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。
Absent Gallery:
How would you describe your creation?
你会如何讲述自己的创作?
亦旸:
我的创作是有起伏、有叠加、有对抗的作品，可能像个“废墟”一样，利用不同属性的材料覆盖与消减，来构建画面最基本的秩序，构建一个自身与现实交错的情感空间，使之成为一个持续发展着的场所，其中的视觉元素则是必然性与偶然性共同存在的结果，这种错综复杂的效果也将隐喻到当下复杂的生活环境中去，也许会呈现出丰富的精神状态，从而通过表层的意象性追求隐藏于表象后的内涵。
My creations are works with ups and downs, superimpositions and confrontations, which may be like "ruins", utilizing materials with different attributes to cover and reduce, to construct the most basic order of the picture, and to construct an emotional space that intertwines with itself and the reality, so as to make it a place of continuous development, where visual elements are the result of co-existence of inevitability and contingency. The result of the co-existence of visual elements is the result of necessity and contingency, and this intricate effect will also be a metaphor for the complex living environment of the moment, perhaps presenting a rich state of mind, thus pursuing the connotation hidden behind the surface through the superficial imagery.
益恺:
创伤是与实在界的遭遇，与实在的遭遇没有好坏之分。 我们遇到的一些不好的事情是创伤性的，而当我们遇到一些意外的好运时，也是创伤性的。 这一系列绘画借鉴了我对母亲的拉康式精神分析，解构了她的成长经历，挖掘了她的创伤和创伤事件的形成和发展，并讲述了这些问题如何演变为家庭关系和我的教育。 我母亲的成长经历和我的童年记忆，两条时间线奇妙地交织在一起，解构了创伤和爱，解释了很多人生选择背后的意义，关于我的原生家庭、婚姻甚至我的出生！
Trauma is an encounter with the real, and there is no good or bad encounter with the real. Some of the bad things we encounter are traumatic, and when we encounter some unexpected good fortune, it is also traumatic. This series of paintings draws on my Lacanian psychoanalysis of my mother to deconstruct her upbringing and unearth the formation and development of her trauma and traumatic events, and narrate how these issues evolved into family relationships and my education. . My mother’s growth experience and my childhood memories, the two timelines are wonderfully intertwined and deconstructed of trauma and love, explaining the meaning behind many life choices, about my family of origin, marriage and even my birth!
増媛:
我的创作大多来源于我潜意识里已经形成的一些画面，它们是我的幻想和我的现实生活交汇处的剪影，记录它们出于我身为人类的一种本能，而用绘画这种方式和媒介去记录则是我有意为之的选择，因为绘画对我而言是一种绝对诚实的艺术，我可以对任何人撒谎，我甚至会在我的日记中隐瞒或夸大一些事，但我无法对面前那块空白的画布撒谎。艺术创作对我而言是一个种将个人融入到画面的体验，在这个过程中包含了我的每一次犹豫、思索、每一个激动与不安，我的绘画创作是与我的情绪和性格最无限贴近的产物。所以我会将我的艺术创作看作为我内心世界的外现，这其中当然不止单纯是情绪，也包含了我对周遭世界的发问。
Most of my creations come from some images already formed in my subconscious, they are the silhouettes at the intersection of my fantasies and my real life, recording them out of a kind of instinct that I have as a human being, and recording them in the way and medium of painting is a conscious choice I made, because painting is an absolutely honest art for me, I can lie to anyone, I will even hide or exaggerate some things in my diary, but I can't lie to the blank canvas in front of me. I can lie to anyone, I may even hide or exaggerate some things in my diary, but I can't lie to the blank canvas in front of me. Art creation for me is a kind of personal experience into the picture, in this process contains my every hesitation, thought, every excitement and uneasiness, my painting creation is the product of the most infinite close to my emotions and character. Therefore, I would regard my art creations as an expression of my inner world, which of course is not only purely about my emotions, but also includes my questions about the world around me.
周俊:
叙述作品即叙述生活和事件。如果观众想了解我的作品，我只能原原本本把我的生活和一些推动性事件讲述给他们，这样是最直观的。同样也是这样子让作品变成了一种代表情绪的，私密的东西。
Narrating my work means narrating my life and events. If the audience wants to understand my work, I can only recount my life and some driving events to them as they are, which is the most intuitive. In this way, the work becomes an emotional, intimate matter.
刘洋:
自2021年迈向真正的创作，那时的生活陷入了反复与迷茫。在这混沌的时刻，我追求一种寄托，用以表达内心情感。由于害怕真实，我无法直接交流，于是常常选择扮演一种角色来展现真实的自我。因此，我迫切需要一种情绪链接，而柱体则与我的心境相契合。在我的创作中，我将自幼养成的本能，即习惯性地描绘柱体，融入作品。这种在无意识状态下勾勒的柱体，巧妙地传递了我的情感。
Since 2021, I have been moving towards real creation, when my life has been in a state of repetition and confusion. In these chaotic moments, I seek a support to express my inner feelings. Unable to communicate directly for fear of being real, I often chose to play a role to show my true self. Therefore, I am in dire need of an emotional link, and the columns are in tune with my state of mind. In my creations, I incorporate the instinct that I have developed since childhood, i.e. the habitual depiction of columns, into my works. This kind of columns sketched in an unconscious state subtly convey my emotions.
