Mother

January 11, 2017 2017年1月11日

 

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In the award-winning animated film Mother, Taiwanese animator and graphic designer Aco Chang presents the warmth of maternal love in a different light, showing how too often it can be taken for granted. “As a child, I inconsiderately tore apart a ball that my mother had made for me,” she said. “This memory heavily weighs on me, stabbing at me, like a needle in my heart.”


在屡获殊荣的动画短片《母亲》中,台湾动画创作人兼游戏美术设计张吾青以不同寻常的角度向世人展示母爱。她说:“小时候,我不懂事地撕破了母亲亲手做的球,而这件事沉甸甸地,像根针一般刺在我心底。”

Based on this past memory, Chang’s touching animation presents the shifting power dynamic between mother and daughter. In the film’s opening scene, the ball that the mother literally produces from her chest is seemingly symbolic of her love, a love that the daughter brazenly rips apart. The emotional short film is meant to be both an apology and a form of catharsis. The film comes full circle and concludes with the daughter, now grown up, reciprocating her mother’s love through the symbolic act of handing her a ball that’s identical to the one that she ripped apart as a child.


带着这般童年回忆,张吾青的这部动画短片呈现了一场母女间力量的动态转换。在短片开场,母亲从胸口取出象征着其母爱的球,而女孩却粗鲁地将其撕裂。这部触动人心的短片既是一份道歉,也是一场情感净化。影片首尾呼应,在结尾处,女孩的手捧一个与当初一样的球递给母亲,喻示着對母愛情意的歸還。

Chang’s introspective look at this childhood memory opened her eyes, allowing for much-needed self-reflection. Her symbology-filled animation is an attempt to find solace and rectify her regretful actions. From the moment of birth to the struggle for independence and power, the love that a mother has for her child remains unwavering – like a stream, it flows on quietly, a life-sustaining source of endless affection.


张吾青审视自身的童年经验,将情感反刍,转化,运用动画的形式展现各种象征性意涵,想望藉由创作的过程中疗愈与弥补深藏在心中愧悔的生命经验。由子宫爬出的婴儿,在挑战权力的转移与解构之后,母性始终像流水般绵延而静谧,由看不见的尽头注入生命与情意。

Website: juliaczzzaco.weebly.com
ArtStation
: aco.artstation.com
Facebook: ~/acochangart
Tumblr: juliaczzzaco.tumblr.com
Vimeo: ~/user30150008

 

Contributor: David Yen
Video & Images Courtesy of Aco Chang


网站juliaczzzaco.weebly.com
ArtStationaco.artstation.com
脸书: ~/acochangart
Tumblr: juliaczzzaco.tumblr.com
Vimeo: ~/user30150008

 

供稿人: David Yen
视频与图片由Aco Chang提供

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Gundam Robots in Real Life

January 10, 2017 2017年1月10日
A conceptual sketch by designer Vitaly Bulgarov / 来自Vitaly Bulgarov的概念草稿

Like something straight out of science fiction, a gigantic humanoid robot has recently been unveiled by the South Korean company Hankook Mirae Technology. Dubbed as the Method-2, the current iteration of this larger-than-life bipedal mech suit is a collaborative project between Moldovan designer Vitaly Bulgarov and the mysterious South Korean robotics company.


韩国韩泰未来科技公司最近推出了一个巨型的人形机甲,看上去就像是从科幻小说里走出来的一样。这个代号为Method-2的巨型双足机甲是摩尔多瓦设计师Vitaly Bulgarov和这家神秘的韩国机器人研发公司之间的一个合作项目。

Large robots piloted by a human isn’t a new concept, at least in popular sci-fi shows and films. They’ve appeared in Japanese animes, such as Gundam , in the form of combat-ready mobile suits; in the video game series Metal Gear as weaponized bipedal tanks with nuclear weaponry, which often appear as the final boss; and more recently, in Western movies like Pacific Rim where the humanoid mechs are used to combat kaiju, or monsters, that emerge from the sea.


