All posts by david

Vietnam, Land of the Dragon People

January 17, 2017 2017年1月17日

 

无法观看？前往优酷

In November 2016, Belgium-based filmmaker Sjoerd Samuel Tanghe spent a month traveling Vietnam and filming all that he saw along the way. With over 60 hours of footage at the end of his trip, he put together Vietnam, Land of the Dragon People, a stunning four-minute long short film.

比利时电影制片人Sjoerd Samuel Tanghe花了一个月的时间在越南旅行，一共拍摄了超过60小时的影像素材；他将这些影像剪辑在一起，制作成一部时长4分钟的迷人短片——《Vietnam, Land of the Dragon People》。

Compared to his personal and commercial work in the past, Vietnam, Land of the Dragon People is quite different. “Because of social media, the ongoing trend now is that everything must be summarized in less than a minute,” he lamented. “Some of my other projects might be flashier, bombastic, and full of energy. But for this project, the pacing is much slower. I wanted to show all the things I saw in an authentic way.”

相较于他过去个人与商业的作品，《Vietnam, Land of the Dragon People》有着截然不同的风格。他感叹：“由于社交媒体的发展，现在的趋势是一切都必须被概括在不到一分钟的时间里。我以往的作品可能更为华丽、夸张，且更有活力。但是，这部短片的整个节奏会更慢一些。我希望能以真实的方式呈现出我所目睹的一切。”

Being as it was his first time in Vietnam, Tanghe decided to travel through the entire country, starting first from the south and working his way up into the north. His journey was mostly improvised, barring a few specific destinations. Tanghe was most interested in exploring an authentic side of Vietnam, away from the tourist-ridden locations, and to discover for himself the way of life there. With an open-mind, he sought to travel off the beaten path and experience all that the country has to offer; this included trying out balut, a local Vietnamese delicacy, that Tange says to have been the most memorable part of his trip. He adds: “If you don’t know what it is… please don’t Google it.”

因为这是他第一次去越南，Tanghe决定在这趟旅程中穿越整个国家，从越南南部开始，一路往北走。除了一些特定的目的地，他的旅程大都是即兴决定的。Tanghe最感兴趣的是探索越南真实的一面，离开那些热闹旅游景点，亲自发现当地的生活。带着这种开放的心态，他专门寻找那些鲜有人知的冷门地方，以体验真正的越南，包括尝试越南当地的美食“Balut（毛蛋）”，Tanghe表示，这是他此行最难忘的回忆。他补充说：“如果你不知道这是什么……千万不要事先上网搜索。”

Website: sjoerdtanghe.be
Vimeo: ~/sjoerdtanghe

 

Contributor: David Yen
Video & Images Courtesy of Sjoerd Samuel Tanghe

网站: sjoerdtanghe.be
Vimeo: ~/sjoerdtanghe

 

供稿人: David Yen
视频与图片由Sjoerd Samuel Tanghe提供

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Mother

January 11, 2017 2017年1月11日

 

无法观看？前往优酷

In the award-winning animated film Mother, Taiwanese animator and graphic designer Aco Chang presents the warmth of maternal love in a different light, showing how too often it can be taken for granted. “As a child, I inconsiderately tore apart a ball that my mother had made for me,” she said. “This memory heavily weighs on me, stabbing at me, like a needle in my heart.”

在屡获殊荣的动画短片《母亲》中，台湾动画创作人兼游戏美术设计师张吾青以不同寻常的角度向世人展示母爱。她说：“小时候，我不懂事地撕破了母亲亲手做的球，而这件事沉甸甸地，像根针一般刺在我心底。”

Based on this past memory, Chang’s touching animation presents the shifting power dynamic between mother and daughter. In the film’s opening scene, the ball that the mother literally produces from her chest is seemingly symbolic of her love, a love that the daughter brazenly rips apart. The emotional short film is meant to be both an apology and a form of catharsis. The film comes full circle and concludes with the daughter, now grown up, reciprocating her mother’s love through the symbolic act of handing her a ball that’s identical to the one that she ripped apart as a child.

带着这般童年回忆，张吾青的这部动画短片呈现了一场母女间力量的动态转换。在短片开场，母亲从胸口取出象征着其母爱的球，而女孩却粗鲁地将其撕裂。这部触动人心的短片既是一份道歉，也是一场情感净化。影片首尾呼应，在结尾处，女孩的手捧一个与当初一样的球递给母亲，喻示着對母愛情意的歸還。

Chang’s introspective look at this childhood memory opened her eyes, allowing for much-needed self-reflection. Her symbology-filled animation is an attempt to find solace and rectify her regretful actions. From the moment of birth to the struggle for independence and power, the love that a mother has for her child remains unwavering – like a stream, it flows on quietly, a life-sustaining source of endless affection.

