A Profile of Liu Shuwei

December 31, 2015 2015年12月31日

When looking at the photographic work of Liu Shuwei, one is immediately taken back by the painterly qualities of his images, and the way that he is able to capture colors, texture, patterns, mood, and natural lighting. Originally from Tangshan in Hebei province, and now mainly based in Shanghai, Liu Shuwei is preoccupied by many creative endeavors, including poetry, translating texts, fashion design, but perhaps most importantly for him, film photography.


驻目刘树伟的摄影作品时,你可被他画面中的油画质感以及他对色彩、质地、图案、情绪和自然光的捕捉立即吸引住。来自河北唐山、现今常居上海的刘树伟,投身于诸多种类的创作,包括诗歌、翻译、服装设计,然而对他来说,最重要的或许还是胶片摄影。

Shuwei usually shoots his personal work with a medium format Makina 67. What he enjoys most about shooting with film is that it has a certain kind of inaccuracy and roughness, which for him has a warm poetic quality that digital lacks. When asked to describe what his photographic style is like, he prefers just to say that it is eclectic. He strives to be able to master all the different styles of photography that he likes, but feels he has yet to reach that point.


进行个人创作时,刘树伟通常使用中画幅的Makina67作为器材。胶片的不精确和质朴,于他而言有着数码所欠缺的温暖诗意。关于自己的摄影风格,他宁愿用兼收并蓄来形容。他希望可以成为驾驭任何自己喜欢的风格的摄影师,却又觉得自己并未完全企及目标。

 

There are a few recurring visual elements and motifs in his work. Shuwei likes to shoot in mysterious locations and landscapes that convey an unsettling kind of uncertainty. He is drawn to capturing calm scenes of simple folk life in small rural villages – staged or otherwise. His photographic subjects tend to be a bit cool, or perhaps even cold. Shuwei’s preferred lighting is soft, natural, faint, and as he likes to describe it, “romantic”. He rates JH Engström and Boris Mikhailov quite highly, as two of his favorite photographers ever.


他的作品中有一些反复出现的视觉元素和主题。树伟喜欢在带着不确定性的空间进行拍摄。他喜爱捕捉简单的乡村民间生活的平静场景——摆拍与否。他的拍摄对象倾向冷静,甚至或许是冷漠的。树伟倾向使用柔和、自然、微弱的光,如他所述,“浪漫”的光。他对JH Engstrom和Boris Mikhailov评价甚高,指他们为他最喜欢的两位摄影师。

 

One of the biggest challenges he believes he faces as an artist is actually internal. Shuwei believes that his introversion and shyness can often be a bit debilitating, especially when shooting and collaborating with others. Because he sometimes lacks initiative, Liu says that he is in a constant struggle with himself. “What an artist needs most is autonomy,” he says, “and this is what I actually lack”.


他认为,身为艺术家,他所面对的最大挑战之一是来自内在。树伟认为自己的内向与羞涩常会削弱他的自信,特别是拍摄需要涉及到他人的时候。因为主动性的缺乏,他说他时常都要跟自己斗争。“做艺术家最需要的一点是自主性,”他说,“而这正是我所缺乏的。”

In addition to his photography, these past few years, he has also been designing his own clothes. It started out as just a hobby making custom clothes for himself, but soon as others saw the pieces that he was making, they also wanted to buy them. He admits that his interests are many and he wants to be able to continue working on all his of art projects and hobbies, not abandoning anything.


除了摄影,近来几年,他也一直在做自己的服装设计。一切均始于他给自己量身定做衣物的爱好,但是其他人一看到他做的衣物,也想购买这些衣物。他承认自己兴趣广泛,并且想要继续他的艺术项目和艺术爱好,什么都不想丢弃。

 

He has two photo projects that he is currently developing. The first one is related to subcultures in China. The other one is a series about his late grandmother. He is interested in searching for her spirit and follow the trail that he believes she left behind. For him, she is a mysterious and magical figure. When she was in her 50s, she converted to Catholicism. At that time, she was illiterate and couldn’t read. Shuwei gave her a Xinhua Chinese dictionary, and in a very short period of time, she grasped everything and knew the Bible by heart. When he was a small child, Shuwei was often rebellious to her authority. From the start, the two had a rather poor relationship. Through this photo project, he hopes to be able to reconcile his past with her.


目前他在进行的拍摄项目有两个。一个是拍摄中国的亚文化。另一个则是关于他已去世的祖母。他想搜寻她的身影、她存在过的踪迹。他心中的祖母是个神秘又神奇的存在。这位祖母在只字不识的50岁时信奉了天主教,却在树伟给了她一本新华词典后很短一段时间内,掌握了圣经并将其烂熟于心。他小时候叛逆,她又偏执强势,两人之间的关系并不好。他希望能够通过这个拍摄项目得以和家庭的这些过往达成和解。

 

Website: liushuwei.com

 

Contributor: Leon Yan


网站: liushuwei.com

 

供稿人: Leon Yan

Hackerfarm in Kamogawa

December 30, 2015 2015年12月30日
Cow

Craving a bit of fresh air and a natural green landscape, three friends all coming from a background in technical engineering ventured out to Kamogawa, a small city just outside of Tokyo, to find a place where they could produce cheese. Yes, that’s right. Cheese! The endeavor turned sour however, when local dairy farmers refused to sell the hackers raw milk, as it meant they could have faced losing their licenses. We visited Chris Akiba Wang, one of the founders of Hackerfarm, to find out what this group of hackers has stirred up in this seemingly sleepy farm town.


新鮮な空気と緑に囲まれた風景を求めて、友達同士の3人がチーズの生産を始めようと、東京近郊の鴨川市にやってきた。3人共技術系出身である。そう、その通り。チーズを作ろうというのだ。最初の内は、ハッカーと取引をすると免許を取り消されるかもしれないと恐れた地元の酪農家達が原乳を売ってくれず、努力がなかなか実を結ばなかった。私達は、「ハッカーファーム」(ハッカーの農場)と名のついたこの農場に創業者の一人であるクリス・アキバ・ワンを訪ね、いかにも活気のないように見えるこの農村に彼らが何をもたらしたのか聞いてみることにした。

Hackerspaces are technology-focused collaborative sites. There are many active labs spread all over six continents, with the most concentration of them found in Europe. In Kamogawa, a city situated southeast of Tokyo across the Tokyo Bay in the Chiba Prefecture, Hackerfarm have settled down to create their very own hackerspace to focus on agricultural technology to facilitate the needs of their small community.


