動 畫 蠻 及 獎叢數 碼 曾繪 獲畫 國最 際為 新 媒 體 藝 術
樺託 為詛 創
當
雙
動 樺畫國樺 參節 過 眾為
貝 藝 術 裏
國 會樂 錄 雙國單 畫 影 際 帶 樺 來 開 曾 館於為 藝 入 進 術 選 國 畫行 展 國 創 覽 際 屆
裏
遍
視 週證
曾 曾 國 貓經擁經 評 價
評 價國討
貓樺
術樺 於 時 蘭學 於 將這 畫質 進 藝 個個 讀 術
歐網 級 洲 這 樺 為國 這際 紅 讓 個 獎 國 評 輕
進 後 於
一
樺
屬 樺於 經 歷 勵 經 華 親濟 為 起 學 飛 親
Central
Oneness
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魚龍混雜也是種生態。想到一句網路話 語：看到人們愚蠢，哲學家痛哭，野心家 微笑。這就是現實想讓人逃避的原因。 Fish and dragons jumbled together is a form of co-habitation too. It reminds me of a phrase I have read in the Internet “I see people being foolish, philosopher cries and aspirant grins”. This is the reason why we want to escape from reality.
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這是第一次給「她」做系列畫面，一起遊 歷在不同時空背景中。很愉快的旅行，一 口氣畫了一百多張。過程中給她嘗試不同 的表情和姿態。漸漸地她有了自己的個 性，我發現她最喜歡拽拽的淡淡的表情。 過於熱烈的加在她身上都顯得不合時宜， 使得我不得不刪改。她讓我想到這句話： 獨立不等於自由。獨立的人很多，自由的 人很少。 This is the first time making a series for her. It was a happy journey that she and I traveled across different time & space background together. I have created over a hundred digital drawings. During the process, I tried different expressions and gestures for her. Gradually she began to show her own character. I found that she loved a cocky and indifferent look on the face, and the over-passionate feeling was not suitable for her. So I had to make some changes. She made me think of the quote saying: Independence does not equal to freedom. Many people are independent, but few are free.
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Do not Panic until We Meet Again
這句話帶有不小的能量，一種淡定的 末世感，另有一種今生前世般的宿命纏繞 感。但我又不喜歡太嚴肅一本正經的， 為此而做了這個可愛版的系列。小女孩 和小熊的重逢，為這句話加上一個溫暖 感覺的注釋。 This title contains a lot of energy, a sense of the doomsday, and also a feeling of being tangled by the destiny of one’s present and former lives. However, I don’t want it to be too serious or dull, so I made this series a lovely version, in which the reunion of the Little Girl and the little bear adds a warm touch to the title.
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Little Drawings
這是2011年懷孕期間畫的，當時沒體力 畫大的，這個小畫兒系列很適合排解不適 與期待的心情。這個系列做了一百張左 右，算是留個紀念。 These drawings were done during my pregnancy in 2011. I have done about 100 pieces of them, all in small sizes as it was physically too demanding to work on big pieces at that time. Also, these small drawings are very suitable to mediate my anxious feelings. They have remained good memories to me.
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2011年我和合作拍檔泊喬一起嘗試了幾種 新材質，以挖掘數字這種形式的優勢。 其中有金屬板，手工瓷盤，絲綢，皮革， 宣紙，油畫布等等。這個瓷盤系列我自己 很喜歡，從瓷盤純平面的獨特造型， 到畫面澀澀的質感，都很驚豔。所以 一口氣做了一百多個設計。這個過程非常 開心流暢，我覺得自己又來到一個能量 的高潮期。 In 2011, I tried some new materials together with my working partners in order to fully discover the advantages of the digital medium, including metal plate, handmade porcelain plate, silk, leather, traditional Chinese rice paper and canvas, etc. I liked the porcelain series very much, and was astonished to the pureness and flatness of porcelain plates and the sense of touch of the drawings thereon. So I produced unceasingly for over a hundred pieces. It was a happy and smooth process, and made me feel that I came to the high tide of energy again.
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這是2010年畫的末日主題。帶有現實 批判的傾向，末日以人禍為主。人類的 科技與智慧只是地球引力場下的科學， 渺小而脆弱… 所有世事變幻，戰爭權力， 災變動盪都是人類的遊戲。這是某 一個小小的時刻，腦海中呈現的末日， 妖豔瑰麗，融化前的瞬間。小女孩儘管 摘下了紅領巾，但仍沒忘記拿出一點 英雄氣概。 2012 is a series of works that reveals my imagination towards the end of the world. It is a criticism of the mankind for the damages to the world they have made leading to the seemingly-unavoidable disaster. Science and human wisdom is trivial and fragile, the ever-changing world as well as disasters, the battle of power in between are the game of mankind. The ‘End of the World’ in our mind is a spark of moment, a magnificent moment, the moment right before everything vanishes. The Little Girl, with her little red scarf has not forgotten to bring out a bit of her courage in face of these circumstances.
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My One Hundred Million Times Waiting for You in this World
這一系列是關於愛情的：我想在一個 特別美麗的地方等你。我到了，但是卻 發現在美麗的地方等你更容易憂傷啊， 我沒有辦法。擁有憂傷和幻覺是人的 「特權」嗎，很多瞬間我「看」到了 人間最美幻覺。 This series is about love: I want to wait for you in a very beautiful place. When I get there, I find that the more beautiful the scenery is, the easier for me to feel sad, and what’s more, I can do nothing about it. Are sadness and illusion human’s ‘privileges’? Then through different moments, I ‘see’ the most wonderful illusions in the world.
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我總喜歡畫自然——雖然是超現實的自 然，不喜歡太多人的痕跡，在創作這個系 列過程裡我想出原因了：人在社會這個包 圍圈裡太久了會特別想念宇宙，想念自 然。在宇宙自然裡，花朵開放是因為內在 生命能量推動，不為了誰而開放，不會期 待開放後得一個獎，一朵花不會想著變成 一棵樹。這些都是社會推動你做的事兒。 人的社會性和自然性基本上是衝突的。社 會像一個工作單位，給你飯碗，但人下了 班得回家。在一個超繁忙的時代裡大家時 常忽略了回家，忘了在社會包圍圈之外， 我們還同時生活在自然和宇宙裡。畫這個 系列我有回家的感覺。 I always like drawing the nature, surreal, with the least traces of human existence. While I was working on this series, I realised the reason why I don’t like too many people in my art: someone who has been wrapped up in the society for so long will miss nature and the universe, where a flower blossoms because of the driving power of life inside, not for anyone, any reward, nor dreaming of turning itself into a tree. All these things are imposed by the society. One’s sociality is in conflict with the nature primarily. Society is like a working space, when you are off duty, you’ve got to go home. However, when it is too busy for us to think of going home, we forget the fact that beyond the surrounding circle of the society, we are also living in nature and the universe. Working on this series made me feel returning home.
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Woodblock Digital Drawing
繼手工瓷盤之後，這是於 2012 年嘗試的 一種自己很喜歡的新材質，同樣得到很好 的觀眾回饋。 After the Handmade Porcelain Series, this is one of my favorite material I have tried in 2012 and it also got great feedback from the buyers.
