新展预告｜涂涂写写画画 Drawing, Writing, Scribbling

涂涂写写画画  Drawing, Writing, Scribbling

展期 Duration

2026年2月28日 – 2026年4月26日

28 Feb. – 26 Apr. 2026

展期内每天12:00-19:00开放（周一闭馆）

accessible between 12:00-19:00 (closed on Monday)

开幕 Opening

2026年2月28日，星期六，15:00

Saturday, 28 Feb. 15:00

票务信息 Tickets

学生票20，普通票28（现场购票）

Student ticket 20, regular ticket 28 (buy on-site)

展览地址 Address

浙江省杭州市上城区里太祖湾151号-2 2楼 cuspdot 卡斯普多特

cuspdot, 151-2, 2nd Floor, Litaizu Wan, Shangcheng District, Hangzhou City, Zhejiang Province, China

“涂涂写写画画 Drawing, Writing, Scribbling” 呈现艺术家 mao 近年与过往的两类长期实践：以日记作为方法的写作与绘画，以及以广告牌为载体的图像创作。展览希望从这两种方式出发，去理解艺术家如何通过持续的记录与描画，与周围的人、社区和日常生活建立联系。

广告牌系列关注图像在城市中最基本的功能：它作为一种介入街区日常生活的视觉结构，既服务于个体经营者，也参与构筑社区生态。创作者在不同城市行走、停留、观看，以速写般的方式捕捉街边店铺的经营者与其所处环境，并用易于获得的材料制作出广告牌。图像在去除文字信息后，变成一种直接、轻盈的沟通方式——它迅速传递关于人的存在、劳动与情感的讯号，人与人之间微弱但真实的情感联系，使陌生人之间得以通过一幅图像建立短暂但真实的关联。广告牌由此被松动为一种轻盈的社会媒介：介于公共与私人之间，介于流动的城市经验与地方性记忆之间。

与向外延伸的广告牌相比，日记更像是一种向内折返的书写方式。mao 的日记以日期为结构，以日常生活的观察、用日常事件、情绪与生活观察构成文本，是一种持续性的动作，也是一种观看的训练。写日记既是一种持续的动作，也是一种自我整理、自我感受的方式。私人经验在写作中被保存为档案，而当日记被放入展览，它又成为一种可被阅读、被观看的公共文本——个人的叙述也因此拥有了共享的可能。通过持续的自我书写，创作者的身份在叙述中不断形成；日期也在反复记录中被分段和标记，变成可以被回看的节点。日记作为一种实践，让日常经验在记录中获得新的组织方式和意义。

将广告牌与日记放在同一个展览里，是艺术家对“附近”这一概念的尝试：如何通过日常的绘画与文字实践，进入一个社区，记录社区，甚至重新想象社区？在 mao 的工作中，人与人之间的关系总被放置在最核心的位置——无论是街头店铺的经营者、偶然相遇的陌生人，还是书写中出现的亲人与朋友，他们都通过图像、文字与叙述被重新召唤为关系的主体。“涂涂写写画画 Drawing, Writing, Scribbling” 不仅是创作者对过去数年实践的梳理，更呈现一种持续进行中的行动：以轻微的、温柔的、不断重复的方式，把个人经验与社区关系、私人叙述与集体观看重新结合起来，使“附近”得以被重新建立、被重新想象，也被重新叙述。

“Drawing, Writing, Scribbling” presents two ongoing bodies of work by the artist mao — diaries as methods of writing and drawing, and a series of image-based creations produced in the form of hand-made signboards. Through these two modes of practice, the exhibition explores how the artist builds connections with people, communities, and the everyday world through continuous recording and depiction.

The signboard works focus on the most fundamental function of images within a city: as visual structures embedded in the daily life of a neighborhood. They serve individual shop owners while simultaneously shaping the ecology of the community. Moving through different cities, mao observes, pauses, and watches, capturing shopkeepers and their surroundings with quick sketch-like strokes, and producing signboards using simple and easily accessible materials. Once stripped of textual information, the image becomes a direct and lightweight form of communication — swiftly conveying signals of human presence, labor, and emotion. These faint yet genuine affective connections allow strangers to form brief but meaningful relations through a single image. In this sense, the signboard becomes a loosened and mobile social medium, situated between the public and the private, between transient urban experience and localized memory.