ハッカースペースとは、テクノロジー専門のコミュニティラボだ。世界中六大陸で活動が盛んに行われており、中でもヨーロッパに多く存在している。ハッカーファームの彼らは、東京湾を挟んで東京都の南東に位置する千葉県鴨川市に腰を据え、独自のハッカースペースを創りだして農業技術の開発に取り組み、地元の小さな地域社会のニーズに応えようとしている。

TechRice

Automating agriculture is preserving the traditions of an ancient practice. “Many of the farmers I know are in their 60s and 70s, and are actually considered to be young,” Chris tells us. Traditional rural farming’s physical dependency on natural resources is alleviated by unique technology, such as their patented techrice, an innovative cloud-based service that provides technical support to rice farmers. Simultaneously, this collaboration is a platform for cultural bonding between the young and old, the physical and mechanical, the traditional and creative.


農業を自動化することは、昔ながらの農法の伝統を保存することにつながる。「知り合いの農家の人達はみんな60歳代や70歳代ですが、ここではまだ若手の扱いなんです。」とクリスは言う。伝統的な田舎の農業は天然資源に対して自然法則という意味で依存しているが、それも彼らの独自技術によって依存度が軽減されている。米作農家に対して技術的なサポートを提供する、革新的なクラウドベースのサービスで特許を取ったテックライスがその例だ。同時に、このコラボレーション関係は、若者と高齢者、自然法則と機械的なもの、そして伝統と創造のそれぞれの間の文化的なつながりを作り出す土台にもなっている。

Barbecue

Not limited to their technical expertise, Hackerfarm has made it a point to increase the engagement between very dissimilar communities, such as between farmers, artists, engineers, and volunteer workers. Some visitors have even relocated their families and now live within the Hackerfarm community, which is quite feasible at the cost of $150 per month for a kominka (a traditional Japanese house).


技術的なノウハウ面での成果にとどまらず、ハッカーファームは、農家、アーティスト、エンジニア、そしてボランティアといった性質の異なるコミュニティを結びつけて仕事をすることにも成功している。ハッカーファームを訪れた人の中には、その後家族を連れてここに移り住み、ハッカーファームのコミュニティの中で暮らしている人さえいる。ここでは、日本の伝統的な家屋である「古民家」に一ヶ月150ドルで住めるのでそれも充分可能だ。

Market

Chris continues: “We also have a lot of non-Japanese members, so it provides a bit of an international worldview. In Japan, things sometimes have a tendency to get a bit isolated, where each community hangs out only with its own group without too much intermingling. The others and I have made it a point to try and bridge the gap between the different communities here and attend gatherings, as well as inviting them to our events or barbecues where we all just get together to eat, drink, and talk.”


クリスは更に、「日本人以外のメンバーもいるので、ここにいると少しではありますが国際的な視野が開けてきます。日本にいると、時折閉鎖的になりがちです。それぞれのコミュニティが内部だけで交際し、他と付き合うことがあまり無いのです。私を含めここに居る人達は、他のコミュニティの集まりに参加したり、私達のイベントやバーベキューに招待して一緒に食べ、飲み、そしておしゃべりをしたりして、努めて別のコミュニティとの橋渡しをしているのです。」と話してくれた。

SONY DSC

Hackerfarm’s concept in Kamogawa rediscovers all of the resourceful values and benefits of rural living. “It’s really interesting because you’d never expect to have so much tech talent and foreigners congregated in the countryside,” Chris admits. “As much as we contribute to various events out here, the communities are great and give right back to us.”


鴨川のこのハッカーファームが抱くコンセプトは、こういった地方暮らしの豊かな価値とメリットを再発見させてくれるものだ。「この片田舎に、技術的才能を持った人たちと外国人が固まって住んでいるなんて思いもよらないですよね。そこが面白いんですよ。」と、クリスもそう思っているようだ。「ここでの様々なイベントに私達が貢献するにつれ、ここのコミュニティが素晴らしいものになり、そして私達が得る物も増えてゆくのです。」と彼は語ってくれた。

Address:
1627-1 Kozuka
Kamogawa-shi, Chiba-ken 296-0233
Japan

Website: hackerfarm.jp
Flickr: akiba/hackerfarm


所在地
日本国〒296-0233 千葉県鴨川市金束1627-1

ウェブサイトhackerfarm.jp
Flickr: akiba/hackerfarm

Contributor: Alessandra Marconi


寄稿者: Alessandra Marconi

Sting Chen & His Art

December 29, 2015 2015年12月29日

His name is Chen Ruihe in Chinese, but everyone calls him Sting. Growing up in Taipei, Sting had a very ordinary family background. In college he studied Fine Art and Visual Communication, and today he works as an advertising art director and a freelance illustrator.


他的中文名字叫陳瑞和,但是大家都叫他StingSting成長於臺北壹個普通傳統的家庭。大學在校時期學習純藝術和視覺傳達的他,現在是壹名廣告藝術指導和自由插畫師。

When Sting draws, he likes to think that his hand is actually holding a surgical scalpel, and that he is like a doctor performing surgery, suturing creative ideas together. He says that in his work there are many secrets and layers of hidden meanings. Sting laughingly describes his illustration work as being “neurotic, claustrophobic, and schizophrenic”. At times, there is even an underlying sense of catabythismomania, or the impulsive desire to drown oneself. This feeling is perhaps most evident in his eye-catching new series of drawings Our common pre-existence exists in the ocean, which illustrates a dense world of underwater marine organisms.


Sting在作畫時,樂於想象自己是位醫生,雙手握著手術刀,將藝術創意縫合在壹起。他說,他的作品中藏匿著諸多秘密和隱秘含意。他笑言自己的作品是具有“神經質、幽閉空間恐懼癥、精神分裂癥”的。間或,也有自溺狂癥,抑或是壹種將自己溺斃的沖動欲望深藏作品之中。這種意味在他的新作品系列《Our common pre-existence exists in the ocean》中或許最為強烈,這個引人註目的繪畫系列描繪了壹個海洋生物群體的密集世界。

The idea for this series of drawings came after he took a body sketch class. Sting quickly became fascinated with the beauty and textures of anatomical forms. He started work on the drawings, by first collecting hundreds of pictures of whales as reference materials. He then achieved the texture of the skin with many repeated hand-drawn strokes. During the process of making this work, he soon came to the realization that marine creatures also had very real and mysterious souls. After all, as he says, we share a common pre-existence in the ocean. In our interview below with Sting, he tells us more about his own personal journey as an artist.