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不定期發作的智慧（十二） The Unregular Out Breaking Wisdom XII 媒界 紙上手繪 Medium Pencil on Paper 年份Year 2008 尺吋Size 400mm W x 260mm H
不受傷便長不大（十三） No Seeback Hardly Can’t be Mature 媒界 紙上手繪 Medium Pencil on Paper 年份Year 2008 尺吋Size 400mm W x 260mm H
北京水深（七） Water is Deep Here in Beijing VII 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2010 尺吋Size 1300mm W x 740mm H 版數Edition 3 Editions
人造仙境（二） Artificial Fairyland II 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
北京小妞愛自由（一） Beijing Babe Prefers Being Free I 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
玩樂戲（八） Play.Fun.Game VIII 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
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北京水深（八） Water is Deep Here in Beijing VIII 媒界 數碼繪畫；藝術微噴紙 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2010 尺吋Size 1300mm W x 710mm H 版數Edition 3 Editions
颯蜜（七） Beauty VII 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
玩樂戲（六） Play.Fun.Game VI 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
北京小妞愛自由（七） Beijing Babe Prefers Being Free VII 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
一旦中國有了太空站， 將可以考慮在那儿成立共產黨支部（六） Once China Possesses a Space Station, They May Consider to Establish the Communist Party Branch There VI 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
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北京水深（九） Water is Deep Here in Beijing IX 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2010 尺吋Size 1300mm W x 740mm H 版數Edition 3 Editions
人造仙境（三） Artificial Fairyland III 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
北京小妞愛自由（三） Beijing Babe Prefers Being Free III 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
人造仙境（九） Artificial Fairyland IX 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
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颯蜜（九） Beauty IX 媒界 Medium
數碼繪畫；藝術微噴紙本 Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
颯蜜（一） Beauty I 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
玩樂戲（一） Play.Fun.Game I 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
地獄未空 誓不成佛（十六） Achieve Buddhahood until the Hell is Empty XVI 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
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颯蜜（三） Beauty III 媒界 Medium
數碼繪畫；藝術微噴紙本 Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
人造仙境（六） Artificial Fairyland VI 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
玩樂戲（十四） Play.Fun.Game XIV 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
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人造仙境（一） Artificial Fairyland I 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
颯蜜（五） Beauty V 媒界 Medium
數碼繪畫；藝術微噴紙本 Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
玩樂戲（七） Play.Fun.Game VII 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
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颯蜜（二） Beauty II 媒界 Medium
人造仙境（七） Artificial Fairyland VII 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
北京小妞愛自由（六） Beijing Babe Prefers Being Free VI 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
10 02 不定期發作的智慧（五） The Unregular Out Breaking Wisdom V 媒界 紙上手繪 Medium Pencil on Paper 年份Year 2008 尺吋Size 400mm W x 260mm H
北京水深（一） Water is Deep Here in Beijing I 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2010 尺吋Size 1100mm W x 840mm H 版數Edition 3 Editions
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我的深情無處不在（三） My Love Flows Everywhere III 媒界 紙上手繪 Medium Pencil on Paper 年份Year 2008 尺吋Size 400mm W x 260mm H
北京水深（二） Water is Deep Here in Beijing II 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2010 尺吋Size 1200mm W x 750mm H 版數Edition 3 Editions
04 飛奔向未來（六） In a Hurry to Get to the Future VI 媒界 紙上手繪 Medium Pencil on Paper 年份Year 2008 尺吋Size 400mm W x 260mm H 05 國營太空戰士（十一） National Space Warrior XI 媒界 紙上手繪 Medium Pencil on Paper 年份Year 2008 尺吋Size 400mm W x 260mm H 06 365 度旋轉（四） Circumrotate at an Angle of 365 IV 媒界 紙上手繪 Medium Pencil on Paper 年份Year 2008 尺吋Size 400mm W x 260mm H 07 一旦中國有了太空站，將可以考慮在那兒成 立共產黨支部（六） Once China Possesses Space Station, They may Consider to Establish the Communist Party Branch There VI 媒界 紙上手繪 Medium Pencil on Paper 年份Year 2008 尺吋Size 400mm W x 260mm H 08 一旦中國有了太空站，將可以考慮在那兒成 立共產黨支部（七） Once China Possesses Space Station, They may Consider to Establish the Communist Party Branch There VII 媒界 紙上手繪 Medium Pencil on Paper 年份Year 2008 尺吋Size 400mm W x 260mm H
12 北京水深（三） Water is Deep Here in Beijing III 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2010 尺吋Size 1400mm W x 300mm H 版數Edition 3 Editions 13 北京水深（四） Water is Deep Here in Beijing IV 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2010 尺吋Size 1300mm W x 710mm H 版數Edition 3 Editions 14 北京水深（五） Water is Deep Here in Beijing V 媒界 數碼繪畫；藝術微噴紙 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2010 尺吋Size 1300mm W x 830mm H 版數Edition 3 Editions 15 北京水深（六） Water is Deep Here in Beijing VI 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2010 尺吋Size 1400mm W x 570mm H 版數Edition 3 Editions
數碼繪畫；藝術微噴紙本 Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
41 地獄未空 誓不成佛（三） Achieve Buddhahood until the Hell is Empty III 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions 42 一旦中國有了太空站， 將可以考慮在那成立共產黨支部（一） Once China Possesses Space Station, They May Consider to Establish the Communist Party Branch There I 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions
44 眾生度盡 方證菩提（一） I will only Realise Bodhi When All Living Beings have been Saved 媒界 數碼繪畫；藝術微噴紙 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions 45 眾生度盡 方證菩提（四） I will only Realise Bodhi When All Living Beings have been Saved 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2008 尺吋Size 1000mm W x 1000mm H 版數Edition 30 Editions 46 重逢之前 不必驚慌（三） Do not Panic Until We Meet Again III 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2009 尺吋Size 620mm W x 800mm H 版數Edition 5 Editions 47 重逢之前 不必驚慌（一） Do not Panic Until We Meet Again I 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2009 尺吋Size 620mm W x 800mm H 版數Edition 5 Editions 48 重逢之前 不必驚慌（二） Do not Panic Until We Meet Again II 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2009 尺吋Size 620mm W x 800mm H 版數Edition 5 Editions
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重逢之前 不必驚慌（四） Do not Panic Until We Meet Again IV 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2009 尺吋Size 620mm W x 800mm H 版數Edition 5 Editions
乖… Be Good and Quiet… 媒界 數碼繪畫；原木、藝術微噴 Medium Digital Drawing; Art Giclee Print on Woo 年份Year 2011 尺吋Size 1200mm W x 1200mm H 版數Edition 5 Editions
阿呆和阿呆靜靜看末日（三） Dumb and Dumber Awaiting the End of the World III 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2011 尺吋Size Dia. 270mm 版數Edition 1 Edition
珍物志（二） Records of Treasures II 媒界 數碼繪畫；金屬板、藝術微噴 Medium Digital Drawing; Art Giclee Print on Metal 年份Year 2011 尺吋Size 350mm W x 350mm H 版數Edition 1 Edition