紫珊:
我的创作倾向于探讨爱与社会性，作品聚焦于个体行为与社会互动。我认为艺术家的眼睛应当用于“看见”，看见人、看见爱、看见温暖、看见苦难……“看见是最深的爱”；艺术家的手应当用于“创造”，创造生命与生命的对话、创造爱的流动……创造让人类探索人类、人类理解人类的艺术。我的创作不受形式和媒介的约束，目前涉猎的范畴有架上绘画、装置、戏剧等等。在此难以逐一细说，但人文关怀是我深刻的艺术追求。我希望充当“海螺”的角色， “倾听”人们的心声，并与之“共鸣”、“共情”。
My creations tend to explore love and sociality, focusing on individual behavior and social interaction. I believe that an artist's eyes should be used to "see", to see people, to see love, to see warmth, to see suffering ...... "Seeing is the deepest love"; an artist's hands should be used to "create", to create a dialogue between life and life, to create the flow of love ...... to create a way for human beings to explore and understand human beings. The artist's hands should be used to "create", to create the dialog between life and life, to create the flow of love ...... to create art that allows human beings to explore human beings and human beings to understand human beings.
My creations are not bound by forms and media, and I am currently involved in easel paintings, installations, theater, and so on. It is difficult to describe each and every one of them here, but humanistic concern is my profound artistic pursuit. I hope to act as a "conch", "listen" to people's voices, and "resonate" and "empathize" with them. I want to "listen" to people's voices and "empathize" and "sympathize" with them.
胡觉:
人是自然社会的产物，脱离大的社会语境，便不再是鲜活的个体。这系列作品是我花了四年多的时间去观察和拍摄身边的人和事，当我看到人们在废弃的房屋内活动时，感受到一种过去、当下和未来交错的多重空间对话。为此我想通过对摄影作品的再创作，来打破既定规则的不可侵犯性，从而进一步的探讨个体和社会的关系，以及个体在社会语境中的困惑。我把人和废弃房屋，动物的骨头、牙齿、古瓷器片等作为我的创作元素，当我将这些元素放在一起时，有趣的事情发生了，它们之间相互碰撞与对话，产生了某种具有未来感的话语。以现实作为背景参照，经过对作品的多次叠加创作，在打破摄影、绘画、装置边界的同时，重新将三者组合在一起，以达到和谐的统一。这种创作方式即是对当下完美关系反思和质疑的投射，亦是在重新探讨历史、文化、社会以及人类所处世界的物质与精神之间的多重空间关系，使其具备更多可能性。
Human beings are the creations of the natural society, and when they are separated from the context of the larger society, they are no longer vivid individuals. I have spent more than four years observing and photographing the people and events around me in this series of works. When I see people moving around in abandoned houses, I feel a kind of multiple spatial dialogues in which the past, the present and the future are intertwined. For this reason, I want to break the inviolability of the established rules through the re-creation of my photographs, so as to further explore the relationship between the individual and the society, as well as the confusion of the individual in the social context. I take human beings and abandoned houses, animal bones, teeth, pieces of ancient porcelain, etc. as my creative elements. When I put these elements together, something interesting happens, they collide and dialog with each other, producing a certain discourse with a sense of the future. Taking reality as the background reference, after several superimposed creations of the works, while breaking the boundaries of photography, painting and installation, I reassemble the three together in order to achieve a harmonious unity. This way of creation is a projection of reflection and questioning of the perfect relationship of the present, and it is also a re-examination of the multiple spatial relationships between history, culture, society, and the material and spiritual of the world in which human beings live, so as to make it have more possibilities.
李琳:
我⼀直在寻求具体与抽象之间的平衡， 我想试着摆脱⼀些东西，把绘画本身的 想法还给绘画，在这个过程中的挣扎， ⽭盾与真实都显得⼗分的有趣。这也许 是我在看过了某种物象后经历的感受， 又或是某时的体验，我将这份能量放进 了画的躯体里，让它承载我的某些记忆或是感知。我在我的作品中时常加入对于视角的思考，我觉得我的作品是在某个时刻下的体会，我会希望观赏者参观时就像那个时候的我一样，这是我所希望的，我也会希望在往后的作品中能够放入更多的我的情绪。那些散落在各处的影子和透射出的光，还有处于欢乐或者是宁静的氛围，都能成为我的灵感，我通常会抓住一个点然后进行扩散，例如这个点在画面应该是平滑还是粗糙的；它是能处于画面哪个位置的，然后将它融合进这个空间里。
I am always looking for a balance between the concrete and the abstract, I want to try to get rid of something and return the idea of painting to the painting itself, the struggle, the shield and the truth are all very interesting in this process. This may be a feeling I experienced after seeing a certain object, or an experience I had at a certain time, and I put this energy into the body of the painting, letting it carry some of my memories or perceptions. I often add my thoughts about perspective in my works, I think my works are the experience of a certain moment, and I would like the viewers to feel like me at that moment when they see my works, which is what I hope for, and I would like to put more of my emotions into my works in the future. The shadows and light that are scattered all over the place, and the atmosphere of joy or tranquility can be my inspiration. I usually grab a point and expand on it, for example, whether the point should be smooth or rough in the picture, and where it can be placed in the picture, and then integrate it into the space.
