The Warehouse Hotel

February 28, 2017 2017年2月28日

Once the epicentre of the Singapore spice trade, the original Warehouse Hotel was built in 1895, along the Singapore River. The building’s placement along the Straits of Malacca Trade route meant that it soon became “a hotbed of secret societies, underground activity, and liquor distilleries.”


毗邻新加坡河的Warehouse Hotel始建于1895年,前身是新加坡香料贸易中心。酒店所在的大楼地处马六甲海峡贸易路线,因此,在那个年代它很快就成为了一个“供秘密社团,地下活动和酒厂聚集的温床。”

Today, The Warehouse Hotel has been restored into a contemporary 37-room independent hotel that is characterised by the area’s rich heritage and Singapore’s unique local culture. 


现在,Warehouse Hotel经过翻修,被改造成为一家拥有37间客房的现代化酒店。酒店所在街区丰富的历史遗产和新加坡独特的本土文化成就了酒店独特的风格。

The hotel was revamped by a homegrown agency, The Asylum – head designer and founder, Chris Lee remarked “Our focus has been to protect the property’s legacy while creating a fresh perspective on the term ‘industrial’. The environment is warm and sophisticated to prevent it from being too obviously grounded in what has been before.”


酒店由本土公司The Asylum负责改造,首席设计师和创始人Chris Lee表示:“我们的重点是保留酒店大楼本身的历史感,同时呈现出一种全新的‘工业’式风格。整体的环境设计是偏温暖和精致的,以避免酒店前身的工业印象显得过于强烈。”

The industrial theme is continued through the Warehouse Hotel’s flagship restaurant, Po, named after “popo”, the Mandarin word for grandmother. The restaurant boasts a similar industrial chic style – seeking to serve creative renditions of Singapore’s unique culinary heritage by employing the very best of Asia’s ingredients.


Warehouse Hotel的旗舰餐厅Po延续了酒店的工业风设计。餐厅名字来自中文“祖母“的普通话发音“popo”。整间餐厅的设计体现出同样的别致工业风格,餐厅采用亚洲地区最上乘的食材,创意演绎新加坡的独特烹饪文化。

The Warehouse Hotel truly seeks to be “not just a hotel, but an entire experience.” The front desk doubles as a retail installation, curated by local furniture creator Gabriel Tan, in collaboration with Supermama’s Edwin Low. Each of the guest rooms features coffee and tea mugs made by a local ceramic studio, Mud Rock. Every aspect of the hotel’s design, from the lobby bar to the in-room amenities celebrates the country’s past and present.


Warehouse Hotel真正的目标“不只是成为一间酒店,而是提供给客人一种完整的体验”。酒店前台被设计为一个零售装置,由当地的家具设计师Gabriel TanSupermama的Edwin Low合作打造。每间客房均摆放着由当地陶瓷工作室Mud Rock制作的咖啡杯和茶杯。从大堂酒吧到客房设施,酒店各处的设计都体现着这个国家的过去和现在。

Address:
320 Havelock Road
Robertson Quay
Singapore

Tel:
+65 6828 0000

 

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

 

Contributor: Whitney Ng
Images Courtesy of Asylum Creative PTE LTD

 


地址:
新加坡
320 Havelock Road
Robertson Quay

电话号码:
+65 6828 0000

 

网站thewarehousehotel.com
脸书~/thewarehousehotel
Instagram@thewarehousehotel

 

供稿人: Whitney Ng
图片由 Asylum Creative PTE LTE 提供

Contemporizing Thangka Art

February 27, 2017 2017年2月27日
Eight Spirits (2012)
Gold leaf, acrylic and ink on canvas
(50 x 90 in)

Tsherin Sherpa is a Tibetan artist who explores contemporary themes through his neo-traditional approach to Tibetan thangka painting. Born in Kathmandu, Nepal, he began studying thangka painting as a child under the tutelage of his father, Master Urgen Dorje, a renowned Tibetan thangka artist. In 1998, Sherpa moved to California, where he initially worked at a Buddhist center as a thangka artist and teacher. During this period, his introduction to the world of fine art led him to study art theory and art history, and to explore new works and mediums that are outside of traditional boundaries. Neocha spoke to Sherpa about his thoughts on art, culture, and Tibetan traditions in the modern world.


藏族艺术家Tsherin Sherpa通过“新传统“(neo-traditional)风格创作藏族唐卡绘画,探索各种当代艺术主题。Sherpa 出生于尼泊尔加德满都,他的父亲是著名的藏族唐卡艺术大师Urgen Dorje,Sherpa从小就跟随父亲学习唐卡绘画。1998年,Sherpa 来到美国加州。最初,他在当地一个佛教中心担任唐卡艺术家和教师。在此期间,他开始接触艺术,这促使他进一步去学习艺术理论和艺术史,并在传统界限之外探索新的作品和创作媒体。最近,Neocha与 Sherpa对话,了解他对艺术、文化和藏族传统在现代世界的一些想法。

In the Heat of the Moment (Black and White) (2016)
Platinum leaf, acrylic and ink on cotton
18¾ x 20 in

Neocha: How did you get started as an artist?

Tsherin Sherpa: At around the age of 13, my father decided to train me in the traditional art of thangka painting after seeing my interest in drawing. The formal training lasted for about five years. Training at such a young age was very tedious in the beginning. My first lesson was on drawing the head of the Buddha with a traditional grid measurement system, which I drew every day for almost three months. It was all about mastering the skill through repetition. After that, I learned how to prepare the mineral pigment paint, paint application, brush making, canvas preparation, and fine outlining with ink and gold. After a few years, I also studied Buddhist philosophy to understand the symbolism of Buddhist imagery.


Neocha: 你是怎样成为一名艺术家的?

Tsherin Sherpa: 在我大概13岁的时候,我的父亲发现了我对绘画的兴趣之后,决定让我学习唐卡绘画这种传统艺术。正式的学习持续了大约五年。在刚开始的时候,我年纪还很小,所以学习的时候会觉得很沉闷乏味。 我的第一堂课是在一个传统网格上画佛像的头部,连续三个月的时间里我每天都要画同样的佛像头部。通过反复的练习来掌握技巧。在那之后,我学会了如何制作绘画用的矿物颜料,如何上色,如何制作画笔和准备画布,以及如何用墨水甚至是黄金进行精美勾线。几年后,我还学习了佛教哲学,来进一步理解佛教意象中的象征意义。

Untitled (2016)
Gold leaf, acrylic and ink on canvas
36 x 71 in
UFO (Unidentified Fettering Organization) No. 1 (2016)
Acrylic, ink and gold pen on cotton
39½ x 53 in
UFO (Unidentified Fettering Organization) No. 2 (2016)
Acrylic, ink and gold pen on cotton
42½ x 55 in

Neocha: Can you tell us a bit about your creative process and technique? Where do you draw inspiration from?

Tsherin Sherpa: My recent works are very much inspired and informed by my own situation, as well as everything I experience around me. For example, the recent solo show I had in Hong Kong at Rossi & Rossi Gallery, titled Beautiful Decay, was inspired by the 2015 earthquake in Nepal. As for my technique, I blend traditional thangka painting techniques with several other techniques using various materials, which I experiment with on a regular basis in my studio. I am actually inspired and influenced by many artists both from the past and present: Duchamp, Warhol, and Murakami, to name a few.