“獨”子“笛”奏 Flute Solo 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2011 尺吋Size Dia. 315mm 版數Edition 1 Edition
生於盛世（三） Born in a Flourishing Age III 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
就要重逢了（十四） We Will Meet Again Soon XIV 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
游樂場（十一） Playground XI 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
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重逢之前 不必驚慌（五） Do not Panic Until We Meet Again V 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2009 尺吋Size 620mm W x 800mm H 版數Edition 5 Editions
松柏常青 Evergreen 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2011 尺吋Size 1100mm W x 630mm H 版數Edition 1 Edition
珍物志（一） Records of Treasures I 媒界 數碼繪畫；金屬板、藝術微噴 Medium Digital Drawing; Art Giclee Print on Metal 年份Year 2011 尺吋Size 350mm W x 350mm H 版數Edition 1 Edition
大肉飛滿天 Meat 媒界 Medium
數碼繪畫；藝術微噴瓷器 Digital Drawing; Art Giclee Print on Porcelain 年份Year 2011 尺吋Size Dia. 315mm 版數Edition 1 Edition
就要重逢了（一） We Will Meet Again Soon I 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
就要重逢了（十八） We Will Meet Again Soon XVIII 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
肉海（一） Sea of Meat I 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
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重逢之前 不必驚慌（六） Do not Panic Until We Meet Again VI 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2009 尺吋Size 600mm W x 1100mm H 版數Edition 5 Editions
心有大光明（二） Heart with Great Brightness II 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2011 尺吋Size 500mm W x 900mm H 版數Edition 1 Editions
珍物志（八） Records of Treasures VIII 媒界 數碼繪畫；金屬板、藝術微噴 Medium Digital Drawing; Art Giclee Print on Metal 年份Year 2011 尺吋Size 350mm W x 350mm H 版數Edition 1 Edition
北京武警 Armed Police 媒界 數碼繪畫；油畫布、藝術微噴 Medium Digital Drawing; Art Giclee Print on Oil canvas 年份Year 2011 尺吋Size 1440mm W x 1000mm H 版數Edition 1 Edition
就要重逢了（九） We Will Meet Again Soon IX 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
就要重逢了（廿四） We Will Meet Again Soon XXIV 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
肉海（三） Sea of Meat III 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
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重逢之前 不必驚慌（七） Do not Panic Until We Meet Again VII 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2009 尺吋Size 600mm W x 1100mm H 版數Edition 5 Editions
心有大光明（三） Heart with Great Brightness III 媒界 數碼繪畫；原木、藝術微噴 Medium Digital Drawing; Art Giclee Print on Woo 年份Year 2011 尺吋Size 500mm W x 900mm H 版數Edition 1 Editions
一起發呆 Let’s Daydream Together 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2011 尺吋Size Dia. 315mm 版數Edition 1 Edition
沙塵暴 Sandstorm 媒界 數碼繪畫；油畫布、藝術微噴 Medium Digital Drawing; Art Giclee Print on Oil canvas 年份Year 2011 尺吋Size 1440mm W x 1000mm H 版數Edition 1 Edition
就要重逢了（十） We Will Meet Again Soon X 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
游樂場（三） Playground III 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
光明世界（一） World of Brightness I 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
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重逢之前 不必驚慌（八） Do not Panic Until We Meet Again VIII 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2009 尺吋Size 500mm W x 1150mm H 版數Edition 5 Editions
心有大光明（四） Heart with a Large Bright IV 媒界 數碼繪畫；原木、藝術微噴 Medium Digital Drawing; Art Giclee Print on Woo 年份Year 2011 尺吋Size 500mm W x 900mm H 版數Edition 1 Editions
… … 媒界 Medium
數碼繪畫；藝術微噴瓷器 Digital Drawing; Art Giclee Print on Porcelain 年份Year 2011 尺吋Size Dia. 315mm 版數Edition 1 Edition
就要重逢了 - 黑夜版 We Meet Again Soon 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Oil Paper 年份Year 2011 尺吋Size 1062mm W x 500mm H 版數Edition 1 Edition
就要重逢了（十一） We Will Meet Again Soon XI 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
游樂場（三） Playground III 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
明世界（三） 光 World of Brightness III 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
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重逢之前 不必驚慌（九） Do not Panic Until We Meet Again IX 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2009 尺吋Size 500mm W x 1150mm H 版數Edition 5 Editions
阿呆和阿呆靜靜看末日（一） Dumb and Dumber Awaiting the End of the World I 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2011 尺吋Size Dia. 270mm 版數Edition 1 Edition
青山不改 綠水長流 The Everlasting Mountain and Ceaseless River 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2011 尺吋Size Dia. 315mm 版數Edition 1 Edition
生於盛世（五） Born in a Flourishing Age V 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
就要重逢了（十二） We Will Meet Again Soon XII 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
游樂場（五） Playground V 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
和諧社會（一） Harmonious Society I 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
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生於盛世（一） Born in a Flourishing Age I 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
就要重逢了（十三） We Will Meet Again Soon XIII 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
游樂場（十） Playground X 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
和諧社會（二） Harmonious Society II 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
55 你終究會來 You will Come Back Eventually 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2011 尺吋Size 1000mm W x 1000mm H 版數Edition 1 Edition
64 阿呆和阿呆靜靜看末日（五） Dumb and Dumber Awaiting the End of the World V 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2011 尺吋Size Dia. 270mm 版數Edition 1 Edition 65 珍物志（七） Records of Treasures VII 媒界 數碼繪畫；金屬板、藝術微噴 Medium Digital Drawing; Art Giclee Print on Metal 年份Year 2011 尺吋Size 350mm W x 350mm H 版數Edition 1 Edition 66 珍物志（三） Records of Treasures III 媒界 數碼繪畫；金屬板、藝術微噴 Medium Digital Drawing; Art Giclee Print on Metal 年份Year 2011 尺吋Size 350mm W x 350mm H 版數Edition 1 Edition 67 珍物志（四） Records of Treasures IV 媒界 數碼繪畫；金屬板、藝術微噴 Medium Digital Drawing; Art Giclee Print on Metal 年份Year 2011 尺吋Size 350mm W x 350mm H 版數Edition 1 Edition 68 珍物志（五） Records of Treasures V 媒界 數碼繪畫；金屬板、藝術微噴 Medium Digital Drawing; Art Giclee Print on Metal 年份Year 2011 尺吋Size 350mm W x 350mm H 版數Edition 1 Edition
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62 阿呆和阿呆靜靜看末日（四） Dumb and Dumber Awaiting the End of the World IV 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2011 尺吋Size Dia. 270mm 版數Edition 1 Edition
69 珍物志（六） Records of Treasures VI 媒界 數碼繪畫；金屬板、藝術微噴 Medium Digital Drawing; Art Giclee Print on Metal 年份Year 2011 尺吋Size 350mm W x 350mm H 版數Edition 1 Edition
輕功術 Qinggong 媒界 Medium
數碼繪畫；藝術微噴瓷器 Digital Drawing; Art Giclee Print on Porcelain 年份Year 2011 尺吋Size Dia. 315mm 版數Edition 1 Edition
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紅色江山（三） Red Mountain III 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
集體消毒（二） Centralised Disinfection II 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition 113
公元 3012（五） - 太空（二） AD 3012 V - Outer Space II 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 1100mm W x 1400mm H 版數Edition 1 Edition