這個繪畫系列的創意形成於他所修的人體素描課。Sting迅速著迷於解剖體的肌理和美妙。為了新繪畫系列的創作,他收集上百張鯨魚的照片作為參考材料,繼而通過周而復始的手繪將這些皮膚肌理於紙上實現。在這些作品的創作過程中,他很快意識到海洋生物同樣也是非常真實和神秘的個體。他說,歸根結底,我們都有著共同的海洋先祖。以下采訪中,Sting將告訴我們更多關於他身為藝術家的個人旅程。

Neocha: What do you enjoy most about illustration?

Sting: Just the act of creating something and then trying to comprehend what I’d made. I really enjoy the process of creating things purely from scratch, starting out with an intangible idea and then making it into an actual physical piece of work. During this whole process, because I am constantly thinking about and analyzing the work – both by itself and in the greater context of things, my understanding of what I’m making is always evolving. For me, it’s not about having a right or wrong answer. It’s about forcing myself to think more critically.


Neocha: 妳覺得插畫令妳最享受的是什麽?

Sting: 創造與瞭解。創作是個從無到有的過程,把無形的念頭與思緒轉換成作品,我非常享受在這樣的狀態之中。同時,在這過程中,因為不斷的思考,對於自身與周邊的事物,都會有新的體悟與瞭解,無關乎對錯與答案,對我而言,只是一個強迫思考的療程。

Neocha: Tell us about your creative process. How do you normally come up with a new piece of work?

Sting: My creative ideas very rarely ever come to me all of a sudden. Most of them brew inside me for a very long time, until I feel the moment is right for me to start drawing. I tend to work on a few illustrations at a time. If one drawing doesn’t feel right to me, I’ll take a break from it and work on a different one. Maybe some time will pass and then I’ll come back to it later and look at it from a fresh perspective. Maybe I will have some new ideas, and then continue working on it. This happens over and over again until the work is finished.


Neocha: 聊聊妳的創作過程吧!壹個新作品都是怎麽來的?

Sting: 我的創作來源很少是靈光乍現般的突然出現。大部份都是藏在內心,醞釀很久的記憶,直到某個對的時間我才開始動筆。創作過程我都是同時進行多張作品。感覺不對便停下來換下一張,或許過段時間重新看看,又有些新想法,便再繼續。如此週而復始,直到全部作品完成。

Neocha: What do you do, or where do you go, to get inspiration?

Sting: I actually get a lot of my inspiration from going to music festivals. Recently over the years, I’ve been to a lot of local and international ones; for example, up in the mountains for Japan’s Fuji Rock, or next to sea at Hong Kong’s Clockenflap or at Spain’s Primavera Sound, or outdoors in the city at Japan’s Summer Sonic Japan and Taipei’s Formoz Festival. That is, when I’m watching a band play live on stage, drinking a beer, smoking a cigarette, I feel completely free to do as I like. After dancing, cheering, losing myself in the crowd, if I’m really tired, I can just lie on the grass, bask in the sun, and chat with my friends. Inspiration comes to me quite naturally in those kinds of moments.


Neocha: 都會去哪裏獲取靈感?做什麽能獲得靈感?

Sting: 音樂祭是我靈感最大的來源。這幾年參加了許多國內外的活動,例如在山林裡的日本Fuji Rock,在海邊的香港Clockenflap與西班牙的Primavera Sound,在都會裡的日本Summer Sonic與台北的野台開唱Formoz Festival…… 就是邊聽喜歡樂團的音樂,一邊喝點酒,抽些煙,無拘無束,還不時大叫與堆擠衝撞,累了就躺在草地曬太陽聊天。靈感在那時候就會不斷地湧現催促著我。

Neocha: Was there a decisive moment in your life when you said to yourself “this is what I am going to do”? How did you discover your own talent?

Sting: When I was three and was in kindergarten – when I still hadn’t learned how to ride a bicycle yet, I realized that I was actually really good at drawing. No one had ever told me this, but I just knew this about myself. And not only that, I also believed from early on that this would be something that would be a part of me for the rest of my life.


Neocha: 生命中有沒有壹個時刻是妳對自己說:“這就是我要追求的事?”妳怎麽發現自己這種創造性的自我表達和才能?

Sting: 在我3歲唸幼稚園時、當我還未學會騎腳踏車時,就明瞭自己擅長繪畫。沒有人跟我說過,但就是自己知道,而也相信這會陪著我一生。

Websitestingchen-art.com
Behance~/stingchen-art
Instagram: @stingchen_fittingroom

 

Contributor: Leon Yan


網站stingchen-art.com
Behance~/stingchen-art
Instagram: @stingchen_fittingroom

 

供稿人: Leon Yan

The Analog World of Yan Jun

December 25, 2015 2015年12月25日

 

无法观看?前往优酷

Yan Jun is a ten-year veteran producer of Chinese contemporary music, as well as an electronic music producer with a penchant for vintage synthesizers. For Yan Jun, the synthesizer isn’t a passing trend – it transcends time as well as musical genre. Much like photographic cameras, synthesizers can also come in both analog and digital. While analog synthesizers require more maintenance, they are capable of producing rawer textures of sound that are very difficult to imitate with digital or software synthesizers.


严俊是一位从业十多年的流行音乐制作人,也创作独立电子乐作品,有别于他人的是他始终对于vintage模拟合成器的迷恋。合成器的声音不仅仅是时髦与新奇的代言,它有力、尖锐甚至饱含哲学意味。无论是灼热的solo、饱满的铜管乐还是迷幻的太空之音,那些模拟合成器与数字合成器有着本质的不同,有时好比手动胶片机与数码相机,他们其实很不稳定,甚至会随机器内部与外部温度变化而产生音准上的偏移,但其厚实、温暖、有力量的声音气质是数字技术无法复制和取代的。

“I believe that electronic music is a serious discipline, just like classical music. It’s not just there to be produced and consumed for instant gratification.”

“我觉得电子乐应该纳入严肃音乐的范畴,它和传统古典音乐一样,是严谨的,不是快餐。”

“I’m not a collector of vintage instruments. Whatever I buy, I use for production, and I’ll get rid of instruments that are no longer of use to me. There’s no need for me to keep old junk laying around. Some of these instruments come in handy for producing contemporary music, but there’s a catch. A lot of these old instruments, they’re like senior citizens who are prone to illness at the end of their lives. They need extra care, but in return, they can tell you stories of the past. It’s a rewarding dialogue. When these instruments are completely worn out, I will take apart the components and put them into a box, like a symbolic burial ritual. But these old parts are sometimes given a second life when they’re needed as spare parts.”


