The Work of Muntasir Mohamed

May 10, 2016 2016年5月10日

Born and raised in Kuala Lumpur, Muntasir Mohamed is a visual artist and graphic designer who specializes in making digital art. In 2015, he assumed the role of lead designer at Everyday Studios, a new creative studio founded by his friend Sharina Shahrin. Together, the two of them aspired to further advance the development of the Malaysian art scene and provide more opportunities for young emerging artists in the region. “The creative scene in Kuala Lumpur is booming now and the creatives here are making some really impressive strides with their craft. Their progression is motivation for myself to further push the boundaries of my own craft,” Muntasir says. His abstract digital creations explore a diverse range of subjects, from melting psychedelic colors, to Kanye West tribute art, to Givenchy-esque floral designs. Neocha recently had the chance to speak with this versatile artist about his creative approach and how hip-hop culture ties into his artwork.


Dilahirkan dan dibesarkan di Kuala Lumpur, Muntasir Mohamed ialah seorang artis visual dan pereka grafik. Beliau pada masa ini bekerja sebagai ketua pereka di Everyday Studios, studio kreatif yang telah diasaskan oleh rakan karib beliau, Sharina Shahrin. Kedua-dua mereka memiliki pemikiran yang sama iaitu ingin memupuk kancah seni Malaysia dan menyediakan lebih banyak lagi peluang untuk para penggiat kreatif muda di rantau ini.”Kancah dunia kreatif di Kuala Lumpur sedang berkembang mekar dan penggiat kreatif di sini, dengan karya kraf mereka, mengorak langkah yang agak mengagumkan. Melihat pada kemajuan mereka, menjadi motivasi untuk saya melebarkan sempadan seni kraf saya sendiri.” Antara hasil karya peribadi beliau, dari lukisan pemandangan yang kelihatan berasal daripada dunia lain dan cairan palet alunan warna-warna psikedelik hingga ke rekaan bunga-bungaan mirip Givenchy dan penghargaan buat Kanye West. Neocha baru-bari ini berpeluang untuk bertemu ramah dengan beliau tentang pengaruh, pendekatan kreatif dan pandangan beliau tentang budaya hip-hop.

Neocha: How would you describe your own work?

Muntasir: It would be hard to describe, as my work has been constantly evolving over the last few years. As cliché as it might sound, I started making art at a very young age. I was, and actually still am heavily inspired by comics and manga art. Those were the major factors in my passionate pursuit to become an illustrator. Nowadays, my artwork is starting to take a more digital and abstract approach.


Neocha: Bagaimanakah anda memerihalkan hasil karya anda?

Muntasir: Amat sukat untuk saya huraikan, kerana hasil karya saya berubah-ubah dalam tempoh beberapa tahun ini. Bunyinya memang agak klise, tetapi saya telah mula berkarya semenjak usia muda lagi. Dahulu, dan sekarang ini juga, saya masih kuat dipengaruhi oleh seni komik dan manga. Itu merupakan faktor utama dalam kegigihan saya mengejar kerjaya sebagai seorang ilustrator. Sekarang ini, hasil seni saya sudah mula menerima pendekatan yang lebih digital dan abstrak.

Neocha: What mediums or software do you, or have you worked with in the past? What are your preferences nowadays?

Muntasir: I primarily work with Adobe Photoshop now. But creative software like Premiere Pro, After Effects and Adobe Illustrator are programs that I am constantly honing my skills in. Back when my own artwork focused more on illustration and sketching, I would use graphic pens, rendering markers, and watercolor. In the past, I have also worked with materials such as acrylic paint, spray paint, and perspex sheets.


Neocha: Apakah media atau perisian yang anda sedang atau telah gunakan pada masa lalu? Apakah kecenderungan anda pada masa ini?

