Hash Pipe

January 29, 2016 2016年1月29日

 

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Hash Pipe is a new limited-edition screen print from the Shanghai-based German artist and IdleBeats co-founder Gregor Koerting. Last month, he premiered the poster in a joint exhibition called Tale of Two Cities in Shanghai with the print studio Frenchfourch.


《Hash Pipe》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。在上个月的《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。

Hash Pipe is a screenprint that depicts the experience of underground nightlife in Shanghai. This vivid print takes place in a graffiti-sprawled women’s restroom in a seedy nightclub. Two young women can be seen smoking out of a hash pipe – one of the characters glances over her shoulder with a semi-surprised look.


版画《Hash Pipe》描绘了上海地下夜生活的体验。作品中这个栩栩如生的场景是来自于布满涂鸦的酒吧的女洗手间。其中,两个年轻女生正共用一支抽麻烟斗,其中一个女生转头过肩一瞥,略带惊讶神色。

Gregor has created this poster as a four-color silk-screen print, bringing to life a candid moment not commonly seen. His illustration embodies a carefree spirit, and is a representation of individuality and breaking taboos.


Gregor将这作品以四色丝网印做成海报,重现那不寻常的偷窥一刻。他的绘画中包含了一种无所谓精神,是对个体和冲破禁忌的一种表现。

Hash Pipe can be purchased now exclusively on the Neocha Shop. Each print measures 38 x 57 cm , 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 18.


《Hash Pipe》现由Neocha网店独家贩售。作品尺寸为38x57cm,由黄、红、蓝、黑四色网印于300毫克高质Somerset水彩纸上。此海报限量印制18版,现可供购买。


Gregor Koerting《Hash Pipe》

¥930

立刻购买

Details:

  • Edition size: 18
  • Screenprint size: 38 x 57 cm
  • Number of colors: 4
  • Paper: Somerset 300gsm Watercolor Paper
  • Price: $150 for single print without frame

 

Websiteidlebeats.com

 

Contributor & Videographer: Jia Li
Photographers: Jia Li, Banny Wang


详情:

  • 印刷数量: 18
  • 作品尺寸: 38 x 57 cm
  • 颜色: 4
  • 纸张: 300克Somerset水彩纸
  • 价格: ¥930单幅无装裱作品

 

网站idlebeats.com

 

供稿与视频摄影: Jia Li
图片摄影: Jia Li, Banny Wang

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World in a Room

January 29, 2016 2016年1月29日
Hometown of Friendship (2015)

In Chinese, sanmingzhi means “sandwich,” which sounds vaguely similar to Zhu Lingzhi’s first name—this realization came about when a classmate mistakenly pronounced his name as such. Ever since then, the nickname stuck. Now, working under the moniker austin_sandwich, the Anhui-born and London-based illustrator and graphic designer repurposes the oddities he observes in everyday life into his surreal illustrations.


在中文里,朱凌志的名字发音读起来与“三明治”有点相似。这个绰号来源是他的同学对他名字一次不小心的误读。对他来说,这还算是一个挺美好的童年回忆,于是他就保留了这个绰号。目前居住在伦敦出生于安徽的他是插画家兼平面设计师,并以austin_sandwich的名字来进行创作,将日常生活中观察到的有趣事物通过超现实风格重新演绎成插画作品展现出来。

Scotland (2015)

In his illustrations—such as the recent Hometown of Friendship and Between Two Worlds—the imaginative landscapes he has created are filled with an eccentric cast of characters and an assortment of seemingly unrelated objects, all of which are strewn about the canvas. His two-frame series Scotland is presented in a similar manner. Like the aftermath of an alien experimentation gone awry, disfigured cows, dismembered cow parts, and flesh-colored objects are scattered throughout the frame. While chaotic at first glance, the chaos is deliberate and methodical, evident by his neat arrangement of every character and item.


在他最近的一些插画作品如《Hometown of Friendship》和《Between Two Worlds》,各种看似毫无关联的物体分散在画布的各个角落,它们充满他所营造的天马行空的画面,形成了奇特的组合。他的两幅画组成的系列《Scotland》也采用了相似的表现手法。整幅画看上去就像一个失败了的外星人实验,分体的奶牛、牛身体的某个部位和肉色的物体分散于整个画面。然而,正如他的其他作品一样,这种混乱却是他故意为之,画面中的每一件物体其实都是经过精心排列。

His latest work, World in a Room, takes the form of a zine. In a visual style true to his past work, Lingzhi takes viewers on a seemingly hallucinogen-induced visual journey into weirdness, passing through through a series of bizarre spaces filled with geological formations, mysterious stairwells, disembodied limbs, amongst other peculiarities. This project is described by him as an attempt to capture the unfathomable impossibilities that may exist in the fourth dimensions. “As humans, even though we’re living in a three-dimensional world, we can only see in two dimensions,” he says. “In that sense, four-dimensional beings are able to see our three-dimensional world in its entirety.”


他最新的作品《World in a Room》采用了zine这种独立小型杂志的形式。这次的新作品从视觉风格上与他过去的作品保持了一致,引领观众踏上一场充满迷幻能量的视觉之旅,深入探索一个奇异的世界,从一系列怪奇空间穿境而过,那里充满了各种地质结构、神秘的楼梯间、分离出来的四肢等奇怪的物体。他将这一组作品称为对试图捕捉可能存在的四维空间里的神秘事物的尝试。他说:“作为人类,我们在三维世界中只能看到二维平面的全部。而四维世界的生物才能同一时间看到我们三维空间的全部。”

Beyond the abstract concepts that Lingzhi explores, the surrealist setting of each page is actually an extension of his sociocultural observations. The zine is a commentary on the state of modern life where people often forego real-life connections, preferring to retreat into a digital world that offers a different sense of interconnectivity. The ability to stay connected with the rest of the world while we’re just sitting in a tiny room is an interesting phenomenon, he mused.


除了朱凌志所探索的抽象概念,每一幅画中的超现实主义背景实际上是他对社会文化的一种观察。这一本zine表现了现代生活中人们放弃现实生活联系的状态,他们宁愿藏身于虚拟的数字世界里,在那里找到另一种不同意义的联系。朱凌志若有所思地表示,我们只需要坐在一个小房间里,就能保持与世界的紧密联系,这是一种非常有趣的现象。

Due to the number of different colors used, World in A Room was mostly laser printed. But one page of every zine was screen printed in canary-gold; the screen printed page is both signed and marked with the edition number by Lingzhi himself. “Using a manual printing technique like silkscreen printing produces different results every time,” he explains. “For me, creating a zine means complete freedom. The design, dimensions, and materials are all completely customizable. The narrative can be presented in any way the artist sees fit.”


由于《World in a Room》中使用的颜色较多,所以主要是采用激光彩色打印。但其中会有一页采用金色的丝网印刷;每张丝网印刷的页面上,朱凌志都亲自签上了名字,并标上版号。他解释道:“丝网印刷具有一种独特性和唯一性,因为每一张作品手工印刷出来都不会一模一样。对我来说,zine是一个非常自由的东西。你完全可以按照自己的喜好来设计它的样式,尺寸以及材质。画面的叙事也可以按照艺术家认为合适的方式来表现。”

World in a Room is now available in the Neocha Shop. The 16-page zine measures 14 x 13 cm and is available in a limited edition of 50.


《World in a Room》现已于Neocha商店发售。每本zine共 16 页,14 × 13 厘米,仅限量发售50本。

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.