“对于老乐器,我没有收藏癖,如果买了就是为了使用它,要根据自己的需要。一般我用不到的乐器也不会留着,摆一件废物在面前,看着也闹心,没有意思。喜欢的乐器有时在做流行乐的时候也一样会用,大量用。但不能避免的是,老乐器经常会出问题,如同疾病或者死亡,它们有时就像老人一样,需要被用心照料。同时,它们也会告诉你很多往事,这种交流挺舒服的,也会很有收获。要是乐器彻底坏了,不能再使用的话,我会将它的核心主板元件拆下来弄干净,放入盒子里,有点像骨灰盒…… 一来可以做个纪念,二来以后如果有相同型号的乐器出问题了,可以作为备用替换零件,也算是一种延续。”

From the end of last year, Yan Jun started looking into modular synthesizers.

“Many of the early synthesizers were modular synthesizers. At the time, they were bulky and could often take up the space of an entire wall. As technology improved and after microcircuits were invented sometime in the 1970s, synthesizers became small enough to carry around to live shows. The modern Eurorack modular synths is much more compact than earlier synths, and is easier to use. In China, not many people know how to use synthesizers. They are also fairly expensive, and there is a lack of information about them. I had to do all of my research on foreign websites and forums – it wasn’t easy.”


到去年底开始,严俊开始研究模块合成器。

“其实最早的合成器就是模块化的,当时体积很大,一个音色得一面墙那么大型的机器,后来科技进步了,70年代初人们发明了微型电路,才让合成器变的小巧,可以携带演出。现在的Eurorack模块比当年的体积小很多,使用起来也更稳定,也便于携带了。这东西国内玩的人不多,价格比较昂贵,可以交流的人就更少了,大多也都是一知半解。我也大多是通过国外网站、论坛获得一些资讯,不太容易。”

“The idea behind modular synthesizers is based on analog synthesizers, but allows for more customization. Individual modules can be connected with patch cords or a matrix patching system to produce some different textures of sound (a bit like electric guitar distortion pedals). The music sequencer also created new methods of making music and eliminated the need to rely on keyboards. It’s a great tool for creating electronic music. Recently these years, the Eurorack modular has become popular all over the world, it’s just that most musicians in China haven’t tried it out yet. I’ve spent a lot of time researching synthesizers, and I plan on completing my own system sometime next year.”


“模块合成器的概念和一般模拟合成器类同,但是它的方式更加自由多变,以一个个独立模块出现,你可以选择不同厂牌不同功能的模块,用跳线自由连接(有点像吉他单块),形成更丰富更复杂的调制方式,让音色多变,生动。然而模块音序器的运用也彻底改变了以往用键盘弹奏音乐的思维模式,特别适合电子音乐的概念。这些年Eurorack modular在全世界悄悄风靡,只是国内很多音乐人还不知道,也没有尝试。我花了很多时间在这个东西的研究上,争取到明年可以组建成一套比较完善的大型系统。”

Soundcloud: @offthenote

 

Contributors: Chan Qu, Jia Li 
Photographer: Chan Qu

Videographer: Jia Li

 


微博: @offthenote

 

供稿人: Chan Qu, Jia Li
图片摄影: Chan Qu

视频摄影: Jia Li

The Hats of Kumi Ding

December 24, 2015 2015年12月24日

Kumi Ding is a Shanghai-based hatmaker, fashion designer, and the founder of Kumi Shop. Originally a professionally trained musician, Kumi had worked for five years in the fashion industry before establishing her self-titled design label, Kumi Ding. Themes such as religion, music, classical aesthetics, architecture, fairytales, and Eastern beauty are often visible in her work.


Kumi Ding是上海的帽饰设计师,也是Kumi Shop的创立人。音乐科班出身的她,在服装行业品牌市场公关领域工作五年之后,于2013年创立了个人品牌Kumi Ding,开始了设计以及制作工作。在她的作品里,你能看到宗教、音乐、古典美术、建筑、童话故事等元素,以及东方美学的气质。

During the fall and winter of 2013, English designer Piers Atkinson’s dinosaur baseball hats made ripples in the fashion world. Both inspired by and seeking to improve on Atkinson’s designs from a more female perspective, Kumi began to experiment with designing her own custom baseball hats. For her, the brim of the hat serves as a platform on which extravagant scenes – such as flower gardens, rainforests, old battlefields, or parties, can be created. Through the process of designing and manufacturing hats, Kumi found a consumer market that was eager for something new and fresh, leading her to establish the Kumi Ding design label.


2013 年秋冬,英国设计师 Piers Atkinson 的恐龙棒球帽倍受欢迎。但在她,作为女性看来,其设计呈现很单一且有点“硬”,所以她开始尝试做创意主题棒球帽。她将帽檐看成一个干净的平台,并把神秘花园、热带雨林、远古战场或派对现场等各种立体故事场景搬到帽檐上。也是因为这些棒球帽, 一下子让她发现了帽饰市场的饥渴,并在同年成立了个人品牌Kumi Ding。

Kumi calls her design studio a “hat laboratory”, in which new hats are created almost daily. Her designs span a wide range of creative approaches, from simple commercial designs, to extravagant runway designs and upper-class millinery, to more experimental and futuristic designs. Many of the hats that Kumi designs are one-of-a-kind, or are in need of custom alteration upon order. “Rich, multi-layered, with attention to ideology and creativity” – these are the common traits and main driving concept behind Kumi Shop.


Kumi自称自己的工作室是一个帽饰实验室。从简洁的商业设计、适合秀场的浮夸设计,到复古的高端女士礼帽,甚至充满科技感和实验性的边缘帽饰,在她的工作室几乎每天都有新设计诞生,而且有很大一部分是孤品,或售出后需要手工复制定制的。丰富,多层次,注重意识形态与创意正是Kumi Shop的理念。

Kumi says, “I’m a free spirit, rebellious by nature and perceptive, with the hopes of being independent in thought and action. I want to create new things and ideas, in order to express individual values.” Influenced by her musical background, she is a lover of diverse artforms, saying, “Art inundates my life, and a good work of art is like food for the soul. Sometimes inspiration is more subtle, and other times more obvious.” Thus, from materials to form and design, Kumi’s works embody a strong sense of art and individual aesthetic.


