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- Xiaoyue Gu – An illustration for the Yea...
When I first saw the competition brief for the Year of the Horse, my mind immediately went back to an illustration I made last year of a carousel. Time, to me, feels like a carousel, constantly circling and never stopping. We may share the same landscape with others, but we drift differently through time. Even though it is the same New Year, this year I am celebrating it in Bournemouth, which feels like a completely new experience for me.
So for this competition, I decided to create a new illustration of a flourishing spring. As 2026 is the Year of the Fire Horse, I incorporated traditional Chinese flame motifs into the border. These flat decorative patterns work beautifully as framing elements, so I echoed their visual language in the forest, with a similarly graphic style.
Both fire and the horse symbolise passion and vitality in Chinese culture, but they are also traditionally associated with heat and restlessness. To balance these energetic elements, I added cool blue clouds and raindrops to bring a sense of freshness and calm.
As for the horse itself, I didn’t want it to feel realistic. Instead, I imagined it as something closer to a spirit or mythical being that carries memories and wishes. That is why I chose a semi-transparent colour palette, allowing it to blend naturally into the environment.
Some people might notice that there are many details in the background, but drawing them was actually very relaxing. I enjoy gradually filling a blank canvas. I once filled an A4 sheet with tiny food illustrations: strawberry cakes, sandwiches, bubble tea, crêpes... the outcome was adorable! It took several days, and although I’ve lost the original drawing, I still return to that same mindset of patiently building a world piece by piece.
During my MA Illustration studies at AUB, I’ve developed this approach further. I’ve learned how to use layers more intentionally, allowing elements to overlap and interact, rather than simply sit side by side. This technique helped me create more depth in the Year of the Horse illustration, even while maintaining a flat decorative style.
Beyond technique, what matters most to me is narrative. I’ve been publishing short comics about everyday life online, and once, a high school student left a comment saying she saw herself in my work, and felt encouraged to pursue art despite family pressure to choose a more conventional path. That message stayed with me. It reminded me that illustration is not just about images – it can create connection.
I chose to study at AUB because I wanted to strengthen this ability: to create work that makes someone smile quietly, or pause and reflect. For me, illustration is not only a visual practice, but a way of sharing experience across time and distance.
If my Year of the Horse illustration can bring even a second of lightness to someone, that would already mean a lot to me. Festivals often remind us of time passing, but they also give us a chance to pause and reconnect with each other. If this small image can become part of that moment for someone, then I feel the drawing has already found its meaning.
