Group Exhibition | Our Future

我们的未来

Our Future

2022 年 11 月 30 日至 2023 年 1 月 7 日，独立映像艺术空 间推出群展《我们的未来》。

From November 30, 2022 to January 7, 2023, Independent & Image Art Space is glad to present a group exhibition “Our Future”.

艺术可以表达一系列令人惊叹的多样化和引人注目的观点， 捕捉人类的韧性和对更光明未来的无畏希望，加深我们对 相互联系的深刻认识，增强对平等、正义和包容的强烈渴望， 以及对自然之美及其维持所有生命力量的敬畏感。 此次展览上，来自多个国家的艺术家分享了他们对未来的 看法，回应了这一问题：疫情之后展开的“新常态”背景下， 未来在我们的计划和恢复过程中会是怎样的？ 参展艺术家：阿德里亚娜·库克拉、AVE22、陈锦麟 Bobby Kim Ling Chen、乔治·杰拉尔迪、亨利·克莱门 、让·舍 鲁尼、拉莱斯·佩特罗斯、Lee Ellis、梅特·戈麦斯 - 莫 利纳、米里亚姆·库尔曼、Palirina、Pelulya、彼得·惠 腾 伯 格、 西 格 琳 德· 维 尼 尔、Szilágyi Imola Nelli SINA、许亚敏 Yamin Xu、Yuho

Art can express a stunning array of diverse and compelling perspectives capturing humanity’s resilience and undaunted hope for a brighter future; a profound awareness of our interconnectedness; a deep aspiration for equality, justice, and inclusion; and a sense of awe for nature’s beauty and its power to sustain all life.

The artists in the show are from several countries and have shared their views and suggestions about the future by answering the question: within the context of the “new normal” that has unfolded post-COVID-19, and as we plan and re-build to recovery, what will the future look like?

Participating artists: Adriana Kukla, AVE22, Bobby Kim Ling Chen, Giorgio Gerardi, Henry Clemin, Jean Cherouny, Lales Petros, Lee Ellis, Mayte Gomez-Molina, Miriam Kurman, Palirina, Pelulya, Peter Whittenberger, Sieglinde Verniers, Szilágyi Imola Nelli - SINA, Yamin Xu, Yuho

参展艺术家 Artists 阿德里亚娜·库克拉 Adriana Kukla

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米里亚姆·库尔曼 Miriam Kurman

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AVE22

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Palirina

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陈锦麟 Bobby Kim Ling Chen

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Pelulya

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乔治·杰拉尔迪 Giorgio Gerardi

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彼得·惠腾伯格 Peter Whittenberger

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亨利·克莱门 Henry Clemin

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西格琳德·维尼尔 Sieglinde Verniers

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让·舍鲁尼 Jean Cherouny

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Szilágyi Imola Nelli - SINA

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拉莱斯·佩特罗斯 Lales Petros

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许亚敏 Yamin Xu

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Lee Ellis

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Yuho

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梅特·戈麦斯 - 莫利纳 Mayte Gomez-Molina

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阿德里亚娜·库克拉 Adriana Kukla

药店分布在巴西的各个角落。2022 年初我的母亲离开了我，在她的末期癌症治疗过程中，每天要服用 14 种药物。 我们的预期寿命不断延长，但其代价是什么，在什么样的条件下获得延长？我们渴求的是什么？人类未来需 要依赖的是药物吗？ In Brazil, currently on every corner we find a pharmacy. I lost my mother at the beginning of 2022 and in her final cancer treatment she was taking 14 medications a day. We have our life expectancy increased on their own, but at what cost, under what conditions? What are we hungry for? Does our future depend on medicines?

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2022 渴望什么，摄影 Hungry for what 2022, photography 10

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风景、自然、日常主题的摄影一直让阿德里亚娜·库克拉着迷，2015 年起她开始更加深入地走进这些主题。曾就读 Solar do Rosário 和 Escola Portfolio，参加过多场讲座和工作坊。她的摄影作品曾在 Espaço Itaú de Cinema 开幕活动上展出（2017 年 1 月 和 2018 年 1 月）； 在 Curitiba Winter Festival 摄 影 竞 赛 中 呈 现（2017 年 7 月）； 获 得 Curitiba Municipal Market 摄影竞赛一等奖（2017 年 3 月）。知名摄影杂志 Fotografe Melhor – Editora Europa 曾发表其作品（2016 年 9 月 和 2018 年 12 月）。2019 年她获得 BPS 竞赛的荣誉提名；2021 年作品参加在 Mosaico 摄影画廊举办的群展《观疫情》。阿 德里亚娜的作品被众多客户及友人展示收藏。 Adriana Kukla has always been enchanted by landscape, nature and everyday photography, but it was only in 2015 that she began to dedicate herself more deeply to the subject. She studied at Solar do Rosário and at Escola Portfolio in addition to participating in lectures and workshops. She had her photos displayed at the opening of sessions at Espaço Itaú de Cinema (January 2017 and January 2018), highlights in the Photography Competition of the Curitiba Winter Festival (July 2017) and in the 1st Photographic Contest of the Curitiba Municipal Market (March 2017 ). Had photos published in the prestigious magazine Fotografe Melhor – Editora Europa (September 2016 and December 2018). In 2019 she received an Honorable Mention in the BPS Contest. In 2021 she participated in the collective exhibition “Olhar sobre a Pandemia”, at galeria Mosaico in Vitoria -ES. Some photos of Adriana also illustrate pictures on the walls of friends and customers.

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AVE22

希望，数字艺术，7000 x 6000 pixel, 2022 Hope, Digital, File, 7000 x 6000 pixel, 2022 14

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我的作品试图去探讨我们是谁、我们与其他物种有何不同的问题。因为我认为，如果我们找到这些问题的答案，那么就能够改善人 类所生活的世界。 过去几年我们经历了疫情，现在战争把世界的一大部分卷入其中。这种情况下人们难以保持乐观，然而依然需要克服困难，让生活 继续。 In my works I am trying to ponder on who we are and what differs us from other species.

I assume that if we find an answer to this question, we will be able to improve the world we live in.

In the past years we have come through the pandemic and now a large part of the world is involved in a war. It is hard to be optimistic in this setup; yet, we need to overcome these disasters and move on.