Kumi说: “我是一个自由主义的崇尚者,骨子里面叛逆,感性并且希望特立独行。我想要创造新事物与想法,以此实现个人价值。 ”出生音乐之家的她,热爱并关注各种形式的艺术。她告诉我们: “这些内容充斥我的生活,一切好的作品都给予我精神食粮,给我灵感,只不过有些细微有些明确。”所以,完全不难理解为何她的作品在材料形式设计上如此天马行空。

Many times, Kumi will be inspired by designs from other hatmakers, which she may expand on using her own approach. Her exploration of materials and form, and a more progressive mindset has also led her to incorporate 3D printing into the design process of her flat brimmed baseball hats. According to Kumi, the process has been challenging, but has also been well-received by the public.


在Kumi追求材料和形式突破的过程中,她的3D打印技术制作的棒球平檐帽当属最为瞩目。很多时候,启发她设计的是同行的作品,她认为自己可以做出新的诠释。3D打印的作品也是源于这种想法,因为她想要那种未来感以及夸张的大镂空。Kumi告诉我们,虽然这个在技术上实现起来阻碍重重,但是它确实得到了许多人的认可和喜爱。

Kumi Ding is passionate about each piece that she creates. For her, creativity is a process of never-ending change. Her ideas and products change with the times, so much so that sometimes she is unable to replicate works from her earlier periods, especially her higher-end works. She is currently working to expand further her series of 3D printed hats, and she hopes to reveal a new design series in spring and summer of 2016.


Kumi喜欢自己大多数的作品。她说,每个时期专注的内容和想法不同,每个时期的作品也各千奇百样,以至于有些作品此时此刻自己也复制不出来了。尤其是高端系列,因为这是她个人倾注比较多和引以为豪的。这其中又以采用3D打印技术制作的帽饰为甚。近期她正专注于拓展这个系列,除了棒球平檐帽外,她希望能够在2016春夏推出一整个设计系列。

Websitekumiding.com
Facebook: ~/Kumi-Shop
WeChat: KumiDing

 

Contributor & Photographer: Banny Wang
A
dditional Images Courtesy of Kumi Ding


网站kumiding.com
脸书: ~/Kumi-Shop
微信: KumiDing

 

供稿人与摄影师: Banny Wang
附加图片由Kumi Ding提供

Bicycles in Beijing, Now

December 23, 2015 2015年12月23日

Zhao Xiaomeng is a photographer and artist who is based in both Beijing, China and Toronto, Canada. At the moment, he is working on a number of projects that examines the massive societal changes in today’s rapidly developing China. One of these projects is called Bicycles in Beijing, Now, which he hopes will be his first book to be published next year.


赵小萌是常居于北京和多伦多两地的一位摄影师。他的诸多作品项目都审视着今日中国快速发展下的巨大社会变革。《Bicycles in Beijing, Now》便是其中一个项目,他希望可以将这个项目在明年出版成他的第一本书。

Bicycles in Beijing, Now is an extensive photo series that documents the dramatic decline of the once ubiquitous bicycle in Beijing. Once known as the “Kingdom of Bicycles”, China has in recent years seen the sudden and formidable rise and rise of car culture. Ever since the turn of the millennium, a growing number of Chinese people who live in big metropolitan cities, like Beijing and Shanghai, have become more accustomed to the convenience and comfort of owning and driving their own cars.


《Bicycles in Beijing, Now》 是一个大量摄影图片组成的系列,纪录在北京曾经普遍存在的自行车的戏剧性衰减。中国曾被誉为自行车王国,却在近年见证了汽车文化那令人瞠目的平地而起。自千禧年以来,居住在北京和上海等中国本土大都会的剧增人口,已经更习惯于拥有和驾驶私家车的方便和舒适。

According to Xiaomeng, the humble and dependable bicycle has all but since been lost in the frenzy of today’s auto boom. “The once iconic mode of transit has been severely marginalized in the modern city,” he says, “Mainstream Chinese society has now lost interest in the bicycle as a way of getting around in favor of the more glamorous automobile.” Rather than being a cultural symbol that represents the city, the bicycle has since been reduced to a sign of a socially vulnerable group in contemporary China.

 


据小萌说,可靠又平民化、曾一度坐拥天下的自行车在机动车的发展狂潮中面临消亡。“曾经标志性的交通方式,在如今的现代化都市中已经严重边缘化了。” 他说,“中国社会主流对自行车这种交通工具已经丧失了兴趣,转而投向更具魅力的汽车。” 自行车已经沦落为当代中国社会弱势群体的一种象征, 而不再是作为代表城市的一种文化符号。

For this project, Zhao Xiaomeng embarked on a search to discover where some bicycles have ended up. He tells us, “Not surprisingly, many are dilapidated and rusty, having entirely lost their use. But some have managed to live on: locked up, tucked away, refurbished, reconstructed, or randomly parked by their owners.”

 


为了这个项目,赵小萌开始探寻一些自行车最终去向何处。他告诉我们: “果不其然,很多都已经锈迹斑驳,毫无用处了。但是有一些还是成功地幸存下来: 上了锁,存放起来,修复修整过,抑或只是被它们的主人随处停放着。”

Sometimes while out shooting, Xiaomeng would also ask some owners of the disused bicycles how they felt about them. Why did they hang onto these pitiful things? To which they often replied: “Maybe one day I will make use of it.” This answer sadly reminded the artist of an old Beijing saying: “a dog’s life is better than no life.” Perhaps only time will tell what the ultimate fate of the bicycle will be, but at the current rate of China’s urban development and the rapid growth of consumer culture in its big cities, it may very well just become an artifact of the country’s past.


有时在外拍摄,小萌会向那些废弃自行车的主人们询问他们的感受。为什么他们对那些破烂还不放手?他们常会回答,搞不好哪天能用的上。这个回答让小萌想起一句北京老话,“好死不如赖活着”。也许,只有时间知晓那些自行车的最终命运,但是照目前中国的都市发展和其消费文化的快速发展来看,它极可能就作为一种工艺品代表这个国家的过去罢了。

Website: zhaoxiaomeng.com
Instagram: @xiaomengzhao_image

 

Contributor: Leon Yan


网站: zhaoxiaomeng.com
Instagram: @xiaomengzhao_image

 

供稿人: Leon Yan

Real Big City

December 18, 2015 2015年12月18日

 

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Real Big City is a new limited-edition screen print from Shanghai-based German artist and IdleBeats co-founder Gregor Koerting. He recently premiered the poster in a joint exhibition called Tale of Two Cities in Shanghai with the Paris-based print studio Frenchfourch.


《真正的大城市》是居住在上海的德国艺术家兼IdleBeats联合创始人Gregor Koerting的限量丝网版画新作。在近日的“双城记”——与巴黎版画工作室Frenchfourch的联展上,他首次展示了这个海报作品。

Real Big City is a remake of a woodblock print that Gregor had made eight years ago when he first arrived in Shanghai. The first version of this print illustrated his initial impressions of the city, which according to him, was unlike anything he had ever seen before. He envisioned the iconic skyline of Shanghai as a cyberpunk and impressively futuristic cityscape.