Neocha: 你能跟我们分享一下你的创作过程和技巧吗?你创作的灵感从何而来?

Tsherin Sherpa: 我最近的作品的灵感大多来自于我生活的环境,以及我每天经历到的事情。例如,最近我在香港Rossi & Rossi Gallery举办的名为《Beautiful Decay》的个展,这些作品的灵感就来自于尼泊尔2015年的大地震。至于我的创作技巧,我会将传统唐卡绘画技法结合其他技巧和材料一起创作,我经常在我的工作室里进行不同的试验。实际上,我会从过去和现在的很多艺术家身上受到启发和影响,譬如Duchamp,Warhol和Murakami等等。

Muted Expression (2015)
Platinum leaf, acrylic and ink on canvas
46 x 102 in
Luxation 1 (2016)
Acrylic on canvas
20 x 20 in
Luxation 2 (2016)
Acrylic on canvas
20 x 20 in

Neocha: One of the main themes in your work is the profane versus the sacred. Can you tell us more about that?

Tsherin Sherpa: It’s fascinating to see how icons and imagery connote different meanings to different people. I am interested in exploring and understanding the functionality of these images from one culture, and their perception among people from various backgrounds who may or may not be familiar with that culture. It’s interesting to see how people, who are familiar with the culture, interact and confront the work, in comparison to people who are experiencing it for the first time. For example, works such as Luxation 1 and Luxation 2 consist of sixteen fragments of a traditional thangka. Those who are familiar with the image can immediately recognize the iconography, or even reconnect the fragments in their mind. But someone who may not be familiar with the iconography or the culture may find it to be an abstract design.


Neocha: 你的作品中的其中一个重要主题是世俗与神圣。你能跟我们介绍一下这个主题吗?

Tsherin Sherpa: 不同的人对各种雕像和意象的含义会有不同的理解,这一点是很有趣的。我很喜欢去探索了解一个图象在某种特定文化中的功能,以及来自不同背景的人们对这些图象的认知,他们可能熟悉也可能不了解这图象背后的文化。将一些熟悉这种文化的人看到我的作品时的反应,与那些对这种文化陌生的人们第一次看到这些图象时的体验作对比,这是很有趣的。例如,《Luxation 1》和《Luxation 2》这两个作品中包含了传统唐卡艺术的十六块碎片,熟悉这些图象的人马上就能看出来,甚至能在他们脑中重新拼贴这些碎片,但对不太熟悉这图象或文化的人来说,他们可能会觉得这是一种抽象的设计。

Tara Gaga (2016)
Gold leaf, acrylic and ink on cotton
30½ x 40 in
Victory To the Spirit (2015)
Gold leaf, acrylic and ink on paper
51¾ x 41 in

Neocha: Another one of your main themes is the preservation of culture. How do you maintain Tibetan tradition while being an artist in the modern world?

Tsherin Sherpa: Because of the training I’ve received from my childhood until now, and having grown up surrounded by Tibetan culture, the traditional iconography has remained a part of my vocabulary, through which I use to explore contemporary concerns. There isn’t so much emphasis on the preservation of Tibetan traditions in my work. To me, the Tibetan identity, iconography, and tradition are simply the starting points of the conversation through which everything else is explored.


Neocha: 你的作品的另一个重要主题是文化保护。作为一位当代艺术家,你要如何延续藏族传统文化?

Tsherin Sherpa: 由于我从小就一直在学习传统藏族文化艺术,也一直在藏族文化的氛围中长大,藏族文化的传统意象已经深深铭刻在我的脑海深处,是我用来探索当代实事问题的创作素材。在我的作品中,并没有特别强调对藏族传统文化的保护。对我来说,藏族身份、藏族意象和传统文化只是我探索其它事物的起点。

Expressions (No. 2) (2012)
Gold leaf, acrylic and ink on paper
22¼ x 22¼ in

Neocha: Your recent work, Wish Fulfilling Tree, was in response to the Nepal earthquake of 2015. Can you tell us more about that project?

Tsherin Sherpa: On April 2015, a catastrophic earthquake generated a shockwave that coursed through the people and structures of Nepal. Being away in America, images and stories of the destruction and aftermath arrived through secondhand sources. Not until August of that year did I personally witness the damage to familiar locations and neighborhoods from my childhood. Seeing my home uprooted sparked the initial desire to bear witness and rebuild.

For this project, I chose the traditionally inspired structure of the mandala, for within its structure, it holds the connotations of home, wholeness, and harmony. As I traveled around, I listened to neighbors’ stories about what they had gone through and what they still needed in order to rebuild. Many people were living in temporary structures since their homes were uninhabitable. People continued waiting for the arrival of funding to aid them. With these experiences arose a natural desire to work with the Nepalese people as an act of healing. I photographed survivors as a part of my documentation. I collected broken household objects that were damaged during the earthquake. These objects may seem random, but they hold special memories tied to homes and families. By gathering them all together in a new arrangement, they begin re-contextualization into something that is stronger than the individual fragments. A further shared commonality was acquired by asking seven hundred survivors to sign five rupee bank notes as a wish or prayer. I collaborated with local craftsmen to make the copper structure of the mandala that now contains these gathered objects as well as my spirit figure holding its hands up in a peace symbol. It’s hoped that the symbolic communal wish will reverberate back out into the community for the healing and rebuilding process of Nepal.


Neocha: 你最近的作品《Wish Fulfilling Tree》是为2015 年的尼泊尔地震事件而创作的。你能跟我们介绍一下这个项目吗?

Tsherin Sherpa: 2015 年 4 月,一次灾难性的地震对尼泊尔的居民和建筑都造成了巨大的冲击。当时我身在美国,只能通过二手资源的图片和报道来了解那次灾难和善后工作。直到那年的 8 月,我才得以亲自目睹这场地震对尼泊尔造成的伤害,那是一个我曾经十分熟悉的社区,我度过童年的地方。看到我的家被连根拔起,激发了我要记录这场灾难和重建的愿望。

对于这个项目,我选择了以传统文化为灵感的曼荼罗结构,因为它代表了家,和谐和完整。我四处游走,聆听邻居们的经历和他们重建家园的需求。很多人都住在临时搭建的“家”里,因为他们原本的家已经无法居住,人们还在等待援助资金的到来。这些体验很自然地激发了我与尼泊尔人们一起努力的渴望。对我来说,这也是一种愈伤的行为。我拍摄了当地的幸存者,作为我的纪录片的一部分。我还收集了当地居民家中在地震中破碎了的物品。虽然只是很普通的物件,但都代表了这些家庭的特别回忆。我将它们收集起来放在一起,形成新的组合,来重新讲述那些故事。相比单独个体来说,新的组合产生更强有力的冲击力。我还邀请了七百名幸存者在五张尼泊尔纸币上签名,作为一种愿望或祷告,进一步加强这种共性凝聚的力量。我和当地的工匠合作,打造出铜制的曼荼罗结构,在上面加入这些收集回来的小物件,以及我设计的做和平手势的人像。我希望在尼泊尔重建的漫漫长路中,这件作品所承载的美好愿望能留存于人们的心里。

Wish Fulfilling Tree (2016)
Cast-bronze mandala, found objects and signed Nepalese rupee notes
Dimensions variable
Twinkle Twinkle… Who You Are (Blue) (2015)
Gold leaf, acrylic and ink on paper
13 x 16 in

Neocha: Any upcoming plans you would like to share with our readers?

