Neocha x VSCO Preset

January 26, 2017 2017年1月26日
Photographer: Leon Yan

In keeping with our longstanding mission of providing a voice for the burgeoning, yet often times overlooked, creative class of Asia and celebrating the region’s rich history and culture, we’re proud to announce that Neocha has partnered with VSCO to release a limited-edition Neocha (NC) x VSCO Preset for the Lunar New Year.

在日新月异的今天,为时常被忽视的亚洲创意圈及其所涉猎区域的丰富历史文化发声一直是我们的持续不懈的夙愿。在此,我们自豪地宣布,Neocha与VSCO倾力合作为迎接中国农历新年的到来推出了一款Neocha (NC) x VSCO特制滤镜系列。

Designed to produce dynamic and memorable images that bring to life the untold stories of Asia, the Neocha preset introduces a subtle warmth into photos and enhances the vibrancy of reds, oranges, and yellows.


Photographer: David Yen
Photographer: Whitney Ng
Photographer: Adam J. Schokora

As part of the preset launch, we collaborated with some of our favorite photographers around Asia to showcase the versatile capabilities of this new collaborative preset. From candid street snaps in Seoul to casual hikes through Indonesia, the Neocha preset is an easy way to enhance images for photography enthusiasts of all calibers and is suitable for a wide range of scenarios. NC embodies the enduring commitment of Neocha’s partnership with VSCO in celebrating culture and creativity in Asia. It’s available now for free and can be downloaded from the VSCO in-app store.

作为上线前的预热,我们与一些自己喜爱的亚洲摄影师们合作,以他们丰富的创意为大家展现了这款特制滤镜的更多可能性。从首尔的随性街拍到印尼的休闲徒步,Neocha滤镜系列为摄影爱好者们提供了一种更为简单明了的方式来修饰大场景画面。NC的推出象征着Neocha与VSCO共同合作并致力于为亚洲创意文化发声的长久许诺。该系列现可在VSCO app中免费下载。

Photographer: Kimi Juan
Photographer: Yik Keat Lee
Photographer: Elaine Li
Photographer: Takayashi Yasui
Photographer: Chanipol Kusolcharttum
Photographer: Ken Lee

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100 Days of Bloody Dairy

January 25, 2017 2017年1月25日



An inquisitive swan hiding inside a banana, the liquefied remains of a melting cat being lapped up by another cat, and an endless parade of refrigerator-dwelling penguins – these are just some of the surreal happenings in Bloody Dairy, a project conceived by animator and motion graphics designer Min Liu. Inspired by #The100DaysProject, an initiative that aimed to galvanize a person’s creativity by having them perform an action for 100 consecutive days, the Taiwanese artist challenged herself to publish a unique animation every single day.

香蕉里冒出一只东张西望的天鹅,像雪糕一样融化了的猫,从冰箱中列队而出的企鹅。这些荒诞有趣的场景都来自于《Bloody Dairy — 一个由台湾动画师及动态图形设计师Min Liu创造的短动画合集。最初做Bloody Dairy是受到#The100DaysProject 的启发,一个通过不间断创作100天来激发艺术家创意的项目。 Min Liu借此挑战自己,在连续的100天中每天发布一个独特的小动画。

“When I started this, I just wanted to do something fun and push my sanity,” Liu recalls. And so, with a typo while registering her Instagram account, Bloody Dairy was born. The resulting work of the project – which is entirely dual-chromatic, combining red, black, and her adept useage of negative space – was difficult as expected. “I had to finish and upload an animation before 12 am every day, which left me no time to overthink it,” she says. “With a limited time frame and compositional limits – since Instagram only supported square videos at the time – it was interesting to see what I can create inside that little box.” During those 100 days, the inspiration for her delightfully absurd animations ranged from of random musings of everyday life to observations of her two cats. “Cats are aliens,” she remarked. “Just look at them.”

“开始做这个项目的时候,我只想画一些好玩的东西,同时逼迫大脑保持创作的敏锐度。” 她说。由此便诞生了Bloody Dairy》, 叫这个名字也是因为注册Instagram的时候打错字而弄巧成拙 。我只用红黑两个颜色,再结合背景的留白去绘画,这样的创作方式比我想象的更困难。“ 我要在每天半夜12点之前上载我当日的作品,这让我没有时间多想。” 她说,“由于时间有限,而且当时Instagram也只能上载正方形的素材,这样的限制让事情变得更有趣,看看我能在这个小盒子里变出些什么。” 在这100天中,我除了从日常生活中随机找灵感以外,便是观察我的两只小猫。“猫根本就是外星生物,看看它们就够了。”

As for other sources of inspiration, Liu revealed that one of her favorite artists is Junji Ito, a Japanese manga artist who’s notorious for his disturbing horror stories. Taking this into consideration, it’s not surprising to, at times, see her work give nod to the macabre. From a character unzipping her flesh to reveal spines and rib bones to a beheaded female holding her own soon-to-explode floating head tied to a string – Liu’s work doesn’t quite traverse into the unsettling like Ito but is tastefully sprinkled with her signature style of dark humor.