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1978 年 生，2020 年 开 始 艺 术 生 涯。 展 览 记 录 有： 2022 年 2 月在俄罗斯莫斯科举行的群展 Snezhana Syndrome；2021 年 11 月 在 俄 罗 斯 莫 斯 科 Street Culture Gallery 举行的个展。曾获得 2022 年 4 月 Fighting Corruption with Art 入 围 者，2021 年 11 月 SuperStART Contest 获奖者。 Born September 13, 1978. Started an artistic career in 2020. Exhibitions: February 2022 – Snezhana Syndrome (Group Exhibition) – Moscow, Russia; November 2021 – Street Culture Gallery (Personal Exhibition) – Moscow, Russia. Contests: April 2022 – Fighting Corruption with Art (by Amnesty International) – Finalist; November 2021 – SuperStART Contest – Winner.

衣橱里的星夜，数字艺术，7000 x 6000 pixel, 2022 Starry Night in a Wardrobe, Digital, File, 7000 x 6000 pixel, 2022 18

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陈锦麟 Bobby Kim Ling Chen Bobby 展出的两件作品表现出他对衍生艺术的喜 爱大于绘画；在过程中，它们会使用到相似或超 越于 Adobe，PowerPoint 等等的图像处理和展示 软件。还有经常出现在 Bobby 作品中的元素也 包含在此作品里：（1）光（闪亮 / 对比）；（2） 空间（深度和三维）；（3）时间（比如《团聚》 的静态和《旅行》的动态）。 In the artworks submitted, Bobby favors derivative arts over painting, using similar image processing and presentation software such as Adobe, PowerPoint, and beyond. Bobby’s normal elements in artworks were also met: (1) Light (e.g., shining/contrast); (2) Space (e.g., depth, 3D); (3) Time (e.g., still in “Reunion”, and motion in artwork “Travel”).

团聚，生成和衍生技术，数字艺术，1080 x 1920 pixels，2022 Reunion, Generative and Derivative Technique, Digital Arts, 1080 x 1920 pixels, 2022 20

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旅行，增强现实（AR），数字艺术，1080 x 1920 pixels，2022 Travel, Augmented Reality (AR), Digital Arts, 1080 x 1920 pixels, 2022 22

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Bobby 是一位“端到端”的数字艺术家（他亲自完成各项工作），擅长图像和影像处理、数字生成和衍生艺术等，运用多样化的方法、多 种软件和技术让自己的创意在作品上衍生出来。 就风格和主题而言，Bobby 喜欢色彩丰富的事物。虽然他的部分作品拥有相似的主题，但是他相信“想象无边界、艺术无极限”，包括把 数字科学注入作品创意的呈现过程之中。 Bobby 认为，大多数艺术品的存在是因为艺术家想要向他人“表达”自己的感受。近年来，数字科学的快速发展为艺术家“表达”个人感 受增添了更多的方式和技术，这或许也正是传统艺术所缺乏的。这些更为先进的技术涉及使用 AR、多媒体（比如视与听的多媒体）、网站、 3D 建模、元宇宙等。在传统艺术之上应用数字科学形成了一种被称为“数字艺术”的混合体，许多人认同的意思为 “将数字技术用于创 意品上或者在创作或展示过程中采用数字技术的艺术作品”。然而， Bobby 认为目前数字技术大多被用在创作的过程上，而在艺术的展示 上用得还不够多。 Bobby 还认为，把数字科学引入艺术世界最终会改变未来人们如何欣赏艺术的方式，特别是在艺术的实物范围和相关展示方面。比如说， 表达将不再受限为创意品本身，还可能在框架外增加额外的参与、互动、介入等元素，展示或许可以在科技的帮助下“延伸”到最初创意 品的范围之外，出现在手机、VR 眼镜等等“数字设备”上。 Bobby is an “end-to-end” digital artist (who does all the works himself) with specialised skills in image/video processing, digital generative and derivatives arts, etc., using diversified methods, multiple software, and techniques to derive his creatives.

In terms of style and themes, Bobby likes colourful stuff. Although some of his works may carry similar themes, he believes “while imagination has no border, art has no limit”, and that includes injecting of digital science into the presentation process of the creatives.

Bobby believes that most artworks existed due to the intention of the artist to “communicate” his/her feelings to others. In recent years, the rapid advancements in digital science may have added more venues and techniques for an artist to “communicate” his/her feeling, which may otherwise be lacking in traditional arts. These more advanced techniques could include using AR, multimedia (e.g. Audiovisual), website, 3D modelling, metaverse, etc., This application of digital science on traditional arts created a hybrid known as “Digital Arts”, which is understood by many as “artistic work or practice that uses digital technology as part of the creative or presentation process”. However, in Bobby’s opinion, whereas digital technology is mostly used on the creative process, it is currently underutilised in its use on the presentation.

Bobby further believes the introduction digital science into arts would eventually bring about a paradigm switch as to how arts would be appreciate in the future, particularly in its physical form and related presentation. For one and for example, expression may no longer need to be confined to the creative itself as additional elements of surprise, participation, interaction, engagement, etc., may now be “extended” outside the realm of the original creative with the help of technology onto other “digital devices” such as mobile phones, VR glasses, etc.

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乔治·杰拉尔迪 Giorgio Gerardi 未来如同过往，持续发生，就像云一样；云一直让我着迷， 它持续不断的变化提醒我现实正在不断形成。云没有形状， 它的时时变幻不循环往复、不循规蹈矩。它轻盈而独特； 无法捕捉，不能触碰，它保持着不被定义、不被划分。 The future will be like the past, a continuous becoming, like clouds, which are a subject that has always fascinated me; they are something that changes constantly, to remind us of the continuous becoming of reality. They are something that has no shape of its own, but changes moment by moment, in ways that are always different and unrepeatable. They are light, elusive. They cannot be grasped, they cannot be touched, they remain something indefinite, almost unclassifiable.