Tsherin Sherpa: I’m participating in a couple of current and upcoming shows, including Between Us: Relationship and Identity in Tibetan Contemporary Art at the Frank Museum of Arts at Otterbein University in Ohio, USA, and the Kathmandu Triennale 2017: The City, My Studio in Kathmandu, Nepal.


Neocha: 你有任何即将推出的项目想要与我们的读者分享的吗?

Tsherin Sherpa: 我正在筹备一些展览,有正在进行中的也有即将推出的展览,包括在美国俄亥俄州奥特拜因学院弗兰克艺术博物馆(Frank Museum of Arts)举办的《我们之间︰藏族当代艺术中的关系和身份》(Between Us:Relationship and Identity in Tibetan Contemporary Art)和和在尼泊尔加德满都举办的2017加德满都三年展︰这座城市,我的工作室》(Kathmandu Triennale 2017:The City, My Studio)。

 

OMG (2016)
Gold leaf, acrylic and ink on cotton
31¾ x 26¼ in

Websitetsherinsherpa.com

 

Contributor: George Zhi Zhao
Images Courtesy of Tsherin Sherpa and Rossi & Rossi Gallery


网站tsherinsherpa.com

 

供稿人: George Zhi Zhao
图片由Tsherin Sherpa与Rossi & Rossi Gallery提供

Long(ing) House

February 24, 2017 2017年2月24日

 

无法观看?前往优酷

Malaysian Borneo may not be as vast as its Indonesian counterpart, but it is every bit as mysterious. As you go deeper into its interiors, traversing the thick and untamed rainforest, you’ll find cultural treasures like the traditional longhouses of the Kelabit people, which have been well-preserved and protected from our encroaching modern civilization.


婆罗洲地跨马来西亚与印度尼西亚两国。虽然马来西亚管辖的领域不如印尼管辖的领域那样广阔,但它的神秘魅力丝毫不差。当你穿越茂密的原始雨林深入探索,就能发现许多文化瑰宝,譬如加拉必族的传统建筑——长屋,它远离了现代文明世界的影响,得以完好地保存下来。

I’m off to meet the craftswoman Sina Rang at her homestay in Bario, in the heart of Sarawak, one of the two Bornean states of Malaysia. Before I hop on the 14-seater Twin Otter, I’m asked to weigh myself with all my hand luggage. The outcome of this measurement is quickly noted down. I follow the bubbly mix of locals, tourists from West Malaysia, a couple of foreigners… and a few cages of chicken as we’re invited to take our places onboard. I’m the last one to enter and the door shuts directly behind me, cutting off my route of escape. The vehicle reminds more of a stuffy mini-van than a plane. What comes next is an unnerving feeling as the air-van starts moving before I can sit. I eventually clutch at 1A, a seat just behind the pilots – the cockpit has no doors – as one of them quips, “You got the first class ticket! Congratulations.” We take off effortlessly into the clear skies, towards the ominously dark clouds amassing on the horizon.


我出发去巴里奥(Bario)拜访当地的手艺人Sina Rang,约在她的民宿会面。巴里奥位于沙捞越的中心区域,这里是马属婆罗洲领土上的两个行政区域之一。我们搭乘 14 座的双水獭飞机前往巴里奥。在登机之前,我被要求先去称一下自己加上随身行李的重量,他们快速地将测量结果记录在案。然后,我就跟着当地人、几个来自马来西亚西部的游客、几个外国人……还有几笼鸡一起上了飞机。我是最后一个登机的,舱门在我身后直接被关上,切断了我想要逃跑的最后可能。在我看来,这更像一辆拥挤的小型面包车,而不是一架飞机。我开始感到不安,因为在我坐下来之前飞机就开始移动了。我的座位是 1A,就在飞行员后面,驾驶舱是没有门隔着的,其中的一位飞行员还打趣道:“恭喜你拿到了头等舱的机票!” 之后飞机毫不费力地成功起飞,上升至晴朗的天空中,但朝着一团积聚在地平线上的乌云飞去,给人一种不祥的预感。

We fly over grids of never-ending palm plantations, which go on for miles until reaching one of the national parks – the last frontier of modernity. The jungle finally takes over. We pass the two peaks of the Batu Lawi, known as sacred mountain protectors, which seems to angrily react to our presence by conjuring an unforgiving storm around our toy plane. The foreigners scream, and I quickly regret the privileged view I’m getting into the cockpit. I’ve been warned that in the worst-case scenario our tiny aircraft can glide and glide. I’m still quite doubtful but these planes had flown before on not much more than a pair of wings and a prayer, and it seemed like we weren’t lacking in the latter – the Kelabit people of Bario are fervent Christians. “Are you scared?” shouts one of the pilot, with a grin more suitable for the captain of the Flying Dutchman. We finally get behind the curtain of clouds – the pilots must have seen this clearing on their radar – and the rice paddies twinkle just as we’re about to land in the valley etched against the Kelabit Highlands. I smiled in relief at the other foreigners. To us, the outsiders, this journey felt like a rite of passage or a cleansing of sorts, but the locals have been at the mercy of this formidable jungle for centuries. Their relationship is symbiotic, and the Kelabit regard the forest with both understanding and respect.


我们飞过无边无界的棕榈园,在数英里之后到达一个国家公园——这里是现代文明社会的最后边界,再往前就进入了原始丛林。飞机经过了被称为”圣山保护者“的巴杜拉威山(Batu Lawi)。这座高山似乎对我们的到来感到十分愤怒,在我们飞机四周聚集起一股无情的风暴。飞机上的外国人开始惊叫,而我很快就后悔自己有“头等舱”的特权。有人曾告诉我,在最坏的情况下,我们这架小型的飞机会不断滑行。我心里有点忐忑,不过这架飞机之前的确都是靠一双机翼和人们的祷告成功飞行的,而我们显然不缺乏祷告,因为巴里奥的加拉必族人们都是虔诚的基督徒。其中一名飞行员向我喊道:“你害怕吗?”他脸上的笑容让我联想到传说中那一艘永远无法返乡的幽灵船——“飞翔的荷兰人”(Flying Dutchman)的船长。我们最后成功穿越了厚厚的乌云,我想飞行员一定在雷达上就看到了现在眼前这片晴空吧。即将着陆于加拉必族的山谷的时候,我看到了下面一片片熠熠闪烁的稻田。我看着身边其他外国人,如释重负地微笑了。对我们这些外来者来说,这段旅程感觉就像一个仪式或净化之旅,但对当地人来说,数个世纪以来,他们一直受着这片原始丛林的恩惠。他们和自然之间的关系是共生共存的,加拉必族人尊重和敬仰这片丛林。

Bario has only one phone provider and it’s not the network I’m on – I’m cut off from the rest of world. The Kelabits, however, are immensely hospitable, generous and life-loving, instantly making me feel like I’m at home. The communal spirit still dominates the Bario Asal (asal in Malay means “original”) longhouse where I stay at. The concept of open home, where neighbours freely mingle with each other is refreshing to a city dweller like me. The Kelabit people embraced Christianity and reconciled old traditions with the new ones. They adjusted, hopeful that their ways of life will survive, but the youngsters flock where the jobs are, often leaving the remote Bario village behind in search of opportunity.