由人工驾驶的大型机器人早已不是什么新概念,至少在主流科幻节目和电影里,这是一个出现已久的概念。比如在《机动战士高达》一类的日本动漫里,它们是能够战斗的机甲人;在视频游戏系列《合金装备》中,它们被当作拥有核武器的双足机甲武器,在游戏里它们往往以终极大BOSS的身份出现;而在最近《环太平洋》这类欧美电影中,人形机甲被用来对付从海上出现的kaiju”-即怪物。

Unlike the robots depicted in many of these sci-fi movies and games, Hankook’s 13-foot-tall robot isn’t intended for military use. In the short term, the robot has been envisioned for industrial applications where it can remain tethered to a power source. It’s even said that they plan to release an alternate version of the robot, with only torso and arms on a wheeled foundation, to assist in cleanup at the Fukushima disaster site.


与大多数科幻电影和游戏中所描绘的机器人不同,韩泰未来科技公司打造的这个近四米高的机器人并非用于军事用途。在短期时间内,这个机器人将被使用于工业领域,并需要一直保持电源的连接。甚至有传言称,他们计划为这个人形机甲造一个只有躯干和手臂的替代版本,安装于装有轮子的底座之上,用于协助在日本福岛核灾难现场的清理工作。

Video Courtesy of Vitaly Bulgarov

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A scientist at work inside the Hankook Mirae Technology robotics lab
A group of scientists at Hankook Mirae Technology fine-tuning a robotic joint

Robotics experts have expressed skepticism towards the authenticity of the entire project, citing a combination of many reasons: Bulgarov’s background with working in Hollywood blockbusters, such as the upcoming Ghost in the Shell movie that takes place in a post-cyberpunk world with a cyborg protagonist; the immaculately clean state of Hankook Mirae’s robotics laboratory, as seen in their newly released photos; the sloppily leaked images and videos, which initially only appeared on Bulgarov’s personal social media; and the mysterious nature of Hankook Mirae Technology, a company that didn’t even have a website or any web presence until just recently are just a few of the eyebrow-raising issues that have been pointed out over the last few weeks.


有机器人专家对整个项目的真实性持怀疑态度,并列举了很多原因:首先,设计师 Vitaly Bulgarov 参与了好莱坞电影拍摄的工作,譬如即将上映的电影《攻壳机动队》,这部电影讲述了一个发生在后赛博朋克(post-cyberpunk)世界的故事,主人公是一个半人类半机械的改造人;其次,在韩泰未来科技公司新发布的照片中可以看出,这家公司的机器人实验室竟然干净得一尘不染;还有,那些随意泄露的照片和视频。在最初,这些照片只出现在 Bulgarov 的个人社交媒体上;最后是韩泰未来科技公司的神秘背景,这一家公司直到最近才慢慢出现在互联网上并建立属于自己的网站。在过去的几个星期里,对于这个人型机甲,外界类似上面这样的质疑还有很多。

Photo of an earlier prototype from inside Hankook Mirae Technology
A pilot inside the cockpit of a shell-less robot suit at Hankook Mirae Technology

Bulgarov has insisted these robots are authentic while Hankook Mirae Technology has remained silent, unresponsive to our media inquiry. Whether these robot-powered suits are real or an elaborate hoax remains to be seen. Either way, Bulgarov’s conceptual 3-D sketches are quite impressive to look at.


Bulgarov 一直坚称那些都是真真正正的机器人,而韩国韩泰未来科技公司则一直对此保持沉默,也未接受我们的媒体访问。至于这些人形机甲到底是真实存在,还是只是一个精心设计的骗局,让我们拭目以待。无论怎样,Bulgarov的3D概念草图看上去仍然很震撼人心。

Website:
hankookmirae.tech
vitalybulgarov.com

Instagram:
@vitalybulgarov

 

Contributor: David Yen
Video & Images Courtesy of Vitaly Bulgarov


网站:
hankookmirae.tech
vitalybulgarov.com

Instagram:
@vitalybulgarov

 

供稿人: David Yen
视频与图片由Vitaly Bulgarov提供

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Under Feet Like Ours

January 9, 2017 2017年1月9日

The work of cultural anthropologist and documentary photographer Jo Farrell combines her innate love for Asia and a self-described desperation to capture disappearing worlds. Her fascination with the region’s rich culture and her desire to explore women’s traditions compelled her to create her photo book Bound Feet Women in China. Over tea in a tiny restaurant tucked away in the depths of central Hong Kong, she relayed how she felt compelled to shed light on an age-old societal issue – the lengths that women will go in search of acceptance, appreciation and self-worth. “We all seem to be obsessed with our flaws and do not celebrate our differences or individuality,” she commented. “I wanted to explore why women alter their bodies to be more attractive.”


