Faith of a Fangirl 和一位网红艺术家聊了聊追星

October 31, 2018 2018年10月31日
#是他是他就是他# #OhLayLay# His Name is Lay, Oil on linen, 230 x 125 cm copy 2, 2017

“In their twenties, girls should like taking selfies and making their own mark,” says Hong Binbin.

The 24-year-old artist from Jinjiang recently graduated from the Royal College of Arts, in the United Kingdom, with a degree in painting. When her head’s not buried in her work, she likes to listen to her favorite pop stars and follow her favorite shows. And in the WeChat feed she specially unlocked for me, she posts endless gorgeous selfies. She’s really quite unlike other young artists.

In fact, the first time we chatted, all at once she upended my image of what artists are like. Who says their online presence has to be understated, serious, meaningful? According to Hong, her art aims to express a young person’s outlook, and her inspiration often comes from experience as a fangirl. “It’s tapping into the mainstream to discover new perspectives,” she laughs.


二十多岁的女生,就该爱美自拍,留下自己的足迹嘛。洪彬彬说。

这个出生于晋江的艺术家,今年刚刚 24 岁,从英国皇家艺术学院绘画系毕业不久。除了埋头画画,她也追星追剧刷综艺,在特意为我 “解禁” 的朋友圈里,有无数美美的自拍,实在和其他青年艺术家不太一样。

那是我和她的第一次聊天,一下就颠覆掉常人眼里的艺术家刻板印象——谁说艺术家的朋友圈,一定要低调、沉稳、努力彰显内涵?她说,她的创作就是想要表现一种年轻人的态度,而且灵感经常来自一些所谓 脑残” 的想法,这是 浸在俗里发现新世界,哈哈。

#迷妹很迷# #fangirl#, Oil on Canvas, 76 x 63cm, 2017
Bunny x Yixing x Killer, 115 X 150 cm, Oil on Canvas, 2017

Hong moved from Jinjiang to Xiamen to study, and at age seventeen went abroad for college. As long as she can remember, every time she moves, someone always tries to fit her into a preconceived notion of some kind, assuming she’s a “country girl who can’t speak proper Chinese,” for example, or a “tacky foreign student decked out all in name brands.” At first, Hong fought against the prejudices constantly being heaped upon her. But shaking off these labels through art became her way to give people pause, make them think critically, and gain a more nuanced view of the world.

“In my paintings, I think the most valuable way to express my ideas is by superimposing layers of styles, giving the picture a sense of conflict, making the world inside the painting more solid and rounded, and expressing my shifting moods and continual thought about this world,” says Hong.


洪彬彬从晋江转学到厦门念书,17 岁的时候就出国留学了。她的记忆里,每一次换新环境,总会有人带着某种刻板印象去定义她,比如先验地假设她是 “普通话不标准的野孩子” 或 “全身名牌品味差的留学生”等等。对于这些不断加上身的片面解读的标签,洪彬彬开始是抵触的。但她甩开 “标签” 的方式,恰恰是将其应用在自己的作品里,去让人疑惑、去思考、去构建出更多维的视界。

“在我的画里面,我觉得最直接表达自己这些想法的方法就是通过笔触层次的叠加,和去构造画面的冲突感,让画的世界更多维立体,来表达自己绵绵不绝的情绪,和对这个世界不停断的思考。” 洪彬彬说。

Constantly, 220 x 280 cm, Acrylic, Glitter and Oil on Canvas, 2018

Interpreting Hong’s works is like trying to make sense of a multidimensional world. Images from different cultures are seamlessly integrated into the same painting. Take Constantly, for example. She’s drawn a woman with the profile of a Greek goddess, sporting Japanese glitter makeup, hair buns like the cartoon character Nezha, Wonder Woman’s armor, and an oddly fitting sickle-shaped object. On the left is a unicorn, while in the center are elements from the myths of the Classic of Mountains and Seas alongside the boyish features of a pop star. Victorian illustrations of birds criss-cross the picture, some sketched in a coarse, primitive style, others portrayed with a meticulous realism.

“The images I use in my paintings are all ‘second-hand’ images deeply familiar to the public. By reinterpreting them, I want to play on the public’s aesthetic conventions, then turn those conventions on their head,” she says.


解读她的画,就好像将多维世界抽丝剥茧的过程。代表着不同文化的意象,竟毫无违和感地融合在一张画里。比如这张《Constantly》,她画下了一位轮廓是西方女神的女性:化着日本闪片妆、头上绑着哪吒头、身着神奇女侠的战衣、手拿镰刀的形象,和谐又诡异;而画的左部又有独角兽,中央则画着来自《山海经》的元素,还有国内小鲜肉的脸;四周则遍布来自维多利亚时期插画形象的小鸟。它们有些由粗糙原始的笔触勾勒出来,有些是由细腻的写实主义描绘而成。

“我使用在画面中的影像都属于大众对他们固有印象很深的二手影像 (second-hand image), 通过对这些二手影像的重组和画面重构,我想去触碰观众传统的审美习惯,然后去再反转这个习惯。”

The Cutest, The Best, The Greatest, 220 x 190 cm, Acrylic, Glitter and Oil on Canvas, 2018

Many of Hong’s paintings feature a delicate, boyish figure: that’s Zhang Yixing, a Chinese member of the Korean boy band Exo. Hong has long been a superfan. She’s not shy about her devotion: when she first started listening to his music, she papered her studio in Zhang Yixing posters. “Every day I’d paint, and I’d always feel super happy and content,” she says. A painting titled Shake is dedicated to her idol. “For a while, it was popular for fans to record reaction videos for their idols, with their own responses to the song,” says Hong Binbin. “But my thought was, I’m an artist, so videos and screams aren’t enough. I should paint a picture to express myself.” That’s how this piece, named after a Zhang Yixing song, came about.

Yet after her obsession cooled down a bit, and she rethought her “relationship as a fan to her idol,” a different layer of interpretation emerged. Hong Binbin now defines celebrity worship as “China’s contemporary fast-food faith.”


而画里频频出现 “小鲜肉”,是从韩国男团 EXO 出道的艺人张艺兴的侧脸。洪彬彬是他的资深迷妹。对于这一点,她毫不避讳,刚开始追星的时候,洪彬彬在自己工作室贴满了张艺兴的海报,“每天画画,都觉得自己超级开心满足”。一副名为《Shake》的画就是致敬给偶像张艺兴的。“因为有一阵子流行粉丝录视频给偶像,内容是自己对他歌曲的反馈。” 洪彬彬说,我就想说我可是个艺术家呀,不能只有视频和尖叫,我得做个作品表达(出来)吧。” 这首和张艺兴的歌曲同名的作品,就这样诞生了。

但她在稍微冷静下来后,重新思考 “自己作为一个粉丝和偶像的关系” 时,另一种层面上的解读出现了。洪彬彬定义偶像崇拜为:中国当代速食快餐信仰。

Shake, 120 x 150 cm, Oil on Canvas, 2018
Oh Little Fairy, 190 x 220 cm, Oil and Glitter on Canvas, 2018

“I think certain aspects of celebrity worship are a lot like religion,” she says. “Religion has god saving the people, giving the people something to believe in. And in today’s celebrity culture, with such a large and finely segmented market in pop idols, the public or fans can pick someone to worship who’s in line with their tastes and values, and then put their faith in them.

