我们希望通过对话形式把艺术家更多的方面呈现给大家，让大家更了解艺术家本身以及他们的创作。
How would you describe your creation?
你会如何讲述自己的创作?
海懿:
在认识自己，认识世界的过程中，治愈自己，充盈自己，甚至给他人力量的一种方式。我 想获得的精神自由的一种显化。我用艺术的方式解决问题的一种浪漫。
A way to heal myself, enrich myself, and even give strength to others in the process of knowing myself and the world. A manifestation of the spiritual freedom I want to achieve. A romantic way of solving problems in an artistic way.
西北：
我的创作不过是我自己的回忆与向往，博尔赫斯说如果时间是一个圆，那么未来与过去其实是同一个时间。所以说我的创作无论是回忆还是向往也不过是在说同一件事情。我的作品他不是在反应某一个当下的热点话题，而是在说一个始终发生的事情，比如战争，爱情和自由。他也不是在说某一个具体的内容与具体的形象，他在试图传达忧伤，与不要忧伤。
My creations are nothing but my own memories and yearnings. Borges said that if time is a circle, then the future and the past are actually the same time. So my creations, whether they are memories or yearnings, are just talking about the same thing. My work is not reacting to a hot topic of the moment, but is talking about something that always happens, such as war, love and freedom. He is also not talking about a specific content or image, he is trying to convey sadness, and not to be sad.
启源：
我的专业是电影，同时也经常创作摄影，当代艺术，诗歌，行为艺术，装置艺术等等。喜欢和哲学还有意识流相关，以及充满实验性的话东西。也在寻求多种艺术形式的融合去更好的表达艺术情感。
My specialization is film, but I also work a lot with photography, contemporary art, poetry, performance art, installations, etc. I like things related to philosophy and stream of consciousness, as well as things full of experimentation. I am also looking for the integration of various art forms to better express my artistic feelings.
橙方：
像是一种投射，因为无法看清射来的光束而将目光投向由此光束形成的阴影中。
将一些放在身体里会很痛苦的感受或者不理解的遐思从身体的内部取出，放置，观看它。
这是我尝试跳出我自己的一种方式，我想我很希望能看到我自己，像他人那样看到我自己。在和想象的敌人对话，一些语词和一些沉默。
Like a kind of projection, casting one's eyes into the shadows formed by the resulting beams of light because one cannot see the beams that are coming.
Taking something out of the body that would be a painful feeling to put in the body or a reverie that you don't understand, placing it, viewing it.
It's a way for me to try to step outside of myself, and I think I'd love to be able to see myself as others see me. In conversation with imaginary enemies, some words and some silences.
卜天：
我的创作关注⼤数据时代下当代⼈的境遇，以装置、行为、影像、绘画等方式表达此主题。这次参展的是两件绘画作品。
因为大家近几年都用移动支付，很少用到纸币了，所以这两件以人民币上的图像为原型的绘画作品有另一个题目：《消失的人民》和《消失的风景》。我想以怀旧的心情重新来看待纸币上的风景和人物。
另外我关心属灵国度。例如在现实中不同的国家有不同的风俗文化会左右着人们的所思所行。在现实生活中我们的内心究竟被什么样的心灵国度统治着呢？这是我的创作反思的问题。画面上的网格和黑色的方块都有相关含义。风景上方一双祈祷的手也是在这样的语境中形成的意象画面。
My creations are concerned with the situation of contemporary people in the age of big data, and I express this theme through installation, performance, video and painting. In this exhibition, I am exhibiting two paintings.Since people have been using mobile payment in recent years and seldom use banknotes, these two paintings based on the images of RMB have another title: "Disappearing People" and "Disappearing Landscape". I want to revisit the landscapes and people on the banknotes with nostalgia.
Also I am concerned with spiritual kingdoms. For example, in reality, different countries have different customs and cultures that influence how people think and act. What kind of spiritual kingdom rules our hearts in real life? This is the question I reflect on in my work. The grid and the black squares on the screen have relevant meanings. A pair of praying hands above the landscape is also an imagery picture formed in such a context.
Absent Gallery:
What factors have influenced your creation?
