex body structure that nevertheless looks very simple. One reason he draws them, he says, is that “although they’re beautiful, they cause fear. They simultaneously give rise to various conflicting emotions. They are living creatures like human beings, but they’re more a part of nature than we are, and unlike us, they are akin to the spirits. Using them, I can express the idea of yaoyorozu no kami and the various feelings I get from nature.”

奥田一生的画里常常出现昆虫。这种生物拥有非常复杂的身体结构,但看起来又非常简单。“(我画昆虫)其中很重要的一个原因是它们的视觉呈现。它们又美又让人心生恐惧,这也给了我很多矛盾的情感——昆虫是和人类一样的生命体,但它们融入自然的程度却超过了我们。并且,与我们不同的是,昆虫与出现在神性里的圣灵更相似。所以我借用它们的身形,以表达 Kami 的思想和来自大自然的各种情感。”

Nature is an important motif in Okuda’s work, and he shows this by insistently drawing living creatures. But he doesn’t want his paintings to show the splendor of nature alone—culture also occupies an important place. “I draw insects and living things with human beings to represent the wonders of culture and the wonders of nature,” he says.

“Insects and living creatures are an important channel through which we connect with nature. And this is an important theme,” he says. “I want people who see my pictures to be interested in nature and living things. And I also want them to have an adventure in the world inside the painting—an adventure at the intersection of culture and nature. something that’s fun.”



Website: isseinoissyou.michikusa.jp

Contributor: Chen Yuan

网址: isseinoissyou.michikusa.jp
Behance: ~/isseitakied303

供稿人: Chen Yuan

World of Zhu

In World of Zhu, a collaborative project between Indian artists Svabhu Kohli and Viplov Singh, the creative duo has created a vibrant animal universe where bears, flamingos, and deer take center stage. Over the past few years, the two artists have worked together numerous times on nature-focused art that aim to educate people on the importance of protecting the environment.

“In the past few decades, there has been a visible change in the world around us,” Kohli tells us. “There are new stories and new conflicts, and in addressing these ideas, we’re learning and reflecting. We share our planet with these different species and our collective survival rests on the balance we share with them. Telling their stories feels important at a time when the natural world is fast disappearing.”

很明显,在 Svabhu Kohli Viplov Singh 的最新作品《World of Zhu》里,小熊、火烈鸟、梅花鹿,这些野生的动物与人一样,竞相出现在画布上 ,构成了画面的有机元素。在过去的几年里,两位艺术家合伙创作了一系列的有关自然的绘画作品,描绘出生态、环保、爱和教育等主题。

Svabhu 说:“在过去的几十年里,我们周遭世界有了显著的变化。现在我们看到的景色,有着全新的故事和冲突存在。而我们与这些动植物共享我们的地球,我们共同生存在这平衡之中。我认为,人与动物沟通的形式是多种多样的,在大自然正在‘萎缩’的时候,去描绘和讲述人与动物之间的故事,是相当重要的。”

Behance: ~/svabhukohli | ~/viplovsingh


Contributor:  Chen Yuan

Behance: ~/svabhukohli | ~/viplovsingh


供稿人:  Chen Yuan

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.”


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.


——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。


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。”


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。”

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

Behance: ~/MusaEsrtungkoro

Contributor: Chen Yuan

Behance: ~/MusaEsrtungkoro

供稿人: Chen Yuan