张吾青审视自身的童年经验，将情感反刍，转化，运用动画的形式展现各种象征性意涵，想望藉由创作的过程中疗愈与弥补深藏在心中愧悔的生命经验。由子宫爬出的婴儿，在挑战权力的转移与解构之后，母性始终像流水般绵延而静谧，由看不见的尽头注入生命与情意。

Website: juliaczzzaco.weebly.com
ArtStation: aco.artstation.com
Facebook: ~/acochangart
Tumblr: juliaczzzaco.tumblr.com
Vimeo: ~/user30150008

 

Contributor: David Yen
Video & Images Courtesy of Aco Chang

网站: juliaczzzaco.weebly.com
ArtStation: aco.artstation.com
脸书: ~/acochangart
Tumblr: juliaczzzaco.tumblr.com
Vimeo: ~/user30150008

 

供稿人: David Yen
视频与图片由Aco Chang提供

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Gundam Robots in Real Life

January 10, 2017 2017年1月10日
A conceptual sketch by designer Vitaly Bulgarov / 来自Vitaly Bulgarov的概念草稿

Like something straight out of science fiction, a gigantic humanoid robot has recently been unveiled by the South Korean company Hankook Mirae Technology. Dubbed as the Method-2, the current iteration of this larger-than-life bipedal mech suit is a collaborative project between Moldovan designer Vitaly Bulgarov and the mysterious South Korean robotics company.

韩国韩泰未来科技公司最近推出了一个巨型的人形机甲，看上去就像是从科幻小说里走出来的一样。这个代号为Method-2的巨型双足机甲是摩尔多瓦设计师Vitaly Bulgarov和这家神秘的韩国机器人研发公司之间的一个合作项目。

Large robots piloted by a human isn’t a new concept, at least in popular sci-fi shows and films. They’ve appeared in Japanese animes, such as Gundam , in the form of combat-ready mobile suits; in the video game series Metal Gear as weaponized bipedal tanks with nuclear weaponry, which often appear as the final boss; and more recently, in Western movies like Pacific Rim where the humanoid mechs are used to combat kaiju, or monsters, that emerge from the sea.

由人工驾驶的大型机器人早已不是什么新概念，至少在主流科幻节目和电影里，这是一个出现已久的概念。比如在《机动战士高达》一类的日本动漫里，它们是能够战斗的机甲人；在视频游戏系列《合金装备》中，它们被当作拥有核武器的双足机甲武器，在游戏里它们往往以终极大BOSS的身份出现；而在最近《环太平洋》这类欧美电影中，人形机甲被用来对付从海上出现的“kaiju”－即怪物。

Unlike the robots depicted in many of these sci-fi movies and games, Hankook’s 13-foot-tall robot isn’t intended for military use. In the short term, the robot has been envisioned for industrial applications where it can remain tethered to a power source. It’s even said that they plan to release an alternate version of the robot, with only torso and arms on a wheeled foundation, to assist in cleanup at the Fukushima disaster site.

与大多数科幻电影和游戏中所描绘的机器人不同，韩泰未来科技公司打造的这个近四米高的机器人并非用于军事用途。在短期时间内，这个机器人将被使用于工业领域，并需要一直保持电源的连接。甚至有传言称，他们计划为这个人形机甲造一个只有躯干和手臂的替代版本，安装于装有轮子的底座之上，用于协助在日本福岛核灾难现场的清理工作。

Video Courtesy of Vitaly Bulgarov

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A scientist at work inside the Hankook Mirae Technology robotics lab
A group of scientists at Hankook Mirae Technology fine-tuning a robotic joint

Robotics experts have expressed skepticism towards the authenticity of the entire project, citing a combination of many reasons: Bulgarov’s background with working in Hollywood blockbusters, such as the upcoming Ghost in the Shell movie that takes place in a post-cyberpunk world with a cyborg protagonist; the immaculately clean state of Hankook Mirae’s robotics laboratory, as seen in their newly released photos; the sloppily leaked images and videos, which initially only appeared on Bulgarov’s personal social media; and the mysterious nature of Hankook Mirae Technology, a company that didn’t even have a website or any web presence until just recently are just a few of the eyebrow-raising issues that have been pointed out over the last few weeks.

有机器人专家对整个项目的真实性持怀疑态度，并列举了很多原因：首先，设计师 Vitaly Bulgarov 参与了好莱坞电影拍摄的工作，譬如即将上映的电影《攻壳机动队》，这部电影讲述了一个发生在后赛博朋克（post-cyberpunk）世界的故事，主人公是一个半人类半机械的改造人；其次，在韩泰未来科技公司新发布的照片中可以看出，这家公司的机器人实验室竟然干净得一尘不染；还有，那些随意泄露的照片和视频。在最初，这些照片只出现在 Bulgarov 的个人社交媒体上；最后是韩泰未来科技公司的神秘背景，这一家公司直到最近才慢慢出现在互联网上并建立属于自己的网站。在过去的几个星期里，对于这个人型机甲，外界类似上面这样的质疑还有很多。

Photo of an earlier prototype from inside Hankook Mirae Technology
A pilot inside the cockpit of a shell-less robot suit at Hankook Mirae Technology

Bulgarov has insisted these robots are authentic while Hankook Mirae Technology has remained silent, unresponsive to our media inquiry. Whether these robot-powered suits are real or an elaborate hoax remains to be seen. Either way, Bulgarov’s conceptual 3-D sketches are quite impressive to look at.