In contrast to the outward-facing signboards, the diary operates as a turning inward. Structured by dates and composed of daily observations, events, emotions, and reflections, mao’s diary is both a continuous action and a form of training in looking. Writing a diary is an ongoing gesture of sorting and sensing; private experiences are preserved as archival traces, and once placed within an exhibition, these personal writings transform into public texts that may be read and shared. Through continuous self-writing, the artist’s sense of identity gradually takes shape within the narrative. Dates, marked and repeated, divide time into segments that become points to be revisited. As a practice, the diary reorganizes everyday experiences, giving them new forms of order and meaning.

Placing signboards and diaries within the same exhibition is mao’s way of engaging with the idea of the “nearby”—how drawing and writing can enter, document, and even reimagine a community. Human relationships remain the core of Mao’s work: shopkeepers, strangers encountered in passing, family members, and friends appearing in the writings and images are all called back into presence as relational subjects.“Drawing, Writing, Scribbling” is therefore not only a reflection on several years of artistic practice, but also an ongoing gesture — gentle, subtle, and repeated. It weaves together personal experience and communal relations, private narratives and collective viewing, allowing the “nearby” to be rebuilt, reimagined, and retold.

广告牌的开始：广告屋

The beginning of the billboard: Ad House

“我两手空空地去成都参加abC艺术展，直到开展前一周还没有任何想法——既没有完整作品，也没有艺术周边产品。第一天来到场地时，我看到地上有几个被人遗弃的、一人高的纸板箱，突然想到可以在展览中搭建一个小房子。这让我想起小时候：在小学一二年级的时候家里买了一台冰箱，然后我就用冰箱的外纸壳做了一个属于我的小房子，我用剪刀剪了一扇门和一扇窗，还在里面摆了小板凳和小桌子用来写作业，每天上学的时候，我都渴望着能快点放学回家回到我的小天地里，周六周日我甚至都在里面一整天也不出来。那样一个小小的空间给了我充足的安全感。

于是我将这个概念延续到了这次艺术展上。朋友帮我一起搭建了我理想中的、接近小时候那样的小天地一般的小屋，我们还给房子做了斜面的屋顶。房子有了，但是还没有内容，我又想到九十年代到处能见的书报亭和电话亭（它们都具备了一定的服务性质），给人画招牌的念头就一下子冒出来了。于是一座2平米的移动广告位小屋就这么搭建而成了。因为是夏天，我又用剩下的纸板给房子外面添了一个空调外机。开展的第一天，我先给我对面的展商画了一块招牌，他们是一对设计师和厨子的组合，卖的是贵州土豆片，我画好了招牌，他们热情用土豆片来交换。有了第一块后，就陆陆续续开始了后面几块，大家都用以物换物的方式得到了各自的招牌，当然我也收获了不少好吃的食物和美观的艺术品。展览结束后，整个小房子被点缀得琳琅满目。朋友开玩笑说，这是这片高昂小区里最小的独栋别墅。”

I went to Chengdu to participate in the abC Art Fair completely empty-handed. Up until a week before the opening, I had no concrete ideas—no finished works, and no art merchandise either. On the first day at the venue, I noticed several abandoned cardboard boxes on the ground, each about the height of a person. Suddenly, it occurred to me that I could build a small house inside the exhibition.

This immediately brought me back to my childhood. When I was in the first or second grade, my family bought a refrigerator. I used the cardboard packaging to make a little house of my own. I cut out a door and a window with scissors, placed a small stool and a tiny table inside for doing homework. Every school day, I longed for classes to end so I could rush home and return to my own little world. On weekends, I would sometimes stay inside all day without coming out. That small space gave me an immense sense of safety.

I decided to carry this concept into the art fair. With the help of friends, I built a small house that resembled the intimate world I remembered from childhood, complete with a slanted roof. Once the structure was finished, however, it still lacked content. I then thought of the newspaper kiosks and phone booths that were ubiquitous in the 1990s—spaces that offered services to the public. The idea of painting signboards suddenly emerged.

And so, a two-square-meter mobile advertising house took shape. Because it was summer, I even used leftover cardboard to add an external air-conditioning unit to the outside of the house. On the first day of the fair, I painted a signboard for the exhibitor across from me—a duo consisting of a designer and a chef who were selling Guizhou-style potato chips. After I finished the sign, they enthusiastically traded me potato chips in return. With that first exchange, more followed. One by one, people obtained their own signboards through bartering. In return, I received plenty of delicious food and beautifully made artworks.By the end of the exhibition, the small house was densely adorned with signs and objects. A friend jokingly remarked that it was the smallest detached villa in this high-priced neighborhood.

