To casual passersby, the baby-blue rectangles hugging the curb outside gallery Para/Site Art Space might look like a painter's attempt to hide a mistake.
偶然经过的路人来说，Para/Site艺术空间（Para/Site Art Space）门前人行道路缘石上的那些淡蓝色长方块看起来可能像是一个油漆匠为了掩盖过失而涂的。
Look closer: The painter, Federico Herrero, carefully applied them within the sidewalk's lines and parallel to the yellow traffic lines inches away.
靠近点看：那其实是画家弗德里克•埃雷罗（Federico Herrero）在人行线内侧精心画上去的，它们与几英寸开外的黄色交通线平行。
His goal is to get people to see that painting happens everywhere, all the time.
他的目标是让人们知道，画画随时随地都可以进行。
Mr. Herrero, 33 years old and based in San José, Costa Rica, was named best young artist at 2001 Venice Biennale and was invited again to show his work in 2009. This year he showed work at Art Basel's site-specific exhibitions, Art Parcours. Known for his playful abstractions, his work draws influences from street and folk art, as well as urban architecture and pop art.
33岁的埃雷罗住在哥斯达黎加首都圣何塞，曾被2001年威尼斯双年展（Venice Biennale）评为最佳年轻艺术家，并于2009年再度被邀请展览其作品。今年，他在巴塞尔国际艺术博览会（Art Basel）的"艺术课程"（Art Parcours）单元展示了自己的特定场域作品。他的作品以趣味性的抽象风格著称，受到街头和民间艺术、以及都市建筑和流行艺术的影响。
Ahead of his exhibition at Para/Site, he spoke with the Journal about how the utilitarian use of paint inspires his gallery work.
在Para/Site展出前，他接受了《华尔街日报》的采访，谈到了涂料的实用用途如何激发他的艺术创作。
How did you develop the body of work you do today?
《华尔街日报》：你是如何构想出今天的作品主体的？
Mainly working with the idea of the site-specific. In that sense, I like being invited to an international show and instead of doing the work in a studio, I travel to a place, relate to the architecture and the place, and create something that resonates with the site.
埃雷罗：主要是配合特定场域的概念。从这点来说，我更喜欢受邀去国际展览，而不是在工作室里创作，我喜欢去一个地方，与那里的建筑和那个地方结合，创作能与那个地点有共鸣的东西。
Can you describe what you make?
《华尔街日报》：你能描述一下你的作品吗？
My work is basically a painting that unfolds into space. The kind of painting you can navigate. It's very different from the notion of looking at a painting on a canvas or a wall, which I also do. But basically I'm interested in the notion that you can navigate a work with your senses, and you can learn from this work and experience the work by moving it around and being part of it. I think a lot of the unfinishedness of the work is asking the viewer to do a bit of work. It brings the viewer into a platform where he/she is activated.
埃雷罗：我的作品基本上就是一幅向空间延伸的画。那种能让人自由徜徉的画。这跟看画布或 上的画概念很不一样，这两种画我也画。但基本上我喜欢让观者能够通过自己的感官来引导对作品的欣赏，能从中学到东西，能通过四处走动和身临其境来感受作品。我觉得这件作品的未完成性很大程度上就是要求观看者自己也做点功课。它把观者带入到一个能够受到激发的平台。
What influences your work?
《华尔街日报》：哪些东西对你的作品有影响？
I did study a little bit of architecture at the beginning. I quickly learned that I was not going to be an architect and that I had other kinds of interests. We experience painting every day in very different ways. If you are driving and following lines on the street, they are done by paint. My relation with painting and architecture is fluid. It is based on daily experience
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