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TWOONE, otherwise known as Hiroyasu Tsuri, leads a charmed and freewheeling life painting in and out of his studio. Born in Yokohama, Japan, Hiro started getting into graffiti in high school, influenced by the street art he saw while skateboarding through Yokohama. He soon after began experimenting with various artistic styles. Having little formal art education, he wasn’t sure what to do after high school – so at the age of 18, he decided to move to Melbourne, Australia, on a whim.
TWOONE，即Hiroyasu Tsuri，常常出入于画室过着一种随心所欲的创作生活。Hiro出生于日本横滨市，从高中开始接触涂鸦。他在玩滑板时深受沿途的街头艺术所启发，至此他开始试验不同的艺术创作风格。高中毕业后，并没有受过很多正统的艺术教育的他不知道接下来该做些什么。一时兴起，18岁的时他决定搬去澳洲的墨尔本。
In Melbourne, Hiro couldn’t speak too much English. Street art and skateboarding turned into a form of language through which he communicated. Over the years, he slowly became a rather well-known fixture in the Melbourne street art scene. Since then, he’s painted murals indoors and outdoors all over the world. But as an regular sketcher and versatile illustrator, Hiro is equally well versed in the studio and has exhibited his art in galleries worldwide.
初到墨尔本，Hiro说不了很多英文，因此街头艺术和滑板变成了他独特的交流方式。过去的几年，他渐渐的成为了墨尔本街头艺术圈的一张名片。从那时开始，他在全世界创作室内外的壁画。不过作为一个熟练的绘画者和多才多艺的插画家，Hiro在艺术家工作室同样游刃有余并且在世界各地的画廊都展出过他的艺术作品。
Hiro’s work is bold and dynamic – loose yet grounded. His lines are fluid and he embraces spontaneity. Citing the need to use materials that are relevant and more representative of our times, he often prefers to work with fluorescent paint colors, which have only really existed in the modern era.
Hiro的作品很大胆多元——看似松散却接地气。他的线条笔触很流畅却又显随意。他倾向于用更当代的材料像是荧光色去创作，以此来强调和针对我们这个时代的特殊性。
Hiro is now working on a series of portraits of a hundred different faces for a gallery show later in the year. Often, he takes photos on film to use as reference material – or he simply sits and observes people on public transportation, in an attempt to grasp the stranger’s personality and impression to turn into a quick sketch. He later expands on these sketches with watercolor, markers, white-out, paint, and layers of paper. Hiro says his work isn’t particularly rooted in any one culture – it’s neither Eastern or Western, but his spatial sense may be influenced by his Japanese roots.
Hiro正在为他年后的一个画廊展出准备，这个展包含一系列百人脸肖像。他经常从电影画面中截取拍摄作为参考材料，又或者随意地观察乘坐公共交通的陌生人来获取他们的特质，然后转化成素描。他之后把这些速写用水彩马克笔，涂改液，颜料和多层纸来填色拓充。Hiro说他的作品并不是扎根于某一个特定的文化－－非东方或西方，但是他的空间感也许是受到了他日本文化背景的影响。
Looking through his diverse portfolio of artwork, skulls seem to make recurring appearances. “The skull is more like a self-portrait,” he explains. “Because you are always judged everywhere you go, the skull is really what you are.”
浏览他多元的艺术作品集时，骷髅似乎总是循复出现。“骷髅更像是自画像，因为哪里都会以貌取人，而骷髅才是真正的你“，他解释道。
Drawing is a constant, says Hiro, and he draws whenever he can; whether it’s done on a small or large scale is irrelevant to him. Moving from building-sized murals to book-sized sketches, the emotive quality of his lines seamlessly carries his ideas and thoughts through the different mediums he employs.
Hiro说绘画是一个常态，他到哪里都会创作各种规模的作品，不管是大还是小。从大型建筑的壁画到书本大小的素描，他用不一样的创作媒介和充满情感的线条来承载他的主意和想法。
Besides the types of creations in his current portfolio of work, public sculptures and films are also mediums he intends to explore in the near future. Hiro says, “Street art is only one part of what I do. I don’t even think of myself as a street artist. You might as well just call me an artist.”
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Contributor, Videographer & Photographer: Jia Li