Not immediately obvious in Bloody Dairy, but for Liu’s past and ongoing collaborations, it’s evident that music also plays a prominent role in her creative process. She animated the award-winning music video for “Wide Awake,” a 2016 track by Brooklyn-based electronic-rock band A Love Like Pi; designed promo visuals for multiple Taiwanese bands as part of Taiwanese Wave, a New York music festival dedicated towards up-and-coming Taiwanese musicians; and is currently working on Italian rapper Mecna’s new music video.

虽说在Bloody Dairy中不是很突出,但观察Liu的其他作品,你可以明显地看出音乐是在她创作中占很重要地位的。例如她其中一个获奖作品Wide Awake,就是为来自布鲁克林电子摇滚乐队 A Love Like Pi 的一支单曲创作的音乐录影带。Liu还为Taiwanese Wave制作了几个本地乐队的宣传动画,Taiwanese Wave是一个在纽约致力于发掘台湾的新生音乐力量的音乐节。除此之外,Liu也正在为意大利说唱歌手 Mecna 绘制她的音乐录影带。

At the end of the 100-day long project, she compiled all of the GIFs from Bloody Dairy into a three-minute long short film under the same name, which went on to win numerous awards from various film and animation festivals. “I’m still on the path to finding my own style, but I think I’m at a good place now,” Liu humbly says. “I’m still quite new in this field but I’ve learned a lot from all the people who I’ve worked with.”

在100天动画项目结束了之后,Liu把Bloody Dairy里所有的小动画集合起来,制作了一条三分钟长的同名动画短片。这部短片带她去到一连串的电影节和动画艺术节。 “我还在不断确立自己的个人风格” Liu谦虚地说  “我在这个行业中其实还是个新人,我从和我一起工作的人身上学到了不少东西”

From now through February 5th, works by Min Liu and other various Taiwanese artists will be on display at the Visual Taipei exhibition as part of Graphic Design Festival Paris; the exhibition is an extension of the successful showcase that debuted last year at World Design Capital Taipei. Later this year, she also has plans of releasing a sticker pack for the LINE messaging app. “Motion graphics has been booming these last few years,” Liu says excitedly. “I can’t wait to see how the industry progresses in the future.”

从现在起直到2月5日,Min Liu和几位其他台湾艺术家的作品将会在Visual Taipei展览,这也是巴黎平面设计展的一部分,作为去年在台北世界设计之都成功首展之后的一个延伸。今年,Liu还有计划和LINE通讯软件合作推出一个贴纸系列。“这几年动态影像发展地很快”,Liu兴奋地说道,“我很期待看到这个行业未来的发展。”


Instagram: @bloodydairy


Contributor: David Yen
Video Courtesy of A Love Like Pi & Min Liu


Instagram: @bloodydairy


供稿人: David Yen
视频由A Love Like Pi与Min Liu提供

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How To: Urban Photography

January 24, 2017 2017年1月24日

23-year-old photographer Jimmi Ho moved from Guangzhou to Hong Kong in 2008. In his new adoptive home, he soon discovered a unique vibe, brimming with human energy, bustling streets, and small turns surrounded by new high-rises and old style buildings. “They became my favourite subject to shoot – as more of these places began to present themselves, I began to really love the shooting process,” he says. “In the past few years, I have witnessed the rapid development of Hong Kong. The combination of Chinese and Western culture presents an interesting contrast between traditional and modern architecture. Hong Kong’s unique real estate and bulging population has forced it to evolve at a truly alarming rate.”

自2008年,何颖嘉从广州搬至香港,十几年的生活对他来说,这个城市到处都充满着人情味,大街小巷,高楼大厦、旧式建筑都是我喜爱拍摄的对象,比起拍摄的结果,他更享受拍摄的过程。 “短短的几年我亲眼目睹香港飞速地发展,高楼大厦不断取代旧式建筑,中西文化相结合,也因此造成了这里传统与现代建筑的强烈对比。香港地少人多,特殊的地理位置导致了这个城市不得不在有限的空间中建设和发展。”

Hong Kong’s buildings vary widely – each building differs in historical background, size, shape and structure. The old buildings go through refurbishments over the years to make way for all new multi-functional streets. “I use my lens to bring the density of my surrounds to life, to highlight the various spaces around me,” he explains. “Hong Kong is a crowded city, highly compressed and irregular, which can give off a sense of claustrophobia.” 2016 was an illustrious year for the young photographer who was named a Sony World Photography Awards winner in Hong Kong, as well as runner-up for National Geographic Travel Photographer of the Year in the Cities category. More recently, he was also awarded the Insight Astronomy Photographer of the Year award for the People and Space category.

