Manhole Covers in China

November 14, 2017 2017年11月14日

Have you ever paid attention to what the manhole covers in your city look like? Maybe you’ve noticed that they don’t all look the same – they might be different for natural gas, for running water, for sewage, or for electrical cable systems. Manhole covers actually play many different roles, and their artistic designs are often ignored.

Captivated by manholes covers, street photographer Horsefly1988 created a photo project centered around his observations (filing the project under a Chinese hashtag that translates to #snappingrandommanholecovers). Since 2015, he’s toured almost thirty cities across China, amassing a collection of around 300 photographs of unique manhole covers. As to why he chose this particular hobby, he tells us with candor: “Manhole covers are a part of the city, and those that are well designed bring beauty to their surroundings.” In the interview below, he shares more about why he’s so fascinated by these overlooked manhole lids.


热衷拍井盖的业余街拍摄影师 黑乌鸦的嘴 ,开了个私人摄影项目 #携机乱拍窨井盖# ,自2015年至今,他跑过了全国各地将近30个城市,现在已经集齐将近300只形色各异的窨井盖。对于为什么想拍窨井盖这个问题,他坦然地告诉我们:因为窨井盖也是城市的一部分,美丽的井盖能给城市增色不少。但对于常常被人忽视的窨井盖,他还有更多想要和我们分享的故事——

Neocha: Out of all the manhole covers you’ve photographed, which one stands out the most?

Horsefly1988: There’s the one with double dragons from a water utility company in Wuhan. It was actually huge, with a diameter of about 70 centimeters! And this was a manhole cover that I came across early on in my project. I considered it a real milestone. For most people, they probably think of manhole covers as boring, and it was even hard for me to find interesting ones when I first got into photographing them. But after finding that particular one, I began finding more and more good ones, it was like a valve suddenly being opened.

Neocha: 拍了这么多窨井盖,让你印象最深刻的是哪个?

黑乌鸦的嘴: 武汉自来水公司的,双龙的那个。它其实很大,直径大约70厘米!而且这是我开始拍井盖没多久遇到的一个有趣的井盖,可以算是一个里程碑吧。你知道井盖在普通人看来比较无趣,我开始拍的时候也没遇到多少好看的。但自从发现了这个,后面发现的就很多了,感觉像打开了阀门。

Neocha: What kind of manhole covers are you personally drawn to?

Horsefly1988: My favorites are the ones that incorporate Chinese cultural elements, such as Chinese dragons and more ornate patterns. Next are the ones with interesting landmarks, and then it’s the ones with beautiful textures. It’s pretty difficult to find one that have all three of these traits, but I’m still hopeful that I’ll find more. There’s the one with the Shenyang Imperial Palace on it that combines all of these characteristics, I guess it counts.

Neocha: 你个人比较喜欢怎样的窨井盖?


Neocha: Have you ever looked into who designed or manufactured these manhole covers?

Horsefly1988: I’ve thought about it before, but most of the time I wasn’t able to figure out exactly how to go about it. All of these manhole covers have designers, perhaps on the manufacturer side, or an engineer from the city government. Last year at Shanxi’s Datong Huayan Temple, I took a photograph of a manhole cover and looked into it a bit. It had what appeared to be English script written on it, and no matter how I tried, I couldn’t decipher what it said. After awhile I tried a different approach and used a translation app to look up the word “REGISTRO” and realized it wasn’t English but Spanish. One of my readers, Fein, helped to decipher the text as “Ayuntamiento de Madrid alcantarillado,” indicating that it was made for the Madrid sewage system. I made an educated guess that this cover was from an order of manhole covers that Madrid made to have manufactured in China, and for some reason they were made defective, so the Madrid contractees decided to just leave them to Datong city. After following these clues, I found the original manufacturer in Shanxi and sent an email to them inquiring about the matter, but I haven’t received a response yet.

Neocha: 有没有尝试调查过这些井盖是由谁设计和制作的?

