视觉艺术家

Song Feel is expressing his central concept on creation in such a symbolistic way that audiences are led to simultaneously push both visual and psychological dimensions into maximum limit, and that the daily things we have ignored for a long time slowly have their familiar surfaces come out and make their internal logic gradually disclosed.

松泌先生引导观者将视觉和心理的两个维度同时推向极限，使得眼前这些日常生活中我们早已视若无睹的事物慢慢褪去了我们熟悉的外壳逐渐显露出其内在的逻辑，艺术家正用一种象征主义的方式表现其创作的核心观念。

And I must again emphasise the contemporary flavour of his imagery - note that many contemporary artists love to resort to the externalisation of self-image, but in Zhu's work, its handling has become a symbol of the times. Many years later, the images in his painting shall be the visual code with which people can distinguish our era.

我仍得强调他在造型上生活气息，实际上，有很多当代艺术家喜欢利用自我形象的外化，但是在朱伟那里，形象的处理已成为一个时代符号，在若干年以后，他画中的那些形象将是人们认识我们时代的视觉代码。

The coagulated forms of rounds soon transformed into the image of fat people and built his original world of image.

从凝聚的圆形到胖胖的人的形态，他一直在不停地构筑艺术家自己独特的视觉形象世界。

The packed planes imply a cramped space (as John Locke's "Private Room of Mind"), either overly lit or too dim because of camera flash, and the observer behind the camera. The flat square disarranges the domain allotment between subject and object or the observer and the observed. The lack of depth gives the observer a superior status as a judge in a secretive trial that has been carefully arranged by the artist. The scene provokes a lot of doubt in the mind of the audience and they feel they are exiled.

尹朝辉的作品多以拥挤的画面象征忧郁狭小的房间（暗喻洛克John Locke的「心灵所在的私室」），光线过亮或不足、强烈急促的光影表现，隐喻了闪光灯和观察者的存在，压平的四方造型拉近且打乱了主体和客体／观察者和被观察者的场域分配，毫无景深的视觉提示则赋予房间内的主动观察者更高阶的审判者的地位，但艺术家刻意营造的匿名性却又将这一连串的审判过程私密化，徒留给被动观察者一连串的疑问，以及成为局外人的被抛弃感。

He immerges himself into the transformation of representational and non-representational image. He needs to use his own experience and estimation to perform a special visual language composition.

艺术家沉浸在这样一种具象与非具象的造型语言的微妙转换过程之中，他需要凭借着自己的经验、阅历和判断，进行独特的视觉语言的架构。

We do not wish to see that as China industrializes and technologically advances, the focused commitment to the visual arts as we have seen in this generation of Chinese artists may be lost.

我们不愿看到这一代中国艺术家身上所具有的对于视觉艺术的献身随着中国的工业化和技术发展而失去。

Nature and culture sex and religion are seamlessly fused in visual montages linking society's dreams, fears and desires through the centuries.

艺术家将自然和文化、性与宗教与几世纪以来的社会梦想、恐惧和欲望以视觉蒙太奇的手法天衣无缝地连接起来。

A visual feast which can be read or just perused for a fuller appreciation of the artist whose favoured style was 'to get it exactly wrong.

一场视觉盛宴，可阅读或阅读，更全面的艺术家的赞赏，其风格是赞成'来得到确切错误。

"There's a philosophy that goes across all of our games, and that philosophy stays true from game to game... so it probably draws some comparisons," Wilson said."One philosophy is that our artists feel like if they're just using photorealism, not creating a unique look for the game, not stylizing so that it's uniquely Blizzard, then they're not doing their jobs."

&在我们所有的游戏里都充满了一个哲学，从事实来看，是一个放之四海而皆准的哲学……所以有可能人们会把它们拿出来比较，&Wilson说，&我们的哲学之一就是我们的艺术家觉得如果只是使用写实主义，而不为游戏设计一套独特的视觉效果、只会按常理出牌那就不是独树一帜的暴雪公司了，若是那样，他们宁可选择罢工。&

Fadings is split into three sections: the first, From the Scene, presents a detailed profile of each artist; the second, Into the Scene, presents interviews with art directors and companies who use graffiti as a commercial visual language; the third, Clash, features work by innovative, upcoming artists from the scene.

本书共分为三个阶段来介绍：从现场的第一呈现每个艺术家的详细描绘；涂鸦作为一种商业的视觉语言的艺术指导者和公司呈现给作者；光碟中收录了：设计这些作品时的可安装艺术字体、动画、电影、这些艺术作品等。

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。