请谈谈你的艺术创作受哪些因素影响?
海懿:
我身处的地理位置，我喜欢在不同的地点冒险。只是走路，观察建筑，街道，人群，自 然，一切客观存在的熟悉又陌生的事物已经让我很兴奋了。更不用说多种的与一个地区产 生交互的方式，比如短期的生活，工作，和当地人交谈，了解那里的⻛土人情，滋养出来 的文化，还有背后深层次的哲学。体感对于我来说，让我从书本二维的平面的感知转换成 了立体的感知，我的每一个器官都因为和新的世界的接触而感到愉悦。
The geographic location I am in. I like to venture into different locations. Just walking, observing buildings, streets, people, nature, all the familiar and unfamiliar things that exist in an objective way is already exciting to me. Not to mention the many ways of interacting with a place, such as living there for a short period of time, working there, talking to the locals, learning about the people, the culture, and the underlying philosophy. For me, somatosensory has transformed my perception from the two-dimensional plane of a book to a three-dimensional one, and every organ of my body has been delighted by the contact with the new world.
经济状况，我需要平衡自己的生活和工作，在英国的很大的经济压力让我不得不思考生活 与生存之间的取舍。每次用商业拍摄赚来的钱买昂贵的材料也会让我思考消费主义对消费 者的影响。如何理解一种材料，它的价值?商业的价值，用途的价值，对于小我的价值， 对于社会的价值。我更愿意透过一层一层精美的包装，从本质上去看待每一件商品。这也 影响了我对于“旧”的物品的理解，我善于在一堆他人视为“垃圾”的物品中找到能和我合作的 材料，它们保留了自己的物质特性，也对我多了一丝温柔。所以在RCA这一年，我做的最多的艺术就是arte povera。它自由且宽容的引导了我，以一种最平等的方式。
Financial circumstances. I need work-life balance, and the financial pressures of being in the UK have led me to think about the trade-offs between life and survival. Every time I use the income from commercial shoots to buy expensive materials, it also makes me think about the impact of consumerism on the consumer. How to recognize a material, its value? Commercial value, utility value, ego value, and social value. I prefer to perceive each product through layers and layers of beautiful packaging and look at the essence of the product. This also affects my understanding of "old" objects. I am good at finding materials that I can work with in a pile of what others consider "trash", which retains its own material characteristics and is a bit more gentle to me. That is why the art I made the most during the year at the RCA was arte povera, which guided me in a free and tolerant way, in the most equal way.
近一年的RCA学习生活。我从一开始只是用摄影直接，具象的表达，到最后纯粹的，抽象 的装置。受到周围的艺术家朋友的影响吧，我们有很多合作的机会，大家也会互相批判， 帮助，使我成⻓了不少。我学习到了表达的观念的形式有很多种，创作的手法也很多元。 我越来越倾向于不制作轻浮的元素拼贴的照片，即便有着精美的印刷，但是敲开外壳，里 面空空如也。
以及我自己的感受，感知到的各种情绪，心情。我是个情绪的容器，我敏感的共情世间万 物，和自然，和城市，和人类，但是也会引导自己学会掌控它，转化为一种强大和稳定的 能量，完成一件作品就是一次自我的修复。但是很难说，某一两个作品就是我痛苦，悲 伤，抑郁，最直接的化身。
My last year at RCA. I started with direct, figurative expression through photography, and ended up with pure, abstract installations. I was influenced by the artists around me, we had a lot of opportunities to work together, and we would criticize each other and help each other, which helped me grow a lot. I have learned that there are many forms of conceptual expression and many different ways of creation. I am more and more inclined not to make frivolous collages of elements, even if they are beautifully printed, but when I crack open the shell, there is nothing inside.
I am a container of emotions, and I feel my own feelings, my own emotions, my own moods. I am a container of emotions, I am sensitive to empathize with everything in the world, with nature, with the city, with human beings, but I also guide myself to learn how to control it, to transform it into a kind of strong and stable energy, and to complete a piece of work is a self-healing. But it is hard to say that one or two works are the most direct embodiment of my pain, sadness and depression.