When idols like that have become an object of faith, they seem as far away as heaven yet close enough to touch. For Hong, it calls to mind the term “little fairy,” which young women sometime use online to address each other. Her own Little Fairy, shown above, is a large figure that dominates the frame, wearing a cosmetic contact lens in one eye and looking down in scorn, as though telling everyone, times have changed.


“我觉得偶像崇拜某一方面跟宗教文化还是挺相似的。宗教有神解救世人,给世人某种信仰。而现在的偶像崇拜文化,在偶像市场人设繁多下,给观众或粉丝选择一个符合自己喜欢条件以及三观的人去崇拜着,并把她他当成信仰。”

那样当成信仰的偶像本尊,仿佛远在天边,又似乎触手可及。洪斌斌联想到现在网络上女生间互相称呼的代号小仙女”,她笔下的 小仙女” 正是那个左眼戴着怪异的美瞳、占据着大幅画面,仿佛睥睨一切的巨大仙女,也仿佛在提醒着大家:时代变了。

Untitled, Oil on Canvas, 170 x 240cm, 2016
Assembly, Oil on Canvas, 170 x 240cm, 2016

Narcissistic selfies, pop idols, the fan economy: Hong Binbin’s paintings are a sort of miniature of contemporary culture, crammed with nods to current trends. And because they’re so topical, viewers can’t help looking them over and over, vainly trying to understand, interpret, or even challenge them.

“I don’t want to envy other generations. I want to become the best generation, to prove that the niche can find mass appeal. If I can get a painting of mine preserved for fifty years, two hundred years, then I think viewers seeing it will know when it was painted,” says Hong. After all, we can say that art is the product of its time. Yet what isn’t the product of its time?


自恋自拍、明星偶像、粉丝经济,洪彬彬的画就像是当代文化的某种缩影,潮流因素无处不在。也正是因为这充满着时代新鲜感的作品,让人忍不住一看再看,妄图去领悟、去解释,甚至是质疑。

“我不想去羡慕其他的年代,我想成为最棒的一代。小众也是大众的。我想如果以后能让自己的画五十年,两百年后还被保存着的话,那时候的观众看到画的时候,就会知道这张是什么时候画的。” 洪彬彬说。我想,毕竟我们可以说,艺术是时代的附属品。又有什么不是时代的附属品呢?

Where Is the Time, Oil on Canvas, 170 x 240 cm, 2016
X, 30 x24 cm, Acrylic, Charcoal and Oil on Canvas, 2018
Work in Progress, 90 x 70 cm, Acrylic and Oil on Canvas, 2018

Website: www.binbinhong.com
Instagram: @binbinhongbbb

 

Contributor: Chen Yuan


网站: www.binbinhong.com
Instagram@binbinhongbbb

 

供稿人: Chen Yuan

Tactical Apparel 时尚与机能只能二择一?

October 29, 2018 2018年10月29日

When functional clothing becomes fashionable, it often takes on a new meaning. Skate sneakers, army fatigues, surf wear: all these were designed for a specific purpose but went on to find a much larger market. This is a fact that Feng Chen, the co-founder of Taiwanese label 4dimension, is well aware of. His company designs clothing to be sturdy, protective, and versatile—but how it’s used is up to the wearer.


功能性服装不一定只关乎用途,时尚也可以是它的一种含义。比如滑板鞋、军装、冲浪服这类服饰,最初都是为了满足特定目的而设计,后来都逐渐拓展出更大的客群。关于这一点,台湾知名机能品牌 4dimension 主理人陈丰,有着深刻的体悟。4dimension 服装结实耐穿,不仅具备防护作用,还拥有多功能的设计,穿戴者可以自由掌握其用途与功能。

“We think good material is the cornerstone of a brand. We do the research and pick materials we want by specific function—such as waterproof, fast-dry, or ripstop fabrics—then build our design on these functions,” explains Chen.

4dimension creates pieces that offer multiple options, like their recent bag collaboration with streetwear powerhouse Kith. One pack can be worn around the waist or flipped around and slung over the shoulder. Pockets and pouches are created specifically for various devices and gadgets, and although most people won’t need all of them, they’re functional—and Chen views function itself as a form of beauty. “We do not do excessive design,” he says. “Everything from the fabric down to the details is based on the concept of ‘less is more,’ and is meant to maximize function with the least design.”


“我们相信,优质的原料是品牌的基石。我们会先做研究,根据不同功能来挑选出我们想要的面料,譬如是防水、快干或防撕裂面料,然后在这些功能点之上,再进行设计。” 陈丰解释说。

4dimension 的产品以多功能用途着称,比如他们最近与街头时尚品牌 Kith 合作的包袋系列。同一款包袋,既可以佩戴在腰上,也可以单肩斜挎。其中还有为各种设备和工具专门设计的隔层和小袋,虽然大多数人不会全部用上,但它们是有功能性的。在陈丰眼里看来,功能本身就是一种美的形式。“我们不会做过于复杂的设计。” 他说,“从面料到细节的设计,一切都遵循 ‘少即是多’ 的理念,目的是在最简单的设计之上,最大限度地提供最丰富的功能。”

Direct inspiration comes from tactical gear—clothing originally made for military purposes. 4dimension’s modular bags are based on the MOLLE system, an acronym for modular lightweight load-carrying equipment.

Of course, 4dimension’s garments aren’t made for black ops or mountaineering missions, but good design can make urban life much more comfortable, especially given Taiwan’s climate. “Taiwan is an island, so the weather here is always unpredictable,” says Chen. “This drives us to think about what kind of clothes we design. We combine the street culture we love with the functional wear we need.”


品牌设计的灵感来源于军用服装。4dimension 的模块化手袋是基于战术装备的 MOLLE 系统(Modular Lightweight Load-Carrying Equipment),即模块化承载系统设计的。

当然,4dimension 的服装不是专为秘密行动或户外登山而设计,而是旨在通过设计,让穿戴者在城市中更舒适地生活,尤其是在台湾这样气候的地方。“台湾是一座小岛,这里的天气总是变幻莫测。” 陈丰说,“这促使我们去思考应该设计什么样的衣服,将能够满足实用需求的功能性服装,与我们所热爱的街头文化相结合。”

Not only does Taiwan’s climate influence the brand’s designs, but its textile industry also plays a role. Having high-quality, low-priced materials close at hand has made it easy for the company to grow. When Chen and his business partner, Kevin Lim, wanted to move beyond their limited initial offerings, they didn’t have to look far. “We can’t afford custom-made fabric from a supplier,” says Chen, “but we can find the material we need in the fabric market right here in Taipei.”