川西的旅行 A Journey to Western Sichuan

从成都去新都桥 From Chengdu to Xinduqiao

已经开了四个小时了，我被隧道里连续的昏暗弄得一直在打瞌睡。我们抵达了下雨的康定。开始下冰雹，我们在一个山顶的平台上停了下来，海拔4300米，多讲一句话就会让人感到身体在泄气，零食的包装袋已经膨胀得像是随时要爆炸。一路的能见度都只有50米，开了大概四五十公里后，太阳从层层叠叠的云中穿透出来，照在湿漉漉的柏油马路上。我们看到一个小铁皮屋，上面写着氧气、烧烤、牦牛肉、酸奶这几个字，地上还有一些碎玻璃，其中有一扇窗曾经被打碎，现在又换上了新的。 余伟说，要不就先给这个小店画一张广告牌吧，管它有没有人在。于是我拿出木板、颜料和画笔，用没喝完的矿泉水做水桶，蹲在地上开始画。

We had already been driving for four hours, and the continuous darkness of the tunnels kept making me drowsy. When we arrived in rainy Kangding, hail began to fall. We stopped at a mountain-top platform at 4,300 meters, where even saying a single extra sentence made the body feel weak, and snack packages had swollen as if they might burst. Visibility along the road was only about 50 meters, but after driving another forty or fifty kilometers, the sun broke through the thick clouds and shone on the wet asphalt. We saw a small tin shack with the words “oxygen,” “barbecue,” “yak beef” and “yogurt” on it, and broken glass scattered on the ground; one window had been smashed and replaced. Yu Wei suggested painting a sign for the little shop, whether anyone was there or not, so I took out a wooden board, paint, and brushes, used an unfinished bottle of mineral water as a bucket, squatted on the ground, and began to paint.

进入云南 Entering Yunnan

然而在一条什么都没有的路上，我和余伟一起看到了一个用水泥砖搭的小房子，只有两平米，房子的两侧被人用血红色的油漆涂了几个大字，“菜一把一元”。我们停车下来。房子里的三合板上整齐地摆放了各种各样的菜，一袋包心菜、一捆胡萝卜、一把葱、一脸盆韭菜，墙上还有一行血红色的字“请扫码付款”，右边贴了一个微信收款码。我蹲下来，在木板上画了一颗葱和一把胡萝卜，还有一个番茄人，是我临时胡乱想的，来不及仔细构思了，如果动作太慢，我们就要在喀斯特地貌下开危险的夜路了。在狂风下，我画完了这块广告牌。我把它放到了小房子里，正要离开的时候，遇到一个骑电动车过来的男人，他突然在我旁边停下来，看着那幅画，说：太新鲜了，第一次看到这种东西！说完，他拿出手机拍了一张照片。我问他认不认识这些菜的主人，他说这是一对50多岁的夫妇弄的，就住在离这600米远的地方。他又问我是不是来旅游的，我说是啊，下一站去塔城。然后我们就没再说话了，不过离开之前，他又对着小屋子里的画摇摇头感慨了一遍，然后跟我说：祝你旅途顺利。

On a road where there was seemingly nothing, Yu Wei and I came across a tiny two-square-meter house made of cement bricks. Both sides of the house were painted in bright red characters: “Vegetables 1 yuan per handful.” We stopped the car. Inside, on a plywood shelf, all sorts of vegetables were neatly arranged—a bag of cabbage, a bunch of carrots, a handful of scallions, a basin full of chives—and on the wall, a line in red read, “Please scan to pay,” with a WeChat QR code pasted beside it. I squatted down and drew a scallion, a handful of carrots, and a little tomato-person on a wooden board—something I made up on the spot, without time to plan carefully, because if I moved too slowly, we would have to drive dangerous roads through the karst terrain at night.

Amid the strong wind, I finished the sign and placed it inside the tiny house. Just as we were about to leave, a man riding an electric bike stopped next to me. He looked at the drawing and said, “This is so fresh, I’ve never seen anything like this before!” Then he took out his phone and photographed it. I asked if he knew the owners of the vegetables, and he said it was a couple in their fifties who lived about 600 meters away. He asked if I was traveling, and I said yes, that our next stop was Tacheng. We didn’t speak further, but before leaving, he shook his head at the drawing in the little house one more time and said, “Have a good trip!”

