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Suddenly, Grammer realized that what he had thought was a purely artistic expression had morphed into something deeper, the hallmark of true art.
突然間，格拉默意識到他之前認(rèn)為的簡單藝術(shù)表達(dá)已經(jīng)演變成更深層次的東西，真正藝術(shù)的標(biāo)志。
"When the first mural moved so many people in this community, I knew I had to come back up," Grammer told KRCR-TV in Redding.
格拉默告訴雷丁市的KRCR電視臺，“當(dāng)?shù)谝环诋嫺袆恿诉@個社區(qū)這么多人的時候，我知道我必須回來。
Over a period of three months he returned eight times, painting 17 portraits of victims and Biblical figures on walls, pickups, and shards of buildings. "There is hope," he explains.
在3個月的時間里，他回來了8次，在墻上、小卡車和建筑物的碎片上畫了17幅受害者和圣經(jīng)人物的畫像?！斑€有希望，”他解釋道。
"There is beauty in the ashes. "Outside one house, he found a photo of an eight-year-old named Eleanor.
灰燼中有美麗?！霸诜孔油饷?，他發(fā)現(xiàn)了一個名為埃莉諾的8歲小孩的照片。
Seeing it as a sign, he painted a mural of her on the lone wall of her home that was left standing.
他以這張照片為素材，在小孩家中僅剩的一面墻上畫了一幅她的壁畫。
It was, Grammer says, "a stamp that life was here and that life can continue to be here."
它標(biāo)記著生命曾出現(xiàn)在這里，并且生命可以繼續(xù)留在這里。”
The portrait had special meaning for the home's owner. Eleanor's father, Greg Weddig,
這幅肖像畫對這個家庭的主人有著特別含義。埃莉諾的父親，格雷格·韋迪格
recalls how she used to play just feet away from where the mural was painted.
回憶起她曾經(jīng)是如何在離壁畫只有幾英尺遠(yuǎn)的地方玩耍的。
"She would constantly be digging in the mud. And it was right below the kitchen windows, so we could always keep an eye on her," he says.
“她會不停地在泥里挖洞。而且就在廚房窗戶的正下方，所以我們可以一直盯著她，”他說。
"The tree that was there was this beautiful maple that just made everything in the kitchen red."
“那里的那棵樹是一棵美麗的楓樹，它把廚房里的一切都染成了紅色。”
Eleanor herself returned once to admire the painting. Grammer's work in Paradise has now become a movement.
埃莉諾自己有一次也回到這里欣賞這幅畫作。格拉默在天堂鎮(zhèn)作畫已經(jīng)成為了一項(xiàng)活動。
He has traveled the world painting murals in dark places that sorely needed some light:
他一直旅行于世界各地，在非常需要光線的黑暗地方畫壁畫：
an orphanage in Tijuana, Mexico; a youth ministry in San Francisco; a nonprofit for child sex-trafficking survivors in Cambodia.
或者在墨西哥的提華納的孤兒院；舊金山的青年事工；柬埔寨一家非營利性的兒童拐賣幸存者組織。
"I want to do something powerful and create art that moves people," he says.
他說，“我想做一些有影響力的事情，創(chuàng)造可以感動人的藝術(shù)?！?/div>
Ironically, that first painting, on the chimney in Paradise, survived only a few months—the bulldozer is a cruel art critic.
諷刺的是，他在天堂鎮(zhèn)的煙囪上畫的第一幅畫僅存活了幾個月-推土機(jī)是個殘酷的藝術(shù)評論家。
Grammer couldn't be more delighted. It means that the spirit of Paradise is rising again.
格拉默不能再高興了。這意味著天堂鎮(zhèn)的活力再次恢復(fù)了。