黑乌鸦的嘴: 这个曾经想调查,但不知道如何下手。应该都有人设计,也可能是井盖制造厂设计的,也可能是市政工程师设计的。
我去年在山西大同华严寺旁边拍到过一个窨井盖,算是调查过一下。那个窨井盖上面有一串英文字样,我怎么断句都没有成功。后来我突然开窍,拿翻译软件输入了“REGISTRO”,发现是西班牙语,一位读者Fein帮忙确定断句应该是“Ayuntamiento de Madrid alcantarillado”,西班牙排水的意思。我果断地猜测这是马德里市政在中国订购的井盖,因为做错了,厂家把这些残次品处理给了大同。然后我根据线索一直找,应该算找到了当时做这个井盖的山西供应商吧,发邮件去咨询了,但是至今还没有回复。

Neocha: In all of the cities you’ve visited, which one has the best manhole covers?

Horsefly1988: I feel like the developed coastal port cities always hold surprises. Presently, Wuhan, Beijing, and Dunhuang are the cities where I’ve discovered the most interesting manhole covers.

Neocha: 在你现在拍过的窨井盖中,哪个城市好看的窨井盖最多?

黑乌鸦的嘴: 我觉得以前开放口岸的城市井盖都会给人惊喜。目前在武汉、北京拍到的好看的最多,然后敦煌也发现不少。

Neocha: What kind of role do you think manhole covers play in the greater context of the city?

Horsefly1988: I think that they’re like the finishing touches of a city. If a city has developed to the point that it can consider something like the designs of manhole covers, then it says something about how well-managed that city is. If a city hasn’t developed too well, but their manhole covers are well designed, then it says something about the cultural inclinations of the city government.

Neocha: 你觉得窨井盖在城市文明中扮演怎样的角色?

黑乌鸦的嘴: 井盖应该是扮演着一个点睛的角色,如果一个城市的文明都已经考虑到用井盖来体现了,说明这个城市的管理基本面已经比较到位了;如果一个城市管理还未到位,然而他们的井盖却很有趣,说明这个城市的管理者有一定的人文情怀。

Horsefly1988’s ongoing #snappingrandommanholes project continues to bring attention to these neglected, metallic works of art, hopefully inspiring more people to be mindful of the beautiful details that can be found in their own cities, which might just very well be right beneath their feet.

黑乌鸦的嘴的私人摄影项目 #携机乱拍窨井盖# 依然还在进行中,这些我们脚下被忽视的铁皮画布所呈现的美,也让越来越多行色匆匆的人停下了脚步,去留意和记录以往不曾发现的城市细节。



Contributor: Chen Yuan



供稿人: Chen Yuan

Inkee Wang’s Strange, Quirky World

November 13, 2017 2017年11月13日

A master’s graduate from the Royal Academy of Arts in London, Inkee Wang is a Shanghai-based illustrator with a lovable and colorful style. Her quirky sense of humor shines through in her characters and their strange, elongated limbs. In recent years alone, she’s collaborated with notable publications and brands such as Bloomberg, Art Bazaar, and ONE.

从伦敦皇家艺术学院硕士毕业的Inkee Wang(王颖琦)目前居住于上海。她的插画风格很受欢迎,活泼欢乐的主题、长手长脚的画中人,怎么看都有一种奇妙的幽默感。近年来,她与Bloomberg、Art Bazaar、“一个”及其他各大商业或文艺媒体都有过合作。

With regard to her unique style, Inkee tells us that it developed almost accidentally. “My older works were more rigid because I was just learning how to use the Path tool in After Effects and creating twisting motions was the best way to express this tool’s features so I created a dancing black cat. The long limbs came about because I thought they were aesthetically pleasing.” Inkee has always enjoyed sharing the untold stories of different individuals. While the characters in her works are not necessarily direct portrayals of people in real life, they’re nevertheless subtly inspired by the mannerisms and personality traits of the people that surround her.

对于这样的诙谐画风,Inkee表示它来自偶然,“我之前的画比较僵直,因为那时候我刚学会在 After Effect 里面用 Path 做动画,扭动比较能体现这个工具的特征,所以就创作了一只舞动的黑猫。而长手长脚是因为我觉得相对有美感。” Inkee一直想要展现人物背后的小故事,画中的人们在现实生活中虽然没有一对一的参照,但其性格特征、说话方式,都会受到长期生活的身边人所影响,所以也都会在她的画中潜移默化地展露出个性。

For Inkee, inspiration comes mostly from people and plants. Even in a piece that was clearly themed around music, Inkee is able to find a way to incorporate her favorite subject matter. “I wanted to use the boiling of of my four favorite vegetables to depict the rhythmic qualities of music – together, they become a healthy and tasty quartet.” (QUARTET was featured in the Soft Candy manga series published by ONE)


From attending school to working full-time, Inkee has persevered with her illustrations. “The most simple reason is that I like it,” she says. Inkee describes herself as “still having a lot of questions about the world” and plans to improve on her visual storytelling, learn more about 3D art, and create more works by hand. But for now, Inkee says that her most important task at hand is to read more books so that she can satisfy her sense of curiosity.


