Indonesian illustrator and designer Mario Pegas Brianugraha believes fear is the most honest emotion of all, in that only when a person is frightened or distressed do they show their truest selves. And with this conviction, he’s tapped into the darkest corners of his imagination to spawn forth a world of terrors; a dystopian universe where humanoid monstrosities and cybernetic implants are the norm; a place where he plays the role of Dr. Frankenstein, dissecting and reassembling the body parts of his characters at will. “I’m obsessed with drawing the human physique,” he tells us. “It’s horrifying and polarizing to see human bodies being manipulated, to see it deconstructed and put back together to create something that’s close to human but not quite human.”
印尼插画家和设计师 Mario Pegas Brianugraha 相信，恐惧是最真实的情感；当人们经历惊吓或苦恼时，就会展露出其最本真的一面。他那些风格骇人的插图正是建立在这一信念之上的，灵感主要来自科幻电影、日本动漫和人体解剖学。他发挥着自己的暗黑想象力，创造了一个反乌托邦的宇宙，在那里，人形怪物、生化控制都屡见不鲜；在那里，他扮演弗兰肯斯坦博士的角色，任意解剖和重组他的角色的身体部分。他告诉我们：“我痴迷于绘画人体。看到人类的身体被这样操控，被解构，又重新组合成接近人类但不完全是人类的东西，是一件可怕又充满矛盾的事情。”
Aside from the human anatomy, science-fiction also lends a heavy influence on his work. While he sees some sci-fi as being over the top, he believes the genre can pave the way for the future development of new technology. “Maybe some of the concepts seem impossible now, but tell that to the moon landing,” he quips. “It was only a few years after Stanley Kubrick’s 2001: A Spacey Oddysey (1968) when people took an interstellar journey they never thought was possible. Science-fiction offers a lot of interesting views on how we may live in the future, for better or for worse.”
除了这种对人体解剖的迷恋之外，科幻题材对他的作品也有很大的影响。他认为, 一些科幻作品的内容可能有点夸张，但却有助于人类为未来的科技发展设定目标。他说：“也许其中一些概念现在看来是天方夜谭，但这跟当年人类登上月球是一样的。斯坦利·库布里克（Stanley Kubrick）的电影《2001 太空漫游》（2001: A Space Odyssey)当年上映后不到几年，人类就真正实现了星际旅行，但在那之前，人们都觉得这是不可能实现的。科幻小说提供了很多关于人类未来的有趣概念，不论这个未来是变得更好或更糟。”