如需使用PayPal或国际信用卡支付,请转至我们的Shopify页面;如需使用支付宝或微信支付,请至我们的微店


austin_sandwich的《World in a Room》

¥95

立刻购买

Details:

  • Year of Publication: 2016
  • Edition Size: 50
  • Number of Pages: 16 (including front and back cover)
  • Size: 13 x 14 cm
  • Binding: Simple binding (signed and numbered)
  • Printing: Digital printing & screen printing
  • Paper: 150g Zen Pure White & 135g Colorplan Citrine
  • Price: $14

详情:

  • 出版年份: 2016
  • 出版数量: 50
  • 页数: 16(包括封面与背面)
  • 尺寸: 13 × 14cm
  • 装订: 简单装订(艺术家签名及编号)
  • 印刷: 激光彩色印刷与丝网印刷
  • 纸: 150 g Zen Pure White & 135 g Colorplan Citrine
  • 价格: ¥95

Behance~/austinsshoa941
Instagram: @austin_sandwich
Weibo: ~/austin_sandwich

 

Contributor: David Yen
Images Courtesy of austin_sandwich


Behance~/austinsshoa941
Instagram: @austin_sandwich
微博: ~/austin_sandwich

 

供稿人: David Yen
图片由austin_sandwich提供

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Swimful PM2.5

January 29, 2016 2016年1月29日

PM2.5 is a new album from Shanghai-based producer Swimful via independent record label SVBKVLT. Named after the toxic particles in China’s polluted air, the album mixes Eastern musical elements and dancefloor-oriented rhythms with Swimful’s signature sound palette of dreamy, weightless ambience.


《PM2.5》是上海音乐制作人Swimful通过独立唱片厂牌SVBKVLT发布的新专辑。以中国空气污染重的有毒粉尘颗粒命名,这张专辑混合了东方音乐元素、舞曲和Swimful如梦幻如失重的标志性曲风。

Take a listen to an exclusive selection of tracks from PM2.5. The full album is available for purchase from SVBKVLT and comes with a limited-edition face mask.

Swimful – Shanghai (Qingpu Remake)

Swimful – Bounce

Swimful – Ato


以下曲目来自专辑《PM2.5》的特别节选,欢迎试听!完整专辑可通过SVBKVLT购买下载,并附赠SVBKVLT的限量版面具。

Swimful – 上海 (青浦版本)

Swimful – Bounce

Swimful – Atop

Swimful is the alias of English-born, Shanghai-based producer Jamie Charlton. Having spent much of his youth performing improvised music, self-releasing CD-Rs independently and collaborating with artists such as Machinefabriek on the Echolalia project in 2010, he went on to study Sound Arts in London, where he was tutored by composers such as David Toop.


Swimful是生于英国现居上海的Jamie Charlton的化名。年少时的多数时间,都被他花在表演即兴音乐、自己独立发行刻录CD唱片,以及和其他艺术家合作——例如Echolalia LP中的Machinefabriek。此后,他前往伦敦学习声音艺术,正是这个时期,他接受到作曲家David Toop的辅导。

During this time, the Swimful project was born and collaborations with Lil B and Main Attrakionz followed. His recent productions have garnered support from a range of DJs and producers such as Slackk, Murlo, Scratcha DVA and J-Cush, and received airtime on stations such as Rinse FM, NTS and Radar Radio.


那段时间,叫做Swimful的项目诞生了,和Lil B的合作、和Main Attrakionz的合作也紧随其后。他最近向污垢舞曲和夜店舞曲的进军,获得了一大批DJ和制作人如Slackk、Murlo、Scratcha DVA和J-Cush的支持,作品也得以在Rinse FM、NTS和Radar Radio等诸多节目上播出。

 

Soundcloud: ~/Swimful
Website: svbkvlt.bandcamp.com

 

Contributor: George Zhi Zhao
Images Courtesy of Panda Lee (Wooozy) & J.C. Cochran


Soundcloud: ~/Swimful
网站: svbkvlt.bandcamp.com

 

供稿人: George Zhi Zhao
图片由Panda Lee (Wooozy) & J.C. Cochran提供

Jonathan Van Smit

January 28, 2016 2016年1月28日

Jonathan Van Smit moved from New Zealand to Hong Kong in 2008, drawn to wandering the back alleys and side streets of the city when he’s not at his day job in the financial industry. Entirely self-taught, all of his photographs are raw, dark and gritty compositions focused on the underbelly of life in Hong Kong, Southeast Asia and China. Despite being a 65 year-old self-proclaimed Gweilo (or foreigner), Jonathan possesses a remarkable ability to slip seamlessly into the underworld with his photography. Wandering the streets with his Leica rangefinder and wide angle lens, he prefers to shoot as close as possible to get a sense of intimacy. We spoke to him recently about his work and his approach to street photography.


2008年Jonathan Van Smit從新西蘭移居香港,在其供職於金融行業之餘,他常遊走於當地錯綜複雜的街頭巷尾。對於攝影,他完全是無師自通, 並以 風格粗獷、黑暗且冷峻不羈 的風格展示著香港、東南亞及中國大陸地區地下階層的墮落生活。儘管65歲的他對外自稱鬼佬(外國人),但他潛入地下群體進行拍攝的能力還是超凡的。帶著自己的徠卡旁軸相機和廣角鏡頭遊走於各種小巷街道的他,喜歡盡可能靠近被攝物以達到一種親近感。我們最近與他談論了其作品及其街頭攝影的方式。

Neocha: Coming from a different background, how did you get into photography, and specifically street photography?

Jonathan: Photography for me is primarily a way to explore this world that we live in. I don’t like to think of myself as a street photographer. I am just an amateur photographer who likes traveling, walking around, exploring other people’s lives, and trying to see what’s around the corner or behind closed doors. I’m also quite interested in economic marginalization and how people react to adversity. I also like bridges, big cities, seedy bars, intersections, alleyways, dark places, and the night time.


Neocha: 毫無相關背景的你是如何走上攝影之路並且專注於街頭攝影的?

Jonathan: 對我來說,攝影是探索世界的首選方式。我並不認為自己是街頭攝影師,我只是一個愛好旅行、愛閒逛、愛探索他人生活以及犄角旮旯正在發生著什麼的一個業餘攝影師。我同樣對經濟邊緣化以及人們如何應對逆境十分感興趣。我也喜歡橋、大城市、衰敗的酒吧、十字路口、小巷、黑暗地帶以及夜晚。

Neocha: Why do you choose to use mostly black and white? Why do you use your current camera setup? Have you explored other cameras and techniques before in the past?

Jonathan: I find colour really distracting in photographs. Using black & white tends to emphasis the content more, at least for me it does, and it also connects us with photography tradition.

I mostly use Leica rangefinders because I’m so used to the manual controls, which allows me to take photos faster than, say, a Sony or Fuji. Sometimes I need to be quick and change focus or shutter speed or aperture without looking down at the camera which I can easily do with Leicas. I’ve tried other brands but generally end up being frustrated as they seem to be designed by technicians rather than photographers.


Neocha: 為何你的大部分攝影作品都是黑白的?你為什麼用現在這台相機?在此之前你是否嘗試過使用其它相機或技巧?

Jonathan: 我發覺色彩很容易分散人對攝影作品的注意力,使用黑白攝影可以更強調出拍攝內容,至少我是這樣覺得的,而且這也能讓我們更接近攝影傳統。大部分時候我用萊卡旁軸是因為 我習慣手動調控,這能讓我比使用像索尼或富士這類相機更順手且快捷。有時我需要特別快速地完成拍攝,包括變換焦點、調整快門速度或不看取景器直接調整光圈,這些我都可以用徠卡辦到。我曾試圖用其它品牌的相機但都以失敗告終,它們似乎是為技術而生而非攝影師。

Neocha: What fascinates you about Hong Kong? Cambodia? What are some stories you return to over and over again?

Jonathan: Hong Kong interests me because it is currently my home and I have a permanent resident visa here. It also has a strong and unique culture, sadly that seems to be diluting as more and more old buildings are being demolished. I am always struck by the huge gap between rich and poor in what is one of the world’s wealthiest cities. I like the more traditional, grass roots parts of Hong Kong rather than the glitzy shopping malls with their aimless materialism.

