Peaches & Cream 悠长假期

February 7, 2020 2020年2月7日

The world of Felicia Chiao radiates with the warmth and glow of a dusk sun. Her illustrations capture the comfort of a lazy day off alone, often featuring a peach-colored person with an oversized head lounging about at home. “The bald character who shows up the most is basically my version of a very fleshed out stick figure,” she laughs, explaining that she prefers leaving him without any distinctive characteristics. “Once you add hair or clothes, it has to be someone and I don’t like that. I get a lot of people asking what gender it is and I don’t know why that’s important.”


Felicia Chiao 的插画世界满溢着夕阳的温暖和光芒。在作品中,她捕捉了一个人独自度过慵懒假期的舒适感。她他画面中最常画的是一个桃色大头人,在家里舒服呆着的画面。她笑着说:“画面中出现最多的光头人,可以说就是用简笔画画的我自己。”Felicia 说自己不想为这个大头人加上任何鲜明的特征,因为,“一旦加了头发或衣服,就变成特定的人物,我不喜欢那样。有很多人问我它是什么性别,但我觉得那根本不重要。”

While Chiao’s work frequently depicts homely settings, she often treads into the bounds of fantasy and makebelieve as well, creating surreal compositions that beckon viewers to explore the dense frame and discover all of its hidden secrets. The Easter eggs of her work often reference her Asian heritage: Chinese zodiac animals, lucky cats, koi fish, and more make frequent appearances.

After moving to the US from Taiwan, Chiao lived in Texas, where she spent most of her childhood. “There was an absurdly high Asian population in my part of Texas, so I didn’t think about ‘being Asian’ until I left for college,” she says. “My work depicts an Asian-American viewpoint but I’m not really doing it intentionally. It’s just who I am.”


Felicia 的作品常以家为背景,但也会描绘幻想和虚构的世界。通过超现实主义的画作,吸引观众进入错综复杂的画中去探索,发现其中隐藏的秘密。她作品中的“彩蛋”常常是一些亚洲文化元素:中国的十二生肖动物、招财猫、锦鲤等等。

从台湾移居美国后,Felicia 在得克萨斯州度过了大半童年时光。“在我生活的得克萨斯州亚裔很多,所以在我去上大学之前,我都不会特别去想‘亚裔’这个身份。我的作品描绘的是美籍亚裔的观点,但我其实没有刻意这样做,我只是在展示我自己。”

Chiao creates everything with ink and Copic marker on brown paper, which is what loans the work its unique texture. The inherent warm tones of the medium paired with her cute illustration imbue her work a reassuring sense of calm and comfort. But this coziness is tempered by a darkness nibbling at the edges, usually depicted as a shadowy, shape-shifting form.


Felicia 几乎所有作品都是用墨水和 Copic 马克笔在牛皮纸上创作而成,因而她的作品得以有一种独特的质感。这种纸特有的温暖色调与她可爱的插图相结合,营造出了令人安心的平静和舒适感。但这种感受为边缘处的黑暗形象所吞噬了,那一片黑色的阴影在图中会呈现出各不相同的形态。

The mischievous blob of darkness was originally a visual representation of her digestion issues, which were often brought on by stress. “Initially it was drawn inside the body of characters as a stomach,” she says. “But my mom thought it was a cat, which I thought was funny, so now I just put it in random places.”

The blob has grown to symbolize negative feelings in general, but Chiao stresses that her work isn’t meant to be taken very seriously. She says that while her work does help her emotionally, it’s not as deep as many people tend to think.


Felicia 最初画这个黑色形象,是想用来代表自己因为压力产生的消化不良。她说:起初它是作为胃的象征,画在大头人的肚子里。但是我妈妈却以为这是一只猫,我觉得还挺有趣的,所以现在就把它画到不同的位置上。

这个人物渐渐成为了代表负面情绪的意象,但 Felicia 强调,自己的作品没有什么严肃的主题。她表示,虽然作品确实能改善她的心情,但并不像许多人想的那么深刻。

As her art has grown in popularity, Chiao has started receiving more messages from people about how it has impacted them. “I get very long, intense messages from people,” she says. “And I’m glad, but also a little surprised. If it can help others, that’s great. But I’m not going to pretend I’ve got my life figured out enough to help others.”


