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So here we are. I'm at home, as I'm sure many of you are, too.
此时此刻，我在家里，我敢肯定你们中的许多人也一样。
And we've all begun to understand how our relationship with ourselves, with each other and the spaces we exist in
我们都开始了解我们与自己、与彼此、与我们存在空间的关系，
can deeply impact our sense of identity and purpose.
是如何深刻地影响我们对身份和目标的认知。
So much has dramatically changed. There's a sense of distance now unlike ever before.
太多事情发生了巨变。我们都感到了前所未有的距离感。
But what if I told you that you could find a way from your heart to your hand to reconnect again,
但是如果我告诉你，你可以找到一个由心至手的办法重新进行连接，
and that through this practice and embracing this cause,
通过这种做法，通过拥抱这项事业，
I could help you to recalibrate your mind so that you could explore this new reality with joy, enthusiasm, imagination and hope?
我可以帮你调整心态，让你心怀喜悦、热情、想象与希望，去探索这个新的现实，又会如何呢？
And all it would take is a simple pen.
而你只需要一支简单的笔。
To get you there, let's go back to the beginning.
为了帮你找到这个办法，让我们回到故事的开头。
As a kid growing up in a council estate in Southeast London, I was an outsider.
小时候，我在伦敦东南部的一间公营房屋里长大，那时的我是一个局外人。
I'm the oldest of six kids, and all of my siblings look very English: blond hair, blue eyes, very cute.
我是六个孩子中的长女，我所有的兄弟姐妹长得都很像英国人：金色的头发，蓝色的眼睛，非常可爱。
And then there was me: half Nigerian, brown, with an Afro.
然后是我：半尼日利亚血统，褐色皮肤，顶着一头非洲卷发。
So what happens when you look different and you feel different,
当你长相不同、感受不同，
and in many ways, start to think differently from everyone and everything around you?
并且在很多方面的想法开始有别于你周围所有人和一切时，会发生什么？
How do you find your way out of a dark, racist, homophobic and very lonely place?
你该如何找到一条路，带你走出一个充满黑暗、种族主义、恐惧同性恋的寂寞之地？
This is where the pen comes in. I started to draw.
这就是笔派上用场的地方。我开始画画。
So as you can see, I've got this pen, and it knows where it's going.
如你所见，我有这支笔，而它知道该前往何方。
And I've learned very well how to follow it.
而我很好地学会了该怎样跟随它。
And the first thing I did is I followed this line, and I drew myself out of a culture that was only telling me what I couldn't do.
我做的第一件事是跟随这条线，我用画画让自己脱离了一个只会告诉我不能做什么的文化。
I trusted my pen, and it led me to Central Saint Martin's, a very fancy art school in London, where I graduated top of my year.
我相信我的笔，而它把我领进了中央圣马丁艺术与设计学院，这是伦敦一所非常高端的艺术学校，我以年级第一名的身份从这里毕业。
However, I soon realized there wasn't a place for me in London,
但是，我很快意识到，我在伦敦没有归属，
because whether you wish to believe it or not, England is still a country that is rooted and functions within the class system.
因为不管你是否愿意相信，英国仍然是一个深深根植于社会阶级系统的国家，并以此为基础运转。
And as a young, black, gay female artist from a working-class family, I didn't stand a chance.
作为来自工人阶级家庭的年轻黑人同性恋女性艺术家，我没有任何机会。
So I left London and I moved to Japan, where I didn't experience people asking me where I was really from.
所以我离开伦敦，搬到了日本，没有人问我究竟来自哪里。
I was just another gaijin, which, ironically, means "outsider."
我只不过是另一个“gaijin（外国人）”，讽刺的是，这个词也代表“局外人”的意思。
I was immersed in a culture that honors both making and craft, where people perfect their craft over generations.
我沉浸在这个尊崇工匠精神的文化中，这里的人们代代相传地精心打磨自己的工艺。
It's a culture that masters both time and space, so that artists can truly create with freedom.
这是一个掌控了时间与空间的文化，让艺术家们得以真正自由地创作。
And what I discovered was a place I wasn't angry with.
我发现这是一个不会让我动怒的地方。
Tokyo hadn't wronged me in any way. I could no longer create with anger or out of pain.
东京丝毫没有排斥我。我再也无法出于愤怒或痛苦而进行创作。
I had to bravely allow myself to create from a different place.
我必须大胆地让自己从一个不同的出发点进行创作。
And what I found is this incredible tool transcended a line on paper.
我发现这个不可思议的工具超越了纸上的线。
I found this thing that connected my head to my heart and my hand to everything.
我发现的这件事物将我的头脑连至我的心，又将我的手与万物相连。
I could see the world in new ways. I found connections in corners and the solutions to problems I never knew existed.
我可以用新的方式看世界。我在拐弯处找到了联系，并意外发现一些问题的解决方案早已存在。
It's like the world with all its positive and negative spaces could now be seen.
就好像世界所有的正负面之处如今都映在你的眼中。
And just by seeing it, there was no longer any fear.
仅仅只是看见，就能让你不再有任何恐惧。
It's like my pen was a flashlight, and the unknown was still there, but it wasn't scary.
我的笔就像是手电筒，未知虽然依旧存在，却不再让人害怕。
After five years of living in Japan and focusing on my craft, I felt like I needed a new challenge.
在日本生活了五年，专注于磨练技艺后，我觉得我需要一个新的挑战。
So I moved to New York, because that's what you do as an artist, right?