文化人类学家和纪实摄影师 Jo Farrell 的作品糅合了她对亚洲的由衷热爱以及她对于捕捉消失的世界的那份热切渴望。亚洲丰富的文化历史以及她对于探讨女性传统文化的愿望促使她创作出摄影集《中国最后的三寸金莲》。在一间隐没于香港中环摩天大的小小茶餐厅里,Jo Farrell 向我们讲述着她对于揭示这一个古老的社会问题的强烈渴望——探讨女性为了获得认可、赞赏和自我价值所愿意付出的代价。“我们似乎都十分关注我们外表上的缺陷,而不是对自己的个性或不之处引以为傲,我想要探讨为什么女性会为了让自己看上去更有吸引力而改变自己的身体。”

This passion project turned photography book has spanned nearly 11 years; Jo has returned to China year after year, photographing a total of 50 bound feet women. “The most memorable moment of this project was when I met Zhang Yunying, the first women I documented with bound feet. The pain and suffering she must have gone through to be considered beautiful, desirable and marriage worthy made me question the extreme lengths that we, as contemporary women, will still go in order to be accepted in our own society. Since then, I have held almost 20 pairs of bound feet in my hands; often the woman will appear embarrassed and I assure them they have nothing to be ashamed of.”


这本摄影集来源于一个充满热情且跨越了近11年的摄影项目。年复一年,Jo Farrell 踏足中国,一共拍摄了50名裹足女性。“在这个项目进行期间,最让我难忘的时刻是我见到张云英(音译)的那一刻,她是我第一个拍摄的裹足女性。为了成为人们眼中美丽、迷人、值得结婚的对象,她所要经历的那些疼痛和痛苦让我开始思考,当代女性为了被社会认可会愿意付出多高的代价。从那时起,我的双手已经捧过差不多20对‘三寸金莲’的小脚;这些女性往往会感到不好意思,但我安慰她们没有什么需要感到羞耻的。”

When shooting in China, Jo is completely in her element. Armed with her trusty Hasselblad 500, a macro lens and plenty of film, she interviews and photographs from morning until sunset, making the most of the day’s natural light to capture breathtaking black-and-white portraits of her subjects. “I believe that film photography is a fine art. There are only 12 frames on a roll. You have to be very precise and know what you want to capture. I print all of my photographs, full frame and no cropping – what you see is what I intended to photograph. To me, the whole process of developing film and working in the darkroom is just pure art. I love the whole process from conception to exhibition.”


在中国拍摄时,Jo Farrell如鱼得水——带着她最信赖的Hassleblad 500 相机,一支微距镜头和大量的胶片。她的采访和拍摄工作往往从早上一直持续到日落,只为了充分利用白天的自然光线,以拍摄出令人赞叹的黑白肖像作品。“我相信,胶片摄影是一门艺术。每一卷胶片只有12帧。你必须要非常精确,清楚知道你想捕捉的东西。我会将我拍摄的所有照片全部打印出来,整幅打印,不作任何裁剪,你看到的照片就是我想要拍摄的照片。对我来说,冲洗胶片的过程和在暗室里的工作都是纯粹的艺术。我喜欢从概念到最终展示出成品的整个过程。”

Jo’s next photography project will take her to rural Myanmar where she will be photographing the brass neck-coiled Kayan women. She hopes that her works will continue to lend an intimate voice to stories otherwise untold and that each photograph can be seen as a celebration of the women that she has been honoured to meet throughout Asia.


