Hi!
My name is Jansi. In Chinese it means growth of the mind. The symbol “
” in my name has a grid and also the symbol for heart “
”.
Together these symbols means to think and develope from my heart. My mother gave me this name because she believed that thinking with your heart is always pure, sincere, and productive. Of course not always, sometimes you will get taken advantage of. But she was right. With this mentality, I have decided to join art school, to do what I love, and use my heart to present and produce work. I guess she always knew I was sincere and one day it would be put into good use. I hope you enjoy my works done from the heart.
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Here’s a trick they teach you in art school.Draw two parallel lines on a piece of papaer. How many lines are there? There’s the first line, the second line, but then there’s a line of negative space that runs between itaytmashup y tivtisivigenetics. a them.A good example You have a mother and you have a father. You posses features from both of them, but the sum of you is bigger than their parts. You’re a remix of your mom and dad and all of your ancestors. 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First, you figure out what’s worth stealing, then you move on to the next thing. That’s about all there is to it.When you look at the world this way, you s worryingabout what’s “good” and whats “bad” there’s only stuff m atA the stealing, and stuff mmmthat’s not worth stealing tomorrow or a month or a year from now.The writer Jonathan Lethem has said that when people call something “original,” nine out of ten times they just don’t know the referencesor the original sources involved. What a good artist understands is thatmnothing m comes from nowhere. All creative work builds on what came before. Nothing is completely original.It’s right there in the Bible:Some people find this idea depressing, but it fills me with hope. As the French writer Andre Gide put it “Everything that needs to be said has already been said. 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You don’t get to pick your e suhave t thyou , buas themJust m oancestors. ig mom th of you frothe family, but you can pick your teachers and you can pick your friends and you can pick the music you listen to and you can pick the books read and you see.s you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your fd m bmovies m can pick is b you reessfrand ureaders tuuside An inspiring guide to creativity in the digital age, STEAL LIKE AN ARTIST presents ten transformative principles that will help discover theirs sartistic build a more creatve life.Nothing is original, so embrace influence, school yourself through the work of others, o a r e y f e s o s thefeold remix and reimagine to discover your own path. Follow interests wherever they take youss--- what feels like a hobby may turn into at cliche about writing what you know: Instead, write the book you want to read, make the movie you want to watch. And of your life’s work. Forget e s work.It’s one of my theories that when people give you advice, they’re really just talking to themselves in the past. This book m Finally, stay smart, stay out of debt, and risk beingboring in the everyday world so that you have the space to be wild and daring your imagination and syour su in is me talking to a previous version of myself. These are things I’ve learned over almost a decade of trying to figure out how art, but a funny thing happened when I started sharing them with others --- I realize that they aren’t just for srtist. They’re for everyone. These ideas apply he makeThis twords: to anyone who’s trying to inject some creativity into their life and their work. (That should describe all of us.)In other book is for you. Whoever you are, whatever you make.Every artist gets asked the question, “where do you get your ideas?”The honest artist answers, umt the b “I steal them.” How does an artist look at the world? First, you figure out what’s worth stealing,f then you movemon to next thing. That’s about all there is to it.When you look at the world this way, you s worryingabout what’s “good” and whats “bad” there’s only stuff worth , ro m stealing, and stuff that’s not worth stealing tomorrow or a month or a year from now.The writer Jonathan them has said that when people call something “original,” nine out of ten times they just don’t know the referencesor the original sources involved. What a good artist fLethem bmothis ocompletely understands is that nothing comes from nowhere. All creative work builds on what came before. Nothing original.It’s right there in the Bible:Some people find this idea depressing, but it fills me with hope. As the French writer Andre Gide put it, “Everything that needs to be said has already been said. But, since no one was listening, everything must be said again.” If we’re free from the burden of trying to be completely original, we can stop trying to make something out of nothing, and we can embrace influence instead of running away from it.Every new idea is just a mashup or remix of one or more previous ideas. Here’s a trick they teach you in art school.Draw two parallel lines on a piece of papaer. How many lines are there? There’s the first line, the second line, but then there’s a line of negative space that m runsmbetween them.A good example is genetics. You have a mother and you have a father. You posses features from both of them, but the sum of you is bigger than their parts. You’re a remix of your mom and dad and all of your ancestors. Just as you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your family, but you can pick your teachers and you can pick your friends and you can pick the music you listen to and you can pick the books you read and you can pick the movies you see n inspiring guide to creativity in the digital age, STEAL LIKE AN ARTIST presents ten transformative principles that will help readers discover their artistic side and build a more creatve life.Nothing is original, so embrace influence, school yourself through the work of others, remix and reimagine to discover your own path. Follow interests wherever they take you --- what feels like a hobby may turn into your life’s work. Forget the old cliche about writing what you know: Instead, write the book you want to read, make the movie you want to watch. And Finally, stay smart, stay out of debt, and risk beingboring in the everyday world so that you have the space to be wild and daring in your imagination and your work.It’s one of my theories that when people give you advice, they’re really just talking to themselves in the past. This book is me talking to a previous version of myself. These are things I’ve learned over almost a decade of trying to figure out how make art, but a funny thing happened when I started sharing them with others --- I realize that they aren’t just for srtist. They’re for everyone. These ideas apply to anyone who’s trying to inject some creativity into their life and their work. (That should describe all of us.)In other words: This book is for you. Whoever you are, whatever