Bienvenue dans l’univers de Lukas et du Titanic
六岁的 Lukas 已经连续几个月用绘画探索泰坦尼克号。无论是铅笔、彩笔还是炭笔，他都以惊人的热情和细致描绘这段传奇航程。有的作品沉浸在沉船的黑暗中，有的则充满色彩与欢乐，仿佛在庆祝船上的生活。
透过他的眼睛，泰坦尼克号变得好奇、敏感，又充满创造力。
Six-year-old Lukas has spent months exploring the world of the Titanic through drawing. With pencils, markers, or charcoal, he brings this legendary voyage to life with striking passion and detail.
Some works dwell on the dramatic darkness of the sinking, others burst with color and joy, celebrating life on board.
Through his eyes, the Titanic becomes curious, sensitive, and endlessly creative.
The Shock of an Image — Seen by Lukas, Age 6
Lukas 是偶然间接触到《泰坦尼克号》这部电影的。他或许还不能完全理解整部故事，也不懂其中的人类悲剧，但留在他心里的，是巨轮的庞大、冰山的威胁、天空的烟火，以及船头那两个小小的身影。
这幅画深深印在他的脑海里。
在画中，他捕捉到一个悬停的瞬间：宴会正热闹进行，而危险已在不远处清晰可见。
这种在宏伟与脆弱、欢乐与威胁之间的强烈对比，被他用孩子的眼睛表现出来——好奇、本能、真挚。
Lukas discovered the film Titanic almost by chance. He probably doesn’t yet understand the full story, nor the human tragedy it tells. But what stays with him is the immensity of the ship, the looming ice, the fireworks, and those two small figures at the bow.
This image struck him deeply.
In his drawing, he captures a suspended moment: the celebration in full swing, while danger approaches, already visible.
The powerful contrast between grandeur and fragility, joy and threat, is expressed here through the eyes of a child—curious, instinctive, and sincere.
A Turning Point: From Colorful Drawing to Emotion in Black and White
在用色彩探索泰坦尼克号之后，六岁的 Lukas 做出了一个本能却震撼的选择：他放下彩色笔，转而使用铅笔与炭笔。
这种转向黑白的变化并非偶然，而是一种视觉上的觉醒：泰坦尼克号的悲剧、它的庄重与悲美，在光与影的对比中获得了更强烈的共鸣。
这一变化标志着他学习中的一个转折点——不仅仅是技术上的，更是情感上的。
也许这正是他最大的发现：图像可以承载情感，而情感同样能够引导图像。
After exploring the Titanic in colors, six-year-old Lukas made an instinctive yet striking choice: he set aside his markers and turned to pencil and charcoal.
This shift to black and white was not accidental. It reflects a visual awakening: the tragedy of the Titanic—its weight, its tragic beauty—finds a far deeper resonance in the contrasts of light and shadow.
This change marks a turning point in his learning journey—not only technical, but emotional.
Perhaps this is his greatest discovery: that an image can carry emotion, and that emotion can guide the image.
Relearning the Eraser
在这幅铅笔与炭笔的创作中，Lukas 还发现了一种新的创作工具：橡皮。
对许多孩子来说，橡皮常被视为纠正、错误和擦除的象征。但这一次，我向他提出了另一种可能：如果橡皮本身就是一种绘画工具呢？
Lukas 很快理解了这个概念，并以极大的敏感度将其应用在作品中。
他画中的白色区域，不再是空白，而是被精心处理、构建，甚至是被“画”出来的。
橡皮因此成为与铅笔和炭笔同等重要的工具，能够创造线条、质感和光感。
借助这种新的方式，他的黑白图像在层次、细腻度和张力上都大大提升。
In this work with pencil and charcoal, Lukas also discovered a new creative tool: the eraser.
For many children, the eraser is seen as a symbol of correction, of mistakes, of removal. But here, I offered him another perspective: what if the eraser were a drawing tool in its own right?
Lukas quickly grasped this idea and began applying it with great sensitivity.
The white areas in his drawings are no longer empty spaces, but carefully worked, constructed, and sometimes even drawn.
The eraser thus becomes an instrument equal to pencil or charcoal, capable of producing lines, textures, and light.
With this new approach, his black-and-white images gained richness, nuance, and intensity.
When Empathy Opens the Path to Learning
Lukas 三岁半的时候来到我们这里。他几乎不说话，尤其是在陌生的环境中。但从一开始，我们就感受到他身上有一种特别的敏感。渐渐地，他开始在我们之间建立起一种信任。我们帮他换尿布，陪他在户外找厕所，一起做饭，一起在外面玩，只是单纯地分享一些日常的小片段。
将近两年的时间里，他没有表现出任何特别明显的绘画天赋。我们的日子安静而规律：他来，他走，在这样的节奏里，没有什么让人着急的。
直到有一天，几乎没有过渡，他突然对“泰坦尼克号”表现出强烈的兴趣。我们便给他看了一段由一位艺术家制作的十分钟短片。他全程一动不动地看完，眼睛紧紧盯着屏幕。之后，他就开始不停地画泰坦尼克号，一画就是二十多次。
我们并没有试图让他换别的话题。他似乎进入了一种只属于他自己的状态，和这段历史产生了某种联系。他的画并不是单纯的重复，而更像是一种停留——为了能够更深地进入其中。
当他不知道该如何表现黑色的大海时，我们没有给他解释方法，而只是对他说：“你也可以用橡皮，让光出现。”
Lukas came to us at the age of three and a half. He hardly spoke, especially in places he didn’t know. Yet from the beginning, we sensed a special sensitivity in him. Gradually, he began to build a form of trust with us. We helped him change his diapers, accompanied him to find outdoor toilets, cooked together, played outside, simply sharing ordinary moments.
For nearly two years, he showed no obvious sign of a particular talent for drawing. Our days passed quietly and steadily: he came, he left, and within that rhythm, nothing seemed urgent.
And then one day, almost without transition, he suddenly developed a strong interest in the Titanic. We showed him a short ten-minute video made by an artist. He watched it all the way through, motionless, his eyes fixed. After that, he began drawing the Titanic again and again—for more than twenty sessions.
We never tried to make him change the subject. It felt as though he had entered something deeply his own, a connection with that story. What he was doing was not repetition in the usual sense; it was more like staying in the same place to inhabit it more fully.
When he didn’t know how to make the sea look dark, we didn’t explain a technique. We simply told him: “You can also use the eraser to let the light appear.”
2025.5.22