AFI 以Q&A 采访的形式，深度访谈合作的艺术家Tlight，从「顽型填空-失乐园」的作品，直探 Tlight 的内心与对街头艺术的深层解读。从街头艺术家穿梭街头巷弄、躲避警察驱赶、群众异样眼光下留下的城市印记历史，到成为当代潮流艺术的主流发展过程，甚至到迅速崛起的数字与多媒体艺术趋势中，本身已在多媒体及数字动画领域里领跑多年的 Tlight ，将分享他对街头艺术的观点与未来的期许。

In the form of Q&A interviews, AFI conducted in-depth interviews with the contracted artist Tlight, and explored Tlight's creation and in-depth interpretation of street art from the works of 「Stubborn Fill in the Blanks-Paradise Lost」. From the time while street artists sneaked in the streets, avoiding the police and leaving the history imprint by graffiti, which has become  the mainstream of contemporary art.  Tlight, as a street artist, has also devoted himself into the rapidly rising trend of digital and multimedia art for many years, will share his views on street art and his future expectations of art.

AFI：从你这次在“2022 潮酷玩家”潮流先锋艺术季，推出你首次发表的装置艺术作品「顽型填空-失乐园」，似乎有别于一般街头艺术家给人狂妄不羁、我行我素的创作风格，请你用最直接、不修饰的话语介绍下这个作品？

AFI：From this time, you launched your first installation artwork 「Stubborn Fill in the Blanks-Paradise Lost」 in the exhibition of the "2022 Cool Players" Art & Fashion Pioneer Jam”, it seems more touchy and emotional, not the rebellious style as we learn about the street art, would you please introduce this extraordinary artwork you created with your own words?

Tlight：其实这个系列作品映射了我自身的成长经历，剖析了我儿时被管控的家庭环境与现在涂鸦人的生活状态呼应，来自街头的字体异化成被丢弃的玩具，肮脏的街道与破碎的童年联系在一起，通过整体场景创作来映射我的儿时回忆。期望表达出家庭教育的环境中，父母的越界管理是否尊重孩子的想法，是否通过更合理的教育方式来关心孩子。同时也引出大众对于街头涂鸦的思考与尊重：是否以一种陈旧的，禁锢的眼光，仅仅在关注街头涂鸦的合法性与艺术的有效性上，而不去关注更多的作品内在的人文主义精神。

Tlight：In fact, this series of artworks mirrors my own growth experience, detailing the family environment that I was monitored and dominated during my childhood, and my current conditions as a graffiti player. The graffiti artwork from the streets are turning into discarded toys、dirty streets and broken piece of my childhood memories are linked together and mapped through the overall scene I created in  "Stubborn Fill in the Blanks-Paradise Lost". It is hoped to express whether parents’ overeducated management respects children’s free will and their own ideas of growth? Whether do parents care for their children through more reasonable ways?  At the same time, it also elicits the public's viewpoints and perspectives to street graffiti: whether publics are used to an old、imprisoned vision with only the focus on legality and artistic effectiveness instead of paying more attention to the humanism and spiritual creation inherent in more artworks of street graffiti.

AFI：「顽型填空-失乐园」中的创作焦点，木马，是由不同造型独特的字版拼成，而各字板排列而成的竟是一幅涂鸦字体作品，从传统涂鸦字体的刚强线条，和童稚可爱的木马，相互辉映，从涂鸦字体到装置艺术，创意源自街头，或从街头孕育而成？

AFI：The focus of creation in "Fill in the Blanks-Paradise Lost" is the Rocking Horse, which is composed of different shapes and unique fonts, and the composition of these fonts is actually a graffiti artwork. From the sharp shape and straight line of traditional graffiti fonts, turning into childish and cute rocking horses reveals an extraordinary creation. From graffiti fonts to installation art, is this creativity originates from street art, or is it nurtured from your own street experience?

Tlight：其实创作的基点来自的自身街头涂鸦人的身份出发，这种文化本身就是来自街头的精神，街头涂鸦一种公共空间的私人表达，一直在诉说着权利不对等的社会结构关系，以我象征性的标志符号语言书写组合成这部分装置的主体，其中囊括了隐秘的符号在街头巷尾出现，在街头书写冲突与荒诞的故事。

Tlight：In fact, the basis of this creation stands by the identity as graffiti player himself，the expression of this artwork comes from the culture and the spirit of the street.  Street graffiti is a private expression in public space. It has been telling the unequal rights existing in social structure and interactive relationship. I write and combine it into the main body of this installation artwork with my own symbolic language of signs. It includes hidden symbols that appear in the streets and alleys, writing the conflict and absurd stories on streets.

