不太喜歡強烈色彩對比的我在看到Malika Favre的畫作時凝住了。她的作品色彩豐富而誘人，線條俐落分明，除了畫中人物的眼神與氛圍外，沒有一樣東西是曖昧模糊的。出生於巴黎，卻生活在倫敦的Malika Favre近年陸續為著名雜誌如Vogue和The New Yorker設計了封面，這一切來得如此自然，但同時也不在她意料之內。
As a person who does not have a liking for strong color contrasts, I was transfixed when my eyes met Malika Favre’s paintings. Her creations are attractive and vivid in colors, and boasts clean and distinct lines. Except for the atmosphere and the expressions in the eyes of the individuals in the paintings, not one single thing is left ambiguous. Originally from Paris, she currently resides in London, and in recent years, she has been charged repeatedly with cover designs for well-known magazines such has Vogue and The New Yorker. All these came so naturally, and yet at the same time, were unexpected for her.
她自小非常欣賞女性的身體，那熱愛曲線的程度就如她熱愛顏色的程度一樣，在云云作品中到處可見；她曾半說笑地說，她六歲時的畫作畫得不合比例時，對美感頗執著的母親會直接指出她把比例畫錯了，令她傷心得嚎啕大哭。她當時不會知道，或者這些帶著眼淚的訓練，造就了她那對線條敏銳的直覺，就像她不知道從來不看重她學習成績的父母，代表著她可以不著邊際地想像、創作。由意識大膽赤裸的早期作品Kama Sutra到展覽Le Crazy中的作品，旁人眼中的意態撩人，只是直接坦率的慣性表現罷。
吸引的除了是運用的色彩與線條，更多是因為她對生活的細節有著驚人的洞察力，她塑造的畫面像照相機，把時間定格，光看畫像，幾乎都能想像整個片段。而她這樣的細心令畫作輕易地引起人們的共鳴，她為The New Yorker設計的封面Operating Theatre就掀起了女外科醫生在與封面相同的現實環境拍照的熱潮，得到了社會的關注。
Since childhood, she has had a deep admiration for women’s body. Her passion for body curves rival that for colors, which are evident in her work. She once recounted half-jokingly that at six, when she failed to draw in the right proportions, her mother, who has little tolerance when it comes to aesthetics, would directly point out the mistake to her, which would then make her wail and squall. Little did she know, at the time, that perhaps it had been such tearful training that molded her sharp sense for lines in drawing. Little did she know, either, that she could let her imagination and creativity run free thanks only to her parents, who had never attached much importance to her academic results. From Kama Sutra, her earlier work, to those exhibited at Le Crazy, what was regarded as provocative was simply a habitually candid expression. Their appeal comes not only from her use of colors and lines, but also, to a greater degree, from her surprising insights about small details in life. The scene depicted under her brush is like that of a frozen moment in time by a camera. Simply by looking at the painting, one can almost imagine the whole story. Her attention to detail makes it easy for her creations to strike a chord with the viewers. Operating Theatre, the cover she has designed for The New Yorker, has stirred frenzy among female surgeons of taking photos in real life identical to what is depicted on the cover, and that in turn, has caught the attention of society.
Being so confident and charming, she does not have any concrete goals and plans for the future, and in fact, it appears that she does not really need any. To tell the truth, Malika Favre’s dedication to following her own heart is seemingly even more attractive than any of her creations.