从塔城镇到程海镇 From Tacheng Town to Chenghai Town

在从塔城镇去程海镇的路上，我一路都在留意路边的招牌，最终，我们在一个草莓园门口停了下来。园子的主人是一个抱着孩子的傈僳族老婆婆。我刚到的时候，这里没有人，只有一片绿油油的草莓地和一只黑色的土狗，当她看见我的时候，我已经画到草莓的最后一部分了，她在远处对我喊道：能给我也画一个草莓吗？余伟用四川话说，这就是画给你的。婆婆很高兴，问我能不能加“摘草莓”这几个字，然后还报了一串电话号码给我，希望我能写在上面。

On the road from Tacheng Town to Chenghai Town, I kept noticing the signs along the roadside. Eventually, we stopped in front of a strawberry farm. The owner was an elderly Lisu woman holding a child. When I first arrived, no one was around—just a stretch of lush green strawberry fields and a black village dog. By the time she saw me, I was finishing the last part of the strawberry on the sign. From a distance, she called out, “Can you draw a strawberry for me too?” Yu Wei replied in Sichuan dialect, “This one is for you.” The woman was very happy and asked if I could add the words “Pick Strawberries,” and then she gave me a string of phone numbers to include on the sign.

去凉山彝族自治区 Heading to Liangshan Yi Autonomous Prefecture

“还能调头吗？”我问余伟。我看到路边一面墙上几个“出售大量花椒苗”的大字。然后我们在一公里外调头回来。余伟把车停靠在路边，我迅速拿出材料坐在地上画了起来。十分钟后，一辆卡车突然停在了这座房子的门口，司机从车上跳下来，掏出口袋里的一长串钥匙，一边开门一边往我这看。我问他，你是这里卖花椒苗的吗？他说是他，然后我哈哈大笑，我说那等我这个画完就送给你！“她在给你的花椒苗生意画广告。”余伟补充道。他也笑了起来，然后又连忙上车拿了三瓶水递给我们，他说，进来画，进来画！他迅速开门，把我们招呼进去，拿了三条小板凳放在我要画画的地方。这是一个半露天的院子，地上铺了好多菜叶，他养了十二只毛茸茸的小鹅，它们挤在一起，在菜叶子上走来走去。我问他平时做什么，他说他主要跑卡车运输，从冕宁运水到西昌，一个月可以跑20趟左右。然后他又领我去了后院，他指着土地上的植物说这就是花椒苗。

“Can we turn around?” I asked Yu Wei. I noticed a wall by the roadside with large characters reading “Selling Large Quantities of Sichuan Pepper Seedlings.” About a kilometer ahead, we turned back. Yu Wei parked by the side of the road, and I quickly took out my materials and started drawing on the ground. Ten minutes later, a truck suddenly stopped in front of the house. The driver jumped down, pulling out a long string of keys from his pocket, opening the door while glancing at me. I asked, “Are you the one selling the Sichuan pepper seedlings here?” He said yes, and I laughed, saying, “Then I’ll give this to you when I’m done!” “She’s making an advertisement for your pepper seedling business,” Yu Wei added. He laughed too, then quickly got back in the truck to hand us three bottles of water. “Come in and draw, come in!” he said, opening the door wide and inviting us inside. He brought out three small benches for me to use as I painted.

It was a semi-open courtyard, with lots of vegetable leaves scattered on the ground, and twelve fluffy little geese waddling around together. I asked him what he usually did, and he said he mainly drives trucks, transporting water from Mianning to Xichang about twenty times a month. Then he led me to the backyard and pointed to the plants growing in the soil, saying, “These are the Sichuan pepper seedlings.”

在北京的时候 While mao was in Beijing

mao 喜欢绘制广告牌，还有一个原因就是：它可以让人与人之间产生一些联系。但在刚开始时，她遇到了困难。胡同里的社区消费群体非常稳定，店家不需要靠招牌打广告，邻居们都知道每家店是做什么的，几乎找不到需要新招牌的店。mao 还是在胡同里走了走，最终找到几家愿意让她画的店。第一幅作品是为赵府街胡同里一对姐妹经营的“交友理发店”创作的招牌画。广告牌挂上之后，很多人因为招牌去剪头发，mao 认为这样就已经足够了。

mao enjoys painting advertising signs, partly because it allows connections to form between people. At the beginning, however, she encountered difficulties. The communities in the hutongs had very stable consumer bases; shopkeepers didn’t rely on signs to attract customers, and neighbors all knew what each store offered, so it was almost impossible to find a shop that needed a new sign. mao still walked through the hutongs and eventually found a few shops willing to let her paint. Her first work was a sign for a “Friendship Hair Salon” run by two sisters in Zhao Fu Street Hutong. Once the sign was hung, many people came to get their hair cut because of it, and mao felt that was already enough.