西北：
有钱的时候，可以租个大房子画大的油画。没钱的时候只能在小房间里画点小水彩。有时候会外出打工，画画的材料不方便带在身边，会看书做点小定格动画，也爱到处流浪那就只能带一个小本子。但是不可否认，任何时候都可以艺术创作，只是环境变了创作形式也会随之改变。
When I have enough money, I can rent a big house and paint big canvases. When I don't have, I can only paint small watercolors in a small room. Sometimes I will go out to work, the painting materials are not convenient to carry around, I will read a book and do a bit of small stop-motion animation, but also love to wander around that can only bring a small notebook. But it is undeniable that you can create art at any time, only that the environment has changed and the form of creation will also change.
启源：
我的创作受多方面影响，主要是来源于生活，著名美学家车尔尼雪夫斯基曾经说过“艺术来源于生活”。我是一个对于生活特别敏感的人，我喜欢观察生活，闲暇是也经常天马行空去思考生活，摄影是一门观察者的艺术，我的创作大多来源于生活的观察与思考。创作也同时受这阅读和热点影响，我是一个涉猎广泛，喜欢阅读和关注热点的人，我一直想创作出真正为民众发声的作品。根据热点事件的启发去创作，或者根据阅读学会新的事物和知识以及思考新鲜事物，去激发创作灵感。有时候也会灵感自发而来，这个很神奇也。
My creation is influenced by many aspects, mainly from life, the famous aesthetician Chernyshevsky once said "Art comes from life". I am a person who is particularly sensitive to life, I like to observe life, and I often think about life in my spare time. Photography is an observer's art, and most of my creations come from the observation and thinking of life. My creations are also influenced by reading and hotspots, and I always want to create works that really speak for the people. I am inspired to create according to the hot events, or I learn new things and knowledge from reading and thinking about new things, which inspires me to create. Sometimes inspiration comes spontaneously, this is amazing too.
橙方：
我觉得主要是基于一种泛痛觉，和我目前还无法克服的很多执念。
创作是察觉这些痛和理解它的一种路径。
譬如自意识到过去一旦成为过去就是无人在场的，想摄取梦幻泡影。
我总是滞后于时间，常常会因为并行于记忆的时空而感觉自己被时间凌厉的切成薄纸片。
I think it's mostly based on a generalized sense of pain, and a lot of obsessions that I can't overcome at the moment.
Creating art is a path to perceiving this pain and understanding it.
For example, since realizing that the past is no one's presence once it is the past, and wanting to ingest the dream bubble.
I am always behind time, and often feel like I am being sliced into paper-thin slices by the harshness of time because I am running parallel to the space and time of my memories.
卜天：
比起艺术史大师，中国现实对我影响更大。我们每天一睁眼所看到的图像世界，都被精心的编码着，我特地选取了货币上的图像来表达我的这一观念。2006年我的作品《山.河.水》就是把人民币的上的风景单独的提取出来放大成巨幅画面，这件作品当时参加了鲍栋策划的“遭遇现实”展览。我发现放大后的纸币上的花纹图案有一种强烈的陌生感，而且不同币值的纸币上花卉和人物都不一样，其中也有一套隐藏的编码逻辑。那个时候我就开始注意到图案纹样与人物风景之间在语义上有密切的关系。我的图案绘画就是在此脉络中不断实验产生的。我的作品中使用的龙纹图案有丰富的含义，“龙”在中国是祥瑞之物，例如：“人中龙凤”，在西方却是邪恶的化身。所以龙这个符号应用在艺术作品中，可以造成东西文化上的误解和冲突，并带来文化反思。我为此写了一篇相关的推文：《为什么只有中国人是“龙”的传人？》https://mp.weixin.qq.com/s/5ww3PUuZ4AZmOmgE0B9nfA
The Chinese reality has influenced me more than the masters of art history. The world of images that we see every day when we open our eyes is carefully coded, and I have chosen to express this idea by using images from currency. 2In 2006, my work "Mountain. River. Water" was an enlargement of the landscape on the RMB currency, which was exhibited in the exhibition "Encountering Reality" curated by Bao Dong at that time. I realized that the patterns on the enlarged banknotes had a strong sense of strangeness, and that the flowers and figures on the banknotes of different values were different, and that there was a set of hidden coding logic. At that time I began to notice a close semantic relationship between the pattern motifs and the landscape of the figures. It is in this vein that my patterned paintings have emerged from constant experimentation. The dragon motifs used in my works have rich meanings. In China, the dragon is a symbol of auspiciousness, such as "the dragon and the phoenix among men", but in the West, it is the embodiment of evil. Therefore, the use of the dragon as a symbol in artwork can cause misunderstanding and conflict between Eastern and Western cultures, and bring about cultural reflection. I wrote a tweet about this: "Why are only the Chinese the heirs of the dragon? https://mp.weixin.qq.com/s/5ww3PUuZ4AZmOmgE0B9nfA
Absent Gallery:
What are your upcoming plans or expectations for the artwork?