香港的建筑物千差万别,不管是历史类型、大小或比例都不尽相同,老区的建筑经年累月地修筑和加建后,打造独特多功能的街景,形形色色的风格相互汇集,“我将镜头聚焦于密集都市的元素上,拥挤的城市衍生出独特、高度压缩且不规则的空间,高楼林立的环境中使他们更显突出。” 在2016何颖嘉曾获索尼世界2016摄影比赛香港赛区冠军, 2016 年国家地理旅行者摄影大赛城市组亚军,Insight Astronomy Photographer Of The Year 2016 冠军等等。

“For the budding urban photographer, knowing where to begin can be overwhelming,” he says. “It may be difficult at first to hone in on your target as seeing the works of other photographers may bring you a sense of pressure. Or you may have been an experienced shooter for many years, hoping to find a breakthrough on the photographic path.” Below, he shares with us some of the tips that helped him along the way.

“刚开始接触城市摄影的人,一般都不知道该拍什么,总觉得寻找拍摄目标是相当困难的事,看见别人的照片时,内心可能会感到负担且相当辛苦。又或者你是已经拍摄多年的摄影爱好者,希望在剩余的摄影路上寻求突破。” 下面是他跟我们分享的一些促使他进步的秘诀。

1. “Steal” like an artist.

People say that the first step towards creation is imitation. This is not a call to imitate or plagiarize, but a reminder to study the work that inspires you. Wonder, ask questions, research, compare photos, seek to absorb every shooting experience and improve yourself until you find your own breakthrough.



2. Change your perspective.

When we get all too familiar with a certain point of view, its difficult to keep challenging ourselves. Something as simple as changing the height in which you look through your viewfinder could make a huge difference. Think of the way children see things, the way that birds see things from above. Don’t forget that there’s always more than one way to see the world around us.



3. Wait for “the moment.”

Be prepared. Take your shooting arsenal out with you everyday and record the sights and sounds that you see everywhere you go. If you want to shoot a standout picture, you’re going to have to wait for the right moment. Sometimes, you may even need to go to back to the same place, again and again, to find the right light and capture the ideal moment.



4. Find balance.

Give your images a sense of hierarchy, balance your composition on the screen, and find a balance between your foreground and your background. When composing two subjects in one image, consider their proportions and adjust their placement in your frame in order to get different results. To avoid confusion, don’t draw too much attention away from the focus of the photo.



5. Smartly make use of light.

Photographs are like paintings drawn with light – even if the frame is the same, a change in the light’s direction can produce an entirely different result. Experiment!



Bonus tip:

You aren’t what you shoot with. Good equipment, of course, can aid your photography endeavours to some degree, but high-end tools are not essential. What is more important is having a solid foundation in understanding how to use your camera and developing an eye for creating images. 





Contributor: Whitney Ng

脸书: ~/jimmi.hwk


供稿人: Whitney Ng

Wallflowers: Lombok Island

January 23, 2017 2017年1月23日

Exhausted by the corporate rat race, Jonah Meyers left behind a 20-year long career to pursue his longstanding passion for photography. Originally, the Singapore-based photographer was interested with traditional documentary photography, but later felt frustrated by the lack of control; this led to a revised approach for his Wallflowers: Lombok Island photo series. “I would say that I’m not striving to reveal the essence of each individual as a documentary subject,” he explains. “Rather, my goal is to present a more abstract representation of each person while still maintaining their cultural identity.”

厌倦了大企业里的尔虞我诈,Jonah Meyers离开了自己长达20年的工作,追寻自己长期以来所热爱的摄影。Meyers 目前生活在新加坡。最初,让他感兴趣的是传统的纪实摄影,但这种没有掌控力的摄影却让他感到十分挫败。从此,他改变了自己的摄影方式,并由此创作出《Wallflower:Lombok Islands》系列摄影作品。 他这样解释自己的作品:“我没有试图将我的摄影对象当作纪录片的主角来揭示其本质。相反,我的目标是通过一种抽象的方式对展现每个人,同时保留其文化身份。”

Meyers’s first visit to Lombok, an island east of Bali, was six years ago. Blown away by the local hospitality, sense of community, and vibrant colors of the island, he returned in 2016. He ended up spending several months on the island, on and off over the course of the year. “I would spend weeks at a time walking the remote villages of the island, meeting people and talking to them about the project,” he recalls. “Half the work is looking for subjects and convincing them to work with me.” With the assistance of a local Indonesian translator, he photographed the willing locals of Lombok against a variety of vibrant backdrops, and per the intent of Meyers, it’s difficult to ascertain the line between fiction and reality when viewing these portraits.