巴里奥只有一个通讯运营商,而我的手机不属于这一网络,所以我彻底与外面的世界断绝了联系。然而,加拉必族人非常好客,他们既慷慨又热爱生活,瞬间让我感觉非常自在。我住进了名为Bario Asal (Asal 在马来语中是指“原始”) 的长屋,在这里,集体主义精神仍占主导地位。这里的居住环境是开放式的,邻居们可以自由地来往,像我这样的城市居民对于这种概念感动十分新奇。加拉必族人信奉基督教,他们调和着古老的传统文化与现代的文化。这里的人希望通过这种调整,让他们的生活方式流传下来。现在的年轻人都涌出去找工作,为了获得工作机会,他们往往要离开这个偏远的巴里奥村庄。

I listen to the olden-day stories from the residents of Bario Asal who retired and came back, such as Gerawat Nulun, a well-travelled man who studied on an exchange program at Harvard in the past. My host, Sina Rang, also lived outside of the village for a period of time. Now, she’s trying to bring more tourists to Bario, inspire other residents to start homestays, and revive their traditional crafts. And she’s not alone in this dream. There’s hope that their efforts will create jobs and bring the young people back. With the current reality of Bario Asal, the longhouse feels like it’s named quite appropriately, as there is much the Kelabit long for: a longing to sustain their way of life, a longing to see their cultural heritage preserved, and a longing for those who have left to not forget their roots.


我从一些退休后回归的Bario Asal居民那里听了很多从前的故事,包括Gerawat Nulun,他是一个去过很多地方旅游的人,之前也曾参加一个哈佛大学的交流项目。我的屋主Sina Rang也曾在村庄外面生活过一段时间。现在,她正在努力吸引更多的游客来到巴里奥,她鼓励其他居民开始经营民宿,复兴他们的传统工艺。她并不是唯一一个这样想的人,大家都希望这一努力能创造就业机会,吸引年轻人回到这里。看着目前Bario Asal的境况,“长屋”(longhouse)的名字仿佛承载了当地人长久以来的许多渴望(longing):渴望维持他们的生活方式,渴望见证他们的文化遗产得以完好保留,以及渴望那些离开了的人不会忘记自己的根。

Contributor, Photographer & Videographer: Gloria Kurnik


供稿人,图片摄影师与视频摄影师: Gloria Kurnik

You Might Also Like你可能会喜欢

Doodling with Mooncasket

February 23, 2017 2017年2月23日

Mooncasket is a designer and illustrator from Hong Kong who is known for her cute and quirky character doodles. Part of a generation of up-and-coming Hong Kong creatives, Mooncasket’s murals, zines, stickers, and other DIY creations can be seen across the city. Neocha had the chance to speak with Mooncasket about her thoughts on culture and creativity.


香港设计师和插画家Mooncasket以她笔下可爱而古怪的个性卡通形象而为人熟知。作为新一代崭露头角的香港创意人才,Mooncasket的涂鸦、独立杂志、贴纸和其他 DIY作品分布于这座城市的各个角落。最近,Neocha有机会与Mooncasket对话,来了解她的创作理念,以及她对文化和创意产业的理解。

Neocha: How did you get started as an artist?

Mooncasket: I’ve been drawing since I was a kid, but I hadn’t picked up a personal style until recent years. I was one of those people who went to art schools, but never took being an artist seriously until the motivation just hit me one morning, and I was like, “Yeah! I should try and do this for real!”


Neocha: 你是怎样成为一名艺术家的?

Mooncasket: 我从小就开始画画,但一直到最近几年我才开始形成自己的个人风格。我觉得我就是艺术学校里那些从未认真想过成为一名艺术家的学生,直到有一天,我突然充满了动力,觉得“是呀!我应该试着做一名真正的艺术家!”

Neocha: Tell us about your characters. Where do they come from?

Mooncasket: My everyday surroundings inspire me, and I like to add an ironic, playful twist to everything. Also, a mixture of cartoons from the ’80s and ’90s and old-school monster films inspire me. The characters I draw are like my imaginary creature friends. If you’re having a crappy day, I hope they make you smile inside as much as they do for me.


Neocha: 跟我们介绍一下你笔下的角色形象吧。创作他们的灵感是什么?

Mooncasket: 我身边的日常事物就是我的灵感来源,我喜欢在我的创作中加上一点幽默讽刺的元素。另外,80年代和90年代的漫画作品,以及老式的怪物电影也是我的灵感来源。我笔下的角色就像是我存在于二次元的朋友。如果你今天心情不好,我希望他们能让你发自内心地笑一下,就像他们能让我开心一样。

Collaboration with photographer Dani Bautista

Neocha: What is the creative scene like in Hong Kong now?

Mooncasket: The creative scene in Hong Kong is definitely growing. It’s great to see more artists coming out and creating, and the public definitely appreciates local creativity more. I can’t say it’s easy to make a living as an artist here, but there are always solutions to keep a roof over your head, by having other jobs while you continue to do what you love. In my case, I’m also working as a freelance graphic designer.


Neocha: 现在香港的创意行业发展如何?

Mooncasket: 可以肯定地说,香港的创意行业正在不断发展。我很高兴可以看到越来越多的艺术家出现,进行创作,而且大众也比以往更欣赏香港本土的创意作品。虽然在香港要靠艺术为生并不容易,但是在这里你总能找到自己的办法来维持生活,你可以一边兼职做其它工作,一边继续做自己热爱的事情。譬如我的另一份工作就是自由职业平面设计师。

Neocha: How do you balance your own creative vision when doing client work?

Mooncasket: I used to draw darker imagery, usually in black and white, and I started making zines because I didn’t know what to do with all of my doodles. The response that came out of that initiative was pretty good. So I thought to myself, if I wanted to make a living from my doodles, I could try tweaking my style a little to appeal to a larger audience. After that, my work has become more colorful, and I’ve created friendlier looking creatures. Depending what clients prefer, I’m keen on doing either of my styles. My best advice for up-and-coming creatives is to not being afraid of trying new things!


Neocha: 当你为客户工作时,你如何平衡自己的创意理念?

Mooncasket: 我一直以来的绘画作品都比较黑暗,以黑白色为主。随着我的作品越来越多,我还开始去制作zine杂志(Zine杂志是独立出版的小型杂志刊物),反响很不错。所以我对自己说,如果我想靠画画来谋生,我可以试着调整一下我的风格,来吸引更多的观众。在那之后,我的作品色彩更加丰富,我创作的角色形象看上去也会更可爱。取决于客户的喜好,这两种风格其实我都喜欢。对于新一代的艺术家,我的建议是不要害怕去尝试新的事物!

Website: mooncasket.bigcartel.com
Instagram: @mooncasket

 

Contributor: George Zhi Zhao


网站mooncasket.bigcartel.com
Instagram: @mooncasket

 

供稿人: George Zhi Zhao

Air-Ink: The Art of Pollution

February 22, 2017 2017年2月22日

 

无法观看?前往优酷

American author and inventor Richard Buckminster Fuller once said, “Pollution is merely a resource that isn’t being used properly.” Inspired by his words and the growing need to tackle this colossal environmental issue, Indian startup Graviky Labs had the idea to devise a truly way of repurposing pollution.