公元 3012（十一）- 醬油森林 AD 3012 XI - Soy Sauce Forest 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 1200mm W x 1570mm H 版數Edition 1 Edition
紅色江山（一） Red Mountain I 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
2012（二） 2012 II 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2011 尺吋Size 1500mm W x 1500mm H 版數Edition 3 Editions
我第一百萬次在人間等你（九） My One Hundred Million Times Waiting for You in this World IX 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 1850mm W x 1850mm H 版數Edition 1 Edition
所到之處 春風滿懷 Follows Spring Breeze Whenever He Goes 媒界 數碼繪畫；原木、藝術微噴 Medium Digital Drawing; Art Giclee Print on Wood 年份Year 2012 尺吋Size 440mm W x 800mm H 版數Edition 1 Edition
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我第一百萬次在人間等你（四） My One Hundred Million Times Waiting for You in this World IV 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 1850mm W x 1850mm H 版數Edition 1 Edition
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阿呆和阿呆靜靜看末日（十二） Dumb and Dumber Awaiting the End of the World XII 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
2012（一） 2012 I 媒界 數碼繪畫；藝術微噴紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2011 尺吋Size 1500mm W x 1500mm H 版數Edition 3 Editions
公元 3012（六）- 惊悸 AD 3012 VI - Horrified 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 3730mm W x 1360mm H 版數Edition 1 Edition
公元 3012（十二）- 水簾洞 AD 3012 XII - Underwater Grotto 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 1690mm W x 940mm H 版數Edition 1 Edition
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公元 3012（七）- 前兆 AD 3012 VII - Premonition 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 3730mm W x 1360mm H 版數Edition 1 Edition
公元 3012（十三）- 尋寶 AD 3012 XIII - Treasure Hunt 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 3730mm W x 1360mm H 版數Edition 1 Edition
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公元 3012（八）- 群戰 AD 3012 VIII - Gang Fight 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 3260mm W x 1360mm H 版數Edition 1 Edition
公元 3012（十七）-萬物化生 宇宙含情-2 AD 3012 XVII -back to the Time of all Living Beings are produced from the Universe.-2. 媒界 數碼繪畫；紙本 Medium Digital Drawing; Art Giclee Print on Paper 年份Year 2013 尺吋Size 1609mm W x 1000mm H 版數Edition 1 Edition
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115 108 阿呆和阿呆靜靜看末日（十三） Dumb and Dumber Awaiting the End of the World XIII 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition 109 阿呆和阿呆靜靜看末日（十四） Dumb and Dumber Awaiting the End of the World XIV 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition 110 阿呆和阿呆靜靜看末日（十五） Dumb and Dumber Awaiting the End of the World XV 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition 111 集體消毒（一） Centralised Disinfection I 媒界 數碼繪畫；藝術微噴瓷器 Medium Digital Drawing; Art Giclee Print on Porcelain 年份Year 2012 尺吋Size Dia. 315mm 版數Edition 1 Edition
我第一百萬次在人間等你（一） My One Hundred Million Times Waiting for You in this World I 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 1850mm W x 1850mm H 版數Edition 1 Edition 116 我第一百萬次在人間等你（二） My One Hundred Million Times Waiting for You in this World II 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 1850mm W x 1850mm H 版數Edition 1 Edition 117 我第一百萬次在人間等你（三） My One Hundred Million Times Waiting for You in this World III 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 1850mm W x 1850mm H 版數Edition 1 Edition
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我第一百萬次在人間等你（五） My One Hundred Million Times Waiting for You in this World V 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 1850mm W x 1850mm H 版數Edition 1 Edition
我第一百萬次在人間等你（十） My One Hundred Million Times Waiting for You in this World X 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 1850mm W x 1850mm H 版數Edition 1 Edition
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我第一百萬次在人間等你（六） My One Hundred Million Times Waiting for You in this World VI 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 1850mm W x 1850mm H 版數Edition 1 Edition
公元 3012（一） AD 3012 I 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 3000mm W x 1670mm H 版數Edition 1 Edition 126
121 我第一百萬次在人間等你（七） My One Hundred Million Times Waiting for You in this World VII 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 1850mm W x 1850mm H 版數Edition 1 Edition 122 我第一百萬次在人間等你（八） My One Hundred Million Times Waiting for You in this World VIII 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 1850mm W x 1850mm H 版數Edition 1 Edition
公元 3012（二） AD 3012 II 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 3000mm W x 1670mm H 版數Edition 1 Edition 127 公元 3012（三） AD 3012 III 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 3000mm W x 1670mm H 版數Edition 1 Edition 128 公元 3012（四）- 太空（一） AD 3012 IV - Outer Space I 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 1100mm W x 1400mm H 版數Edition 1 Edition
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公元 3012（九）- 黑夜花靈（一） AD 3012 IX - Dark Flower Fairy I 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 3260mm W x 1360mm H 版數Edition 1 Edition 134 公元 3012（十）- 黑夜花靈（二） AD 3012 X - Dark Flower Fairy II 媒界 數碼繪畫；油畫布、 藝術微噴、手繪 Medium Digital Drawing; Art Giclee Print on Oil canvas, Drawing 年份Year 2012 尺吋Size 3260mm W x 1360mm H 版數Edition 1 Edition
陶醉了 Enchanted 媒界 數碼繪畫；原木、藝術微噴 Medium Digital Drawing; Art Giclee Print on Wood 年份Year 2012 尺吋Size 410mm W x 800mm H 版數Edition 1 Edition 140 青松紅日 A Pine Tree Under the Sunset 媒界 數碼繪畫；原木、藝術微噴 Medium Digital Drawing; Art Giclee Print on Wood 年份Year 2012 尺吋Size 390mm W x 800mm H 版數Edition 1 Edition
小白馬 Little White Pony 媒界 數碼繪畫；原木、藝術微噴 Medium Digital Drawing; Art Giclee Print on Wood 年份Year 2012 尺吋Size 800mm W x 580mm H 版數Edition 1 Edition 143 美丽人間-13 A Beautiful world- XIII 媒界 數碼繪畫；原木、藝術微噴 Medium Digital Drawing;Art Giclee Print on Wood 年份Year 2013 尺吋 Size Dia. 600mm 版數Edition 1Edition 144 太湖石 Red Stones 媒界 數碼繪畫；原木、藝術微噴 Medium Digital Drawing;Art Giclee Print on Wood 年份Yea 2013 尺吋 Size Dia. 600mm 版數Edition 1Edition 145 黑松白鶴-3 Black Pine & red-crowned Crane- III 媒介 數碼繪畫；原木、藝術微噴 Medium Digital Drawing;Art Giclee Print on Wood 年份Year 2012 尺吋 Size 1200mm W x 600mm H 版數Edition 1Edition 146 花開富貴-1 Peace & Fulfilment comes with blooming flowers -I 媒介 數碼繪畫；原木、藝術微噴 Medium Digital Drawing;Art Giclee Print on Wood 年份Year 2012 尺吋 Size 1200mm W x 600mm H 版數Edition 1Edition
採訪人 白鹿 /《藝術與設計》雜誌
卜樺，有一段時間沒見了，最近忙甚麼？准備展覽嗎？ 最近在準備兩個數字作品展，一個是和尤倫斯合作的以木板材質為主， 配合手工瓷盤的作品展，另一個是每年一度的新作展。所以最近就在準備這兩 組數字作品和新的電腦動畫。 「木板畫」並不是我爸爸做的那種木刻，而是電腦繪畫輸出到帶有原木紋理的 木板上。—— 畢竟我是數字形式的工作者。新作展的畫已經完成，分成兩個 系列： 《我第一百萬次在人間等你》的十張，和《公元3012》的十一張。正在做 的新動畫對我自己來說是一個新的小裡程碑吧算是，比較長，帶有對話。將會 帶入新的人生體驗和社會的現實主義視角。希望是一個更加成熟的作品。
我瞭解你的家庭背景，你的父親是中央工藝美院（現清華美院）的教授， 所以你和你哥都自小畫畫，好像小時候你們倆還去全國各地作繪畫錶演？ 那你覺得畫畫是你自己真心喜歡的嗎？還是主要是家庭背景使然？推而廣之， 你認為藝術家是天生的還是後天培養的？ 我小時候並不能體驗畫畫的樂趣。我一出生就在這個環境裡，爸爸每天 刻木刻，家裡到處堆放著版畫集和各類外國畫冊，來的客人幾乎都是版畫家， 詩人，畫家，總之不是畫畫的就來學畫畫的。我和哥哥被規定每天的空余時間 要用來畫畫，看電視要同時畫速寫，週末從公園回來要畫一張完整的作品作為 記錄。我真的以為所有家庭都是這樣的，以為每個小孩生來就要畫畫。 而我哥哥恰巧畫得極好！他這方面的天才很早就迸發出來，可以用一隻細細的 鋼筆隨心所欲源源不斷地畫個不停，筆下隨之出現成群的戰士，駿馬，城堡， 竹林，當然主角常常是他帶著我參與其中。 那時候畫畫所帶來的自由離我很遠，令我睏惑，這種睏惑是源於不能駕馭—— 這種睏惑隨著我，一直到大學畢業後去荷蘭學習繪畫期間，才得到徹底的 改觀。那是我一個極其重要和幸運的成長時刻。永遠都記得。 回答你後一個問題，藝術家是天生的還是後天培養的。 我認為是天生的。藝術裡分神的部分和人的部分。神的部分是天生的， 人的部分需要後天培養。先天部分是關鍵，是前提，而後天的部分也不能缺少 ——太多有藝術天分的人最後沒有走上這條路，是缺少後天條件。 所謂「神的部分」是指天分，和被靈感照耀的條件。人是個容器，如果你是個 好容器，你會被靈感或者叫精神，眷顧。這時候你成為神的一部分。這裡不是 宗教意義上的神，有點像宇宙冥冥間推動一切的能量吧。