Jo Farrell的下一个摄影项目是前往缅甸的农村,在那里,她将拍摄以黄铜圈缠绕颈部的“长颈族”克耶邦女性。她希望自己的作品能成为一种发声,向人们讲述出那些未曾被讲述的故事,希望每张照片都能成为她对有幸遇到的亚洲女性的一种赞美。

Boy from Terengganu

January 6, 2017 2017年1月6日

 

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Whether walking through the market streets in his small conservative hometown of Kuala Terengganu or strolling through the cosmopolitan malls of Kuala Lumpur, Brandon Ong is someone who stands out from the crowd. Often pushing the boundaries of fashion – which, at times, might involve wearing high heels, skirts, and intricate accessories – his appearance turns heads no matter where he goes. But compared to Kuala Terengganu, Kuala Lumpur is considerably more accepting, allowing him the much-needed freedom to express himself; and it was there where YAA SUI, a fashion community and production house founded by Brandon and his friends, was born.


无论是走在家乡那座保守的小城市——瓜拉登嘉楼的市场街道上,还是漫步于吉隆坡大都会的商场里,Brandon Ong 总是会在人群中脱颖而出。他的造型不断挑战时尚的界限,有时他还会穿上高跟鞋、裙子,佩戴上复杂的时尚配饰,无论他走到哪里,总是有很高的回头率。在吉隆坡,相比于瓜拉登嘉楼,他的造型某种程度上会更易被人们接受,而这正是他要表达自我所需要的自由;也正是在吉隆坡,Brandon和他的朋友成立了一个时尚社团和制作机构YAA SUI

Yaa sui is a term used in Malaysia, which represents someone with the confidence to have their own individual style. Feeling the need to improve, stir up, and inspire the Malaysian fashion scene, Brandon and his friends started throwing crazy underground parties. These parties were one of a kind in Malaysia, involving DIY clothes, inventive hairstyles, and eccentric footwear. Each party had different themes like “Club Kids” or “Harajuku,” but the common underlying motif seemed to always be the encouragement of creativity and self-expression. YAA SUI’s parties attracted people searching for new methods of expression, along with those who want to experiment with fashion and shake off the pressure of society. But as of recently, the organisers are taking a break and trying to make ends meet – the parties were an endless and unsustainable investment of time and money.


Yaa sui是一个马来西亚口头语,用来指那些能自信地展现自己个人风格的人。Brandon和他的朋友举办各种疯狂的地下派对,希望能帮助马来西亚的时尚圈不断进步,激发出更多的时尚灵感。在马来西亚,这些派对可谓独一无二,他们在派对上DIY服装、打造创意发型设计和奇异的鞋子。每一次的派对都会有不同的主题,譬如“夜店小孩”或“原宿”,但所有派对背后的共同主旨似乎都是要鼓励更多的时尚创意。YAA SUI举办的派对吸引着那些正在探寻全新表达方式的人们,以及那些想要进行不同时尚实验、摆脱社会压力的人。最近,作为派对的主办单位,YAA SUI正在休整之中,试图使收支平衡。举办这些派对需要不断地投入时间和金钱,他们设法维持了一段时间,但已经无法一直无止境地维持下去。

Brandon and his designer friends know it is extremely hard to make a living through fashion in Malaysia. The conservative tilt of the country makes it difficult for their ideas to be accepted, at least for now. People simply like to follow trends and cast originality aside. Popular brands and knockoffs sell quite well but the market is not mature enough to bet on individualism. The YAA SUI team wanted to disrupt the state of things and bring awareness. First, they did so through their films where they raised questions about fashion and individuality; then later, their parties and social media channels were continued attempts to spark discussions. But as Brandon says, even when not taking the small towns into consideration, Kuala Lumpur is still far off – there’s still a long way to go.


Brandon和他的设计师朋友都明白,要在马来西亚靠时尚谋生是一件极困难的事情。这个国家的自由和开放度还不足以接纳他们近乎疯狂的时尚创意,至少目前为止是这样的。在那里,人们只想追随潮流,创意被抛弃在一边。主流品牌和仿冒品销量很好,但市场并未成熟到足以容纳个性化的时尚产品,这也正是YAA SUI团队试图改变的一点。他们自己拍摄创作影片,在影片中对时尚界提出质疑,举办他们独特的派对,并借助社交媒体平台的影响,希望藉此可以提高人们的时尚创意意识。但Brandon表示,他们离目标尚有很长的路要走。在吉隆坡尚且如此,更不用提在小城镇里。

Brandon is now back in his hometown of Kuala Terengganu, dreaming of his next trips to Bangkok and Tokyo in search of fashion inspirations. The spark in his eyes, the passion in his voice, and his infectious smile – which reveals a set of gold grillz on his teeth – show that the YAA SUI movement is far from being dead. It’s just entering the next chapter.