Cambodia is very different, of course – the less developed law and order there makes it a refreshing change from living in Hong Kong, which is much more regulated. Compared to Hong Kong, Phnom Penh is chaotic, edgy and relatively lawless, which perversely enough, I find relaxing. I also have friends over there, people smile more, and I enjoy the food and music so it is a holiday break for me. In terms of photography there, I’m interested in the way women are treated, which is often shocking, and drug use seems to be common too.

For example, a common theme I have come across is that a girl gets pregnant, her boyfriend can’t or simply doesn’t want to support the child, so she needs to earn an income while her family looks after the child. A young woman can earn $128 a month in a Phnom Penh garment factory but double that working in a bar. The loss of self-esteem from bar sex work can lead to drug use, especially ice, which in turn can lead to unsafe sex and HIV.


Neocha: 香港或柬埔寨有哪些吸引你的地方? 有哪些主題是你一再反覆拍攝的?

Jonathan: 我對香港感興趣是因它現在是我的家 並且我也有這裏的永久居住签证 ,並且它有強大而獨特的文化,然而很遺憾的是它正在被稀釋,許多舊樓也在不斷被拆除。作為世界上最富有的城市之一,香港一直以來 讓我很震驚的是其貧富差距的巨大鴻溝。比起那些耀眼且物欲橫飛的百貨商場, 我喜歡香港更傳統、低層的部分。

柬埔寨則十分不同,比起生活在秩序井然的香港,這裡欠發達的法律與秩序讓人耳目一新。與香港相比,金邊是混亂的、焦躁不安的、毫無法律制約之地……而這反而令我感到輕鬆。我也有朋友在那裏,當地人很愛笑,我喜歡那裡的食物和音樂,所以待在那對我來說猶如度假。在那裡拍攝的話,我對當地人對待女性的態度很感興趣,他們時常讓人震驚,而且吸毒現象也十分普遍。

譬如,我見到過的普遍現象之一是,女生懷孕了,她的男友無法或根本不想提供任何幫助,於是她把孩子放在家裡讓親人照顧,自己出去掙錢養家。一個年輕女性在金邊的製衣工廠工作一個月可以賺到128美元,但在酒吧工作則是雙倍。而從事酒吧性工作的女性在自尊丟失的同時也會有吸毒隱患,尤其是冰毒,而它也是招致不安全性行為和HIV的元凶之一。

Neocha: What’s your routine, if you have one, during a day – do you go out to take photos during certain times of day? Are there favourite neighborhoods or parts of a city you go to first for inspiration?

Jonathan: To be honest, I don’t really have a routine… I am fairly random most of the time. Assuming I am not working, meeting friends, or have something planned, I’ll start walking in the morning and keep on going all day – sometimes until late at night with a couple of stops for coffee or food. I like the Kowloon part of Hong Kong, and go there a lot as it’s easy to get to. Sometimes, I’ll get on a bus or train, and then get off somewhere at random. I like the freedom of not having a plan.


Neocha: 你是否有一套例行程序? 如果有,你通常在一天中的什麼時候出去拍照?你是否有在自己所著街區特別喜歡的會在第一時間去那裡找尋靈感的地方或城中其他某個地方?

Jonathan: 我並沒有什麼例行程序……大部分時候我都十分隨意。假如我沒在工作、見朋友或計劃做某事的話,我會從早上開始散步散一天,有時候會到很晚,中途會有幾次停下來喝咖啡或吃點東西。我喜歡香港的九龍地區,也會常去那邊,因為過去很方便。我可以坐上巴士或地鐵,然後隨機挑一站下車,我很享受這種隨心所欲的自由。

Neocha: Language – how do you find access to your subjects especially in such unguarded, intimate moments, and without a common language? How many times do you revisit subjects before you feel the connection? When you’re walking around on the streets of Hong Kong or elsewhere, how do people react to you?

Jonathan: It is not really a big issue for me, and language isn’t the only form of communication. For example, there’s mime, smiling, signing and body language too, and I use all these when gaining access to what I want to photograph. I guess I’ve found a way to cope with my very limited language skills, and also I usually prefer to be a passer-by than a participant when taking photographs. I generally don’t want my subjects to be engaged in the taking of a photo. I am just another Westerner with a camera, I guess.

 


Neocha: 關於語言 —— 你是如何在沒有共同語言為基礎的前提下與被攝者接觸並抓到那些自然、親近時刻?在你感受到彼此感覺對應之前,你會反覆拜訪幾次被攝者?當你在香港或別處的街道上散步時,人們的態度是怎樣的?

Jonathan: 對我來說這不是什麼大問題,而且語言並非是溝通的唯一方式。 譬如,模仿、微笑、手勢以及肢體語言,在我嘗試接觸想要拍攝的任何人物時我都會用上。我可能是找到了一種方式來應對自己十分有限的語言技巧,在拍攝當中 ,比起作為參與者, 我更願意 作為一個旁觀者的身份。基本上我不想讓被攝者有感覺像是在擺拍。我只是另一個拿著相機的鬼佬,我想。

Neocha: How often does fear cross your path? How often do you have to diffuse or leave situations?

Jonathan: There’s a fine line between exhilaration and fear, and I get a bit nervous sometimes when drugs are involved. It is not a big deal. Most people I meet are charming and friendly.


Neocha: 你多久會出現一次憂慮感? 多久你需要驅散一次這種糟糕的狀態或者完全任其發展?

Jonathan在高興和憂慮之間有著微妙的界線,當面對毒品題材時我也會顯得倍加焦慮……但這不是什麼大問題。我遇到的大部分人都很善良友好的

Neocha: What are your influences and inspirations? From photography, literature, or experiences?

Jonathan: I haven’t had a TV for many years so I read a lot, and I manage to get through two to three books every month. Plenty of non-fiction books like River of Time by Jon Swain which I’ve just read for the second time but also fiction authors like Jim Harrison, Annie Proulx and Raymond Carver. I also keep myself up-to-date with current affairs.

I sometimes look at other people’s photos but I’m more interested in getting out and taking my own. I think the most important thing to me is moving outside my own day-to-day existence and comfort zone, and gaining a wider set of personal experiences through exploration and travel.

 


Neocha: 你所受到的影響以及你的靈感來源從哪裡來?是攝影作品、文學作品還是人生經驗?

Jonathan: 由於不用電視機多年所以我讀了很多書,基本維持在一個月2-3本的量。許多並非小說類讀物,譬如我剛剛重讀了來自Jon Swain的作品《River of Time》,當然我也喜歡一些小說家,譬如Jim Harrison, Annie Proulx以及Raymond Carver,此外,我也會關注時事以便讓自己跟上時代。 

有時我也會看些別人的攝影作品 ,但我更喜歡出去走走並拍攝自己的。對我來說最重要的是讓我的日常所在置於外部空間,這讓我感覺舒服,並且通過這樣的探索和旅行可以讓自己的閱歷更為寬泛。

Neocha: What are you working on currently and are there any projects you’re looking forward to in the future?

Jonathan: I’d like to spend more time traveling in Asia especially the area from the Bay of Bengal over to Vietnam and West China. I’m also trying to move away from darker subject matter but maybe that’s just a temporary phase. I don’t think of a specific theme when I’m taking photos. That comes afterwards when I’m editing.


Neocha目前你在做什麼?在未來你會期待做什麼樣的項目?

