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对于著名的日本艺术家奈良美智来说，绘画就像呼吸甚至思考一样与生俱来。尽管这位 59 岁的艺术家以其创作的卡通画和雕塑闻名，他描绘的是凶恶而又可爱的儿童和动物，但绘画仍然是他创作过程中不可或缺的一部分。这是一种从他记事起就伴随他一生的实践，完全自发的揭示了他内心的感受和想法，跟随自己的情绪而不考虑受众。画作上睁大眼睛盯着我们，他创作的人物或是抽烟、骂人、怒目而视、喊口号、演奏音乐、挥舞刀子；它们描绘了疏离、脆弱、愤怒、喜悦、希望、恐惧、反叛和暴力，代表了从童年到青少年时期的焦虑。它们既具有威胁性又是无辜的，在靠近真相的过程中，他变得更加内省和沉思。 For celebrated Japanese artist Yoshitomo Nara, drawing is as innate as breathing, or even thinking. Although the 59-year-old artist is best known for his cartoonish paintings and sculptures of menacing yet sweet children and animals, drawing is nonetheless an integral part of his creative process. It’s a practice that has accompanied him throughout his life for as long as he can remember, and one that’s entirely spontaneous, revealing his inner thoughts, feelings and ideas, as he follows his emotions without consideration for the eventual audience. Staring at us with their eyes wide, his complex characters smoke, swear, glower, cry out slogans, play music and brandish knives; they are depictions of alienation, vulnerability, anger, joy, hope, fear, rebellion and violence, representing everything from childhood wonder to teenage angst. They’re at once threatening and innocent, even as Nara’s process has become more introspective and meditative as he explores emotional truths we can all relate to. 
在17世纪的Chateau La Coste艺术画廊正在举办他在过去3年中创作的155幅画作。 We sat down with him in the garden of the 17th-century bastide art gallery of Chateau La Coste, which is currently hosting his exhibition of 155 drawings created over the last 3 decades. 在这次展出的作品中，有几个主题与之前的不同，但他们之间存在某一种联系，作品中包含了自我的一部分，分散在各处。 Yoshitomo Nara: Yes. There are several themes that appear different in my work, but I feel that there’s something that links all of them together, because there’s a bit of myself here and there, scattered everywhere, although the amount might be different in each one. 
当奈良美智开始创作时，他会尽最大努力放空大脑，并且待在一个私密的空间内独自创作。 I do my best work when I start making pieces with nothing in my head, with an empty mind. But probably the most important thing is to be in a space where I can be alone to create. 
这个展览是过去30年的全景展现——从奈良美智还是学生到现在，思考他与绘画的关系与相处模式。有些作品捕捉了奈良美智在特定时间的感受和想法。有的是文字的堆积，有的则是奈良美智握铅笔时手部随机动作的结果。所有这些图画都是以不同的技巧完成的，就像呼吸一样随意。 This show is a panoramic view of the past 30 years — from when I was a student up to the present — and contemplates the relationship I have with drawing, or how I’ve been getting along with it over time. There are pieces that capture my feelings and thoughts at a given time or momentary ideas I’ve had. Some are accumulations of drawings accompanied by words, and others are simply the result of my hand’s motions when holding a pencil. All of these drawings are done with whatever pencil or ballpoint pen happened to be there in that moment, in varying techniques, as casually as breathing itself. 
奈良美智的第一幅画那是在幼儿园之前。奈良美智在属于父亲的书本空白页上画了画；这是一张用红色铅笔画的一幅画，上面有窗帘，可以看到风景。它有一些非常抽象的东西。 Yes, very well. It was before nursery school. I drew on a blank page of a book that belonged to my father; I think it was the first or second page. It was a picture of a curtained window looking out onto a landscape, drawn in red pencil. There was something very abstract about it. 
本次展览是按时间顺序排列的；从一开始就看到小女孩邪恶的形象也许是因为奈良美智内心的阴暗面，他是相互矛盾：在人前希望表现优秀，但同时又想做真实的自己，所以奈良美智认为作品表达了他真正想成为的人。作品没有受到日本漫画的影响，反而是从那些儿童图书中找到真谛，例如汉安徒生、格林兄弟或伊索兄弟。它们都反映了人性的阴暗面。在所有这些险恶的故事中，也有很多以小女孩为主角的故事，比如小美人鱼，小红帽，还有很多公主。 This current exhibition is chronological; we see images of little girls from the beginning, and |
