INORI-PRAYER

April 13, 2017 2017年4月13日

 

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INORI–PRAYER is a collaboration between Japan-based visual design studio WOW Inc., creative production team TOKYO, the Ishikawa Watanbe Laboratory at the University of Tokyo, and iconic dance duo AyaBambi. The project was the brainchild of Nobumichi Asai, the creative director of WOW Inc. Inspired by Yosuke Nagao’s music, Asai felt the music embodied a radioactive, destructive power. Together, the visuals and choreography work together to present a vision of “death, suffering and sadness.”


《INORI–PRAYER》是日本视觉设计工作室 WOW Inc.携手创意制作团队TOKYO,东京大学的石川渡辺研究室以及舞蹈组合AyaBambi一起打造的数码艺术项目。项目由 WOW 创意及技术总监Nobumichi Asai 发起。他在听到Yosuke Nagao的配乐后,深受启发,觉得它象征了一种放射性般的破坏力。通过将视觉效果和舞蹈相结合,表达出“死亡、痛苦和悲伤”的情绪。

One of the main challenges of the project was to ensure that the facial mapping would be precise throughout the entire dance segment. After three months of trial and error, the team managed to reduce the projection delay down to mere milliseconds — this was accomplished through the use of DynaFlash, a state-of-the-art 1,000 fps projector with an ultra high-speed sensing system. The projected images take on the form of a second skin, which continuously distort and transform the faces of AyaBambi’s two dancers throughout the entire performance.


这个项目的主要挑战之一是确保在整个舞蹈环节中获得精确的面部映射。历经三个月的试验后,团队使用最先进的1000fps DynaFlash 超高速传感投影机,成功地将投影延迟减低至数毫秒,投影图像宛如舞者的第二层皮肤,更使得AyaBambi 两位舞者的面孔在整个表演过程中扭曲和变幻出各种图案。

Website: w0w.co.jp

 

Contributor: Whitney Ng
GIFs Courtesy of Prosthetic Knowledge
Image Courtesy TOKYO
Video Courtesy of WOW Inc.

 


网站w0w.co.jp

 

供稿人: Whitney Ng
GIF图由Prosthetic Knowledge提供
图片由TOKYO提供

视频与由WOW Inc.提供

A Seat at the Table

April 12, 2017 2017年4月12日

 

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Japan is a true mecca for dining and local delicacies; the region is renowned for its unique cuisine, which is championed by fresh local produce and exceptional chefs. Although quality restaurants may be bountiful, getting a coveted reservation can be problematic for travelers. Enter TABLEALL – an online platform that aims to bridge the gap between high-end Japanese cuisine and gastronomy lovers.


日本是名副其实的美食圣地,拥有令人垂涎的特色美食。新鲜的食材和顶级大厨,造就了日本独特的美食文化。虽然日本有很多优秀的餐馆,但对于游客来说,预约订座却是令人头疼的问题。TABLEALL网站为这个问题带来了解决办法。这是一个致力在日本高级餐馆和美食爱好者之间搭建桥梁的在线平台。

Throughout his 15 year career at Goldman Sachs, TABLEALL founder Takashi Yamada found himself frequently entertaining clients at top restaurants in Japan. Not only did his patronage enable him to build connections with Japan’s best chefs but it also shed light into the loss experienced by the restaurant when reservations were cancelled at the last minute. Yamada was also frequently called upon by frustrated friends who were exasperated by Japan’s non-inclusive methods for booking reservations. All of these factors paved the way towards the lightbulb moment of creating TABLEALL.


TABLEALL创始人山田隆(Takashi Yamada)在高盛(Goldman Sachs)任职15年期间,经常会到日本的高级餐馆招待客户。这些经历让他结识了众多日本最顶级的厨师,同时也让他明白到许多餐馆常常会因为客人在最后一刻才取消预订遭受损失。此外,山田隆也经常会听到朋友抱怨日本餐馆太难订座。所有这些因素加在一起,让他最终产生了创建 TABLEALL 这个平台的想法。

“I knew there had to be a better way. The experience of Japan’s rich food culture is something I love about the country, and is one of the leading causes of tourism, but it is often too inaccessible. Tourism and inclusiveness are very important for Japan’s sustainability. I see TABLEALL as my contribution to Japan’s future.” 