“As a traveller, when I visit a very foreign place like Lombok, which is so far removed from what I know, the experience can feel surreal – as if you’re attending an extravagant theatrical production with elaborate set pieces and costumed performers,” says Meyers. “I think, subconsciously, I was attempting to capture the sense of magical realism one experiences when they are exposed to such a foreign place. With that being said, for me, it’s very important not to impress the viewer with a distinct message, but rather allow viewers to approach the material with their own interpretations. I think the work is most effective when the images invoke questions rather than answers.”




Contributor: David Yen



供稿人: David Yen

India’s Street Art Revolution

January 20, 2017 2017年1月20日
A mural in Pali Village by Phomes, Notes, and Tofu for St+art Mumbai 2014 / Photographer: Akshat Nauriyal

For many countries, graffiti is viewed in a negative light, often regarded as distasteful acts of vandalism. In India, this isn’t quite the case. Defacing property is, of course, illegal, but people in India have become much more receptive to street art. Many will take up artists on their offers of having their walls painted, seeing it as receiving a beautiful piece of art for free. But even with societal acceptance, graffiti still isn’t considered as a conventional form of art. And thus, the street art scene remained fairly underdeveloped and stagnant. But 2014 became a milestone year for the scene – This was the year that India saw its first-ever street art festival


Reflection by Avinash & Kamesh / Photographer: Pranav Gohil
Shahpur Jat by Yantr / Photographer: Akshat Nauriyal

The 2014 festival, dubbed as St+art Delhi, was organized by Hanif Kureshi, Akshat Nauriyal, Arjun Bahl, Thanish Thomas and Giulia Ambrogi, who all come from different backgrounds. They were united by their love of alternative cultures and a shared interest in wanting to provide people in India a different way to experience art by making it interactive and approachable. The enthusiastic response to the 2014 festival led the five Delhi-based vanguards of creativity to form the St+art India Foundation, a not-for-profit organization that serves as a platform to advance their vision of making art accessible to the public and helps give voice to emerging artists. “[St+art Delhi 2014] was born out of a collective exhaustion from gallery spaces in general and the realization of the immense potential in making art public,” says Giulia Amborgi, festival curator for St+art India. “We saw an opportunity and did the first project without thinking about what comes next.”

来自不同文化背景的创意人Hanif Kureshi, Akshat Nauriyal, Arjun Bahl, Thanish Thomas 和 Giulia Ambrogi共同举办了德里街头艺术节-- St+art Delhi 2014。他们因为热爱非主流文化而走在一起,他们都渴望能通过更有互动性和更易接触的艺术来为印度的人们带来一种全新的艺术体验。他们在2014年创办的街头艺术节反响十分热烈,因此,这五名生活在德里的创意先驱又成立了一个非盈利组织St+art India Foundation作为平台推广他们的理念——创造更贴近大众的艺术,帮助新兴艺术家发声。St+art India的策展人Giulia Ambrogi表示:“St+art Delhi 2014源于我们对传统画廊空间的厌倦,我们意识到,在公共场合创作艺术有着巨大潜力。看到了这样一个机会后,我们马上就着手开始了第一个项目,也没有多想下一步要做什么。”

Hendrick Beikirch & Anpu Varkey / Photographer: Enrico Fabian
Mahatma Gandhi by Hendrick Beikirch & Anpu Varkey / Photographer: Enrico Fabian

The first mural St+art introduced to Delhi in 2014 was a large-scale mural of Gandhi, which was painted on the facade of the Delhi Police Headquarters. Created by German street artist ECB (aka Hendrik Beikirch) and local artist Anpu Varkey, this piece became the bedrock of their amicable relationship with the Indian government. “We always try to make sure that the images an artist works on are respectful towards the cultural concepts and the many taboos – especially those related to religion – that are embedded in Indian culture,” says Ambrogi. “Therefore, there have been very few occasions of any real problems or resistance by the public. In fact, most of the time what happens is the opposite.” As part of 2016’s St+art Delhi, they even worked together with the Minister of Urban Development and turned New Delhi’s long-neglected Lodhi Colony into India’s first public art district.