随着作品越来越受欢迎,Felicia 开始收到越来越多的留言与私信,讲述她的作品对自己的影响。她说:我收到过一些很长、很热情的信息。我高兴之余,也有些意外。能帮到别人,自然是好事。但我不会假装自己已经顿悟到可以帮助他人的地步。

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Contributor: Mike Steyels
Chinese Translation: Olivia Li


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Instagram: @feliciachiao
Behance: ~/feliciachiao
Tumblr: feliciachiao.tumblr.com

 

供稿人: Mike Steyels
中译英: Olivia Li

Keeping It Au Naturel “玉”见奇妙的声响

February 6, 2020 2020年2月6日

It’s a cold night in early December, and Shanghai’s Elevator nightclub has a line going out the door. The weather does little to deter listeners who are passionate about good music. Inside the club, the dim lights blend with the heavy bass and humidity, but as a video of a bonfire is projected on the wall and the first few notes of a nimble melody play from the speakers, the air begins crackling with excitement. Standing behind the decks is Yu Su, a Canada-based Chinese DJ and producer who’s putting her prowess as a live performer on full display. She showed no reluctance in taking the dance floor into unfamiliar sonic territories, dishing out an effervescent mix that feels more suitable for a warm spring day than the basement venue she’s playing out of. The set had surprises around every corner and covered a gamut of genres, weaving between tribal house, disco, breakbeats, and more. When she unexpectedly put on “Sweet Magic,” a classic Italo disco track by Tyrants in Therapy, the crowd erupted in cheers as vocalist AbbeAbbe’s saccharine lyrics filled the room. This is the type of musical versatility and acumen that fans have come to expect from the young DJ.


十二月初的上海,电梯俱乐部(Elevator)门口簇拥了前来蹦迪的年轻人们。虽然已进入冬季,大家对新声音的热情却丝毫不减。昏暗灯光、重低音、潮湿搅拌在整个俱乐部不大的空间里,却因为 DJ 台旁的篝火投影与阵阵灵动的旋律而变得妙升逸趣。DJ 台上,来自加拿大的中国女孩苏玉Yu Su)正不停地操作着手中的设备,细腻与娴熟之间,让音乐载观众的舞步通往异域,洋溢而出的欢快与自在让人仿佛提前来到明媚的春日里。

当晚,苏玉的 DJ Set 包涵了浩室(House)、碎拍(Breaks)、迪斯科(Disco)、部落(Tribal)等多种不同风格的音乐,通过巧思编排在一起。这种大量风格同时出现在一支 Set 里的形式,是时下新生代 DJ 偏爱的演出方式,能够在歌曲的切换之间为台下的舞客们带来意想不到的惊喜。当 Tyrants In Therapy 的经典意大利迪斯科(Italo Disco)曲目《Sweet Magic》响起,俱乐部里层层涌起的情绪再次升起,让现场弥漫在一片爱的氛围中。

Listen to Yu Su’s Roll With The Punches EP below:


点击即可试听 Yu Su 的《泉出通川为谷》:

2019 was a big year for Yu Su. She released Roll with the Punches and Watermelon Woman, two EPs that introduced fresh sounds into the global dance music scene. The former features ornate melodies that sound like they belong in ancient times, while the latter is a trippy kaleidoscope of acoustic twangs and alien synths. These unique amalgamations of sounds have garnered her international accolades from music lovers and critics alike, including high praise from Resident Advisor, which listed Yu Su’s “Little Birds, Moonbath” as one of the best tracks of 2019. She’s also become a regular in the nightclub and music festival circuit of North America and Europe, and she shows no plans of slowing down. One of her most anticipated shows of 2020 will be at Amsterdam’s Dekmantel Festival alongside fan-favorite Asian artists Object Blue and Tzusing.

In both her live DJ sets and the music she produces, listeners can hear a uniquely Asian femininity. Her music is a vessel of emotional expression and cultural heritage, and it has no intention of catering to mainstream music trends. While she draws from Western influences, she also taps into the free spirit and expansiveness of traditional Chinese art. Listening to Yu Su’s music with eyes closed, the melodies seem to take on a life of their own, unraveling into vivid vistas and landscapes.