美国作家和发明家Richard Buckminster Fuller 曾经说过:“污染仅仅是没有被正确使用的资源。”这句话启发了印度初创公司 Graviky Labs,针对社会对于解决空气污染问题越来越迫切的需求,他们构想设计出一个真正的创意解决方案——将污染物重新利用。

Co-founders Anirudh Sharma, Nikhil Kaushik and Nitesh Kadyan began to prototype a device that could be retrofitted onto the tailpipe of pollution emitting vehicles in 2013. This device, known as KAALINK, was the key to upcycling pollution. Over the course of the next few years, copious amounts of research and development took place in order to detoxify the pollution particles gathered by KAALINK, in turn, creating a consistent and viable ink. The device manages to stop air pollution at the source, without hindering the performance of vehicle engines.


2013年,公司的创始人Anirudh Sharma, Nikhil Kaushik 和 Nitesh Kadyan研发出可以被改装在车辆排气管上的设备原型。这个被称为KAALINK的设备是回收污染废气的关键。在接下来的几年间,他们进行了大量的研究和开发,想办法去除由KAALINK收集的污染颗粒里的有害物质,以制作出品质稳定的油墨。这一设备试图在不影响车辆发动机的性能的前提下,从源头上控制空气污染。

First, KAALINK is retrofitted onto the exhaust of a car, truck, or diesel generator, capturing the outgoing pollutants at the source.


首先KAALINK会被安装到汽车或卡车的排气管上,或是柴油发动机上,在源头收集排出的污染物。

The collected soot then undergoes a series of purification in order to remove heavy metals and carcinogens. The result is a purified carbon-based pigment in powdered form.


然后,这些被收集到的烟尘污染物会经历一系列净化的过程,以除去其中的重金属和致癌物质。最终的产品是净化的粉状碳基颜料。

Finally, the carbon powdered pigment is processed to create different types of inks and paints.


粉状的碳基颜料被加工处理后就能形成不同的油墨和颜料。

Around 45 minutes of car emissions equate to 30ml of Air-Ink, which can be safely used. Recently, Graviky Labs partnered with Tiger Beer to introduce Air-Ink to the public. They also enlisted seven Hong Kong-based artists to help introduce this concept of painting with pollution. Air-Ink has been launched on Kickstarter and this series of environmentally savvy inks and paints will soon be readily available to creatives from around the world.


每 45 分钟的汽车废气排放量大约能产生 30 毫升可安全使用的 Air-Ink。最近,Graviky Labs 更与啤酒品牌 Tiger Beer合作,向公众推广Air-Ink。他们还邀请了7名来自香港的艺术家助力推广“用污染物绘画”这一概念。公司已经在众筹网站Kickstarter上推出了Air-Ink,不久之后,世界各地的创意人士们就能用到这一系列的环保油墨和颜料产品。

Websitegraviky.com
Facebook~/Graviky

 

Contributor: Whitney Ng
Video and Images Courtesy of Emmaneulle Moureaux


网站graviky.com
脸书: ~/Graviky

 

供稿人: Whitney Ng
视频与图片由Graviky Labs提供

You Might Also Like你可能会喜欢

Inside a Mong Kok Tattoo Parlor

February 21, 2017 2017年2月21日

 

无法观看?前往优酷

Located in Mong Kok, Hong Kong – an area in no short supply of tattoo parlors – sits MoFo Tattoo. With drop-down windows and a brightly lit neon sign, MoFo Tattoo stands out amongst the clutter of parlors. The founder, Hong Kong native Karl Hung, and one of the resident tattoo artists, Cash Chan, are lovebirds who also share a mentor-apprentice relationship. The two attended design school together, and after graduation, they bonded over their mutual interest in tattoo culture. Recently, we dropped by and chatted with the couple about the unique look of the shop and the addictive nature of tattoos.


美富纹身由香港纹身师洪德輝(Karl Hung)创办,虽然地处纹身铺密集的旺角地区,但醒目的霓虹招牌和敞亮的落地窗户还是让美富纹身显得突出。这次新茶有幸采访了美富的两位纹身师Karl HungCash Chan,除了同事身份之外,他们其实还是一对酷酷的小情侣。Karl和Cash曾是设计学院的同学,毕业后,因为两人对纹身文化共同的痴迷,他们从同学变为情侣,再变成现在的师徒关系。

The atmosphere of MoFo Tattoo is different from the feel of a typical tattoo parlor; the space has a nostalgic quality to it and feels more like a vintage toy store than a tattoo shop. Karl says that many customers have preconceptions of a traditional tattoo parlor being a dark and evil place. Some customers are nervous even before they step through the door. So to offset this misconception, he had the idea to put cute objects in the store to alleviate the brooding atmosphere many associate with tattoo parlors. It was only two years ago when Karl began collecting Japanese vinyl toys and antique furniture two years ago. But as his house slowly filled up with his collection, he had the idea to introduce a similar vintage aesthetic to the tattoo shop. “The dragon and phoenix at the entrance came from a restaurant that went out of business,” Karl comments on my visit. “We asked a friend to grab it for us. No one expects a dragon and phoenix in a tattoo parlor. I think it’s quite interesting so I made it happen.” Besides the collection of toys and dolls, the store showcases old Cantonese movie posters and the framed works of other various tattoo artists, all collected by Karl. “When you like another tattoo artist’s work, you’ll want to buy their art.”


与其说是纹身店,美富纹身给人的第一印象更像是一家怀旧的古董玩具店,一进门就可以看到各式旧公仔放满这个店铺。Karl说传统纹身铺给人的印象是环境昏暗,比较邪恶的地方,这会让有些客人还没来到就开始紧张。但他想多放些可爱的东西在店里,让客人处于一个轻松好玩的环境中。Karl两年前开始收藏日本搪胶玩具以及各式古董家具,渐渐的家里东西越存越多。于是在店铺装修构思的时候,他就打算延续这个自己喜欢的怀旧风格。 “店门口的一对龙凤也是我们托朋友在一家酒楼结业的时候收回来的,没有人会想到在纹身店挂一对龙凤,我觉得挺有趣的,便这么做了。” Karl介绍道。除了大量的玩具公仔以外,店里还挂满了不同类型纹身师的画作,也几乎都是Karl的收藏品。“当你欣赏某位纹身师的时候,就会很想买下对方的作品。”

For Cash Chan, her first encounter with tattoos was when she was 16-years-old. The interest would snowball into a full-blown fixation. She’s been hooked ever since. Chan gets at least one new tattoo per year and proudly says that over 70% to 80% of her body is covered in tattoos. “I use my skin to collect the works of my favorite tattoo artists,” she says. “Will I cover my entire body in tattoos? It’s only a matter of time.” For Chan, tattoos aren’t sentimental souvenirs; instead, she sees them as a method of self-expression, as unique and timeless accessories.