湘展:
我比较关心当下人与社会的关系。目前正在进行的《理想国》系列作品是我在研究生最后一年开始进行的。这系列的第一件作品叫《蜩蜕》，意为不真实的世界。人人口中的世界各不相同，可我们又生活在同一个客观世界中，不同的世界观造就了不同的世界，而我认识的世界是什么样的？在临近毕业到现在已毕业半年多的这段时间里，我一直在思考这样的问题。小时候大人们曾说：你以后长大了就懂了；你以后步入社会就明白了。从校园学生到社会人的身份转变，不可否认在看待事物的观点上发生了转变，而这系列作品就是此时的内心写照。
I am more concerned with the relationship between people and society at the present time. The Ideal State series that I am currently working on was started in my last year of graduate school. The first work in this series is called "Product Shedding", which means the unreal world. The world in people's opinions is different, but we live in the same objective world. Different worldviews create different worlds, and what kind of world do I recognize? I have been thinking about this question for more than half a year since I graduated. When I was young, grown-ups used to say: you will understand when you grow up; you will understand when you enter the society. From the identity change of campus students to social people, it is undeniable that there is a change in the viewpoint of things, and this series of works is a reflection of the inner self at this time.
子微:
这幅画是我在2023年所创作的一组作品，意味着生命永不消逝，既是开始，也是结束，它就像一个无尽的循环，永无止境。在上半部分是胚胎也是白骨，生命结束，下半部分躯干长出了血肉，意味着新生的开始，矛盾但又统一。这幅画的创作背景是我的一位很亲近的朋友，一位很年轻很有创造力和个人魅力的女性，确诊了“AS”不死的癌症，但是她又钟爱于健身，所以当这种矛盾冲突聚焦到一个人身上时，那种对人的挫败是不言而喻的。但是她身上的那种平静和坦然是让我震惊的。源于这样的情感引发了我对于生命存在的思考，从而有了这组作品。从形式表达上，我还是选择了比较传统的布面丙烯和中心构图，让观众把重心放在主体上，但是颜色的选择上，我运用了比较活泼积极的色彩，这也是这幅画本身想传达的思想，对死亡的态度。
This painting is a group of works I created in 2023, meaning that life never dies, it is both the beginning and the end, it is like an endless cycle that never ends. In the top half is the embryo and the white bone, the end of life, and in the bottom half the torso grows flesh and blood, meaning the beginning of a new life, contradictory but unified.
The background of this painting is that a very close friend of mine, a very young, creative and charismatic woman, has been diagnosed with "AS" cancer, which is immortal, but she loves to work out, so when this kind of conflict focuses on a person, the kind of frustration for people is self-evident. But I was struck by her calmness and openness. This emotion triggered me to think about the existence of life, which led to this group of works.
In terms of formal expression, I still chose the more traditional acrylic on canvas and a central composition that allows the viewer to focus on the main subject, but in terms of the choice of colors, I used more lively and positive colors, which is also the idea that this painting itself wants to convey, an attitude towards death.
丽娴:
本人的创作主要专注于架上绘画，过去2023年之前的作品，火焰、马、猴、狗、猫、女人身体、创可贴、高跟鞋、口红、婴儿、陶瓷物、旋涡等元素是我创作的关键图像，这些图像大部分与我们会有一种极为紧密的接触关系，但也有一部分是属于一种冷峻特征的图像。通过在色彩上高强度的明暗反差或较高纯度的冷暖对比或灰冷调子的运用，在构图上试图挪用与组合成非现实的微小剧场，制造具有奇异冲突梦幻的视觉强度，突显某种若隐若现、把握不定的疏离心理，试图探索人与自然、人与社会、人与自我的关系问题。
My creations are mainly focused on easel paintings, and in the past works before 2023, elements such as flames, horses, monkeys, dogs, cats, women's bodies, band-aids, high-heeled shoes, lipsticks, babies, ceramic objects, and vortexes are the key images in my creations, most of which have an extremely close contact relationship with us, but some of them belong to a kind of cold characteristic images. Through the use of high-intensity contrasts of light and dark or high purity contrasts of cold and warm or gray and cold tones in color, I try to appropriate and combine them into a tiny theater of non-reality in composition, to create a visual intensity with a strange conflict of fantasy, to highlight a kind of hidden, uncertain and alienated psychology, and to try to explore the relationship between people and nature, people and society, and people and the self.
朱旷:
我希望通过创作呈现一种感受方式，在现实世界与精神世界之间建立审美化的连接。
Through my creations, I intend to present a modality of feeling that establishes an aestheticized connection between the reality world and the spiritual world.