“我觉得应该有更好的方式(预约订座),日本丰富的饮食文化是我热爱这个国家的原因,也是当地旅游业的主要吸引力,但有时要品尝到美食并不容易。旅游业和包容性对日本的可持续性发展有非常重要的意义。对我来说,TABLEALL 算是我对日本未来发展的一点贡献吧。”

Instead of charging for membership, TABLEALL only requires diners to pay a small booking fee per reservation. The platform currently offers the following features:

  • User-friendly English platform
  • Curated list of acclaimed Japan-based restaurants
  • Quality photography and in-depth articles about each listed restaurant
  • Insight into individual chefs and the stories behind their signature dishes
  • Send private messages to the chef to share feedback and build rapport

TABLEALL没有采用收取会员费的模式,而是按每次预订向食客收取小额的预订费用。这个平台目前有以下这些功能:

  • 用户友好的英文平台
  • 一系列最负盛名的日本餐馆
  • 以优质的摄影图片和深入的文章介绍每一间餐馆
  • 关注每一位厨师以及他们的招牌菜背后的故事
  • 可以发送私人讯息给厨师,分享反馈,建立联系

Some of the restaurants that are already available through TABLEALL include Michelin-starred establishments, such as Tempura Uchitsu, Ginza Sushi Kanesaka, Karyu, Higuchi, Sushi Arai and Tempura Motoyoshi. The platform is a true game changer for travellers, allowing the agenda to switch from “where can I get in?” to “where shall we choose today?”


目前,TABLEALL平台上的餐馆包括了一系列米其林星级餐馆,如 Tempura Uchitsu, Ginza Sushi Kanesaka, Karyu, Higuchi, Sushi Arai和Tempura Motoyoshi。对于前往日本的游客来说,这个平台可谓是一个重大的发明。现在他们不需要再问“我可以去哪家餐馆吃饭?”,而是问“我们今天要选哪家餐馆吃饭呢?”。

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

 

Contributor: Whitney Ng
Video and Images Courtesy of TABLEALL


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

 

供稿人: Whitney Ng
视频与图片由TABLEALL提供

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The City is a Creature

April 11, 2017 2017年4月11日

South Korean street artist Junkhouse believes that everything in existence is alive – and she literally means everything. From old buildings to street signs, she sees life in inanimate objects that people normally wouldn’t look twice at. Living in Seoul, she’s observed and experienced the city’s redevelopment over the last decade. In the city’s evolution, she’s come to see Seoul as one enormous organism, an ever-changing and evolving entity, one that has lent an undeniable influence on the direction of her own artistic style.


韩国街头艺术家Junkhouse认为,存在的一切都是有生命力的。从旧建筑到街道标志,她从人们过眼即忘的无生命物体中看到生命。生活在首尔的她见证并亲历了这座城市在过去十年中的重建。在她眼中,首尔是一个巨大的有机体,这座不断演变的城市,就是一个不断变化和进化的存在,这一点对她的艺术风格产生了不可磨灭的影响。

Junkhouse says the monsters and mutants who lurk in her work are reflective of the city’s never-ending metamorphosis. “They match the city’s continuously changing environment,” she explains, pausing. “I suppose that’s also why my work has become more abstract.” Whether on random street corners or in an art gallery, the signature aesthetic of Junkhouse’s artwork is unmistakable: bright colors and amorphous shapes, all of which swirl together and bring to life the strangely adorable creatures of her imagination.


Junkhouse说,潜藏在她作品中的怪物和异形代表了这座城市永无止境的演变。“他们反映了首尔不断变化的环境,”她解释道,沉默了一会儿,又补充道:“这可能也是我的作品越来越抽象的原因。”无论是在某个街角创作的作品,还是在艺术画廊举办的展览,Junkhouse的作品都具有一种独特的美学风格:明亮的色彩和奇特形状相结合,将她脑海中那些可爱、奇异的生物栩栩如生地呈现出来。

In her ongoing project City Life, Junkhouse transforms the seemingly insentient objects of cities – from drab walls to industrial machinery – into cheerful creatures. “I carry around stickers of eyes, noses, and mouths every time I visit a new city or a new neighborhood so that I can meet new creatures and give them life,” she says. “Everything differs in size and shape, so they take on a completely different entity even if I put the same eyes, nose, and mouth on them. If anyone meets any of my urban creatures on the streets, I hope they’ll recognize that were here this whole time.”