Bulgarov 一直坚称那些都是真真正正的机器人，而韩国韩泰未来科技公司则一直对此保持沉默，也未接受我们的媒体访问。至于这些人形机甲到底是真实存在，还是只是一个精心设计的骗局，让我们拭目以待。无论怎样，Bulgarov的3D概念草图看上去仍然很震撼人心。

Website:
hankookmirae.tech
vitalybulgarov.com

Instagram:
@vitalybulgarov

 

Contributor: David Yen
Video & Images Courtesy of Vitaly Bulgarov

网站:
hankookmirae.tech
vitalybulgarov.com

Instagram:
@vitalybulgarov

 

供稿人: David Yen
视频与图片由Vitaly Bulgarov提供

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Boy from Terengganu

January 6, 2017 2017年1月6日

 

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Whether walking through the market streets in his small conservative hometown of Kuala Terengganu or strolling through the cosmopolitan malls of Kuala Lumpur, Brandon Ong is someone who stands out from the crowd. Often pushing the boundaries of fashion – which, at times, might involve wearing high heels, skirts, and intricate accessories – his appearance turns heads no matter where he goes. But compared to Kuala Terengganu, Kuala Lumpur is considerably more accepting, allowing him the much-needed freedom to express himself; and it was there where YAA SUI, a fashion community and production house founded by Brandon and his friends, was born.

无论是走在家乡那座保守的小城市——瓜拉登嘉楼的市场街道上，还是漫步于吉隆坡大都会的商场里，Brandon Ong 总是会在人群中脱颖而出。他的造型不断挑战时尚的界限，有时他还会穿上高跟鞋、裙子，佩戴上复杂的时尚配饰，无论他走到哪里，总是有很高的回头率。在吉隆坡，相比于瓜拉登嘉楼，他的造型某种程度上会更易被人们接受，而这正是他要表达自我所需要的自由；也正是在吉隆坡，Brandon和他的朋友成立了一个时尚社团和制作机构YAA SUI。

Yaa sui is a term used in Malaysia, which represents someone with the confidence to have their own individual style. Feeling the need to improve, stir up, and inspire the Malaysian fashion scene, Brandon and his friends started throwing crazy underground parties. These parties were one of a kind in Malaysia, involving DIY clothes, inventive hairstyles, and eccentric footwear. Each party had different themes like “Club Kids” or “Harajuku,” but the common underlying motif seemed to always be the encouragement of creativity and self-expression. YAA SUI’s parties attracted people searching for new methods of expression, along with those who want to experiment with fashion and shake off the pressure of society. But as of recently, the organisers are taking a break and trying to make ends meet – the parties were an endless and unsustainable investment of time and money.

Yaa sui是一个马来西亚口头语，用来指那些能自信地展现自己个人风格的人。Brandon和他的朋友举办各种疯狂的地下派对，希望能帮助马来西亚的时尚圈不断进步，激发出更多的时尚灵感。在马来西亚，这些派对可谓独一无二，他们在派对上DIY服装、打造创意发型设计和奇异的鞋子。每一次的派对都会有不同的主题，譬如“夜店小孩”或“原宿”，但所有派对背后的共同主旨似乎都是要鼓励更多的时尚创意。YAA SUI举办的派对吸引着那些正在探寻全新表达方式的人们，以及那些想要进行不同时尚实验、摆脱社会压力的人。最近，作为派对的主办单位，YAA SUI正在休整之中，试图使收支平衡。举办这些派对需要不断地投入时间和金钱，他们设法维持了一段时间，但已经无法一直无止境地维持下去。

Brandon and his designer friends know it is extremely hard to make a living through fashion in Malaysia. The conservative tilt of the country makes it difficult for their ideas to be accepted, at least for now. People simply like to follow trends and cast originality aside. Popular brands and knockoffs sell quite well but the market is not mature enough to bet on individualism. The YAA SUI team wanted to disrupt the state of things and bring awareness. First, they did so through their films where they raised questions about fashion and individuality; then later, their parties and social media channels were continued attempts to spark discussions. But as Brandon says, even when not taking the small towns into consideration, Kuala Lumpur is still far off – there’s still a long way to go.

Brandon和他的设计师朋友都明白，要在马来西亚靠时尚谋生是一件极困难的事情。这个国家的自由和开放度还不足以接纳他们近乎疯狂的时尚创意，至少目前为止是这样的。在那里，人们只想追随潮流，创意被抛弃在一边。主流品牌和仿冒品销量很好，但市场并未成熟到足以容纳个性化的时尚产品，这也正是YAA SUI团队试图改变的一点。他们自己拍摄创作影片，在影片中对时尚界提出质疑，举办他们独特的派对，并借助社交媒体平台的影响，希望藉此可以提高人们的时尚创意意识。但Brandon表示，他们离目标尚有很长的路要走。在吉隆坡尚且如此，更不用提在小城镇里。

Brandon is now back in his hometown of Kuala Terengganu, dreaming of his next trips to Bangkok and Tokyo in search of fashion inspirations. The spark in his eyes, the passion in his voice, and his infectious smile – which reveals a set of gold grillz on his teeth – show that the YAA SUI movement is far from being dead. It’s just entering the next chapter.

如今Brandon已经回到了他的家乡登嘉楼，他正计划着下一次前往曼谷和东京寻找时尚灵感。他的双眼依旧火花闪耀，他的声音满溢热情，他的笑容极具感染力，每次笑的时候，还会露出他的金色牙套。所有这一切都表明，YAA SUI的时尚革命远未结束，它只是进入了新的篇章。

Facebook: ~/YAASUI
Youtube: ~/yaasuiproduction

 

Contributor, Photographer & Videographer: Gloria Kurnik

脸书: ~/YAASUI
Youtube: ~/yaasuiproduction

 

供稿人，图片摄影师与视频摄影师: Gloria Kurnik

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How Do You Copy a Copy?

