I'm a person who dreams a lot. At first, dreaming often affected my sleep and made me annoyed. But I gradually realized that dreaming allows me to experience different things every night. After thinking like this, sometimes I find myself looking forward to dreaming.

Sometimes, I may want to share my dreams, but I find it hard to describe the feelings and scenes in my dreams with words. So, at least for now, I prefer to show elements or scenes related to my dreams in my later illustrations. Some of my dreams are illogical and chaotic, and when I wake up, I may only remember some scattered bits. For these kinds of dreams, I want to create an abstract and messy atmosphere, which can also leave more room for the audience to think freely. Sometimes, I also dream of some spectacular and strange scenes. For these dreams, I want to draw detailed and specific scenes. Ideally, I hope to convey the shocked feeling I had when I saw these scenes during the dreams.

My initial conception of my picture is that there are three factions in the picture, which are fairies representing love, innocence and courage, and children representing people who have experienced hardships (the reason why I use children to represent them is that people who have experienced hardships are often fragile and insecure in their hearts, and they are their inner children who need to be loved and cared for). The third is the villain monster image representing trauma and bad emotions. I wanted to see a group of three - and four-year-olds hiding behind a beautiful, brave fairy. The fairy is using a long branch to drive away the dark evil little devil in front of her, and the other hand is desperately protecting the children behind the Lord. Some of these demons are angry, some are sad, some are numb, some are decadent.

Inspiration: Throughout history, many traditions have been invented to prevent people from being deceived in their interactions, based on the idea of "curses if you lie".

What I want to express: Lies have a negative image in people's minds, but the emergence of "good lies" has brought about the necessity of their existence, and I want to explore the reasons for their existence and their significance through images that bring an eerie atmosphere to the audience.

My opinion and feeling: I can't have a clear attitude towards lies (lying behavior), because in some cases I judge that lying can avoid trouble, but I feel angry when others lie to themselves. But I guess I'm all for well-intentioned lies, and I'm fairly results-oriented, so it doesn't really matter how the process goes as long as the result is what I want. (If the goal is not to enjoy it.)

I choose to be specific in my pictorial expression. Images that are close enough to reality to bring about the exact inclination of fear, such as a lying person who has to swallow a thousand needles, I would choose to draw a person with a wry smile having blood dripping from his neck from long needles; such as a lying person who will lose his tongue afterwards, I would choose to draw a scene of a refined and decent person having a meal, but the meal on the plate is his own tongue.etc

My school has very strict rules and schedules, a bit like the army. It feels a little like being in a prison sometimes. Every day is the same, and we don’t have much freedom. School life can feel very serious and controlled. Even small actions, like talking to friends or relaxing for a moment, are closely watched.

For my world, I used the idea of the golden apple. In legends, the golden apple stands for wisdom. I imagined teachers as golden apples because they are wise and guide us. Students, on the other hand, are different colored apples. The red apples are the good students—those who follow all the rules and set an example for others. Everyone wants to be a red apple, but not everyone can. It takes a lot of effort and often means giving up what you really want.I got my idea from Jeremy Bentham’s Panopticon, a prison design where people are always being watched. At school, it feels similar. Teachers are always watching us, and it’s hard to be ourselves. We feel pressure to act perfectly all the time. Instead, we focus on following the rules to become red apples, even if it means hiding our real thoughts and feelings.

The last thing I want to convey is that I want parents to feel the students' learning situation in school and their mental health problems.

I want to create a more imaginative, joyous and diverse atmosphere, and I will use brighter colors.

I will leave appropriate white space in the picture but not too abstract I will draw the subject clearly:

Birds

Sonic wave

fish

Computer screen

pixel

Inspiration: There should be boundaries between people, but in reality there are many unconscious boundary violations in close relationships, such as between close friends and family members. For example, friends will unconsciously use jokes to belittle each other or pry into each other's privacy. At home, parents also unconsciously impose their personal expectations and values on their children. For example, at mealtimes, my parents will bring me what they like to eat and also ask me to like it as much as they do; this request is unconscious, but if I show that I don't like it, they will show their resentment.

As well as in public, when I wear some clothes that are not the mainstream aesthetic, I will also be stared at and gawked at by others, which will also make me feel that my sense of boundary is violated.