影响品牌设计的不仅只有台湾的气候,当地纺织行业也起到了重要作用。能就近从当地获得高品质却低价的材料,这一点有助于公司获得发展。当陈丰和合作伙伴林禹丞 (Kevin) 想进一步发展产品线时,他们不必到其它地方去寻找原料。“我们买不起来自供应商的定制面料,但是我们可以在台北的面料市场就找到我们需要的材料。” 陈丰说道。

Although 4dimension can be categorized as tech wear or streetwear, Chen sees no need for labels: “The internet has broken the rules people used to rely on. There are no boundaries. Designers and brands can do anything they want.”

 


虽然 4dimension 可以同时被归类为机能服装品牌(Tech Wear)和街头时尚品牌,但陈丰觉得没有必要为品牌贴上标签:“互联网打破了人们过去依赖的规则。这里没有界线,设计师和品牌可以做他们想要做的一切。”

Website4dimensionapparel.com

 

Contributor: Mike Steyels


网站4dimensionapparel.com

 

供稿人: Mike Steyels

Human Capital 北京到底是一座怎样的城市?

October 26, 2018 2018年10月26日

Welcome to the Jing is a photobook project shot by French photographer Laurent Hou between 2013 and 2017. Hou, who’s based in Morocco, took the photos during his last few years living in Beijing, when he got to witness a special moment in the city’s history: after the Olympics and before the citywide demolition of illegal buildings that began in 2017. Hou snapped around 100,000 shots, mostly of people and things inside the city center.


Welcome to the Jing》(《京城欢迎你》)是始于 2013 年,止于 2017 年的摄影书项目。摄影师是来自法国的 Laurent Hou,目前生活在摩洛哥。这个项目创作于他在京生活的后几年,却正好见证了北京历史上的一个特殊时刻:在奥运会之后,在 2017 年开始的“全城拆违”前。Laurent 的镜头对准了北京三环内的人物和景色,按下了约 10 万次快门。

“Although central Beijing is already overphotographed, this project brings a different vision,” says Hou. “Other series focus either on the traditional aspects of the hutongs or the modern architecture in the business district. And pictures aren’t merely a description of Beijing, because the photographer’s vision plays a crucial role.”


虽然人们可能会认为,北京市中心已经被拍滥了,但这个项目带来了与所有系列照片不同的视角。” Laurent 如此说道,“这些照片要么侧重于胡同的纯粹传统方面,要么侧重于中央商务区的现代建筑方面。且图片并不仅仅是对北京的描述,因为摄影者的视野发挥着至关重要的作用。

Hou has chosen to make a photo book of the series because he thinks that’s the best way to present the work. He hopes to publish it soon. “The recurring motifs, the variety of the subjects, the tangle of different narratives, and the quantity of pictures called for a book rather than an exhibition of 20-30 pictures,” he explains. “The book form is also more intimate, and turning the pages mirrors the act of walking through the city. I want readers to look at the stream of pictures as if they were wandering the streets of Beijing and running into all these quirky situations.”


而之所以用摄影书的形式,则是展示这些作品最有趣的方式之一,Laurent 希望能早点看到它出版成册。反复出现的话题,主题的多样性,不同叙事的纠缠,以及图片的数量,都要求制作一本书,而不是做个 20-30 幅图片的展览。书的形式更为贴切,翻页反映了在城市中行走的模样。我想让读者看到一连串的图片,就能联想到自己在北京的街道上漫步,遇到所有这些有趣或离奇的情况。”

Since he started the project, almost six years have gone by. Hou says his vision for the project didn’t come into focus until long after he’d been taking pictures of his surroundings. Only once he made some preliminary selections did it start to take shape. “The vision developed during those six years, which was also a period when I learned a lot about photography,” he says. “And I don’t mean the technique, I mean getting to know the works of great photographers, emerging photographers—understanding different styles and trends, thinking about authorship in photography and the meaning of the photobook as a form.”


从项目伊始到现在,已历经了将近六年时间。Laurent 说这个主题的形成是在已拍摄周围很长时间之后,经过初步选择,才确定下来的。“这六年间发展出的主题,也是我学习摄影的一个阶段吧。我指的不是技术,而是了解伟大的摄影师、新兴摄影师的作品,了解不同的风格和趋势,思考摄影中的作者身份,以及摄影书作为一种形式的意义吧。”

Website: www.laurenthou.com

 
Contributor: Chen Yuan


网站: www.laurenthou.com

 
供稿人: Chen Yuan

A Year in Pictures 画里的乌托邦

October 25, 2018 2018年10月25日

In the world of Taiwanese illustrator Cinyee Chiu, there are no gloomy clouds, or even any people—just endless sunshine and a kaleidoscope of colors, birds, and flowers. Her works are idealized reveries painted as a pleasant routine, and they’re best enjoyed quietly, with a hot cup of tea. One can while away a long, leisurely time looking at them.

In her most well-known work, she’s drawn the jieqi, the two-week unit of the Chinese lunisolar calendar. People in former times divided the year into 24 such periods according to the position of the sun and moon, the passing of the seasons, and the changes in the weather. Chiu uses illustration to reinterpret this tradition, imagining each jieqi as an animal colored in a seasonal pattern, giving new life to a time-honored part of Chinese culture.


在台湾插画师 Cinyee Chiu 的画中世界,没有抑郁的阴雨,只有永恒的阳光、和数不尽的彩色的鸟与花。这里流光溢彩、却袅无人烟,她把脑海中对于乌托邦的遐想,都描绘出来,成了这一片和煦的日常。她的画作适合静静地欣赏,佐一杯热茶,就这样缓缓地,虚度一个漫长的时光。

而她最著名的作品《24节气》,发想自中国传统的历法24节气,即古代人民依据日月的运行位置,结合季节更迭以及气候变化,将一年划分为二十四等分的历法。她用插画重新诠释了这个美丽的传统,每一个节气在她的想像里都成为一种动物,身上披着象征不同时令的毛色和花纹,让这个渊远流长的传统,栩栩如生了起来。

春 Spring: 立春 Start of Spring / 雨水 Rain Water / 惊蛰 Awakening of Insects / 春分 Vernal Equinox / 清明 Clear and Bright / 谷雨 Grain Rain
夏 Summer: 立夏 Start of Summer / 小满 Grain Full / 芒种 Grain in Ear / 夏至 Summer Solstice / 小暑 Minor Heat / 大暑 Major Heat
秋 Autumn: 立秋 Start of Autumn / 处暑 Limit of Heat / 白露 White Dew / 秋分 Autumnal Equinox / 寒露 Cold Dew / 霜降 Frost Descent
冬 Winter: 立冬 Start of Winter / 小雪 Minor Snow / 大雪 Major Snow / 冬至 Winter Solstice / 小寒 Minor Cold / 大寒 Major Cold

Chiu is a freelance illustrator, yet as she admits, she didn’t consider art as a career until after she graduated from university. She majored in economics and for a time worked in an unrelated field. Then one day she took up the brush she’d put away during college, quit her job, and began a degree at the Maryland Institute College of Art. That’s when she finally started pursuing her dreams.