January 4, 2017 2017年1月4日

Typically, we might provide a brief introduction to whatever we’re featuring here, which in this case would be the China-based brand Purlicue. Despite being already quite well-known for their unorthodox takes on traditional footwear, there was no brand statement to be found anywhere. When we sat down with Su Wukou, the head designer and founder of Purlicue, we asked him a series of questions. Like interviews with other fashion designers, we anticipated our conversation to meander into lengthy responses that would help explain the brand’s core concepts and aesthetics – it didn’t quite play out that way. While the answers were unexpected, they felt true to the spirit of the brand. Without further ado, below is our interview with Su Wukou.

这里需要一段Purlicue的简短品牌介绍，比如鞋履发家的中国品牌Purlicue…但是似乎并不存在这样的东西，因为不敢胡乱下笔，把这个问题抛给了设计师苏五口本人，期待他像其他服装设计师那样漫谈他的设计理念。抛出一些自认比较能发散思维的问题后，并没有得到预想的侃侃而谈，但仔细想一想，这也许反而是最Purlicue的表达。以下是我们对苏五口的采访。

Neocha: Originally, you were an architect. How did you become interested in fashion design? What is the connection between architecture and fashion?

Su Wukou: Finding possibilities with the resources you have available. Above both architecture and fashion, I hope to design bottled drinks.

Neocha: After starting your own fashion brand, have you continued working with architecture design? Do you feel like you prefer one field over the other now?

Su Wukou: If I meet the right architect, maybe we can do something together.

Neocha: 你原本是做建筑设计，有什么契机让你兴起设计服装的念头？或者说你认为的这两者之间的联系在哪里？

苏五口: 在力所能及的的范围找新的可能。相比于建筑与服装，我最希望做是做瓶装饮料。

Neocha: 创建自己的服装品牌后，你还有继续做建筑设计吗，或者说在你心里建筑跟服装的天平有倾斜到哪边吗？

苏五口: 遇到适合的建筑师可能会合作做一做。

Neocha: You’ve purposefully avoided writing a brand introduction and omitted what your brand stands for. But even with so many independent designers and brands nowadays, your work still commands immediate attention, clearly standing out above it all. What unique characteristics do you think you bring to the table? Or do you have any industry secrets?

Su Wukou: I don’t even know what Purlicue is. I think it’s best this way. That sort of clarity hinders creation. I don’t know how you thought up the angle with industry secrets. I have to think about this.

Neocha: Some people think your designs are too obvious and superficial. What are your thoughts on this?

Su Wukou: I approach my designs quite seriously. Others find it humorous. These aren’t people I’m interested in appealing to.

Neocha: 你一直没有刻意写品牌介绍去传达你的设计价值观，但在当下独立设计师众多的情况下你的设计还是常常会第一时间抓人眼球，你觉得你的这种特质是什么，或者你发现了什么行业小机密？

苏五口: 我自己都还说不清楚Purlicue是什么东西，也觉得这样比较好，清晰了有碍创作。没想到你会在行业秘密这个角度看，我也要想想这是为什么。

Neocha: 也有人会觉得你的设计太直接流于表面，这点你怎么看？

苏五口: 我设计时态度是算严肃的。但人家觉得幽默，搞笑炒作我不太管，这些也不是我的倾听者。

Neocha: What typically inspires you to create? Films? Music? Something or someone in your life?

Su Wukou: Imagination. Imagining common words used in everyday life and reinterpreting it through my own means.

Neocha: Your newest collection, THE FAKE, is a proud display of counterfeit fashion. What are your thoughts on knockoffs?

Su Wukou: Let’s not all go around making counterfeits willy-nilly.

Neocha: 通常什么东西会对你的产生启发？影像音乐或者你生活里的什么事物？

苏五口: 纯想象，想象日常最普通的词汇，用自己的方法再理解一次。

Neocha: 你的最新《THE FAKE》系列把抄袭这件事放到了台面上，可以跟我们讲一下你对现今品牌抄袭的看法吗？

苏五口: 大家别乱抄袭啊。

Neocha: Any plans for a change of direction in Purlicue’s future? How do you see the brand developing in the future?

Su Wukou: I hope my Taobao store can get a crown symbol. (Once a seller completes 10,001 transactions on the Taobao e-commerce platform, they’ll receive a crown symbol. Up to five crowns can be earned.)

Neocha: Anything more you’d like to share with us about yourself or Purlicue?

Su Wukou: I don’t like to be defined. The intention of an interview is to define the undefined. I think it’s best to stay quiet and low key. Instead, create more and keep moving forward.

Neocha: 对PURLICUE未来的发展有什么计划或改变吗？

苏五口: 希望淘宝店快点变皇冠。

Neocha: 请问还有什么想要补充的吗？

苏五口: 我不太喜欢下定义，做访问本身是下定义给看法，我觉得最好的状态还是安静点，多点作品，多点前进。

Pro Tip: Purlicue’s latest collection, THE FAKE, is made up of direct copies of other brand’s designs. But the clothing isn’t the crux of the collection; the attached tag is a pattern design and the actual centerpiece. What’s purchased isn’t the final product. It’s meant to be used as a fabric source, and with the provided template, buyers can create a new article of clothing.