Muntasir: Pada masa ini, saya banyak menggunakan Adobe Photoshop. Tetapi perisian kreatif seperti Premiere Pro, After Effects dan Adobe Illustrator ialah program yang secara berterusan saya gunakan untuk mengasah kemahiran daya. Dahulu, ketika kerja-kerja saya banyak bertumpu kepada ilustrasi dan melakar, saya menggunakan pen grafik, pen marker kemasan lukisan dan catan air. Saya juga pernah menghasilkan karya dengan media seperti catan akrilik, cat semburan, dan kepingan perspeks.

Neocha: Do you feel like there is a sense of cohesiveness in your work? Or rather a progression or change in style? How so?

Muntasir: I find that I am now going through an interesting transitional period from physical to digital when it comes to my art. I look forward to seeing where this will take me and what I can create out of it. Most of what I do comes organically to me – otherwise, I wouldn’t be confident and satisfied in what I make. Every artist has their forte or preferred style. I aim to be as versatile and flexible as possible with my creativity.


Neocha: Adakah anda merasakan terdapat kejeleketan dalam hasil karya anda? Atau mungkin kemajuan atau perubahan dalam gaya? Apakah sebabnya?

Muntasir: Saya merasakan bahawa saya melalui tempoh transisi yang menarik dari fizikal ke digital apabila memperkatakan tentang hasil seni saya. Saya menanti-nantikan untuk melihat ke mana ia akan membawa saya dan apa yang saya dapat cipta daripadanya. Kebanyakan karya yang saya hasilkan datang kepada saya secara organik – jika tidak, saya tidak berkeyakinan dan puas dengan apa yang saya telah hasilkan. Setiap artis ada kehandalan atau gaya tersendiri yang mereka gemari, saya menuju ke arah menjadi versatil dan fleksibel yang sebaik mungkin dengan daya kreativiti saya.

Neocha: Japan and Japanese culture in general seems to influence you a lot; for example, Japanese kanji appears on a lot of your work. Why is that?

Muntasir: Japan and its culture has always been a big inspiration when it comes to my creativity and aesthetics. I am very fond of legendary artists, like Katsushika Hokusai and Utagawa Hiroshige. The detail and craftsmanship that went into their works were something to behold, and made me even more interested in the world of Japanese art. Anime is another major factor in the growth of my artistic career. I grew up as a huge fan of Dragon Ball Z. When I was younger, I would find myself drawing the characters, which usually turned out horrendous. But it helped me to hone and improve on my illustrative skills.


Neocha: Negara dan budaya Jepun nampaknya muncul dengan kerap dalam hasil karya anda. Apakah pengaruh di sebaliknya ke atas anda?

Muntasir: Negara Jepun dan budayanya memang selama ini telah menjadi inspirasi besar saya apabila memperkatakan tentang kreativiti dan nilai estetika saya. Saya amat cenderung dengan artis legenda seperti Katsushika Hokusai dan Utagawa Hiroshige. Ketelitian dan ketrampilan yang diterapkan dalam hasil karya mereka adalah sesuatu yang mengasyikkan untuk diamati, dan membuatkan saya lebih berminat tentang dunia seni Jepun. Anime ialah satu lagi faktor dalam perkembangan kerjaya seni saya. Saya membesar sambil menjadi peminat tegar Dragon Ball Z. Semasa saya muda, saya terjurus untuk melukis watak-wataknya, yang mana kebiasaannya hasilnya memang teruk. Tetapi, ia juga telah membantu saya mempertajamkan dan menambah baik kemahiran mengilustrasi saya.

Neocha: Hip-hop culture is also clearly prominently in your work. When did you become interested in hip-hop and what drew you to hip-hop culture?

Muntasir: Hip-hop has played a major role in my life since I was very young. I was exposed to hip-hop by my brother, who was a really big fan of Tupac Shakur. I have always been fascinated by the lifestyle surrounding hip-hop and rap. A lot of us are usually reminded of the negative aspects perpetuated by hip-hop culture, but you have to remember that the lifestyle has also bred some of the most creative and inspiring individuals. What I love about hip-hop is that it keeps me motivated and constantly inspired.


Neocha: Budaya hip-hop nampaknya tertera dengan jelas dalam hasil karya anda. Bilakah anda mula meminati hip-hop dan apakah yang menarik anda ke arah budaya hip-hop?