you make.Every artist gets asked the question, “where do you get your ideas?”The honest artist answers, “I steal them.” How does an artist look at the world? First, you figure out what’s worth stealing, then you move on to the next thing. That’s about all there is to it.When you look at the world this way, you s worryingabout what’s “good” and whats “bad” there’s only stuff worth stealing, and stuff that’s not worth stealing tomorrow or a month or a year from now.The writer Jonathan Lethem has said that when people call something “original,” nine out of ten times they just don’t know the referencesor the original sources involved. What a good artist understands is that nothing comes from nowhere. All creative work builds on what came before. Nothing is completely original.It’s right there in the Bible:Some people find this idea depressing, but it fills me with hope. As the French writer Andre Gide put it “Everything that needs to be said has already been said. But, since no one was listening, everything must be said again.” If we’re free from the burden of trying to be completely original, we can stop trying to make something out of nothing, and we can embrace influence instead of running away from it.Every new idea is just a mashup or remix of one or more previous ideas. Here’s a trick they teach you in art school.Draw two parallel lines on a piece of papaer. How many lines are there? There’s the first line, the second line, but then there’s a line of negative space that runs between them.A good example is genetics. You have a mother and you have a father. You posses features from both of them, but the sum of you is bigger than their parts. You’re a remix of your mom and dad and all of your ancestors. Just as you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your family, but you can pick your teachers and you can pick your friends and you can pick the music you listen to and you can pick the books you read and you can pick the movies you see.s you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your fdAn inspiring guide to creativity in the digital age, STEAL LIKE AN ARTIST presents ten transformative principles that will help readers discover their artistic side and build a more creatve life.Nothing is original, so embrace influence, m school yourself through the work of others, remix and reimagine to discover your own path. Follow interests wherever they take you --- what feels like a hobby may turn into your life’s work. Forget the old cliche about writing what you know: Instead, write the book you want to read, make the movie you want to watch. And Finally, stay smart, stay out of debt, and risk beingboring in the everyday world so that you have the space to be wild and daring in your imagination and your work.It’s one of my theories that when people give you advice, they’rem really m just talking to themselves in the past. This book is me talking to a previous version of myself. These are things I’ve learned over almost a decade of trying to figure out how make art, but a funny thing happened when I started sharing them with others --I realize that they aren’t just for srtist. They’re for everyone. These ideas apply to m gets asked mm the question, “where do you get your ideas?”The honest artist answers, “I anyone who’s trying to inject some creativity into their life and their work. (That should describe all of us.)In other words: This book is for you. Whoever you are, whatever you make.Every artist steal them.” How does an artist look at the world? First, you figure out what’s worth stealing, then you move on to the next thing. That’s about all there is to it.When you look at the world this way, you s worryingabout what’s “good” and whats “bad” there’s only stuff worth stealing, and stuff that’s not worth stealing tomorrow or a month or a year from now.The writer Jonathan Lethem has said that when people call something “original,” nine out of ten times they just don’t know the referencesor the original sources involved. What a good artist understands is that nothing comes from nowhere. All creative work builds on what came before. Nothing is completely original.It’s right there in the Bible:Some people find this idea depressing, but it fills me with hope. As the French writer Andre Gide put it, “Everything that needs to be said has already been said. But, since no one was listening, everything must be said again.” If we’re free from the burden of trying to be completely original, we can stop trying to make something out of nothing, and we can embrace influence instead of running away from it.Every new idea is just a mashup or remix of one or more previous ideas. Here’s a trick they teach you in art school.Draw two parallel lines on a piece of papaer. How many lines are there? There’s the first line, the second line, but then there’s a line of negative space that runs between them.A good example is genetics. You have a mother and you have a father. You posses features from both of them, but the sum of you is bigger than their parts. You’re a remix of your mom and dad and all of your ancestors. Just as you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your family, but you can pick your teachers and you can pick your friends and you can pick the music you listen to and you can pick the books you and you can pick the movies you see n inspiring guide to creativity in the digital age, STEAL LIKE m read AN ARTIST presents ten transformative principles that will help readers discover their artistic side and build a more creatve life.Nothing is original, so embrace influence, school yourself through the work of others, remix and reimagine to discover your own path. Follow interests wherever they take you --- what feels like a hobby may turn into your life’s work. Forget the old cliche about writing what you know: Instead, write the book you want to read, make the movie you want to watch. And Finally, stay smart, stay out of debt, and risk beingboring in the everyday world so that you have the space to be wild and daring in your imagination and your work.It’s one of my theories that when people give you advice, they’re really just talking to themselves in the past. This book is me talking to a previous version of myself. These are things I’ve learned over almost a decade of trying to figure out how make art, but a funny thing happened when I started sharing them with others --- I realize that they aren’t just for srtist. They’re for everyone. These ideas apply to anyone who’s trying to inject some creativity into their life and their work. (That should describe all of us.)In other words: Thismbook is for Whoever you are, whatever you make.Every artist gets asked the question, “where do you get your ideas?”The honest artist answers, “Imsteal them.” How does an artist look at the world? First, m you. you figure out what’s worth stealing, then you move on to the next thing. all there is to it.When you look at the world this way, you s worryingabout what’s “good” and whats “bad” there’s only stuff worth stealing, m and stuff that’s not worth stealing tomorrow or a m That’s about m from nowhere. All