燁·AIP2020云展覽之插畫專業(yè)作品展
本文來自廣美附中AIP官網(wǎng)：
序言/Preface
每一代人都有著他們經(jīng)歷的事情，因?yàn)榻?jīng)歷過這樣的事情所以每一代的人都會(huì)帶著每一代人的印記。不久前我曾經(jīng)有幻想過他們布置畢業(yè)展時(shí)候的樣子，可能是為了一顆釘子沒有釘好而反復(fù)的上上下下爬梯子或者是一邊看著自己的畫面一邊的去擺弄，又或者是在最后的畢業(yè)照的時(shí)候大家一起拍個(gè)照片。
但是這樣的情景已經(jīng)不能實(shí)現(xiàn)了，畢竟在經(jīng)歷過這么大的一次醫(yī)療問題后大家的心理有些時(shí)候會(huì)變得有些敏感，社會(huì)人和人之間保持了一定的距離。
出于綜合的考慮學(xué)校安排了這樣的一場(chǎng)線上的展覽，某程度上彌補(bǔ)了其中的一些遺憾，也是對(duì)于學(xué)生這三年來的努力的展示和肯定。
作為他們的老師其實(shí)是感動(dòng)安慰的，他們也是我在AIP一路陪伴著成長(zhǎng)的學(xué)生，三年前我剛到學(xué)校工作第一批帶著的學(xué)生就是他們，到現(xiàn)在他們畢業(yè)，取得了好的成績(jī)，也使我覺得這是我教學(xué)成果最好的體現(xiàn)。
在這個(gè)展覽里面插畫組的學(xué)生展示出了他們多元化的想法和各種各樣的表現(xiàn)能力，作為他們的老師我有些時(shí)候驚訝的發(fā)現(xiàn)他們?cè)谀撤矫嬉呀?jīng)超過我了，青出于藍(lán)而勝于藍(lán)，我非常替他們高興。他們已經(jīng)把插畫的當(dāng)代概念非常好的用他們的作品來詮釋了，無論是二維的傳統(tǒng)繪畫，新媒體繪畫，還是到手工書籍的制作，模型的制作，動(dòng)畫短片的產(chǎn)出。都能代表著插畫在他們心里其實(shí)是一個(gè)都么有趣的專業(yè)。比起那種標(biāo)榜著大道理的畫展來說這樣的展覽更加有著活力和創(chuàng)意，插畫的定義雖然已經(jīng)被形式固定了下來，但是每一代人對(duì)它卻有著自己的詮釋，也正是因?yàn)檫@樣才能把插畫更加好的傳承下去。因?yàn)檫@些作品告訴了我們究竟插畫的未來應(yīng)該是什么樣子的。
Every generation has its own experiences, for which each generation bears its unique hallmark. I pictured what it would look like when students graduate not long ago. They might be climbing the ladders up and down because a nail is not knocked firm into the wall. They might be moving the works back and forth. Or, they might take a group photo together at the end.
However, that can hardly be realized today. Having suffered from the coronavirus pandemic, people become sensitive sometimes and start to maintain social distancing.
Therefore, the school scheduled such an online exhibition to make up for it and also affirm the efforts paid by the students over the past three years.
As their teacher, I feel touched and comforted because I witnessed their growth at AIP. Three years ago, when I just got here, they were my first students. With them graduating and yielding fruitful outcomes in study, I feel like this is the best epitome of my teaching.
At this exhibition, students from the illustrations group presented diversified ideas and versatility. It takes me by surprise sometimes knowing that they have surpassed me on some fronts. But it gives me great pleasure seeing them excel their predecessor. The students have well interpreted the contemporary concept of illustrations in their works. Be it traditional two-dimensional paintings, new media paintings, handmade books, modelling or animated short film production, it all demonstrates what an interesting major Illustration is. Compared with the large-scale exhibitions flaunting grandiose ideas, this exhibition is more vibrant and creative. Although the definition of illustrations has been made clear, each generation has its own understanding towards it. Exactly because of that, they can better inherit it as the works envision what the future of illustrations should look like.