Tyler:
愛新覺羅 Aixinjueluo
太初有行，无名逆流，柔空涅槃,屏风剑浪。只是衣服，不止于衣服 I should have the confidence not to have to wear labels. That should be mine and not bear the name of a designer。把服装做到极致，探索它的的尽头在哪里，并把服装提升到一个更高的维度。都够做一些可以留下来给后人的东西，不追名求利。不能被自己的艺术品带着走，每一个柜子是一个主题一个系类，做出不可能，做服装的冒险者，做真正的服装。我只是属于我自己这类人的法律，我不是一切人的法律。它并不属于任何一个风格和流派，这是属于它自己的风格。
陈一:
开始物品探索的时间并不长，想尝试根据更多的实验探索物品感知上的力量。努力尝试摆脱任何一种完成艺术品论调的雕塑，摆脱雕塑沉重的印象，同时不陷于装置或环境艺术中。Started object exploration not long ago, wanted to try to explore the power of objects perceptually based on more experimentation. Trying hard to get rid of any kind of sculpture that completes the artwork argument, getting rid of the impression that sculpture is heavy, while not getting caught up in installations or environmental art.
Chelsea:
My creating process is more influenced by my surroundings, or the moment that I feel like I have a “spark”. Usually, I am inspired by my observations and artworks in different media. I will have an idea as a ground first, and then start to make plans on grappling with more factors and elements involved in my art practice. It’s like a “flow” that I would allow it to happen naturally.
我的创作过程更多地受到周围环境的影响，或者是我感觉自己有 "火花 "的那一刻。通常，我的灵感来自于我的观察和不同媒介的艺术作品。我会先有一个想法作为基础，然后开始制定计划，在我的艺术实践中涉及更多的因素和元素。这就像一种 "流动"，我会让它自然发生。
吴楠：
我的创作来源于不同的情绪。
My creations come from different emotions.
Nicole:
我的创作选题好似都非常面朝社会，很少完全的暴露自身以获得灵感或者作品仅仅只是为了和自己对话而自然形成的，但是我又非常喜欢在制作过程中以己身为例，去忘我地实验，去拍摄记录，去获得沉浸，去快意感受。从发现生活中的美的习惯开始到将很强的诉说欲望填进创作里，渴望籍由作品呈现的有关我的想法能够唤起共鸣，甚至希望真的能够改变些什么。
I seem to be very socially oriented in the selection of my works, rarely exposing myself for inspiration or creating works that are just a dialogue with myself, but I like to use myself as an example in the production process, to experiment, to photograph, to record, to immerse myself in, and to feel pleasure. From the habit of discovering the beauty in life to the strong desire to speak out, I hope that the ideas about me presented in my work will resonate with me, and even hopefully make a difference.
Absent Gallery:
What factors have influenced your creation?
请谈谈你的艺术创作受哪些因素影响?
亦旸:
安塞姆·基弗的废墟艺术给了我不少影响和启发，“废墟”作为一个主题符号，在基弗的作品中显示出物化的特点，浓厚的肌理与笔触让他的表现手法丰富多彩，大大加强了物象的再现性，当画面中所有的结构内容都被肌理覆盖物化后，丰富的内在精神进一步被指向注入了“废墟”中，那么我的作品也是从“废墟”这个概念出发，试图寄望于个人独特的艺术观念，在这过于物质化的社会中探寻一处属于自我精神的栖息之地，并阐释我内心中的“废墟精神”。
Anselm Kiefer's ruin art has given me a lot of influences and inspirations. "Ruins" as a thematic symbol, in Kiefer's works shows the characteristics of materialization, the thick texture and brushstrokes make his expression colorful, and greatly enhance the reproducibility of the objects. When all the structural content in the painting is materialized by the texture, the richness of the inner spirit is further directed to be injected into the "ruins", then my artworks also start from the concept of "ruins", trying to count on the unique artistic concepts of myself to find a place for my own spirit to live in this overly materialized society, and to explain my own inner spirit. And to explain the "spirit of ruins" in my heart.
益恺:
灵感来自于长年累月我与母亲的日常谈话和她的待人接物的方式，这一切都显得那么里所以当，直到有一瞬间我突然觉得这些东西变得陌生，我便开始好奇在他们为人母为人父之前他们是什么样的人。素材多来自于老旧的家相册，虽说里面均有我的参与，但显然不是现在的我。我试图用绘画和精神分析的方式带入一个又一个的轻盈，温暖而又陌生的场域里。用碎片化的叙事来讲述笼罩在我所构思的我的和母亲的意识形态幻像。
Inspired by years of daily conversations with my mother and the way she treats people, it all seemed so familiar until one moment it suddenly became strange to me, and I began to wonder what they were like before they became parents. Most of the material comes from old family albums, in which I was involved, but obviously not the person I now am. I try to use painting and psychoanalysis to bring in one light, warm and strange field. I use fragmented narratives to tell the ideological phantasmagoria of mine and my mother's that I have conceived.