creative month or a year from now.The writer Jonathan Lethem has said that when people call something “original,” nine out of ten times they just don’t know the referencesor the original sources involved. What a good artist understands is that nothing comes m no one was listening, work builds on what came before. Nothing is completely original.It’s right there in the Bible:Some people findmthis idea depressing, but it fills me with hope. As the French writer Andre Gide put it “Everything that needs to be said has already been said. But, m m msince m away frommit.Every new idea is just a mashup or remix everything must be said again.” If we’re free from the burden of trying to be completely original, we can stop trying to make something out of nothing, and we can embrace influence instead of running of one or more previous ideas. Here’s a trick they teach you in art school.Draw two parallel lines on a piece of papaer. How many lines are there? There’s the first line, the second line, but then there’s a line of negative space that runs between them.A good example is genetics. You have a mother and you have a father. Youmposses features from both of them, but the sum of you is bigger than their parts. You’re a remix of your mom and dad and all of your ancestors. Just as you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your family, but you can pick your teachers mand you can pick your friends and you can pick the music you listen to and you can pick the books you read and you can pick the movies you see.s you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your fdgf if you aare will ing to m An inspiring guide to creativity in the digital age, STEAL LIKE AN ARTIST presents ten transformative principles that will help readers discover their artistic side and build a more creatve life.Nothing is original, so embrace influence, school yourself through the work of others, m your life’s work. Forget the old cliche about writing what you know: Instead, write the book you want to read, make the movie you want to watch. And remix and reimagine to discover your own path. Follow interests wherever they take you --- what feels like a hobby maymturn m into Finally, stay smart, stay out of debt, and risk beingboring in the everyday world so that you have the space to be wild and daring in your imagination and your work.It’s one of my theories that when people give you advice, they’re really just talking to themselves in the past. This book is me talking to a previous version of myself. These are things I’ve learned over almost a decade of trying to figure out how make art, but a funny thing happened when I started sharing them with others --- I realize that they aren’t just for srtist. They’re for everyone. These ideas apply to anyone who’s trying to inject some creativity into their life and their work. (That should describe all of us.)In other words: This book is for you. Whoever you are, whatever you make.Every artist gets asked the question, “where do you get your ideas?”The honest artist answers, “I steal them.” How does an artist look at the world? First, you figure out what’s worth stealing, then you move on to the next thing. That’s about all there is to it.When you look at the world this way, you s worryingabout what’s “good” and whats “bad” there’s only stuff worth stealing, and stuff that’s not worth stealing tomorrow or a month or a year from now.The writer Jonathan Lethem has said that when people call something “original,” nine out of ten times they just don’t know the referencesor the original sources involved. What a good artist understands is that nothing comes from nowhere. All creative work builds on what came before. Nothing is completely original.It’s right there in the Bible:Some people find this idea depressing, but it fills me with hope. As the French writer Andre Gide put it, “Everything that needs to be said has already been said. But, since no one was listening, everything must be said again.” If we’re free from the burden of trying to be completely original, we can stop trying to make something out of nothing, and we can embrace influence instead of running away from it.Every new idea is just a mashup or remix of one or more previous ideas. Here’s a trick they teach you in art school.Draw two parallel lines on a piece of papaer. How many lines are there? There’s the first line, the second line, but then there’s a line of negative space that runs between them.A good example is genetics. You have a mother and you have a father. You posses features from both of them, but the sum of you is bigger than their parts. You’re a remix of your mom and dad and all of your ancestors. Just as you have a familial genealogy, m you also have a genealogy of ideas. You don’t get to pick your family, but you can pick m your teachers and you can pick your friends and you can pick the music you listen to and you can pick the books you read and you can pick the movies you see n inspiring guide to creativity in the digital age, m STEAL LIKE AN ARTIST presents ten transformative principles that will help readers discover their artistic side and build a more creatve life.Nothing is original, so embrace influence, school yourself through the work of others, remix and reimagine to discover your own path. Follow interests wherever they take you --- what feels like a hobby may turn into your life’s work. Forget the old cliche about writing what you know: Instead, write the book you want to read, make the movie you want to watch. And Finally, stay smart, stay out of debt, and risk beingboring in the everyday world so that you have the space to be wild and daring in your imagination and your work.It’s one of my theories that when people give you advice, they’re really just talking to themselves in the past. This book is me talking to a previous version of myself. These are things I’ve learned over almost a decade of trying to figure out how make art, but a funny thing happened when I started sharing them with others --- I realize that they aren’t just for srtist. They’re for everyone. These ideas apply to anyone who’s trying to inject some m creativity into their life and their work. (That should describe all of us.)In other words: This book is for you. Whoever you are, whatever you make.Every artist gets asked the question, “where do you get your ideas?”The honest artistmanswers, “I steal them. ” How does an artist look mm at the world? First, you figure out what’s worth stealing, then you move on to the next thing. That’s about all there is to it.When you look at the world this way, you s worryingabout what’s “good” and whats m “bad” there’s only stuff worth stealing, and stuff that’s not worth stealing tomorrow or a month or a year from now.The writer Jonathan Lethem has said that when people call something “original,” nine out of ten times they just don’t know the referencesor the original sources involved. What a good artist understands is that nothing comes from nowhere. All creative work builds on what came before. Nothing is completely original.It’s right there in the Bible:Some people find this idea depressing, but