: ~/InkeeWang


Contributor: Chen Yuan

: ~/InkeeWang


供稿人: Chen Yuan

East x West with Bohan Phoenix 用嘻哈给生活加点辣

November 10, 2017 2017年11月10日



For Chinese American rapper Bohan Phoenix, the subject of identity is thematically central to his music. Having spent his formative years in the U.S., the Hubei-born rapper has gained a sharp insight into both cultures that he channels through his bilingual lyrics. Bohan’s music – which often touches on positive, universal messages of love, acceptance, and pride – is a way for him to reconcile his Eastern and Western identities as well as narrow the cultural divide between the two different worlds.

对于美国华裔说唱歌手Bohan Phoenix来说,身份认同是他音乐的核心主题。这位出生于湖北、在美国成长的说唱歌手在美国和亚洲地区越来越受欢迎。他所创作的双语歌词,正是他跨文化成长背景的体现。Bohan的音乐大部分都是在传递爱与接纳、忠于自己等正能量信息,他希望通过自己的音乐来缩小东西方文化的鸿沟,并以此调和自己介于这两种文化间的身份认同。

Take a listen to select tracks from Bohan Phoenix below:

Bohan Phoenix – PRODUCT (prod. Yllis)
Bohan Phoenix – EASTSIDE (prod. Drummy)
 Bohan Phoenix – 3 DAYS IN CHENGDU (prod. Jachary Beats)

下面是Bohan Phoenix的几首精选歌曲:

 Bohan Phoenix – 一摸一样 (prod. Yllis)
Bohan Phoenix – 东边 (prod. Drummy)
 Bohan Phoenix – 回到成都 (prod. Jachary Beats)

This cross-culture pollination has gifted Bohan a versatility and open-mindedness that’s abundantly evident on the JALA EP released earlier this year. From “EASTSIDE,” an AutoTuned R&B song with Bohan singing instead of rapping, to “NO HOOK,” a trapped out collaboration with Chengdu’s Higher Brothers, Bohan’s sound is not only reflective of his cultural influences but also of the diverse musicians who have inspired him over the years, a list that includes the likes of Jay Chou, Eminem, 2Pac, and D’Angelo. The final song of the EP, “3 Days in Chengdu,” introduces listeners to an introspective side of Bohan. Delivering the opening verse completely in Chinese, Bohan speaks of missing his late grandmother and shares an apologetic confession for not finding the time to call his mom more often. But it’s not just the intro, Chinese lyrics throughout the song display a sense of emotional vulnerability that has often been avoided in the Western mainstream hip-hop of recent years. “Being a rapper in America, there are certain things that come with it,” Bohan says. “You have to act or look a certain way and it can’t be compromised all that much. There’s less emphasis on some of the macho parts of Western hip-hop in China. But stereotypes within the genre are starting to change now in the West as well.”

在今年早些时候发布的《加辣》EP中,Bohan借助自己的跨文化背景大玩了一番。从大量Auto-Tune处理的R&B歌曲《东边》,到与成都说唱组合Higher Brothers合作的《NO HOOK》,你能感受到他的音乐受到不同类型的音乐人影响,包括周杰伦、Eminem、2Pac和D’Angelo。而EP的最后一首歌曲《回到成都》,Bohan放慢了节奏。歌曲开头以中文演绎,讲述Bohan对自己已故姥姥的思念,以及对于太少抽时间给母亲打电话的歉意。这段歌词所透露的脆弱情感,在近年来的西方主流嘻哈文化中难得一见。Bohan表示:“美国的说唱歌手,有时候会有一些不言而喻的要求,你的行为和造型似乎都要遵循某种标准,这一点你不能有太多的自由。但中国嘻哈不一样,没有像西方嘻哈中那样非要强调这种男子气概。当然,在现在的西方嘻哈,这种现象也开始改变了。”