同一时期，她在鼓楼附近为一个修理摊画过一块广告牌。那个师傅的摊位就是一辆三轮车，之前有人经过时想要丢垃圾，本以为可以放到车上，结果发现了 mao 绘制的广告牌，才意识到那是一处摊位，于是把垃圾丢到别处。

Around the same time, she painted a sign for a repair stall near Gulou. The stall was just a tricycle. Previously, someone had tried to throw garbage onto it, thinking it was empty, but when they saw mao’s sign, they realized it was a working stall and threw the garbage elsewhere.

在豆腐池胡同里，有一家露天理发馆。mao 从未见过理发师，但注意到店门口装饰得很好，有各种手写的“理发”字样，被写在不同材料上，除此之外，还有一行警示语：no photos（不要拍照）。mao 第一次把画好的广告牌递给店里的阿姨时，阿姨说 mao 不专业，指出剪刀放在那缕头发上一剪就秃了，让她在下面再加上一片，改好后再拿回来。这位阿姨在招牌图像上的想法很独到，后来在与她聊天的过程中，mao 才了解到，她其实像侠女一样，会给穷人免费理发，只是表面上看起来有点凶，实际上很有魅力。

In Doufuchi Hutong, there was an outdoor hair salon. mao had never met the hairdresser but noticed that the shop entrance was well decorated, with various hand-painted “Haircut” signs on different materials, and a line of warning: “no photos.” The first time mao handed the finished sign to the woman running the shop, the woman said mao wasn’t professional, pointing out that if a pair of scissors was placed on that lock of hair it would make it bald, and asked mao to add another strand below before taking it back. This hairdresser had very distinctive ideas about signage. Later, in conversation with her, mao learned that she was like a heroic figure, offering free haircuts to the poor; although she appeared a bit stern, she was in fact very charming.

在北京昌平，mao 为那里的许多经营果园的农户免费画招牌。一个樱桃采摘园的叔叔在得到崭新的手绘招牌后，摘了很多樱桃送给她品尝。

In Changping, Beijing, mao also painted signs for many orchard owners free of charge. One uncle who ran a cherry-picking orchard, after receiving a brand-new hand-painted sign, picked many cherries and offered them to mao to taste.

家乡嵊州 Hometown, Shengzhou

外公修了60年的表，但是那个店铺要关了，他只能搬走，mao 的妈妈告诉她这件事的时候他们正在搬家，一块块把表搬走，对 mao 来说外公的那家店是她的儿时记忆，小时候总去那里玩，后来回家之后她就第一时间给外公画了这块招牌。这算是 mao 和外公之间的一个情感链接，他们之间很少会表达思念或者互相关心，但对 mao 来说，可以绘制这块广告牌也可以成为她表达的一种途径。

mao’s grandfather had been repairing watches for sixty years, but his shop was about to close, and he could only move out. When mao’s mother told her about it, they were in the process of moving, taking the watches away piece by piece. For mao, her grandfather’s shop was a childhood memory; she used to play there often. After returning home, she immediately painted a sign for her grandfather. This became a kind of emotional connection between mao and her grandfather. Although they rarely expressed longing or concern for each other, for mao, painting this sign was a way to convey her feelings.

mao 的姨妈，也经营着一家小包子铺，至今已有12个年头。包子铺以前的招牌是电脑打印出来的，彩底大字，没什么特色，更像是流水线上批量生产出来的商品，在众多招牌中毫不起眼。当 mao 把手绘的新招牌亲手送给姨妈时，姨妈眼里满是惊喜，开心地收下了。

mao’s aunt also runs a small bun shop, which has been in operation for twelve years. The shop’s previous sign had been printed on a computer, with colorful backgrounds and large characters, lacking any distinctiveness, looking more like a mass-produced product; it was unremarkable among all the other signs. When mao personally delivered her hand-painted new sign to her aunt, the aunt’s eyes filled with delight, and she happily accepted it.