it fills me with hope. As the French writer Andre Gide put it “Everything that needs to be said has already been said. But, since no one was listening, everything must be said again.” If we’re free from the burden of trying to be completely original, we can stop trying to make something out of nothing, and we canmembrace influence instead of running away from it.Every new idea is just a mashup or remix of one or more previous ideas. Here’s a trick they teach you in art school.Draw two parallel lines on a piece of papaer. How many lines are there? There’s the first line, the second line, but then there’s a line of negative space that runs between them.A good example is genetics. You have a mother and you have a father. You posses features from both of them, but the sum of you is bigger than their parts. You’re a remix of your mom and dad and all of your ancestors. Just as you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your family, but you can pick your teachers and you can pick your friends and you can pick the music you listen to and you can pick the books you read and you can pick the movies you see.s you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your fd An inspiring guide to creativity in the digital age, STEAL LIKE AN ARTIST presents ten transformative principles that will help readers discover their artistic side and build a more creatve life.Nothing is original, so embrace influence, school yourself through the work of others, remix and reimagine to discover your own path. Follow interests wherever they take you --- what feels like a hobby may turn into your life’s work. Forget the old cliche about writing what you know: Instead, write the book you want to read, make the movie you want to watch. And Finally, stay smart, stay out of debt, and risk beingboring in the everyday world so that you have the space to be wild and daring in your imagination and your work.It’s one of my theories that when people give you advice, they’re really just talking to themselves in the past. This book is me talking to a previous version of myself. These are things I’ve learned over almost a decade of trying to figure out how make art, but a funny thing happened when I started sharing them with others --- I realize that they aren’t just for srtist. They’re for everyone. These ideas apply to anyone who’s trying to inject some creativity into their life and their work. (That should describe all of us.)In other words: This book is for you. Whoever you are, whatever you make.Every artist gets asked the question, “where do you get your ideas?”The honest artist answers, “I steal them.” How does an artist look at the world? First, you figure out what’s worth stealing, then you move on to the next thing. That’s about all there is to it.When you look at the world this way, you s worryingabout what’s “good” and whats “bad” there’s only stuff worth stealing, and stuff that’s not worth stealing tomorrow or a month or a year from now.The writer Jonathan Lethem has said that when people call something “original,” nine out of ten times they just don’t know the referencesor the original sources involved. What a good artist understands is that nothing comes from nowhere. All creative work builds on what came before. Nothing is completely original.It’s right there in the Bible:Some people find this idea depressing, but it fills me with hope. As the French writer Andre Gide put it, “Everything that needs to be said has already been said. But, since no one was listening, everything must be said again.” If we’re free from the burden of trying to be completely original, we can stop trying to make something out of nothing, and we can embrace influence instead of running away from it.Every new idea is just a mashup or remix ofmone or more previous ideas. Here’s a trick they teach you in art school.Draw two parallel lines on a piece of papaer. How many lines are there? There’s the first line, the second line, but then there’s a line of negative space that runs between them.A good example is genetics. You posses features from both of them, but the sum of you is bigger than their parts. You’re a remix of your mom and dad and all of your ancestors. Just as you have a familial genealogy, you also have a m have a mother and you have a father. m You genealogy of ideas. You don’t get to pick your family, but you can pick your teachers and you can pick your friends and you can pick the music you listen to and you can pick the books you read and you can pick the movies you see n inspiring guide to creativity in the digital age, mm discover their artistic side and build a more creatve life.Nothing is original, so embrace influence, school yourself through the work of others, remix and reimagine to discover your own path. STEAL LIKE AN ARTIST presents ten transformative principles that will help readers Follow interests wherever they take you --- what feels like a hobby may turn into your life’s work. Forget the old cliche about writing whatmyou know: Instead, write the book you want to read, make the movie you want to watch. And Finally, stay smart, stay out of debt, and risk beingboring in the everyday world so that you have the space to be wild and daring in your imagination and your one of my theories that when people give you advice, they’re really just talking to themselves in the past. This book is me talking to a previous version of myself. m m work.It’s m m These are things I’ve learned over almost a decade of trying to figure out how make art, but a funny thingmm happened when I started sharing them with others --- I realize that they aren’t just for srtist. They’re for everyone. These ideas apply to anyone who’s trying to inject some m creativity into their life and their work. (That should describe all of us.)In other words: This book is for you. Whoever are, whatever you make.Every artist gets asked the question, “where do you get your ideas?”The honest artist answers, “I steal them.” How does artist look m an m m is to you m stealing m not at the world? First, you figure out what’s worth stealing, then you move on to the next thing. That’s about all there it.When you look at the world this way, you s worryingabout what’s “good” and whats “bad” there’s only stuff worth stealing, and stuff worth m comes from m that’s tomorrow or a month or a year from now.The writer Jonathan Lethem has said that when people call something “original,” nine out of ten times they just don’t know the referencesor the original sources involved. What a good artist understands is that nothing nowhere. All creative work builds on what came before. Nothing is completely original.It’s right there in the Bible:Some people find this idea depressing, but it fills me with hope. As the French writer Andre Gide put it “Everything that needs to be said has already been said. But, since no one was listening, everything must be said again.” If we’re free from the burden of trying to be completely original, we can stop trying to make something out of nothing, and we can embrace influence instead of running away from it.Every new idea is just a mashup or remix