St+art于2014年在德里推出的第一幅涂鸦作品是一幅巨型的甘地肖像,画在了德里警察总部外墙上。这幅由德国街头艺术家 ECB (即 Hendrik Beikirch)与当地艺术家Anpu Varkey创作的涂鸦作品成为了他们与印度政府建立友好关系的基石。Ambrogi说:“我们总是努力确保艺术家所创作的作品的图像能够尊重印度当地根深蒂固的文化概念和许多禁忌,尤其是与宗教有关的问题。因此,我们一直很少遇到大的问题,或有来自公众的抗议。事实上,大多数会发生的情况恰好相反。在 2016 的 St+art Delhi 街头艺术节,他们甚至与城市发展部部长合作,将新德里长期被忽视的Lodhi Colony 地区改造成为印度的第一个公共艺术区域。

Mirage by Borondo/ Photographer: Akshat Nauriyal
I AM REALLY A LOST CAUSE by AKACORLEONE / Photographer: Akshat Nauriyal

With the belief that an artistic exchange is key to begin a dialogue between different cultures, St+art has brought in many international street artists to create alongside local talents over the last three years, including invitees from Spain, France, Serbia, Japan, USA and more. They converse with potential international artists months prior to the project, briefing them on nuanced aspects of Indian culture and describing the location they’ll be working at. “This exchange is fundamental to open up minds and create fluidity in each art piece, for both international and Indian artists,” Ambrogi explains.“We try to make the pieces relevant for the people who eventually are the owners of the work, but on the other hand, we also try to create something that is unique and responds to the environment in which and for which it’s been created.”

St+art 认为艺术的交流是开启不同文化对话的钥匙。在过去三年,他们邀请了来自不同国家的街头艺术家与本地艺术家一起进行创作,受邀者分别来自西班牙、法国、塞尔维亚、日本、美国等地。在项目开始之前几个月,他们会与可能合作的来自全球各地的艺术家进行讨论,向他们详尽细致地介绍各方面的印度文化,说明要进行创作的地点。Ambrogi解释道:“这种交流是开阔思维的关键,让每一件艺术作品充满流动性,对于其它国家的艺术家和印度当地的艺术家而言同样如此。我们试图使每一件艺术作品都能与它最终的拥有者存在关联性,但另一方面,我们也在尝试创造独一无二的作品,使其能反映出它创作所处的环境,而艺术作品也正是为这些环境所创造的。”

Time Changes Everything by DAKU / Photographer: Akshat Nauriyal
I'm hacked by Swati & Vijay / Photographer: Pranav Gohil
Chaos Star by Okuda / Photographer: Akshat Nauriyal
Dust Stream by DALeast / Photographer: Akshat Nauriyal

Besides Delhi, they brought the festival to Bangalore and Hyderabad last year. “We chose Bangalore for two reasons: on one hand, it’s home to most Indian street artists and is also a fairly receptive city for all things, underground and others in term of art and culture. The other reason is thanks to Amitabh Kumar, one of the artists who is always with us in our festivals and who runs a brilliant project called ‘Art in Transit’ with the Srishti School of Art, Design, and Technology, one of the pioneering art colleges in India.”

除了德里,他们还在去年将这一街头艺术节引入班加罗尔和海得拉巴。“我们之所以选择了班加罗尔是基于两个原因: 一方面,这里是大多数印度街头艺术家的聚集之地,在艺术和文化方面,这座城市对所有事物的包容性比较好,包括地下文化等等。另一个原因是其中一名艺术家—— Amitabh Kumar,他一直都有参与我们的街头艺术节,还与班加罗尔的 Srishti School of Art, Design, and Technology 学校一起经营着一个很出色的“Art in Transit”艺术项目,这所艺术院校是印度的顶级艺术学院之一。”

Usual Unusual by Do & Khatra / Photographer: Pranav Gohil

“As for Hyderabad, it was the first time in which a state government approached us to do our street art festival,” Ambrogi says. “We found it to be a perfect location. Being the new capital of Telangana, it’s seeking out a new contemporary identity for itself. It’s a city that is looking towards being a smart city, the next big hub for technology and culture. It’s led by open-minded and progressive politicians.”


Remember by Ullas Hydoor / Photographer: Akshat Nauriyal
Day & Night. You & You by Okuda / Photographer: Pranav Mehta

In every city that St+art has passed through, the reception has been highly positive. But when their projects take place in areas where art and culture are especially lacking, such as Lodhi Colony and ICD in Delhi or Maktha in Hyderabad, they notice a much larger and longer lasting impact. Beyond their original goal of democratizing art, St+art‘s deliberate location choices are attempts to initiate a dialogue about the changes taking place in many of these cities, which include societal issues such urban neglect and gentrification. In October of this year, St+art India will be bringing their festival back to Mumbai; as part of the festival, they plan to invigorate Dharavi – notoriously known as the largest slum in Asia – by reshaping it into an art district much like what they did for the Lodhi Colony. St+art also has plans of introducing urban design and other forms of contemporary art for this year’s festival to provide an even more well-rounded experience for all attending.