人的部分是指技藝，條件，機緣等。繪畫是有手工藝的部分在內的，顧城談論 寫詩和畫畫的區別時說，寫詩沒有台階可以借助，你這一刻寫了一首好詩， 下一刻仍是從零開始。尤其是現代詩、自由詩更有這個問題，而古詩因為有 格律，有平仄押韻——只要做到這些，多少會看起來不太壞。而繪畫裡練就的 技巧部分就像台階一樣，上了幾級就是幾級，會一個保障。 有趣的是歌德也曾說過一段關於繪畫的話， （歌德本人也是畫家） ，他說繪畫 是所有藝術門類裡最寬容最舒適的藝術，人們因為對材質技巧，和對描繪 對象的緣故，而對繪畫這種手工藝青睞有加，繪畫技術即使缺乏精神也能使人 雅俗共賞，畫家只要稍微具有藝術家品質，便可比同等高度的音樂家贏得 更多觀眾。 但先天和後天的作用孰高孰低，一個作者到了一定程度，真正起作用的絕對是 前者！我覺得這個東西是補不上的。
如何定義你現在的藝術身份？ 我從事的都是數字有關的，主要是數字繪畫和電腦動畫，所以別人介紹我時會 叫上數字藝術家的頭銜。
作為目前國內著名的數字藝術家，你最早出名的是2002年的那件叫《貓》的 作品，它被某媒體評價為「讓人至少哭了八遍，中國裡程碑式的Flash。」 這部作品獲得了2002年度十大新銳導演獲獎影片，2002年中國電視協會優秀 動畫短片等一大堆獎。你是1995年中央工藝美院裝飾繪畫系本科畢業的， 你上學期間電腦還不太普及。那你是甚麼時候，甚麼契機進入電腦繪畫 領域的？《貓》又是在甚麼背景下創作出來的？ 對,我大學學的是繪畫專業，那時候遠遠沒有用電腦做作品這個領域。我一直 非常喜歡影像的東西，因為繪畫是安靜的，二維，沒有時間線索的。實際上 加上時間這個維度，以及音樂這個「武器裝備」，影像作品可以更加狠辣地 直取人心。我可以被一個電影震撼得哭泣流淚，或醍醐灌頂，這個力量超越 繪畫的範疇。我特別喜愛那種情感的巨大力量。所以在Flash出現以前，我一 直寫小劇本，試圖拍攝超現實短片。當時唯一的遺憾是不能加入我自己擅長的 繪畫因素。然後來了Flash這種電腦軟件，它可以滿足影像和繪畫這兩者的 融合，動畫短片或動畫電影就像是影像和繪畫的橋梁，所以我立即就開始 學了。那是2001年下半年。 《貓》是在2002年，差不多是我做的第十個Flash動畫短片。一直以來我希望能 錶達出一種帶有巨大力量的情感，但是繪畫不能作為合適的載體，在做這些 短片的過程中，我嘗試學習用它們來抒發情感，然後聽到末代皇帝的背景 音樂，它本身就具備了這種巨大的戲劇性和情感因素，於是就被打動，流眼 淚了，隨之編了一個有關生死，愛和成長的小故事。我爸爸在我大學剛畢業就 離世這件事給我帶來的震驚恐慌和悲傷，也在這裡做了一次情感抒懷。
除Flash之外你的創作又拓展到了更廣的領域。比如繪本插圖、LED 燈箱 裝置、瓷盤繪畫、木板畫，和我們系統總結一下你的個人藝術創作道路。 可能是受到版畫的影響，我從小看到都是線條，再加上家裡面積小，我們的 繪畫方式主要是細細的鋼筆，彩色鉛筆，和鋪在一張小桌子上的白紙。 所以從面貌上來說，我一直喜歡線條的東西，而且我喜歡硬朗的， 強悍的風格。這個源頭一直沒有變，變化的是輸出的方式。我要嘗試不同的 輸出效果，以挑出最喜愛的，目前固定一直使用的有幾種： 紙上，手工瓷盤，木板。 這是繪畫的部分。影像的這條線索，我有一個變化的過程。以前是純粹個 人情感，情緒的宣泄，慢慢到對社會，對自然，宇宙的觀感。我覺得是一個 靜下來，不再慌亂的過程。
我發現你作品中經常出現一個梳小辮系紅領巾的小姑娘，叫「北京小妞」 是吧。她有時很乖就像咱們小時候典型的三好學生，有時又叼根小烟卷、打個 彈弓子、扛個火箭筒甚至還露個小屁股甚麼的。她是你自己的化身嗎，錶現了 你內心隱秘的小慾望、小叛逆小淘氣？ 我覺得任何一個人都是生活在兩個世界裡，第一個是社會，這通常是我們的 第一個包圍圈。社會是後天的產物，是人要生存下去必須依賴而制作出這麼一 個東西。—— 我們畢竟不能把社會解散了，都自己去自然裡生存。是的，社會 很重要，以至於常常誤以為這是人生的全部，以為在這裡可以尋求到一切 價值，慰藉，意義，幸福，理想，這種想法就成為睏惑和痛苦的根源。 社會是甚麼呢？社會很像是一個工作單位，你需要在這兒找到飯碗。差不多 就夠了。下班後要有家可回。 「家」是另一個世界：即，我們同時還生活在宇宙裡，自然裡。作為 萬物的一員。叫做「以道觀之，物無貴賤」，假如「道」有視角，那麼人和 萬物一樣，沒有貴賤高低。價值這種東西是社會視角。 這兩個世界的規則完全不一樣，比如，在自然裡，一朵花「出生」後即已經 達到完整至境，此岸即彼岸。不需要去尋找自我。越尋越遠，所謂越描越黑。 而社會裡，每個小孩開始成長就會被教育被要求尋找自我，建立自我價值。 一朵花開放是出於內在能量的推動，不為得獎，不為賣錢，人在社會裡做的 事情，就像是花朵開放了之後希望得到別人的羡慕和贊美，希望賣個好價錢， 或者希望一朵花長成一棵大樹。在自然裡，看到美不想把它留住，而文化 價值，或者藝術，本身就是社會範疇內的游戲。 我覺得任何一個真正活得「成功」的人，都是熟練掌握和切換於兩套規則 的人。顧城向往過這種狀態，「雲在青天水在瓶」，各行其是，做一切該做的， 渺小的人可以生如蟻而美如神。 繞回你的問題，這個小女孩的出現就是基於這種想法。對我來說她是一個 活得「成功」的人，她很自由。自由很難得，獨立不是自由。—— 獨立的人 很多，自由的人很少。自由是沒有恐懼，看到清晰的兩個世界，來去自如。 坦然接受一切。我頂多算往那個方曏努力，她就像是我制作的一個「寄托」和 榜樣。她喜歡一副拽拽的，淡淡的無邪錶情。自得其樂，像世外高人一樣有 一顆無為的心和世俗的俠義心腸。
我看你早期的作品，線條比較尖銳粗獷，細節不多，顏色也不太豐富；而近些 年的線條柔和了，細節特別豐富，一幅畫能讓人琢磨半小時，特有內容，色彩 之絢爛飽和令人嘆為觀止。能否理解為這一切都是歲月造成的，成熟的蛻變？ 首先，作品面貌上發生變化是必然的，而變化的範圍無非是在兩個極端之間， 落腳在不同程度的點上，粗糲或細膩，儉省或繁復。我一直都喜歡繁復 華麗，神秘又荒誕的超現實場景。同時它也跟我住在北京這樣人口密集建築 成堆的環境有關，滿眼都是密集的。作品面貌上的豐富或簡潔，主要跟能量和 體力有關吧，或者說是個人選擇，我倒不把它們歸結到成熟和青澀上。
你是女性主義者嗎？怎麼看待人類藝術史中女性比例很小（除幾位傑出的作家 和舞蹈家）這一現象？是女性的創造性確實不如男性還是她們不被社會鼓勵從 事藝術創作，還是別的甚麼？ 我不是女性主義者。 只能說男女的生理構造不同，特長和愛好也不太相同吧，有一句話說「這是個 男性主導的社會」，大概這些文化遊戲都是男性發明的吧，所以就成了標準， 假如是個女性主導的社會，大家比的可能會是其他方向的遊戲吧？哈哈哈，不 知道，開個玩笑。 當然了，如果硬要用“學術”的標準來衡量兩性，女性倒是比較容易滿足，有 了家庭愛人孩子就往往知足了，不願再追求更多更大的天地。這一點我個人是 不太贊同的，我記得懷孕的前三個月不能用電腦，我就體驗了如果只能生活在 現實世界裡，那種閉塞的感覺，加上生理的感受，確實非常痛苦。過了三個月 立刻回到電腦前，後幾個月連續畫了一百多張小畫。每天在微博上更新，感覺 才正常多了。小孩出生後，家裡有好幾個人帶他。我照樣可以畫東西玩兒，而 且效率比以前好像又高了好多倍，有種能量爆棚的感覺。 女性在動腦筋鑽研和專註力上可能確實不如男性吧？這些方面應該好好 向人家學習呀！
說說你最喜歡的作家、導演、音樂人或其它領域的藝術家，最好說中國的。 你覺得這些姐妹藝術對你的創作影響大嗎？ 中國的作者，最近我喜歡詩人顧城和詩人陳先發，哲學家方東美，陳鼓應，電 影導演我更多關注幾位元國外大導的作品。現場演出看得也不太多，其實有太 多經典還沒有機會學習呢，我很想貪婪地惡補那些作品。 陳先發是很好的朋友，我先認識了他的作品，很喜歡，仿佛看到一幅天地 宇宙全景圖。整個時空交相輝映，充滿懷舊，溫情，充滿對母親，對女性， 對生命的愛。非常立體，壯觀。顧城的作品要結合詩歌，訪談，還有那部 《英兒》一起來看，非常性感！非常迷人。在他不同的訪談片段和些許演講 記錄中，又驚訝地看到縝密的邏輯，精准的錶達，和猶如天機般的見識。 文學和電影對我影響非常大，在錶層面貌之下，才華和功力都是共通的。
對我自己來說，藝術最重要的是想象力和營造迷戀感。 沒有偶像，所有不同門類的藝術工作者對我來說都是同行，我人生最大樂趣是 欣賞同行的想象力，像是摘取明珠一樣欣喜。所謂想象力就不是思考出來的， 思考是頭腦，我所說的是來自心。思考的結果是大家都差不多，站在那兒 最終歸向差不多的方向，想象力或者靈感這類東西是屬於另外一套系統， 你站在這兒，而它從任何方曏找到你。所以我認為不存在思考出來的想象力 這樣的東西。 我做東西不太先用思考邏輯這套系統，它們是用來做外圍的。想象力在 每個人身上（假如你有幸有）是互相不一樣的，只能彼此欣賞，獲得這種分享 寶貝的樂趣。我最喜歡的「同行」是庫布裡克，當然黑澤明這樣功力深厚 中規中矩的作者非常擅長營造迷戀感，屬於後者，我也特別喜歡。想象力這種 東西是如此稀少而珍貴，以至於像卓別林這樣的大師我都要歸入後者。 05年之後我開始畫的系列和做的動畫短片都是在描述我想象中的世界，用超 現實的形式把處身其中的現實世界重新過濾一遍，變成自己的語言。讓小女孩 在各種幽美又帶有詭異色彩的世界游歷，一個混搭的世界，沒辦法，這就是 雷人現實處境的反射。我只是把它們畫得很美。
有孩子對你的創作有影響嗎，心態或者視角甚麼的，還是壓根沒影響。 你覺得女性藝術家的感情生活和她的創作是甚麼關係？地球人都知道，畢加索 和張大千在七八十歲的時候還和二十多歲的姑娘生孩子呢，有這麼一種理論， 認為男性藝術家的性能力和他們的創作能力是成正比的。你看老崔和朔爺年輕 時的作品，真是噴薄而出，那麼有力量；可中年後的作品確實頹了。你怎麼 看待這個現象？那麼女性藝術家是不是反而不受這個影響呢？ 孩子對我影響挺大的——正面的。 第一，當你「創造」了一個生命，每天成長一點，作為一個媽媽會有成就感， 這是孩子對媽媽的滋養作用。 第二，按照社會的普世價值觀來說，家裡有了小孩兒意味著離正常又近了一 步，少了一個被說的話柄和負面心理暗示。給自己安心畫畫兒玩兒又掃清一障 礙。節省能量嘛。 第三，確實很鍛煉人。除了生理層面的變化要應付，更主要是多一個小孩兒， 身邊突然多了好幾個大人朝夕相處。除了孩子本身的具體事，還要照顧更多的 人情和人際上的事兒。這次你是主角，必須要處理好。我這前半輩子有兩次大 的進步機會，一次是大學畢業後出國學習，回來後懂事好多。另一次就是生完 小孩。其實這些是枝節，最重要的是：一般來說人對自己孩子比較容易達到“ 深愛”，而“深愛”這種體驗增加了我們人生的深度。 性能力和創作能力，我覺得是能量的兩種宣泄出口。總之人活著就是靠分配 給你的能量支撐著。而真正把人與人區分開的，也就是這股能量的大小。有些 異於常人的人，能量多得一條河道用不完，溢到其他河道去了。就像有的 老人游冬泳依然陽氣十足錦上添花，而更多的人游冬泳游出一身病，攢了一身 的寒氣。這是不能相比的，對於常人來說，別逞強，能省則省。這個觀點 對於男女都適用。 至於王朔和崔健都是我特別欣賞的人，我不認為他們頹了，他們自身就是
最好的作品。他們做與不做都無所謂，照樣魅力十足，人民照樣愛戴。~~：） 哈哈哈
你現在還相信愛情嗎？你覺得所謂愛情是化學反應嗎？多巴胺？你自己的 愛情觀是甚麼？ 愛情就是一個強大的能量來到你生命中，等待你賦予它一個形式。年輕的時候 獻給男女之間的情愛。我覺得過了這個階段，會把這個能量用來感受人作為 萬物一員，他和宇宙之間的美好關聯，——我還要引用詩人顧城的話， 大意就是說當人能回到最初，人和自然之間是一個愛情的關係。—— 很動人。 廣義的愛情。做創作就是始終對生命有一個「愛情」的感覺。
你有信仰嗎？ 沒有宗教信仰，但有宗教情懷，應該說信仰藝術或者信仰「美」吧。
有的女性覺得過了三十還沒有老公沒有男朋友，就像個沒頭蒼蠅似的，什麼都 幹不進去。我覺得你在當年的感情真空期也沒有停止創作，你是把創作當作轉 移視線的手段了嗎，還是覺得自己的事業比感情重要，還是你信命，覺得姻緣 不是求來的？ 首先，創作不能取代愛情！但至少還有創作就不至於太過糟糕。當時就熬著 唄，辛勤工作聊以取樂。工作是一生的重心，有了這個，人也會有，錢也會 有。我認識的他們都和我的工作有關。 我覺得任何人，只要按照“迎接一切挫折痛苦仍然皈依光明溫暖而拼力向上” 這個真諦去做，運氣就會跟著轉起來。有些時候確實需要宗教情懷，對看不見 的東西深信不疑。 事業比感情重要，但最好倆都有。婚姻不是求來的，但是不妨多給自己 創造機會。轉運的話要提昇陽氣勇往直前，同時放掉不好的回憶，就好像中醫 調養有時要同時作用相反的藥，推動左路昇發的同時幫助右路通下，讓中焦 之氣這個圈轉動起來，人體內的「運氣」就轉起來了。
小動畫大藝術 文/DAVE（台灣城市游牧影展創始人）
當中國次文化年輕的族群開始使用盜版AdobeFlash軟件製作動畫作品，並上傳 至網站上與社群網友互相分享，卜樺的藝術也慢慢崛起，逐漸成為被大家所熟 知的網路數字藝術家。當然，世界各地都有類似的故事，但在中國，網路社群 卻擁有與其他地方相異的屬性，這並不只是中國強大縝密的防火牆，更包括中 國網路資料庫和頻寬的規模。 中國最大的兩個串流影像網站「土豆網」和「優酷網」都比全球最知名的影片 分享平台YouTube還大，根據2007年統計，光土豆網每天將近有150萬分鐘的 串流影像上傳，而YouTube那時每天只有30萬分鐘的串流影像上傳量，由於中 國青年相較於西方網路族群擁有較少的購買能力及自由遷徙能力，這些中國網 站因此成為中國境內被大眾所熟知可獨立生存的重要第三頻道，也可以說是一 種在中國或是世界各地被政府或企業操縱電視及電影現象下的替代網絡。 中國本地的Flash動畫也許只是中國強大影音網站內容中的一小部份，但專門串 流Flash動畫的網站社群，例如flash8.net及flashempire.com依舊持續活躍於中 國。卜樺早期曾把當時的作品刊登在中國入口網站Tom.com的Flash動畫專區， 而Tom.com的Flash動畫專區也變得受歡迎，卜樺也因此透過網路社群找到欣 賞她作品的觀眾，近幾年，由於卜樺轉型成藝術家，她也停止將作品上傳至網 路上，而是主要透過展覽及影展來展示作品，卜樺持續放在她個人網站 (www. buhua.com)上的，也僅止於新聞、部落格文章、短篇小說、油畫、素描及其他 媒材作品，然而，在她所有作品當中，動畫及數字繪畫應屬最有特色的。 在卜樺的數字藝術中，我們可以發現兩個明確的要素：第一，卜樺的動畫中總 有一位穿著白衣藍裙及紅領結學校制服的小女孩人物，這是卜樺轉化出的第二 個自我 -- 一個像小公主般的壞女孩住在虛擬世界裡不停的探索。第二，卜樺的 動畫中總存在一個虛擬世界，這是一個被小心翼翼築構起來的幻想世界，上面 充滿著一種在魔幻般大量建築與詭譎不安生物之間的競爭，這樣的虛擬世界總 是不斷在對立的兩極中持續轉換：一方面來說，虛擬世界裡呈現的是一種奢華 物品堆砌起來的天堂及中國華麗宮廷建築，另一方面來說，又是一種以黑天空 呈現在中國工業化下反烏托邦式的情境。卜樺形容虛擬世界：「基本上，這些 虛擬世界就是我自己內心世界中的不同方面，有些場景帶著一種荒涼、懷舊的 超現實的氛圍，也表達了現實生活中的感覺及意識狀態。」 不同於她父母親走過在毛澤東治理下的經濟艱苦時期，生於1973年的卜樺，屬 於一個在鄧小平力倡改革及開放政策下，所造就中國藝術家經歷經濟起飛及新 物質享受的世代。卜樺的父親為木刻版畫藝術家，在父親的鼓勵之下，卜樺於 1991年進入北京著名的清華大學美術學院就讀，之後於1997及1998年，卜樺花 了一年的時間赴荷蘭進修，一直到兩年前在上海策展人張晴策劃於各地展出的 《果凍時代》，其中展出她的一件作品，卜樺才正式開始藝術家的生涯，自此 之後，卜樺參展過為數眾多的國際展覽，包括2008年上海雙年展、2008年釜山 雙年展，於2009年卜樺甚至為中國搖滾歌手左小詛咒創作音樂錄影帶，今年並 受託為上海世博會城市未來館進行創作。 卜樺於2001年開始嘗試製作Flash動畫，而當時Flash動畫的軟件開發才僅5年的 時間。Flash是美國軟件公司Macromedia研發出用以使用小檔案在網路上串流