With the recent conclusion of his JALA Asia Tour, Bohan has now officially moved back to China, and joining him is his DJ, longtime collaborator, and close friend Allyson Toy. For Bohan, this move was first and foremost about being closer to family. Secondary to that, both him and Allyson want to be involved in China’s music scene, seeing it to be a refreshing change of pace from the oversaturated music scene that left them feeling jaded in New York. “Having the courage to move back to China and experience a different side of things has been a big milestone for me,” Bohan tells us. “Howie Lee has talked to me about the Chinese Dream a lot. I feel like there have always been opportunities for creatives in China, but now there’s a bigger audience. The equivalent of the ‘American Dream’ has always existed here and right now it’s more alive and well than ever. There seems to be more opportunities now in China for young creatives.”

随着JALA在亚洲巡回演出结束,Bohan也正式回归了中国。和他一起搬过来的还有他的DJ,也是他长期合作的好友Allyson Toy。对于Bohan来说,这是一个让他拉近与家人距离的机会。除此之外,他和Allyson都看好这里的前景,可以一同来推动中国音乐的发展。与之前在过度饱和的纽约那种被慢慢淹没的感觉不一样,这里有一种耳目一新的感觉。Bohan告诉我们:“鼓足勇气回到中国,体验不同的世界,这对我来说是人生的一个重要里程碑。Howie Lee(北京的电子音乐制作人/DJ)已经跟我提过很多次‘中国梦’。我以前一直觉得在中国是有机会去发挥创意的,不同的是,现在这里有了更多的观众。‘中国梦’一直存在,但现在它比以往任何时候都更好、更旺盛。现在的中国可能会给年轻创意人才提供更多的机会。”

In a time where much of mainstream rap has become predictable and formulaic, Bohan stands out by being a rapper who can fully and unapologetically be himself, an outspoken third culture kid unafraid of challenging conventional hip-hop archetypes. “It took me a while to get over my fear of not being understood, but then I realized that I could create and didn’t have to just imitate,” he shares.”Now, I understand my music to be a reflection of self. It’s all of my emotions – when I’m happy, when I’m upset, all of my insecurities and my possibilities. My music is me.”

在当今许多主流说唱方式变得过于公式化的时候,Bohan脱颖而出,无所谓地做着真正的自己,一名不怕挑战传统Hip-hop的第三文化小孩(third culture kid)。他说:“我花了很长一段时间来克服自己对于不被理解的恐惧,但后来我发现,我也可以创造,而不只是模仿。现在,我明白到,我的音乐就是自我的写照,是我的情绪,高兴、不高兴、所有的不安全感和可能性。我的音乐就是我。”

If you’re keen to learn more about Bohan’s story, check out the fun animated spot our creative agency made for Beats By Dre featuring him and his crew.

欢迎点击收看我们创意机构为Beats By Dre创作的动画短片,讲述了Bohan Phoenix的故事。



Facebook: ~/bohanphoenix
Instagram: @bohanphoenix
Soundcloud: ~/bohanphoenix
Weibo: ~/bohanphoenix
Xiami: ~/bohanphoenix


Contributor & Photographer: David Yen
Videographer: Ye Zi, Damien Louise
Music: Howie Lee

Special Thanks to Carhartt WIP, The Private Label, Hotbox, Beats by Dre, and Avenue & Son.

脸书: ~/bohanphoenix
Instagram: @bohanphoenix
Soundcloud: ~/bohanphoenix
微博: ~/bohanphoenix
虾米: ~/bohanphoenix


供稿人与图片摄影师: David Yen
视频摄影师: Ye Zi, Damien Louise
视频音乐: Howie Lee
特别鸣谢Carhartt WIP, The Private Label, Hotbox, Beats by Dre, and Avenue & Son.

Roadside Lights

November 9, 2017 2017年11月9日

Roadside Lights is a charming series from Japanese photographer Eiji Ohashi that captures vending machines in their natural surroundings. A native of the northernmost Japanese city of Wakkanai in Hokkaido prefecture, Ohashi was initially inspired to create the series during a tumultuous winter in his hometown. In the midst of a particularly heavy snowstorm, Ohashi became lost on the road, and could only find his way home by navigating the glow of vending machines that stood as the only familiar landmarks on the snow-covered streets. After that fateful event, Ohashi spent the next nine years photographing vending machines in various locations across Japan.