Muntasir: Hip-Hop telah memainkan peranan besar dalam hdup saya semenjak saya kecil lagi. Hip-hop telah diperkenalkan kepada saya oleh abang saya yang merupakan peminat tegar Tupac Shakur. Saya memang selama ini teruja dengan gaya hidup berkisar dalam hip-hop dan rap. Kebanyakan kita biasanya diberi peringatan tentang aspek-aspek negatif yang dipaparkan oleh budaya hip-hop, tetapi kita harus ingat bahawa gaya hidup ini telah melahirkan individu-individu yang paling kreatif dan penuh inspirasi. Apa yang saya suka tentang hip-hop adalah ia membuatkan saya bermotivasi dan secara berterusan memberi saya ilham.

Neocha: How would you describe the state of hip-hop culture in Kuala Lumpur?

Muntasir: Hip-hop culture has been a driving factor in the youth of Kuala Lumpur for a very very long time. Take a walk in the busy streets of Kuala Lumpur and it is evident that hip-hop is a culture that is perpetuated through the youth. For many years, we’ve had a number of rappers that set the standard in the music industry out here. These individuals have birthed the influx of young talented musicians making wavy music over the last few years. It’s very exciting to see.


Neocha: Bagaimanakah anda memerihalkan suasana budaya hip-hop di Kuala Lumpur?

Muntasir: Budaya hip-hop telah menjadi faktor yang memacu muda-mudi Kuala Lumpur sejak sekian lama lagi. Cubalah bersiar-siar di sepanjang jalan yang sibuk di Kuala Lumpur dan memang jelas sekali hip-hop ialah budaya yang telah meresapi jiwa muda-mudi ini. Semenjak bertahun-tahun lamanya, kita telah ada sebilangan rapper yang menetapkan standard dalam industri muzik di sini. Individu-individu ini telah melahirkan dengan banyaknya ahli muzik muda yang berbakat yang menghasilkan muzik beralun sepanjang beberapa tahun yang lepas. Amat teruja untuk disaksikan.

Neocha: What are your plans for the future? Are there any upcoming projects?

Muntasir: There are so many things I want do and achieve in my life as a visual artist. I was recently made the creative director for an up-and-coming clothing brand, which has always been a dream of mine. It has been an absolute pleasure to work with the brand so far. I wish I could say more, but where’s the fun in that?


Neocha: Apakah rancangan anda untuk masa depan? Adakah apa-apa projek yang bakal dilaksanakan?

Muntasir: Ada banyak perkara yang saya ingin lakukan dan capai dalam hidup saya sebagai artis visual. Baru-baru ini saya telah dilantik sebagai pengarah kreatif untuk jenama pakaian yang baharu dan sedang naik, yang sentiasa menjadi impian saya. Sesungguhnya, saya berasa amat seronok bekerjasama dengan jenama ini setakat ini. Saya harap ada banyak lagi yang saya boleh katakan, tetapi, tidak seronoklah begitu, bukan?

Contributor: David Yen


Penyumbang: David Yen

Exploring Hidden Hong Kong 发现鲜为人知的香港

May 9, 2016 2016年5月9日

 

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Urban exploration dates back many centuries. In 1861, Walt Whitman wrote about New York City’s first abandoned subway tunnel. In the 1970s, the notorious Suicide Club of San Francisco set the precedent for many of the traditions in modern day urban exploration. The secret society would explore abandoned utility tunnels, old hospitals, government structures, and other disused urban locales. This sparked the thriving urban exploration movement of today, where many avid and curious explorers attempt to remind people of the value that exists in forgotten areas of our vast, urban landscape. It’s this same sense of endless curiosity and dedication that brings the members of HK Urbex together in Hong Kong, one of the world’s densest cities.