増媛:
1. 我的痛苦和我对痛苦的反思
虽然这样回答会显得有些俗套，但事实的确如此。
我从我个体身上存在的小痛苦中看到无数东亚女性生命与生活中普遍留存的身份困惑，并去剖析这种痛苦的历史根源从而获得心理上的解脱。
2. 我母亲
她一直都是对我影响最深刻的人，我无数次在绘画中表达我对她以及她所代表的女性形象的爱与反叛，我将这种过程形容成一次精神弑母，我也通过无数次反思与她之间的情感关系，确立了"如何逃离社会对女性的固有期望”为我的长期创作主题。
周俊:
我感觉一切都可以成为“因素”，我把这些“因素”看作漂浮物。把你自己想象成一个在水中游泳的鳄鱼，假如你浮出水面而水面上有一片假发。那你们暂且成为一体成为一个“有头发的鳄鱼”，这个“有头发的鳄鱼”便是“作品”。所以我也不知道水面上有什么，太复杂了......
I do feel that everything can be a "factor", and I think of these "factors" as floating objects. Imagine yourself as a crocodile swimming in the water, and if you surface and there is a piece of wig on the surface. Then, for the time being, you become one and become a "crocodile with hair", and this "crocodile with hair" is the "artwork". So I have no idea what's on the surface, it's too complicated .
刘洋:
尽管我的作品没有博斯和王兴伟的画面痕迹，但我深深喜爱他们的创造力、趣味性和讽刺，这成为我灵感的源泉。
Although my work has no trace of the images of Bosch and Wang Xingwei, I deeply love their creativity, playfulness and irony, which has become a source of inspiration for me.
紫珊:
我的创作动机往往都是来自于某次深刻的向内探索，而过程则是不断地向外延伸。向内探索的意义在于找到“自我中的社会”，挖掘个人行为中社会的投射、缩影。向外延伸的意义则是发现“社会中的自我”，探寻与观者共同的生命体验。
我常常思考：“我们的生命，我们能给社会带来什么？”“当代话语空间被压缩，艺术要如何为人类发声？”我希望我的艺术作品是可以抛砖引玉，以情感人的。思考是我艺术创作的第一步。
当我脑海里有想法时，我会尽可能地挖掘该主题的文学、戏剧、音乐、话题等等素材，与该领域的创作者进行“对话”。其中，诗歌和戏剧对我的影响是最大的，诗歌凿开了我的大脑，戏剧延展了我的肢体。我一直保持写诗和演戏的习惯，在创作上也追求着的诗性和戏剧性。
我的创作往往与人有关，所以相关群体的调研也是必不可少的。尽可能地挖掘更多、更深入的“故事”，是我进行艺术创作的重要基础。我将自己视为一个说书人，只是我讲故事是通过艺术创作的方式罢了。
My creative motivation often comes from a deep inward exploration, while the process is constantly extended outward. The significance of inward exploration is to find the "society in the self", to explore the projection and microcosm of society in one's behavior. The significance of outward exploration is to find the "self in the society", to explore the common experience of life with the viewers.
I always wonder, "What can we bring to society in our lives?" "How can art give voice to mankind when the space for contemporary discourse is compressed?" I hope that my art works are able to throw out bricks and jade, and to touch people with feelings. Thinking is the first step in my art creation.
When I have an idea in my mind, I will try to explore as much material as possible about the subject, such as literature, theater, music, topics, etc., and have a "conversation" with creators in the field. Poetry and theater have had the greatest impact on me; poetry has chiseled my brain and theater has stretched my limbs. I've always been in the habit of writing poetry and acting, and I've pursued the poetic and dramatic in my work.
My creations are often related to people, so the research of related groups is also essential. Digging out as many and as deep as possible "stories" is an important foundation for my artistic creation. I see myself as a storyteller, but I tell stories through art.
胡觉:
首先我平时对自然界的每一样东西都非常好奇，特别是森林里的各种动物，虫，树木，河流，石头等每一个都充满生命力和各种不同的可能性。再次就是平时生活中所体验与发生的事，比如身边的拆迁的学校，和拆掉的老房子，刚被杀害不久的动物，被遗弃的工业厂房等都是影响我创作的因素。
First of all, I am always curious about things in nature, especially animals in the forest, bugs, trees, rivers, stones, etc. Each of them is full of vitality and possibilities. Another thing is the stuff that happened in my life, such as the demolished school, the old house, the recently dead animals, the abandoned industrial plant, etc. All these are the factors that influence my creation.
李琳:
我喜欢纳比派和维也纳分离派的色彩表达，也潜移默化的会影响着我的用色。
I love the color expressions of the Nabis and the Vienna Secession, and subconsciously that will influence my use of color.
湘展:
音乐以及生活中所经历的大小事。
Music and the things I experience in life.
子微:
文化背景是影响我艺术创作的重要因素之一，我来自中国，受传统文化以及东方哲学的影响，会在我创作的前期有些较为重要的体现，但在形式的思考和布局上又受西方艺术的影响。
其次，我生活的时代和社会背景也对我的创作有较为深刻的影响，当前的社会问题，政治事件和文化现象都有可能成为我创作的题材与灵感来源。最后，我的个人经历也是影响我创作的重要因素。我的教育背景，家庭背景等，都会在我的作品中体现出来，通过艺术创作来表达自己的内心世界以及对生命的思考探索。
Cultural background is one of the most important factors influencing my art creation. I come from China, and I am influenced by traditional culture and oriental philosophy, which will be reflected in the early stage of my creation, but I am also influenced by western art in terms of formal thinking and layout.