動畫或影像，也是這樣的Flash科技最後讓YouTube等網站成功，Macromedia 的電腦繪圖工具支援粗體的輪廓線條及扁平的色塊，如同卜樺父親所創作的木 刻版畫同樣也是一種圖形媒材，卜樺結合了這兩種影響，開始創作她自己的網 路卡通。 卜樺第一個受歡迎的作品是2002年的《貓》，這個作品除了在網路上走紅，也 同時將她的作品推向國際影展，《貓》故事與希臘神話裡奧菲斯(Orpheus)及 尤麗狄斯(Eurydice)的愛情故事相仿，只是故事裡的幼貓最後到了冥府救回了 牠被殺害的母親。在希臘神話裡，奧菲斯在冥府受命於抵達地面前皆不能回頭 看他的妻子尤麗狄斯，但在快到地面前一個等不及的回頭，卻讓尤麗狄斯墜入 地獄並永世不得超生，不同於希臘神話，《貓》卻提供了一個歡樂的結局，讓 故事中的幼貓獲得了一個順利且愉快的相聚。卜樺其他的兩個作品：2004年的 《生之愛》及2005年的《病之城》，也同樣運用短篇動畫訴說史詩般的旅程， 最後均力克艱困獲得快樂的結局。 類似這樣結局必受保佑的經歷及信奉世間終有快樂的信仰，穿梭於卜樺的藝術 之中，而在不同的方面，這樣的信仰也緊扣著卜樺選擇使用網路的科技，卜樺 樂觀地認為當下是一個追求個人自由的機會。在去年為準備台北藝術博覽會特 別放映節目中展出她的作品，我以email和她進行的一個訪談中，她表示：「 對於一個新的世代，網路徹底地改變了我們生存位置的本質。」她繼續談到： 「我對於生命中在意的是自由，做『藝術』是最快讓我接觸自由的途徑，而 Flash是我發現做藝術最好的方法之一，畢竟最終所有的事都是內心想表達的 感覺。但獨立並不等於自由，有許多人雖然很獨立，但卻只有少數的人真正感 到自由，所以究竟什麼代表一個人自由？我的答案很簡單：『無所畏惧即是自 由』。而只有在自由的陪伴下，才有真正的快樂。」 卜樺作品中穿著學校制服的小女孩第一次出現在2005年的動畫作品《一》，在 展覽介紹中，卜樺曾經形容動畫中的小女孩是她「半想像半化身」的角色，不 同於卜樺早期的作品系列，這個小女孩只觀看所有發生的經歷，卻從不被賦予 敘述故事的角色，小女孩就像個探索家，居住在她自己的虛擬世界裡刺探所有 的隱密，我們看到的虛擬世界則是一個被電腦外的黑暗真實境遇(或是我們稱 之真實世界)滲透而黯然失色的童話樂園。在2007年的作品《青春有害健康》 ，小女孩穿梭漫步於一大群用以表示工業城市的超現實半腿踏步之中，在2008 年《野蠻眾生》中，小女孩目睹摩天大樓像蘑菇般快速成長、小鳥與戰鬥機之 間的軍備競賽，在2009年《慌慌》中，小女孩觀看著非天然的黑色空間逐漸覆 蓋住綠地，儘管卜樺作品中的圖像都是陰暗的，但也是一種嬉鬧的灰暗並同時 帶有一種強烈的超現實，就像作品裡似男性生殖器的怪獸如同鴕鳥般地站立著; 肯德基爺爺看著中國雜耍團躺在老虎背上表演腳力雜耍; 綠葉怪獸聽著電子音 樂跳舞並冒出花朵來。 法國哲學家尚•布希亞曾經提出論證：當我們對於真實的信念越深，我們距離 真實也越遠。用一個簡單的比喻，或許說實境電視節目與其幫助我們了解事 實，還不如說是混淆我們對事實的了解。反觀來說，卜樺的作品不掛於真實， 她選擇從虛擬來安全地了解真實，在強大的世界裡，這類善用象徵符號表達真 實的情況發生在個人層面上，反成一種戰存策略，而這也是卜樺發現自由及衡 量快樂的方式。卜樺形容她2007年的動畫作品《未來慌》：「小女孩擁有一個 華麗小島的『家 』…島上甚至有自己的太陽，在她的島嶼下方游泳完後，她可 以用屬於自己的陽光來讓自己變乾及變溫暖。」 「這是一種對完全獨立的隱喻。」她繼續說明：「小女孩可以享受獨處這個永 恆的生命主題。」
for further study after my graduation. It was a vitally important and lucky moment in the course of my grow. I’ll always remember it. I’ll answer your latter question – is an artist born by nature or nurture. In my opinion, an artist is born by nature. Art contains godly part and human part. The godly part is naturally born, whilst the human one needs nurture. The former is the key and precondition, the latter is an indispensable condition, because of which too many people with artistic nature eventually go different ways.
Hi, Bu Hua, long time no see. What are you doing these days? Preparing exhibitions? I’m preparing two exhibitions for two series of digital works these days, one featuring woodblock material with accessories of handmade porcelain plates cooperating with UCCA, the other for annual new works presentation. Apart for them, I’ve also been busy with a new computer animation. Different from the woodcut my father made, the above mentioned Woodblock Digital Drawing refers to digital drawing which is output by computer onto woodblock with log texture. After all, I am a worker in a form of digits. All pictures for the annual new work presentation are already done, including 2 series, I Have Been Waiting for You a Million Times and 3012 AD, consisting of 10 and 11 pictures respectively. The new animation now I’m now working on is something like a small milestone for me, which reflects my new life experience and a view of social realism, and will be a talking and longer one. Hope it will be a maturer one.
I know something about your family background that your father was a professor with China Central Academy of Art & Design (the central Academy of Arts & Design, Tsinghua University), and both you and your elder brother started painting very early and went nationwide to perform painting. Does your love to painting come from your true heart or largely contribute to your family background? Generally speaking, is an artist born by nature or nurture? When I was a child, I couldn’t feel the pleasure of painting. Since I was born to the environment that my father made woodcut everyday, woodcut album and foreign painting books piled up everywhere at home, and almost all guests - woodcut artists, poets and painters - either painted or came to learn painting. My brother and I were told to paint whenever we had spare time, besides, to draw sketches when watching TV and make a picture for records after going to parks in the weekends. I did think all families were the same as mine, and every child was born to paint. My brother happened to do an excellent job! His talent burst out very early, and he could draw unceasingly at his own pleasure with a thin pen – groups of soldiers, herds of horses, castles, bamboo forest, and of course, he himself and I, the hero and heroine playing therein. Actually, the freedom painting brought to me seemed very far away at that time. Instead, I was quite confused on painting, feeling I couldn’t control it at all. The confusion had been staying with me until I went to Netherland
The so-called ‘godly part’ refers to one’s natural talent and condition to be covered by the light of inspiration. A man is like a vessel. If you are a good one, there will be moments you are favored by inspiration or spirit, and become a part of god, not by its religious meaning, but indicating the energy in universe pushing everything moving. The human part refers to one’s technique, condition and luck, etc. handcraft is a part of painting. Gu Cheng once talked about the difference between poem writing and painting – there’s no steps that can help on poem writing, for from the next moment a good poem is done, you’ll have to start from zero again, especially for modern or freestyle poem. However, since classical poem has its own rules in forms and rhymes, it usually looks not bad as long as it complies with the rules. The technique got from painting is like climbing steps, the more steps you climb, the more guarantee you have. Interestingly, Goethe (he himself was also a painter) had also said something about painting - Among all categories of arts, painting is the most generous and comfortable one. People prefer the handcraft of painting for the fancy of material, technique and the object portrayed. If a painter has got the minimum artistic quality, he could be more popular than a musician of equivalent level, even if the spiritual value is lacking beneath the technique. Nature or nurture, which plays a more important role? The former is absolutely the truly effective factor when an author comes to a certain height. I don’t think nature could be repaired by nurture.
into tears or thought-provoking is beyond what a painting could do. The significant power of emotion fascinates me a lot. Before Flash appeared, I had been writing mini scripts and trying to shoot surrealist short movies. The only regret at that time was I couldn’t use the element of painting I was good at, until there came Flash, a software available to combine video and picture together. Short animation or animated movie is just like the bridge between shooting and painting. And right away I started to learn it in the 2nd half of year 2001.