Jonathan: 我想要花更多的時間在亞洲旅行,特別是孟加拉灣到越南和中國西部這一條線。我也在試圖從暗黑題材中轉型,可能這只是臨時階段而已。我在拍照時並沒有什麼具體的拍攝主題,那都是在我處理它們的時候才會有的。

Websitejonathanvansmit.com
Flickr: ~/K_iwi

 

 

Contributor: Jia Li


网站jonathanvansmit.com
Flickr: ~/K_iwi

 

 

供稿人: Jia Li

FLASK & The Press

January 27, 2016 2016年1月27日

FLASK is a bar located in Shanghai owned by bourbon enthusiasts Kevin Yu and Jackson Cheng, two Taiwanese entrepreneurs who pride themselves not only on their creative offering of cocktails but also a vast selection of fine bourbon. But if there is something that Shanghai isn’t exactly in shortage of, it’s bars. FLASK, however, is one of the more unusual spots in the city. It’s hidden in a shop called The Press, a small place that sells gourmet grilled cheese sandwiches. Both FLASK and The Press were designed by Alberto Caiola, whose concept for these two spaces explores the nature of duality: the juxtaposition of light and darkness.


FLASK是一家在上海的酒吧由两个波本威士忌发烧友Kevin YuJackson Cheng创立这两位台湾创始人以提供用心调制的鸡尾酒及种类繁多的各式高级波本为傲如果说上海绝对不缺的东西那一定就是酒吧了FLASK则是城中别具一格的几家酒吧之一它藏匿在一家名为The Press的美味芝士三明治店中FLASK以及The Press的店内设计皆是出于Alberto Caiola之手他为这两个空间所做的创作源于二元对立明暗共存的概念

During the daytime, The Press operates as a sandwich shop – a minimalist space with unfinished cement walls and a colorful counter erected in the middle of the store. Behind the counter, a blue neon-lit sign that reads “Get Your Hands Dirty” is hung on the wall, and a vintage Coca-Cola machine is nestled in the corner of the room. The Press provides reimagined versions of classic American grilled cheese sandwiches, with gourmet creations such as their signature FLASK Melt. For this mouthwatering concoction, aged yellow cheddar, white cheddar, gouda cheese, and bourbon-honey glazed bacon serves as the centrepiece, while artisanal white toast acts as the frame. As it gets later and later into the night, passers-by will notice there is no longer any staff manning the shop, yet curiously enough, it still appears open for business.


白昼时分,The Press是一家售卖三明治的店铺,其极简的空间中有着斑驳水泥墙和矗立店中央的炫彩吧。柜台后面,墙上挂有“Get Your Hands Dirty”字样的蓝色霓虹灯牌,墙角是复古的可口可乐自动贩售机。The Press除了售卖改良版的经典美国烤芝士三明治之外,也会自制创意美食,比如他们的招牌菜FLASK Melt:以白吐司配裹陈年车达芝士、白芝士、豪达芝士再搭配令人垂涎的蜜糖波本的培根。当日光渐褪,人们会发现餐厅内是没有任何员工,但令人好奇的是它又看似还在营业。

That’s because the adjoining speakeasy, FLASK, has been covertly serving drinks and will continue dealing out boozy treats late into the night. Those unfamiliar with FLASK might never know it is even there. The concealed entrance is located behind the retro Coke machine inside The Press. This faux vending machine swings open to reveal a secret tunnel that leads into this mysterious speakeasy. Once inside, patrons will find themselves in a dimly lit bar, purposely designed to clash modern elements against a vintage setting. Decorative liquor bottles adorn the shelves, mysterious cubes of varying sizes float overhead, and furniture that feels like they came straight from the prohibition era fills the room.


那是因为它另一边的地下酒吧,FLASK,一直以这样隐秘的方式售卖酒水,满足各种嗜酒者至夜深。不熟悉FLASK的人或许根本不知道它就在那儿。其入口就隐匿在The Press的复古可口可乐自动贩售机后面;这个经过伪装的自动贩卖机被移开后,就可见通向这间神秘地下酒吧的秘密通道。一旦入内,顾客就置身于一间灯光幽暗的酒吧,其精心的设计让摩登元素与复古情怀擦出别样火花。各式装饰酒瓶满踞架上,大小不一的神秘方快悬置上方,还有一系列犹如来自禁酒令时期的特色家具分散于室内各处。

Whisky bars in Shanghai generally focus on single malt whiskies, while FLASK, in true speakeasy style, decided instead to place most of their focus on bourbon and rye whiskies. “Many of the prohibition classics or signature drinks were made from bootleg liquor that was available at that time, which often were bourbon and rye, and sometimes gin,” says Kevin, “This is another reason why FLASK likes to focus on American bourbon and rye whiskey. These drinks speak the same language that strengthen the speakeasy concept. We want to educate people in Shanghai that bourbon and rye can be pleasant, smooth and full of character – just like single malt whisky.”


上海的威士忌酒吧目前主要售卖单一麦芽威士忌,而走纯正地下酒吧风格的FLASK则决定侧重波本和黑麦威士忌。“许多禁酒令时期经典特调以及招牌饮品来自当时的私酿,这些私酿通常是波本/黑麦,有时也有琴酒,”Kevin说,“这也是为何FLASK主要贩售美国的波本/黑麦威士忌的另一层原因,我们的鸡尾酒和波本/黑麦有着加强地下酒吧概念的共同之处。我们想让上海的朋友们认识到,其实波本/黑麦也可以是令人愉悦、口感顺滑、充满个性的,就和单一麦芽威士忌一样。”

Besides the impressive bourbon collection at FLASK, their cocktails are also strong contenders in the Shanghai bar scene. All of their cocktails can be custom-made to fit the individual’s flavor profile, and all of their signature cocktails on the menu also feature local and Asian ingredients while still preserving the original recipes of the prohibition era classics.


在FLASK,除了令人叹为观止的波本收藏,他们的鸡尾酒也是上海酒吧界的一个劲敌。他们所有的鸡尾酒都可以针对不同顾客的个人喜好量身定制,并且酒单上所有的招牌鸡尾酒在保留禁酒令时期经典款原始配方外,还会添加一些当地及亚洲风情的元素。

Kevin and Jackson wanted to provide a unique experience for all those that comes to their bar through the atmosphere, the friendly staff, and the quality of the drink selection. With FLASK and The Press, the pair wanted to inject more creativity into Shanghai’s food and beverage industry​, and they have hinted at new plans of rolling out other creative projects in the near future.


Kevin和Jackson希望通过别致的环境、热情的服务以及酒品的质量,为每一位光顾的客人提供独一无二的体验。经营着FLASK和The Press的他们希望为上海的餐饮业注入更多创意活力,二位也暗示在不久的将来还会筹备其它有意思的创意项目。

Address:
432 Shaanxi Nan Lu
Xuhui District, Shanghai
People’s Republic of China

Phone: +86 021-33686108

Facebook: ~/FLASK
WeChat: FLASKSH


地址:
中国 上海市徐汇区
陕西南路432号

电话: +86 021-33686108

脸书: ~/FLASK
微信: FLASKSH

Contributor & Photographer: David Yen


供稿人与摄影师: David Yen

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Stickyline

January 26, 2016 2016年1月26日

Stickyline is a Hong Kong-based creative duo that manipulates and reengineers paper in ingenious ways. The team is comprised of two designers, Soilworm Lai and Mic Leong, who both graduated from the Hong Kong Polytechnic University School of Design with majors in industrial and product design. They transform two-dimensional images into three-dimensional objects through a process of deconstruction and reconstruction. Their creative manipulation of paper results in complex installation art, stage designs, and sculptures. Many might associate Stickyline’s creations with Japanese origami, since they employ creative folding techniques similar to origami, but a big differentiating factor is that Stickyline’s end products are more like three-dimensional puzzles. With their elaborate paper creations, they have managed to narrow the gap between imagination and reality that much more.