Secondly, the time and social background of my life also have a profound influence on my creations. Current social issues, political events and cultural phenomena may become the subject matter and source of inspiration for my creations.
Finally, my personal experience is also an important factor that influences my creativity. My educational background, family background, etc. are all reflected in my works, and I express my inner world and my exploration of life through art creation.
丽娴:
我的艺术创作在灵感上很大程度是受周遭环境的影响，主要关注于个体在集体的关系中的直觉本能的感知；在创作手法上主要受超现实主义的影响。
My artistic creations are largely inspired by my surroundings, focusing mainly on the intuitive instinctive perceptions of the individual in a collective relationship; my creative techniques are mainly influenced by surrealism.
朱旷:
我经历的感受到的一切都对我产生影响，包括正在发生的时代进程，个体情感与群体命运，自然的景象，人为的杰作。
Everything I experience and feel affects me, including the ongoing progression of eras, individual sentiments and group destinies, natural sights, and artificial masterpieces.
Tyler:
不受任何因素的影响，做我想做，心之所向。
Do what I want to do and what my heart desires, regardless of any factors.
陈一:
与个人所处的空间，状态有关系。尤其在于物品的实验中，可能物件与空间所产生的偶发性是重要的。
There is a relationship with the space, the state of the individual. Especially in experiments with objects, it is possible that the episodic nature of the object and space is important.
Chelsea:
My creative workflow is affected, I ad, in multiple ways. One thing is my thoughts on different places and people that I have met. Last year, I went traveling to Europe. The differences between the U.S. and Europe offered me a great sense of what I could think about the way we live, the means we talk about. The space created in between these questions became motivations for me too. I have been thinking a lot about my identities and community that may share my thoughts. I look for a certain resonance wherever possible. I find it online most of the time.I sometimes enjoy digging into a question, without necessarily focusing on the “answer”. I also like to see films, paintings and objects that could be inspiring.
我承认，我的创作流程受到多方面的影响。其中之一是我对不同地方和所遇之人的思绪。去年，我去欧洲旅行。美国和欧洲之间的差异让我对我们的生活方式、我们谈论的方式有了更多的思考。这些问题之间产生的空间也成为了我的动力。我一直在思考我的身份和可能与我有相同想法的群体。我尽可能寻找某种共鸣。大多数时候，我都能在网上找到。
有时，我喜欢探究一个问题，而不一定关注 "答案"。我还喜欢看电影、绘画和物品，它们可能会给我带来启发。
吴楠：
我个人来讲，影响我创作的因素是情绪，带着不同情绪去拍照，拍完的成品给我的感觉是不一样的。
Personally speaking, the factor that affects my creativity is my emotion. When I take photos with different emotions, the finished product will give me different feelings.
Nicole:
我一直以来都更痴迷于观察人类的社会行为，那些普通行为下的冲突与融合，从katie Paterson与Marina Abramović 启蒙。我更关注社会介入式艺术的呈现形式，所以我会更多涉猎哲学、社科、心理学、行为学、人文等多学科的理论，最近的理论补充都和生态与女性主义、与图像、与消费主义、与资本主义这几个议题有关，所以V Flusser、Hito Steyerl、Jason W.Moore、福柯以及一些法国理论都是我创作的理论基石。
I've always been more obsessed with observing human social behavior, the conflict and integration underneath those ordinary behaviors, enlightened by katie Paterson and Marina Abramović. I am more concerned with the presentation of socially-interactive art, so I dabble in theories from philosophy, social sciences, psychology, behavior, humanities, etc. My recent theoretical additions have been related to the topics of ecology and feminism, images, consumerism, and capitalism, so V Flusser, Hito Steyerl, Jason W. Moore, Foucault, and some French theories have been the basis of my work. French theories are the theoretical cornerstones of my work.
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?
亦旸:
我会始终保持对艺术的热情创作出自己的作品，因为当代艺术的重点无不在强调个体性的觉悟和审美解放，促使我们勇于打破一些旧格局建立新的精神“家园”，所以我想要在不断地摸索与创作中找到属于自己的精神世界。
I will always keep my passion for art and create my own works, because the keys of contemporary art are always emphasizing on individual awareness and aesthetic emancipation, encouraging us to break the former pattern and establish a new spiritual "home", so I want to discover my own spiritual world in the continuous exploration and creation.
益恺:
这种方式的创作是第一次，之后还会以这种方式来解释我身边发生的种种。另外这一系列作品还在积极参加探讨身份政治，精神分析类型的moving image&film的展览和交流会中，也欢迎有此类兴趣的艺术家设计师和朋友们与我合作交流。
This is the first time I have created something in this way, and I will use this approach to explain what is happening around me in the future. In addition, this series of works is also actively participating in moving image&film exhibitions and exchanges exploring identity politics and psychoanalysis, and I welcome artists, designers, and friends who are interested in this kind of interaction to collaborate and exchange ideas with me.