备注: Purlicue的最新系列《THE FAKE》的衣服都是抄袭其他品牌的，但在这个系列里衣物不那么重要，作为纸样的吊牌才是绝对主角，购买者可以根据吊牌以衣服为布料重新制作出一件衣服。

Weibo: @苏五口
Taobao: conpconp

 

供稿人: Shou Xing
Images Courtesy of Purlicue

微博: @苏五口
淘宝: conpconp

 

供稿人: Shou Xing
图片由Purlicue提供

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In the Studio with Afa Annfa

January 3, 2017 2017年1月3日

Stepping into Afa Annfa’s studio, the one thing that stands out the most is her collection of dolls. Bearing goofy oversized heads, they appear adorable at first but a closer look yields an entirely different impression – a sense of sadness, which seems to linger just beneath their cheery demeanors, belies their cute appearance. Similar subtleties are found in the Hong Kong-based artist’s own works. Taking a close look – past the muted pastel colors, the young female characters wearing school uniforms, and the seemingly angelic entities fluttering about – the false sense of charm in her work quickly fades away and is instead replaced by an unsettling sense of melancholy.

香港艺术家Afa Annfa的工作室内摆放了许多她收藏的大头娃娃，这些娃娃造型可爱却又表情阴郁，正如Afa的绘画风格一样。她的画看起来很甜美，充满马卡龙色，穿着校服短裙的女生被天使围绕着。而你仔细凝视，也能很快发觉这之中的不寻常，仿佛一股忧伤压抑的暗流涌过。

Prior to becoming a full-time illustrator, Afa Annfa worked as an art director for an advertising firm and was also an established model and actor. But her interest in illustration didn’t arise out of thin air; it can be traced back to her childhood days. Afa’s father was an interior designer and her older sister was passionate about art; growing up in such a creative environment, picking up drawing was only natural to her. Despite not having had any formal art education, she was already drawing cartoon characters on her own in middle school. She sees her lack of formal training as giving her art a sense of purity and innocence. “I usually just practice by myself,” Afa says. “And I tend to draw with my feelings and instincts.” Recently, we caught up with Afa and talked to her about harnessing creativity, the underlying themes in her work, and what being a “slasher” means to her.

在成为一名全职插画师之前，Afa Annafa曾是广告公司的美术指导，也是一名活跃的模特及演员。不过，她对画画的兴趣自小就开始了。Afa的爸爸是室内设计师，姐姐也热爱艺术，这样的生长环境让她从小就养成拿画笔的习惯。 她从中学时期开始创作一些漫画角色，虽然没有正式修读过绘画课程，但这也让Afa的画风更自然纯粹，“我通常都是自己琢磨着画，凭着感觉 去创作的”Afa 说。最近，我们有幸跟afa讨论了她的创作进展，作品下隐含的主题，还有作为一个slasher对她而言意味着什么。

Neocha: Can you share with us how you approach some of your illustrations and paintings? How do you find inspiration?

Afa: When I’m fully invested and focused on creating something, I easily find myself zoning everything else out. For example, my biological clock might be completely reversed; I won’t eat healthily, nor will I find the time to exercise. But after every intense period of work, I’ll gift myself with a long vacation. I’ll read comics and travel. I feel like these vacations are mandatory and that these breaks contribute to my growth as an artist. When I start working again, I’ll use whatever I might’ve read or seen in my travels as creative concepts; that’s what my workflow is generally like, a system of input and output. When it comes to inspiration, I’m not someone that needs to search high and low. I have plenty of inspiration; most of it comes from books I’ve recently read or media that I’ve consumed. All of these elements are blended together with the message I want to convey. That’s how my inspiration comes about.

Neocha: 可以和我们聊聊你平时的绘画习惯吗?你喜欢通过什么方式寻找创作的灵感?

Afa: 我在投入创作的时候，很容易忽视其他东西。例如：我的作息会日夜颠倒不注意饮食健康，也很少做运动。而一轮紧张的工作过后，我通常会给自己放个长假，将这些时间全部用来看书看漫画和旅行。我认为这些都是必要的，是一个自我增值的时段。每当我再次开始创作，就到了输出的时候，我将书里看到的或旅行体会到的事情，变成我的创作理念。我的工作经常是这样一个输入再输出的循环。说起灵感，我不是需要外出走来走去找灵感的人。我的灵感大多来源于我最近在看的书，以及近期吸收的咨询。这些东西和我想传达的信息相撞，就混合成灵感，它是这样诞生的。

Conversation (2015)
Execution Ground (2014)
'0' (2014)

Neocha: Your illustrations are often cute in appearance, but below the surface, there are many layered concepts. Can you tell us about some of the concepts behind your The Silent Family series?

Afa: This is my first fully completed series. Many characters inhabit this world, but they’re all different forms of myself. The little girl in a school uniform is another version of me, one that’s filled with insecurities. The little monster represents my dark side; it’s a manifestation of my weaknesses, jealousies, and so on. This can also be thought of as a commentary on society. It’s a battle between my darkness and myself. The girl might lift the headscarf of the devil to see what’s within, they might fight with one each other, or they might try to embrace and accept one another. This work was an exploration of self and is quite meaningful and positive in a way. When you can bravely face your own darkness without wanting to run away, you’ll understand yourself more. It’s a big step forward.

