2019年经济学人 木雕艺术家大卫·埃斯特利(4)（在线收听）

He was now a master in his own right and one for his own age. Freed from Gibbons's riotous acanthus, he let other influence scrowd boldly in: the peonies, roses and lilies of Dutch Old Masters, the vegetable heads of Arcimboldo and a touch of modern cynicism in insect-blighted leaves. Letter-rack trompe-l'oeils became a favourite theme, as they were for 17th-century painters, but his racks contained cameras, car keys, film spools and iPhones, as well as delicate hibiscus, holly or sprays of oak.

他现在是自己的主人，也是他这个年龄的主人。从长臂猿缤纷的叶形装饰中解放出来，他还大胆地加入了其他的影响：荷兰古代大师的牡丹、玫瑰和百合，阿西姆博尔多的蔬菜头，以及被昆虫摧残的树叶上的一丝现代犬儒主义。字母架错视画成了17世纪画家们最喜欢的主题，但他的架子上放着相机、汽车钥匙、胶卷卷轴和苹果手机，还有精致的木槿、冬青或橡木喷雾。

He became Gibbons's confident ambassador, curating an exhibition and writing books. Strolling into his workshop for a day of meditative carving, still in his bathrobe and carrying his tea, he would go straight to Adobe Illustrator to map out his designs in many overlapping layers. As well as daylight, halogen spotlights illuminated his bench. Between defining the edges of his peony leaves and excavating tiny florets of lilac, he would check his emails. The portraits of Gibbons were still on the walls, but the voice no longer bothered him. He might have sensed, from time to time, an approving nod.

他成为了长臂猿的自信大使，策划展览和写书。他会穿着浴袍，手捧一杯茶，漫步进他的工作室进行一天的冥想雕刻，他会直接打开绘图软体应用，在许多重叠的图层中绘制出他的设计。和日光一样，卤素聚光灯照亮了他的长凳。在确定牡丹叶子的边缘和挖出一朵朵丁香花之间，他会查看电子邮件。墙上还挂着长臂猿的画像，但那声音已不再使他烦恼了。他可能会时不时地感觉到一个赞许的点头。