2022 年 8 月 12 日，11.50（v.18 细节 1），图像，15000×10000 pixel，300dpi, 2022 12 August 2022, 11.50 (v.18 detail 1), image, file, 15000×10000 pixel, 300 dpi, 2022 26

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2022 年 8 月 12 日，11.50（v.18 细节 2），图像，15000×10000 pixel，300dpi 12 August 2022, 11.50 (v.18 detail 2), image, file, 15000×10000 pixel 300 dpi 28

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乔治·杰拉尔迪生活在意大利威尼斯的 Favaro Veneto。20 岁起自学艺术，开始其摄影探索之路。热爱 19 世纪末、20 世 纪初的先锋派艺术，以及极简主义的各个流派和观念艺术。这些艺术流派最吸引他的原因在于，它们关注视觉媒介的分析， 不仅仅是像我们熟知的艺术和摄影史那样呈现现实。近年来乔治关注周遭生活环境的细节：云朵、树叶及日常物品。 I live in Italy, in Favaro Veneto (Venice), Italy. Around the age of twenty, I approached the study of the History of Art, as an autodidact, and I began my personal photographic research. I got fascinated by the artistic Avant-garde of the late Nineteenth and early Twentieth centuries, and also the currents of Minimalism and Conceptual Art. All these artistic phenomena attracted me mostly because they focused on the analysis of the visual medium, than to the staging of reality and its representation, as the history of Art and Photography had instead accustomed us. In recent years, I have focused on some details of the environment around me: clouds, leaves and everyday objects.

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亨利·克莱门 Henry Clemin

新冠起初轻松传遍世界，之后在物理隔离当中人们的生活由数字轻松驱动，无不体现出当今世界紧密相连。还有全 球文化在屏幕背后的顺畅交流，由此创造了新的“数字跨文化”（digital inter-culture）。 The initial ease at which Covid spread around the world and then our digitally-driven lives in physical isolation, highlighted how globally interconnected we are. And more so, how our global cultures are interchanging fluidly behind the screen, and in doing so create a new “digital inter-culture”.

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结局、变化、过度、转变，数字墨水，1800 x 1200 pixel，2022 Endings, change, transition, transformation, Digital ink, 1800 x 1200 pixel, 2022 34

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亨利·克莱门，观念艺术家，目前居住在英国， 曾经在中国生活。他的艺术创作围绕文化如何形 成和消失而展开。 Henry Clemin is a conceptual artist based in the UK. Having lived in China and the UK, his practice centres around how cultures form and dissolve.

“如果人不是有意识地做出内心决定，命运会成为它的外 在显现。”——卡尔·荣格 “When an inner decision is not made conscious, it appears outside as fate” – Carl Jung

达尔文关系，数字墨水，1080 x 1080 pixel，2022 Darwinian Relations, Digital ink, 1080 x 1080 pixel, 2022 36

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让·舍鲁尼 Jean Cherouny

未来是不确定的。技术存在将定义我们成为什么。从有机角度，我看到一种源自现代进步的新生命形式。 The future is uncertain. We will define what we become by our technical existence. In an organic vision I see a renewed life form that came from our modern advances.

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视野优势，抽象轮滑绘画，布面丙烯，234x157cm，2021 Horizon Advantage, Abstract Rollerblade Painting, Acrylic on canvas, 234x157cm, 2021 40

路标，轮滑绘画，布面丙烯，234x157cm，2021 Road Signs, Rollerblade Painting, Acrylic on Canvas, 234x157cm, 2021 41

多年来，运动和创造始终是让·舍鲁尼感兴趣的事。小学时她跳芭蕾。常年滑滑板、骑自行车、滑雪、打篮球、踢足 球让她对“脚部运动”倍感熟悉。对运动的热爱让她痴迷如何通过头脑和身体把绘画和运动结合起来、成为艺术。大 学期间她为毕业论文创作了关于未来自行车手的大幅画作，这让舍鲁尼在绘画中发现了自己的视觉表达。“用轮滑游 戏颜色的过程中速度让我疯狂。”舍鲁尼 2018 年创作的第一幅大尺寸轮滑绘画，以及小幅的“轮子作品”都没有使 用画笔。她的作品色彩亮丽、视觉灵动，给观众和艺术家同行持续的启发。舍鲁尼在美国佛蒙特大学获得艺术教育学 士学位，她还是一位有竞争力的滑雪者。2010 年在佛蒙特大学获得艺术硕士学位。她曾在美国和欧洲展出艺术创作； 在世界多地画画，目前与伯灵顿城市美术馆合作在公共空间展示其艺术品。 Moving and making have interested Jean Cherouny for decades. When she entered grade school she was a ballet dancer. She is familiar with “feet movement” from her years of skateboarding, biking, skiing, playing baseball and soccer. Her kinesthetic interests left her curious about how her mind and body bring paint and sport together and call it fine art. In college, where she created large futuristic bike racers for her senior thesis, she began to discover her visual voice in paint. “Speed pushes me to the brink while using my rollerblades to play with colors”. Jean’s large-scale rollerblade paintings, first executed in 2008, as well as smaller-scale “wheel work,” all go beyond the brush. They are brightly colored, visually dynamic, and enduringly inspiring to viewers and fellow artists. Jean studied at the University of Vermont for a BS in Art Education, where she was also a competitive skier. She earned her MFA from Northern Vermont University in 2010. She has shown her work in juried and commercial shows in America and Europe. While Jean paints all over the world, she currently exhibits her art in public spaces with Burlington City Art Gallery.

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拉莱斯·佩特罗斯 Lales Petros

《时间旅行者》这幅数字图像作品探问了数字化时代个性和自省的本质，以及在广阔宇宙之中体现这一本质的事件的短暂价值。此外，照 片能把信息在几代人间传递下去，凝结此刻、揭示过往，但在这里它被一种自我的永恒表现打断。关乎个体性的位置概念消失了，图像就 像一张平铺的世界地图。对落伍的人而言，科技进步有许多残酷的想法。空间从自我的边缘开始并终结；时间正在日渐减少的互动缝隙中 消失。 “The Time Traveler” is a digital picture that questions the nature of character and self-reflection in the era of digitalization and the ephemeral valuing of the events it represents inside our vast universe. At the same time, the ability of the photograph to transfer information through generations, forming our present and revealing our past, is here interrupted by a timeless representation of one’s self. The idea of location, thus individuality, has vanished, similar to a two-dimensional unwrapped map of the earth. The technological advancements have turned into a field of cruel ideas in the eyes of those who are left behind. Personal needs have been transformed into ideologies trying to survive in their uninhabitable society. Space is starting and ending at the edges of one’s self, and Time is vanishing between the gaps of declining interactions.