Stickyline是香港的雙人紙藝創意團隊,由畢業於香港理工大學設計學院的前包裝設計師Soilworm Lai和前玩具設計師Mic Leong創立於2011年。二維平面轉換到三維立體形態,在解構和重構之間,Stickyline以紙為材料制作裝置、雕塑和舞臺設計,進行跨領域創作,為想象與現實創造了新維度。雖然同樣有很多折疊,但不同於日本折紙藝術——盡管這是很多人首先會聯想到的,Stickyline的作品更像是3D拼圖,這也是他們之間的根本區別。

Computer 3D modeling is an important part of the production process in all of Stickyline’s projects. Whether it is a personal project or a commercial project, Soilworm and Mic have to think very carefully about all the different factors that are involved with their different creations; for example, they need to consider the space that their designs will eventually occupy. The two first brainstorm together and sketch out an initial design, then afterwards they digitally develop it into a three-dimensional model. After a meticulous research and analysis phase, they next begin to plan out how their installation will occupy the space that it will later be put in. Coming from such similar backgrounds, these two designers are able to work harmoniously side by side, from the initial brainstorming stage all the way up to the actual production.


Stickyline的作品創作過程中,有著相當關鍵的一步,就是計算機3D建模。當然在此之前,不管是個人創作還是客戶項目,Soilworm和Mic都會通過實地考察全面理解將用於展示作品的空間。在把頭腦風暴過程中產生的設計的大概形態變成3D圖形後,經過無數深入的細節研究和調整,他們盡力讓作品的色彩/材料和形狀能夠與空間安排產生互動。最後分解3D對象,切割出紙張部件,再重新組裝起來,這便是Stickyline最終作品的形成。在這個過程中,兩位設計師的合作也並無明確分工,事實上,得益於他們共同的經歷,他們可以從創意到制作全程合作的天衣無縫。

Stickyline has already started collaborating with a large number of well-known local and international brands. Their story began with Masked Creatures, a small project created for Hong Kong’s DesignMart, which consisted of crafting paper helmets in the shape of various well-known Hong Kong architecture. Soilworm and Mic wanted not only to create something that people would find interesting, but they want their work to leave an impression in people’s minds. Just after a few days, their series of colorful and uniquely shaped helmets became a hot topic of conversation and was shared all over social media. For them, gaining the approval of so many people gave Soilworm and Mic more confidence in their art. From that project onwards, their studio’s momentum hasn’t faltered a bit. Stickyline’s paper creations has already expanded into actual products: from accessories, lights, to toys – they’ve even created fashion for local celebrities!


現在的Stickyline與國內外一眾耳熟能詳的品牌都進行過合作。而它的成立則完全源於當初香港DesignMart上的一個叫做《Masked Creature》的小項目。這個項目是Soilworm和Mic為了展示更讓人印象深刻並具有意義的產品,以多邊形的形式重構香港的著名建築原型的一系列紙頭盔。活動的短短幾天,這個系列有趣的外觀就吸引了很多人,作品本身也變成了一個發生對話和分享的媒介。觀眾的熱情回饋讓Soilworm和Mic對這種藝術和手工形式充滿了信心。以這個項目為起點,Stickyline的作品現在已經延伸到各種實際的產品,有時裝飾品、燈具以及玩具,甚至包括本土明星的演出服裝。

Neocha: As we all know, paper, without being properly handled is a very fragile material choice, and you have some larger sized works. We were wondering how you dealt with the situation. What’s the biggest challenge in using paper like this?

Stickyline: It is quite challenging and it is also what makes us different from other paper artists, since we tend to build big objects using paper. The paper we use is tougher and thicker than those normally found in stationary shops. Some papers have different textures and different finishes which make them more durable.

Besides, paper only acts as the skin in our artwork. Our art, being so large, we are forced to create structures that supports the skin by using paper cardboard, wood, and sometimes even metal. For example, when we created a sculpture of a killer whale, paper becomes the skin, and inside the whale, there are structures that are a bit like the bones of the animal. Without it, the paper would collapse.


Neocha: 眾所周知,紙在沒有做合適處理的情況下,是一種很脆弱的材料。而妳們有一些大型的作品,這種情況下,妳們如何應對紙的這個特性呢?在用這種方式創作作品的時候,妳們面對的最大挑戰是什麽?

Stickyline: 妳們提到的這點確實是個巨大的挑戰,同時它也讓我們的作品與眾不同,鑒於我們傾向於用紙做大件的作品。我們通常用比文具店能夠買到的要稍厚一些的紙,包括有些不同質感的紙,以及不一樣的完成工序讓作品更為結實。

此外,紙只是像我們作品的表皮。大件作品中,我們不得不用厚紙板、木板,有時候甚至是金屬來做結構和支架以支撐那層表皮。例如: 我們的逆戟鯨雕塑,紙只作它的表皮,在逆戟鯨體內我們會做類似動物骨架的支架,否則最外層的紙會坍塌。

Neocha: Describe for us a couple of your personal favorite designs. Why are they interesting to you?

Stickyline: Coast Modules was the first project that we created which involved interaction with visitors and that was produced with the help of a factory. These things made a big difference in our creative process. The interactive elements added value to our design, and the factory built wonderful paper sculptures with the rules we set up. They then put it together in some random arrangements. The mass production of the factory allowed for more design variety, and at the same time it enriched the content that our visitors can interact with. Employing factory production also helped with the physical size of the project, which scaled it up to something even more impressive.

Another project we want to mention is Bamboo Mountain Bamboo Sea, which took place at a historical building now called PMQ (the former Hollywood Road Police Married Quarters). It is an installation with a setup displaying clothes being hung out to dry and the clothes are much bigger than usual one and it is all made out of paper! It includes clothing that normal people would have: trouser, t-shirts, underwear, bras, dresses, and so on. You can see people walk along the corridor with surprised facial expressions when they see some of the traditional methods of drying clothes recreated in a modern way.


Neocha: 可以告訴我們妳們最喜歡的個人作品是哪些嗎?為什麽?

Stickyline: 《Coast Modules》是我們做的第一個包含觀眾互動的項目,這個項目的制作我們也得到了工廠的幫助。這兩個點給我們的創作帶來了很大不同: 互動元素為我們的設計添加了一層價值,觀眾根據我們設立的規則,以具有個體性差異的手法作出很棒的紙雕塑;工廠的大批量生產則給我們設計上的可能提供了更多的空間,同時它豐富了觀眾可以參與發揮的內容。同時這種制作也幫助我們將作品更大型化,給人更為深刻的印象。

另一個我們要提到的項目是《Bamboo Mountain Bamboo Sea》,它是發生在一個叫做元創方 (前荷李活道已婚警察宿舍) 的歷史建築中。這個裝置,是將衣物按照舊時的晾曬方式懸掛著,這些“衣物”包含了平常大家會穿著的褲子、T恤、內衣、內褲、裙子等等,只是它們的尺寸平常所見要大很多,而且都是紙做的。妳可以看到,經過的人們看到傳統的晾衣形式可以以這麽現代的方式來再現時,他們那按耐不住的驚訝神情。

Neocha: What has been the biggest changes for you and your work over the last four years? And what’s one thing that you stick to no matter what?

Stickyline: We’ve stuck to our original concept of transforming objects from 2D to 3D as well as our style of creating polygon features, lines and planes.

As far as the biggest changes, we’ve actually been trying to design shapes with fewer and fewer polygons, while still keeping the content and details all intact. This requires a lot more precision during production in order to stay true to our initial design. Paper is still the main material in most of our projects, but we’ve tried crossovers involving different things like projections, interactive elements, and adding lighting into our installations.


Neocha: 過去這些年中,妳們或者妳們的創作發生的最大的變化是什麽?哪些又是妳們一直堅持不變的?