插畫專業(yè) 學(xué)生作品
01 趙思一
光
【作品介紹】
我們生活在一個(gè)光明與黑暗的時(shí)代。
我們生活在一個(gè)信仰與崩潰的時(shí)代。
我們生活在一個(gè)充滿希望和絕望的時(shí)代。
我們正朝著相反的方向前往天堂。
我們享受擊敗自然的勝利，而自然對(duì)我們進(jìn)行報(bào)復(fù)。
天黑了，我們能看得更清楚嗎？
陽(yáng)光普照，投下光芒，這是拯救人類的準(zhǔn)則。
抓住光明，擺脫黑暗。
We are living in an era of light and darkness.
We are living in an era of faith and collapse.
We are living in an era of hope and desperation.
We are on our way to heaven, at the opposite direction.
We enjoy our victory over nature, while nature retaliates against us.
It is completely dark and can we see the starlight more clearly?
The sun shines, casting a light which is the guideline to save mankind.
Grab the light and get out of the darkness.
02 吳佳
The Meaning Of Being Alive
【作品介紹】
我有時(shí)候會(huì)思考，我們所有人都會(huì)死去，最終地球會(huì)被毀滅，所有的成就也好文明也好最終都會(huì)消失，那么我們活著的意義到底是什么？
在調(diào)研中我自己總結(jié)出了一個(gè)結(jié)論-------人類也好動(dòng)物也好植物也好都只是一個(gè)容器，用于容納靈魂，這樣靈魂能有個(gè)實(shí)體聚集在一起也就不孤單了。所以我參考了西方中世紀(jì)的地圖，嘗試著把所有的生物畫在一起，形成一種大團(tuán)圓的感覺。
I sometimes think, all of us will die, the earth will be destroyed eventually, all the achievements or the civilization will disappear eventually, so what is the meaning of our life?
In my research, I came up with a reason that I think -- human beings, animals and plants are all just containers for souls, so that souls can have an entity to gather together and not be lonely.So I referred to the western medieval maps and tried to draw all the living things together to form a "happy reunion" feeling.
Because the original size is too large, the image is compressed and slightly blurred after uploading.
03 鄧子菁
臺(tái)風(fēng)-怪物派對(duì)
【作品介紹】
以臺(tái)風(fēng)為主題的怪物派對(duì)。
畫面所呈現(xiàn)的是蜂擁而至的海浪啊、臺(tái)風(fēng)啊、小火苗都紛紛朝我趕來，有點(diǎn)兒像藏在暗處舉辦的聚會(huì)。這些角色都代表了成長(zhǎng)之后我所面對(duì)的那些紛沓而至的壓力和難題。我感覺到一直在被追逐與拉扯。
The paintings are rushing waves, typhoons, and small flames all rushing towards me. It's kind of like a party just starting in a dark place. These roles all represent the pressures and problems facing me after growing up. I feel that I have been chased and pulled.
04 左心同
巫毒娃娃
【作品介紹】
畫面內(nèi)容展示的是姐姐為了救助被詛咒的妹妹，進(jìn)入了施咒者內(nèi)心的世界。她在進(jìn)入里面世界的一瞬間抬起了頭，天上的眼睛注視著入侵者，亡靈在尖叫，觸手在試圖纏住她，把她拖向深淵。
（畫風(fēng)有參考伊藤潤(rùn)二）
This picture is for the elder sister to enter the world of the cursemaker in order to save the cursed younger sister. She raised her head at the moment when she entered the world, eyes in the sky were watching the intruder, the undead were screaming, tentacles were trying to entangle her, and dragged her into the abyss.