The Cat was born in 2002, about the 10th Flash I made. I’ve been always wishing to express emotion with great impacts, and paining is not suitable to be its carrier. While making these shorts, I tried to learn how to express emotions better. One day, when I heard the background music of The Last Emperor, I was struck deeply by its dramatic and emotional inspiration and couldn’t help crying. Then I wrote a little story on life & death, love and grow. My father had passed away just after my graduation. The shock, panic and sorrow it had brought to me were also released in it.
Besides Flash, your creation expands to more areas, such as picture book, LED Light box display, porcelain plate digital painting and woodblock digital drawing. Please give us a summery of the road in your art creation. Probably influenced by woodcut, when I was little, what I saw was lines. At that time, my home was rather small, I drew with a thin pen, color pencils, and a piece of paper on the table. For that reason, I have been fond of lines, especially in hard and strong style. Up to now, the origin has not changed, what has changed is the way of output. I’d like to try different output effects and choose my favorite one. Paper, handmade porcelain plate and woodblock become my regular intermedia for the time being. The above is about painting. As to video, it’s an evolving process, gradually turning from mere release of personal sensibility or emotion to the impression of the society, nature and universe. To me, it’s a course of calming down and panic removing.
How to define your artistic identity now? Since all I’m engaged in are related to digital, mainly digital drawing and computer animation, people prefer introducing me as a digital artist.
As a famous digital artist in China at present, you were first known in 2002 with the work named The Cat, which, according to a media, ‘can make people cry for at least 8 times’, ‘is a milestone for Flash in China.’ It listed as one of award-winning movies for 2002 Top 10 New Director, and also 2002 Excellent Short Animations by China TV Society, etc. You graduated from Decorative Painting Department at China Central Academy of Art & Design in 1995. During your college life, computer was not yet popular. So, when and how did you enter the field of computer painting? What was the background behind the birth of The Cat? Yes, I majored in painting in college, and at that time, computer painting was still far to come. I’m always fond of video. Painting is quiet, 2-dimensional, and having no time line. Actually, when you set up the time dimension in a picture, and ‘equip’ it with music, it turns to be a video works which can be much more powerful and heart-striking. A movie which makes me burst
I often noticed in your works a little girl with pigtail wearing red scarf called Beijing Babe, sometimes behaving like a typical merit student, while sometimes holding a cigarette in the mouth, taking a catapult or bazooka, or even exposing her buns. Is she the embodiment of yourself, reflecting your secrete desire, defiance or naughtiness deep in your heart? I believe anyone lives in two different worlds. One is the society, the first surrounding circle of us. Society is the outcome of human history, and we have to rely on it for our survival – after all, we can’t dissolve it and live all on our own back to nature. Yes, society is so important that we often mistakenly think it’s the whole in our lives where we can find everything – value, comfort, meaning, happiness, ideal. It’s just the idea that becomes the origin our confusion and pain. What is society? It’s something like a working place where you can make a living. Being so-so is enough, for we’ve got homes to return after work. ‘Home’ is another world, i.e. at the same time, we also live our lives in universe and nature. Human is just one of everything on earth. In an ancient saying – ‘Viewing everything with Dao, there’s nothing gentle or simple at all.’ If Dao had its angle of view, it would see no difference between a man and anything
else in universe. Value is a thing produced by the angle of society. The rules of the two worlds are totally different. For example, in nature, a flower gets to an ultimate perfection as soon as it’s ‘born‘. Temporality is perpetuity - no need to seek for itself any more. Otherwise, the farther it seeks, the more confused it gets. In human society, each kid is taught to seek for himself and set up his own value from the time he begins growing up. What makes a flower blossom comes from its inner energy, having nothing to do with winning or selling. However, in human society, one does things in order to get people’s admiration or praise, a good price, or wish a flower to grow into a big tree. Seeing something beautiful in nature, one would not want to keep it. Cultural value or art itself is actually a game played in the field of society. I think anyone who lives a truly ‘successful’ life must be the one good at controlling and switching freely between the two systems of rules. Gu Cheng had longed for that state of being. ‘Clouds stay in the sky and water stays in the bottle.’ Everything goes along its own way, and everyone takes his own duty. Even a man living as an ant can make his life sacred as gods. Back to your question, the girl appearing in my pictures is originated from the above idea. For me, she’s free and lives a ‘successful’ life. Freedom is hard to get. It’s not as same as independence. Though many people are independent, quite a few free. Being free means to have no fear, see the two different worlds clearly & go between them freely, and accept everything calmly. To some extent, I’ve been trying towards the direction at most. The girl is just like a ‘hope’ and an example I produced, who’d like to have a cocky, indifferent or innocent look on the face, and enjoy herself for fun, with a donothing heart and a knightly character like a master beyond the noisy world.
Comparing with your early style featuring sharp & rough lines, and limited details & colors, in recent years you prefer softened lines, splendid colors, and much more details which are rich enough for people to think for half an hour. Does it contribute to maturity and transformation with the time passing? First of all, appearance changing in one’s works is inevitable, and it lies nothing but between two opposite extremes - rough or exquisite, simple or complicated, etc. I’m always fascinated in surrealistic scenes which look complicated, splendid, mysterious and absurd. It also relates to the environment I live, where piles of buildings and large population make Beijing a city with high density. I would rater contribute the richness or simplicity reflected in my works largely to energy, physical strength, or personal choice, not maturity or immaturity.
Are you a feminist? What do you think of the very low percentage of female artists in human history comparing to male ones (except for several outstanding female writers and dancers)? Is it because women are inferior to men in creativity, or they are not encouraged to engage in art, or something else? I’m not a feminist. I can only say that the difference in physiological structure of male and female leads to different specialities and hobbies. There’s a saying, ‘This is a society dominated by men.’ Maybe these games of culture become general
standards because they were all invented by men. If we lived in a femaledominated world, there would be other games in other directions for men and women to compete. Hahaha, I don’t know, just joking. Of course, female is usually easy to be satisfied when she’s got a family and kids, and feels reluctant to seek for more. I myself totally disagree on that. During the computer-forbidden period for the first 3 months of pregnancy, I experienced the painful feeling of occlusion when you can only live in realistic world. I didn’t felt back to normal until 3 month later I came back to computer updating my weibo and kept painting over a hundred small works for several months following. After my child was born, a couple of people took care of him, so that I could draw things for fun like before, and even much more efficiently and powerfully. Women may be not as good as men in intensive study and concentrating on things. We could learn from them in these respects.
Tell me your favorite writers, directors, musicians or artists in other area, better among Chinese. How much did these sister arts affect your creation? Among Chinese writers, I’m fond of poet Gu Cheng and Chen Xian-fa recently. Philosopher Mr.Fang-dongmei, Chen-guying. As to film directors, I paid more attention on several foreign masters, and seldom went to theatre. Actually, there are too many classics for me to learn, I’d really like to make up for them greedily. Chen Xianfa is a very good friend of mine. Before knowing him, I got to know his poems and liked them very much, feeling as if I could see a spectacular 3-dimensional panorama of heaven, earth and universe, where the entire time and space were shining each other, filled with reminiscence, warmth and love to mother, female, and life. Gu Cheng’s works are very sexy and fascinating, if you read his poems together with interviews and also the novel Ying Er. From some of his interviews and speeches, I found with astonishment, the rigorous logic, accurate expression and godly insight. Literature and films have substantial influences on me. Beneath the superficial appearances, talent and skill are all in common. For myself, the most important thing about art is imagination and making a sense of fascination. I have no idols. For me, all artists in different fields are my colleagues. To appreciate their imagination is the most enjoyable thing in my life, as happy as picking up pearls. The so-called imagination does not originate from thinking. For thinking is done by brain, and imagination I’m talking about comes from heart. The results of thinking just look similar and go to same direction with one another. However, imagination or inspiration belongs to another system, for example, when you stand here, it can find you from any possible direction. Therefore, I don’t think there exists any kind of imagination produced by thinking. When I start a creation, the logical system is usually not the first thing to consider. It’s for peripheries, instead. One’s imagination (if lucky to have) is different from that of anyone else, and only through the way of appreciation can others get pleasure of sharing it. My favorite ‘colleague’ is Stanley Kubrick. Of course, I also like proficient and mean authors who are very good at making a sense of fascination, like Akira Kurosawa etc. Imagination is such a rarity and treasure, that I’d rather classify those great masters like Charlie Choplin into the latter.
All the picture series and short animations I made since 2005 are depicting an imaginary world in my mind. In a form of surrealism, I filtrate the reality I live and translate it into my own language. I let the little girl travel to all kinds of beautiful and bizarre places in a world of complex, which is a reflection of the absurd reality we have to live in.
earth. Again, I would like to quote poet Gu Cheng that when we return to the very beginning, the relationship between human and nature is actually love. – Love, in its broad sense, is so touching. For any creation, you’ve got to hold a feeling of ‘love’ to life all the time.