如今Brandon已经回到了他的家乡登嘉楼,他正计划着下一次前往曼谷和东京寻找时尚灵感。他的双眼依旧火花闪耀,他的声音满溢热情,他的笑容极具感染力,每次笑的时候,还会露出他的金色牙套。所有这一切都表明,YAA SUI的时尚革命远未结束,它只是进入了新的篇章。

Facebook: ~/YAASUI
Youtube: ~/yaasuiproduction

 

Contributor, Photographer & Videographer: Gloria Kurnik


脸书: ~/YAASUI
Youtube: ~/yaasuiproduction

 

供稿人,图片摄影师与视频摄影师: Gloria Kurnik

How Do You Copy a Copy?

January 4, 2017 2017年1月4日

Typically, we might provide a brief introduction to whatever we’re featuring here, which in this case would be the China-based brand Purlicue. Despite being already quite well-known for their unorthodox takes on traditional footwear, there was no brand statement to be found anywhere. When we sat down with Su Wukou, the head designer and founder of Purlicue, we asked him a series of questions. Like interviews with other fashion designers, we anticipated our conversation to meander into lengthy responses that would help explain the brand’s core concepts and aesthetics – it didn’t quite play out that way. While the answers were unexpected, they felt true to the spirit of the brand. Without further ado, below is our interview with Su Wukou.


这里需要一段Purlicue的简短品牌介绍,比如鞋履发家的中国品牌Purlicue…但是似乎并不存在这样的东西,因为不敢胡乱下笔,把这个问题抛给了设计师苏五口本人,期待他像其他服装设计师那样漫谈他的设计理念。抛出一些自认比较能发散思维的问题后,并没有得到预想的侃侃而谈,但仔细想一想,这也许反而是最Purlicue的表达。以下是我们对苏五口的采访。

Neocha: Originally, you were an architect. How did you become interested in fashion design? What is the connection between architecture and fashion?

Su Wukou: Finding possibilities with the resources you have available. Above both architecture and fashion, I hope to design bottled drinks.


Neocha: After starting your own fashion brand, have you continued working with architecture design? Do you feel like you prefer one field over the other now?

Su Wukou: If I meet the right architect, maybe we can do something together.


Neocha你原本是做建筑设计,有什么契机让你兴起设计服装的念头?或者说你认为的这两者之间的联系在哪里?

苏五口: 在力所能及的的范围找新的可能。相比于建筑与服装,我最希望做是做瓶装饮料。


Neocha创建自己的服装品牌后,你还有继续做建筑设计吗,或者说在你心里建筑跟服装的天平有倾斜到哪边吗?

苏五口: 遇到适合的建筑师可能会合作做一做。

Neocha: You’ve purposefully avoided writing a brand introduction and omitted what your brand stands for. But even with so many independent designers and brands nowadays, your work still commands immediate attention, clearly standing out above it all. What unique characteristics do you think you bring to the table? Or do you have any industry secrets?

Su Wukou: I don’t even know what Purlicue is. I think it’s best this way. That sort of clarity hinders creation. I don’t know how you thought up the angle with industry secrets. I have to think about this.


Neocha: Some people think your designs are too obvious and superficial. What are your thoughts on this?

Su WukouI approach my designs quite seriously. Others find it humorous. These aren’t people I’m interested in appealing to.


Neocha你一直没有刻意写品牌介绍去传达你的设计价值观,但在当下独立设计师众多的情况下你的设计还是常常会第一时间抓人眼球,你觉得你的这种特质是什么,或者你发现了什么行业小机密?

苏五口: 我自己都还说不清楚Purlicue是什么东西,也觉得这样比较好,清晰了有碍创作。没想到你会在行业秘密这个角度看,我也要想想这是为什么。


Neocha: 也有人会觉得你的设计太直接流于表面,这点你怎么看?