城市探险的历史可以追溯到多个世纪前。 1861年,沃尔特·惠特曼(Walt Whitman)写下有关纽约城首个废弃地铁隧道的文字。上个世纪70年代,旧金山Suicide Club虽臭名昭著,却奠定了现代城市探险的多项传统。这个秘密的社会团体在诸多地方留下了足迹:废弃的公用隧道、古旧的医院、政府机构,以及其他荒芜的城市地带……这一切点燃了当今蓬勃发展的城市探险运动的燎原之火,在这个运动中,一腔好奇的探险者们以他们的行动,提醒着人们莫大城市中那些被遗忘的角落中的价值。正是出于同样强烈的好奇心和致力精神,在香港,这个全球最为密集的城市之一,HK Urbex 的成员们走到了一起。

Formed by a band of artists, journalists, and media workers, HK Urbex emphasizes a deep respect and connection to the locations they explore. Urbex is not about selfies, egos, or “rooftopping” acts of bravado, they say. It should help to form an understanding of the legacy behind neighborhoods and structures in our cities, to help connect the dots of why heritage is important in places undergoing rapid and destructive urbanization.


由艺术家、新闻工作者和媒体工作者组成的HK Urbex,对于每一个探索之地都深怀敬意,并着重探究他们与所探索之地间的联系。 HK Urbex 无关自拍,无关自我,更无关爬楼党那种单纯的冒险,他们表示。这一行为应该是去帮助人们对城市中社区和建筑背后的故事和遗产形成理解,是在疾速和具破坏性的城市化进程中,帮助人们明白传统的重要性。

Urban exploration comes with its fair share of dangers and nuisances. Stealth, athleticism, and a level-headed disposition are a few of the crucial attributes an explorer should possess. The members of HK Urbex are anonymous, but each contribute their own set of skills to round out the group. They include climbers, drone-operators, photographers, and writers, local and international Hong Kong dwellers. They produce albums, videos, and essays about each location they explore. Before deciding on a site, they research and scout the location first, gathering background information and clues that can enrich the context of the story. “Abandon porn” is not interesting, says Echo Delta, one of the founders of the group. To them, exploring a location without knowing anything about its background is pointless.


城市探险伴随着一定的危险和麻烦。所以参与人员做事隐秘,身手矫捷以及冷静的头脑都是关键。 HK Urbex成员虽然都保持匿名,但每个人都各怀技能,组成强大的团队。这个团队中有攀爬者,有无人机操作员,有摄影师,有作家,有香港的当地和国际居民。他们为每个所探索之地创作相关的专辑、视频,以及文章。在进行踩点时,他们首先会仔细研究和勘探具体位置,然后收集大量背景信息,不放过任何能使整个故事更为饱满的线索。团队创始人之一Echo Delta表示,“废弃大片”并没有意思,不了解其背景只是单纯过一个地方并不是他们的目的。

Seeing a side of Hong Kong that many people overlook is a special experience, says Ghost, another founder of HK Urbex. In a city where noise, people, and relentless traffic swirls around you at all times, it’s almost zen-like to find an abandoned space in the middle of it all – quiet and untouched for years. They’ve explored over a hundred locations since forming: the Hong Kong MTR tunnels, an abandoned island resort, a rundown psychiatric hospital, a haunted school, and a disused slaughterhouse are just a few of the places they’ve visited. “These gems often espouse Hong Kong culture, Hong Kong heritage, and in the face of an ever-gentrifying city, we are in the past few years in danger of losing our physical culture… our heritage.”


HK Urbex 的另一位创始人 Ghost 说,去捕捉香港鲜为人知的另一面是一种非常特别的体验。在一个无时无刻不喧嚣的城市当中,找到一处静置多年无人探访的地方几乎不可能。在过去的几年时间里,HK Urbex已探索了上百个地方:香港地铁隧道、荒废的小岛度假村、破败的精神病院、闹鬼的学校、废弃的屠宰场,这些只是他们发现的隐藏珍宝中的几处。 “这些珍宝,与香港文化、香港传统是一脉相承的。面对不停中产化的城市,我们在过去几年里,面临着丢失我们的物质文化遗产的危险。“