St+art在所到的每个城市都获得了很积极的反响。但当他们在一些艺术和文化极其匮乏的地区——譬如德里的 Lodhi Colony和 ICD,或者是海德拉巴的马卡塔——举办他们的艺术项目时,他们发现这些艺术项目往往能带来更大更持久的影响。除了最初创造大众化艺术的目标,St+art的特意选址是要试图引发有关许多城市所发生的各种变化的对话,其中包括对城市的忽视和中产阶级化等社会问题。 在今年 10 月,St+art India将再次回到孟买举办街头艺术节,作为艺术节的一部分,他们计划复兴达拉维地区——亚洲最大的贫民窟,它正在如Lodhi Colony一样,被改造成为艺术区。St+art还计划为今年的街头艺术节引入城市设计和其它形式的当代艺术,为参与者带来更全方位的艺术体验。

Background Subtraction by Daan Botlek / Photographer: Pranav Gohil

Facebook: ~/startindiafoundation
Instagram: @startindia


Contributor: David Yen
Images Courtesy of St+art India FoundationAsian Paints & Enrico Fabian

The Mystical Nature of Life

January 19, 2017 2017年1月19日

The mixed media works of Shanghai-based Mexican artist Francisco Hauss are eccentric creations, often comprised of whimsical sculptures layered on top of his otherworldly paintings. Whilst appearing light-hearted at first glance, each piece is actually rather symbolic. From the Big Bang to the formation of the ecosystem and the growing consciousness of its inhabitants, Francisco’s intentions are to present his interpretation of life and existence through art.

生活在上海的墨西哥艺术家Francisco Hauss所创作的混合效应法作品充满奇妙异想,包括奇特的雕塑以及风格神秘的绘画作品。乍看之下,这些作品的风格轻松诙谐,但实际上,每一件作品都诠释着Francisco生活概念下的理想——从大爆炸,到生态系统的构筑,再到生活在系统里的居住者日益丰富的意识。

Energy & Matter

To symbolise the Big Bang, Francisco creates each backdrop to appear cosmic-like in appearance – each piece is individually painted through a careful process that relies on the combination of colour pigments and chemical reactions.


Francisco 以宇宙般的画面作为每一幅作品的背景,象征宇宙大爆炸。每一件作品都依赖于颜料与化学反应的相互结合,经由严谨的创作过程单独绘制而成。


The ecosystem is symbolized through Francisco’s creation of 3D textures that represents earth’s living matter. The relationship and coexistence between plants, animals and other organic matter are brought to life through the varied use of colours and shapes across one canvas.


Francisco 以颇具立体感的 3D材料来代表地球上的生命物质,以此象征生态系统。通过丰富的色彩和形状,将植物、动物和其它有机物质之间的关系与共存生动地展现出来。


Francisco then molds a series of sculptures, which represents the gradual journey of earth’s ecosystem towards a steady stream of consciousness. Each sculpture takes after ancient totems, idols and shamans; they’re meant to be symbolic of our new age “gods”.



His completed work beckons to be slowly analysed and is centered by the delicate sculptures that Francisco tenderly creates from scratch. When they’re not on display in exhibitions, he sheepishly admits that he keeps each sculpture close, housing them in carefully wrapped pajama shirts.


Francisco’s most recent project is a social art showcase entitled Mystic Water. The project begins with bottles filled with “mystic water” that are provided free of charge at public events. As time progresses, the price of the water slowly increases to the point where attendees are no longer willing to purchase water. Francisco’s intention was to emphasise the importance of water as a necessity rather than a luxury. His attention to detail and desire to showcase his ideology are evident in every step of his creation process. Through art, Francisco hopes to impart a sense of positivity and spiritual interconnectivity to his viewers.