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时间旅行者，数字摄影，收藏级喷墨打印，94x61cm，2018 The Time Traveler, Digital Photography, Archival Inkjet Print, 94 x 61 cm, 2018 46

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拉莱斯·佩特罗斯，生活在纽约的跨界艺术家。他的近作聚焦神话和个性之间的互动对文化现状的塑造。他分别从美国 纽约视觉艺术学院和希腊雅典艺术学院获得艺术硕士和学士学位。曾获得杰伦德利斯基金会奖学金，视觉艺术学院宝拉 罗德斯纪念奖，摄影、影像及相关媒介艺术硕士突出成绩奖爱丽丝·贝克 - 奥黛特奖学金。其作品在纽约、希腊、波兰 等世界多地展出。纽约的 A.I.R 画廊、 Greenpoint 画廊、AAA3A、O’Flaherty’s 艺术画廊和 SoMAD 工作室展出过拉 莱斯的作品。他还在多个艺术节上展出过自己的作品，其中包括 Re: Karya 国际影像艺术节、Miden 影像艺术节和雅典 影像艺术节。 Petros Lales is an interdisciplinary artist based in New York City. His latest work investigates how interactions between mythology and personality shape our cultural realities. He received his MFA from the School of Visual Arts, New York, and his BFA from the Athens School of Fine Arts, Greece. He is the recipient of the Gerondelis Foundation scholarship, the School of Visual Arts Paula Rhodes Memorial Award, and the Alice Beck-Odette Scholarship for Exceptional Achievement in MFA Photography Video and Related Media. His work has been shown internationally, including in New York City, Greece, and Poland. Lales has exhibited his work at various New York venues, including A.I.R Gallery, Greenpoint Gallery, AAA3A, O’Flaherty’s Art Gallery, and SoMAD studio. His work was presented at several festivals, including the Re: Karya International Video Festival, Video Art Festival Miden, and Athens Video Art Festival.

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Lee Ellis

对我来说最棒的回忆是那些最微小的细节： 妈妈汽车的声音、集市上食物的味道。我想 许多人有同感，然而世界总是不断向我们抛 来太多看起来不错、细看却截然不同的事物。 For me some of my greatest memories are the smallest details, the sound of my mother car, the smell of food at the Fair. I think many people have this same feeling, however the world constantly bombards us with an overload of things that seem great but upon closer look wasn’t what we thought at first.

大多数黑人国王创造了遗产，拼贴，布面便利贴，97x97cm，2022 Most Black Kings Create A Legacy, Collage, Post it note on canvas, 97x97cm, 2022 50

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新常态，拼贴，布面便利贴，97x61cm，2022 The New Normal, Collage, Post it note on canvas, 97x61cm, 2022

我把“享受小事”的想法放到作品中。拥抱群体的力量；让观看者能够近距离地观看并暂停片刻。 I attempt to bring this notion of “enjoying the little things” within my work. Embracing the power of the collective as one.

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我是一位在法国生活的美国艺术家。起初画粉笔壁画，为户外艺术节和博物馆绘制大型作品。2020 年起转向公共艺术成分更少 的艺术创作，小幅作品很吸引我。居家隔离期间开始创作的系列作品中，我把几百张便利贴和个人手绘放在画布上。前往法国 之前我在家乡克利夫兰参加了第一个群展，作品曾在 Voyage Ohio 和一本加拿大艺术杂志上发表。我希望和更多的人分享作品， 让新环境影响我的创作。 I am an American Artist currently living in France. Started working primarily as a chalk muralist creating large scale works for outdoor festivals and museums. I transition to create a less public art practice around 2020 where I found myself drawn to smaller works. After being forced inside during Quarantine I started creating a series of works now where I put hundreds of post it notes with individual drawings on to a canvas. Having my first group show being in my hometown of Cleveland before I left for France and being published in Voyage Ohio and a Canadian contemporary art magazine, I’m excited to share my work with more people and letting my new environment shape my work.

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梅特·戈麦斯 - 莫利纳 Mayte Gomez-Molina 我的视觉艺术作品主要是绘画和版画，探讨 和语言相关的线条、形状和模式。它们作为 语言“建筑”和抽象“领地”被系统地重构。 我选择手写，因为它是一种不固定的绘画实 践，以此揭示阅读和观看之间可进行互换的 关联。 My visual works are drawing and printmaking investigations into the lines, shapes, and patterns of language. These works are methodically reconstructed as language architectures and territories of abstraction. I choose handwriting as an unfixed drawing practice to show the interchangeable links between reading and seeing.

玻璃碎了 迭代 1，3D 静图，124.4x70cm，5 个限量版 Broken( 玻璃碎了 ) iteration 1, 3D still image, 124.4 x 70 cm, Limited edition of 5 56

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未来不会一天形成的。未来已经在发生，每 一天都在发生。 我认为科技带给人们许多益处，但同时不少 精心设计的设备和网站让我们看得停不下来， 沉迷其中，开始用科技教导我们的方式去观 看这个世界。 The future is not something that will come one day. The future is happening already, every day.

I believe that technology has many good things to offer to us, but also many devices and websites are designed so we don’t stop looking at them. Therefore, we become addicted, and start seeing the world as technology is teaching us to see it.

玻璃碎了 迭代 2，3D 静图，124.4x70cm，5 个限量版 Broken( 玻璃碎了 ) iteration 2, 3D still image, 124.4 x 70 cm, Limited edition of 5 58

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《玻璃碎了》，包含五张图像的系列作品，灵感来自将身体看作谜题的想法。身体被扭曲、分裂、打碎，看起来残缺不全、支离破碎，但 是依然有一双人的眼睛在看着我们。这些数码科学怪人式的人物在寻找一个外部的旁观者，把他们的身体重新组接起来，拼合成原来的样子。 这些图像的灵感来源于：在社交媒体和数字空间内身份被打破、变得多样，许多人注视着我们，让我们难以成为自己心目中的样子。 Broken ( 玻璃碎了 ) is a five-image series inspired by the idea of the body as a puzzle. Distortion, fragmentation, and shattering have happened to bodies that now appear incomplete and divided, yet they still look at us with human eyes. Digital Frankenstein’s, these figures are searching for an outside spectator that brings their pieces back together, waiting to be whole again. These images are inspired by the way identity is broken and multiple in social media and digital spaces, and how hard it is to become who we want to be when so many people are looking at us.