《Roadside Lights》(“街灯”)是日本摄影师Eiji Ohash以各个角落里的自动贩卖机为主题拍摄的一个摄影作品系列。Ohashi出生在日本最北端的城市——位于北海道的稚内市。在家乡一个大雪纷飞的冬天,他产生了创作这一系列的灵感。当时正在下一场特别大的暴风雪,Ohashi迷路了,在冰雪覆盖的街道上,他最后靠以自己所熟悉的那些明亮的自动贩卖机为路标,才成功回到家。经历了那次关键事件之后,Ohashi花了九年的时间,走遍日本各地,拍摄自动贩卖机。

Ohashi’s subjects glow with life in his photographs, with each vending machine seeming to exude a distinct personality of its own. For Ohashi, the vending machine serves as a metaphor to further examine the human condition. Ubiquitous in every corner of urban and rural Japan, these machines reflect human themes such as loneliness and alienation, corporate efficiency, and workforce automation – all relevant to life in modern Japanese society.


Ohashi says in his own words, “Coming close to dusk, the city and country both alike, the roadside vending machines light up. This particular scene of vending machines placed on ordinary roadsides is unique to Japan. Looking at the vending machines having been placed in the wilderness or downtown, one can see loneliness being illustrated. The machines work non-stop, despite it being day or night, but would be taken away once the sale drops. The machines would not exist if each and every one does not have its own color and shine. It just might be depicting the nature of us humans.”


Roadside Lights has been featured in solo exhibitions across Japan and has also been compiled into a book of the same name, available for purchase here.

《Roadside Lights》目前已于日本各地举办展览,并被编成一本同名书籍,点击这里即可购买。


Contributor: George Zhi Zhao



供稿人: George Zhi Zhao

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November 8, 2017 2017年11月8日



Shenzhen-based brand ROARINGWILD understands what makes a piece of clothing “streetwear” is more than its aesthetics alone – it’s the attitude and spirit behind the garment that truly makes it streetwear. And for the last seven years, ROARINGWILD has worked tirelessly to advance their vision of creating a streetwear brand that not only represents their ideals but can also inspire an attitude shift in the Chinese youth. The ROARINGWILD name itself is a message, telling the youth to no longer stay complacent; it’s a rallying call, emboldening people to live loudly and chase after their dreams fearlessly. The concept of streetwear as a lifestyle is embedded in ROARINGWILD’s very DNA, and the latest manifestation of the brand’s vision comes in the form of ROARINGWILD’s first brick-and-mortar store in Shenzhen, recently unveiled on October 28th. For the six co-founders behind ROARINGWILD, this physical location is meant to be more than simply a clothing store – it’s the physical embodiment of a yearning to introduce a lifestyle that they know and love to more young people in Shenzhen.


Image Courtesy of ROARINGWILD
Image Courtesy of ROARINGWILD
Image Courtesy of ROARINGWILD

The recent opening event was an experience quite unlike other conventional store launches. While products from their latest collection were on display and available for purchase, they were never the focal point of the event. The opening felt more like ROARINGWILD’s way of paying respects to the long-standing intersect between art, design, music, and streetwear. Photographers, graffiti artists, musicians, fashion designers, and more were all brought together to celebrate not only a milestone for the brand but to celebrate Chinese streetwear culture as a whole. Flaunting the cyberpunk-inspired techwear jackets and traditional Chinese tunics of ROARINGWILD’s latest collection, attendees put on a master class in Chinese street style and showcased how the Shenzhen-born brand fits alongside pieces from international streetwear powerhouses such as CAVEMPT, C2H4, and Gosha Rubchinskiy.

而这次的门店开幕活动也与其它开幕式截然不同。虽然门店内也在展示和出售品牌的最新系列产品,但这一点并不是这次开幕活动的焦点所在。整场开幕式感觉更像是ROARINGWILD在以自己的方式致敬艺术与设计、音乐、街头时尚之间的融合。摄影师、涂鸦艺术家、音乐家、时装设计师汇聚在一起,一起来庆祝这一代表品牌全新里程碑的活动,同时也在庆祝中国的街头文化。身穿ROARINGWILD最新系列中的机能(Techwear)美学夹克和中式长袍嘉宾们云集荟萃,上演了一场令人瞩目的中国街头时尚秀,展示出这个来自深圳的本土品牌与CAVEMPT、C2H4、Gosha Rubchinskiy等国际街头时尚品牌竞相媲美的实力。

