肖红：都有。但画的时候还是比较乱，尝试性这么做一下。表现上很时尚，骨子里还有文革的影子。

　　Xiao Hong: Both, but I was not clear in my own mind when painting them, so I just experimented. The expression is fashionable while retaining a shadow of the Cultural Revolution hidden inside.

　　赵力：这个系列里面的人物，早期和后面很不一样，尤其后来好像是修版过的、概念化的，为什么和前面不一样?

　　Zhao Li: As to the Characters in this series, the former are quite different from the latter, especially as the latter seem to be retouched and conceptualized, so why the difference from the former?

　　肖红：这个从造型上考虑比较多。刚画只有样式，后来考虑还得有造型，逐渐从五官上找到固定的造型符号。有人说怎么画得像雕塑、像玻璃、像陶瓷，其实没有那样想，就是想从几个基本美术要素出发，有样式、有造型、有颜色。

　　Xiao Hong: I considered more carefully the latter’s form. In the beginning, I only painted patterns, but later I thought that form was also important, so I gradually found some fixed formal symbols from the five facial features. Someone said how come you painted something like sculpture, glass, and ceramics? Actually I didn’t mean that, but just wanted to begin with some basic art elements with patterns, forms and colors.

　　赵力：在后面阶段你做了大量拼图，突出了人物的脸，并改变脸的属性，把它越来越变成一个清楚的、载体的、符号的东西。这样是不是使得内容变得更容易在脸上展开，从而变成一种有机的东西?

　　Zhao Li: You made a great number of collages in your later phase, emphasized them on the characters’ faces, changed their features, and turned them into clear and symbolic carriers. By doing so, is it easier to carry out the content on faces so that it becomes something organic?

　　肖红：是。五官简单化了之后，突出脸上这些痕迹，更加清楚。

　　Xiao Hong: Right. After the five facial features were simplified, the traces on the face stood out and became clearer.