“C+C" Media Art Residency

RULA, Urban artist from China, under the influence of his family, he started drawing at a very young age, he did not realize what he really wanted until he met Graffiti during 2007. By 2010 he went to London studying Fine Art Digital at University of art London Camberwell College of art, and finished his master degree of art. In 2012 he held his first Solo Exhibition at Old Bath Gallery in London. After 4 years living and traveling around Britain and Europe, RULA returned to China to continue his career. In 2017 he launched "WALLSKAR" - an international graffiti artist network which bridges the Chinese graffiti art with the globe graffiti art scene by organizing public graffiti festivals. His studio has provide creative services to multiple brands and organizations including Balenciaga, Moncler, Volkswagen, BMW, PUMA, MISHKA, K11, IFS etc.

如拉是当代涂鸦艺术家，英国伦敦艺术大学视觉艺术硕士，2007年开始街头涂鸦艺术创作，个人的创作以宇宙混沌理论为基础，洞察时代语言与自然生态，利用敏锐的色彩感受结合街头与工作室技法与材料，不断在风格和作品空间维度上进行着探索；作品遍布全球多个城市包括伦敦、斯图加特、米兰、墨尔本、悉尼、香港等，2012年曾在伦敦The Old Bath Gallery举办涂鸦艺术个展，曾为多次为BALENCIAGA, MONCLER, ASH, Volkswagen, BMW, PUMA, MISHKA, K11,九龙仓IFS, AIMME SPARROW,立邦、亚洲动物基金等品牌和机构提供创意服务，2016年启动城市公共涂鸦艺术项目WALLSKAR国际涂鸦艺术节

Symbiosis ｜共生关系
Installation: PVC Board, Acrylic Paint, Projection

As most plants and organisms develop, the buildings grows vertically upward. The process of human creation is a learning of nature, and as the two become closer together, steel and cement can build a romance that deserves appreciation. The clusters of architecture support the concept of the city, while the era, the text, the language, the symbols and the spirit can make this romance softer and more accessible.

The dripping of paint and ink is a unique visual symbol of graffiti, which is full of randomness. The direction of the dripping is vertically in accordance with the gravity. The vertical growth of the building and the spontaneous dripping of paint are sprituallly harmonized, as they are projected in the same frequency and in different directions on the same line.

Urban space is the site of graffiti art creation, and the presentation of graffiti art is a projection of urban culture. The creators leave marks on the surface of urban buildings is not just a creation, but the colors, forms and actions contained therein are a collective celebration of urban culture by young people.

What would be the relationship between graffiti and the digital future of the city? Can graffiti exist off the surface of buildings?

I believe that we need to find a synchronized access point between the two at the spiritual level, in order to create a relationship between the city and graffiti under the natural law between the movement of light and shadow, and to complete the link and synchronization between them.

人类建筑垂直向上生⻓，如同大多数的植物和有机体的发育，人类的创造过程是对自然的学习，随着文明的不断发展两者的结合会越发贴近，钢筋和水泥也可以构建出值得我们歌颂的迷人与浪漫。建筑的集群支撑起了城市的概念，而时代、文明、语言、符号和精神可以让这样的浪漫变得更加柔软并可触及。

油漆和墨水的流淌滴落是涂鸦独有的视觉符号，它充满随机性。滴落的方向却是依照着自然的重力垂直向下。它将城市建筑生⻓代入到了同一频率，形成了镜像投射，同一线条上的不同方向，让建筑的垂直生⻓与油漆自然滴落在精神上达成了统一。

城市空间是涂鸦艺术创作的现场，涂鸦艺术的呈现是对城市文化的投射，创作者在城市建筑表面留下痕迹不仅仅是一次创作，其中所包含的色彩，形式和行为本身是年轻群体对城市文化的一次集体歌颂。

涂鸦与数字化的城市未来，将会是什么样的一种关系?涂鸦可否离开建筑表面存在?

我相信需要在精神层面上找到两者的同步的接入点，才能在光影的跳动之间，在自然法则之下描绘出了城市与涂鸦的共生关系，来完成它们两者之间的链接与同步。