Cash Chan第一次接触纹身是16岁的时候,之后便一发不可收拾, 以至少一年一个的速度增加。现在Cash的身上已有7-8成的皮肤都布满纹身。“我会在身上收集我欣赏的纹身师的作品。纹满全身?那是迟早的事情。” 对她而言,纹身并不感情用事的纪念品,而是属于每个人独有的装饰,是一件永不褪色的衣服。

With her long eyelashes, black eyeliner, and dark red lipstick, Chan might appear intimidating and unapproachable to those that don’t know her. But fitting the Libra archetype, Chan is actually quite sweet and charming. “I love Disney princesses. So when I first started designing tattoos, a lot it was related to princesses,” Chan says. After participating in a tattoo exhibition in England, she was awestruck by the bold use of colors and lines by many of the European artists. “Their works were quite avant-garde, unconfined by any conventional rules.” Returning to Hong Kong, she went a month without creating any new tattoos, but rather spent her time contemplating what type of work she wanted to create. She admits to having felt quite lost and directionless during that time. But inspiration returned one day while she was in the shower. “A colorful image just suddenly came to me. I don’t know what it was, but all I could think about was this image. I knew that’s something I wanted to create right then and there.” When asked about the meaning behind it, she shrugged and said, “When you like something, you like something. There’s no particular reason.”


长而上挑的黑色眼线和深红色唇膏是Cash的外形标志。虽然外表看起来有点冷酷,但天平座的Cash本人还是挺萌的。“我超级喜欢迪士尼公主,所以刚入行时我的纹身作品很多都是和公主相关的。” 然而这一年Cash也经历了纹身风格上的转变。 她坦言,在参加英国纹身展的时候,欧洲纹身师对于颜色及线条的大胆运用让她印象深刻,“他们的创作真的很前卫,完全不会被任何条条框框所限制。” 回到香港后她在店里静坐了一个月,没做过一个纹身,但每天都在思考自己真正想做的风格是什么,那阶段的她比较迷失。关于新的灵感是如何诞生的,Cash笑说灵感来自某天洗澡的时候, “我脑中突然浮现出一个彩色图案,我不知道它是什么,但我满脑子都是这种图案,我便知道就是它了。” 问起图案背后的含义,Cash也非常率性的告诉我们,“我觉得喜欢就是喜欢,并没有什么特殊的原因。”

Every tattoo artist at MoFo is adamant about their aesthetic. Chan mentioned, at times, customers will search for an image online and request that they replicate it. The tattooists will generally flat-out refuse these requests. “We want customers come to us because they like our style,” Chan explains. “Through talking with our clients, we’ll attempt to understand their personality and customize a one-of-a-kind tattoo for them. All customers need to do is show up with an idea, and we’ll take care of everything else.”


这里的纹身师都十分坚持自己的个人风格。 Cash提到有些客人会上网找一张图,然后希望他们纹一模一样的。当遇到这种情况时,美富的纹身师多数会拒绝。“希望客人找我们纹身就是喜欢我们的风格,我们会在与客人的聊天过程中了解他/她的性格,并为其定制一个独一无二的纹身。客人只需要提供一个想法,之后的创作都由我们搞定。”

Instagram:
@mofo_tattoo
@karltattooer
@lilycashchan

 

Contributor, Photographer & Videographer: Ye Zi


Instagram:
@mofo_tattoo
@karltattooer
@lilycashchan

 

供稿人,图片摄影师与视频摄影师: Ye Zi

The Making of ALP Guitar

February 20, 2017 2017年2月20日

 

无法观看?前往优酷

For years, China has established itself as the manufacturing mecca of the world. The words “Made in China” are almost guaranteed to be stamped on a product in your immediate vicinity while products that boast they’re designed in China are much more elusive. However, many creators in China are eager to make the distinction and prove that the Middle Kingdom is also a country of innovation. Among those committed to this task is ALP Guitar, a Hangzhou-based guitar brand who recently invited us to take a behind-the-scenes look at how their instruments, which are all proudly designed and manufactured in China, are made.


一直以来,中国被称为世界的制造中心。印有“中国制造”的产品几乎触手可及。但相比之下,号称由中国设计的产品却并不多见。然而,在中国的许多创作者都渴望能改变这一现状,证明中国也是一个具有创新精神的国家。而ALP 吉他正是其中一员。这一个总部位于杭州的吉他品牌最近邀请我们进入他们的制作后台,看看他们的乐器是怎么做出来的。

All of ALP Guitar’s products have one unifying trait: portability. Although there are existing Western brands that sell portable guitars, they mostly produce acoustic and classical guitars; options for high-quality, travel-friendly electric guitars are far and few and ALP aimed to fill this niche back in 2015. Despite being highly portable, their ingenious design doesn’t compromise the functionality or playability of the instrument. The smart designs features a headless neck and collapsible body, but still retains many functions normally reserved for regular-sized guitars, such as their inclusion of a vibrato system. In addition, the foldable and adjustable body allows musicians to hold it at a height that they can comfortably strum. “Our mission is for music to be easily accessible and taken anywhere you go,” says Lin Zunyi, the founder of ALP Guitar. “We want our brand and instruments to embody the passion for music.”


所有的 ALP 吉他都有一个特质——便携性。虽然现在也有欧美品牌制作便携式的吉他,但它们大多只生产原声吉他和古典吉他;而高品质的便携电吉他的选择则少之又少,而 ALP 吉他早在2015年就立志要填补这一部分的市场。ALP 吉他不仅十分便捷,同时通过巧妙的设计,确保了吉他的表现或手感。ALP 吉他采用无头琴颈和折叠式琴体的巧妙设计,保留了颤音系统等常规吉他的许多功能。此外,折叠式和可调节的琴体允许弹奏者把吉他放在自己舒适的高度进行弹奏。ALP吉他的创始人林遵义说:“我们的使命是让音乐随手可及,跟着你去往任何地方。我们希望我们的品牌和吉他能体现出对音乐的热情。”

Although ALP Guitar was officially launched in 2015, the first iteration of their portable guitar was actually completed in 1998 by Zunyi’s father – the idea was unfortunately scrapped at the time due to technological and financial limitations. After his father’s retirement in 2013, the idea was revived and brought to life. It was unveiled in the same year at Shanghai’s Music China, a music instrument trade expo dubbed as the largest in Asia.“At the time, our product was actually still quite rough and difficult to pluck,” Zunyi recalls. “But my father was adamant in showing it to the public. To our surprise, many people took notice and expressed interest. The overwhelming support motivated us to continue and to refine the guitar.”


虽然ALP吉他正式推出是在2015年,但早在1998年,林遵义的父亲便有了最初的构想。但由于当时的技术和资金限制,这个想法不得不被暂时搁置。2013年,他的父亲在退休后才重拾这一构想,并将其付诸行动。他在同年的上海国际乐器展推出了自己设计的吉他。这是亚洲最大型的一个音乐乐器贸易博览会。“当时,我们的吉他还不完善,也不好弹奏。”林遵义回忆道。“但我的父亲坚决要向公众展示它。出乎我们意料,在展会现场,这款吉他的关注度非常高,很多人都表示了兴趣。这些支持促使我们继续进一步完善这款吉他。”

Following the positive reception at the trade show, they launched a successful crowdfunding campaign on Taobao Zhongchou and were subsequently invited to participate in the Taobao Maker Festival. They’ve now also expanded beyond their initial focus on electric guitars, currently boasting nine different products of four different models, including a bass guitar and a classical guitar, all of which employ similarly ingenious foldable designs. Looking over one of their newly packaged guitars, Zunyi says, “Eventually, we hope that people’s preconceived notions of Chinese products being inferior can be dispelled.”


