許多人認(rèn)為涂鴉和街頭藝術(shù)在2000年的繁榮之后已經(jīng)發(fā)揮了最大的潛力，所以正在慢慢的衰亡。但不得不說，有些藝術(shù)家正在用新的想法和觀點(diǎn)燃燒這支火焰，其中一個當(dāng)然就是Bond Truluv。

Narkii： 

您是何時開始對插畫和涂鴉感興趣的呢？

When your interest for illustration and Graffiti started?

Bond： 

大概2000年，我在美國佐治亞州的薩凡納待了一年。那時我常常在滑板場和半圓管那玩滑板，我開始注意到它們的神秘符號。回德國后，和學(xué)校的小伙伴組成了我的第一個團(tuán)隊(duì)。很快我著迷了似的，急切地把自己命名為“menace2000”，盡可能地多樣化。 

Around 2000 I spent a year in Savannah, Georgia (US) where I started to recognize the mysterious signs in skateparks and halfpipes that I used to skate at that time. Back in Germany I joined together for my first crew with guys from my school. I was hooked pretty instantly and eagerly pursued to style my name “menace2000” as diverse as possible.

Narkii：  

您平時會參考哪些藝術(shù)家呢？

Which artists do you use as reference?

Bond：  

我一直都對不同形式的輸入感興趣，從視覺上也從音樂中。我沒有辦法準(zhǔn)確說出誰給了我影響，因?yàn)橛性S多人是潛意識地影響了我的藝術(shù)發(fā)展，可能我自己都沒有察覺。我使用了很多不同的風(fēng)格，所以我想應(yīng)該有許多不一樣的參考。

I was always interested in a lot of different ways of input, visually as well as through music. It would be impossible to name accurately my influentials as many of them quite subliminally influenced my artistic development in ways not visible from my point of view. I guess for the different styles I use, there are different references all together...

Narkii：   

您的風(fēng)格深受霓虹燈、未來主義和幾何圖案的影響。您是如何形成這種風(fēng)格的呢？您又是如何描述它的？

Your style is quite influenced by neon lights / futurism / geometric patterns. How did you develop this style and how would you describe it?

Bond：   

我承認(rèn)，我總是醉心于使用燈光、光暈和亮閃閃的效果。超現(xiàn)實(shí)、球形、夢幻的心情和深度錯覺對我來說總是有不可抵抗的吸引力。

我希望我自己常常改變風(fēng)格而不去過多思考理論。無論當(dāng)下我是被什么吸引，或多或少我都會馬上利用它。有意思的視覺想法和方式實(shí)在太多了，我會將它們列出來，一個接一個地在我的字母中修改?，F(xiàn)在對我來說最無聊的事莫過于藝術(shù)家一遍又一遍重復(fù)自己的作品，而不冒險來點(diǎn)新花樣。冒險踏上不熟悉的地帶才是真正要去做的事。

Generally I was always drawn to the use of lights, glows and shiny blingbling effects, I admit. Surreal, spherical, dream-like moods and the illusion of depth always held an undenieable attraction for me.

I rather see myself as changing my style quite often without thinking too much about the theoretics of it. Whatever I feel drawn to at the moment, I use more or less instantly. There are so many interesting visual ideas and ways out there, I keep listing them down and one after the other rework them in my four letters. Right now for me there is nothing more boring than artists who keep reproducing their work over and over again to play it safe. Taking risks and stepping on unfamiliar terrain is the real task to be performed.

Narkii：  

描述一下您創(chuàng)作時的流程吧。

Describe us a bit about your creative process while creating a piece.

Bond： 

當(dāng)然這完全取決于墻壁的特點(diǎn)和背景。通常我有大致的想法，知道要用什么風(fēng)格?；蛑辽僦牢蚁胧褂媚硞€字母或元素。有時我也會打黑白草稿，不過一般沒有。配色一般都是在開始前就定的。之后通常就是80%的自由發(fā)揮了，一個元素決定下一個，從一個字母跳到下一個，或者有時也可以完成一個字母再開始下一個。如果是照著草稿出來的作品一般很生硬，沒有活力。對于 真正的圖形和干凈的東西，會全面地計(jì)劃，接近概念圖，有時我也會用數(shù)碼工具。我相信任何能夠發(fā)揮作用的東西。

This of course absolutely depends on the characteristics and context of the wall. Usually I have a brief idea of which kind of style I am going to start with. Or at least for one letter or single element(s) I want to use. Sometimes I have small black and white sketches too, but usually I dont. The color-combination is set before starting the work of course. From then on its usually 80% freestyle, one element defining the next one, jumping from one letter to another, or sometimes finishing a complete letter before starting on the next. Pieces I did copying a sketch usually come out stiff and liveless. The really graphic and clean stuff is planned more thouroughly and close to a concept drawing, also sometimes using digital tools too. I believe in whatever works.