In the first drawing I wanted to draw the sense of boundary that is unconsciously violated in family relationships

Image Content:

Idea 1: To be more specific, the overall use of the painting-within-a-picture format, starting with the innermost layer of the painting, painting a dining table with a circle of people around it while they all look at the person sitting in the main seat, identifying the protagonist of the picture through the guide of the line of sight, at the same time, being gazed at brings about a sense of oppression, like the feeling brought about by a boundary being touched, and there is a wide variety of food on the table, with a large amount of food being piled up in front of the protagonist. There is a hole in the middle of the table, and a line extends out of the picture, drawing a fish head hanging from the line, representing the inner world of the protagonist, which is like this fish head, at this moment, at the mercy of others. Colour character style would like to refer to bosch or Chagall

Idea 2: the picture is more abstract, the protagonist outside the package of a space, with this element to replace the sense of boundary, can be a small house or something, and then painted this small house is squeezed, outside a hand want to squeeze this small house, make him crooked and broken, and the house can be painted inside the limbs entangled with each other, on behalf of self-protection gesture, or crooked and twisted characters, to show the outside world touched the dissatisfaction, this is more focused on the expression of the squeezed. This one focuses more on the feeling of being squeezed at the border. Overall, I want to use black, white and grey to represent the relationship of sketches.

Reference Artists: Bosch and Chagall

The form of small undead animals can change. They can be a gust of wind in real life or a shadow. In their lives, they can't communicate directly with people in real life, but in dreams, they can do the same things as before their lives to connect with their masters.

I wanted to create a weird world, like an alien planet, where all the plants and animals are different but very similar to those on Earth, where the creatures are bred from the soil by the plants, and the nutrients in the soil come from the magma in the center of the earth, and the roots of these plants are connected to the same huge core, and when the creatures die, they will be absorbed by the soil back into the core, and then another thing will grow. It's like a loop. Then some creatures developed intelligence and created a nation, and they would have a patron saint of faith, a giant ancient synth, and I wanted to draw some history of this world, like a mural to record it.

This person starts questioning, saying, “It feels like we’re sheep trapped in a pen.” The harmonious and idyllic state of everyone else fills him with dread. “Why am I the only one feeling this way? Why doesn’t anyone else notice?”

Driven by these thoughts, he resolves to destroy this false perfection. He leaps from the sky city into an underground world, determined to dismantle the fake perfection of the sky world. He believes someone must be working behind the scenes to maintain this superficial beauty, and he wants to uncover the truth hidden beneath it. He starts recruiting others, through persuasion or threats, to join his cause. Together, they begin attacking the perfect world, trying to force the truth to surface.

Strangely, the perfect world seems to remain unaffected, as though it is doing nothing in response. Yet the opposing forces dwindle in numbers, which raises further suspicion. This bizarre phenomenon also prompts some people within the perfect world to become aware of its flaws. Combined with the rebels’ propaganda, they decide they don’t want to fight but also refuse to remain bound by the perfect world’s constraints. These people descend from the sky city and establish a neutral zone on the surface.

It was an amazing experience for me. I have always wanted to express this feeling in the form of painting, so this time I tried. In fact, the theme of this painting is different from the idea I uploaded before. I extracted the word trauma from the idea. This word brings back the word depersonalization, because depersonalization is actually a protective mechanism of the body after a traumatic experience. What's even more surprising is that depersonalization is a condition experienced briefly by many people in the world, as well as by many people with depression and anxiety, and yet it is poorly studied medically. I decided to capture this magical feeling of depersonalization in the form of a painting.

Some of the things that people covet are wealth, power, love, and eternal life.

For example, in the case of wealth, a person may start out wanting his family to have a better life, he first starts working hard and gets some money, but as time passes, as his wealth increases, he wants more and more, a bigger car, a bigger house, more power, his greed grows bigger and bigger, and finally it becomes a bottomless pit, he grows less and less satisfied with the rewards of his hard work, and starts praying to the gods, hoping for a heavenly fortune. Gradually, this man was not satisfied with the normal accumulation of wealth, and began to become distorted, selfish, out of control and uncontrollable, and even went out of his way to get money, he began to exploit others, cheat his friends and even hurt his loved ones, and finally became destitute, but there was no turning back. But there is no going back.

• Settings: In this world, time is no longer linear but exists in the form of fragments. Everyone can enter different time points by touching "time fragments", but these fragments are randomly distributed, and the time point entered each time is unpredictable. Some people specifically collect time fragments, trying to piece together the complete history, but each time of piecing together will cause confusion in the timeline.