Stickyline: 我們一直堅持著在2D和3D間轉換事物的原創概念,一直堅持著創作多邊形物體、線條和平面的自身風格。

要說最大的變化,我們一直嘗試在設計形狀時讓多邊形越來越少,但是仍保有內容和細節,這樣一來,制作時就得要更精確才能實現最初的設計。紙仍然是我們多數項目中的主要材料,但是我們試過在一些跨界創作中往我們的裝置中加入不一樣的,比如投影,互動元素,和光這些東西。

Neocha: How does Hong Kong, the city you’re currently living in, inspire you?

Stickyline: As we always say, our daily life inspire us the most. What we see and experience in this city is an important inspiration to us, and some of our projects address these daily elements from a different perspective. One example is when we made a paper power plug, but scaled up to a huge size, it stood taller than a man including the wire. Shifting people’s perspective to focus on the little things again is exciting and makes us happy.


Neocha: 妳們現在居住的城市,香港,對妳們的創作有什麽樣的啟發呢?

Stickyline: 正如我們一直說的,日常生活才是啟發我們最多的。所以在香港的生活必然也是如此。在這座城市中,我們眼見的,我們身歷的,都是很重要的靈感來源。我們有些項目就是用不一樣的視角,去突出這些日常元素。舉個例子,我們曾經做了一個大尺寸的紙插頭,差不多是原實物的10多倍大。算上它線的部分,它立在那裏比人還高。讓人們重新註意到這些小事小物,總是讓我們感到開心和激動。

Neocha: What do you have in the works for the near future?

Stickyline: We always want to develop even more products. We have some ideas in mind but haven’t had the time to flesh them out fully yet. We hope we can hit the mark with these ideas. Besides that, we also have some new commercial work, prop designs, and set designs all in progress. We will take part in an exhibition in Singapore, a project to test people on how well they know their fears.


Neocha: 能告訴我們一些未來的創作計劃和項目嗎?

Stickyline: 我們總是想要開發一些產品,現在已經有一些想法了,但是還沒有時間去完全實現包裝它。我們希望可以在未來完成這個設想。除了一些商業道具設計和場景設計,我們也將參加在新加坡舉辦的一個展覽,這是一個測試人們對他們自身恐懼的認知的項目


網站stickyline.hk
臉書~/stickyline

 

供稿人: Banny Wang

Check-in Project

January 25, 2016 2016年1月25日

The Check-in project is the brainchild of two Shanghai-based artists, Xi Xi and Lu Jiawei. Their renovation essentially transformed old residential houses not only into bed and breakfasts, but into art installations. The goal of the artists was to shatter preconceived notions that art could only be exhibited in museums and galleries. At the same time, they also wanted to explore the relationship between people and their surroundings objects. They wanted to create art that wasn’t only meant to be experienced visually, but also something physical that people could interact with. Their installation would also be something that their guests could own for twenty-four hours. Descending, and their more recent installation LSD Project, has in effect transformed old residential spaces into unique pieces of art.


Check-in是上海艺术家兮兮和卢佳炜于2015年发起的旧房改造项目。两位艺术家通过以室内艺术装置和民宿相融合的方式,尝试打破艺术画廊和美术馆模式中个人和艺术品之间的传统关系,一方面探讨并引人思考人和周遭物件的关系,另一方面则尝试着为任何普通人提供欣赏并拥有一件艺术品24小时的可能性。《下沉》,加上近期完工的《LSD Project》,这个项目已经完成两处住所改造。

The first Check-in project, Descending, is a white room filled with white styrofoam balls. In the space, there are also white walls, white windows, and white pieces of furniture scattered in a sea of styrofoam. During the day, light falls in through the windows from the tree-lined street outside, illuminating the alabaster white room. The art space is a striking contrast to the bustling metropolis that lies just outside.


Check-in项目的第一个作品,《下沉》,是一个填满白色泡沫球的白色房间。白色的墙壁,白色的门窗,白色的家具散落在白色的泡沫中。光线透过面向绿荫和旧街道的窗户,洒在满目的白色上,形成与窗外繁拥忙碌的大都会截然不同的景象

LSD Project, the artists’ second piece of work, is similarly also located in an old residential building. The main concept of this project revolves around a peculiar system of lighting. Metallic silver is the main color palette of choice: every single wall, object, and surface is completely wrapped in tinfoil. Custom neon light tubes are hidden along the edges of walls, while other tubes are arranged overhead in a seemingly random arrangement. The multicoloured tubes of light intersect and criss-cross one another, reflecting off the metallic walls, enveloping the entire room in a diffused multichromatic glow.


而另一个作品,《LSD Project》,同样是在老旧居民楼中,却拥有着截然不同的面貌。这是一个以灯光装置为主题的空间。银色是这个空间的基调,所有墙体和可能的物件被贴上了锡箔。定制的彩色灯管交错悬于上方,也有藏在墙角边线上,在反射和漫反射之间,各种色彩的光错综交汇,包裹起整个空间。

Xi Xi graduated from Goldsmiths, University of London with a Masters degree in Design Features. After graduation, she returned to Shanghai and tried her hand in various fields, from photography to fashion design, even operating her own bed and breakfast at one point. Throughout all of that, she never stopped working on her own personal art projects. She worked independently, much like her friend Lu Jiawei, a sculptor and a former classmate at Fudan University. The main issue that this creative duo wanted to confront was the current inevitability of using galleries and museums as mediums when an artist wanted to exhibit their artwork to the public. Xi Xi and Jiawei believe that galleries and museums are rigid environments that have limitations, in the sense that those spaces restrict the level of interaction people can have with the displayed art.


从伦敦大学Goldsmiths的Design Features硕士毕业后,回到上海做过摄影、服装设计、民宿经营的兮兮并未间断过当代艺术创作。与她在复旦大学本科时期就相识的校友,雕塑艺术家卢佳炜一样,他们都是以独立艺术家的身份在进行创作。而画廊作为一个艺术家/艺术品传播媒介的角色,是他们作为艺术家不得不面对的。但是画廊也好,美术馆也罢,都决定了普通人和艺术品之间不可能有过于亲密的接触,或者充足的交流。这正是两位艺术家想去挑战的问题。

Xi Xi has always believed that every individual is the sum of their own experiences. Experiencing new things, and the memories left over from those experiences, are most important. “We wanted to create a space where the artwork is tangible, and the audience is able to interact with it, and experience the artwork and our unique space, but privately”, Xi Xi says. This idea of creating interactive and tangible art was the inspiration for their Check-in project.


兮兮一直认为,一个人是他经历的总和。体验,及其伴随的记忆,都是最为重要的东西。“我们想做这样一个空间:它的作品是真正和大众是发生关系的,让人在保有私密性地去体验作品本身,体验这个空间。”这就是Check-in项目的初衷。

In the future, they hope to be able to collaborate with others who may come from different backgrounds, and to create new spaces with differently styled themes. For Xi Xi and Jiawei, they are open to whom they want to collaborate with, whether they are artists, dancers, hypnotists, philosophers, or even economists. Being able to combine ideas from different disciplines and fields with the goal of ending the notion that art can only be experienced in a public gallery setting is something that the two artists strongly believe in and want to keep pursuing.