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玻璃碎了 迭代 3，3D 静图，124.4x70cm，5 个限量版 Broken( 玻璃碎了 ) iteration 3, 3D still image, 124.4 x 70 cm, Limited edition of 5 62

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玻璃碎了 迭代 4，3D 静图，124.4x70cm，5 个限量版 Broken( 玻璃碎了 ) iteration 4, 3D still image, 124.4 x 70 cm, Limited edition of 5 玻璃碎了 迭代 5，3D 静图，124.4x70cm，5 个限量版 Broken( 玻璃碎了 ) iteration 5, 3D still image, 124.4 x 70 cm, Limited edition of 5 64

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另一件作品只包含一幅图像，名叫《新殉道者》。它模仿 了卡拉瓦乔的油画《亚历山大圣凯瑟琳》，图中一位女性 为了她所坚信的事物而死去。在我对卡拉瓦乔油画的重新 演绎中，圣人被新的诱惑所包围（比如粉丝和数字世界中 的其他事物），她必须保持坚强才能不被其他人所愚弄。 The other work is a single image work called New Martyrs, a picture that imitates a picture by Caravaggio called Saint Cataline of Alexandria, a woman who died because of the things she believed in. In my interpretation of Caravaggio’s work, the saint is surrounded by new temptations (likes, followers, and other things of the digital world) and must be strong to don’t be fooled by them.

新殉道者，3D 静图，250×140.6cm，3 个限量版，2022 New Martyrs, 3D still image, 250 x 140.6, Limited edition of 3, 2022 66

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梅特·戈麦斯 - 莫利纳 1993 年生于西班牙马德里，新媒体艺术家、作家，其艺术创作以 3D 动画、VR 和数字影像挪用主 义为基础，将它们作为延展诗歌的工具。她的作品主要探讨作为政治主体的身体和作为社会协议的认知，曾在超新星数字 艺术节（美国丹佛）、未来身体研讨会（美国弗吉尼亚）、VII 帧率和频率展（美国马里兰）和塔巴卡莱拉媒体中心（西 班牙）、La Casa Encendida（西班牙）、AIFA 人工智能会议（卢森堡）等展览上展出。梅特凭借她获得的富布赖特奖学金， 在芝加哥艺术学院完成了电影、影像、新媒体和动画方向的艺术硕士学习。目前在德国卡尔斯鲁厄理工学院担任研究员和 动画师。 Mayte Gomez-Molina (Madrid, 1993) is a Spanish new media artist and writer whose practice is based in 3D animation, VR and digital video appropriationism as tools for expanded poetry. Her work explores the body as a political subject and perception as a social agreement. Her work has been exhibited in the Supernova Digital Art Festival (Denver, US), the Future Bodies Symposium (Virginia, US), the VII Frame & Frequency Show (Maryland, US) and at Tabakalera Media Center (Spain), La Casa Encendida (Spain), AIFA Artificial Intelligence conference (Luxembourg). Thanks to a Fulbright Scholarship, she did her MFA in Film, Video, New Media and Animation at the School of the Art Institute of Chicago. She is currently working as a researcher and animator at Karlsruhe’s Institute of Technology.

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米里亚姆·库尔曼 Miriam Kurman

《在模糊的失落与渺茫的希望之间 No.1》，油画和素描，丙烯、蜡笔、 墨、石墨、纸张，30.48×22.86cm，2021 Between Ambiguous Loss and Tenuous Hope, No. 1, Painting/ Drawing, Acrylic, China marker, ink, graphite on paper, 30.48×22.86cm, 2021 70

《在模糊的失落与渺茫的希望之间 No.2》，油画和素描，丙烯、蜡笔、 墨、石墨、纸张，30.48×22.86cm，2021 Between Ambiguous Loss and Tenuous Hope, No.2, Painting/ Drawing, Acrylic, China marker, ink, graphite on paper, 30.48×22.86cm, 2021 71

《在模糊的失落与渺茫的希望之间》探索了一个高能量的世外桃源般的空间。作品让人感到不安，同时也是一种邀请。油画和素描的结合 让作品产生模糊的负空间，营造出错位感。 在这些严肃紧张、有动感的作品中，鸟的形象不自觉地出现了，在明处或者被负空间稍微遮蔽。偌大的城市陷入不寻常的寂静，街上的噪 音听不到了，鸟叫声成了每天的主角。人们失去地越来越多，而这个对自然世界的普通提示给人以希望，尽管希望是渺茫的。 “Between Ambiguous Loss and Tenuous Hope” explores an otherworldly space of highly charged energy. My work unnerves and invites.

Mixing painting and drawing it often evokes ambiguous negative spaces to create a sense of dislocation.

What unconsciously emerged in these intense, kinetic works were glimpses of bird imagery, in light or slightly shaded negative space.

In the unnatural silence of a great city without its usual street noise, the sounds of songbirds became a prominent daily occurrence. As losses escalated, this reminder of the natural world prevailing gave hope, however tenuous.

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《在模糊的失落与渺茫的希望之间 No.5》，油画和素描，丙烯、蜡笔、 墨、石墨、纸张，30.48×22.86cm，2021 Between Ambiguous Loss and Tenuous Hope, No.5, Painting/ Drawing, Acrylic, China marker, ink, graphite on paper, 30.48×22.86cm, 2021 74

《在模糊的失落与渺茫的希望之间 No.6》，油画和素描，丙烯、蜡笔、 墨、石墨、纸张，30.48×22.86cm，2021 Between Ambiguous Loss and Tenuous Hope, No.6, Painting/ Drawing, Acrylic, China marker, ink, graphite on paper, 30.48×22.86cm, 2021 75

米里亚姆·库尔曼，视觉艺术家，生活在纽约。曾就读罗德岛艺术学院；以优异成绩获得纽约布鲁克林普拉特学院的艺 术学士学位，在那里以工作室学者身份获得认可，并获得福特基金会的资助。 库尔曼将于 2023 年参加在韩国 CICA 博物馆举行的展览。她的作品曾在纽约美极佩顿画廊、斯坦哈特中心、艺术犹太教 堂、Just Above Midtown/Downtown 等地展出。作品展出过的地方还有：里奥格兰德大学 Esther Allen Greer 博物馆、 迈诺特州立大学加州大学洛杉矶分校约翰·安德森管理研究生院、布卢姆斯堡大学、卡泽诺维亚学院、纽约诺斯波特画廊、 肯塔基州莫尔黑德州立大学、佛蒙特联合学院与大学、布里斯托艺术博物馆、阿巴拉契亚州立大学、哈德逊高地博物馆、 纽约罗克兰艺术中心。 曾参加在斯坦哈特中心、帕伦维尔艺术中心、康明顿艺术社区、米尔斯艺术疗愈、尤克罗斯基金会、伍德斯托克艺术学 院等地举办的艺术驻留项目。 《纽约时报》《新闻日报》《观察家》《列克星敦先驱导报》等出版物评论过库尔曼的艺术。 Miriam Kurman is a New York based visual artist. She attended the Rhode Island School of Design and received a BFA with Honors from Pratt Institute in Brooklyn, NY where she was distinguished as a Studio Scholar and awarded a Ford Foundation Grant.