在这次展会中获得如此热烈的反应后,他们在淘宝众筹上成功发起了一个众筹活动,随后更被邀请参加淘宝造物节。现在,他们的产品种类已经超越了他们最初重点——电吉他,目前共拥有四种不同类型的九个不同产品,包括低音吉他和古典吉他,全部采用巧妙的折叠式设计。看着他们最新包装的吉他,林遵义说,“最终,我们希望能消除人们将中国制造等同于劣质产品的这种想法。”

Website: alpguitars.com

 

Contributors: Leon Yan, David Yen
Videographer & Photographer: Leon Yan


Websitealpguitars.com

 

供稿人: Leon YanDavid Yen
视频摄影师与图片摄影师: Leon Yan

Moss

February 17, 2017 2017年2月17日

 

无法观看?前往优酷

Moss is a collaboration between filmmaker and photographer Ryan Harding and visual effects artist Winston Duke. The short film shows the journey of the transmigration of living matter through the realms of birth and death. Shot in Guilin, China, the film takes us through the diverse and beautiful natural landscapes of the region, revealing them in a way that suspends the audience somewhere between fantasy and reality.


短片《Moss》是由电影制作人、摄影师Ryan Harding和视觉效果艺术家Winston Duke合力打造的作品。向观众展示了生命在出生和死亡间迁移的旅程。该短片拍摄于中国桂林,观众随镜头领略着这一地区美丽且多样的自然景观,画面也仿佛带给观众一种置身于幻想和现实之间的感觉。

Conceptual preparations for the film began in 2014, and they drew initial inspiration from the natural patterns of existence. As Ryan Harding explains, “From the very beginning, the themes of Moss were of life, death and rebirth. We drew inspiration from graphical patterns found in natural textured surfaces, such as rock formations, leaves and plants, animal habitats, sand dunes, and soil, all of which possess logical, symmetrical patterns. We felt these patterns were evocative of the cyclical nature of life, and we were curious about having this logical order of nature disrupted by chaos.” Check out the video in full above.


这部短片的概念创作从2014年开始,灵感来自于万物生存的自然规律。Ryan Harding在介绍短片时说:“从一开始,《Moss》的主题就是生命、死亡和重生。我们去观察岩层、植物和它的叶子、动物栖息地、沙丘和土壤等等自然物体,从它们表面的纹理图案中找寻灵感。这些物体的表面都呈现出有规律或对称的图案。在我们看来,这些图案反映了生命的周期性,我们很好奇如果这种规律被随意打断会是怎样的。”点击上面的视频欣赏一下这部短片吧。

Website: ryan-harding.com

 

Contributor: George Zhi Zhao


网站: ryan-harding.com

 

供稿人: George Zhi Zhao

Us and the Cosmos Beyond

February 16, 2017 2017年2月16日

The imaginative universe that Ryo Hsu has crafted is wonderfully eccentric, a surreal world with astronauts exploring a strange stretch of outer space that’s populated with mysterious shapes and floating popsicles. Despite boasting an impressive body of work, the Shanghai-based illustrator and graphic designer has never received a formal art education and has been completely self-taught. Hsu originally worked as a professional hair stylist but never quite felt creatively fulfilled in the role. His ongoing love of illustration and design, combined with his dedication and fearlessness to experiment, eventually led him to take a leap of faith and pursue his creative interests full-time. Recently, we had the chance to speak to this multifaceted autodidact to find out about some of the underlying concepts in his work and what inspires him.


来自上海的插画家和平面设计师Ryo Hsu从未接受过正式的艺术教育,却创作了一系列令人印象深刻的作品。在这之前Hsu是一名专业的发型师,但发型师的工作未能让他充分发挥自己的创意才华。因为一直以来对插画和设计的热爱,投入和冒险精神,Hsu大胆决定改行,全身心投入自己感兴趣的创意事业。Hsu创造的插画天马行空,那是一个超现实的幻想世界。在这里,宇航员探索着充满神秘形状和浮动冰棍的奇妙空间。最近,我们有机会采访到这位拥有多方面才华的艺术家,了解他的作品中所蕴含的一些概念和创作灵感。

Neocha: Can you tell us about how you got started with design and illustration?

Ryo Hsu: I think it stems from my childhood infatuation with manga and comics. I’ve never stopped drawing, and eventually, I was introduced to digital software, which led to me to experiment with new approaches. In the beginning, I had trouble finding an aesthetic that would translate what I envisioned into a visual format, so I just kept experimenting and trying out different mediums.


Neocha: 你是如何开始接触平面设计和插图的呢?

Ryo Hsu: 可能是源自我小时候喜欢画漫画的经历。画画在我的成长中一直没有停止过,直到我接触到数字软件后,开始新的尝试。但一开始并没有找到能将内心所想完全表达出来的风格,各种喜欢的类型都会去尝试一些。

Neocha: Who or what do you consider to be your biggest influences?

Ryo Hsu: Aside from visual influences, music is the most impactful factor for me. I’ve loved rock music since I was a young kid, and I played in a band. It’s been ten years now, and bandmates come and go; I often just jam by myself. Music is an abstract art to me – it’s intangible. You can’t see it or touch it. Comprehension is completely dependent on an inner level. My artwork is often the result of imagery that pops up in my head from when I would listen to music. Even though I love rock music, I listen to a bit of everything. When I’m working, I most often listen to post-rock, dream-pop, and so on; these genres aren’t convoluted by the presence of vocals or lyrics, so a lot of it is up to my own imagination. As for influences of other artists, Tadanori Yokoo and Dali probably influence me the most. I’m also quite interested in astronomy, sci-fi, surrealism, and I buy a lot of books related to these matters. My artistic style came about naturally. It’s a combination of all of these interests.


Neocha: 你觉得对自己影响最大的人或事物是什么?

Ryo Hsu: 除了视觉,对我创作影响最大的恐怕是音乐,因为我从小很喜欢摇滚乐,然后就开始玩乐队,现在算来也有10年了,只是乐队分分合合,大多时候都是自己在玩。音乐本身是一种抽象的艺术,看不见,摸不到,必须完全靠精神去领悟。所以我的作品往往来源于我在听到某些音乐时脑海里所产生的画面感。虽然喜欢摇滚乐,但基本上什么都听,而创作时常听Post-rock、Dream-pop之类的音乐,因为这类曲子没有过多人声和歌词干扰,也就给我带来很多想像的空间。说起艺术家的话,横尾忠则和达利对我的影响是很大的。另外我也对天文、科幻、超现实主义非常感兴趣,会买很多关于天文类的书籍,所以当有一天我开始试着将我所听到的音乐与这些结合起来便是目前的风格。

Neocha: Space is a prevalent theme in your surreal and abstract illustrations. Can you tell us more about that? What is your fascination with space and what does space mean to you?

Ryo Hsu: I’m pretty obsessed with astronomy. I have a lot of astronomy-related books at my house. On clear nights, I like to observe constellations and ponder about the life forms that may exist in distant galaxies or if we’re the only living organisms out there.


Neocha: 太空是你的超现实和抽象插图作品中的一贯主题。能跟我们介绍一下这个主题吗?你为什么对太空如此迷恋?对你而言,太空意味着什么?

Ryo Hsu: 我对天文类的内容非常着迷,家中有天文图鉴和相关知识的书籍,也常常喜欢在晴朗的夜空辨识星座和行星,去猜测离我们遥远的星系有着怎样的生命,还是我们只是宇宙中唯一有生命的群体。

Neocha: What are some recent projects that you’re working on?