Website:  hkurbex.com
Facebook~/hkurbex
Instagram: @hkurbex


网站: hkurbex.com
脸书~/hkurbex
Instagram: @hkurbex

Contributor, Videographer & Photographer: Jia Li
Additional Footage Courtesy of Echo Delta


供稿人,图片摄影师与视频摄影师: Jia Li
附加视频脚本来自Echo Delta

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The Art of Collecting

May 6, 2016 2016年5月6日

 

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Meet Kumkum Fernando, an artist who expresses his creativity through very unlikely means – by collecting seemingly random objects. His personal bio proudly states, “as far as he could remember, he had been a collector. Be it stones, spoons, bottle caps, ostrich eggs, and much more.” By reinterpreting the intended functions of these common everyday objects, Kumkum is able to combine them cohesively into something completely new. He takes these ordinary items, and through a process of meticulous rearrangement, transforms them into quirky unexpected pieces of art.

Born and raised in Sri Lanka, Kumkum was fascinated with collecting random objects even as a child. Despite having no real purpose for collecting these things, he just considered it something fun to do. As he grew older, Kumkum finally realized why he was so fascinated with collecting these random objects. He was intrigued by their untold stories: where they were from, who could have used them, and where they had been. Neocha recently had the opportunity to speak with Kumkum about his inspirations and creative approach.

Neocha: Tell us a bit about who you are as an artist, and the general concept and philosophy behind your work.

Kumkum: My work is about capturing the beauty and mystery of the forgotten, by telling stories that will bring them to life. I have always made art, even at a very young age. However, I only took it seriously about ten years ago, that was when I started investing money to collect more expensive objects and equipment. Even though it was only a hobby at first, I became more serious about it after receiving requests for a few commissioned projects. So I took my hobby out of my bedroom and into an actual workshop. Since my first show, things have been gaining momentum. I am in the process of putting together a team and establishing an even bigger workshop in order to create more complicated pieces of work.

 

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Neocha: What inspired the idea of combining your collection of items together into pieces of art?

Kumkum: I’m inspired by a sense of longing – it can be a longing for something or someone. It’s actually quite sad, but I’m inspired by it. For me, bringing these objects together is like bringing lovers together, who if left alone in the real world would never meet. After I realized this, the entire process became quite addictive, so that’s why I kept doing it.

Neocha: How does Sri Lanka influence your work?

Kumkum: Sri Lanka is filled with many mysterious tales that everyone there grew up listening to – from demon kings, to giants, to strange flying machines, and magical hidden treasures. These strange and magical tales definitely influenced me. I would say I try to capture a bit of Sri Lanka in every piece of my work.

Neocha: Those magical Sri Lankan childhood tales that you grew up with sound intriguing. So how would you say your childhood has affected your work?

Kumkum: When I was a child, my grandmother used to wake me up early in the morning and take me for walks around her garden. She used to tell me all these magical stories about fairies, singing trees, and fireflies as we slowly took our stroll. Sadly, I have forgotten most of the stories, but I know how I felt when I heard them. I attempt to capture that very same feeling when I make my art. I want people to feel a sense of magic and mystery when they see my artwork.

Neocha: Would you mind telling us more Kiko’s Secrets and Mr. Bastian The Time Traveller?

Kumkum: Mr. Bastian The Time Traveller  was my very first show. It was held in November 2014 at the Ho Chi Minh City Museum of Fine Arts. All of the artwork in the show was created around quotes from a journal. One of my favorite quote is, “the color of time is yellow, I feel like I have eaten everything in the universe, sometimes windows are better than what’s on the outside.”

Kiko’s Secret was commissioned by the Singapore Art Museum, which was a part of SG50.  I was asked to create a concept for a story that would inspire children to become interested in contemporary art. The entire concept stemmed from the idea of this phrase, “the moon must travel twenty times around the sun before you can tell these secrets to anyone“. The tale was about a boy who keeps a girl’s secrets for twenty years before revealing them to the world.

Neocha: Having worked in Vietnam for so long, and having held exhibitions there as well. Could you share with us what the creative community out there is like?