Everyone can access the time fragments related to their own past, but some important memory fragments will be kept by some of the fairest and most authoritative departments.

• Settings: In this world, time is no longer linear but exists in the form of fragments. Everyone can enter different time points by touching "time fragments", but these fragments are randomly distributed, and the time point entered each time is unpredictable. Some people specifically collect time fragments, trying to piece together the complete history, but each time of piecing together will cause confusion in the timeline.

Everyone can access the time fragments related to their own past, but some important memory fragments will be kept by some of the fairest and most authoritative departments.

Sky City is a mobile city with no fixed location. Every so often, it stays for a few days, dumps a massive amount of garbage, and then moves away, leaving the creatures of the forest in misery.

But the three protagonists are ready for action. They have identified the next dumping site. When the time comes, they will climb up along the discarded waste, infiltrate Sky City, and uncover its darkest secrets.

I used the distant land as the horizon to separate Sky City from the protagonists, aiming to create a sense of looming disaster. However, the final result didn’t fully achieve the effect I wanted. Additionally, the coloring was done in a rough, sketchy manner rather than with precision. I hope to see significant improvement in my next piece.

This is because there are energy blocks in the soil that nurture the organisms above the soil, and when the organisms die, these energy blocks will break them down and absorb them.

The ground is divided into soil layers and magma layers, and the energy blocks in the soil are divided by the huge core of the magma layer, which are connected to each other and transmit energy to each other. The energy of the giant core comes from the magma in the center of the earth and the light received on the ground.

Below is the introduction to the new world setting:

Theme of the Story: Freedom without rules is not true freedom.

Medium of the Story: Various types of plants.

Indoor Setting: A greenhouse.

Outdoor Setting: A harsh winter.

World Setting: Inside the greenhouse, the plants have formed a small society. The resources of this society consist of the fertilizer and water (nutrients) provided by the caretakers. The temperature in the greenhouse is maintained at an average level, sufficient for tropical plants to grow, but the greenhouse cannot replicate the true tropical environment, resulting in the plants being stunted in size.

Plot Summary: The plants believe that the caretakers have mistreated them, citing the significant size difference between themselves and the plum blossom trees and other cold-resistant plants outside the greenhouse. A cluster of blue snowflowers (a type of tropical flower) decides to reclaim "their rightful rights" and plans an escape. However, the other plants doubt the success of this endeavor and urge the blue snowflowers not to cause trouble. Ignoring their advice, the blue snowflowers seize the opportunity when the caretaker is preoccupied with preparing nutrient solutions and sneak out.

The next day, the caretaker finds the blue snowflowers frozen to death in the heavy snow outside the greenhouse.

Here are the key sentences I wrote for myself, around which the composition revolves:

1. Show how plants gain self-awareness.

2. Depict the greenhouse keeper's care for the plants, but the plants feel that the keeper is restraining them. (A disconnect in emotions)

3. The plants, in turn, take control of the keeper, with various carnivorous plants attacking the keeper. (A reversal of roles)

4. A tropical flower finally escapes to the outdoors, but unable to adapt to the cold, it dies in a snowdrift not far from the greenhouse, with a cold-resistant plum tree standing beside it. (Contrast)

6. The difference between protection and restraint can be shown to the audience by drawing wild plants growing in the cracks of a wall.

1. Researchers standing on the second floor hold research reports, comparing the size difference between the plants inside the greenhouse and those outside. On the first floor, researchers are dealing with the escaped climbing plants and recording plant data, while the plum tree outside the greenhouse is in full bloom.

2. The researcher/administrator, with a loving gaze, caresses the glass dome protecting the blue snowflake flower, her waterfall-like hair cascading down, evoking a sense of confinement. Unbeknownst to her, the spiky plants behind her are about to launch an attack. The blue snowflake flower gazes at the sky from beginning to end.

3. The carnivorous plants (man-eating flowers) break through the laboratory door, attack the researchers, and escape the greenhouse.

4. The blue snowflake flower leaves the greenhouse but dies in the soft, cold snowdrift due to its inability to adapt to the low temperature, while the plum tree continues to grow strong.

1. The climbing plant grows wildly in the crevices of the wall, while another plant of the same species is weak in a pot, requiring a support frame to grow slowly.