Neocha: 你的画风甜美，但背后的意念却很深沉，跟我们说说创作《The Silent Family》的意念吧?

Afa: 这算是我第一个完整的系列作品。我的画里有很多角色，但他们其实都是我的分身。穿着校服的小女生，是内心混乱不安的我，旁边的小鬼是我的一些阴暗面，比如说懦弱，妒忌等等，也可以延伸到整个社会的氛围。这些是我和自己阴暗面做斗争，有时小女孩会掀开小鬼的头巾想看看里面是什么，他们会互相攻击，也尝试着去拥抱接受。这个作品是我一个自我探索 的过程，积极一点来说它也有很美好的含义，当你可以勇敢面对自己的阴暗面，不再逃避的时候，你会了解自己多一些，也向前迈进了一步。

The Silent Family and the Devil (2014)
Ugly as Sin (2014)
There is Hope (2014)

Neocha: In your new work Erotic Ghost Tales, some little monsters also make appearances. Can you tell a bit more about the concepts behind it?

Afa: I experimented with using paper cut-outs for this new series at my exhibition in 2016. I explore a deeper subject. I wanted to explore desire and sexuality from a female perspective. In our society, it’s considered normal for men to openly discuss sex. But this acceptance doesn’t extend to women who want to talk about sex; people are more critical of this. So for women constrained by our societal construct, they choose to not openly discuss sexuality. This is what I hoped to convey through my work. The monsters I draw have subtle meanings. For example, the three lines behind the geisha and the red ribbon in her hair are all meant to be symbolic. The little monsters that surround her represent yearnings and desires that are finally revealing themselves.

Neocha: 在你的新作品《Erotic Ghost Tales》里面，也出现了一些神秘的小鬼怪，能给我们介绍一下吗?

Afa: 2016展览的新作品我试着用了剪纸的手法，题材在上也更深入了一些，我想从女性的角度 去讲欲望和情色。在我们的社会环境中，男人讨论性是理所当然的，而社会给女性的空间却并不大，如果女性很积极得讨论性这个话题，容易遭人非议。所以女性在社会传统的约束之下，往往对性的表现是偏向含蓄的。这就是我这辑作品想要营造的氛围。我创作的妖怪们是很含蓄的，例如艺妓背后得三条白色线条，她发髻上得粉红色布条，都是隐藏的性符号。还有围绕在她身边的小鬼怪，代表一些欲望的暗涌，它们从黑暗中走出来。

Erotic Ghost Tales (2016)
Erotic Ghost Tales (2016)
Erotic Ghost Tales (2016)
Erotic Ghost Tales (2016)

Neocha: As both an illustrator and a model, how would you describe the life of a “slasher” (Slasher is a Cantonese slang that describes a multifaceted person working in different fields)? If you were to dabble in another field of work, what would it be?

Afa: I never planned to go down this path. Many choices in life are unexpected, and we just move with the currents. But I’m quite lucky; many people were willing to give me opportunities all along the way. My decision to study design was influenced by my father. After graduating, I naturally began working in an advertising firm. Being a model wasn’t planned. A modelling agency invited me to audition, so I went in with a mentality of wanting to try something new and possibly earn a little extra money. After being a model for a few years, my income from this became quite steady and it allowed me to quit my job at the ad agency so I could spend more time drawing. It was all unplanned, and I was very fortunate. At times, I felt directionless, but every step forward brought me closer to where I am today. Being a slasher satisfies my desires of wanting to try out and experience different things. If I were to pursue another line of work, I hope to be an author – I would love to write stories that can accompany my illustrations.

Neocha: 身为一名插画师同时也是一位模特，你觉得作为一名slasher（slasher是一个粤语俚语，意思是拥有不同身份不同职位的人）的生活是怎样的? 如果再增加一重身份，你希望会是什么?

Afa: 我反而没有计划过要走这条路，很多生命中的选择都是顺水推舟式的。不过我是很幸运的人，沿途一直有人给我机会。读书的时候选择设计，是受爸爸影响，毕业以后顺理成章去了广 告公司工作。说起做模特也是偶然，大学的时候有人介绍我去参演一些短片，工作以后也有模特经济公司邀请我去试镜。所以我就抱着尝试以及赚外快的心态去做了。几年之后，做模特成为稳定的经济来源，也造就我能辞去广告公司的工作，花更多时间去画画。这些是巧合也是幸运，曾经我以为走的冤枉路，其实一步步支撑我走到现在。Slasher的身份满足到我喜欢尝试不同事物的性格。如果多一重身份，我希望是作家。我想去创作一些故事，并为它们配上插画。

Website: afaannfa.com
Behance: ~/AfaAnnfa
Facebook: ~/AfaAnnfa
Instagram: @afa_annfa

 

Contributor & Photographer: Ye Zi

网站: afaannfa.com
Behance: ~/AfaAnnfa
脸书: ~/AfaAnnfa
Instagram: @afa_annfa

 

供稿人与摄影师: Ye Zi

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The People of Yangon

December 28, 2016 2016年12月28日

Earlier this year, Neocha’s founder and creative director Adam J. Schokora spent a week exploring Myanmar. For him, Yangon, the largest and most-populated city of the country, was one of the most unforgettable legs of the trip, a city that’s rich with life and colors. Below, he presents a visual diary of his travels.