Kumkum: There’s a growing creative community in Ho Chi Minh City. I notice it growing everyday, from the time I arrived six years back until now. More and more young people are getting into art and music. I get to see portfolios a lot, and the newer portfolios I have been seeing are quite awesome compared to the ones I saw when I first got here.

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

Kumkum: I’m working on my second solo show at the moment. I’m attempting to create much larger pieces, larger than any other ones I’ve made before. However, it’s taking a lot more time and money than originally anticipated. I expect everything to be finished sometime within the next two or three months.

Website: kumkumfernando.com
YouTube~/kumkumf
Instagram: @kumkumfernando

Contributor: Banny Wang
Images & Videos Courtesy of Kumkum Fernando

In the Studio with TWOONE

May 4, 2016 2016年5月4日

 

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TWOONE, otherwise known as Hiroyasu Tsuri, leads a charmed and freewheeling life painting in and out of his studio. Born in Yokohama, Japan, Hiro started getting into graffiti in high school, influenced by the street art he saw while skateboarding through Yokohama. He soon after began experimenting with various artistic styles. Having little formal art education, he wasn’t sure what to do after high school – so at the age of 18, he decided to move to Melbourne, Australia, on a whim.


TWOONE,即Hiroyasu Tsuri,常常出入于画室过着一种随心所欲的创作生活。Hiro出生于日本横滨市,从高中开始接触涂鸦。他在玩滑板时深受沿途的街头艺术所启发,至此他开始试验不同的艺术创作风格。高中毕业后,并没有受过很多正统的艺术教育的他不知道接下来该做些什么。一时兴起,18岁的时他决定搬去澳洲的墨尔本。

In Melbourne, Hiro couldn’t speak too much English. Street art and skateboarding turned into a form of language through which he communicated. Over the years, he slowly became a rather well-known fixture in the Melbourne street art scene. Since then, he’s painted murals indoors and outdoors all over the world. But as an regular sketcher and versatile illustrator, Hiro is equally well versed in the studio and has exhibited his art in galleries worldwide.


初到墨尔本,Hiro说不了很多英文,因此街头艺术和滑板变成了他独特的交流方式。过去的几年,他渐渐的成为了墨尔本街头艺术圈的一张名片。从那时开始,他在全世界创作室内外的壁画。不过作为一个熟练的绘画者和多才多艺的插画家,Hiro在艺术家工作室同样游刃有余并且在世界各地的画廊都展出过他的艺术作品。

Hiro’s work is bold and dynamic – loose yet grounded. His lines are fluid and he embraces spontaneity. Citing the need to use materials that are relevant and more representative of our times, he often prefers to work with fluorescent paint colors, which have only really existed in the modern era.


Hiro的作品很大胆多元——看似松散却接地气。他的线条笔触很流畅却又显随意。他倾向于用更当代的材料像是荧光色去创作,以此来强调和针对我们这个时代的特殊性。

Hiro is now working on a series of portraits of a hundred different faces for a gallery show later in the year. Often, he takes photos on film to use as reference material – or he simply sits and observes people on public transportation, in an attempt to grasp the stranger’s personality and impression to turn into a quick sketch. He later expands on these sketches with watercolor, markers, white-out, paint, and layers of paper. Hiro says his work isn’t particularly rooted in any one culture – it’s neither Eastern or Western, but his spatial sense may be influenced by his Japanese roots.


Hiro正在为他年后的一个画廊展出准备,这个展包含一系列百人脸肖像。他经常从电影画面中截取拍摄作为参考材料,又或者随意地观察乘坐公共交通的陌生人来获取他们的特质,然后转化成素描。他之后把这些速写用水彩马克笔,涂改液,颜料和多层纸来填色拓充。Hiro说他的作品并不是扎根于某一个特定的文化--非东方或西方,但是他的空间感也许是受到了他日本文化背景的影响。

Looking through his diverse portfolio of artwork, skulls seem to make recurring appearances. “The skull is more like a self-portrait,” he explains. “Because you are always judged everywhere you go, the skull is really what you are.”