Kurman will be in an upcoming exhibition in 2023 at the CICA Museum in Gimpo-si, South Korea. Her work has been exhibited in New York City at the Maggi Peyton Gallery-Manhattan Borough President’s Office; the Makor/ Steinhardt Center of the 92nd Street Y; Synagogue for the Arts; and Just Above Midtown/Downtown. Other exhibitions include: The Esther Allen Greer Museum at University of Rio Grande, OH; The John E. Anderson Graduate School of Management at UCLA, Minot State University, ND; Bloomsburg University, PA; Cazenovia College, NY; Northport Galleries, NY; Morehead State University, KY; Vermont College of Union Institute & University, VT; Bristol Art Museum, RI; Appalachian State University, NC; Museum of the Hudson Highlands, NY; and Rockland Center for the Arts, NY. Artist in Residence programs include: Makor/Steinhardt Center of the 92nd Street Y, NYC; Palenville Interarts, NY; Cummington Community of the Arts, MA; N.Y. Mills Arts Retreat, MN; Ucross Foundation, WY; and the Woodstock School of Art, NY. Kurman has been reviewed in the New York Times; New York Newsday; the Observer, Long Island, NY; and the Lexington Herald-Leader, KY, amongst other publications.

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Palirina 作为艺术家我感兴趣的领域是生态议题，在现代世界 维护人类价值，以及人与人之间的相互帮助。 My field of interest as an artist is ecological issues, the preservation of human worth in the modern world, and mutual assistance between people.

传送带，影像（实体作品的动画），高清影像 2886×3852 像素，30fps，时长：1 分 11 秒，2022 Conveyor, video (the animation of physical artwork), high resolution video 2886×3852 px, 30fps, duration: 1 minute 11 seconds, 2022 78

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作为环保主义者，我会尽量减少艺术创作过程中的浪 费。所有可能出现的遗留物都会被我转变成新画作的 组成部分，包括难以回收的微电子零件。 According to my position as an environmentalist I minimize the waste of the creative process. All possible leftovers are transformed by me into components of new paintings. Including parts of microelectronics, which are difficult to recycle.

眼睛，影像（实体作品的动画），高清影像 2722×2758 像素，30fps，时长：19 秒，2022 Eyes, video (the animation of physical artwork), high resolution video 2722* 2758 px, 30fps, duration of 19 seconds, 2022 80

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Palirina 1982 年生，目前在白俄罗斯明斯克工作生活。其作品采用拼贴、组合、综合媒介的手法探讨生态、新科技以及未 来人类生活场所的问题。她是一位环保主义者。其作品曾在二十多场展览上展出，获得过三个国际奖项。 Irina Safronova, aka Palirina, was born in 1982. She lives and does creative work in Minsk, Belarus. Irina works in collage, assemblage and mixed media on such topics as ecology, the latest technology and man’s place in the future. She is an environmentalist. Took part in more than 20 international and national exhibitions, was awarded 3 prizes of international competitions.

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Pelulya

别让我闭嘴，综合媒介，20x28cm，2022 Don’t Shut My Mouth, mixed media, 20x28cm, 2022 84

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未来的世界将是一个更清洁、更自然的地方，家庭和自然 创造物将以不可预测的方式混合在一起，以抵御人和现代 社会生活的痛苦，因为任何疾病都可以通过一次不精准的 飞行传播到世界各地。 In the future world would be a cleaner and more natural place where the domestic and nature creations would mix up in unpredictable ways to stand up against the pain of the people and modern social life where any disease can spread all over the world with just one inaccurate flight.

天然溶液，综合媒介，20x28cm，2022 The Natural Solution, mixed media, 20x28cm, 2022 86

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Pelulya 是一位 25 岁的综合媒体艺术家，Pelulya 是她的艺名，已经持续创作了 5 年。童年起她就生活在富有创造力 的家庭环境之中：目前是一位时尚设计师，父亲写诗，妹妹画画。她发现艺术离她也很近，只是有很长一段时间找不 到属于自己的方向。她学过芭蕾，画过画，之后尝试了摄影，这让她驻足。她喜欢摄影的多种视觉技巧、创作优势， 当然还有摄影美学。 她持续把新技术融入作品之中，但感觉欠缺了什么……Pelulya 开始将真实的物品加入其中。将数码和事物相融合，让 她进入一个新的层次，开启了通向自由和独创的新道路。这种综合媒介帮助她为将自己的作品分层，并且更赋创意地 表达她的思想和最深切的情感。 每件作品都以独特的方式唤起了人们在日常生活中通常不会体验到的情感。它们吸引眼球，让观众看到艺术家世界的 每一个细节和角度。Pelulya 通常更喜欢在作品中使用模具和日常物品，但有意思的是她把自己放入每件作品之中，不 仅是思想上的，还是实体上的，以此将观看者和艺术家联系地更为紧密。 Polina Abramova is a 25 years old mixed media artist known by pseudonym Pelulya has been creating art for 5 years. She was surrounded by a creative environment from her early childhood, her mother was a fashion designer, her father wrote poetry, her sister painted, she discovered that art was also close to her, but for a long time she could not find a direction to her liking. Polina studied ballet, painted pictures, then tried shooting in photography and stopped there. Photography fascinated her with a variety of visual techniques, the consumption of benefits and, of course, aesthetics.

She continues to incorporate new techniques into her projects, but something was missing… Pelulya began adding physical objects to her works. With the merging of digital and physical, Polina reached a new level, opening a whole new path for freedom and ingenuity. By mixing media like this it allows her to layer her works and more creatively express her thoughts and deepest emotions.

Each work uniquely evokes emotions not typically experienced in the day to day. They captivate the eye and make the viewer look at every little detail and angle of the artist’s world. Pelulya often prefers to use stencils and everyday objects in her works, but the most interesting inclusion is her personal presence in each work; not only mentally, but physically, which connects the viewer to the artist in a much more closer way.