苏五口: 我设计时态度是算严肃的。但人家觉得幽默,搞笑炒作我不太管,这些也不是我的倾听者。

Neocha: What typically inspires you to create? Films? Music? Something or someone in your life?

Su Wukou: Imagination. Imagining common words used in everyday life and reinterpreting it through my own means.


Neocha: Your newest collection, THE FAKE, is a proud display of counterfeit fashion. What are your thoughts on knockoffs?

Su Wukou: Let’s not all go around making counterfeits willy-nilly.


Neocha通常什么东西会对你的产生启发?影像音乐或者你生活里的什么事物?

苏五口: 纯想象,想象日常最普通的词汇,用自己的方法再理解一次。


Neocha: 你的最新《THE FAKE》系列把抄袭这件事放到了台面上,可以跟我们讲一下你对现今品牌抄袭的看法吗?

苏五口: 大家别乱抄袭啊。

Neocha: Any plans for a change of direction in Purlicue’s future? How do you see the brand developing in the future?

Su Wukou: I hope my Taobao store can get a crown symbol. (Once a seller completes 10,001 transactions on the Taobao e-commerce platform, they’ll receive a crown symbol. Up to five crowns can be earned.)


Neocha: Anything more you’d like to share with us about yourself or Purlicue?

Su WukouI don’t like to be defined. The intention of an interview is to define the undefined. I think it’s best to stay quiet and low key. Instead, create more and keep moving forward.


Neocha: 对PURLICUE未来的发展有什么计划或改变吗?

苏五口: 希望淘宝店快点变皇冠。


Neocha: 请问还有什么想要补充的吗?

苏五口: 我不太喜欢下定义,做访问本身是下定义给看法,我觉得最好的状态还是安静点,多点作品,多点前进。

Pro Tip: Purlicue’s latest collection, THE FAKE, is made up of direct copies of other brand’s designs. But the clothing isn’t the crux of the collection; the attached tag is a pattern design and the actual centerpiece. What’s purchased isn’t the final product. It’s meant to be used as a fabric source, and with the provided template, buyers can create a new article of clothing.


备注: Purlicue的最新系列《THE FAKE》的衣服都是抄袭其他品牌的,但在这个系列里衣物不那么重要,作为纸样的吊牌才是绝对主角,购买者可以根据吊牌以衣服为布料重新制作出一件衣服。

Weibo: @苏五口
Taobao: conpconp

 

供稿人: Shou Xing
Images Courtesy of Purlicue


微博: @苏五口
淘宝: conpconp

 

供稿人: Shou Xing
图片由Purlicue提供

In the Studio with Afa Annfa

January 3, 2017 2017年1月3日

Stepping into Afa Annfa’s studio, the one thing that stands out the most is her collection of dolls. Bearing goofy oversized heads, they appear adorable at first but a closer look yields an entirely different impression – a sense of sadness, which seems to linger just beneath their cheery demeanors, belies their cute appearance. Similar subtleties are found in the Hong Kong-based artist’s own works. Taking a close look – past the muted pastel colors, the young female characters wearing school uniforms, and the seemingly angelic entities fluttering about – the false sense of charm in her work quickly fades away and is instead replaced by an unsettling sense of melancholy.


香港艺术家Afa Annfa的工作室内摆放了许多她收藏的大头娃娃,这些娃娃造型可爱却又表情阴郁,正如Afa的绘画风格一样。她的画看起来很甜美,充满马卡龙色,穿着校服短裙的女生被天使围绕着。而你仔细凝视,也能很快发觉这之中的不寻常,仿佛一股忧伤压抑的暗流涌过。

Prior to becoming a full-time illustrator, Afa Annfa worked as an art director for an advertising firm and was also an established model and actor. But her interest in illustration didn’t arise out of thin air; it can be traced back to her childhood days. Afa’s father was an interior designer and her older sister was passionate about art; growing up in such a creative environment, picking up drawing was only natural to her. Despite not having had any formal art education, she was already drawing cartoon characters on her own in middle school. She sees her lack of formal training as giving her art a sense of purity and innocence. “I usually just practice by myself,” Afa says. “And I tend to draw with my feelings and instincts.” Recently, we caught up with Afa and talked to her about harnessing creativity, the underlying themes in her work, and what being a “slasher” means to her.