在未来,Check-in项目希望有来自不同领域的人可以参与合作,创作具有不同类型行为的住宿空间。艺术家也好,舞蹈团队也好,催眠师也好,哲学家也好,经济学家也好……不同类型的学科和艺术以及居住空间相结合,打破传统的私密体验正是Check-in的艺术家们所期待的。

Website:
airbnb.com/Descending
airbnb.com/LSD-Project

WeChat: Checkin_P

 

Contributor: Banny Wang
Photographers:
Nick Chu
Rey Canlas, Jr.
Banny Wang


网站:
airbnb.com/Descending
airbnb.com/LSD-Project

微信: Checkin_P

 

供稿人: Banny Wang
摄影师:
Nick Chu
Rey Canlas, Jr.
Banny Wang

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The Art of Eszter Chen

January 22, 2016 2016年1月22日

Chen Chun Hong, aka Eszter Chen, is a Taiwan-based illustrator and visual artist. She grew up in Los Angeles and graduated with honors from Art Center College of Design in Pasadena with a degree in illustration art and design. As a student, she was already collaborating with various fashion magazines. Upon graduating, she went on to work as a textile designer in the fashion industry, but also freelanced as an illustrator and artist on the side. The theme in the majority of her work tends to be more feminine in nature, with fashion and floral patterns being some of the common elements in the majority of her art. The vibrant color combinations of her illustrations often leaves a lasting impression on viewers. Eszter finds herself to be endlessly fascinated by color and the different ways that colors can be combined.


Eszter Chen, 又為陳純虹,是位現居臺灣的插畫師和視覺藝術家。她成長於美國洛杉磯,畢業於加州藝術中心設計學院的插畫藝術專業。在校期間,Eszter就開始與時尚平面雜誌合作,之後在洛杉磯成為專業服飾品牌印花織品設計師和接案插畫師/藝術家。她的大多數作品都具有女性相關的主題,畫面中隨處可見時尚和印花。明亮活潑的色彩組合給人十分愉悅的印象,也讓人對她的作品過目不忘。而色彩本身以及新的色彩組合正是她本人所一直著迷的事物。此外超現實主義的敘事手法也是她所偏好應用的。

Eszter decided to move back to Taipei mainly because her family and fiancé. After being back, she quickly realized that she enjoyed the more laid-back lifestyle and overall pace of Taipei, more so than Los Angeles. She was excited to introduce her illustration work and personal style in her hometown, especially with the local art scene and illustration culture being rapidly on the rise in Taipei. She was eager to see the Taipei art scene develop and grow, and wanted to work with local artists who came from different backgrounds and perspectives than hers, with the goal of being able to find inspiration from one another. Eszter now works with a group of local artists, with whom she has since started a studio together. She now pursues her own personal illustration projects and textile designs full-time.


因為家庭和未婚夫的關系,出生於臺北的她決定搬回家鄉居住。除了享受臺北生活的舒適和放松、人和人之間更為緊密的關系,以及自由步行以外,她也非常為能夠將自己的作品和插畫文化帶回自己的家鄉而興奮。臺北藝術和插畫的掘起,使得Eszter十分期待與世一同見證更多,並與不同想法的人一起工作以碰撞出火花。現在的她,與當地一群同在創意設計領域的朋友們擁有一間共同創作工作室,並開始自己的插畫和印花藝術工作。

Neocha: When did you first develop an interest with illustration and painting? Was there anything in particular that happened that first got you interested?

Eszter: I started drawing when I was in kindergarten. I was drawing many dresses, portraits, and stories. Many of them were from my own imagination, some of them were references from catalogs, commercials, and things that I saw. I forgot about drawing when I got a little older, all the way up until my high school years. I didn’t want to go to university studying majors that I had no interest in, so I thought long and hard about what I could see myself dedicating years of my life to studying, and without a doubt, art was the the first thing that came to mind.


Neocha: 妳是從什麽時候開始喜歡上繪畫的呢?

Eszter: 我從在幼兒園時期就開始畫畫了。我畫各種裙子、肖像,還有故事。它們大多數都是我想象出來的,還有一些是參考了商品目錄、廣告和我看到的東西。後來,我大概忘記了畫畫這件事,直到我上了高中。當時我不想將來去大學裏學習那些我不感興趣的專業,於是我思考什麽專業是我真正喜歡做的,並且願意為它進行更多的學習。然後,藝術,毫無疑問地,就是第一個我能想到的。

Neocha: Where do you get your inspiration from?

Eszter: I look at work from fashion designers, photographers, illustrators, artists, and paintings. I am pretty much inspired by all the visual artists and designers that I like. I also try to read unique fiction novels, including those are able to provide storytelling inspirations that I can apply to my illustrations. I enjoy the aesthetics of modern art and design. As far as colors go, I often get my creative inspiration from looking at classic paintings done by the great masters, mother nature, toys, and Japanese package design. I also love Pinterest and looking through some fashion magazines for quick visual stimulation.


Neocha: 妳的靈感來源是哪裏?

Eszter: 我看時尚設計師、攝影師、插畫師、藝術家……基本上所有自己喜歡的視覺藝術家和設計師的作品。我嘗試閱讀更多獨特的小說,並從中得到講述故事的靈感。我喜歡現代藝術和設計中的審美。我從大師的繪畫、大自然、玩具以及日本的包裝設計中獲取色彩的靈感。我閱讀時尚雜誌以獲得色彩和印花方面的快速刺激。我愛Pinterest。

Neocha: You have a very keen sense of aesthetics and your work radiates cheerful and positive vibes. Is this similar to your own personality?

Eszter: I try to stay cheerful and positive in my life, even when things don’t go my way. In my work, I also try to follow that guideline, even when what I am creating might be a serious or negative subject. I really believe that having a keen sense of aesthetics is more important than skill. I incorporate this belief in the way I draw my characters, their environment, and in the way I utilise colors. I like to research historical and modern references, as well view work from other artists, designers, and photographers. I like seeing new things and seeing the different aesthetics of other artists, through viewing these things I hope my own work can improve and become even better.


Neocha: 妳作品的顏色給人很愉悅的感覺,這是否和妳個人性格也一致?

Eszter: 在生活中,我是個盡量保持樂觀的人,盡管有時候並不是事事順心。在作品中,我也保持和我的生活態度一致,就算是創作嚴肅或者負面的主題。我想,比技巧更重要的是良好的感知,包括我畫人物、環境的方式,以及我個人對色彩的應用。我偏好研究一些歷史的和現代的參考,觀看藝術家、設計師、攝影師等的作品。我想讓自己的視野和感知保持變化,想讓自己能夠進到更高的階段。

Neocha: Describe for us a couple of your favorite personal works. Why are they interesting to you?

Eszter: Illustration Lab (18 x 12.5in, acrylic gouache and aqyla paints on paper) is a piece about what I imagine would be my ideal lab building. It is a retired animal shelter, but rebuilt as a creative illustration lab. You can see some pictures of the deceased animals in the building. Each room is set up for a different purpose.

The Funeral (16 x 11in, acrylic gouache and color pencil on paper) is a piece about my personal memory with death. It was the very first time I experienced someone very close to me passing away, and also the first time I’d gone through the whole funeral process. But I painted it with very cheerful colors to establish contrast.


Neocha: 請給我們描述一下自己最喜歡的個人作品吧。它們為什麽有趣?

Eszter:《Illustration Lab》(18″x12.5″,紙上丙烯水粉和水性亞克力繪畫) 是關於我想象中理想的實驗室大樓。這座樓是由動物收容所改造而成的創意繪畫試驗室。妳可以看到樓裏還掛有已經去世的動物們的圖片。每個房間都有著為不同技術所做的場景布置。

《The Funeral》(16″x11″,紙上丙烯和彩鉛繪畫)是關於我記憶中的死亡。那次是我人生中第一次經歷親近的人去世,以及其葬禮過程。但我應用了非常歡快的色彩來制造一種反差。

Neocha: What are some of your future projects?

Eszter: I’ve always wanted to create a calendar filled with my art, so that will be something I will be working on. I also want to make some limited edition prints. Ideally, I will be making a fun concertina book soon. Lastly, I will try to plan my next exhibition in Taipei, so I’ve started sketching some new paintings to put in the show. Hopefully in the future, I will have the chance to work with different companies on an international level.


Neocha: 未來有什麽創作項目嗎?