増媛:
我一直都是一个对自己未来的规划蛮笃定且明确的人，我希望艺术创作可以成为我终身的职业，所以可预见性的事情是，我的作品风格商业艺术靠拢，这是我正在学习并说服自己接受的事情，虽然短期内（也许是十年）我还是会围绕自己喜欢的主题去创作，不去考虑我的作品能否画廊接受，但在我的长期规划里，我会将如何平衡作品的商业价值和我身为创作者的初心作为我恒久的人生命题去研究。
I have always been a person who is quite certain and clear about my future plans, I hope that art creation can become my lifelong career, so the predictable thing is that my style of work is close to commercial art, which is something I am learning and convincing myself to accept, although in the short term (maybe ten years) I will still create around my favorite themes, not to think about whether my work can be accepted by the gallery, but in my long term plan I will be how to balance the commercial value of the work and my initial intentions as a creator as a constant proposition in my life to be investigated.
周俊:
作品是不可少的，他是我生活的附属。就像困意生成的“哈欠”。我要睡觉，它就必定有。所以我不担心怎么安排它。
The work is indispensable, it is an adjunct to my life. It's like the "yawn" generated by sleepiness. If I want to sleep, it will happen. So I don't worry about how to arrange it.
刘洋:
在未来的创作中，我将更多地融入生活感受和观察。也许源于一首歌的歌词，或者是一个生命从细胞到人的奇妙过程。创作仍是随心而趣味十足。
In my future creations, I will incorporate more of my feelings and observations of life. Maybe it stems from the lyrics of a song, or the marvelous process of a life from cell to person. Creation remains spontaneous and fun.
紫珊:
未来我将继续深化对个体与社会关系的探索，通过不同的艺术形式和媒介，更全面地呈现我的创作视角。同时，我希望参与更多的社会调研，深入了解各种群体的生活，以丰富作品的文化内涵和社会关联性。此外，我计划与其他领域的艺术家、文化工作者合作，开展跨界项目，拓宽创作思路，创造更多元的艺术体验。
In the future, I will continue to deepen my exploration of the relationship between the individual and society, and present my creative perspective more comprehensively through different art forms and media. At the same time, I hope to participate in more social research and gain a deeper understanding of the lives of various groups in order to enrich the cultural connotation and social relevance of my works. In addition, I plan to cooperate with artists and cultural workers in other fields to carry out cross-boundary projects to broaden my creative thinking and create more diversified artistic experiences.
胡觉:
计划准备做一个个展把最近想的作品展现出来。希望自己作品可以能说些关于社会本有的问题却没有人去了解和思考。
I'm planning to hold a solo exhibition to show the works I've been thinking about lately. I hope that my work can say something about the problems that exist in society but no one understands or thinks about them.
李琳:
希望能用作品更加清晰地表达出我的想法。
I hope to be able to express my thoughts more clearly with my work.
湘展:
今年的计划想办一场个展。《理想国》系列也会一直延续下来，期待作品越来越成熟，越来越好。
My plan for this year is to organize a solo exhibition. The "Ideal State" series will continue, and I look forward to the work becoming more mature.
子微:
在AI与艺术融合的现状下，我对AI+艺术的感受和感悟，以及对AI+艺术的未来发展的探索有更多的期待，也希望通过AI技术，解放部分劳动力的局限，更广的去帮助大众提升和扩展想象力及创造力。
此外，我也会关注社会的变革和变革中产生的新问题，努力用自己的智慧和艺术才能对这些问题加以回应。对未来与现实的思考，也无疑是我们的创作资源。
In the current situation of the fusion of artificial intelligence and art, I have more expectations about my feelings and perceptions of AI+Art, as well as the exploration of the future development of AI+Art, and I also hope that through AI technology, I can liberate some of the limitations of the labor force, and more broadly help the public to enhance and expand their imagination and creativity.
In addition, I will also pay attention to the changes in society and the new problems brought about by these changes, and endeavor to respond to these problems with my own wisdom and artistic talents. Thinking about the future and reality is undoubtedly our creative resource as well.
丽娴:
我个人认为2023年以前的作品可以告一段落了，接下来的创作我想以项目式的方式对周遭的所见所闻进行艺术考察与研究，在表现媒介上尝试更多的方式，拓展更多的可能性。
Personally, I think the works before 2023 can come to an end. In the next creation, I would like to conduct artistic investigation and research on what I see and hear around me in the form of a project, and try out a wider variety of ways in terms of the medium of expression to expand more possibilities.
朱旷:
长期来说，期待我的作品能让观看者以及我本身都感受到自己仍在感受。
In the long-term, the expectation is that my artworks will be experienced by the viewer, as well as by myself, as something that "I" will still be feeling personally.
Tyler:
计划：
第一节阶段：太初有行
第一阶段为制作12个主题服装艺术品成为第一阶段代表产品。
一个柜子一个系列一个主题
期待：
我期待能够12套形态各异的系列按照时间每一刻钟圆环的形式展示出来，每一套搭配上我想要的家具配饰。
陈一:
正在尝试探索一些并第一印象中并非那么物质性的物质材料，比如细菌与微生物。
Attempts are being made to explore material materials that are not so materialistic at first glance, such as bacteria and microbes.