2019 年对于苏玉来说可谓热气蒸腾,她相继发行的单曲《泉出通川为谷 / Roll With The Punches》和《Watermelon Woman》分别以古韵和迷幻的气质灌入国际电子音乐的浪潮,引起不小的关注。著名电子音乐网站 Resident Advisor 将她的《Little Birds, Moonbath》列入 2019 年度最佳曲目之列,并形容她的音乐 “还原了理想大自然的美景”。同时,你会在欧美各大音乐节和地下俱乐部的公告栏里看到她的名字。而今年夏天举办的阿姆斯特丹 Dekmantel 音乐节上,她还与 TzusingObject Blue 代表华人团出现在整个赤手可热的大名单中。

而无论在苏玉的现场 DJ 还是在她的音乐制作中,你都能听得到独有的亚洲女性气质。她把自己的感性一面与对自身文化的传承融入在音乐中,并不想一味地迎合世界电子音乐的趋势,你也无法用笼统的风格方式来概述她的音乐。其中有对西方音乐的推敲,也有中国古人轻佻与曼衍的意境。闭上眼睛,声音仿佛学会了某种魔法,在脑海中勾绘出画卷。

Listen to Yu Su’s Watermelon Woman EP below:


点击即可试听 Yu Su 的《Watermelon Woman:

Yu Su is from Kaifeng, in Henan province, on China’s central plain. As the capital of the Song Dynasty, the city has a rich culture and history, and it’s the subject of one of China’s most famous paintings, Zhang Zeduan’s Along the River During the Qingming Festival, which depicts the city’s unrivaled splendor during the twelfth century. It’s a city that people don’t exactly associate with electronic music, and in fact, Su, like many Chinese children, got her first introduction to music through the piano. Her mother often put on pieces by pianists Debussy or Liszt at home, which planted a seed. “My mother’s music teachings are my biggest inspiration,” Yu Su says.

When she was 19, she moved to Vancouver, Canada. She didn’t know much about electronic music at the time, but when a friend invited her to go to a party DJed by Floating Points, she was riveted. It was love at first sight (or in this instance, listen). Even back then, she didn’t particularly care for labeling music—she believes everyone experiences music differently. “Music, for me, can be divided intuitively,” Yu Su says. And her productions sound so organic and unforced precisely because of this. “When the feeling comes, music speaks by itself. It will tell you how to draw out the sound.”

In college she majored in anthropology, focusing on Asian religions. Her interest in Daoism, in particular, has shaped her understanding of music. “Things aren’t perfect in themselves,” she believes. “You don’t have to make them perfect because all things have their own path to fruition. This is also how I approach music: everything is natural.”


地处中原的河南开封是苏玉的故乡,这座城市曾经是宋代的首都,拥有着丰厚文化与历史遗迹,张择端《清明上河图》就描述了开封在宋代时期空前繁荣的光景。而在古老的砖瓦之下,很难让人把当代的电子音乐与这座城市联系起来。像中国一些孩子一样,苏玉在青少年时期开始接触钢琴。她的母亲经常在家中播放德彪西(Debussy,十九二十世纪法国钢琴家)和李斯特(Liszt)的作品,她对于西方音乐的认识就此展开,那些黑白琴键之间的曼妙在她的心中播下了种子。苏玉说:“小时候母亲的教诲是我做音乐最大的动力。”

在十九岁的时候,苏玉搬去了加拿大温哥华上学,那时的她对电子音乐还不甚了解。一次偶然的机会,苏玉在朋友的邀请下参加了 Floating Points 的迪斯科派对,那是她第一次被电子音乐深深迷住,随后便一发不可收拾。很快,苏玉找到了自己在音乐方面的心头好,但她并不喜欢用风格的限定来描述音乐,她认为每个人对音乐的感受是不一样的。音乐对于我来说,是靠感觉来进行区分。她也更喜欢把自己的感觉融入进制作,让音乐听起来顺其自然,随心所欲。当感觉来的时候,音乐会自己说话。它会告诉你声音该如何延续。

而她对音乐的理解其实有一部分来源于大学时期的学习。当时她所在的人类学专业非常注重东方宗教领域,苏玉非常认可道教中的道义,她认为:事物本身并不完美的,你没有必要给它施加完美的属性,因为所有事情都有自己成功的方式。这也是我做音乐的方式,一切都是自然而然的。

Besides being a DJ and producer, Yu Su is also an avowed epicure. She loves the process of selecting ingredients and preparing them, and she even has a dedicated Instagram account to document the delicacies she samples on her trips, as well as the gourmet delights she cooks up herself. Whenever she’s on the road, she visits local friends and cooks for them—at one such dinner, she wrapped over 400 dumplings. Food, like music, is a universal language. In fact, she got to know Ben UFO, Pearson Sound, and other top figures in the underground electronic music scene over a shared love of food.