浏览他多元的艺术作品集时,骷髅似乎总是循复出现。“骷髅更像是自画像,因为哪里都会以貌取人,而骷髅才是真正的你“,他解释道。

Drawing is a constant, says Hiro, and he draws whenever he can; whether it’s done on a small or large scale is irrelevant to him. Moving from building-sized murals to book-sized sketches, the emotive quality of his lines seamlessly carries his ideas and thoughts through the different mediums he employs.


Hiro说绘画是一个常态,他到哪里都会创作各种规模的作品,不管是大还是小。从大型建筑的壁画到书本大小的素描,他用不一样的创作媒介和充满情感的线条来承载他的主意和想法。

Besides the types of creations in his current portfolio of work, public sculptures and films are also mediums he intends to explore in the near future. Hiro says, “Street art is only one part of what I do. I don’t even think of myself as a street artist. You might as well just call me an artist.”


除了他已经在创作的媒介种类,Hiro对公共雕塑和电影也很感兴趣。他说“我不只创作街头艺术,也从来不把自己看成街头艺术家,叫我艺术家就好。”

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Contributor, Videographer & Photographer: Jia Li


Encounters Magazine

May 3, 2016 2016年5月3日

Shin Li, a Beijing-based creative who was originally born in Singapore, is the founder of Original Studio and the creator of Encounters magazine. Graduating with a degree in communications, Shin first established Original Studio with her husband to serve as a kind of platform on which like-minded individuals could connect and collaborate with each other on various creative projects. In 2012, Shin released the first ever issue of Encounters, an independently published magazine that explored creativity, culture, and lifestyle by delving into the untold stories of modern cities and its inhabitants. Encounters is currently published biannually, and it has recently just released its fifth issue.


Shin Lin居住在北京,是来自新家坡的创意人。在大学里研修大众传媒的她,如今与先生共同拥有原味创意工作室(Original Studio)并以此为平台和志同道合的人连接,激荡出创意火花。她的独立杂志《Encounters》也是这种创意连接和分享的方式之一。这本中文名为《邂逅》,创立于2012年的杂志,是一本以城市、人物、故事三个焦点来关注创意生活文化的独立双语季刊杂志,平均一年两本,目前出版至第五期。

The design and overall look of Encounters changes to reflect the different central theme of each issue. To emphasize the subject of “everyday life” in the most recent issue, the magazine is designed like a calendar – the pages are bound with a strip of metal and each page has a dotted line that allows it to be easily torn out. Shin admitted that the evolving look and design of the magazine was initially because they lacked a clear direction and concept for Encounters at the time. “Recently, it is beginning to feel like Encounters has found its direction – which is to challenge itself continuously by exploring creative approaches to printing magazines and trying out different ways to present the medium.” Shin believes that modern print magazines shouldn’t only be a medium for transferring information – instead it should be a unique reading experience where the physical movement of flipping the pages and the tactile feeling of paper should be a part of the experience. Her goal is to turn the perception of the magazine as being something disposable into a valued item that’s worth collecting.


《邂逅》每期拥有不同的主题,甚至不同的外型和设计。比如,为了配合“everyday”的主题,第五期的《邂逅》设计成了金属镶边的挂历形式,每页均有为方便手撕的虚线。Shin坦言,外型统一性的缺乏源于最初他们明确概念和清晰方向的缺乏。“到了近期,我认为《邂逅》才真正找到了属于自己的方向,那就是不断地挑战自己以更有创意的方式来思考纸质杂志这个媒介,和如何呈现它。”而事实上,每一期的大胆和迥异正是给读者带来不同惊喜的地方。《邂逅》相信,相较于网络媒体,当代杂志提供的不只是资讯,它应该以纸的触感、翻阅方式等表达方式,为读者提供一个独特的阅读感官体验,从消耗品跃升为收藏品。