of one or more previous ideas. Here’s a trick they teach you in art school.Draw two parallel lines on a piece of papaer. How many lines are there? There’s the first line, the second line, but then there’s a line of negative space that runs between them.A m good example is genetics. You have a m mother and you have a father. You posses features from both of them, but the sum of you is bigger than their parts. You’re a remix of your mom and dad and all of your ancestors. Just as you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your family, but you can pick your teachers and you can pick your friends and you can pick the music you listen to and you can pick the books you read and you can pick the movies you see.s you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your fd STEAL LIKE AN ARTIST presents ten transformative principles that will help readers discover their artistic side and build a more creatve life.Nothing is original, so embrace influence, school yourself through the work of others, remix and reimagine to discover your own path. Follow interests wherever they take you --- what feels like a hobby may turn into your life’s work. Forget the old cliche about writing what you know: Instead, write the book you want to read, make the movie you want to watch. And Finally, stay smart, stay out of debt, and risk beingboring in the everyday world so that you have the space to be wild and daring in your imagination and your work.It’s one of my theories that when people give you advice, they’re really just talking to themselves in the past. This book is me talking to a previous version of myself. These are things I’ve learned over almost a decade of trying to figure out how make art, but a funny thing happened when I started sharing them with others --- I realize that they aren’t just for m srtist. They’re for everyone. These ideas apply to anyone who’s trying to inject some creativity into their life and their work. (That should describe all of us.)In other words: This book is for you. Whoever you are, whatever you make.Every artist gets asked the question, “where do you get your ideas?”The honest artist answers, “I steal them.” How does an artist look at the world? First, you figure out what’s worth stealing, then you move on to the next thing. That’s about all there is to it.When you look at the world this way, you s worryingabout what’s “good” and whats “bad” there’s only stuff worth stealing, and stuff that’s not worth stealing tomorrow or a month or a year from now.The writer Jonathan Lethem has said that when people call something “original,” nine out of ten times they just don’t know the referencesor the original sources involved. What a good artist understands is that nothing comes from nowhere. All creative work builds on what came before. Nothing is completely original.It’s right there in the Bible:Some people find this idea depressing, but it fills me with hope. As the French writer Andre Gide put it “Everything that needs to be said has already been said. But, since no one was listening, everything must be said again.” If we’re free from the burden of trying to be completely original, we can stop trying to make something out of nothing, and we can embrace influence instead of running away from it.Every new idea is just a mashup or remix of one or more previous ideas. Here’s a trick they teach you in art school.Draw two parallel lines on a piece of papaer. How many lines are there? There’s the first line, the second line, but then there’s a line of negative space that runs between them.A good example is genetics. You have a mother and you have a father. You posses features from both of them, but the sum of you is bigger than their parts. You’re a remix of your mom and dad and all of your ancestors. Just as you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your family, but you can pick your teachers and you can pick your friends and you can pick the music you listen to and you can pick the books you read and you can pick the movies you see.s you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your fd An inspiring guide to creativity in the digital age, STEAL LIKE AN ARTIST presents ten transformative principles that will help readers discover their artistic side and build a more creatve life.Nothing is original, so embrace influence, school yourself through the work of others, remix and reimagine to discover your own path. Follow interests wherever they take you --- what feels like a hobby may turn into your life’s work. Forget the old cliche about writing what you know: Instead, write the book you want to read, make the movie you want to watch. And Finally, stay smart, stay out of debt, and risk beingboring in the everyday world so that you have the space to be wild and daring in your imagination and your work.It’s one of my theories that when people give you advice, they’re really just talking to themselves in the past. This book is me talking to a previous version of myself. These are things I’ve learned over almost a decade of trying to figure out how make art, but a funny thing happened when I started sharing them with others --- I realize that they aren’t just for srtist. They’re for everyone. These ideas apply to anyone who’s trying to inject some creativity into their life and their work. (That should describe all of us.)In other words: This book is for you. Whoever you are, whatever you make.Every artist gets asked the question, “where do you get your ideas?”The honest artist answers, “I steal them.” How does an artist look at the world? First, you figure out what’s worth stealing, then you move on to the next thing. That’s about all there is to it.When you look at the world this way, you s worryingabout what’s “good” and whats “bad” there’s only stuff worth stealing, and stuff that’s not worth stealing tomorrow or a month or a year from now.The writer Jonathan Lethem has said that when people call something “original,” nine out of ten times they just don’t know the referencesor the original sources involved. What a good artist understands is that nothing comes from nowhere. All creative work builds on what came before. Nothing is completely original.It’s right there in the Bible:Some people find this idea depressing, but it fills me with hope. As the French writer Andre Gide put it, “Everything that needs to be said has already been said. But, since no one was listening, everything must be said again.” If we’re free from the burden of trying to be completely original, we can stop trying to make something out of nothing, and we can embrace influence instead of running away from it.Every new idea is just a mashup or remix of one or more previous ideas. Here’s a trick they teach you in art school.Draw two parallel lines on a piece of papaer. How many lines are there? There’s the first line, the second line, but then there’s a line of negative space that runs between them.A good example is genetics. You have a mother and you have a father. You posses features from both of them, but the sum of you is bigger than their parts. You’re a remix of your mom and dad and all of your