Cooking and spinning records have a lot in common. When preparing a dish, there’s a certain science and art to balancing the ingredients, the seasonings, the heat, and the cooking time—just as a good DJ set requires the right variety of “dishes” prepared with the right techniques and served in the right order so that people can savor it. In her view, you can’t make good food from a recipe, just as you can’t make good music by following a set of rules.


DJ 和音乐制作之余,苏玉还是一名不折不扣的美食家,她非常享受采购与烹饪的过程,甚至专门为食物开通了 Instagram 账号,记录下所到之处的美味佳肴,以及自烹自饪的玉盘珍馐。每当在一个地方进行表演,她都会为当地的朋友和主办方亲自下厨,曾经就有过一次包了四百多个饺子的经历。而美食和音乐一样,都是全世界人共通的语言。她与 Ben UFO Pearson Sound 等一些世界顶级的地下电子音乐人的缘分,都是从美食开始。

其实做饭和 DJ 似乎有着奇妙的相似之处,一道好菜在食材、调味品、火候、时间上都有一定的考究,而一场好的 DJ Set 需要在顺序和菜品类别上下足功夫,加上好的烹饪技巧,拼凑成一盘好,令人回味无穷。苏玉并不认为跟着食谱就会做出一道好菜,就像她不认为一切音乐有被定好的规矩,二者是一样的道理。

In December 2019, Yu Su set out on a tour across the length and breadth of China, and the recent Shanghai performance was the second stop. “The reason I first decided to make electronic music was because other people inspired me,” she recalls. “Being a woman, I want to use this tour as a way to get more young girls involved in the music scene. I’ve also noticed that more and more young people in China now are interested in getting involved, and that’s really inspiring. As a musician, you should always be curious and grateful to everyone around you. These things are really important.”

On December 15, Yu Su will take a break from her whirlwind tour to perform a multi-channel sound installation at Shanghai’s Museum of Modern Art. Visitors can hear her experiment with unconventional sounds and catch a listen of some unreleased tracks. Tickets are available here.


整个十二月,苏玉带着她的音乐漫步在中国南北,这场在上海的演出则是苏玉 2019 年中国巡演的第二站。“最开始决定做电子音乐是受到别人的启发。所以,我想用这巡演这样一种方式,以女性的角色去感染更多的年轻人参与到这个音乐场景中。现在,我发现国内有越来越多年轻人愿意去参与,真的令人非常开心。当苏玉谈论到国内电子音乐时,显得非常激动,同时她还认为,身为音乐人,应该时刻保持好奇心,并且对身边的所有人心存感激,这些都是非常重要的。

除了紧凑的中国巡演,1215日苏玉还将在上海艺仓美术馆进行一场多通道声音装置表演,你将在活动中听到她对各种奇妙声效的实验,以及从未发行的音乐。前往秀动即可购票。

Event:
Eating Music presents Yu Su

Date:
December 15, 2019

Location:
Shanghai Modern Art Museum
Binjiang Avenue, no. 4777
Pudong District, Shanghai

 

Yu Su China Tour 2019

12/6 Beijing | Zhao Dai
12/7 Shanghai | Elevator
12/13 Chengdu | TAG
12/14 Hangzhou | Loopy
12/20 Suzhou | DeepRoll
12/21 Chongqing | Echo Bay
12/28 Xi’an | JAR
12/31 Xining | See You Bar


活动:
Eating Music 特别呈现 Yu Su

日期:
2019
年12月15

地址:
上海艺仓美术馆
上海市浦东新区
滨江大道4777号

 

Yu Su 中国巡演 2019

12/6 北京招待所
12/7 上海 | Elevator
12/13 成都 | TAG
12/14 杭州 | Loopy
12/20 苏州 | DeepRoll
12/21 重庆 | Echo Bay
12/28 西安 | JAR
12/31 西宁 | See You Bar

Like our stories? Follow us on Facebook and Instagram.