Chiu says she feels most successful when she can use art to give form to the images in her head. “This kind of success is quite addictive,” she says.” If I don’t satisfy the craving once in a while, I start to get depressed.”

 


现在作为一位自由接案的插画师,但她坦言,真正将艺术作为职业考量却是在大学毕业后才决定的。大学时主修经济,让她经历过一些与艺术无关的工作。直到有一次,她重拾起已被搁置了整个学生时代的画笔,她毅然辞职,申请上美国马里兰艺术学院,才开始真正追寻自己的理想。

Cinyee Chiu 形容,能通过绘画将心中的画面确实呈现出来,传递出所想的讯息,是她认为自己最能获得成就感的时候,“这种成就感可能有点成瘾性,时不时就必须补充一下,不然我的心情就会隐隐低落。”

Websitewww.cinyeechiu.com
Instagram: @ccinyee
Behance~/cinyeechiu

 

Contributor: Yang Yixuan


网站: www.cinyeechiu.com
Instagram: @ccinyee
Behance: ~/cinyeechiu

 

供稿人: Yang Yixuan

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Photography in the Raw 一只鸡与生俱来的美感

October 24, 2018 2018年10月24日

Beijing-based photographer Yum Tang is particular about food. “I like to challenge myself to try new things,” she says. Her passion for food challenges goes well beyond eating it—more often than not, what really fascinates her is finding the most original ways to photograph it.


现居北京的摄影师 Yum Tang(汤汤)是这样形容自己 “有时候比较挑食,喜欢挑战没吃过的食物”。她挑战食物的热情不只展现在料理上,很多时候,如何拍出食物最让人意想不到的样子,更是让她如此为之着迷的原因。

“People tend to think about what they like to eat, but even if they go to the market every day, they haven’t really thought about what those foods look like in their original state,” she says. “The ingredients come from nature, and many of them, when you look closely, have limitless potential, just like people. I want to document nature’s creativity.”

As a photographer, Tang is focused entirely on shooting food. She’s constantly exploring new ingredients and revealing the inherent beauty in their structure, color, and texture. Even in the raw, food can become a work of art.


“很多时候大家总在想什么好吃,即使天天逛菜市场,似乎也没有仔细看过这些食物本来的样子。食材是大自然创造出来的,很多食材其实仔细看,它们和人一样拥有无限的可能性,我想记录下大自然的别出心裁。”

作为一位摄影师,汤汤全心投入在食物摄影的领域,不停地在各种食材之间探索,把它们与生具来的美感,从结构、颜色、到肌理都发挥到极致。单就食物本身,无需料理,也能成为一道艺术品。

Tang painstakingly designs each scene and shot: it’s almost as though she built a miniature stage just for food. Here the ingredients are are front and center. They’ve taken on a new life, and they’re no longer just for eating. With these intriguing creations, Tang invites us to view food in its overlooked, uncooked state.


她别具匠心的场景和画面设计,就像是一个用尽心思、专为食物打造搭建的小剧场。食材登上舞台,脱离了平常只用来品尝的既定印象,仿佛都获得了新生。通过这样有趣的创作,邀请你来一起看看这些食材平时被忽略的原貌。

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Contributor: Yang Yixuan


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供稿人: Yang Yixuan

Land of 8,000,000 Spirits 为什么日本有八百万个神?

October 23, 2018 2018年10月23日

From Kazuki Okuda‘s pen comes a crocodile peeking out among the branches of an ancient tree and a giant graceful dragonfly perched on a girl’s chest. Other illustrations feature golden carp, green frogs, and emerald-headed mallards. We’re far from cities of concrete: this is a story of humans and nature.

Okuda’s works are exquisite and expansive, like a cicada’s delicately veined wings that, though small, create a resounding chorus from high in the trees. His works teem with all sorts of tiny creatures, and viewed from a distance, they form an epic, cinematic composition.


奥田一生的笔下,鳄鱼的尖吻从古树枝桠中伸出来,巨大又纤巧蜻蜓匍匐在少女的前胸,还有金光鳞鳞的鲤鱼,青蛙、绿头鸭……这不属于钢筋水泥之城,这是自然和人的故事。

他的画,细腻又磅礴。细腻到蝉翼的纹路,都能纤毫毕现;而在声势上却显得宏伟磅礴,绿荫下,古树上,寄居着微小却实在的各种生物,远远看去,简直像是一幅史诗级电影的构图。

Okuda was born in Nara Prefecture and now lives in Kyoto. “The place I grew up has a lot of nature near where people live,” he says. In his view Japan is a mystical country, and the close relationship of nature and culture has given rise to a unique spiritual concept called yaoyorozu no kami (八百万の神, literally “eight million spirits”). Spirits, or kami, live in all things and are part of nature’s diversity. “While living there [in Nara], nature gave me the impression of both extreme charm and extreme fear,” he recalls.

这个奥田一生,生于日本奈良县,目前生活在京都,一个“被大自然环抱着,比邻人群之地”。在他眼里,日本是一个神秘的国家,自然和人文交织混合,因而也有一种独特的神学理论,“八百万の神”,即这个神灵 Kami 存在于一切事物里,囊括在自然万物中。“因而在奈良县生活,大自然给我留下的印象是既迷人又恐惧的。” 他说。

Insects feature prominently in Okuda’s art. These organisms have a particularly complex body structure that nevertheless looks very simple. One reason he draws them, he says, is that “although they’re beautiful, they cause fear. They simultaneously give rise to various conflicting emotions. They are living creatures like human beings, but they’re more a part of nature than we are, and unlike us, they are akin to the spirits. Using them, I can express the idea of yaoyorozu no kami and the various feelings I get from nature.”