《真正的大城市》是Gregor八年前初到上海时创作的一幅木版画的复刻。这幅版画的初刻描绘的是他对这个城市的最初印象,据他所说,当时的他从未见过这番景象。他将上海标志性的城市天际线想象成赛博朋克和未来得令人咋舌的城市景观。

 

Now after having lived in Shanghai for eight years, Gregor has remade this poster as a new four-color silk-screen print. Incorporating his greater understanding and experience of having lived in this “real big city”, he has now changed the concept of the print to represent every major megalopolis in the world. He believes that in a place like Shanghai one can see the trajectory of future civilizations, which is not necessarily dystopian, but actually full of exciting new possibilities.


在上海生活八年之久后,Gregor用四色丝网印重新制作这幅海报。有了在这座“真正的大城市”生活的更多经历以及对其的更深了解,他改变了这幅版画的概念,它现在代表世界各个大都会。他相信,在像上海这样的地方,你可以看到未来文明的走向,它未必是反乌托邦,但是确是充满了激动人心的机会。

 

Real Big City can be purchased now exclusively on the Neocha Shop. Each print measures 38 x 57cm , and was screen printed on high-quality Somerset 300gsm watercolor paper in four layers: yellow, red, blue and black. It is available in a limited edition of only 17.


《真正的大城市》现由Neocha网店独家贩售。其每幅作品尺寸为38 x 57cm,由黄、红、蓝、黑四色网印于300毫克高质Somerset水彩纸上。此作限量印制17版,现可供购买。


Details:

  • Edition size: 17
  • Screenprint size: 38 x 57cm
  • Number of colors: 4
  • Paper: Somerset 300gsm Watercolor Paper
  • Price: $150 for single print without frame

详情:

  • 印刷数量: 17
  • 作品尺寸: 38 x 57cm
  • 颜色: 4
  • 纸张: 300克Somerset水彩纸
  • 价格: $150单幅无装裱作品

Websiteidlebeats.com

 

Contributor & Videographer: Leon Yan
Photographers: Leon Yan, Banny Wang


网站idlebeats.com

 

供稿与视频摄影: Leon Yan
图片摄影: Leon Yan, Banny Wang

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An Interview with Archan Nair

December 17, 2015 2015年12月17日

Archan Nair is a New Delhi-based visual artist specializing in mixed media, illustration, and digital art. His visual expressions are influenced by the mysteries of existence and the universal interconnectedness of our actions and emotions. We spoke to Archan to find out more about his journey as an artist.

Neocha: How did you get started as an artist?

Archan: I never had any formal training in art, nor was I inclined towards drawing or painting while growing up. I began working in the fashion industry around 2002 when I joined my family’s apparel manufacturing company, and around 2006 I started experimenting with visual art.

The fashion scene in India was really unorganized and stressful. I found it to be a very negative space, and thus creating visual art was an outlet for me, an escape to travel into a reality which was my own, in which I would be able to express myself. I was in awe of the fact that I could create something out of nothing. I got really addicted and I started having too much fun. I found so much joy in creating, but as I explored more, I started becoming much more serious about art.

There was a point of realization around 2007 when I knew that this was what I wanted to do all the time. So I called it quits for the day-to-day work at my company and started my beautiful journey as an independent artist. It was the most difficult and confusing decision I ever made, but it was definitely worth it! I finally decided to pursue my love, to do what I really enjoy from the deepest corners of my heart, and to start my own studio where I could create all the time. It has been an incredible trip since then.

Neocha: How does India influence your work?

Archan: I grew up in India, and I feel a huge influence coming from the intricate, layered culture. Indian culture is extremely diverse, colorful, and magical! So many stories, so much love. It’s very spiritual and happy. I love the twisted patterns and emotions which are embedded to its core, extremely deep and moving!

Comparing it with other places, its a completely different planet. I feel like people here are more warm and loving and open and accepting. Everything we experience here is so different from the rest of the world, even the smell of the air has a different feel to it. Being exposed to so many traditions and festivals and having a diverse group of people around certainly makes you learn a lot!

I feel like people here who are open to the digital medium, or no medium, and are exposed to experimental work, tend to enjoy it more. I’ve received tremendous support and love from not just my country but from around the globe. It just goes to show that any form of expression touches us deep within.

Neocha: Can you tell us a bit about your personal style?

Archan: I’m not sure if I have a style, as I keep playing with all forms of styles and direction. As the years go by it seems to have grown into its own vessel. But the colors are truly influenced by the beautiful culture in India – the festivals, traditions, fashions, and so on. I love the happy vibes of the people around me, and I feel like that somehow reflects in my work as well.

Neocha: How do you balance personal and client work?

Archan: I give a lot of focus to my own personal work, and try to collaborate with clients who prefer to create something which is in my style. I try and focus on one client project at a time, so I can give all my energy and love into it, while also creating personal art projects at the same time. As the years go by, both areas have somehow merged, as both involve experimentation and exploration. I love working with clients as it is more of a collaborative effort with feedback and communication. I love pushing myself and going out of my comfort zone to create something amazing! On the other hand, personal art is more about the moment, the flow and how I feel, so it comes out very naturally.

Neocha: What are your thoughts on creativity, and how do you channel it?

Archan: I feel that any form of artistic expression seems to be channeled from a higher frequency. Art has been a vehicle for me which has taken me into a magical journey, where I have not only rediscovered my true self, but also the process of understanding what the true nature of reality is and how we are all interconnected with the patterns which exist all around us – living or non-living, seen or unseen.

I am highly influenced by the unknown and how the fractal nature of everything works in such a spectacular and intelligent way. Nature, conversations, moods, and moments in life which could seem random from a micro-scale but make so much sense when seen up close. It’s simply mind-boggling!

I feel in awe everyday when I have this realization again and again of how incredibly transformative this journey has been. It is truly unexplainable through any language or words, it feels like a sequence of intelligent codes.

Website: archann.net
Facebook: ~/archannair

 

Contributor: George Zhi Zhao

The Pop World of Zhang Liang

December 16, 2015 2015年12月16日

Zhang Liang, aka Ray, is an illustrator who spends his time between Beijing and London. With a fun and iconic style, he loves to use distinct lines and limited bright color combinations in his works. Influenced by comic books, he expresses his worldview through a unique and quirky sense of visual humor.