东北 Northeastern China

这块广告牌是在东北画的。那家修理铺可能只有3平米的大小，很破旧，小屋里全都是工具。mao 看到老板自己写着「老鼠药」的一块招牌，其实她是被他写的字体吸引了，写得很形象，所以她当时说给他绘制一块广告牌，因为她看到招牌上还写了卖自行车，然后她就也画了一辆自行车。她还问他认不认识卖自行车的人，他说他就是。后来他跟 mao 说让她再给他画一块，但她没带什么绘画工具，他就从边上垃圾堆里挑了两块板子拼在一起，自己擦了一下让她画的，画完之后他用东北话和她说可太喜欢了，那个语调让 mao 印象深刻。

第二年冬天，mao 又去东北路过那家店，她站在那里想着他会不会记得她，他一眼把她认出来然后和她说让她再给他画一块，他说他还擦鞋，她说她画了第二天带给他，虽然第二天去的时候他不在，她就直接放在了店铺外，第三天她再经过的时候看到他已经拿补轮胎的皮钉在了外面。今年她再去的时候，他很热情地说她给他画了这么多块广告牌要请她吃饭，那种感觉很好，仿佛在东北也有了个老朋友。

This sign was painted in Northeast China. The repair shop was probably only about three square meters, very rundown, and full of tools. mao noticed a sign the owner had written himself that read “Rat Poison.” She was actually drawn to the way he had written it—it was very expressive—so she offered to paint a sign for him. She saw that the original sign also mentioned selling bicycles, so she drew a bicycle as well. She even asked him if he knew anyone who sold bicycles, and he said he was the one. Later, he asked mao to paint another one for him, but she hadn’t brought many art supplies. He picked two boards from a nearby pile of trash, put them together, and lightly wiped over what she had painted. After it was done, he spoke to her in his Northeastern accent, saying he loved it so much—the tone left a strong impression on mao.

The following winter, mao passed by the same shop again. She wondered whether he would remember her, and he immediately recognized her and asked her to paint another sign. He said he was still shining shoes, and she told him she would bring it the next day. Although he wasn’t there when she returned, she left the sign outside the shop, and when she passed by on the third day, she saw that he had already nailed it outside with tire repair tacks. This year, when she visited again, he enthusiastically said that since she had painted so many signs for him, he wanted to invite her for a meal. The feeling was very warm—it was as if she had an old friend in the Northeast.

mao给卡画的新招牌 mao made a new signboard for cuspdot

展出mao从2015年-2026年的日记们。

Exhibiting mao’s diaries from 2015 to 2026.

1. 广告！丝网印刷！印刷所有

Advertising! Screen Printing! Printing Everything

本次工作坊将以“广告”作为切入点，探讨图像如何通过复制与传播进入公共空间。丝网印刷作为一种高度依赖重复、分层与再现的印刷方式，长期以来与广告、标识系统和城市视觉经验紧密相关。从街头招贴、店铺招牌到临时性的视觉标记，印刷让图像获得了可复制、可流通、可被不断再使用的属性，也使图像得以脱离单一作者，进入更广泛的公共语境。

在工作坊中，参与者将以广告牌图像为基础进行丝网印刷实验，尝试将原本属于“一次性”“临时性”的街头图像转化为可被多次印制的视觉形式。通过重复印刷、颜色叠加与偶然失误，图像在不断被复制的过程中发生变化，也逐渐显露出其作为社会媒介的属性——它不再只是为某个对象服务，而成为一种可被共享、被带走、被再次使用的视觉语言。

This workshop takes advertising as its point of departure, exploring how images enter public space through processes of reproduction and circulation. Screen printing, as a printmaking method that relies heavily on repetition, layering, and re-presentation, has long been closely tied to advertising, signage systems, and everyday urban visual experience. From street posters and shop signs to temporary visual markers, printing grants images the ability to be reproduced, circulated, and reused, allowing them to move beyond a single author and enter a broader public context.

In this workshop, participants will use advertising imagery as a basis for screen-printing experiments, transforming street images that are originally “one-off” or “temporary” into visual forms that can be printed multiple times. Through repetition, color layering, and accidental misalignments, images shift as they are reproduced, gradually revealing their role as social media: no longer serving a single function or subject, but becoming a visual language that can be shared, carried away, and reused.