奥田一生的画里常常出现昆虫。这种生物拥有非常复杂的身体结构,但看起来又非常简单。“(我画昆虫)其中很重要的一个原因是它们的视觉呈现。它们又美又让人心生恐惧,这也给了我很多矛盾的情感——昆虫是和人类一样的生命体,但它们融入自然的程度却超过了我们。并且,与我们不同的是,昆虫与出现在神性里的圣灵更相似。所以我借用它们的身形,以表达 Kami 的思想和来自大自然的各种情感。”

Nature is an important motif in Okuda’s work, and he shows this by insistently drawing living creatures. But he doesn’t want his paintings to show the splendor of nature alone—culture also occupies an important place. “I draw insects and living things with human beings to represent the wonders of culture and the wonders of nature,” he says.

“Insects and living creatures are an important channel through which we connect with nature. And this is an important theme,” he says. “I want people who see my pictures to be interested in nature and living things. And I also want them to have an adventure in the world inside the painting—an adventure at the intersection of culture and nature. something that’s fun.”


以画昆虫和生物来表现自然,这奥田一生画中的一个重要主题。然而,他并不想仅仅用绘画来表现大自然的壮美,“人文”主题也占有重要的比例。我画昆虫和生物与人类,以表达人类的文化和大自然的奇妙。这是我的绘画的真正主题。他说。

“昆虫和生物是连接我们与自然的一个非常重要的媒介。而人类与之结合的形式,就是我表达这一主题的方式之一。我希望看到我的照片的人对‘生物’、自然感兴趣,我也希望让观众在画中的世界里有一次冒险——在人类文化与自然交融的世界冒险,并乐在其中。”

Website: isseinoissyou.michikusa.jp
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Contributor: Chen Yuan


网址: isseinoissyou.michikusa.jp
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供稿人: Chen Yuan

Malaysian Colors 作为马来西亚人

October 22, 2018 2018年10月22日

Bright. Bold. Brilliant. Just a few words that might come to mind when you see Daniel Adam’s photography. Currently based in Kuala Lumpur, Adam is inspired by social issues in Malaysia and by the visual stimulation of the country’s daily life, which he saturates with color and turns into something fresh. This is especially true in the vibrant photographs of his Batik series.

In this series, Malaysians of all colors, shapes, and sizes, predominantly women, are clothed in richly patterned fabric dotted with floral motifs and set against a backdrop of the same material. There aren’t any elaborate props, just designs and tones that catch the eye.


鲜艳、大胆、精彩——当你看到 Daniel Adam 充满活力的摄影作品时,脑海可能也蹦出这几个词。Daniel 现在生活在吉隆坡,他以日常生活中看到的视觉刺激以及马来西亚当地社会问题为灵感,创作出一系列满溢色彩与创意、令人眼前一新的作品,譬如他最近的摄影系列《Batik》(《蜡染》)。

在这一组照片中,不同肤色、体形与身材的马来西亚人(大部分为女性)身穿点缀花卉图案的华丽面料,站在同样色彩丰富的背景布前,没有任何精心设计的道具,画面中的色彩与图案已经足够引人入胜。

Adam first started dabbling in photography at the age of 14, armed a compact camera and a budding curiosity about the medium. His curiosity soon grew into passion, and he went on to take a degree in photography at Falmouth University in Cornwall before moving back to Malaysia late last year.

After returning from the UK, Adam felt something was missing. Having spent so much time outside of his home country, he was out of touch with his culture, and wanted a way to reconnect to his roots. For an artist, what better way to do so than to channel his feelings creatively?

Thus the Batik series was born.


Daniel 第一次接触摄影是在 14 岁的时候,带着一部小型相机,他开始好奇地探索着摄影这一种媒介。这种好奇心很快发展成一种热爱,之后,他前往英国康沃尔(Cornwall)的法尔茅斯大学(Falmouth University)修读摄影专业,直到去年年底回到马来西亚。

从英国回来后,Daniel 总觉得若有所失。在国外生活了这么长的时间,他感觉与自己的文化逐渐脱节,他想要重新与自己的文化根脉相联结。对于一个艺术家来说,还能有什么更好的方法来表达情感呢?

由此,《Batik》系列诞生了。

Batik is a cloth-dyeing technique that originated in Indonesia, and it’s used both for traditional garments like sarongs and everyday wear such as men’s shirts. Patterns are first drawn on the cloth with a pencil and then redrawn with a hot wax made from beeswax or paraffin and sometimes mixed with plant resins. The wax acts as  a “dye resist,” so that when the fabric is soaked in dye, the treated areas retain their original color, forming a contrast and thus creating the pattern.

The wax is applied to the cloth using a pen-like instrument called a canting or tjanting (in old Dutch orthography) for small dots and fine lines, a stiff brush for larger patterns, or a copper block stamp called a cap for very broad areas. After soaking, the wax is finally scraped or boiled off, and the process is repeated if there are multiple colors involved in the design. Malaysian batik differs from Indonesian Javanese batik in its larger and simpler patterns and its emphasis on brushwork. Most designs are derived from nature and are symbolic.


Batik,蜡染,是一种布染色技术,源自印度尼西亚,既用于制作传统服装,如“纱笼”(sarong,裹在腰或胸以下的长条布裙),也用于制作男式衬衫等日常服装。先用铅笔将图案画在布料上,然后用蜂蜡或石蜡(有时还会加上植物树脂)制成的热蜡重新绘画。蜡的作用是防止染色,所以当织物浸泡在染料中,有蜡的地方就能保留原来的颜色,从而通过不同色彩的对比,构成各种图案。

涂蜡时会用到不同的工具。用以绘出小点和细线的笔,是一种名为 canting 或 tjanting(古荷兰语)的笔尖式蜡染工具,而硬毛刷则用来画较大图案,被称为“盖子”(cap)的铜块印章,则用来印画更大面积的图案。浸泡后,蜡最终会被刮掉或煮掉,如果布料的设计涉及多种颜色,就要多次重复这个过程。

不同于印度尼西亚爪哇岛蜡染,马来西亚蜡染的图案更大、更简洁,同时更强调图案的笔触,大多数的图案设计灵感源于自然界,蕴含象征意义。

Daniel sourced his batik pieces from a corner shop in Chinatown for RM10 apiece, and then just started shooting. His models are set against giant sheets of batik, with clothes and headpieces made of the traditional fabric. But the portraits themselves are far from traditional, with faces of Malaysians with skin and features that show the many branches of the country’s family tree.

This blended aesthetic is fully intentional. Instead of photographing only the three “main” races of Malaysia—Chinese, Malay, and Indian—Adam wanted to break down racial barriers by including people of mixed heritage, like Chinese-Malay, Indian-Chinese, or Eurasian. What became the unifying point was Malaysian-ness itself, and batik stood in as its flag.