Eszter: 我一直想用自己的作品做一本日歷,所以這會是我接下來要做的事之一。我也想給作品系列中添加一些印刷品,理想的情況下,我要做一本帶有有趣概念的折頁書。最後,我在為在臺北的下一個展覽做準備,所以我現在在為展覽作品創作新的繪畫。希望我將來可以和國際範圍的公司合作。

Website: eszterchen.com
Instagram: @eszterchenart

 

供稿人: Banny Wang


網站: eszterchen.com
Instagram: @eszterchenart

 

供稿人: Banny Wang

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Press Matter

January 21, 2016 2016年1月21日

 

无法观看?前往优酷

Press Matter is a studio located in Shanghai that specializes in the delicate craft of printmaking. Founded in 2012 by two local entrepreneurs, Yang Mo and Chen Jie, their printing studio has been up and running for nearly four years now. The two demonstrated the entire process of lithographic printing for us, from beginning to end, using a piece of work from the artist Mingming, a customer who frequently uses their studio.


印物所是一间提供不同手工印刷方式的工作室,由两位而立之年的上海男生杨默和陈捷创立,从2012年至今,已经将近4年了。印物所常驻艺术家明明创作的這幅作品让我們有幸见证了一副石板版画从石板打磨到印刷成品这整个过程。

One might expect that Yang Mo and Chen Jie would share a story with us about how their passion and persistence led to the start of their print studio, but this was actually not the case. The pair tells us that the real reason behind starting Press Matter was rather simple: they were displeased with the extortionate inflation of prices for limited edition artwork in China. Artwork that has been mass-produced with a machine press is seen as less valuable in the eyes of many collectors, but this drop in value doesn’t happen when the same artwork is hand printed. Printed work is also unlike artwork that was created solely for the canvas, which is very exclusive, limited, and in most cases for the average person, nearly impossible to obtain. Their goal is to popularise printmaking in China and to make art something that everybody can afford.


在这情怀一词泛滥的年代,大到盖房子,小到卖冰淇淋,无不以情怀说事儿。本来以为杨默和陈捷会诉说一个坚持手工充满情怀的动人创业初衷,结果俩人非常朴实得表示最初成立印物所大部分原因只是对国内限量艺术品价格虚高的不满,而手工印刷这种方式令艺术品既不像机器印刷那样因为大量复制而失去收藏性,也不像画布作品那样因为太限量而变得遥不可及。正如版画在国外的普通家庭里是非常常见的艺术收藏品一样,他们想在中国推广手工印刷画作,让艺术品变成普罗大众也能消费得起的一种商品。

Yang Mo and Chen Jie have experienced their own fair share of challenges over the last four years. Despite facing these hardships, Press Matter maintains their devotion to creating work with sincerity, while also still holding a reverence for handcrafted artwork.


虽然杨默和陈捷成立印物所的初衷并不是一碗读者期待的鸡汤,但是在这不算顺利的创业4年中,印物所始终秉承着一种对手工和艺术的敬畏之心在创作。

Yang Mo comes from a background with professional printing experience, and through his expertise, he is able to provide invaluable feedback to his current artist clientele, whether it be the method of printing, choice of paper, or the ink ratio. His method of printing can be described as intimate with a touch of serendipity. This approach allows Press Matter to produce highly sought-after prints with great collection value.


作为正经版画专业的科班生,杨默为艺术家提供了极为专业的意见,印刷方法的选择,纸张的选择,颜料的配比,这些充满独一性、偶然性和个人性的因素交织在一起,印物所制作出了一批又一批具有高度收藏价值的画作。

On the other hand, his business partner Chen Jie comes from a background in the advertising industry. Because of that, he is able to provide all of the possible sales channels for their prints. He also has fostered a mutually beneficial link between art lovers and underappreciated artists. The whole process starts when the artist first creates their work. Press Matter then provides the artist technical assistance during the whole printing process, and also contacts art galleries and various sales channels. Art lovers are then able to purchase their favourite works more easily, allowing the artists to make money off their work.


而广告行业驰骋多年的陈捷则调用自己强大的艺术品交易渠道资源,在怀才不遇的艺术家和艺术爱好者之间建立起一个健康的链接:艺术家创作 → 印物所提供技术支持并联系展示、销售渠道 → 艺术爱好者购买到心仪的作品 → 艺术家靠自己的作品生存下去。

Nowadays, even with so many different printmaking techniques to choose from, lithography still remains one of the most trusted methods. It is capable of yielding the most impressive results by bringing out even the most minute of details from the original work in its exact likeness. Another benefit of lithographic printing is that it allows traditional artists to be able to reproduce their work without being restricted by technology, while also being able to use more traditional methods of illustration. This allows the artist to be able to infuse their own personal style into their work.


在各种手工印刷方式中,以石板印刷效果最优秀,这种在石板上创作并拓印的方法制作出来的印刷品从各种细节上都堪称可以与原作相媲美,这种方式也让传统画家不受限于技术条件,采用传统方法作画,最大程度地发挥艺术家自己的风格。

In addition to the creativity and labor put into the original artwork by the artist, in every print there is also the artistry that was instilled during the hand printing process. This is what makes hand printed artwork so fascinating, and that much more desirable for collectors.


一幅手工印刷画作制作完成的背后,除了包含艺术家的智力劳动外,也包含着手工者的个体创造性,这大概就是手工印刷的魅力吧。

Weibo: @印物所
Instagram: @Press_Matter

 

Contributor: Taylor Shen
Photographer: Chan Qu
Videographer: Jia Li


Weibo: @印物所
Instagram: @Press_Matter

 

供稿人: Taylor Shen
图片摄影: 
Chan Qu
摄影摄影: Jia Li

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Kuala Lumpur

January 20, 2016 2016年1月20日

A booming metropolis in Southeast Asia, Malaysia’s capital city of Kuala Lumpur boasts all of the cosmopolitan and commercial attractions of a large city while keeping a firm hold on tradition. A luxurious shopping destination, with impressive malls and notable street markets, and home to a thriving culinary scene, the city of Kuala Lumpur has much to offer its residents and 10 million annual visitors alike.


Sebuah metropolis yang sedang membangun di Asia Tenggara, ibu negara Malaysia, Kuala Lumpur mempunyai segala tarikan kosmopolitan dan perda-gangan yang bersesuaian dengan sebuah bandar raya besar sambil berpegang teguh kepada nilai-nilai tradisi. Destinasi membeli-belah yang mewah, dengan gedung mengagumkan dan pasar jalanan yang ternama, dan pusat hidangan makanan yang meriah, bandar raya Kuala Lumpur mempunyai banyak keisti-mewaan yang dapat ditawarkan kepada penduduknya serta 10 juta pengunjung tahunannya.

Not only is it a thriving, culturally diverse city, Kuala Lumpur is also home to a large community of passionate creatives. We at Neocha are daily inspired by the images we see uploaded to VSCO Grid®, many of which come from the Malaysian capital. Browse a selection of images taken by members of the VSCO community below, and search VSCO Grid® to find even more.


Bukan sahaja meriah, malah Kuala Lumpur yang mempunyai pelbagai budaya juga menempatkan komuniti besar penggiat kreatif. Di Neocha, imej-imej yang dimuat naik ke VSCO Grid®, mencetuskan ilham buat kami setiap hari yang kebanya-kannya daripada ibu negara Malaysia. Layari pilihan imej yang diambil oleh ahli-ahli komuniti VSCO di bawah, dan cari VSCO Grid® untuk mengetahui lebih banyak lagi.

This story is part of a content partnership and media exchange between Neocha and VSCO®. To see more of VSCO’s Asia content on Neocha, click here.

 


Kisah ini ialah sebahagian daripada perkongsian kandungan dan pertukaran media antara Neocha dan VSCO®. Untuk melihat lebih banyak kandungan Asia VSCO pada Neocha, klik di sini.

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