At the event, Shenzhen’s streetwear community demonstrated a sense of inclusiveness and welcoming spirit that was a refreshing departure from the better-than-thou attitude adopted by similar scenes in other cities. People of different backgrounds, different ages, and different professions all mingled together, united by a shared passion for streetwear.  “Shenzhen is definitely a very inclusive city,” says BG, the creative director and head designer of ROARINGWILD. “It’s because the city is younger and the youth here are open to new things. Even when people are doing different things from one another, they’re all interested in what their peers are up to. That’s probably what has forged this sense of community. It feels like something that’s exclusive to this city.”


While the new store marks a brand new chapter for ROARINGWILD, BG is well aware that there will be more challenges on the road ahead. However, having started the brand from scratch back in 2010, overcoming unforeseen obstacles is nothing new. Sharing parallels with the DIY ethics and figure-it-out-as-you-go style of many of today’s most successful streetwear brands, ROARINGWILD has gotten to where it is today by swimming against the current, learning from its mistakes, and proving all the naysayers wrong “In life, people might tell you that you can’t do things this way or that way, but you’ll often end up doing it anyway,” says BG, shrugging. “A lot of what we’ve done up to this point defies the traditional methods or ways of thinking. We want to pass this attitude on to today’s young people. It’s not just about selling products – it’s about expressing ourselves.”

虽然新门店的开幕对 ROARINGWILD 来说又是一个新篇章,但六位共同创始人都知道,未来的道路上会有更多的挑战。不过,自从他们在2010年开始一手创立品牌,克服困难障碍对他们来说已经是家常便饭。和如今许多成功的街头品牌那种DIY和“兵来将挡,水来土掩”的精神一样,ROARINGWILD逆流而行,从错误中不断学习,证明给所有曾经不看好他们的人看。饼干说:“在生活中,可能有很多人会跟你说这样做这件事情不行,但你最终还是会千方百计把它给做了。我们就做过很多打破传统、跳出思维方式的事情,所以也想把这样的态度传达给现在的年轻人。这不仅仅只是卖产品,更重要的是通过产品去传输一种表达自我的理念。”

L1-069, 1F
No. 99 Xinhu Road
Bao’an District, Shenzhen
People’s Republic of China

10:00 ~ 22:00




Contributor & Photographer: David Yen
Videographer: Damien Louise
Additional Images & Footage Courtesy of ROARINGWILD

新湖路 99号
1楼 L1-069





供稿人与图片摄影师: David Yen
视频摄影师: Damien Louise

Femininity, Vectorized

November 8, 2017 2017年11月8日

Yuschav Arly is a graphic designer and digital illustrator from Bali, Indonesia. After half a decade in the graphic design world, he now primarily focuses on digital illustration. His stunning, vector portraits of women are minimalistic and clean, yet elegant and full of restrained emotion.

Yuschav Arly是来自印度尼西亚巴厘岛的平面设计师和数码插画家。他曾在平面设计行业工作5年,现在主要专注于插画创作。他所创作的女性矢量肖像画令人赞叹,风格简约利落又优雅,更蕴含着饱满的情绪。

Arly’s creative process is simple – it involves a lot of procrastination along with some coffee and music in a comfortable place. “Daydreaming is always my first step,” he says. “It’s basically making a finished artwork but just in my head. Once I get a full picture, I grab my pen and do a rough sketch in my notebook, but with a little description just so I don’t forget about the initial idea. And after that, it’s just long, fun hours with a pen tool and eraser.”


Drawing from diverse sources such as illustration, photography, modeling, architecture, and design, Arly’s images make use of clean shapes and lines to frame his subjects and their surroundings. With elegant women, symmetrical compositions, and muted tones being the common denominators throughout his work, Arly humbly describes his creative process as simply piecing all of these different elements together. “It’s all connected somehow in a mysterious way when I start to visualize an image,” he says. “It’s like playing a game of Connect the Dots.”