Francisco的最新项目是一个名为《神秘水》(Mystic Water的社会艺术展览作品。在项目一开始,他会在活动中免费提供一些“神秘水”矿泉水瓶。随着时间的推移,这些矿泉水瓶的价格会慢慢上升,直到参加活动的人都不再愿意购买为止。Francisco的意图是强调水作为生活必需品——而非奢侈品——的重要性。每一个过程,人们都能清晰地感受到他对细节的注重,以及他展示自己生活理想的热切渴望。Francisco希望不断通过自己的艺术作品分享正能量和精神力量。



Contributor & Photographer: Whitney Ng
Additional Images Courtesy of Chan Dick

Behance: ~/francisco_hauss


供稿人与摄影师: Whitney Ng
附加图片由Francisco Hauss提供

Finding Inspiration in Uncertainty

January 18, 2017 2017年1月18日

Yuma Yoshimura is a Japanese artist, painter, and muralist who creates psychedelic, monochromatic works that reflect the uncertainty and chaos of human existence. In 2004, he completed his education at Tama Art University where he studied painting and printmaking. Currently based in Tokyo, his work has been well-received internationally, having been exhibited in South Africa, Spain, Russia, and more.

Yuma Yoshimura是一名日本的艺术家、画家和壁画家,其创作的单色作品充满迷幻的风格,表达出人类生存的混乱与不确定性。他曾在多摩美术大学学习绘画和版画创作,2004年毕业之后,他生活在日本东京。他的作品曾在南非、西班牙、俄罗斯等国家发表。

The primary themes of Yuma Yoshimura’s work lie in the uncertainty and chaos that people experience in daily life, or in concepts of duality and opposition such as “darkness and light.” For him, these are universal conditions that all people face as they grow from childhood to adulthood. To believe in the unchanging in the face of the ever-changing, and to express this dynamic visually is a reflection of the artist’s own resistance to unrelenting change.

Yuma Yoshimura的作品主题主要围绕人们在日常生活中经历的不确定性和混乱,或是二元性和对立概念,如“黑暗与光明”。对他来说,这是所有人从孩童到成年人的成长过程中都必定面临的普遍状况。在千变万化中相信永恒不变,以视觉作品来表现变化的动态,反映出这名艺术家自己对于无情变化的抵抗。

For Yuma Yoshimura’s creations, he primarily works with acrylic paint, spray paint, markers, aluminum and wooden panels. For mural-sized works, he’ll only use monochromatic acrylic paint and spray paint – his decision is largely based on the physical characteristics of the wall, which include its size and the surrounding environment.

Yuma Yoshimura的创作过程主要利用丙烯涂料、喷漆颜料、马克笔、铝和木板。至于壁画尺寸的大作品,他会根据墙体的物理特性、大小和所产生的空间效果,直接在墙壁上使用单色丙烯涂料和喷漆颜料进行创作。

Despite using a simple, monochromatic palette, Yuma Yoshimura is able to conceive a multitude of visual elements through complicated compositions that mirror his inner state. The visual elements seen in traditional tribal tattoos and ornaments also fuel the sparks of his imagination. This influence from these primitive arts reflect Yoshimura’s attempt to express his own unique, but universal, human experience.

虽然创作中只使用了一种色彩,但Yuma Yoshimura依然能够通过复杂的构图来表现出丰富多样的视觉元素,传达出他的内心状态。部落纹身和装饰品这些视觉元素激发了他的创作灵感。来自原始部落的艺术影响反映出Yoshimura尝试表达的一种独特又普遍的人性经历。

Facebook: ~/yumanizumu


Contributor: George Zhi Zhao
Images Courtesy of Yuma Yoshimura

脸书: ~/yumanizumu


Contributor: George Zhi Zhao
图片由Yuma Yoshimura提供

Vietnam, Land of the Dragon People

January 17, 2017 2017年1月17日



In November 2016, Belgium-based filmmaker Sjoerd Samuel Tanghe spent a month traveling Vietnam and filming all that he saw along the way. With over 60 hours of footage at the end of his trip, he put together Vietnam, Land of the Dragon People, a stunning four-minute long short film.

比利时电影制片人Sjoerd Samuel Tanghe花了一个月的时间在越南旅行,一共拍摄了超过60小时的影像素材;他将这些影像剪辑在一起,制作成一部时长4分钟的迷人短片——《Vietnam, Land of the Dragon People》。

Compared to his personal and commercial work in the past, Vietnam, Land of the Dragon People is quite different. “Because of social media, the ongoing trend now is that everything must be summarized in less than a minute,” he lamented. “Some of my other projects might be flashier, bombastic, and full of energy. But for this project, the pacing is much slower. I wanted to show all the things I saw in an authentic way.”

相较于他过去个人与商业的作品,《Vietnam, Land of the Dragon People》有着截然不同的风格。他感叹:“由于社交媒体的发展,现在的趋势是一切都必须被概括在不到一分钟的时间里。我以往的作品可能更为华丽、夸张,且更有活力。但是,这部短片的整个节奏会更慢一些。我希望能以真实的方式呈现出我所目睹的一切。”

Being as it was his first time in Vietnam, Tanghe decided to travel through the entire country, starting first from the south and working his way up into the north. His journey was mostly improvised, barring a few specific destinations. Tanghe was most interested in exploring an authentic side of Vietnam, away from the tourist-ridden locations, and to discover for himself the way of life there. With an open-mind, he sought to travel off the beaten path and experience all that the country has to offer; this included trying out balut, a local Vietnamese delicacy, that Tange says to have been the most memorable part of his trip. He adds: “If you don’t know what it is… please don’t Google it.”