AFI：一般人对涂鸦写手和街头艺术家都有充满叛逆、挑战体制、强烈自我意识的既有印象，从「顽型填空-失乐园」中，表现极深的人文与情感投射，你认为这正是街头艺术更能表达情绪情感的特点？还是，这作品只是特例？

AFI：Most people have the impression that graffiti writers and street artists are rebellious, and the challengers to authority and system with strong self-awareness. From the 「stubborn fill in the blanks-paradise lost」, it expresses a very deep humanistic and emotional projection. Do you think this is very “street style”? Is street art more capable of expressing such emotions and feelings? Or is this work just a special case?

Tlight：我认为目前未来更多的艺术形式是不断打破边界，创新迭代的趋势，我追求的本身就是需要通过我的作品，运用我的风格与表现手法，把观众和我时情感桥梁连接在一起。这些感情包括/失落 兴奋 无助 焦虑等等/ 体会一种跨越时间的情感矛盾。

Tlight：I think that more art forms in the future will continue to break boundaries of art, and innovate and iterate more without limitation. What I pursue is to use my style and expressive techniques through my works to connect the audience and the emotion back to the time while I created. These feeling and emotion including the loss, excitement, helplessness, anxiety… etc. can reveal and help audience experience a kind of emotional conflict over time.

AFI：在「顽型填空-失乐园」中黑与白的沉重与凌乱中的一只造型独特、色彩鲜艳的木马，令人联想奥斯卡奖电影《辛德勒名单》中，灰色调集中营影像里一个着红衣小女孩轻快掠过的经典画面，这种视觉创作的震撼和一般认为简单直接粗暴的街头艺术表现方式截然不同，你认为这是街头艺术原本就具有的深层艺术内涵？或者，是街头艺术未来发展所需的一环？

AFI：In 「Fill in the Blanks-Paradise Lost」 , the unique and brightly colored Rocking Horse stands in a mess with sand and garbages of black and white, it is reminiscent of the remarkable classic scene of the Oscar-winning movie "Schindler's List" : in the gray-tone Nazy concentration camp with crawling prisoners in grey and dark, a little girl in a red dress briskly passing by. The shock of this visual creation is completely different from the street art expression that is generally revealed in a simple and straightforward way. Do you think this is the deep artistic connotation inherent in street art? Or is it a necessary part of the future development of street art?

Tlight：这正是我追求的艺术方向，我只是运用自身街头涂鸦人的身份去表达，个人比较欣赏的几位街头艺术家 BANKSY / Shepard Fairey / FUTURA 都有各自不同的深层次艺术内涵，这才是真正的街头精神口粮。从街头出发书写文化。

Tlight：This is the artistic direction I am pursuing. I just use my identity as a graffiti artist to express what it should be. The several street artists that I personally appreciate, BANKSY、Shepard Fairey、 FUTURA, have their own different deep-level artistic connotations. This is what the real street spiritual food for thought --

START WRITING CULTURE FROM THE STRRET.

AFI：源于美东社会底层的街头艺术，和美西和物质消费主义的风格明显有别；和欧洲以街头艺术善于表达对社会现状的反思与戏虐嘲讽；你觉得你自己的艺术风格为何？对于国内街头艺术的风格发展又有何看法？

AFI：Street art originating from the bottom society of the East coast of the US is obviously different from the street art with materialism consumerism styles in West coast of the US. European street art focus more on expressing the social status quo in a mockery way; what do you think of your own artistic style? What are your views on the development of domestic street art styles?

Tlight：其实在街头涂鸦文化发展的位面上谈，后现代艺术通篇都是反传统，反精英主义的，这种反叛精神在我看来是一种不断挑战权威不断突破形式主义限制的创造力文化。涂鸦艺术只是其中的很小的一部分，而我能做的其实就是在学习中创新，也尝试了蛮多/装置/影像/公共艺术等等表达方式，始终诉说的是一种（未来主义形式下跨越时间，且不可调和的社会矛盾）。或许这有一些悲观，但也正是我想表达的。对于国内的街头艺术风格发展可谓还在整体追赶西方的一个方向上，拥有大多数风格都是在不断探索不断迭代的趋势下呈现。

Tlight：In fact, in terms of the development of street graffiti culture and postmodern art is anti-traditional and anti-elitism throughout. In my opinion, this kind of rebellious spirit is the power of creation and the core of street culture that constantly challenges authority and constantly breaks through the limits of formalism. Graffiti art is only a very small part of it, and what I can do is to innovate from learning, and I have also tried a lot of expressions such as installations, visual art , and public art. What I always tell is a irreconcilable social conflicts under the form of futurism that span time. Maybe this is a bit pessimistic, but it is exactly what I want to express. For the development of domestic street art styles, it can be said that they are still catching up with the West as a whole. Most of the styles are presented under the trend of continuous exploration and iteration.

AFI × Tlight

AFI × Tlight《顽型填空-失乐园》联名潮玩

即将发售，敬请期待～～