There can be an appearance fee of water shadow painting

Just like Beijing 798 Dashanzi Art Zone, there is also a large old factory in the original northwest First seal of Textile City in ancient Xi 'an. At the end of 2008, someone hung the sign of "Textile City Art Workshop" at the gate of the old factory. It became known as Area A, or "Pit One," and housed A large number of art renters. "I love Textile City and living a simple and stylish life here," says Wilmqta, who opened her coffee gallery in District 1, a 100-square-meter space converted from an abandoned workshop.

Long hair Wei Yueda eyes pure bright like a child, look with a little shy, she again and again imagine Yang Guo see Dugu for failure left the wooden sword situation, "after forty years old, not stuck in things; Vegetation, bamboo and stone, can be swords. When the skill reaches a certain level, it means that he is not bothered by foreign objects. Such a person is like a sword with great skill and no work."

Admitted to Xi 'an Academy of Fine Arts, Wei Yueda enjoy the release of the heart, she painted the object of meticulous observation and meditation, focus on other things, light ink and oil painting texture, the joys and sorrows of the characters, in each of her paintings in the light, but also with the strong color of the academy. After graduation, Weierda still lives in the No.1 district of the city, which is suitable for leisure and retreat. She paints her emotions and heart through the drawing board.

"Pictures are magical. They take me to another world. In this world, though it is not three-dimensional, I feel the trivial and powerful power of life." At the age of 22, Wilmqta found her life truly opened up and she knew she was different. If we use Wyatt's own language to elaborate: it is like a claustrophobic room for many years, the Windows are opened one by one, the sun shines in, the breeze blows in, the probe looks out the window, the leaves are blooming, the flowers are blooming, everything restores the true face of life.

In addition to painting, Wilmqta began to feel that she needed a lot of love, so much that she could cover it as a quilt, even if it was heavy and she could not breathe. She and the boy called Cheng met to visit each other in distant cities, night when two people on the street shopping, he is tall, holding hands, every time like being carried by him. Wei Yueda can not walk, will carry, and then a Cheng on the empty streets to run.

Feeling full of water, finally Wei Yueda followed a cheng to Egypt. There they would sleep until they woke up and learn to paint with the Beatles, the Egyptians who smelled of pine oil, had long, jagged hair and had color under their nails, and nibbled on a "yesu" (Egyptian bread without yeast). For months, the two men lingered on the shores of the drab Egyptian river, mingling with prospectors in cheap Chinese trade shirts, beards and thick hair. At night, I rented a container for the homeless and painted painted widows with cuts on their faces, hexenbists who could communicate with animals, and metal girls riding heavy locomotives and wearing horse-studded boots.

By then, Ms. Werchetta felt she had moved up the artistic ladder, as evidenced by the subsequent popularity of her Egyptian works at auctions and art galleries. Years later, in her dreams, Wilhyvda would travel through time and time, debating with the warlocks in the pharaoh's backyard amid the flickering lights of the tombs of Cairo's "City of the Dead."