Narkii：   

攝影在您的作品中扮演著重要的角色，和我們說說您的街頭工作記錄的重要性吧。

Photography has a big role on your work, tell us more about the importance of making a good record of your street work.

Bond： 

一般我不會再去看我的作品，因?yàn)樗鼈円话愣际窃趶U棄的地方或不同的城市和國家，所以，將它們最后的樣子整潔地拍下來就很重要，這些照片就是我唯一保留的記憶了。某種程度上，我很享受利用基本的攝影知識和作畫地點(diǎn)來精心策劃這些照片的構(gòu)圖。這些地點(diǎn)也是經(jīng)過精心挑選和搜尋而來的。我更喜歡那些風(fēng)景優(yōu)美的地點(diǎn)和環(huán)境，以及那些能夠被人們看到的具有良好或有趣氛圍的地方。

Usually I never see my pieces again, due to its location in abandoned places or different cities/countries so its very important to have a clean final photo as it will be the only memory that remains for me. At some point I found great joy in carefully orchestrating the compositions of the pictures using basic knowledge of photography and the locations I paint at. These places are also carefully selected and searched for. I prefer scenic locations/settings and those that carry a good or interesting vibe before ones that are actually seen by real people.

Narkii： 

平常您一天下來是怎樣的呢？

How do you describe your daily routine?

Bond：  

如果我沒有在旅行（大概每年花四個月）， 我會7.30起床喝杯咖啡吃早餐，然后坐到電腦前，計(jì)劃這一天。接著要么是在工作室/電腦前工作，要么就是出去畫畫或者跟進(jìn)正在進(jìn)行的項(xiàng)目。我作為一個獨(dú)立藝術(shù)家，沒有固定的工作時間，我可以自由決定要做什么。不過，我盡量讓自己保持忙碌的狀態(tài)，去執(zhí)行我收集到的點(diǎn)子目錄。

If Im not travelling (around 4 months a year) I′ll get up around 7.30 have a coffee and breakfast and sit in front of the computer, planning my day. Then its either working in the studio/pc or go out to paint or follow up whatever project is on. Since Im an independent artist and do not follow a fixed jobscheme, I usually have the luxury of spontaneously deciding what to work on or not. I try to keep myself quite busy, though, executing the scratch-catalogs of ideas I collect through the time.

Narkii：  

作為一個多媒體藝術(shù)家，您最喜歡用什么媒介呢？為什么？

Being a multimedia artist, please tell us what's your favorite media to work with? Why?

Bond：   

我想我一直都喜歡噴漆的自由和處理方式。手握那樣一個完整的罐子，沒有任何限制，這種感覺太棒了。漸漸，罐子對我來說變得非常自然……

I guess I′ll always be in love with the freedom and handling of a spraycan. Its just the best feeling to hold a full can, no strings attached. Over the time, cans became just so natural to me...

Narkii：  

您認(rèn)為對于每位涂鴉藝術(shù)家來說，重要的三點(diǎn)道理是什么？

Tell us three lessons you believe are really important for every graffiti artist.

Bond： 

1. 和大多數(shù)人想的不一樣（甚至許多作者本身），涂鴉是非常艱難的工作，如果你想要有高質(zhì)量的產(chǎn)出，那就需要十足的注意力。

Opposing to what most people think (even many writers themselves) Graffiti is superhard work and requires lots of focus. If you aim at high quality-output that is, of course.

2. 除了涂鴉宇宙及它的規(guī)則和現(xiàn)實(shí)外，還需要留心生活。不要把這游戲看得比它本身更重。如果它傷害了你，就離開吧。

There is a life besides the Graffiti-cosmos and its rules and realities that needs careful attention and handling. Don't take this game more serious than it is. If it hurts you, leave it.

3. 世事有起終有落。

What goes up, must come down.