ancestors. Just as you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your family, but you can pick your teachers and you can pick your friends and you can pick the music you listen to and you can pick the books you read and you can pick the movies you see n inspiring guide to creativity in the digital age, STEAL LIKE AN ARTIST presents ten transformative principles that will help readers discover their artistic side and build a more creatve life.Nothing is original, so embrace influence, school yourself through the work of others, remix and reimagine to discover your own path. Follow interests wherever they take you --- what feels like a hobby may turn into your life’s work. Forget the old cliche about writing what you know: Instead, write the book you want to read, make the movie you want to watch. And Finally, stay smart, stay out of debt, and risk beingboring in the everyday world so that you have the space to be wild and daring in your imagination and your work.It’s one of my theories that when people give you advice, they’re really just talking to themselves in the past. This book is me talking to a previous version of myself. These are things I’ve learned over almost a decade of trying to figure out how make art, but a funny thing happened when I started sharing them with others --- I realize that they aren’t just for srtist. They’re for everyone. These ideas apply to anyone who’s trying to inject some creativity into their life and their work. (That should describe all of us.)In other words: This book is for you. Whoever you are, whatever you make.Every artist gets asked the question, “where do you get your ideas?”The honest artist answers, “I steal them.” How does an artist look at the world? First, you figure out what’s worth stealing, then you move on to the next thing. That’s about all there is to it.When you look at the world this way, you s worryingabout what’s “good” and whats “bad” there’s only stuff worth stealing, and stuff that’s not worth stealing tomorrow or a month or a year from now.The writer Jonathan Lethem has said that when people call something “original,” nine out of ten times they just don’t know the referencesor the original sources involved. What a good artist understands is that nothing comes from nowhere. All creative work builds on what came before. Nothing is completely original.It’s right there in the Bible:Some people find this idea depressing, but it fills me with hope. As the French writer Andre Gide put it “Everything that needs to be said has already been said. But, since no one was listening, everything must be said again.” If we’re free from the burden of trying to be completely original, we can stop trying to make something out of nothing, and we can embrace influence instead of running away from it.Every new idea is just a mashup or remix of one or more previous ideas. Here’s a trick they teach you in art school.Draw two parallel lines on a piece of papaer. How many lines are there? There’s the first line, the second line, but then there’s a line of negative space that runs between them.A good example is genetics. You have a mother and you have a father. You posses features from both of them, but the sum of you is bigger than their parts. You’re a remix of your mom and dad and all of your ancestors. Just as you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your family, but you can pick your teachers and you can pick your friends and you can pick the music you listen to and you can pick the books you read and you can pick the movies you see.s you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your fd STEAL LIKE AN ARTIST presents ten transformative principles that will help readers discover their artistic side and build a more creatve life.Nothing is original, so embrace influence, school yourself through the work of others, remix and reimagine to discover your own path. Follow interests wherever they take you --- what feels like a hobby may turn into your life’s work. Forget the old cliche about writing what you know: Instead, write the book you want to read, make the movie you want to watch. And Finally, stay smart, stay out of debt, and risk beingboring in the everyday world so that you have the space to be wild and daring in your imagination and your work.It’s one of my theories that when people give you advice, they’re really just talking to themselves in the past. This book is me talking to a previous version of myself. These are things I’ve learned over almost a decade of trying to figure out how make art, but a funny thing happened when I started sharing them with others --- I realize that they aren’t just for srtist. They’re for everyone. These ideas apply to anyone who’s trying to inject some creativity into their life and their work. (That should describe all of us.)In other words: This book is for you. Whoever you are, whatever you make.Every artist gets asked the question, “where do you get your ideas?”The honest artist answers, “I steal them.” How does an artist look at the world? First, you figure out what’s worth stealing, then you move on to the next thing. That’s about all there is to it.When you look at the world this way, you s worryingabout what’s “good” and whats “bad” there’s only stuff worth stealing, and stuff that’s not worth stealing tomorrow or a month or a year from now.The writer Jonathan Lethem has said that when people call something “original,” nine out of ten times they just don’t know the referencesor the original sources involved. What a good artist understands is that nothing comes from nowhere. All creative work builds on what came before. Nothing is completely original.It’s right there in the Bible:Some people find this idea depressing, but it fills me with hope. As the French writer Andre Gide put it “Everything that needs to be said has already been said. But, since no one was listening, everything must be said again.” If we’re free from the burden of trying to be completely original, we can stop trying to make something out of nothing, and we can embrace influence instead of running away from it.Every new idea is just a mashup or remix of one or more previous ideas. Here’s a trick they teach you in art school.Draw two parallel lines on a piece of papaer. How many lines are there? There’s the first line, the second line, but then there’s a line of negative space that runs between them.A good example is genetics. You have a mother and you have a father. You posses features from both of them, but the sum of you is bigger than their parts. You’re a remix of your mom and dad and all of your ancestors. Just as you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your family, but you can pick your teachers and you can pick your friends and you can pick the music you listen to and you can pick the books you read and you can pick the movies you see.s you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your fd STEAL LIKE AN ARTIST presents ten transformative principles that will help readers discover their artistic side and build a more creatve life.Nothing is original, so embrace influence, school yourself through