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彼得·惠腾伯格 Peter Whittenberger

所有可能的未来，动画，3 分 51 秒，2019 All Possible Futures, animation, 3'51'', 2019 90

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景观象征着指引当代叙事的永恒历史。惠腾伯格借此象征提出景观是一个网络的隐喻，沿着各个物种的无数条时间线存储和移动数据。景 观的网络既反映出宏观过程的影响，比如进化，又反映出微观过程的影响，比如战争、移民和发展。展出的作品通过景观的故事探讨了众 多宏观和微观关系。惠腾伯格的意图是去接纳令人压抑的无能为力，理解时间的永不停歇、空间和材料与此时此刻的关系。 The landscape is a symbol of timeless histories directing contemporary narratives. Whittenberger uses this symbolism to create metaphors of the landscape as a network, storing and moving data along the innumerable timelines of all species. The network of the landscape indexes the impacts of macro processes, such as evolution, and micro processes, such as war, migration, and development.

The work explores the myriad of macro/micro relationships throughout the story of the landscape. Whittenberger’s intention is to embrace the overwhelming inability to understand the ceaselessness of time, space, and material, in relation to the present.

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彼得·惠腾伯格，跨学科艺术家，他的作品探讨景观的特 质如何服务于延绵不断、包含所有大地物种数据的时间和 历史的网络。惠腾伯格在蒙大拿州东部长大，分别从蒙大 拿大学和内华达大学里诺分校获得艺术学士和艺术硕士。 他的作品曾在 FILE 艺术节、超新星数字动画节、雅典动画 节、卡内基艺术博物馆的两分钟电影节，以及世界其他地 方展出。 Peter Whittenberger is an interdisciplinary artist whose work explores how the nature of the landscape serves as a continuous network of time and history, containing the data of all Earth’s species. Growing up in Eastern Montana, Whittenberger received his BFA from the University of Montana, Missoula and his MFA from the University of Nevada, Reno. Whittenberger has shown his work in the FILE Festival, Supernova Digital Animation Festival, the Athens Animfest, the 2-Minute Film Festival at the Carnegie Museum of Art, and many others across the world.

我觉得我们迷失了，动画，2 分 02 秒，2022 I Believe We Are Lost, animation, 2'02'', 2022 94

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西格琳德·维尼尔 Sieglinde Verniers

未来会是怎样？我们永远不知道。是沙漠中孤 独的树？或者是新世界（电力设施）和我们的 自然（骆驼、沙漠风格）组合在一起？ 或许我们不需要以某种戏剧性的方式观看这些 图像。只需要欣赏自然之美，对我们的未来抱 着积极的态度。感受照片中的平和与安静。 How will the future be? We’ll never know.

Lonely trees in a desert landscape? Or a combination of the new world (electricity) with our nature (the camels, desert landscape).

Maybe we don’t have to look at those pictures in this dramatic way. We just have to admire the beauty of our nature and still think positive about our future. Just feel the calmness, stillness of those photos.

阿尔瓦特巴，数码印刷，哈内勒姆纸张，70x100cm，2021 Al Wathba, digital print, Hahnemühle paper, 70x100cm,2021 96

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几只骆驼和一棵树，数码印刷，哈内勒姆纸张，70x100cm，2021 Some camels and a tree, digital print, Hahnemühle paper, 70x100cm, 2021 98

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我是西格琳德·维尼尔，一位来自比利时的摄影师，多年前曾在美术学院学习摄影。现在我的两个孩子上大学了，我有了充足的时间去探 索我热爱的摄影和艺术。 我在阿联酋生活，这个国家非常美丽，有着完美的光线和优美的风景。我为什么关注风景？因为日常生活混乱吵闹，与此相对，我想探寻 令人舒缓的安静，传递出平静、广阔、安宁的感觉。 我希望人们在观看我作品的时候，能感受到镜头背后的我所经历过的那种内心平和。 风景唤起感受的力量，我们或许已经遗忘。这就是为什么，我不想用过多的色彩和物体干扰观众。让观众在作品中找到他们正在寻找的东西。 I’m Sieglinde, a Belgian photographer, who studied photography at an art academy some years ago. With both of my kids attending university, I now have all the time in the world to spend on my two passions, photography and art.

I live in the UAE, which I find to be a beautiful country with perfect light and landscapes. Why landscapes? In stark contrast to everyday chaos, I seek out the soothing quiet, aiming to convey feelings of tranquility, vastness and stillness.

I hope that when people look at my pictures, they experience the same inner calm I experienced behind the camera.

Landscapes have the potential to evoke feelings that we might have forgotten. This is why I prefer not to distract the viewer with an abundance of colours and subjects. My pictures allow the viewer to find exactly that which they are looking for.

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Szilágyi Imola Nelli - SINA

Szilágyi Imola Nelli - SINA 通过她的作品融合现代都市生活和超现实主义场景。因为对建筑现象感兴 趣，她在作品中探讨人们如何建立生活，建筑和现代生活方式在多大程度上能够体现人的意义，活着是什 么感觉等问题。进化让人类得以在大自然中的生活，但现在人类却不再居住在大自然中。在工厂制造出的 房屋、千篇一律的街道和零时居所环境中，人们如何体验生活？ Through her artwork Szilágyi Imola Nelli - SINA digests the depths of modern urban living with surrealistic scenes. Given an interest in the phenomenon of architecture, she debates how we create life and to what extent can architecture and modern lifestyle do justice to what it means to be human, what it’s like to be alive. Evolution tailored humanity for a life in nature, but it does not live in it anymore.

How do we experience life in an environment where factory made houses, self-repeating streets and temporary homes host us.

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滋养和遮盖，布面丙烯，300x200cm，2022 Ápol és Eltakar, acrylic on canvas, 300 x 200 cm, 2022 104

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Szilágyi Imola Nelli - SINA 1998 年生于匈牙利 布达佩斯，毕业于意大利米兰新美术学院。 Szilágyi Imola Nelli - SINA, born in Budapest, Hungary, 1998. Graduate of Nuova Accademia di Belle Arti Milano.

