How illustrator Dagou finds an outlet for repressed love in his work

The writing was on the wall for Dagou from an early age. Not a portent of misfortune however, but a clear sign that he was meant to become an illustrator – after all, the writing was his. His “crazy scribblings” all over the walls of his family home in Hangzhou, China were soon taken as an indication of his artistic potential by his parents, who sent him to learn how to draw more “systematically”. Over the years he honed his craft, eventually applying to study at the China Academy of Art in his hometown, where he dabbled in graphic design before slowly but surely returning to his roots. “I realised that I loved drawing more than designing,” he recalls, “and I was determined to become an illustrator.”

This determination evidently paid off and, now having graduated from university, he currently works as a freelance illustrator. Though, Dagou keeps this aspect of his practice relatively private and what we can see of his work are only the personal projects. These live primarily on Instagram and are equally as mysterious with their esoteric captions being the only bits of information we can glean from each post. One thing that is clear however is the overarching theme of love and intimacy that connects many of the illustrations. Figures kissing, embracing, and sharing quiet moments together can be found frequently throughout Dagou’s work. At times their passion is explicit, but more often than not it is subtle and gentle, shown through small gestures of affection.

“In my work, the intimate portrayal of sexual minorities is mostly implicit,” says Dagou. “Perhaps [this comes from] my oriental education, and the fact that people around me are not good at or are shy about expressing their love. They prefer to hide it in the details of their lives.” In China, this social dynamic takes on an added burden for those who lie outside of heteronormative groups. “Even though we try to hide it, it is difficult for us sexual minorities to ignore the current situation in China, where many people still refuse to accept our existence,” explains Dagou, who finds an outlet for this reality – his reality – in his illustrations.

His longing for free and open intimacy comes through in all of Dagou’s work. There is a feeling of desire that pervades each scene and it is by turns direct and discreet. In his drawing titled Please eat me, this desire transforms into unbridled passion, whereas in The breeze blowing and Hand in hand it manifests as a quiet display of connection. Speaking on these varying interpretations, Dagou says “In my mind, everything can be love – kissing, hugging, sunsets, tears, bouquets, birth, destruction. I use my pen and paper to trace and record each one, hoping that I can get closer to the truth.”