Daniel 在唐人街的街角小店以每件 10 马币的价格购买蜡染面料,然后直接开始拍摄。他让模特穿上色彩鲜艳的服装与头饰,然后站在巨幅的 batik 蜡染布前。然而不同于传统的肖像摄影,他的这一系列作品展现了来自不同种族、文化的马来西亚人们的面孔和特色。

这种多元化的美感正是 Daniel 的创作意图。他不想只拍摄马来西亚的三大种族,即华人、马来人与印度人,他希望打破种族壁垒,拍摄那些不同种族的混血儿,如中马混血、中印混血或欧亚混血儿,表达出他们之间的统一点,即他们作为马来西亚人的身份,而 batik 蜡染可以说是这一主题的鲜明代表。

“I wanted to showcase diversity,” Daniel says about his series and his inclusion of every kind of race in the photographs. “I want to take away all the barriers and labels that we put on each other—for everyone to see that we just belong to one community. This beautiful and traditional art form, this design—it’s Malaysian, so it’s all linked, it brings everyone together. It’s not just about educating others and myself on batik. It’s about this connection, that we’re all Malaysian.”


“我想展示出多元化。” Daniel 解释这个系列的创作初衷以及他为什么要拍摄不同种族的人群,“我想把人们所设立的所有隔阂与标签都去掉,让每个人明白,我们全都同属一个社区。而这种美丽的传统艺术、它的设计,代表了马来西亚,它是所有人的连接点,将大家联系在一起。这不仅仅是在向别人和我自己宣传 batik 蜡染,更重要是让人们联结起来,我们都是马来西亚人。”

It didn’t take long for this series, initially a self-education and reconnection project, to become a full-blown celebration of Malaysian diversity. On Hari Merdeka, the Malaysian Independence Day, celebrated every year on August 31, the Batik Series was on full display alongside works by two other fellow local photographers, Emma Khoo and John Kam, in an exhibition at APW in Bangsar, a suburb of Kuala Lumpur. This exhibition aimed to illustrate what it means to be Malaysian: differences were recognized, celebrated, and brought together in a single exhibition.

It was truly a moment of reconnection, as Adam fondly remembers. “It was really nice for opening night—especially since we only planned it a week and a half before the event!” he says. “You got to see different people from different cultures and religions coming together and mingling—that’s the Malaysia that you expect to see.”


很快,这个充满教育意义和促进社会团结的项目,也成为了对马来西亚多元文化的一次盛大展示。每年 8 月 31 日是马来西亚独立日(Hari Merdeka),为了庆祝这个国家最重要的日子,《Batik》与其它两名当地摄影师 Emma Khoo 和 John Kam 的作品一起,在吉隆坡的郊区孟沙 APW 的展览中共同展出。本次展览旨在表达“何为马来西亚人”的主题。在这个展览中,多元化得到了承认并被呈现出来,且将来看展的人们牢牢凝聚起来。

这是真正意义上的重新联结。Daniel 开心地回忆道:“开幕夜真的特别棒,尤其那是我们在活动举办一周半之前才开始筹备的!来自不同文化和宗教的人们全都聚集在一起,这正是我们所期望看到的马来西亚。”

Sediments & Sentiments 我在日本的那21天

October 18, 2018 2018年10月18日

After working as a graphic designer for two years, Justine Wong made the bold decision to quit her job in Toronto to move to Tokyo. The trip became a year-long sabbatical for cultivating her own voice as an artist. “I decided if I was going to try anything, then now was the time,” she recalls. “So much of the illustration work in North America is limited to magazines, but in Asia opportunities for illustration are endless.”


在做了两年的平面设计师之后,Justine Wong 做出了一个大胆的决定:辞去多伦多的工作,搬到东京。

这趟行程最终成为她为期一整年的休整,因为她决意真正以艺术家的身份立足。我决定,如果我想尝试什么,那么现在是时候了。她回忆道,北美的插画工作大多局限于杂志,但在亚洲,画插画的机会一抓一大把。

Before moving to Tokyo, Wong took a three-week solo journey through Japan and created a series of watercolors entitled 21 Days in Japan. In this series, Wong painted her meals, as well as scenes of restaurant stalls, vending machines, and yakitori food trucks. Wong funded the project on Kickstarter, where it found massive success.


在搬到东京之前,Justine Wong 花了三周的时间在日本独自旅行,并创作了一系列水彩作品,名为《21天在日本》(《21 Days in Japan》)。在这个系列中,Justine Wong 画下了她每天的伙食、餐厅的摊位、自动售货机,和 Yakitori 美食卡车的画面。Justine Wong 把这个项目放到 Kickstarter 上进行众筹,最终取得了巨大的成功。

“In Toronto we get a lot of ramen, sushi, and sashimi, but I had so many other food experiences during my trip that were precious, from eating the home cooking of someone at my hostel to eating at a place that just sells to locals,” she says. “I wanted to select foods that people don’t normally experience in the West.”


在多伦多,我们也有很多拉面、寿司和生鱼片。但我在日本的旅行期间,吃到了很多其他地方食物。这些经历很宝贵,从我在旅店吃到人们自己做的家常菜,还有在一个仅对当地人开放的地方吃饭。她说,我想选择那些在西方人们通常不会体验到的食物(来画)。

What did she like best? “Tsukemen, which are like ramen noodles but dipped in a thick broth with all the toppings. Also basashi, which is horse sashimi, which would never exist or be presented in such a respectful way in the West. It’s the cleanest meat I’ve ever had.” Wong adds she also loved ginnan, or gingko nuts.


Justine Wong 本人最喜欢吃什么呢?日本拉面(Tsukemen),就像普通的拉面一样,但它浸在浓浓的肉汤里,上面撒上配料马西生鱼片(Basashi),在西方国家没有,有也不会以如此隆重的方式呈现。这是我吃过的最干净的肉。她还说,她也喜欢白果,也就是银杏果。

When she later moved to Tokyo, Wong found it more difficult than she expected. “It was a big challenge, especially in the first six months, because I felt homesick and lonely. Tokyo can feel overwhelming, even if you know a lot of people.”

To assuage these feelings, Wong began taking weekend trips to the coast. “I started off in Kamakura, which was my introduction to Japan’s coastline,” she explains. “It changed everything about my relationship with the country. I went so often that it became a second home for me.” From there, Wong ventured further down the coast to the Izu Peninsula, drawn by its majestic rock formations.