在她目前创作的项目City LifeJunkhouse将城市里看似无生命的物体(从普通的墙壁到工业机械)改造成充满快乐气息的“生物”。她说:“每次我去到一个新的城市或新的社区,我都会随身携带眼睛、鼻子和嘴巴图案的贴纸,这样,我就能够在发现到新的‘生物’时通过创作,给予它们生命。它们的尺寸和形状都不尽相同,所以即使我给它们放上相同的眼睛、鼻子和嘴巴,它们也是完全不一样的。如果有人在街上遇到我在城市里创作的‘生物’,希望他们能够认识到,这些‘生物’其实一直都在那里。”

“There isn’t as much street art or as many street artists as you’d think in Seoul or Korea,” she says, dejectedly. “Seoul is actually a difficult place for street art due to the characteristics of the buildings, and since this art can’t be seen, it’s not easy for people to experience. Even though various subcultures have evolved over time and there are more artists now, the growth is slow and it’s hard for their work to reach more people.” This is part of the reason that Junkhouse prefers the streets over gallery spaces, despite the numerous successful exhibitions she’s held over the years. With each trash can, derelict building, or crumbling wall that she brings to life, she’s making art that much more accessible and approachable for everyday people. “Sure, it may be comfortable inside a gallery, but there’s a lot of stress when creating for an exhibition. On the streets, the weather may be unpredictable and it may be uncomfortable, but I feel a lot more relaxed. More importantly, if your work is in the streets then more people will get to see it.”


然后,她有点沮丧地说:“在首尔,或者说在整个韩国,其实街头艺术家并没有你想像的那么多。由于这里建筑的特点,在首尔创作街头艺术并不容易,而由于这种艺术的不常见,人们很少有机会体验这种艺术。虽然,各种亚文化在逐渐发展,现在也出现了更多的艺术家,但发展的速度很慢,很难让他们的作品接触到更多的人。” 这也是Junkhouse更喜欢在街头创作艺术,而不是在画廊办展的原因之一,尽管她多年来已经举办的许多展览都很成功。她通过自己的创作,让垃圾桶、废弃的建筑物或那些摇摇欲坠的墙壁焕现生命力,让大众有更多机会来接触这种艺术。“虽然在画廊里很舒服,但是要创作一整个展览时压力会很大。而在街上,天气可能变幻莫测,环境也不如画廊舒服,但我觉得很放松。更重要的是,与画廊相比,在街头创作能让更多的人看到你的作品。”

Website: junkhouse.net
Facebook: ~/junkhouse.sue
Instagram: @junkhouse_

 

Contributor: David Yen
Images Courtesy of Junkhouse


网站: junkhouse.net
脸书: ~/junkhouse.sue
Instagram: @junkhouse_

 

供稿人: David Yen
图片由Junkhouse提供

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A Window into the Future

April 10, 2017 2017年4月10日

In 1981, Nike hired an architect named Tinker Hatfield to design their Oregon offices. Today, Hatfield is widely regarded as a legend in design – except this prestige isn’t attributed to his architectural work. Observing parallels between architecture and sneakers, Hatfield came up with the idea for a pair of sneakers that revealed the cushioned pouch hidden inside of the sole, a technology that had been introduced back in 1978. Despite initial opposition and doubts, Hatfield’s vision came to life in the form of the Air Max 1 in 1987, a sneaker that went on to become one of the most iconic running shoes of all time.