未来对作品有什么计划或期待?
海懿:
持续自由。首先我需要金钱自由，我目前在伦敦很努力的工作，很现实，但是再平穷的艺 术也需要物质的支持。在保证我生存的前提下，不要熄灭对创作的渴望。保持各种形式的 创作，保持与各种跨领域的艺术家合作，保持对于美好事物纯粹的热爱。
Constant Freedom. First of all I need monetary freedom, I'm currently working very hard in London, it's very realistic, but even the poorest art needs material support. In order to survive, I must not quench my desire to create. To keep creating in all forms, to keep collaborating with all kinds of interdisciplinary artists, and to keep the pure love for beautiful things.
西北：
我在做一个户外展览的艺术项目，致力于把自己的艺术作品在户外，山，河，一切美好自然环境下展示。艺术是人类的文化，他们不一定只会在美术馆里永恒，他们或许可以和自然融为一体，哪怕瞬间。可惜本人财力，物力，精力有限。还需要创作更多作品。所以也在等待时机，等待一个机会。非洲大草原，南极的冰川，热带岛屿的火山口，如果有机会我想把作品在那里展示，在那里消失。
I am working on an outdoor exhibition art project, and dedicated to displaying my artworks in the outdoors, mountains, rivers, and all the beautiful natural environments. Art is human culture, they don't have to be eternal only in the gallery, they may be integrated with nature, if only momentarily. Unfortunately, I have limited financial resources, material resources as well as energy. I still have to create more works. Therefore, I am also waiting for the opportunity, waiting for a shot. The African savannah, the Antarctic glaciers, the craters of the tropical islands, if there is a chance I would like to display my works there and disappear there.
启源：
我不是一个故步自封的人，未来想多尝试一些新鲜的东西吧，会涉及贫穷艺术，波普艺术吧。俗话说的好“活到老，学到老”，我会更加努力学习提升，创作更好的作品。
I am not a person who is stuck in the same old rut. In the future, I would like to try some new things, such as poverty art and pop art. As the saying goes, "live to learn, learn to live", I will work harder to learn and improve, and create better works.
卜天：
⼤数据时代下当代⼈的境遇，这是我长期关注的主题，在这个主题下，持续进行的绘画作品有五个系列：《编码人生》、《编码像数》、《编码万物》、《编码艺术史》、《文化编码之龙的传人》。为了在这个万物互联、大数据和人工智能的时代下，把人们的状态和遭遇的问题研究得更深入，表达的更充分，我还会有其它的装置、影像、行为等作品计划。最近我策划了一个网络征集二维码的项目，希望得到各位网友的支持。相关链接《您的二维码对艺术很重要！ open call》
https://mp.weixin.qq.com/s/Ncx7-YsZuDPXeKh5_TUq2w
The situation of contemporary people in the age of big data is a theme that I have long been concerned with. Under this theme, there are five ongoing series of paintings: Coding Life, Coding Images and Numbers, Coding Everything, Coding Art History, and Cultural Coding of the Dragon's Heirloom. In order to study the state of people and the problems they encounter more deeply and express them more fully in this era of interconnection of everything, big data and artificial intelligence, I will have other installation, video and performance works planned. Recently, I have planned a project to collect QR codes on the internet, and I hope to get support from all of you.