(The painting style has reference to Ito Runji)
05 刁睿佳
被遺忘的空間站
【作品介紹】
不像其他女孩，我從小就喜歡玩恐龍模型和汽車玩具。
所以、親戚們寄給我的娃娃都被放在倉(cāng)庫(kù)的角落里了，逐漸被遺忘。這個(gè)地方就像一個(gè)漂浮在太空中的太空站，里面的娃娃變得扭曲和怪異。有一天，一個(gè)娃娃宇航員闖入了娃娃博物館，但它像其他娃娃一樣永遠(yuǎn)消失了。我用灰色的筆觸和大塊的黑色來表達(dá)這個(gè)被遺忘的地方的黑暗、怪異和神秘。
Unlike other girls, I have loved playing dinosaur models and car toys since I was a child.
So the dolls that my relatives sent me were forgotten in the corner of the warehouse. This place is like a lost space station floating in space, the doll inside becomes distorted and weird. One day, a doll astronaut broke into the doll museum, but it was lost forever like other dolls. I use gray-tone strokes and chunks of black to express the darkness, weirdness and mystery of this forgotten place.
06 陳貝易
Terror Stories
【作品介紹】
這個(gè)作品是由四個(gè)小故事組成，這些故事最終都以bad end收尾。
我自己就有看這種恐怖漫畫的興趣，我是家里最常接觸這類恐怖漫畫作品的人，親朋好友都不喜歡這些創(chuàng)作品，他們認(rèn)為只要是創(chuàng)作這種作品的人都是心理不健康的。但在我看來“恐怖”真正的作用是另一種給予人們警告的表達(dá)方式，讓人們?nèi)グl(fā)現(xiàn)如果不遵守規(guī)則會(huì)造成什么不良后果，在以后能避免同樣的事情發(fā)生。
This work is composed of four short stories, all of which end with a bad end.
I have an interest in watching this kind of horror comics myself. In my family, I am almost the person who is most exposed to this kind of thing. My friends and family do not like this kind of thing. I think anyone who creates this kind of work is mentally unhealthy. of. But in my opinion, the real role of "terror" is to warn people in another way, let people find out what bad consequences this will cause, and avoid the same thing in the future.
07 楊文君
景觀
【作品介紹】
該項(xiàng)目是根據(jù)舊住宅的草圖繪制的，是結(jié)合項(xiàng)目開發(fā)進(jìn)行研究的。
靈感來自我在廣州一個(gè)老舊社區(qū)居住的經(jīng)歷。我發(fā)現(xiàn)即使已經(jīng)不在那個(gè)社區(qū)生活，但它對(duì)我仍然對(duì)我充滿吸引力。那些老建筑樓通常擠在一起，室內(nèi)光線很差。
This project is drawing based on the sketch of the old dwelling house, and it was research combined with the development.
The inspiration has come from the experience when I live in an old community in Guangzhou. I find even I am no longer live there anymore, but that place is still attractive to me. Those old buildings are usually crowded together and the indoor light is poor.
指導(dǎo)老師 林子霖
■英國(guó)皇家藝術(shù)學(xué)院版畫碩士學(xué)位畢業(yè)；
■倫敦藝術(shù)大學(xué)坎伯韋爾藝術(shù)學(xué)院視覺藝術(shù)插畫學(xué)士學(xué)位畢業(yè)；
■六年藝術(shù)教學(xué)經(jīng)驗(yàn)，2019廣州有軌電車藝術(shù)列車《70變遷，剪影羊城》指導(dǎo)老師；
■曾參與2019倫敦藝術(shù)大學(xué)校友會(huì)九人插畫展；澳門當(dāng)代國(guó)際藝術(shù)家版畫交流展；深圳雙擊/香蕉醬 國(guó)際當(dāng)代藝術(shù)交流展；上海大學(xué)生藝術(shù)博覽會(huì)等等；曾任職于廣告公司、畫廊等文創(chuàng)機(jī)構(gòu)，作品多次參與海內(nèi)外展出。