 

Instagram: @yusu_suyu
SoundCloud: ~/yu_su

 

Contributor: Pete Zhang
Photographer: David Yen

Special Thanks to Daily Vinyl


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Instagram: @yusu_suyu
SoundCloud: ~/yu_su

 

供稿人: Pete Zhang
摄影师: David Yen
特别鸣谢 Daily Vinyl

INFERNO 你不知道的红灯区

February 4, 2020 2020年2月4日

Bondage slaves, drag queens, and vibrant neons: the paintings of James Jirat Patradoon‘s INFERNO transplants the red-light district into the gallery with a comic-book aesthetic. Bulging male muscles and ballooning breasts are squeezed into leather and latex, Chinese type and luxury brand names sit alongside each other, and latticed borders that call to mind the intricate designs of Chinese-style windows frame the entire composition. These works are intentionally loud and exaggerated, designed to draw parallels between distant cultures.


如果要形容起 James Pirat Patradoon 的绘画系列《INFERNO》,那一定可以这样总结——充满着捆绑奴役、变装皇后和充满活力的霓虹色彩。将红灯区的景象凝成漫画风格搬到画廊展墙之上:肌肉彪悍的猛男、穿着紧身皮革和乳胶衣的性感美女,汉字和奢侈品牌交相辉映,而格纹边框则让人联想到错综复杂的中式窗户,将整个构图融入其中。这些作品刻意而为的抢眼、夸张风格,旨在将不同的文化相联系。

“I spend a bit too much time in strip clubs,” Patradoon laughs. “I find them fascinating. Performers occupy this space where the audience only experiences them as a fiction. The drag queens here in Bangkok are like real buff dudes in regular life. When they perform, they’re like superheroes with a fictional identity.” His art draws on this type of contrast, pulling it to extremes until it becomes something else.


我好像太常去脱衣舞厅。” James Pirat Patradoon 笑着说,我觉得那里很有意思。表演者是整个空间的主角,为观众提供一种虚幻的体验。曼谷的变装皇后在平日里都是很健壮的男人,但当他们在舞台表演时,就像变成了一个个有虚构身份的超级英雄。他的作品借鉴了这种对比,通过极端的演绎,呈现出别样的景象。

Patradoon is Chinese and Thai but grew up in Australia. He’d been based in Sydney until last year when he had the chance to move to Bangkok. With his illustration career at a standstill and the local art scene feeling stagnant, he jumped at the opportunity. “Friends would ask me if Thailand’s nightlife is really as crazy as its reputation, and I couldn’t answer back then,” he says. “It definitely hasn’t disappointed.”

Since moving there, he’s immersed himself in the city’s nightlife, making friends with punk rockers, embedding himself in the local electronic music scene, and getting to know the city’s queer community. Bangkok’s LGBTQ culture especially has had the most impact on him. “Nightlife has been my interest since before I moved and these paintings were based on ideas from before I came, but the energy here motivated me to work and made things much clearer in my mind,” Patradoon says. “You have to experience this stuff first hand and in person. It’s just not the same online.”

INFERNO, which debuted at Superchief Gallery in Los Angeles late last year, is the culmination of his nocturnal escapades in Bangkok. For this series, he began without clear intent, digitally sketching his stream of consciousness. These illustrations were then combined to form his visually dense compositions. The final step was to then paint the finished work on canvas.