Instagram: @yuschav
Behance: ~/yuschav


Contributor: George Zhi Zhao



供稿人: George Zhi Zhao

Long Time, No See

November 7, 2017 2017年11月7日

Long time, no see is a series from Zack Vitiello, a Toronto-based photographer who travels to China frequently for his job as creative director of the lifestyle fashion brand Vitaly. Shot entirely on 35mm film, the series highlights the sense of otherworldliness that Vitiello experiences when he travels to China. The graininess of the analog film helps convey a sense of distance and alienation, feelings that the photographer often experiences in these places that he so often visits.

《Long time, no see》是多伦多摄影师Zack Vitiello的一个摄影系列作品,作为生活时尚品牌Vitaly的创意总监,他经常要去中国出差。这一系列完全采用35mm胶片相机拍摄,突显出了Vitiello在中国旅行时所体验到的陌生感,胶片的颗粒感有助于传达摄影师在他经常到访的地方所感受到的那种距离感和疏离感。

Describing the series, Vitiello says, “Long time, no see attempts to capture the feeling that I experience every time I visit Shenzhen, Guangzhou, and the surrounding area for biannual manufacturing trips. Images of empty restaurants with stacks of unused chairs, stark buildings with dark windows, and deserted street scenes give off a feeling of denseness and loneliness simultaneously. By not including any people in the photos, I hope that the viewer will feel a similar sense of alienation to that experienced when visiting a country as vast, unknowable, and remarkably interesting as China.”

跟我们介绍这一系列时,Vitiello说:“《Long time, no see》试图捕捉住我每两年去深圳、广州和周边地区的生产商出差时所体验到的感觉。照片上,空荡荡的餐厅里堆满闲置的椅子,荒置的大楼里窗户黑漆一片,还有冷冷清清的街道,这些场景同时给人一种密集和孤独的感觉。通过拍摄没有任何人物的照片,我希望观众能从照片上感受到,那种去到像中国这样广阔、充满未知和有趣的国家时,所体验到的疏离感。”

Instagram: @latelight


Contributor: George Zhi Zhao

Instagram: @latelight


供稿人: George Zhi Zhao

Functionality & Permanence

November 3, 2017 2017年11月3日

Chairs, having existed since the beginning of civilization, have taken on different forms as society and technology evolved. And for Joyce Lin, an American-born Taiwanese artist and designer, chairs are much more than inanimate objects for people to rest their buttocks on – they’re iconic, familiar, and possess anthropomorphic qualities that parallel the human form. “I think that furniture objects are powerful because whether they’re practical or not, they evoke a type of environment that is accessible to most everyone,” Lin explains of her fascination. “To me, furniture represents reality. So when I use it in my work, I see myself manipulating or altering that reality.”

自人类文明诞生以来,椅子就已经存在,并随着社会和技术的发展而呈现出不同的形式。Joyce Lin是一名生于美国的台湾艺术家和设计师,对她来说,椅子不仅仅是供人坐下的无生命之物,它更是一种符号——它们有一种亲切感,还被赋予了一种拟人化的性质。“我认为家具蕴含巨大的能量,因为无论它们是否实用,都能令人们联想起一种大多数人都能拥有的环境。”Joyce解释说,“对我来说,家具代表着现实。所以当我使用家具创作时,我会感觉自己是在操纵或改变某个现实。”

Exploded Chair
Exploded Chair

As a recent graduate with a double major in both biology and furniture design  – two seemingly unrelated fields – the 23-year-old designer realized that she can take concepts from the former and integrate it into the latter. “Biology and geology have given me a lot of insight into understanding internal structures and systems on a broad scale,” Lin shares. “They tell us where we, and everything in our environment, come from, how they have evolved over time, and how they are evolving now. It challenges my assumptions about how and why things work – how parts come together or fall apart – which translates to how I work in the studio. Learning about science keeps me interested and makes me love and care about the world in a way that I hope is expressed in my work.” 


Exploded Chair

For Exploded Chair, one of Lin’s most well-received project, she dissects a wooden spindle chair, encasing its dismembered parts within transparent acrylic containers. Each individual piece that makes the chair whole is isolated and shifts freely in their respective containers. While most people naturally believe that these disembodied pieces of wood are what makes the chair a chair, Lin’s reimagining of the traditional chair challenges this concept. This project plays off of the audience’s expectations and is her way of making viewers question the function of a chair and contemplate the role of different materials as well as the meaning of permanence.