2.散步～走路～发现周围～绘制广告牌

Walking, Noticing, and Drawing Signs

工作坊以“散步”作为方法。参与者在新的空间附近行走、停留、观察，关注那些往往被忽略的街边店铺、临时设施与日常经营者。行走不以目的地为导向，而是一种对“附近”的重新感知：看见谁在这里工作、谁被图像指引、哪些视觉构成了社区的日常景观。在散步结束后，参与的大家将基于散步看到的人或场景，使用简单材料绘制一块广告牌，通过“广告牌”与他人、与社区发生联系的方式。

This workshop takes walking as its method. Participants will walk, pause, and observe around the new exhibition space, paying attention to often-overlooked street-side shops, temporary structures, and everyday workers; the walk is not oriented toward a destination, but toward a renewed perception of the “nearby,” and concludes with participants creating a hand-drawn sign based on a person or scene encountered along the way, using simple materials as a way to connect with others and with the surrounding community.

3.速写工作坊(o^^o)

Sketching Workshop (o^^o)

邀请大家在夜晚参与涂涂写写画画的速写活动。

Participants are invited to join an evening sketching session of drawing, writing, and scribbling together.

*具体时间和报名方式请关注后续推送。

*For specific dates and registration details, please follow our upcoming announcements.

mao，插画师，漫画创作者，现正四处游荡。

mao, illustrator and comic artist, currently wandering around.

卡斯普多特是在杭州的?盈利空间，我们组织展览，工作坊以及其他活动。

cuspdot is a non profit space in Hangzhou where we organize exhibitions, workshops, and other activities.

小红书/微博/公众号/淘宝：卡斯普多特

Website: cusphangzhou.cargo.site

Instagram: cusp.hangzhou

1. 小房子蜗牛挂钟 Snail & Little House Wall Clock

尺寸 Size：23*17 cm

材质 Material：塑料板材 Plastic Sheet

工艺 Craft：异形造型，静音指针Special-shaped design, silent clock hands

2. 广告牌冰箱贴 Advertising Billboard Fridge Magnet

尺寸 Size：

8*8 cm（卖老鼠药 / Rat Poison Ad）

8*6 cm（电瓶车修理 / E-bike Repair）

8*6 cm（吃饭住宿 / Food & Lodging）

材质 Material：亚克力 Acrylic

3. 小动物散步盘子 Walking Animals Plate

尺寸 Size：直径 20 cm / Diameter 20 cm

材质 Material：陶瓷 Ceramic

4. 黄色小狗们帆布袋 Yellow Puppies Canvas Tote Bag

尺寸 Size：38*42 cm（袋身 / Bag Body）2.5*75 cm（肩带 / Shoulder Strap）

材质 Material：8安帆布 8 oz Canvas Fabric

颜色 Color：淡黄色 Light Yellow

*双面图案，有内袋和银丝织标。

*Double-sided printing, with inner pocket and silver-thread woven label.

更多商品信息和购买渠道

More product information and purchase channels：

线下：展厅现场

浙江省杭州市上城区里太祖湾151号-2 2楼 cuspdot 卡斯普多特

线上：

微店：

小红书/淘宝店铺：cuspdot 卡斯普多特

最后的最后 Last but not least：

开幕当天 15:00-19:00 会有dj音乐活动～

开业当天我们酒水9折哦！

展厅也搬迁到了新的空间～会有更多元的内容和可能*^_^*！

我们线下见面！

涂涂写写画画  Drawing, Writing, Scribbling

卡斯普多特 cuspdot

浙江省杭州市上城区里太祖湾151号-2

2026.2.18 - 2026.4.26 6/7

策划：葛睿璟，黄懋冰，mao

视觉设计：小梅（edit by Edit.er）

致谢：滩滩橘、zzy、hwm、kr、yiwen、绿毛水怪、金辉、积木、大年、海燕阿姨、雨昕、蔺彤、yuwei、山红枫师傅、小红姐、光头哥、Oli、大看板绘画用品、陈家心、大树

Curated by  Ruijing Ge, Huang Maobing, mao

Visual Design by edit by Edit.er

Special thanks to Tantanju, zzy, hwm, kr, coco, yiwen, Lumaoshuiguai, Jinhui, Jimu, Danian, Haiyan, Yuxin, Lintong, Yuwei, Shanhongfeng,  Red , Bald Brother, Oli, Big Sign Painting Tools, Chen Jiaxin, Dashu