1981年,Nike邀请建筑师Tinker Hatfield设计位于俄勒冈的办公室。现在,Hatfield被誉为设计天才,却并非因为他的建筑作品。Hatfield观察到建筑与运动鞋之间的相似之处,提出了一个想法:让隐藏在鞋底内的气垫直接显露出来(气垫技术最早出现在 1978年)。尽管Hatfield的这个想法在最初遭遇了很多反对和质疑,但最终在1987年得以实现,并被应用于打造Air Max 1。直至今日,Air Max 1依然是历史上最经典的运动鞋之一。

As part of the recent Air Max 30th anniversary, Nike unveiled the next chapter of the Air Max saga – the Nike Air VaporMax – a sleek and futuristic iteration of the Air Max. Built with the knowledge from three decades of experience, the VaporMax strips away the rubber and foam of traditional sneaker soles, leaving only bare cushioning units. To celebrate this new release, and by extension, Hatfield’s innovative spirit, Nike invited a new generation of up-and-coming artists – including many from China, Hong Kong, and Taiwan – to present their vision of the future in an exhibition called The Vision-Airs.


作为Air Max 30周年庆祝活动的一部分,Nike推出Air Max传奇的全新篇章——Nike Air VaporMax。作为最新一代的Air Max运动鞋,VaporMax的设计线条流畅,充满未来感,凝聚品牌30年的气垫运动鞋历史,并抛弃了传统运动鞋鞋底的橡胶和泡沫层,只留下气垫单元。为了庆祝VaporMax的推出,致敬Hatfield的创新精神,Nike举办The Vision-Airs展览,邀请来自中国大陆、香港和台湾的多名新晋艺术家,展示他们眼中的未来。

The exhibition made its first appearance at this year’s Art Basel Hong Kong with a showcase of experimental works by talented Asian fashion designers, including Anais Mak of the well-established Hong Kong fashion brand Jourden and numerous emerging Chinese fashion designers such as Fengchen Wang, Wanbing Huang, and Shizhe He. In addition to fashion designers, Nike also invited Hong Kong-based multimedia artist Chris Cheung (aka h0nh1m) to take part in the exhibition. Playing with the concept of vaporization and the idea of the human body being an orchestra, Cheung created “VaporScape,” an interactive installation that detects the room’s humidity and skin temperature of the audience and translates the information into ambient sounds.


The Vision-Airs展览在今年的香港巴塞尔艺术展览会(Art Basel Hong Kong)首次亮相,展示了由才华横溢的亚洲时装设计师打造的实验性作品,包括著名香港时尚品牌Jourden的设计师Anais Mak,以及多名新晋中国时装设计师,如Fengchen WangWanbing Huang和Shizhe He。除了时装设计师,Nike还邀请了香港跨媒体艺术家Chris Cheung(又名 h0nh1m)的参与。Chris Cheung将人体变为管弦乐队,融合蒸汽理念,创造了交互式装置“VaporScape”,通过侦测室内的湿度和观众皮肤的温度,将这些信息转化为音频。


 

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As The Vision-Airs concludes in Hong Kong, the Shanghai edition begins. With an equally futuristic aesthetic, the Shanghai exhibition showcases collaborative pieces that weren’t displayed during Art Basel Hong Kong, including collaborations with influential creatives – all of whom are innovators in their respective fields – such as Taiwanese architect and engineer Arthur Huang, Australian industrial designer Marc Newson, and Italian fashion designer Riccardo Tisci.


The Vision-Airs展览在香港落幕后,来到了上海,展览延续同样充满未来感的美学风格,并展示了一些香港巴塞尔艺术展览会上没有展出的作品,其中包括由不同领域的创意人才合力打造的作品,如台湾建筑师和工程师Arthur Huang、澳大利亚工业设计师Marc Newson和意大利时装设计师Riccardo Tisci。

For sneakerheads who didn’t get to drop by the exhibition in Hong Kong, The Vision-Airs is on display at NikeLab X158 until April 13th.


The Vision-Airs展览将于上海X158 NikeLab举办,直至4月13日,错过了香港展览的sneakerheads(球鞋文化热爱者)不妨去参观一下吧!