地下，布面丙烯，100x130cm, 2022 Underground, acrylic on canvas, 100 x 130 cm, 2022 106

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许亚敏 Yamin Xu

Iris，AI 机器人雕塑，3D 打印和电子元器件，2019-2021 Iris, AI robotic sculpture, 3D printing and electronics components, 2019-2021 108

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当计算心理学可以用来合成人格，人工智能和机器人技术如何影响我们的表达以及对自我身体的定义？作为一项旨在通过嵌入式人工智能 和可穿戴机器人质疑身体边界的实验，Iris 通过生物信号测量、面部表情识别和人工合成情绪被赋予了独立的感知和性格。Iris 的心理通 过一系列卷积神经网络（CNN）以及 PAD 模型来感知，体会和回应外部的触发。它的情感被通过基于物理模拟算法的合成动作表达出来，并 且反馈到周围的人。通过测量佩戴者生物信号的传感器，Iris 的情绪即会受到佩戴者感受的影响也会受到周围人们的表情的影响，由于它 与佩戴者有不同的性格，这种与佩戴者的某种心理联系和差异，仿佛表现出分裂的人格。在 Covid-19 期间，当我们的脸被口罩遮住时， 这个效果会得到进一步体现：Iris 就像一个高度专业化的人体器官，增强人类的表情。 当我们思考在不久的未来，如果表情增强不得不成为某种后疫情时代的新仪式时，这种具备独立情感能力的人造机器是帮助我们表达还是 掩盖或取代我们的真实感受呢？ Using emerging technology to replicate already existing art forms does not excite me. I strive to create and define new things, which have not been clearly perceived as art. This motivation is sustained by my rigorous art/engineering practice, which is informed by the convergence of divergent spheres of study: religion and science, privacy and surveillance, the robotic and organic. The result is an innovation, a feedback to affect and expand my understanding and definition of art. This process of exploration itself is art.

As an experiment designed to question augmented human expression by embedded AI and robotics, Iris is given independent perception and temperament by using biosignal measuring, facial expression recognition, and emotion synthesis. This temperament is expressed through motions that are generated in real-time. Emotions of the Iris are affected by the wearer’s feelings through sensors that measure the biosignal of the wearer. This ability to perceive and emote reflects both a certain connection and difference with the wearer as if showing a split personality. Giving different responses to others affects interpersonal interactions and relationships. These effects are heightened during Covid-19 when our faces are covered by masks, the Iris performs like a highly specialized organ to augment humans’ expression. Does the future technology enhance our expression or obscure our true feelings under the mask?

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亚敏（Yamin）是一位数字艺术家和电子极客，通过模糊动画、编程和电子电路的边界，他致力于探索新兴技术所启发的 新艺术形式。比如，创造和定义尚未被明确视为艺术的新事物。他的创造力得益于他严谨的工程实践的支持，并受到不同 研究领域的启发：宗教和科学、隐私和监视、智能机器和合成有机体，其结果导致创新，并且以信号反馈的形式影响和扩 展他对艺术的理解和定义。 他在中国完成了艺术与设计学士学位。此后曾任央视视觉特效师与技术指导、北京大学讲师。在美国攻读 MFA 学位期间， 他的跨界研究方向是艺术与计算机视觉和机器学习。得益于这种独特的背景，他在美国能源局所属的阿贡国家实验室 （Argonne National Laboratory）为超级计算机编写了超大规模科学数据可视化系统的自然交互界面。他拥有多项与艺 术设计相关的发明专利，其影视动画和交互装置等作品曾在多个国家展出并被中国和美国媒体报道。比如，他的技术论文 和艺术作品都曾在 ACM SIGGRAPH ASIA 上发表和展出。目前，他是美国鲍灵格林州立大学数字艺术专业的助理教授。 Yamin Xu is an artist and electronics geek, working on the edge that blurs animation, coding, and electronics with an emphasis on the exploration of emerging technology and art. Before he earned his MFA in the United States researching computer vision, he obtained a BA in art and design in China. His experience includes being a VFX artist at CCTV, an instructor at Peking University, and a researcher at Argonne National Laboratory. His art pieces have been shown in many international exhibitions and conferences, such as NMC and SIGGRAPH. Currently, he is an Assistant Professor in the Digital Arts program at Bowling Green State University.

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Yuho 当我们计划和重建恢复时，新常态将与以前完全 不同。现在，居家办公在我们的社会中非常普遍， 我相信即使在大流行之后，这种情况也会继续发 生。这可能会让人们更难进行面对面的社交，因 为所有都是通过屏幕完成的。我确实相信，由于 新冠疫情，科技得到了极大的提升，因为我能够 轻松地与来自全球各地的艺术家同行合作。此外， 能够在自己舒适的家中工作为我带来了无限的创 造力。这种新常态将有所不同，但社会将很容易 适应并学习如何变得更好。 As we plan and rebuild to recovery, the new normal is going to be completely different than it was before. Now, working from home is extremely prevalent in our society and I believe it will continue to happen even after the pandemic. This might make it harder for people to socialize in person as everything was done through a screen. I do believe that because of COVID, technology has improved immensely as I am able to collaborate easily with my fellow artists from all over the globe. In addition, being able to work from the comfort of my own home has allowed my creativity to be limitless. This new normal is going to be different but society will easily adapt and learn for the better.

觉醒，布面水墨，70x90x4cm，2022 Awakening, ink on canvas, 70x90x4cm, 2022 116

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悬崖峭壁，布面水墨，70x90x4cm，2022 Rugged Cliffs, ink on canvas, 70x90x4cm, 2022 118

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我是一位在洛杉矶和香港生活的艺术家。抽象是对我的作品恰如其分的描述，星星、星座、太阳系的星球，包括地 球美丽的自然资源都是我灵感的源泉。水墨和丙烯是我常常选用的工具，这两种材质可以优雅、柔美地流动，帮助 我达成期望的效果。另外，得益于珠宝设计方面的背景——它需要丰富的想象力和创造力——我能够将这些技能转 换到艺术作品之中。在画笔触碰到画布之前，就能轻松在头脑中看到画作的背景、布置、色调和方向。 多年的珠宝设计经历让我感到自己越来越闪耀和精致所吸引。因此，作画时我会寻找大胆的色彩来释放激情、自由 和正能量的感觉。对我来说，最重要的是关注形式色彩关系和视觉构图。 I’m an artist based in Los Angeles and Hong Kong. While my work is best described as abstract, I primarily draw inspiration from the stars, constellations, and planets of our solar system, including the Earth’s beautiful natural resources. My choice of tools often involves working with ink and acrylic as both mediums flow graciously and lusciously, helping me achieve my vision. Additionally, coming from a jewelry background, which requires a great deal of imagination and creativity, I’ve been able to transfer those skills to my work as an artist. I have found it easier to visualize my painting’s setting, placement, color tones, and orientation before my paintbrush hits the canvas.

After spending years designing jewelry pieces, I’ve found myself increasingly drawn to sparkle and sophistication.

As such, when I paint, I look for bold colors to emit feelings of passion, freedom, and positive energy. To me, it’s most important to focus on formal color relationships and visual composition.

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