James Pirat Patradoon 是中泰混血,但自小在澳大利亚长大。一直生活在悉尼的他,直到去年搬到曼谷。当时正值他插画创作的瓶颈期,加上当地的艺术场景的停滞不前,于是,他选择了搬离。“有朋友会问我,泰国的夜生活是不是像传闻的那样声色犬马,我当时还不知道怎么回答呢。但肯定不会让人失望。” 他说道。

自从搬到曼谷,他就沉浸在这座城市的夜生活,结识朋克歌手,进入当地的电子音乐圈,并接触了这里的酷儿社区。其中曼谷的 LGBTQ 文化对他的影响最大。“在搬到曼谷之前,我就一直很喜欢夜生活,这些画是我根据以前的想法创作的,但这里的能量让我有了创作的欲望,也让我有了更清晰的创作理念。”James Pirat Patradoon 说,“你必须要去亲身体验。这跟网络上的是不一样的。”

《INFERNO》系列于去年年底在洛杉矶的 Superchief 画廊首次亮相,是他对曼谷夜生活的写照。这个系列开始时并没有明确的初衷,James Pirat Patradoon 只是用电脑描画出脑海的想法,然后将这些插图合并成在视觉上复杂紧凑的作品,最后在画布上完成画作。

Life in Thailand has actually made Patradoon identify more as a Westerner and more as an Australian. In Sydney, he always felt out of place because of racism. But in Bangkok, although he’s surrounded by other Thais, he still feels like an outsider. “All I have to do is open my mouth, and it’s obvious I’m an ‘other,'” he says. “But it’s to my advantage because I can ask questions about anything since they’re more forgiving with me as an outsider.”


在泰国生活实际上让 James Pirat Patradoon 更强烈地感觉到自己作为西方人,作为澳大利亚人的身份。在悉尼,因为当地的种族歧视,他总是觉得格格不入。但在曼谷,虽然他身边都是与他相同国籍的泰国人,但他仍觉得自己身在局外。“我只要一说话,就很明显是个‘外国人’。”他说,“但这也是我的优势,因为我可以问任何问题,毕竟他们对外国人比较宽容。”

“These reflections on race and identity have also led him to explore issues of gender and sexuality.  He’s straight, but in Bangkok he’s often perceived as gay. It’s a challenge he hadn’t encountered very often before. “I don’t have a problem with it, but in the West, you don’t necessarily have to label yourself and can live in a grey area if you want,” he says. That freedom is a foundation of Patradoon’s work, mixing everything together without really trying to define it. “It’s not necessarily about being one or another, but that a lot can be true at the same time.”


这些关于种族和身份的思考也促使他去探索性别和性取向的问题。他是直男,但在曼谷他常被以为是同性恋,这是他以前很少遇到过的问题。他说:“我其实不介意,但在欧美国家,你不一定要给自己贴上标签,如果你愿意,也可以选择留在灰色地带。”这种自由是 James Pirat Patradoon 创作的基础,将各种元素融合在一起,又不需要去做任何定义。“世事不一定是非此即彼,有很多东西是可以同时并存的。”

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Contributor: Mike Steyels
Chinese Translation: Olivia Li


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Website: www.jirat.jp
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供稿人: Mike Steyels
中译英: Olivia Li

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Sugarcoated Darkness 救救她们!

February 2, 2020 2020年2月2日

The clay sculptures of Naomi Mendoza at first glance appear fragile and traditionally feminine. She creates pieces of fine china, flowers, and candy—delicate items to be treated with care, painted in soft colors like pinks and baby blues. Upon closer inspection, an edgier side reveals itself, filled with trauma, anger, and desire. Hands reach out for help as if from a drowning body. Messages like “help me” are written discreetly across the surface. These cheery little clay figures clearly come from a very dark place.


乍看之下,Naomi Mendoza 泥塑作品精致得有点脆弱,带着一股传统女性的柔弱气息。她创作的精美的瓷器、鲜花、糖果,各种精致的小玩意,涂上粉色和淡蓝色这些柔和的色彩,让人想要小心呵护。但走近细看,这些泥塑作品又显露出其不安的一面,似在诉说创伤、愤怒和欲望。那些伸出的双手仿佛是溺水的人在求救,“help me”(救救我)几个字写满了雕塑表面。这些外表活泼可爱的小泥塑,显然背负着沉重的创作理念。

Mendoza grew up in Quezon City, near an art district filled with galleries and shops. Her parents were artists, yet their strict Catholicism meant Mendoza had a sheltered childhood: she wasn’t allowed to explore the city alone or freely pursue her artistic interests. “I liked to draw anatomy, but I never would have been able to freely show off an image of a vagina like I do now,” she says with a laugh. Only when she went to college did she meet other artists and discover the gallery scene in Metro Manila. “I’m very competitive, so it was great being surrounded by artists. I got so much better than I ever would have without it.”