当她随后搬到东京时,Justine Wong 发现这比她原先预想的要困难得多。“这是个很大的挑战,尤其是在前六个月,我的思乡情结前所未有地严重,觉得很孤独。即便在东京认识很多朋友,这感觉也让人很难承受。”

为了缓和这些情绪,Justine Wong 开始在周末去海边旅行。我从镰仓出发,这这是我对日本海岸线了解的第一步。她解释道,这改变了我和国家之间的一切关系。因为常常去,结果那里就成了我的第二个家。从那开始,Justine Wong 沿着海岸继续向伊豆半岛进发,而那边,有雄伟的岩石群在等着她。

Wong’s art evolved as she experienced more of Japan’s striking beauty: she began exploring the connection between nature and her own emotional identity. Toward the end of her year in Tokyo, Wong presented No Hard Feelings, a solo exhibition showcasing paintings inspired by nature. “I wanted viewers to become aware of their feelings for a place, while also seeing that the place itself is bigger than what they feel about it,” she explains. “Most of the paintings are freehand, and I just painted as I felt.”

The freedom she felt in Japan allowed Wong to reflect on her identity as a Chinese Canadian. Through the paintings, I was able to explore my feelings freely and express them in a visual language,” she explains. “In one, called Too Much, Too Much, there’s a pile or rocks and shells and leaves, and a little woman trying to add the last piece to the painting. For me, it’s all these emotions that build up over your life that you don’t have the language to express. A lot of these feelings are so attached to my Chinese heritage that English doesn’t have words to define them, and giving it a visual form was very empowering.”


随着 Justine Wong 体验到日本更多异乎寻常的美丽面貌,她的艺术也因而进化。她开始探索自己的情感认同与当地自然之间的连结。在即将离开东京的那一年,她展出了《别放在心上》(《No Hard Feelings》),在此一个展之中,所有画作的灵感皆来自于大自然。 “我希望观众能够知道他们对一个地方的想法或感受,同时意识到这个地方,远比他们自身的感受还要宽阔、浩大,” 她解释道。 “大多数的画都是徒手画的,我按照自己的感觉去画画。”

在日本自由自在的生活,让 Justine Wong 开始反思她作为一个华裔加拿大人的身份认同。 “通过绘画,我能够自由地探索自己的感受,并用视觉语言表达出来,” 她解释道。 “在一个名为《太多,太多》(《Too Much, Too Much》)的作品里,有一堆岩石、贝壳和树叶,还有一个小女人试图将最后一块线索添加到画作中。对我来说,正是这些你无法用言语具体表达出来的情绪,点点积累成你的生活。然而,这些感受很多都与我的中国背景相关,我没办法用英语去定义它们,只能以视觉方法来诉说。正是这一点让我感到自己充满力量。”

Wong moved back to Toronto in 2017, but her time in Japan has had a lasting impact on her work. She’s realized she can tackle questions about her past the same way she learned how to live in Tokyo. “If I couldn’t speak my parents’ language very well, I’d just have to study it the way I studied Japanese. If I didn’t know much about Chinese food, I’d just have to experience it as I experienced Japanese food for 21 Days in Japan.”

Wong also wants to build a lasting connection with Japan through collaborations with Japanese writers and artists and cross-cultural exchanges between the people of Toronto and Tokyo. “I hope to keep creating work that can provide a new visual language to bring people closer to themselves and others.”  


Justine Wong 于2017年搬回多伦多,但她在日本的经历对她产生了持久的影响。以前她常常疑惑关于过去的那些问题,她现在意识到可以解决它们,就像解决如何在东京生活一样。 “如果我不能很好地说出父母的语言,我只需要按照我学习日语的方式来学习。 如果我对中国菜不太了解,我只需尝试一下,就像我在《21天在日本》里品尝了日本料理。”

Justine Wong 还希望通过与日本作家和艺术家的合作、以及多伦多和东京人民之间的跨文化交流,能让她与日本建立更持久的联系。 “我希望继续创作更多作品,提供新的视觉语言,让人们更贴近自己和他人。”

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The Art of Suggestion 如果每一天你都会画一张画

October 18, 2018 2018年10月18日

If you did one sketch every day, what would you draw today?

The first time I saw the work of Du Juan, who draws under the pseudonym Xiao Duzi, I couldn’t find a title or an explanation, just a short date—a day, a month, a year—and this diary-like approach is what piqued my curiosity.

Look closely at the giant man with a house for a head and a black cloud hanging over his shoulders, and you’ll see that most of the space is left to the observer, left to the imagination.


如果每一天你都会画一张画,今天的你会画些什么?

第一次看到小杜子的画,就是没有命名、没有简介,只见一个短短的日期,某年某月某日。正是这充满日记性质的概念,充分调动起了我的好奇心。

仔细一瞧,一栋房子代替大脑,乌云悬浮在巨人的两肩,而更多的空白,则留给观者,留给想象。

For now these drawings are largely a daily record of experience. In 2016, when Du Juan returned from England, where she’d studied, she took a job teaching. “Art is art, teaching is teaching,” she says, explaining that she prefers to keep the two separate. “The only thing linking them is that, when I teach, I can pass on some fundamental skills and my understanding of art. But art requires independent thought,” she says.

As for her influences and inspiration, Du says that recently she gets a large part of her inspiration from poetry, and reads everything from Oscar Wilde to classical Chinese verse. “In general I like two types: poetry that offers a glimpse of life, and poetry that expresses an emotional state,” she says. “Particularly once you’ve acquired a little life experience, you can sort of understand the deeper meaning of classical poetry.”


这些涂画,暂时多是日常感受的记录。2016 年,从英国留学归国后,目前的小杜子,日常从事着教育工作。“创作是创作,教育是教育。”对她个人来说,更愿意把两者分开,“它们所具有的联系只是(让教育)把创作中一些体会和基础技术传授出去。而创作的事儿还得是独立的思考。”

而要说对创作的影响和激发,小杜子说近期,诗歌占了不小比重。王尔德也好,传统的古诗也好,“一般会喜欢两种,一种是对生活的洞见,一种是情感的抒发。尤其当慢慢有了些生活的阅历,多多少少才似乎明白古诗中的深意。”

The characters in Du’s drawings are just outlines and suggestions, but the details are unique. She thinks this may be because she likes to take slow, solitary walks, where she sometimes happens across intriguing sights that she incorporates into her art. “No matter what I draw, or what materials I use, or what style I’m trying out,” she says, “I always hope the drawing will contain something that’s quiet and not obvious but can nevertheless be understood.”


画里的人物轮廓模糊,细节却很独到,小杜子说,那可能是因为喜欢一个人散步,走得也慢,意外会看到些有感触的小东西。“只是无论画什么,用什么材料,尝试什么风格等等,都希望画里建构一份安静和不被识破但可被理解的内容吧。”

Behance~/XIAODUZI
Weibo: ~/艺术插画师小杜子


Contributor:  Chen Yuan


Behance~/XIAODUZI
微博: ~/艺术插画师小杜子


供稿人: Chen Yuan

The Lokal Lifestyle 如果你是艺术家也是旅行者

October 17, 2018 2018年10月17日

Poblacion is a study in contrasts. The neighborhood—Manila’s latest creative center of gravity—is a chaotic mix of high-rise hotels, open prostitution, innovative nightlife, and prolific eateries. Lokal, a street art-inspired hostel, sits comfortably in the middle of all this, with the red light district on one side and glitzy high rises on the other, unconcerned with either extreme. Its liberal attitude and live-and-let-live philosophy is what makes this such an appealing place for artists and travelers. And Lokal aims to play host to both.