Ryo Hsu: Besides my professional work, I like to doodle and sketch in my free time. I recently published a small zine with Bananafish with all the random daily drawings I’ve accumulated. Also, I was fortunate enough to have my work selected for the Chinese version of the Japanese sci-fi novel The Next Continent.


Neocha: 你目前手头上有哪些项目在进行?

Ryo Hsu: 除了正式作品外,我只要有时间,平时都会画点小插画,最近把自己累积的一些日常插画与香蕉鱼合作出了一套小豆本,同时自己的插画也有幸被选中作为日本硬科幻小说《第六大陆》中国版的封面。

Neocha: What is the message that you intend to communicate through your personal work?

Ryo Hsu: In the world as we know it now, humans seem to be the masters. But looking outwards, we’re just a tiny blue planet in the solar system. Even beyond that, there are so many unknown mysteries in the universe and places that we probably won’t be able to reach in many lifetimes. But the pioneers of our world are always endlessly looking to further the exploration of extraterrestrial knowledge. My work aims to express the loneliness between people, the sense of isolation between us the rest of the universe, and the longing to understand the unknown. The universe is deep and infinite. There is so much that we don’t know and so much more for us to explore.


Neocha: 你希望通过自己的作品传递什么样的信息?

Ryo Hsu: 在我们目前已知世界中,人类仿佛成为了主宰,但放眼望去,我们不过是太阳系中的蓝色小小星球,在这之外还有更多未知的世界,也许我们几辈子都无法到达更远的地方,但我们的先驱者总是不懈地去探索地外文明。我的画作中一方面会表达人与人之间的孤独感,人类与之宇宙的孤独感,另一方面也有着对未知世界的憧憬。宇宙深邃无穷,总有各种未知等待我们去探索。

Website: ryohsu.com
Behance: ~/ryohsu

 

Contributor: David Yen


网站: ryohsu.com
Behance: ~/ryohsu

 

供稿人: David Yen

POW! WOW! Taiwan

February 15, 2017 2017年2月15日

 

无法观看?前往优酷

POW! WOW! Taiwan recently held the third installment of its annual festival, organizing live painting, public murals, exhibitions, street art classes, and music performances in the cities of Kaohsiung, Tainan, and Taipei. Bringing together over thirty renowned local and international street artists, the event was a celebration of creativity that not only gave artists the opportunity to showcase their skills, but also increased public awareness about street art’s potential to positively impact communities.


最近,一年一度的POW! WOW! Taiwan迎来第三届艺术节。本次活动包括在高雄、台南和台北三地举办的现场绘画、公共涂鸦、展览、街头艺术班和音乐表演。这一次,他们召集了30多名本地和国际著名的街头艺术家参与这一创意盛事,不仅为艺术家们提供了展现艺术才华的机会,同时让公众意识到街头艺术能为社会带来积极影响的潜力。

FLYFLYFLY & WIP / Photographer: Bana Chen
Photographer: Sean Marc Lee
Luise Ono painting a mural / Photographer: Bana Chen

POW! WOW! Taiwan is part of a series of international POW! WOW! festivals that take place each year in select cities across the world. Initially founded in Hong Kong in 2010, POW! WOW! has since been centered around an annual week-long event in Hawaii and has expanded to cities and countries including Taiwan, Long Beach, Israel, Singapore, Jamaica, Washington D.C., Guam, New Zealand, Germany, and more.


POW! WOW! Taiwan是POW! WOW!国际艺术节的一部分。每年,该活动都会在世界各地城市轮流举办。POW!WOW!于2010年成立于香港,之后每年都会在夏威夷举办为期一周的艺术活动,如今活动已扩展到台湾、长滩、以色列、新加坡、牙买加、华盛顿、关岛、新西兰、德国和其它地市。

Kristopher Ho / Photographer: Bana Chen
SATR / Photographer: Bana Chen
Mural by Felipe Pantone / Photographer: Sean Marc Lee

This year’s POW! WOW! Taiwan featured a special collaboration with Secret Walls, a live street art battle exhibition first started in London in 2006. Using a monochrome color palette of black and white, two teams of artists faced off against each other to create the best pieces. Live music, judging, and a 90-minute time limit pushed artists to collaborate in a competitive setting.


今年,POW! WOW! Taiwan携手Secret Walls推出特别企划。Secret Walls是来自伦敦的“街头艺术擂台”展览,始创于2006年。参赛的两队艺术家分别使用黑白两种色彩作画,看谁能创作出最好的作品。90分钟的时间限制,现场音乐和评判机制推动着这些艺术家在竞争中相互合作。

Photographer: Sean Marc Lee
Photographer: Sean Marc Lee
Photographer: Sean Marc Lee

The POW! WOW! event is inspired by and named after the Native American pow wow, a social gathering held by many Native American communities. Traditional pow wows bring communities together for dancing, singing, art, and fellowship to celebrate and preserve culture. Art and music played central roles in these gatherings, serving as mediums for cultural exchange between tribes and peoples.


POW! WOW!的名字和活动内容来源于美国原住民的社交聚会pow wow。在传统的pow wow上,来自不同社区的原住民一起跳舞,唱歌,创作艺术,建立友谊,一同庆祝和保护原住民文化。在这些聚会上,艺术和音乐发挥了核心的作用,是部落和人们之间文化交流的媒介。

Kristopher Ho / Photographer: Hexails
Photographer: Sean Marc Lee

In keeping with the legacy of Native American pow wows, music also plays a central role in POW! WOW! events around the world. This year’s POW! WOW! Taiwan featured live performances by regional DJs and musicians including SmashRegz, Eggplantegg, LEO37 & SOSS, True & Love, Paige Su, DJ RayRay, Sonia Calico, Rgry, and BenjaminSe7en.


为了传承美国原住民pow wow的传统,在世界各地的POW! WOW!活动中,音乐依然担任着重要的角色。今年的POW! WOW! Taiwan中有来自各地DJ和音乐家的表演,包括SmashRegzEggplanteggLEO37 & SOSS、True & Love、Paige SuDJ RayRaySonia CalicoRgry、和 BenjaminSe7en.

DJ RayRay / Photographer: Sean Marc Lee
Paige Su / Photographer: Bana Chen
Photographer: Bana Chen

After the closing of each year’s POW! WOW!, murals left around the city commemorate the explosion of creativity that occurred across the festival. Through its core tenets of cultural exchange, education, and public participation, POW! WOW! has become the leading global organization for promoting street art around the world. Be on the lookout for POW! WOW! events happening in your area in the future.


每年POW! WOW!闭幕之后,留在城市各地的涂鸦作品为艺术家们的创意大爆发留下纪念。POW! WOW!凭借其文化交流、教育和公众参与的核心宗旨,现已成为世界各地促进街头艺术的代表性组织。下一次POW! WOW!来到您的城市时,可千万别错过了!

Mural by Ahdia One / Photographer: aserktw
Mural by Bounce / Photographer: Sean Marc Lee
Mural by Luise Ono / Photographer: Sean Marc Lee

Website: powwowhawaii.com
Instagram
: @powwowtaiwan
Facebook: ~/powwowtaiwan

 

Contributor: George Zhi Zhao
Images Courtesy of POW! WOW! Taiwan


网站: powwowhawaii.com
Instagram
: @powwowtaiwan
Facebook: ~/powwowtaiwan

 

供稿人: George Zhi Zhao
图片由POW! WOW! Taiwan提供