张亮,又名Ray,是位生活工作于北京和伦敦两地的插画师。精细的线条和明亮的色彩,是他标志性的视觉风格。他作品画面的色彩总是强烈、明快,由限定的几个或者多个颜色组成。他正是用色彩为沉重或枯燥的话题添加一丝趣味,或者利用这种显著的反差制造讽刺的效果。此外,在他的大部分编辑性插画作品中,他都试图融入滑稽的元素,用漫画式的幽默去表达一些想法,或说明社会中的一些现象。

A graduate of the Glasgow School of Art, Ray was formerly a student of renowned English puppet artist John M. Blundall. Prior to graduating with both Bachelor’s and Master’s degrees in illustration from Glasgow, Ray spent one year at the China Academy of Fine Art. The joint program between the two schools gave him his first introduction to Western-style illustration and comics. Later on, he would fall in love with hip-hop, cartoons, and Western pop culture during his work and studies in the UK.


张亮毕业于英国格拉斯哥艺术学院,师从英国著名木偶艺术大师John M. Blundall,并在那里获得了插画的本科和硕士学位。在大学生涯的最初一年,他曾就学于中央美术学院。该校和英国格拉斯哥艺术学院的合作课程提供的“英国式的教学”,让他从此接触并热爱上欧美的插画和漫画。随后,在英国的学习和工作生活让他接触到的嘻哈、卡通等流行文化,更是成为了他的创作灵感,在他作品中留下夺目的印记。

A self-proclaimed fanboy, Ray tries to never miss a concert from any of his favorite stars, which include the likes of Jay Z, Snoop Dogg, The Game, Drake, A$AP Rocky, Big Sean, Wiz Khalifa, Tyga, etc. His soundtrack of choice is hip-hop, and when he is really focused on a project, he can lose track of time and neglect basic necessities such as food and sleep. According to Ray, “Hip-hop and comic books might appear to be completely different genres, but they actually have a lot in common. For example, comic books often features a main character with superpowers who struggles against a challenge. It’s similar to the struggle of rappers, who will share their energy, motivation, and inspiration with the masses in their pursuit of greatness. Moreover, personas like Nicki Minaj or Busta Rhymes are almost like caricatures, similar to the exaggerated characters that are featured in comic books. They’ll both give people a different kind of aesthetic, or violence, or purity. They’re both works of expression.”


自诩“追星族”,他对自己喜爱的明星的演唱会,Jay Z、Snoop Dogg、The Game、Drake、A$AP Rocky、Big Sean、Wiz Khalifa、Tyga……他一个都不错过。作为一个一工作起来就废寝忘食、全然无视生物钟的创作者,他甚至在画画的时候也一直听hip-hop音乐。在这些表象之下,他自有一番见解: “hip-hop和漫画或插画是两个完全不同的领域,但它们却有着某种强烈的关联。比如,漫画里的超级英雄们有着不同的超能力,正如说唱歌手,他们在强大自己的同时带给世人能量、动力与灵感。再者,像说唱歌手Nicki Minaj和Busta Rhymes夸张式的表演, 就如同漫画中的超级英雄,给人以不一样的美感,或暴力,或纯粹。有一点尤为重要,那就是它们都是叙述性的作品。”

Like many other creatives, Ray agrees that personal work is a free and loose process, but he also loves working with the direction of a client brief, which he says has helped him to develop more meaningful works. Ray is very thankful for his relationships with his clients, who have given him the freedom to create work that he loves. For example, his collaboration with London’s Anorak Magazine has yielded one of his favorite works: Clara The Clown, the girl who became a circus clown. An upcoming project will include his interpretation of ice cream trucks across different eras.


在个人创作以及商业创作中,很多创作者会因为创作的自由度而倾向前者。张亮则表示,个人创作相对自由,让他更加放松;但他也很喜欢在客户提供的brief(概要)里进行发挥,并认为其实是这些brief一直在帮助他,让他的作品更有意义。创作者毫无例外,都希望自己的客户可以给他们更多自由发挥创意的空间。所以张亮很庆幸自己与一些这样的杂志和合作人保持着长期的合作关系,比如Anorak Magazine——伦敦一非常优秀的儿童插画杂志。他们的合作包括扮演马戏团小丑的小女孩Clara的故事,以及接下来的关于各个年代的冰激凌车,前者也成为了张亮最喜欢的个人作品之一。

For those who aspire to become illustrators themselves, Ray’s advice is to read more illustration and comic books, and “most importantly, to enjoy yourself.” An avid collector, Ray has accumulated over 2000 Western illustration books, comic books, and independent publications, as well as over 200 Teenage Mutant Ninja Turtles toys. Some of his toys, such as the action figures released by Playmates Toys, are even same age as Ray himself. “When looking at the history of toys, these are the most classic of the classic,” he says. When asked about his current interests, Ray tells us, “I have recently been reading the original Teenage Mutant Ninja Turtles and The Simpsons, among other things.”


张亮建议想成为插画师或漫画师的新人多读插画和漫画书,“最重要的是,enjoy yourself”。 事实上,他非常热衷于阅读与收集相关读物及物品。迄今,他收藏了2000多本欧美插画、漫画书和独立出版物,以及200多个忍者神龟的玩具。这些玩偶中,有些甚至与他本人同龄,皆为Playmates Toys出版,“在可动人偶玩具的历史中,他们都是经典中的经典”。问及近来的读物,他说:“最近我在看忍者神龟的原版漫画、辛普森的漫画,还有很多与插画、漫画相关的独立出版物。”

Currently, Ray is working on illustrations for a novel from author Guo Ge. He is also applying to showcase some of his work at the fifth annual East London Comics and Arts Festival to be held in June 2016.


目前,张亮正在为作家郭个的一本小说进行插图创作。同时,他准备第三次申请2016年英国Nobrow出版社举办的第五届东伦敦漫画与艺术节的展览,展览将于6月与大家见面。

Websitezhangliangray.com
Weibo: @插画师张亮
Facebook~/ZhangLiangRay
Instagram: @zhangliangray

 

Contributor: Banny Wang


网站zhangliangray.com
微博: @插画师张亮
Facebook
~/ZhangLiangRay
Instagram: @zhangliangray

 

供稿人: Banny Wang

The Tattoo Dragon

December 12, 2015 2015年12月12日

 

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Liu Wenlong is a tattoo artist who splits his time between the cities of Hangzhou (Zhejiang Province) and Hohhot (Inner Mongolia). As one of China’s most famous tattoo artists, he founded Wencui Ciqing Tattoo Studio. In Liu Wenlong’s name, the Chinese character wen is the first part of the Chinese word for “tattoo,” while the character long means dragon. Over the years, Liu has developed a unique tattooing style that fuses his deep appreciation of traditional Chinese culture with modern tattoo design.