Chelsea:
I am not sure : ) I hope that things go well.
我不确定 ：） 希望一切顺利。
吴楠：
跟着感觉走吧。
Go with the feeling.
Nicole:
接下来要创作的两个作品一个是由desire line的概念展开的社会实验，一个是更偏向于用思辨的方法进行有关探索new identity的产出，接下来的计划就是希望作为一个视觉艺术家能把以上议题里想要传达的个人想法在不断变化的社会语境里以高质量的作品很好地传递出去。是2024的计划也是对个人的不断警醒和鞭策吧。
The next two works to be created are a social experiment based on the concept of desire line, and an output that is more oriented to exploring new identity with a discursive approach. The next plan is to convey the personal ideas that I want to convey in the above topics as a visual artist in the ever-changing social context with high-quality works. The next project is to be a visual artist who wants to communicate his personal ideas on the above topics in a changing social context with quality works. The 2024 project is also a constant reminder and encouragement for me.
Absent Gallery:
Please use one word to describe "Prelude". or describe in one word how you feel about "Prelude".
请用一个词汇描述“序幕”或者 用一个词汇描述对“序幕”的感受/想法。
亦旸:
我会用“期待”这个词描述对“序幕”的感受。
I would use the word "anticipation" to describe my feelings about the Prelude.
益恺:
小心谨慎
Prudent
増媛:
“空白"
序幕这个词在我脑海中的视觉印象是暗红色的实木舞台被厚重的白色缎布挡住，夜色降临时幕布缓缓拉起，白色的光束打在空空如也的舞台上，一场好戏即将开始，一切都是空白的。"Blank."
The word prelude has a visual image in my mind of a dark red solid wood stage blocked by a heavy white satin cloth, the curtain slowly drawn up as night falls, white beams of light hitting the empty stage, a good show about to begin, and all is blank.
周俊:
“序幕”就像一个纱帘，半透不透，马上要揭开谜底，但是你必须等待。它是一场“精妙的等待”吧。
"The Prologue is like a veil, half-permeable, soon to be revealed, but you have to wait.
It's a "subtle wait".
刘洋:
"序幕"的描述词汇可以是"开篇"，或者可能是"引人入胜"
A descriptive word for " prelude" could be "opening", or perhaps "intriguing".
紫珊:
1
胡觉:
序幕是结束也是开始。就像人与社会的关系，人类生命是有限的，但是人类社会的发展却从来没有结束。
The prelude is both the end and the beginning. Like the relationship between man and society, human life is limited, but the development of human society never ends.
李琳:
未知
Hope unknown
湘展:
希望
Hope
子微:
"序幕"往往让我感到一种混合的情绪。它是一种期待，是对即将到来的事件或故事的预览。当我想到“序幕”的时候，我感到一种兴奋和好奇。它象征着开始，是探索和发现的第一步。同时，“序幕”也带给我一种紧迫感，因为我知道，随着序幕的拉开，我将要进入一个新的篇章，面对新的挑战和机遇。
"Prelude" tends to give me a mixture of emotions. It's an anticipation, a preview of an upcoming event or story. When I think of a "prelude" I feel a sense of excitement and wonder. It symbolizes the beginning, the first step of exploration and discovery. At the same time, " prelude" also brings me a sense of urgency, because I know that with the opening of the prelude, I am about to enter a new chapter and face new challenges and opportunities.
丽娴:
出发。我认为这次的展览名字“序幕”，对我而言，在时间上恰到好处，因为我刚刚也说过，展示2023年部分的作品，不仅是在2024年新的一年开始之际，再一次地回望过去的创作，是对过去的一种总结，但同时也是对新的一年的展望，期待自己的艺术创作打开新的维度，鼓足勇气再次出发！
Departure. I think the name of this exhibition, "Prelude", is a perfect timing for me, because, as I just said, presenting some of the works of 2023 is not only a way to look back at the past creations at the beginning of the new year of 2024 as a kind of summary of the past, but also an outlook for the new year. I look forward to opening up new dimensions in my art creation and gathering courage to start again!
朱旷:
序幕即未来，每一刻都是下一刻的序幕。
The prelude is the future, and each moment is a prelude to the next.
Tyler:
理论是灰色的，生命之树常青，序幕的开始，正如太初有行，只有开始，才会开始。
但开始的开始，也是结束的开始，所有的参加，最后终会走向缺席，就像缺席画廊，作品会缺席，但是艺术永不缺席。
Theory is gray, the tree of life is evergreen, the beginning of the prologue, just like 'Im Anfang war die Tat' - only it starts，it begins.
But the very beginning of the beginning is also the beginning of the end. All participation, in the end, will eventually lead to absence, just like the Absent Gallery, the work may be absent, but the art will never be.
陈一:
给予光
Cast light
Chelsea:
Forward.
向前
吴楠：
反复
Iterative
Nicole:
好戏开场
The show begins