 

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Address:
158 Xinle Lu
Xuhui District, Shanghai
People’s Republic of China

Hours:
12:00 ~ 22:00

Tel: +86 021-64260321

 

Contributor: David Yen
Images Courtesy of NikeLab & h0nh1m


地址:
新乐路158号
中国
上海徐汇区

营业时间:
12点至晚上10点

电话号码: +86 021-64260321

 

供稿人: David Yen
图片由NikeLab与h0nh1m提供

Painting Without a Paintbrush

April 6, 2017 2017年4月6日

 

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Known for “painting without a paint brush” and creating masterpieces from unconventional items, Malaysian artist Red Hong Yi has amounted an impressive portfolio of larger than life portraits consisting of some of Asia’s most prominent figures. From the humble teh tarik man, to megastars like Jackie Chan and Jay Chou, and even Singapore’s national symbol, the Merlion, Red has used unorthodox items, such as tea bags, coffee stains, and sunflower seeds, to create symbolic portraits that are astounding in both scale and detail.


马来西亚艺术家Red Hong Yi 被大家称为“不用画笔绘画”的画家,原因是她总能想到出其不意的材料来创作,茶包、瓜子,甚至是咖啡杯底残留在纸上的咖啡渍,都成为了她绘画的“颜料”。她用这些我们日常生活中随手可得的材料,创造出一幅幅以著名亚洲人物为原型的大型肖像作品。从马拉西亚街头的“拉茶人(teh tarik man)”,到超级巨星成龙和周杰伦,再到新加坡的国家象征鱼尾狮。这些画作通常竖立起来比Red的个子还高,但当你走近细看,就会发现Red在创作大画幅作品的同时,也保留到它精致的细节,让人过目不忘。

Ai WeiWei with Sunflower Seeds (2012)
Open Your Eyes (2017)

Ai Wei Wei – Sunflower Seeds

The portrait that started it all was her sunflower seed tribute to Chinese contemporary artist Ai Wei Wei. Red completed this “painting” in an old Shanghainese shikumen alleyway with seven kilograms of sunflower seeds – five years later, she revived this portrait using 20,000 sunflower seeds to create her second Ai Wei Wei portrait, entitled Open Your Eyes.


艾未未,材料: 葵花籽

作为她的第一幅巨型肖像作品,她用葵花籽描绘出中国当代艺术家艾未未。Red 在上海一个传统石库门弄堂完成了这个作品,一共使用了7公斤的葵花籽。5年后,她再次创作艾未未的画像,这一次,她一共使用了20000颗葵花籽,并将作品命名为《睁开你的眼睛》(Open Your Eyes)。

Zhang Yimou – Socks and Pins 

During Red’s time in Shanghai, she also completed another portrait in one of the city’s iconic shikumen alleys. To depict the face of Chinese filmmaker Zhang Yimou, Red used pins to piece together an array of monochromatic socks, which were then hung on bamboo poles much like how locals hang their laundry.


张艺谋,材料: 袜子和别针

在上海的时候,Red还在另一处标志性的石库门弄堂完成了另一幅肖像作品——中国著名导演张艺谋。Red用别针把一堆单色袜子拼凑在一起,然后像当地人晾衣服一样,挂在竹杆上。

Yao Ming – Basketball and Red Paint

Armed with a basketball and a pail of paint, Red bounced her way into creating a patterned portrait of Chinese basketball superstar Yao Ming.


姚明,材料: 篮球和红色颜料

带着篮球和一桶颜料,Red 用篮球“拍”出中国篮球巨星姚明的画像。

Dato’ Lee Chong Wei – Shuttlecock Feathers

This high contrast profile of Malaysian Dato’ Lee Chong Wei, a World No. 1 professional badminton player, was put together with 1,800 shuttlecock feathers to celebrate his face off with Chinese player Lin Dan at the World Championships in Guangzhou.


拿督李宗伟,材料: 羽毛球的羽毛

为了描绘马来西亚的世界头号羽毛球选手李宗伟,Red用1800条羽毛球上的羽毛,拼贴出一幅高对比度的肖像作品,以纪念李宗伟和林丹在广州世界锦标赛上的对决。

Jay Chou – Coffee and Coffee Cups

Red’s portrait of Taiwanese pop megastar Jay Chou is one of her more symbolic works. “This project was inspired by the opening and closing lines in Jay Chou’s song ‘Secret.’ The opening line is about lifting a coffee cup from a saucer and the last line of the song is about autumn leaves and fragmented pieces.” She used hundreds of imperfect individual coffee stains to form Jay Chou’s portrait, likening them to the falling autumn leaves mentioned in “Secret.” The portrait took 12 hours to complete – Red said that coffee is one of her more temperamental mediums to date, as it was challenging to achieve the perfect consistency and required it to be applied in layers.