The first time Shin ever dabbled in print publication was right before graduating from college. Shin and three of her friends created alter:sg, an independent and alternative travel guide to Singapore. This publication was created not only for travelers visiting Singapore, but for locals as well. This travel guide pulls back the curtains on Singapore, revealing different spots that aren’t generally mentioned by tourist guides, and showcases what they consider to represent the Singapore that they know and love. Working alongside local Singaporean creatives, they reimagined the format that people expected travel guides to be in and included short editorial pieces that detailed some of the quirkier aspects of daily life in Singapore. The book was a huge hit, and its success inspired a continued interest in creating printed publications for Shin and her classmate Cai Weiwei. In May of 2012, their work was accepted into the Tokyo Art Book Fair exhibition. This gave them a major confidence boost and the two compiled a selection of their work previously only available online and turned it into a printed magazine exhibition. And in doing so, they inadvertently gave birth to Encounters. “The original idea to make Encounters a printed magazine was actually quite spontaneous. It was a fortunate accident.”


Shin第一次做书,是大学毕业前夕和另外3位朋友一起做了《alter:sg》,一本有关新加坡的独立旅游指南。这本独立旅游指南的编辑,是为了让到访新加坡的旅人,更是为了当地人,认识到一个与媒体上所渲染的不同的、真正的新加坡。他们联合当地的创作人,抛开列清单的方式,推荐有趣的去处,写作新加坡日常生活中独特有趣的现象。这本指南的出版受到的欢迎,激发了她和其中一位同学蔡薇薇对出版和杂志更深的兴趣,创办《邂逅》的想法便由此而生。2012年5月,第一本书被东京艺术书展接受参展给他们带来了勇气,便将在线收集的内容印刷出来作为新作一同参展。“于是一冲动误打误撞地便促成了《邂逅》变成一个纸质杂志了。”

Encounters has captivated an audience of youthful readers with its uniquely simple and clean design aesthetics. But like other independently published publications, Encounters also faces its share of hardships. The size of the teams for independent publications are generally quite small – and they don’t often work directly with distributors. Instead they have to handle the time-consuming tasks of contacting bookstores one by one and then also shipping it out themselves. This led to the decision to make Encounters available in places like creative markets and book fairs as an alternative method of distribution. “Some customers quite willingly buy mass-produced products with no hesitation, but at the same time they may feel magazines in this price range are too expensive,” Shin says. She has been figuring out ways of showing consumers the value in her magazine, and this has been one of the most challenging endeavors. But being an independent publication also has its perks – there’s no need to answer to advertising companies and you are able to have complete creative control.


现在的《邂逅》用干净有独特的视觉风格虏获大量年轻人的喜爱。但独立杂志的团队通常极小,也没有经销商,要自己一家家地联络书店、发货等,都很耗时间。《邂逅》自然也不例外,参加创意市集和书展就成了最直接的方式。“印象比较深刻的是一些客人会毫不犹豫地购买一些大量生产而成的商品,但是会认为同样价位的杂志很贵。”Shin告诉我们。如何让这些读者看到这本杂志可以提供的价值,成了她最大的挑战。但是同时,一切自己做主,也无需跟广告商交代,这为Shin大胆的尝试提供了更大空间。

With Encounters, Shin Li encourages “regular folks”, as in non-professionals, to submit some of their personal work. But with the rapid development of different social media platforms, her original intent for the magazine has admittedly been dramatically affected. Now, she instead hopes Encounters can raise the question of “what makes a magazine a magazine?”, while surprising readers with her own creative interpretations. The sixth issue of Encounters is currently in the works and will be exploring the theme of “Slow”. Shin is encouraging anyone and everyone to submit their work!


初创办《邂逅》时,Shin希望鼓励”一般人“(素人/非专业人士)投稿,提供一个作品发表平台。但随着社交网络和自媒体的发展,这个初衷在现在的环境的相关度也减弱。现在她希望,这本杂志可以继续为“什么是杂志”这个问题提供新鲜的解答,给读者们带来更多的惊喜,她希望可以继续制作一本本值得收藏的杂志。此外,《邂逅》第六期正在筹备中,主题是“慢”,欢迎大家随时去信投稿!

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Contributor & Photographer: Banny Wang


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供稿人与摄影师: Banny Wang

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