刘文龙是居住在中国呼和浩特和杭州的文身艺术家。作为中国最知名的文身师之一,他也是文粹刺青文身工作室的创始人。“文”是“文身”的“文”,“龙”是“中国龙”的“龙”,带着父母所起之名的刘文龙,热爱中国传统文化,更将自身对中国传统文化的深刻理解注入当代文身中,形成了自己的一套独立系统。

Back in 2005, there were many small tattoo shops in China that specialized in the passing fad of the day: tattooing women’s eyebrows. This fad was a catalyst for Liu’s interest in tattooing, so much so that one day he decided to try out tattooing on himself. He gave himself a simple tattoo and showed it off to one of the local tattoo shop owners. The shop owner was so impressed that he offered Liu an apprenticeship. After a few years, Liu honed his skills and began to focus on traditional Chinese tattoo culture. This marked the beginning of what has now been a ten year creative exploration into the art of tattooing.


2005年的时候,中国街边有很多给人纹纹眉毛之类的小纹绣店。当时的他出于兴趣,想给自己文个身。文完之后,纹绣店老板发现他文的比自己还要好,就接受了刘文龙留在店内工作。而后2007年,他开始做中国传统的文身,并一路摸索前进。于是这一文便是十年。

China’s tattoo tradition is longstanding, with its primary roots in warding off evil spirits and misfortune. For example, when hunters went off into the wild in search of game, certain tattoo images were said to protect them. In other cases, tattoos were symbols used to denote rank or social status within respective Chinese social circles. All throughout Chinese history, tattoos have also been associated with religion, personality cults, and organized crime. But in contemporary China, like elsewhere in the world, tattoos are mostly just about personal self-expression. “People who are into tattoos are those who love themselves, who believe in themselves, and who thirst for freedom. They are fiercely independent and wildly free-spirited. They don’t care what others think. They only answer to themselves,” says Liu of his patrons.


中国文身传统由来已久,最开始的文身主要是为了辟邪。出海打猎都会有特定的图纹以保平安。在文身发展过程中,也有一段时期个人身上所文的图腾是作为社会等级地位的象征,并有带有宗教象征意义,以及严格的等级限制和规范。总而言之,文身这件事不外乎宗教、个人崇拜与符号象征。时至今日,文身更多是一个人的自我表达。“喜欢文身的人,首先是信仰,二是爱’我’,渴望自由。都是特别自由特别独立的一类人,他不会去管别人的看法。他做什么只会问自己。”刘文龙告诉我们,他现在的客户也是这样的人。

The way Liu sees it, “Tattooing isn’t just about turning one’s skin into a canvas, or using a tattoo gun like a paintbrush. There’s much more to it.” Besides a tattoo’s uniqueness and staying power, Liu carefully considers all aspects of the tattoo design. Before he starts sketching a particular tattoo, he needs to know what his customers want to express, their particular skin tone, their muscle form, their attitude, and their outlook. His sketches are followed by scaled mock-ups, color matching, and detailed renderings. This process can take up to a year to complete, and only then does the actual tattooing begin.


在刘文龙看来,文身并非只是“皮肤为画布,文身机作笔”这么简单。文身在一块皮肤上的唯一性和时间上的持续性,让他对每个图形的设计都非常谨慎。在知道客户的想法和信仰之后,他还会细致观察客户的肤色肌肉以及整个人的状态。此后才会作草图,再画与人体等比例的图,最后出一个包括色调搭配等的完整效果图。这一个阶段历时不定,甚至有时候一年也无法完成。

The relationship between Liu’s customers’ muscle forms and his designs is of utmost importance to his creative process. His designs are customized to best suit the shapes and movements of each of his clients’ bodies. In addition to ths, Liu also incorporates Chinese philosophical traditions of the five elements into his tattoo composition. He identifies the three sections of the body as water, land, and air in order to correspond to heaven, earth, and man. “If you look at the composition of my designs on a person’s body, you will notice that the legs and feet typically feature powerful water elements. The mid-sections have a lot of stones or earth elements. The upper body will feature clouds or mist, or things related to the air. ” For Liu, this compositional arrangement gives people power, stability, and strength.


人体肌肉和图形之间的关系也是他设计一个图案极为重要的考量因素。所以,他会设计特殊的线条去配合人体肌肉的运动。除此之外,他还应用到中国的五行理论,将人的身体分为水、陆、空三个部分,以代表天、地、人。“一个人站在那里的时候,脚的位置是下部的中心,所以会用一些比较有力量的水;中间的部分会用一些山石、陆地等,比较上的部分会用一些云雾啊,跟云有关系的东西。”他认为,这样规划的文身在人站起来的时候就有了支撑点了,充满力量。

Comparing Chinese style to Japanese style tattoos, which also heavily utilize traditional Chinese cultural elements, Liu says, “From design form and visual appeal to significance and meaning, I still prefer the aesthetic of Chinese style tattooing. The Chinese tradition is mostly about powerful, breakthrough imagery that represents meaning and significance through poetic harmony and abstraction. Chinese tattoo artists focus on the storytelling behind the imagery and the hidden gems of inherit meaning. The images might seem abstract and fantastical, but its only through this approach that we are able to communicate the full scope and depth of our thoughts.” Liu plans to continue exhibiting his work at international tattoo conventions with the goal of showcasing the uniqueness and beauty of Chinese tattoo culture to the world.


相较于同样应用了很多中国传统元素的日本文身,在赞赏日本对文化的传承以及文身的细致之余,刘文龙说:“从图案的造型、韵味、意义上来说,我还是比较中意我们中国人的审美。中国文身更多的是突破这个形,要表达的是意义和韵。我们比较注重图案后面的东西。有时候笔没有写实到那个点,但是通过那个点去达意。”他将中国文身带到国外去,也是希望可以让世界知道中国的文身。

Instagram@cuitattoo
Weibo@文粹刺青TATTOO
WeChat: wencuitattoo

 

Contributors: Gerhan, Banny Wang
Videographers & Photographers: Gerhan, Damien Louise
Additional Images Courtesy of Cui Tattoo


Instagram@cuitattoo
微博@文粹刺青TATTOO
微信: 文粹刺青

 

供稿人: Gerhan, Banny Wang
视频摄影师与图片摄影师: Gerhan, Damien Louise
附加图片由文粹刺青提供