许多人认为涂鸦和街头艺术在2000年的繁荣之后已经发挥了最大的潜力，所以正在慢慢的衰亡。但不得不说，有些艺术家正在用新的想法和观点燃烧这支火焰，其中一个当然就是Bond Truluv。

Narkii： 

您是何时开始对插画和涂鸦感兴趣的呢？

When your interest for illustration and Graffiti started?

Bond： 

大概2000年，我在美国佐治亚州的萨凡纳待了一年。那时我常常在滑板场和半圆管那玩滑板，我开始注意到它们的神秘符号。回德国后，和学校的小伙伴组成了我的第一个团队。很快我着迷了似的，急切地把自己命名为“menace2000”，尽可能地多样化。 

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：  

您平时会参考哪些艺术家呢？

Which artists do you use as reference?

Bond：  

我一直都对不同形式的输入感兴趣，从视觉上也从音乐中。我没有办法准确说出谁给了我影响，因为有许多人是潜意识地影响了我的艺术发展，可能我自己都没有察觉。我使用了很多不同的风格，所以我想应该有许多不一样的参考。

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：   

您的风格深受霓虹灯、未来主义和几何图案的影响。您是如何形成这种风格的呢？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：   

我承认，我总是醉心于使用灯光、光晕和亮闪闪的效果。超现实、球形、梦幻的心情和深度错觉对我来说总是有不可抵抗的吸引力。

我希望我自己常常改变风格而不去过多思考理论。无论当下我是被什么吸引，或多或少我都会马上利用它。有意思的视觉想法和方式实在太多了，我会将它们列出来，一个接一个地在我的字母中修改。现在对我来说最无聊的事莫过于艺术家一遍又一遍重复自己的作品，而不冒险来点新花样。冒险踏上不熟悉的地带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：  

描述一下您创作时的流程吧。

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

Bond： 

当然这完全取决于墙壁的特点和背景。通常我有大致的想法，知道要用什么风格。或至少知道我想使用某个字母或元素。有时我也会打黑白草稿，不过一般没有。配色一般都是在开始前就定的。之后通常就是80%的自由发挥了，一个元素决定下一个，从一个字母跳到下一个，或者有时也可以完成一个字母再开始下一个。如果是照着草稿出来的作品一般很生硬，没有活力。对于 真正的图形和干净的东西，会全面地计划，接近概念图，有时我也会用数码工具。我相信任何能够发挥作用的东西。

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：   

摄影在您的作品中扮演着重要的角色，和我们说说您的街头工作记录的重要性吧。

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

Bond： 

一般我不会再去看我的作品，因为它们一般都是在废弃的地方或不同的城市和国家，所以，将它们最后的样子整洁地拍下来就很重要，这些照片就是我唯一保留的记忆了。某种程度上，我很享受利用基本的摄影知识和作画地点来精心策划这些照片的构图。这些地点也是经过精心挑选和搜寻而来的。我更喜欢那些风景优美的地点和环境，以及那些能够被人们看到的具有良好或有趣氛围的地方。

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： 

平常您一天下来是怎样的呢？

How do you describe your daily routine?

Bond：  

如果我没有在旅行（大概每年花四个月）， 我会7.30起床喝杯咖啡吃早餐，然后坐到电脑前，计划这一天。接着要么是在工作室/电脑前工作，要么就是出去画画或者跟进正在进行的项目。我作为一个独立艺术家，没有固定的工作时间，我可以自由决定要做什么。不过，我尽量让自己保持忙碌的状态，去执行我收集到的点子目录。

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：  

作为一个多媒体艺术家，您最喜欢用什么媒介呢？为什么？

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

Bond：   

我想我一直都喜欢喷漆的自由和处理方式。手握那样一个完整的罐子，没有任何限制，这种感觉太棒了。渐渐，罐子对我来说变得非常自然……

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：  

您认为对于每位涂鸦艺术家来说，重要的三点道理是什么？

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

Bond： 

1. 和大多数人想的不一样（甚至许多作者本身），涂鸦是非常艰难的工作，如果你想要有高质量的产出，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. 除了涂鸦宇宙及它的规则和现实外，还需要留心生活。不要把这游戏看得比它本身更重。如果它伤害了你，就离开吧。

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. 世事有起终有落。

What goes up, must come down.