Her first professional experience with sculptures came from a student job making customized bobblehead figurines. “The job was so boring,” she says. “But it helped me develop my skills. I used their process and materials for my own ideas.”


Naomi 从小在菲律宾的奎松城长大,生活在一个画廊和商店林立的艺术区。她的父母都是艺术家,但他们都是严格的天主教徒,所以从不让 Naomi 一个人去城市外面,也不让她自由地培养自己的艺术兴趣。“我喜欢画人体解剖图,但我永远都不可能像现在这样,能够自由地展示我画的阴道图像。”她笑着说道。直到上了大学,她才有机会认识其他艺术家,真正去探索马尼拉的艺术圈子。“我好胜心很强,所以能和那么多艺术家一样,我觉得特别棒,如果不是这样,我也不可能像现在进步这么大。”

她第一次认真做雕塑源自她学生时的一份兼职,当时她要帮忙制作各种定制的摇头玩偶。“这份工作很无聊。”她说,“但它帮助我提升了自己的技术。我可以按照他们的工艺,用他们的材料来创作我自己的想法。”

Mendoza now works in her bedroom, sitting on a plush rug on the floor, kneading and molding the pieces by hand. She uses a toothpick-shaped bamboo stick to carve small details and paints the pieces with a makeup kit. Then she bakes them in a mini-oven and adds a matte gloss. She works without thinking too much in advance, molding a collection of shapes until an idea comes to her. “It’s very therapeutic,” she says of the process. Although the work is intuitive and she doesn’t set out to create dark or sexual sculptures, her work is an expression of her feelings. Vaginas peek discreetly out of pink flower petals, hiding in plain sight. What appears to be popsicles have cactus-like spines.


现在,Naomi 就在自己的卧室里创作,坐在地板的毛绒地毯上,用手揉捏和按压出一件件泥塑作品。她先用一根牙签状的竹子来雕刻细节,再用化妆刷来上色。然后,把泥塑放到一个小烤箱内烤制,以增加表面的哑光亮泽。她在创作前不会考虑太多,一般都是先雕刻出一个个泥塑,然后才突然有了想法。她说:“这个过程特别能让我放松。”她全凭直觉来创作,一开始也没打算创作黑暗风格或性有关的雕塑作品,尽管如此,她的作品却呈现了她的内心所感。阴道藏匿于粉红花瓣中,像是在众目睽睽下试图躲藏;看似是冰棍的作品,又布满仙人掌那样的尖刺。

These elements in Mendoza’s work are signs of trauma. As she explains, she’s had to leave home due to her father’s physical abuse. Her uncles stepped in to help pay for school, but the trauma is still with her. “I’m very shy, but I definitely have an aggressive side. People who know me personally easily recognize that part of me in my work.”


这些作品的细节部分透露出 Naomi 创伤的痕迹。她说因为父亲的家暴,她不得不离家而去。她的叔叔帮她支付了学费,但这种创伤的阴影挥之不去。“我很害羞,但我也有大胆的一面。认识我的人看到我的作品就能看出这一点来。”

Learning to freely express oneself after years of tamping down desires and feelings takes time, and for many people, visual art is a valuable nonverbal outlet. For Mendoza, it’s a way to give difficult feelings a physical form. The size of her sculptures forces viewers to look closely and think about what it might mean. “I actually love creating very small works, because people have to get up close to really get a look,” she says. “It’s much more personal that way.”


经历多年压抑欲望和感觉之后,要学会自由表达自己是需要时间的。对于许多人来说,视觉艺术是一种珍贵的非语言输出,而对于 Naomi 来说,这让她得以通过有形的物品来表达心中的痛苦。精致的雕塑尺寸,使观众不得不仔细观察,思考其中的含义。她说:“我很喜欢创作小巧的作品,因为这样观众在看的时候就要走得特别近,让这个过程变得更私人。”

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Instagram: @naomiwmeow

 

Contributor: Mike Steyels
Photographer: Jilson Tiu
Chinese Translation: Olivia Li


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Instagram@naomiwmeow

 

供稿人: Mike Steyels
摄影师: Jilson Tiu
英译中: Olivia Li

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