Vimeo: ~/sjoerdtanghe


Contributor: David Yen
Video & Images Courtesy of Sjoerd Samuel Tanghe

Vimeo: ~/sjoerdtanghe


供稿人: David Yen
视频与图片由Sjoerd Samuel Tanghe提供

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Origin of Everything

January 16, 2017 2017年1月16日

In light of Guangzhou Design Week, a single 3m x 3m x 3m cube was perched amongst the grasslands of Foshan, a city in China’s Guandong Province. Local design company C.DD summarises the concept of the installation’s design in one phrase, stating that the installation can be likened to the “origin of everything”.

作为广州设计周的参展作品,一个3米×3米×3米的立方体装置坐落于广东佛山的一片绿地之上 。设计机构尺道设计事务所(C.DD)用四个字概括了这个装置的设计理念——“万物归宗”。

Due to the size limitations of the exhibition work, chief designers Xiao Pinghe and Xing Linli decided to create a structure with the highest possible volume in order to express the theme of “city”. Due to the limitation of space, the designers hoped that observers would be forced to take note of the subtle nuances of traditional culture that were weaved into the installation.


Within the structure, there is a one-way path that allows passage for a single person to enter the exhibition at a time. When an observer walks through the cube, the two squares created by the bamboo wall and exterior form the Chinese character hui, which symbolises their concept of “return to the origin”.


The exterior is a true homage to Foshan, with a map of Foshan city and Nanhai county, as well as the Chinese character for Foshan indented through the steel plate structure. Beyond the steel walls, the designers used bamboo to form a rectangular space around the center of the cube. In the structure’s core lies an unfinished paper Chinese lion and a traditional Chinese drum, which come to life with a combination of background music and flashing lights.


Depending on the time of day, the lighting that illuminates the structure will offer visitors a varied experience. The design team hoped that the installation’s ever-changing facets would inspire visitors to uncover each visual dimension, and in turn, lead them to rediscover the many layers of Foshan’s traditional culture.


Contributor: Whitney Ng
Photographer: Ou Yangyun
Images Courtesy of C.DD

供稿人: Whitney Ng
摄影师: 欧阳云

Chai Wan Fire Station

January 13, 2017 2017年1月13日

An eye for consistency and unwavering patience, these were the two qualities I was most certain that Hong Kong-based photographer Chan Dick possessed, even before I stepped into his studio in Chai Wan.


His award-winning photo series Chai Wan Fire Station, which documents the daily comings and goings of a fire station courtyard, is a soothing spectacle that beckons viewers to enjoy each frame slowly, so as to uncover the differences of each shot.


“While working at my workshop one day, I discovered the bird’s-eye view of Chai Wan Fire Station through the ventilation window of the washroom for the first time. What I saw was more eventful than I thought. Apart from undergoing physical training, the firemen of this station also played volleyball, washed fire trucks and held guided tours for students. All this happened within this little square area that I observed and framed from above. Days and months passed, scenes began to repeat themselves. I started to slow down and patiently wait for the next unexpected scene.”


The pastel green courtyard forms the backdrop for each scene, populated by the local heroes and their everyday comings and goings. Volleyball games were a daily occurrence, as were rigorous training drills that look deceptively simple from above. The uniformity of the series is not only pleasing to the eye but also a testament to its subjects – the firemen below are nothing short of structured and disciplined. In order to create the series’ characteristically consistent overhead view, Chan Dick spent months with his camera, held by hand through a narrow window, patiently waiting for the opportune moment.


Unfortunately, Chan Dick no longer works from the same studio that overlooks the fire station. Beyond being a well-equipped photography space, every corner of his new studio features notable remnants of times gone past.


As the afternoon unfolded, I slowly came to realise that Chan Dick’s work embodied a third quality that was nothing short of compelling: his love for Hong Kong is deeply rooted in everything and the surroundings that he grew up in are thematically evident in each body of work. The subtle nuances of nostalgia and his unwavering desire to preserve the Hong Kong that he remembers is the true draw card that makes Chan Dick’s photography unforgettable.




Contributor & Photographer: Whitney Ng
Additional Images Courtesy of Chan Dick

: ~/chandickhk


供稿人與攝影師: Whitney Ng