the work of others, remix and reimagine to discover your own path. Follow interests wherever they take you --- what feels like a hobby may turn into your life’s work. Forget the old cliche about writing what you know: Instead, write the book you want to read, make the movie you want to watch. And Finally, stay smart, stay out of debt, and risk beingboring in the everyday world so that you have the space to be wild and daring in your imagination and your work.It’s one of my theories that when people give you advice, they’re really just talking to themselves in the past. This book is me talking to a previous version of myself. These are things I’ve learned over almost a decade of trying to figure out how make art, but a funny thing happened when I started sharing them with others --- I realize that they aren’t just for srtist. They’re for everyone. These ideas apply to anyone who’s trying to inject some creativity into their life and their work. (That should describe all of us.)In other words: This book is for you. Whoever you are, whatever you make.Every artist gets asked the question, “where do you get your ideas?”The honest artist answers, “I steal them.” How does an artist look at the world? First, you figure out what’s worth stealing, then you move on to the next thing. That’s about all there is to it.When you look at the world this way, you s worryingabout what’s “good” and whats “bad” there’s only stuff worth stealing, and stuff that’s not worth stealing tomorrow or a month or a year from now.The writer Jonathan Lethem has said that when people call something “original,” nine out of ten times they just don’t know the referencesor the original sources involved. What a good artist understands is that nothing comes from nowhere. All creative work builds on what came before. Nothing is completely original.It’s right there in the Bible:Some people find this idea depressing, but it fills me with hope. As the French writer Andre Gide put it “Everything that needs to be said has already been said. But, since no one was listening, everything must be said again.” If we’re free from the burden of trying to be completely original, we can stop trying to make something out of nothing, and we can embrace influence instead of running away from it.Every new idea is just a mashup or remix of one or more previous ideas. Here’s a trick they teach you in art school.Draw two parallel lines on a piece of papaer. How many lines are there? There’s the first line, the second line, but then there’s a line of negative space that runs between them.A good example is genetics. You have a mother and you have a father. You posses features from both of them, but the sum of you is bigger than their parts. You’re a remix of your mom and dad and all of your ancestors. Just as you have a familial genealogy, you also have a genealogy of ideas. You don’t get to pick your
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AFTER UNDERSTANDING DESIGN WITH TYPE, WE WORKED WITH A COMPANY CALLED VILLAGE PLAYBACK THEATER. Village Playback Theater is a threapeutic group that helps people overcome their experiences. It could be a good experience or tramatic. By using drama, they enact the feeling of the story that was told in front of a crowd of audience.
WE SAW THEIR PERFERMANCE,
AND TALKED WITH THEM,
AND MADE THEIR COMPANY SHINED EVEN MORE!
AND MADE THEIR COMPANY SHINE EVEN MORE!
PL Y
VILLAGE PLAYBACK T H E AT E R
Village
BACK
Vi l l a g e Playback Theater
Theater
V i l l a g e P L AY B A C K
THEATER
Vi l l a g e Playback Theater
ABOUT US
EVENTS
GET INVOLVED
TICKETS
Village Playback Theater
DONATE
WHAT’S YOUR STORY? Transforming every story into a dramatic work of art
ABOUT US Village Playback Theatre is an improvisation based company utilizing drama, music, movement, and the invitation for personal storytelling to build community throughout metro New York. We especially strive to elicit and enact the stories of individuals and groups who are often underserved and socially underrepresented.
Company Members
Randy Mulder Artistic Director
Randy Mulder Artistic Director
Adam Wojack Members
Alexander Alabin Members
Carla Lerner Members
Dan Guerra Members
Emi Asano Members
GET INVOLVED
VPT presents improvisational performances based on audience members’ thoughts and experiences. An ensemble theatre company anchored in New York City, VPT is committed to eliciting and enacting the stories of individuals and groups who are often underserved and socially underrepresented.
To give a tax deductable donation to VPT
DONATE
EVENTS Performance/workshop with staff from offices in New York City, Albany,
Playback North America Conference Sidwell Friends School,
and Jerusalem.
Washington DC.
In partnership with the Asia Women Leadership Network a performance focused on leadership development and
Mount Sinai Hospital’sPsychiatric Unit.
career advancement for Asian women.
The New School for public engagement.
VPT’s 10th Anniversary celebration
A workshop and performance for members of the Afghanistan Human
Artists in Residence Spring 2010 & 2011 Hillcrest Family Services
Rights & Democracy Organization.
Dubuque, Iowa.
VPT’s 10th Anniversary celebration and performance at the Barrow
A workshop and performance for members of the Afghanistan Human
Artists in Residence Spring 2010 & 2011 Hillcrest Family Services
Group Theatre.
Rights & Democracy Organization.
Dubuque, Iowa.
and performance at the Barrow Group Theatre.
The New School for public engagement.
THEN THE TABLES TURNED, WHEN DO WE EVER HAVE TIME TO THINK ABOUT US? YES YOU GUESSED IT, TIME. Sculptures about time, our friend and enemy. And articles about music, and seeing sounds.
It’s so disasterous, yet beautiful and delicate.
ADC exhibition
OUR Magazine
W
hen I was little, me and my dad would go all over the places, adventures, boat trips, to the beach, everywhere. My most memorable day was I had to go all over the city of Hong Kong with a list of places, take notes and
take pictures for a school project. My dad came with me and we went everywhere, we had lunch together, we saw a lot of new things together, I saw a side of my dad that I have never seen before, and that, was the happiest moment of my life. Now my dad is 87 years old. He walks around with a cane, and can’t stand up for over 5 minutes without having to sit down. Not too long ago, I went to visit him in Georgia. I haven’t seen him in over a year, so I witness how he is getting a lot weaker and skinner. He is walking a lot slower now. That moment I realized, time has taken away the most precious thing from me, my memories. I can never go back and do the things we use to anymore, he can’t go on walks with me all over the city, we can’t explore new things, all I can do now is watch my dad get weaker and weaker as time goes by. I don’t hate time, because time has given me a lot even though it has taken a lot from me too. But it was a fair trade. I gained knowledge, experiences, and people that came and go in my life. What I hate is I let time control me, I let something that
“Time hasn’t taken anything from me, I let time take away my possibilities.”