在Joyce颇受好评的作品之一《Exploded Chair》(肢解座椅)中,她解剖了一张木椅,将“肢解”下来的部分再各自装进透明的亚克力容器里。曾组合椅子的各个部位,现在都被单独隔开了,在各自的容器里兀自晃动。大多数人自然会觉得,是由于这些“肢解”的部件才能形成了一张椅子,但Joyce对传统座椅的重新设计,摆脱了这个概念。这个设计挑战了观众的期望,使观众质疑椅子的功能,思考不同材料的作用以及永恒性的意义。

Used Chair
Used Chair
Used Chair

In an older project, titled Used Chair, Lin manipulates the anthropomorphic elements that she’s observed in the seating furniture with the idea of creating a “subservient” chair. The final creation bends the traditional wooden legs into human-like limbs, positioned to almost look as if the chair was groveling on its knees. Lin intended for this project to be a statement piece on the relationship dynamic between people and objects. In a separate project, titled Fused Chair, Lin salvaged parts from five discarded chairs. The bottom part of the final creation is formed of distinctively identifiable parts from the original chairs. Moving up, they begin to disintegrate into generic cubic shapes before finally forming into a smooth seating surface and back support. Presenting the chair’s evolution in three different stages, this piece is meant to display the gradual process of change and visualize how materials transform into a final product.

在此前的一个项目《Used Chair》(二手椅)中,Joyce重新设计她在椅子上观察到的那些拟人化元素,打造出一张“顺从”的椅子。她将传统的椅子木腿被弯曲成像人一样的四肢,看起来,这把椅子几乎就像跪在了地上。在另外的项目《Fused Chair》设计中,Joyce的目的是探讨人与物之间的关系动态。这件作品是Joyce从五把椅子上取出零件,最终组装而成的。在椅子的底部,她所使用的5张椅子的不同部件还清晰可辨。这些部件开始分解成一般意义的立方形状,一步步往上堆叠,直到最终融合成一个光滑的椅座和椅背部。这一设计呈现出椅子演变的三个不同阶段,用来表达变化的渐进过程。

Fused Chair
Fused Chair
Fused Chair

Viewing Lin’s work, the often hard-to-discern line between art and design might feel even blurrier. But she shares her understanding of the key differences between the two, explaining that she sees art as being more about expression, research, and communication while design is about applying research towards a practical goal. “Of course, you can do both at once,” she adds. “Most things hold multiple functions. At the core, both are embodiments of an idea or philosophy regarding our lived experience. I’d say that my goals are more about expression and communication, but honestly, I’ll do anything that excites me. As long my work affects people in an exciting and meaningful way, I don’t care what form it takes.”


Behance: ~/jlin


Contributor: David Yen

Behance: ~/jlin


供稿人: David Yen

The Boys of Summer

November 2, 2017 2017年11月2日

Yuzhou Feigou (whose moniker roughly translates to “A Worthless Cosmic Dog”) is studying visual communication design at the China Academy of Art. Despite declaring to us, “I’m a conservative guy,” his newest illustrations boldly explore themes of homoerotic desire and fantasy. Featuring a cast of young male characters flaunting their luscious bodies, the lazy scenes and bright colors create a sense carefree summer days. Feigou’s simple, yet distinct, style hasn’t gone unnoticed. Recently, VOGUE Me tapped him to create artwork for the magazine’s October issue. Despite this commission, Feigou told us he isn’t interested in becoming a professional illustrator. Even though drawing is just a “passion” project for him, he assured us with a smirk: “As long as I have that lust within me, I’ll keep drawing.”

宇宙废狗,一个在中国美院念视觉传达的学生。尽管他宣称:“我是个保守的人!”但他的插图却不然。他最新的插图主题大胆地探索同性恋的欲望和幻想:以一群年轻的男性为主角,展现他们丰美的身材。其中慵懒的场景、明快的色调,营造出无忧无虑的夏日风情。他简单、透彻又独特的风格不会被忽视,今年的《VOGUE Me》十月刊就把他的作品收入了内页。尽管这样,废狗还是表示他对成为职业插画师没有太大兴趣,绘画对他来说只是一个“激情”项目。“只要还有情欲的话,我就会一直画下去。”

Weibo: ~/宇宙废狗
Instagram: @_dagou


Contributor: Shou Xing

微博: ~/宇宙废狗
Instagram: @_dagou


供稿人: Shou Xing

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