周杰伦,材料:咖啡和咖啡杯

Red为台湾流行巨星周杰伦创作的画像是她最著名的作品之一。“这个作品的灵感来自于周杰伦的歌曲《不能说的秘密》开头和结尾的歌词。歌曲开头是‘冷咖啡离开了杯垫’,而最后有关秋叶和碎片的歌词是‘飘落后才发现这幸福的碎片,要我怎么捡?’。“她用数百个形态各异的咖啡渍,描绘出周杰伦的画像,而咖啡渍代表了《不能说的秘密》中提到的秋天的落叶。这幅作品用了12个小时才完成。Red 说,咖啡是她目前使用过的创作媒介中最变幻无常的一种。因为很难获得完美的一致性,她往往需要反复多层印绘才能达到效果。

 

Aung San Suu Kyi – White Carnations and Red Food Dye

“I didn’t sleep the whole night thinking of how to capture Aung San Suu Kyi’s great aura, dedication, strength, determination, compassion, intelligence, courage, poise, and gracefulness in a portrait. I wanted a portrait that not only captured her political eminence but also her beauty and love for her father, and his for her.” Red experimented with flowers and food dye for an entire month before creating her portrait of the Burmese Nobel Prize winner.

 


昂山素季(Aung San Suu Kyi),材料: 白色康乃馨和红色食品染料

“创作这幅作品时,我一整夜没有睡觉,一直在思考,怎样才能在一幅肖像作品中,捕捉住昂山素季的非凡光环——她的奉献精神、坚强、坚定、慈悲、智慧、勇气、风度和优雅的气质。我希望这幅肖像作品不仅能体现她的政治地位,同时展现出她的美丽,以及她与父亲之间的爱。”Red先用鲜花和食物染料反复实验了整整一个月,才开始为缅甸诺贝尔奖得主昂山素季创作这幅肖像作品。

The Merlion – Disposable Bamboo Chopsticks and Fire

The crown jewel of Facebook’s Singapore-based office is giant wall mural consisting of 15,000 disposable chopsticks, which were layered and torched to reveal the country’s national icon overlooking some of Singapore’s most recognizable sights.


鱼尾狮,材料: 一次性竹筷和火

这幅用15000支一次性竹筷拼贴的巨型作品,被固定在Facebook的新加坡总部办公室的墙上。通过分层排列,用火焚烧上色,Red描绘了新加坡的著名标志和最知名的景点。

Teh Tarik Man – Tea Bags

Touted as a quintessential Malaysian everyday hero, the teh tarik man is a namesake of Red’s Southeast Asian upbringing. Teh Tarik means “pulled tea” in Malay and is a traditional beverage that is comprised of sweet and frothy milk tea. Over ten shades of brown and 20,000 tea bags were used – in the end, this homage to her homeland weighed a whopping 200 kilograms.


《拉茶人》,材料:茶包

拉茶人被视为代表马来西亚特色文化的“民间英雄”,同时也代表着Red的东南亚文化背景。“Teh Tarik“是马来语“拉茶”的意思,是当地一种传统奶茶饮料。这幅致敬她的家乡的作品一共使用了20000个茶包,形成 10多种深浅不一的棕色色调,重达200公斤。

Jackie Chan – Disposable Bamboo Chopsticks

To commemorate Hollywood legend Jackie Chan’s 60th birthday, Red collected 64,000 disposable chopsticks from around Zhejiang and in Beijing to create his portrait. The chopsticks were grouped together with string and placed in sequence along a metal frame, alongside 60 bamboo chopsticks holders that were intricately filled with skewers to form the Chinese word long, which is Jackie’s first name in Mandarin Chinese.