is so rigid control my decisions. Because of time I have to finish college to help out my dad financially when I get a job. Because of time, I will have to wait until I am older to start a family and be able to give him a grandchild. Because of time, I had to be patient. But time doesn’t wait for anyone, no matter how patient one is. Time might eventually take away my dad from me, and I wouldn’t know what to do or who to blame. Time? Time hasn’t taken anything from me, I let time take away my possibilities. Imagine that time isn’t there, imagine at this moment the whole world froze, a methophor for time not being there. It’s not passing, its not going forward. What would I do? There is so much! It’s an endless list! I can guarantee this would be the answer for most people too, because time has became a dictator thats guiding us to do things and make decisions every single day, every single moment. So what are we waiting for? Lets strike that match, and burn the past, present and future to the ground, lets burn the evil dictator to inexistance, and lets all do what we want to as if we were that innocent child again with no burden, no regrets, no responsibilities, just pure innocence. Because as I am writing this, it has already became the past, so that moment doesn’t exist anymore. Therefore time, it’s just an illusion.
T
ime comes in three forms, past, present and the future. These sculptures are divided into four forms. The past is a structure, is what makes us who we are today, it is a structual form that can’t be changed. The Present is a solid ground, a spot
where we know, and thats where we stand. The future has infinite possibilities, it is mystical and unknown, its undefind. I wanted to give time a form, an object that can be seen by human eyes. Sometimes we have to see things to believe it. Matches is to represent something flamable and explosive. Now, strike that match, light it up, and burn all these sculptures to the ground, because time has become our enemy. It has taken away our youth, memories, possibilities, and for some, happiness. So burn it! And enjoy time with no past hanging over your shoulders, the present to stop you, and the future to worry about.
f sweet silent thought rance of things past, y a thing I sought, w wail my dear time’s waste: ye, unused to flow, id in death’s dateless night, s long since cancelled woe, e of many a vanished sight: rievances foregone, to woe tell o’er e-bemoaned moan, not paid before. on thee, dear friend, and sorrows end.
SPEECH AND PERFORMANCE IN SHAKESPEARE’S SONNETS AND PLAYS By David Schalkwyk Artwork: Jansi Bucklesa
es of si thought mem of past ack many thing sought woes wail dear waste drown eye used flow riends in date night fresh long can woe ex of y van sight rieve griev ces gone y woe woe o’er ount moan moan y if paid fore. ile friend sions
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pense
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as the plays can best be understood within
the framework of performative language and speech acts. In place of Fineman’s
reliance on Lacan and Derrida, Schalkwyk
proposes Austin and Wittgenstein as the crucial figures in teaching us to read and respond to these poems.
Schalkwyk’s purpose, however,
is not ultimately theoretical or philosophical so much as biographical: he wants to
“make sense of these sonnets’ remarkable
engagement with a world that is now irrecoverable by surrounding them with a different kind of fiction:
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When I
the
sions
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brance things
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And
a
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a
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new
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press
.
my
hid
,
:
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since
celled
man a
nished
can grieve griev ces gone heav y woe woe o’ver sad count moan moan I pay if paid fore IF while friend los stor’d sor end.
Then
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And The
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il from
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,
THE DESIGN PROCESSES HAS TAUGHT ME TO FIND A VOICE WITHIN AND APPLY IT TO MY WORKS “finding our voice is about having the strength and courage to proclaim what we have to say matters, that what we feel is relevant, and what fascinates us is worthy of fascination.” - Robin LaFevers
Poster series for HBO documentaries Films name THE BLACKLIST. A documentary that features successful AfricanAmericans who broke out from the racist barrier.
Handmade and handlettered book, a theatrical play named LA VIE BOHEME. The play features people who are outside of the mainstream, and are considered taboo in society.
why Dorothy and Toto went over the rainbow to blow off Auntie Em
Book jacket design for a short story called A VERMONT TALE. The story describes the relationship between two loons to reflect the loneliness and separation of the characters feelings.
Collect personal data for 30 days, and design a self-portrait infographic. An infographic that reflects me and my personality.
Three book series of books that were written in the 60s by different authors. The books features feminism, and provocative contents. This kind of literature was considered taboo around this time period.
FEAR OF FLYING ERICA JONG
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FEAR OF FLYING ERICA JONG
DIARY OF A MAD HOUSEWIFE
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SUE KAUFMAN
SUE KAUFMAN
THE BELL JAR SYLVIA PLATH
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DIARY OF A MAD HOUSEWIFE
THE BELL JAR SYLVIA PLATH
AT LAST, TAKING ALL THE DESIGN SKILLS OVER AND BEYOND, TURNING IDEAS INTO MOTION. A motion graphic piece to promote dog adoption, speaking out for those who can’t speak for themselves.
In a crowded city scene,
A girl named Molly tries to survey a pede
o survey a pedestrian, but he is in a hurry to go to work and is impatient.
Molly feels sad being ignored.
She tries to ask another lady but she also felt impatient
She feels lonely and invisible.
It starts to snow
When she gets home, her dog happily gree
She walks home alone in the cold.
og happily greets her and she is happy again.
She hugs the dog in a warm fire place.
I want to thank all my professors for helping me progress and also to better understand myself and see a side of myself I have never seen before.
THANK YOU