今年早些时候，Neocha创始人兼创意总监Adam J. Schokora用了一个星期的时间来探索缅甸。对于他来说，他在缅甸最大和人口最多的仰光的经历是整段旅行中最为难忘的部分，这是一座充满了蓬勃活力和缤纷色彩的城市。下面是他在这段旅行中记录的视觉日记。

“When I travel, I’m not particularly interested in visiting scenic spots or the ‘must-sees.’ For me, the charm of any destination is found in its people and that’s what I try to capture when I’m out shooting. I shot the following pictures during a trip to Yangon, Myanmar earlier this year. The pictures show a glimpse of the wonderfully photogenic, friendly, and colorful people of the city.”

旅行的时候，我对于风景名胜区或所谓的“必看”景点不怎么感兴趣。对我来说，任何一个旅游目的地的魅力都在于生活在那里的人，他们也是我在旅行时尝试着用相机捕捉的对象。今年早些时候，我在前往缅甸仰光旅行期间拍摄了下面这组照片。这一系列的照片展示了这座城市里极其上镜，友好亲切又多彩多姿的人们。

“Yangon is bustling in the same way any big Asian city is, but in many ways, it still feels undiscovered. The saturated colors, the worn textures, and the general throwback aesthetic of the city gives any image a unique, nostalgic feel quite unlike anywhere else I’ve travelled. The locals don’t seem to mind having their photo taken, nor are they overly clamoring for the attention of your lens. Bouncing around and capturing authentic moments without disturbing anyone or raising suspicions is done with ease. Yangon is a paradise for casual street photography.”

“与其它亚洲大都市一样，仰光也是一个繁华的城市，但从许多方面来说，又让人觉得它仍然是一座未被发现的城市。浓郁饱和的色彩、古旧磨损的纹理以及整座城市弥漫的“复古”美学风格，令每一张摄影作品都充溢着一种独特的怀旧氛围，与我去过的其它地方截然不同。当地人似乎也并不介意别人给他们拍照，也不会过份喧嚷来吸引你的镜头。在这里，四处闲逛，就能轻易捕捉到各种真实的画面，同时不会打扰到任何人或令人起疑。仰光绝对是一个休闲街头摄影的天堂。”

“Equipped with just a Leica M, a Leica M6, and two Summicron lenses (a 50mm and a 90mm), I roamed the city and shot these pictures over the course of a few short days without a predetermined agenda or route. A few of the locations shown in the images include the Pansodan Ferry Terminal and Yangon River boardwalk area, the Yangon Central Railway Station, the Theingyi Market, along with countless other intersections, overpasses, alleyways, shop fronts, and courtyards.”

“我拍摄使用的设备只有一部徕卡M相机，一部徕卡M6相机和两支Summicron镜头（分别为50毫米头和90毫米的定焦镜头），在短短的几天时间里，我漫游于这座城市，拍下了这些照片。我没有预定的行程，也没有计划好的路线。这组照片中的部分摄影地包括Pansodan客运码头、仰光河滨的木板散步道、仰光中央火车站、Theingyi市场和无数个随意逛到的交叉路口、立交桥、小巷、商店门前和庭院。”

Instagram: @ajschokora

 

Contributor & Photographer: Adam J. Schokora

Instagram: @ajschokora

 

供稿人与摄影师: Adam J. Schokora

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studio O

December 27, 2016 2016年12月27日

Film by Elisa Cucinelli / Assistant Director: Kun Liang / Music: Huzi / Props: studio O

 

无法观看？前往优酷

The conventional mentality that places art, architecture, media, and design in separate categories has been completely discarded by studio O, a Beijing-based “ar(t)chitecture” studio. Besides architectural designs alone, they’ve created installation art for Beijing Design Week, collaborated with artist Elisa Cucinelli on a stop motion short video, and been involved in a variety of other projects that go beyond the services expected of a normal architecture firm. Led by Enrico Ancilli, Effi Meridor, and Cristiano Bianchi, the studio was established back in 2013 with the belief that a return to basics was long overdue.

位于北京的studio O是一家完全抛弃将艺术、建筑、媒体和设计按传统理念严格分类的“艺术与建筑’ar(t)chitecture’”工作室。除了建筑设计外，他们还为北京国际设计周创作了装置艺术作品，与艺术家Elisa Cucinelli合作制作了一条定格短片，并参与了一系列超越常规建筑事务所基本服务范围的项目。该工作室由Enrico Ancilli、Effi Meridor和Cristiano Bianchi怀抱着期待已久的返朴归真理念创立于2013年。

For studio O, collaborating with creatives from different fields and engaging with different artistic and non-artistic disciplines are vital aspects of their return to fundamentals.“Historically, the best architectural results were achieved when people with different specialties were exchanging ideas: artists, philosophers, writers, and poets,” says Ancilli. “Nowadays, architecture has become too fragmented, too specialized, and too technical somehow. Artists are more direct and straight in their approach.”