在成为一名全职插画师之前,Afa Annafa曾是广告公司的美术指导,也是一名活跃的模特及演员。不过,她对画画的兴趣自小就开始了。Afa的爸爸是室内设计师,姐姐也热爱艺术,这样的生长环境让她从小就养成拿画笔的习惯。 她从中学时期开始创作一些漫画角色,虽然没有正式修读过绘画课程,但这也让Afa的画风更自然纯粹,“我通常都是自己琢磨着画,凭着感觉 去创作的”Afa 说。最近,我们有幸跟afa讨论了她的创作进展,作品下隐含的主题,还有作为一个slasher对她而言意味着什么。

Neocha: Can you share with us how you approach some of your illustrations and paintings? How do you find inspiration?

Afa: When I’m fully invested and focused on creating something, I easily find myself zoning everything else out. For example, my biological clock might be completely reversed; I won’t eat healthily, nor will I find the time to exercise. But after every intense period of work, I’ll gift myself with a long vacation. I’ll read comics and travel. I feel like these vacations are mandatory and that these breaks contribute to my growth as an artist. When I start working again, I’ll use whatever I might’ve read or seen in my travels as creative concepts; that’s what my workflow is generally like, a system of input and output. When it comes to inspiration, I’m not someone that needs to search high and low. I have plenty of inspiration; most of it comes from books I’ve recently read or media that I’ve consumed. All of these elements are blended together with the message I want to convey. That’s how my inspiration comes about.


Neocha: 可以和我们聊聊你平时的绘画习惯吗?你喜欢通过什么方式寻找创作的灵感?

Afa: 我在投入创作的时候,很容易忽视其他东西。例如:我的作息会日夜颠倒不注意饮食健康,也很少做运动。而一轮紧张的工作过后,我通常会给自己放个长假,将这些时间全部用来看书看漫画和旅行。我认为这些都是必要的,是一个自我增值的时段。每当我再次开始创作,就到了输出的时候,我将书里看到的或旅行体会到的事情,变成我的创作理念。我的工作经常是这样一个输入再输出的循环。说起灵感,我不是需要外出走来走去找灵感的人。我的灵感大多来源于我最近在看的书,以及近期吸收的咨询。这些东西和我想传达的信息相撞,就混合成灵感,它是这样诞生的。

Conversation (2015)
Execution Ground (2014)
'0' (2014)

Neocha: Your illustrations are often cute in appearance, but below the surface, there are many layered concepts. Can you tell us about some of the concepts behind your The Silent Family series?

Afa: This is my first fully completed series. Many characters inhabit this world, but they’re all different forms of myself. The little girl in a school uniform is another version of me, one that’s filled with insecurities. The little monster represents my dark side; it’s a manifestation of my weaknesses, jealousies, and so on. This can also be thought of as a commentary on society. It’s a battle between my darkness and myself. The girl might lift the headscarf of the devil to see what’s within, they might fight with one each other, or they might try to embrace and accept one another. This work was an exploration of self and is quite meaningful and positive in a way. When you can bravely face your own darkness without wanting to run away, you’ll understand yourself more. It’s a big step forward.


Neocha: 你的画风甜美,但背后的意念却很深沉,跟我们说说创作《The Silent Family》的意念吧?

Afa: 这算是我第一个完整的系列作品。我的画里有很多角色,但他们其实都是我的分身。穿着校服的小女生,是内心混乱不安的我,旁边的小鬼是我的一些阴暗面,比如说懦弱,妒忌等等,也可以延伸到整个社会的氛围。这些是我和自己阴暗面做斗争,有时小女孩会掀开小鬼的头巾想看看里面是什么,他们会互相攻击,也尝试着去拥抱接受。这个作品是我一个自我探索 的过程,积极一点来说它也有很美好的含义,当你可以勇敢面对自己的阴暗面,不再逃避的时候,你会了解自己多一些,也向前迈进了一步。

The Silent Family and the Devil (2014)
Ugly as Sin (2014)
There is Hope (2014)

Neocha: In your new work Erotic Ghost Tales, some little monsters also make appearances. Can you tell a bit more about the concepts behind it?