于是我搬到了纽约，因为这是作为艺术家会做的事情，对吧？
You move to the greatest city in the world that has the ability to make you feel completely and utterly invisible.
搬去世界上最好的城市，这座城市能够让你感觉自己完完全全地隐身了。
This is when I began to truly ask myself, "Who are you?"
正是此时，我开始真正地问自己，“你是谁？”
I would wake up in the morning, and before I began my day, I would meditate on this.
我会在早上醒来，在开始新的一天之前，针对这个问题进行沉思。
And with this question in mind, I kept drawing.
心中带着这个问题，我继续作画。
I followed the line. I let it lead the way. The process of picking up a pen, something everyone has access to,
我跟随着笔下的线条。我让它为我带路。拾起画笔的过程是每个人都有机会去尝试的过程，
the act of giving myself permission to let go of all thoughts, all fears, insecurities
这个行为能让我允许自己放开一切想法、恐惧、不安，
anything that would get in the way of allowing myself to be completely me -- that became my way of experiencing freedom.
任何会妨碍我完完全全做我自己的东西--那成了我体验自由的方式。
When I got to New York, I didn't want to play by the rules of the art world.
初到纽约时，我不想遵守艺术世界的规则。
I continued my practice as an outsider. I kept drawing.
我继续做我的局外人。我继续画画。
Curiosity became the ink for my pen, and I continued to dive deeper.
好奇心成为了我笔中的墨水，而我继续挖掘得更深。
Over time, I began to create a bold, confident space for myself, a space that was all my own.
随着时间流逝，我开始为自己创造一个大胆、自信的空间，仅属于我一个人的空间。
Initially, it was just my bedroom.
最初，这个空间只是我的卧室。
But that bedroom ended up in "The New York Times," and suddenly, I was being seen and known for this world I had created.
但是那个卧室出现在了《纽约时报》上，突然间，我创造的这个世界让我被世人所见、所知。
Since then, I've created and collaborated with some of the most unique artists, institutions and spaces,
自那以后，我开始与一些最独特的艺术家、机构和空间合作进行创作，
from the screens of Times Square, to the New York City Ballet for their incredible artist series, where I interviewed a number of dancers.
从时代广场的屏幕，到纽约芭蕾舞团令人惊叹的艺术家系列，在这里我采访了一些舞者。
Their stories and words became the foundation of over 30 drawings and artworks, which took over the promenade walls, windows and floors.
以他们的故事和话语为基础，创作了30多件画作和艺术品，占据了长廊墙壁、窗户和地板。
For a long time, I wanted to create a space for contemplation and poetry.
在很长一段时间里，我都想为冥想和诗歌创造一个空间。
And in 2019, I was given the opportunity to do just that by the Trust of Governor's Island.
而在2019年，总督岛信托基金会给了我这样一个机会。
They provided me with the perfect canvas in the form of a former military chapel. Meet "The May Room."
一座曾经的军事教堂就是他们为我提供的完美画布。欢迎来到“五月室”。
With drawings on the exterior inspired by the history of the island,
教堂外壁的图画受到了岛屿历史的启发，
you walk inside, you take your shoes off, and there's a drawing on the floor in the form of a maze that brings you back to you.
当你走进去，脱掉鞋，地板上有一幅画以迷宫的形式将你带回你自己身边。
It's an invitation to become calm. And this allows you to see phrases on the wall.
这是在邀请你变得平静。而这能让你看见墙上的短句。
"May you be wise." "May you sleep soundly at night." "May we save trees." "May you," "may you," "may we."
“愿你明智。”“愿你晚上安然入睡。”“愿我们保护树木。”“愿你”，“愿你”，“愿我们”。
And these phrases seem like they're rising from you or falling into you.
这些短句仿佛从你身上升起，或是向你心中坠落。
I've let my lines become much like a language, a language that has unfolded much like life.
我让我的线条变得像是一种语言，一种如同生活一般展开的语言。
And when there has been silence, I've sought connection through conversation, asking questions to push through the discomfort.
在沉默之中，我通过对话寻求联系，通过提问来克服不适。
Drawing has taught me how to create my own rules.
绘画教会了我如何创建自己的规则。
It has taught me to open my eyes to see not only what is, but what can be.
它教我睁开眼睛，不只要看见眼前的东西，还要看见有什么可能。
And where there are broken systems, we can create new ones that actually function and benefit all, instead of just a select few.
在系统失灵的地方，我们可以创造出正常运转、惠及全体的新系统，而不是仅仅造福少数人。
Drawing has taught me how to fully engage with the world.
绘画教会了我如何与世界充分互动。
And what I've come to realize through this language of lines is not the importance of being seen,
通过这种线条的语言，我意识到的不是被看见的重要性，
but rather the gift of seeing that we give to others and how true freedom is the ability to see.
而是我们赠与他人的去看见的才能，以及真正的自由是看见的能力。
And I don't mean that literally, because sight is only one way in which one can see.
我指的不是字面意义的“看见”，因为视力仅仅是“看见”的一种途径。
But what I mean is to experience the world in its entirety, maybe even more so during the most challenging moments like the one we face today.
我的意思是，去完整地体验世界的全貌，而在像我们今天面对的这样最具挑战性的时刻，我们更应该这么做。
I'm Shantell Martin. I draw. And I invite you to pick up a pen and see where it takes you.
我叫珊特尔·马丁。我擅长绘画。我邀请你拿起一支笔，看看它能将你带往何方。