Poblacion 是一个拥有多重面目的区域,这个社区既是马尼拉最新的创意中心,也是荟集高层酒店、色情场所、热闹的夜生活和众多餐厅的大杂烩之地。Lokal 则是一家以街头艺术为灵感的旅店,它舒适地坐落在这一切的中心地带,一边是红灯区,另一边则高楼林立,但这都与它毫不相干。它自由开放的态度和互不干涉的人生哲学,使它成为艺术家和旅行者都有相当吸引力的地方。而 Lokal 的目标正是招待好这两拨人马。

The street-level entrance, an alleyway with a row of graffiti-covered walls and a candy-cane floor, calls to mind a carnival ride. Featuring the work of Filipino artists like Apok, Distort Monsters, and Chase, the corridor is visible from the busy sidewalk, drawing in passersby and rewarding them with an eclectic mix of art not found anywhere else.


街道的入口,有一排满墙涂鸦的小巷和一条红白相间的走廊,让人想起游乐园的狂欢。走廊上有菲律宾艺术家的作品,如《Apok》、《扭曲怪物》(Distort Monsters)和《追逐》(Chase)。这些作品从繁忙的人行道上就可以看到,用来吸引过路人,并以其他地方看不到的各种融合艺术来使他们一饱眼福。

Lokal’s third-floor lobby greets visitors with a large mural, the centerpiece of the hostel, painted by Egg Fiasco, Manila’s most internationally recognized street artist. A host of other works cover the hallways, like the letter art of notorious graffiti writer Nuno and the politically charged paintings of Ang Gerilya. There are 15 rooms here, ranging from single and double private rooms to dormitories for four to six people, with a total capacity of about 50. Each room features its own artwork as well.


Lokal 的三楼大厅以一幅巨大的墙绘迎接游客,这幅墙绘是旅社的中心建筑,作画者是马尼拉最负盛名的街头艺术家 Egg Fiasco。而其他的一些作品覆盖了走廊,比如臭名昭著的涂鸦作家 Nuno 的书信艺术和政治色彩浓厚的 Ang Gerilya 的绘画。这里有 15 个房间,有单人间、双人间、有 4 至 6 人的青年宿舍,总共可容纳约 50 人。并且,每个房间都有自己的艺术作品。

Don Angelo Bautista, the owner, says he was inspired by Sydney’s Kings Cross district, which revealed the possibilities that street art can offer a neighborhood. “There are about 20 hostels there,” he says. “Backpackers were exploring and taking pictures with the street art in the background. So I realized if I had art in my hostel’s rooms, they would take pics in front of that too and tag it. It’s a natural marketing tool.”

“Plus, I knew that if I hung art on the walls, people would snatch it. But if we painted right onto the walls, no one could take it,” he adds with a sly smile. “Most accommodations are known for pilferage.”


店主 Don Angelo Bautista 说,他受到了悉尼国王十字区的启发——它向人展示了街头艺术可以为社区提供的种种可能性。“那里大约有 20 家旅社。”他说。“背包客正在探索和拍摄以街头艺术为背景的照片。所以我意识到,如果我在旅社的房间里有艺术品,他们也会在前面拍照并贴上标签。这是一种自然营销手段。”

“此外,我知道如果我把艺术品挂在墙上,人们会直接上手拿走它。但如果我们把画直接画在墙上,就没有人会拿了。”他狡黠地笑着补充道。“大多数住宿旅店都以失窃而闻名。”

His inspiration for the hostel was much more than practical, however: “When you get into business without passion or creativity, you won’t be able to bring out your full potential. It’s a back and forth transaction.”

In his travels, Bautista has noticed that street artists are often used for commercial gain. He didn’t want to be a part of that cycle, bringing some in to help promote the neighborhood and then abandoning them. “I’ve seen a lot of street artists when traveling around the world, and I’ve learned they need to be protected,” he explains. Nearly all the art on the walls is Filipino. It’s an important point to him: his hostel is a way to connect with the local culture—hence the name—and shine a light on artists from home. “I want the locals to get a chance, the same way I got a chance to run the hostel.”  He envisions the hostel as a node for artists to take advantage of, whether simply as a place to paint safely, to stay when visiting the area, or a place to throw events.


然而,他对旅社的锦囊妙计还不止如此。“当你在没有激情或创造力的情况下进入商界,你就不能充分发挥自己的潜能。这是个来回交易。”

Don 在旅行中注意到,街头艺术家常常被用于商业目的。他不想成为这个循环的一部分,不想先请一些人来帮助推广这社区,然后再抛弃他们。“我在周游世界的时候看到过很多街头艺术家,我知道他们需要被保护。”他解释道。墙上的几乎所有艺术品都是菲律宾的。对他来说,这一点很重要:他的旅社是一种与当地文化联系的方式——也是这个旅店名字 Local 的来源(Lokal,音同 Local,意为“当地的”)——并且照亮了来自家乡的艺术家。“我希望当地人能有机会,就像我有机会经营招待所一样。”他把旅社想象成艺术家们可以利用的一个地点,不管是作为一个安全的绘画场所、还是作为参观该地区时的停留场所,或者是一个举办活动的场所。

Climbing the staircase to the treehouse-like rooftop reveals even more murals. A half dozen paintings grace the top of the building itself, and several more from across Poblacion are visible from this vantage point. “None of these murals were here before Lokal,” says Bautista, waving his arm at the surrounding buildings. “If you don’t have street art, then your neighborhood lacks character and color. Businesses that work with these artists should remember that without their talent, a wall is just a wall.”


爬楼梯到树屋状的屋顶,会发现更多的墙绘。五六幅油画装点着旅馆的墙壁,从这个有利的位置俯瞰,还能看到更多的画。“这些墙绘在洛卡尔之前都没有,” Don 一边说,一边向周围的建筑挥动手臂。“如果没有街头艺术的话,那么这个社区就缺乏个性和色彩。和这些艺术家一起工作的企业应该牢牢记住,倘若没有他们的才能,一堵墙就只是一堵墙。”

Websitelokalhostel.com
Instagram: @lokalhostel

 

Contributor: Mike Steyels
Photographer: Jilson Tiu


网站: lokalhostel.com
Instagram: @lokalhostel

 

供稿人: Mike Steyels
摄影师: Jilson Tiu