Afa: I experimented with using paper cut-outs for this new series at my exhibition in 2016. I explore a deeper subject. I wanted to explore desire and sexuality from a female perspective. In our society, it’s considered normal for men to openly discuss sex. But this acceptance doesn’t extend to women who want to talk about sex; people are more critical of this. So for women constrained by our societal construct, they choose to not openly discuss sexuality. This is what I hoped to convey through my work. The monsters I draw have subtle meanings. For example, the three lines behind the geisha and the red ribbon in her hair are all meant to be symbolic. The little monsters that surround her represent yearnings and desires that are finally revealing themselves.


Neocha: 在你的新作品《Erotic Ghost Tales》里面,也出现了一些神秘的小鬼怪,能给我们介绍一下吗?

Afa: 2016展览的新作品我试着用了剪纸的手法,题材在上也更深入了一些,我想从女性的角度 去讲欲望和情色。在我们的社会环境中,男人讨论性是理所当然的,而社会给女性的空间却并不大,如果女性很积极得讨论性这个话题,容易遭人非议。所以女性在社会传统的约束之下,往往对性的表现是偏向含蓄的。这就是我这辑作品想要营造的氛围。我创作的妖怪们是很含蓄的,例如艺妓背后得三条白色线条,她发髻上得粉红色布条,都是隐藏的性符号。还有围绕在她身边的小鬼怪,代表一些欲望的暗涌,它们从黑暗中走出来。

Erotic Ghost Tales (2016)
Erotic Ghost Tales (2016)
Erotic Ghost Tales (2016)
Erotic Ghost Tales (2016)

Neocha: As both an illustrator and a model, how would you describe the life of a “slasher” (Slasher is a Cantonese slang that describes a multifaceted person working in different fields)? If you were to dabble in another field of work, what would it be?

Afa: I never planned to go down this path. Many choices in life are unexpected, and we just move with the currents. But I’m quite lucky; many people were willing to give me opportunities all along the way. My decision to study design was influenced by my father. After graduating, I naturally began working in an advertising firm. Being a model wasn’t planned. A modelling agency invited me to audition, so I went in with a mentality of wanting to try something new and possibly earn a little extra money. After being a model for a few years, my income from this became quite steady and it allowed me to quit my job at the ad agency so I could spend more time drawing. It was all unplanned, and I was very fortunate. At times, I felt directionless, but every step forward brought me closer to where I am today. Being a slasher satisfies my desires of wanting to try out and experience different things. If I were to pursue another line of work, I hope to be an author – I would love to write stories that can accompany my illustrations.


Neocha: 身为一名插画师同时也是一位模特,你觉得作为一名slasher(slasher是一个粤语俚语,意思是拥有不同身份不同职位的人)的生活是怎样的? 如果再增加一重身份,你希望会是什么?

Afa: 我反而没有计划过要走这条路,很多生命中的选择都是顺水推舟式的。不过我是很幸运的人,沿途一直有人给我机会。读书的时候选择设计,是受爸爸影响,毕业以后顺理成章去了广 告公司工作。说起做模特也是偶然,大学的时候有人介绍我去参演一些短片,工作以后也有模特经济公司邀请我去试镜。所以我就抱着尝试以及赚外快的心态去做了。几年之后,做模特成为稳定的经济来源,也造就我能辞去广告公司的工作,花更多时间去画画。这些是巧合也是幸运,曾经我以为走的冤枉路,其实一步步支撑我走到现在。Slasher的身份满足到我喜欢尝试不同事物的性格。如果多一重身份,我希望是作家。我想去创作一些故事,并为它们配上插画。

Website: afaannfa.com
Behance: ~/AfaAnnfa
Facebook: ~/AfaAnnfa
Instagram: @afa_annfa

 

Contributor & Photographer: Ye Zi


网站: afaannfa.com
Behance: ~/AfaAnnfa
脸书~/AfaAnnfa
Instagram@afa_annfa

 

供稿人与摄影师: Ye Zi