在 Lisk Feng（Instagram：@liskfeng）的插畫裡，世界似乎從來沒有固定的色彩。山川、植物、海洋與天空被重新組合成柔和而鮮明的色塊，細小的人物穿梭其中，彷彿現實世界被輕輕推進了一場夢境。這份想像並非完全脫離現實。相反，Lisk 的作品往往源於對日常環境極細微的觀察。對她而言，自然既是靈感，也是值得不斷研究的視覺課題。
In the illustrations of Lisk Feng (Instagram: @liskfeng), the world never seems to be confined to a fixed palette. Mountains, plants, oceans and skies are reimagined in soft yet vivid blocks of colour, while tiny figures move through the scenes as if the real world has gently slipped into a dream. Yet this sense of imagination is never entirely detached from reality. On the contrary, Feng’s work often begins with close observation of the everyday environment. For Feng, nature is both a source of inspiration and a visual subject to be continually observed and explored.
Lisk Feng 的插畫世界總帶著一種介乎現實與夢境之間的感覺。出生於中國浙江海寧、現居紐約的她，作品橫跨編輯插畫、廣告、繪本及個人創作，合作對象包括《The New Yorker》、《The New York Times》、Apple、Chanel 及 Airbnb。她筆下常見植物、山川、海洋與細小的人物，配上柔和而鮮明的色彩，將我們熟悉的自然景象重新轉化成充滿想像力的世界。
Lisk Feng’s illustrations seem to exist somewhere between reality and dreams. Born in Haining, Zhejiang, China and now based in New York, she works across editorial illustration, advertising, picture books and personal projects, with clients including The New Yorker, The New York Times, Apple, Chanel and Airbnb. Plants, mountains, oceans and tiny human figures often fill her compositions, while soft yet vivid colours transform familiar landscapes into imaginative worlds of their own.
這份對自然的敏感，其實早在童年時已經形成。Lisk Feng小時候經常在祖父母家的院子裡觀察花草、動物與四季的變化，祖父更曾把一扇木門漆成黑色，讓她可以隨意用粉筆在上面畫畫。長大後，她仍習慣從日常細節尋找靈感——旅行時觀察不同地方的植物、光影、水面與石頭，再把這些真實的景象延伸成屬於自己的幻想世界。對她而言，自然是值得慢慢觀看和研究的對象。
Her sensitivity to nature can be traced back to childhood. Feng spent much of her early years observing plants, animals and seasonal changes in her grandparents’ garden, where her grandfather even painted a wooden door black so she could freely draw on it with chalk. That curiosity has remained central to her practice. While travelling, she pays attention to local plants, changing light, reflections on water and even moss-covered stones, turning these small observations from real life into the starting points of imaginary landscapes. For her, nature is something to be carefully observed and continually explored.
色彩亦是作品中最鮮明的元素之一。她曾受到法國畫家 Georges Seurat 的影響，開始意識到顏色並不需要完全服從現實：人物可以是藍色，石頭可以是紫色，陽光亦不一定只能是金黃色。因此，她並不是單純重現眼前看到的景物，而是透過色彩表達一個地方帶來的感受。
Colour is another defining element of Feng’s visual language. Influenced by French artist Georges Seurat, she came to understand that colour does not always have to follow reality—a person can be blue, a stone can be purple, and sunlight does not always need to appear golden. Rather than simply reproducing what she sees, Feng uses colour to express how a place feels.
或許Lisk Feng的作品最迷人的地方，正是她讓我們重新注意那些平日容易忽略的事物。一片葉、一束光、一個影子，甚至一塊普通的石頭，都可以成為一幅作品的起點。她透過想像重新觀看現實。下一次經過一棵樹、看到陽光落在水面，或留意到天空色彩的變化時，也許我們也可以像她一樣，多停留一會——世界未必改變了，改變的可能只是我們觀看它的方式。
Perhaps the most captivating quality of Feng’s work is the way it encourages us to notice what we usually overlook. A leaf, a beam of light, a passing shadow or an ordinary stone can all become the beginning of an image. She uses imagination to help us see reality differently. The next time we pass a tree, watch sunlight fall across water or notice the changing colour of the sky, perhaps we might look a little longer—the world may not have changed, but the way we see it can.
圖片提供：藝術家 Lisk Feng｜Courtesy of Lisk Feng Instagram: @liskfeng