《成龙》,材料: 一次性竹筷

为了纪念传奇影星成龙的60岁生日,Red 在浙江和北京两地收集了64000支一次性筷子,创造了这一幅肖像作品。她用细绳将筷子捆在一起,在一个金属架上排列出成龙的肖像,又在旁边排列了60个竹制筷子架,里面装满了长竹签,组成成龙名字中的“龙”字。

Many of Red’s portraits have received international acclaim and widespread media attention, allowing her to put a spotlight on Asia-based figures through her art. Her works are influenced by both her Malaysian upbringing and her current surroundings. Her time in Shanghai even helped to shape her unique style by opening up her world to a plethora of readily available raw materials. Most recently, Red has created series of #flowerbombing collage style portraits, which celebrate an admirable group of women in arts and entertainment, including the likes of Kiko Mizuhara, Liu Wen, Michelle Obama, Emma Watson and Alicia Keys.


Red 的肖像作品备受国际赞誉,吸引了广泛的媒体关注,让她得以通过自己的艺术,致敬亚洲地区的著名人物。在马来西亚成长的经历和如今在上海的生活,都对她的作品产生了重要的影响,也正是在上海生活的期间,她形成了自己的独特风格,因为这里有大量的现成材料。最近,Red创作了#flowerbombing系列的拼贴风格肖像作品,致敬在艺术和娱乐行业有着杰出成就的女性,其中包括水原希子、刘雯、 Michelle Obama、Emma Watson和 Alicia Keys。

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

 

Contributor: Whitney Ng
Images Courtesy of Red Hong Yi


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

 

Contributor: Whitney Ng
图片由Red Hong Yi提供

Behind the Shoulders of Saigon

April 5, 2017 2017年4月5日

Students in uniform heading home after a day of classes, riding on the back of their parent’s motorcycles; a cyclist delivering takeout, masterfully steering with one hand and balancing a tray of steaming hot food on the other; and a pickup truck loaded with furniture heading to their third destination of the day. These are all-too-common scenes in the busy streets of Ho Chi Minh City, and graphic designer Maxk Nguyen revels in this frenetic energy. Finding inspiration in this hustle and bustle, Nguyen and his team created the Sài Gòn sau vai, which presents unconventional portraits of the city’s busy inhabitants as a series of beautiful illustrations. “Here in Saigon, every time I step out into the street, I see someone’s back. Even though I do not see their faces, they all bring me endless inspirations.”


放学后跨上摩托车顺路回家的同班同学,一手把着方向盘一手举着托盘穿梭在人群里的“外卖高手”,满载家具的小货车一脚油门赶往今天的第三个目的地。这座城市到处都是匆匆而过的人,还没留意看清楚,就已经从你旁边擦身而过了。居住在越南胡志明市的设计师Maxk Nguyen,钟情于这些匆忙的背影,他选择了这个与容易被人忽略的角度,和他的团队一起创作了这个名为《Sài Gòn sau vai》插画作品。“在西贡,我每次走上街,眼前仿佛都是一个个或匆忙或优雅的背影,虽然我不曾看清他们的正脸,但这些背影也给我带来了无限的想象。”

Instagram:
@maxknguyen
@8rebornstudio

Behance:
~/maxknguyen
~/8Rebornstu3829

Facebook:~/ Maxknguyen91

 

Contributor: Ye Zi 


Instagram:
@maxknguyen
@8rebornstudio

Behance:
~/maxknguyen
~/8Rebornstu3829

脸书~/ Maxknguyen91

 

供稿人: Ye Zi

DERIVE

April 4, 2017 2017年4月4日

Cody Ellingham is a designer and art director based in Tokyo, Japan. After moving to Tokyo in 2012, he became mesmerized by “the urban landscape and neon fantasies of the world’s first cyberpunk city.” His multimedia project DERIVE uses reflection and unique perspectives to explore his experience of the metropolis.


Cody Ellingham是居住在日本东京的设计师和艺术总监。 2012年搬到东京后,他被“世界第一个赛博朋克(cyberpunk)城市的霓虹灯夜景”迷住了。他的多媒体项目——《DERIVE》,使用反射和独特的视角探索着他在这个大都市的生活。

Website: cbje.jp
Facebook: ~/derive.tokyo
Instagram: @cbje_tokyo

 

Contributor: George Zhi Zhao


网站: cbje.jp
脸书: ~/derive.tokyo
Instagram: @cbje_tokyo

 

Contributor: George Zhi Zhao