Do you have any religious belief? Does the baby have any impact on your creation, psychologically or in other aspects? Or no impact at all? What do you think of the relationship between intimate life and creativity for a female artist? As we all know both Picaso and Zhang Daqian had babies in their seventies or eighties with young girls in twenties. A theory says that for male artists, sexual ability to creativity is in direct ratio. For example, either Cui Jian or Wang Shuo had a gush of powerful works when they were young. However, their creations did go declining after middle-age. What do you think of the phenomenon? On the contrary, female artists are free from that, aren’t they? Having a baby influenced me a lot–positively. First of all, when you ‘create’ a life and see him grow little by little, day by day, you will have a sense of achievement as a mother. It’s a function of nourishment that a baby brings to his mother. Secondly, according to common value of the society, having a baby means a step closer to a normal family - reducing an excuse of being talked about by others, getting rid of a negative psychological implication and another barrier on the way towards painting at ease. Thirdly, it did make me grow stronger. Except for psychological changes to cope with, you’ve got several more people around you all day long, and you have to take care of their relationship, feelings and moods. Since you play the leading role this time, you have to get it well done. There are two vital chances in half of my lifetime, one is going abroad for further study after graduation, the other is giving birth to the baby. Actually, the only important truth is : Most people are easily to reach the “the deepest emotion of love” by means of raising their children. And this experience itself profound our life. Sexual ability and creativity, in my opinion, are two kinds of release outlets. Generally speaking, a man lives on his own energy which has been distributed to him. It is how much energy one has that distinguishes him from one another. For someone extraordinary, the energy in him is like floods overflowing out of riverbanks. For example, some old people can even go swimming in winter, but for most of us, it would be disastrous to our health. This is incomparable at all. For ordinary people, just do what they can do, and leave behind what they can’t. This is applicable for both men and women. As to Wang Shuo and Cui Jian, both of them are of my exceptional favorites. I don’t think they went declining, for they themselves are their best works. It doesn’t matter that they do anything or nothing. They are still attractive and loved by people. ~~:) Hahaha!
Do you still believe in love? Do you think the so-called love is a chemical reaction? Dopamine? What’s your own love philosophy? Love is a kind of powerful energy coming into your life and waiting for your endowing with a form of being. After the phase of affections and desire when one is young, the energy of love is for me the way to feel the wonderful connections between the universe and I as a member of the everything on
No religious belief, but I have religious feeling in my heart. And I belief in art or ‘beauty’, I should say.
Sometimes a woman over thirty feels crazy like a headless fly for still not having a husband or boyfriend, and unable to concentrate in anything. It seemed that you didn’t stop working during the vacuum period in your intimate life. Did you take working as a method for distraction, or think your career of more importance, or just believe in fate – a Mr. Right is not got by begging? Art working can not replace emotion life. At least you have work in your life. Just standing at that time, and seeking a little fun from hard work. Anyway, work is still the center of gravity in my life. When you have work, a Mr. Right will be following, and also the money. All of the men I know were concerned with my work. In my opinion, anyone will have a change of luck as long as he behaves in terms of a truth – ready to receive all the frustrations, pains and negatives, while still holding a bright, warm and up-going heart all the time. There are times in your life you really need religious feelings, Though career is more important than love, you’d better have both. Marriage is not got by begging, however, we might as well make more chances for ourselves. To have your luck changed, you should lift positive ‘qi’ (qi is a Chinese word sort of means the essential, fontal energy of a living life) inside your body, go straight ahead, and in the meantime, put down all negative memories. It seems like in traditional Chinese medical care, sometimes people have to take, at one time, two medicines with the opposite functions – by pushing qi within the left side of a body to rise, while helping qi within the right side to fall, so that making the central qi to circulate, thus the “luck” inside one’s body is running.
Freedom and China’s Web Generation: The Flash Animation of Bu Hua By David Frazier
Bu Hua’s art originated among a Chinese subculture of online digital artists, and more specifically of young people who create animated works using often pirated Adobe Flash software, then upload these works to websites where they can be shared and viewed by a community of peers. Certainly this kind of thing happens everywhere, but in China, Internet communities have some unique properties, and we are not just talking about the Great Firewall. In terms of both the size of their databases and bandwidth, China’s two biggest sites for streaming video, TuDou.com and YouKu.com, are both much, much larger than YouTube, ‘the world’s most famous’video sharing site. In 2007, it was estimated that TuDou.com alone streamed 15 billion minutes of video every day, compared to just 3 billion minutes a day for YouTube. Because Chinese youth have much less buying power and mobility then Western Internet users, these sites form an even more viable and important ‘third channel’ for the Chinese public, or in other words, an alternative network to television and film, which are controlled– not just in China, but everywhere – by governments and/or corporations. Homegrown Flash animation may just account for a fraction of the content on China’s giant video sites, but more focused communities do continue to exist on other websites like flash8.net and flashempire.com. Bu Hua posted many of her early works on a special area for Flash animation on the China Internet portal Tom.com, which was then very popular. Over the years, she’s used both Tom.com and other online communities to help her work find an audience. Recently, since she has become regarded as an artist, she has however stopped posting works online, showing them mainly through exhibitions and film festivals. She does however continue to post news on her website, Buhua.com, as well as blog posts, short fiction, oil paintings, sketches and other works in various media. However it is her digital works, including animations and digital drawings, that form the most distinctive part of her oeuvre.
In Bu Hua’s digital art, we encounter two defining elements. First, there is the cartoonish figure of a school girl in the uniform of blue skirt and white blouse, with a red ribbon around her neck and sometimes smoking a cigarette. This is Bu Hua’s alter ego, a bad-girl princess who lives in and explores a virtual world. Second, there is the virtual world itself. This is a carefully constructed fantasy world that pits an architecture of magical abundance against a population of bizarre, and often troubled beings. It is a world that constantly shifts between polar opposites: on one hand, there is a paradise of luxury
goods and Chinese palace architecture, and on the other there is a black-skied, dystopian realm inspired by industrial China. Bu Hua describes this world, saying, “Basically it’s what you might call the different phases of my own psychic world. The scenes are wild, nostalgic and surreal. They express feelings and states of mind from real life.” Born in 1973, Bu Hua belongs to a generation of Chinese artists that experienced the economic growth and new material comforts of Deng Xiaoping’s Reform and Opening policies rather than the economic hardships their parents experienced during the rule of Mao Zedong. Her father was an artist who made woodcut prints, and under his encouragement, in 1991 she entered the Graduate Institute of Fine Arts at Tsinghua University, one of Beijing’s best known universities. Then in 1997 and 1998, she spent a year studying art in the Netherlands. Her career as an artist began taking off two years ago after an important Shanghai-based curator, Jiang Qing, included one of her works in a traveling exhibition of young artists called Infantization. Since then, she’s exhibited in numerous international exhibitions, including the 2008 Shanghai Biennial and 2008 Busan Biennial. In 2009 she created a music video for the Chinese rock singer Zuoxiao Zuzhou, and this year she was commissioned to create work for the Pavilion of the Future at Expo 2010 Shanghai.
Bu Hua began experimenting with Flash animation in 2001, when the software was still only around five years old. Flash was developed by the American software company Macromedia as a way of creating small files that could stream animation or video over the Internet, and Flash technology would eventually make sites like YouTube possible. Macromedia’s computer drawing tools encourage bold outlines and flat color areas. Like the woodblock prints created by Bu Hua’s father, it is a very graphic medium, and Bu Hua combined both influences as she began making her own web-based cartoons.
Her first big hit was Cat (2003), an animation which got both web hits and berths at international film festivals. The story is basically that of Orpheus and Eurydice, only here it is the child cat who travels to the land of the dead to bring back his slain mother. Unlike the Greek myth, however, there is a happy ending. Orpheus was told not to look back until he reached the land of the living, and a turn of the head cast his lover back to hell for eternity. The child cat however manages a successful and joyous reunion. Two other works, A Seed’s Journey (2004) and The Sick City (2005) also used short animations to tell of epic journeys, and in both hardship yields to happiness.
This sort of blessed adventure, and a belief in the possibility of worldly happiness, is thread that runs through all of Bu Hua’s art. In many ways, this belief also goes hand in hand with her use of Internet technologies, which she optimistically believes present an opportunity for personal freedom. In an email interview I conducted with her last year, in preparation for a special screening program of her work at the art fair Art Taipei, she declared, “For the new generation, [the Internet] has changed the nature of our place on earth.” She then went on to say, “My take on life is that the thing I’m
really after is freedom. Making ‘art’ is the best route for taking me there, and using Flash is one of the best routes to making ‘art’ I’ve found. In the end, everything is about states of mind. But independence is not the same as freedom. There are many people who are independent, but few who are free. So what does it mean for a person to be free? My answer is simple: To fear nothing is to be free. And the companion of freedom is true happiness.”
The figure of the school girl first appeared in Bu Hua’s work in 2005, in the animation Oneness. In an exhibition statement, Bu Hua once described her as ‘half myself and half ideal figure.’ Unlike Bu Hua’s earlier works, the little girl witnesses situations but never acts as a character in any narrative. The girl is at once an explorer, a resident and a voyeur in her own virtual world, a paradise overshadowed by the dark circumstances of a world that seeps in from outside the computer – one we could perhaps call reality. In Youth Does Harm to Health (2007), she roams through surreal masses of disembodied legs who populate an industrial city. In Savage Growth (2008), she witnesses both skyscrapers sprouting like mushrooms and an arms race of birds with jet fighter engines. And in Anxiety (2009), she watches as man-made black spaces literally flood over natural greenery. Though the images are dark, they are also playful dark and deeply surreal. There are spitting penis monsters that stand like ostriches; Colonel Sanders watches a Chinese acrobat perched on the back of a tiger and juggling with his feet; and a leaf monster dances to techno music and shoots out flowers.
The French philosopher Jean Baudrillard once argued that the stronger our notion of the real, the more we find ourselves separated from it. To make a quick analogy, we could perhaps say that reality TV programs do more to confuse us about reality than they do to help us understand it. Bu Hua however is not hung up on reality, because she’s opted to understand it from the safety of the virtual. In an overpowering world, this kind of symbolic mastery of the real, when it takes place on a personal level, is a strategy for survival. And this is where Bu Hua has found freedom and a measure of happiness. Writing about her animation Last Phases of the Future (2007), Bu Hua notes that that the girl “has a gorgeous island as her ‘home’ and… she even has her own sun. After swimming in the pool at the bottom of her island, she can dry and warm herself with her own sunshine.”
“It is a metaphor for independence and completeness, to stand alone,” she continues. “She is able to enjoy solitude, the eternal theme in life.”