对studio O工作室来说，与不同领域的创意人合作并参与到各种艺术和非艺术类项目对于回归本质至关重要。Ancilli说：“纵观历史，最好的建筑设计往往是由不同专业背景的人们——艺术家、哲学家、作家和诗人——进行思想交流的成果。如今，建筑设计逐渐碎片化，过于专业，甚至太过专注于技术了。而艺术家的做法则会更为直截了当。”

In our increasingly digitized lives, another part of studio O’s vision of returning to the roots of architecture also meant unchaining the shackles of our modern technological dependencies. Rather than solely relying on virtual images, studio O often prefers working with real materials to create physical and tangible models. Scoffing at the idea of a manifesto, which they consider to be too often riddled with empty and pretentious proclamations, studio O rather defines what it means to be an architect for themselves through their work.

在我们现今日益数字化的生活中，studio O工作室回归建筑本质的愿景从另一层意义上来说，也意味着解除我们对现代科技依赖所带来的束缚。在studio O工作室，设计师们不再仅仅依靠虚拟图像，他们通常更喜欢利用实质材料创建可触可碰的实体模型。他们对宣言之类的声明嗤之以鼻，认为所谓的宣言往往充斥着空洞和造作，而studio O工作室更倾向于通过自身作品来定义他们作为建筑设计师的真正意义。

“In the DNA of an architect, there should be the desire to explore, to deal with different cultural environments, traditions, and materials,” Ancilli says. After many discussions with some of his peers in Europe, who couldn’t fathom why he would move to China, his perspective on this became even clearer. “We shouldn’t fear what is different from us, closing ourselves in a comfortable, beautiful world. We should deal with the differences.”

Ancilli说：“在建筑师的基因中，应该有一股探索的欲望，以应对不同文化环境、传统和材质。”与身在欧洲的一些无法理解他移居中国的同行探讨过后，他自身的认知更加清晰了。“我们不应惧怕与我们不同的事物而把自己关在一个舒适美好的世界里。我们要去面对差异。”

“People often ask what kind of architecture we do,” Ancilli says. “I find it to be really interesting because it’s like reducing a certain discipline into a specific pigeonhole. What kind of art does this artist create? Classic? Neoclassic? Baroque? Modern? Bauhaus? Venetian Gothic? It’s funny and scary at the same time because it gives perspective to the crisis that creators of different disciplines are facing. We try not to follow any styles or trends at studio O. Sure, we’re influenced by other architects, but we try to keep a certain distance in order to develop our own ideas in an original way according to our own sensibilities.”

“人们时常会问我们设计的都是什么风格的建筑，”Ancilli说，“这让我觉得很有趣，因为它似乎把某一个专业缩窄至一个类别框框中。就像在问，这位艺术家创造什么风格的艺术作品？古典？新古典？巴洛克？现代？包豪斯风格？威尼斯哥特式？有趣又可怕，因为它承托出了不同领域创意人所面临的危机。在studio O工作室，我们尽量不去追随某一种特定的风格或趋势。当然，我们也会受其他建筑师的影响，但我们会尽量保持一定距离，以便通过自己的感触以原创方式来构筑自身想法。”

Echoing the sentiments of famous Italian architect Renzo Piano, Ancilli believes architecture is a contaminated craft, but the negative connotations of the word “contaminated” should be overlooked. “Architecture is complex, often requiring a balance between technique and art,” Ancilli comments. “But it’s contaminated from all the worst sides of life like money, urgency, and power. At the same time, it’s also been contaminated by the best parts of life, like our environment, history, and traditions.”

与意大利著名建筑师Renzo Piano的想法相一致，Ancilli也认为建筑是一种被“污染”了的工艺，但这里的“污染”不是一个负面的词。“建筑是复杂的，往往需要在技术和艺术之间做到平衡，”Ancilli解释道，“但它又受到来自生活各种糟糕面的‘污染’，譬如资金、时间限制和权力等。同时它亦受到生活中最美好事物的‘污染’，譬如我们的周身环境、历史和传统。”

studio O is in a constant state of evolution, adapting to the demands of an ever-changing world. They continuously seek out both challenges and inspirations with the same eagerness, moving forward with both open-mindedness and a sense of insatiable curiosity. “We have many things planned for the future,” Ancilli says. “We’re tracing a general direction for studio O, but at the same time, we don’t like to over-plan. We believe that the studio has to grow naturally.”

studio O工作室尚处于不断进化的过程中，以适应不断变化的世界之需求。他们持续寻求挑战和灵感，带着开放理念和永不满足的好奇心前行。“对于未来，我们有很多计划，”Ancilli说，“我们正在为studio O探寻一个大方向，但同时，我们也不喜欢过多做计划，而是想让工作室自然成长。”

Website: studioo.cc
Facebook: ~/studioo.cc

 

Contributors: Leon Yan, David Yen
Images & Video Courtesy of studio O & Elisa Cucinelli

Website: studioo.cc
脸书: ~/studioo.cc

 

供稿人: Leon Yan, David Yen
图片与视频由studio O与Elisa Cucinelli提供

 

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Aliens of Manila

December 21, 2016 2016年12月21日

Alien sightings have been reported in the Philippines. Often bearing an uncanny resemblance to humans, these grotesque monstrosities have seemingly infiltrated the city of Manila within the last few years. Luckily, Philippine-based artist and designer Leeroy New has assured us there’s no need for alarm. Spawned from the murky depths of his imagination and brought to life at his studio in a Frankenstein-esque fashion, this ever-growing legion of anomalous and mutated life forms are all here in the name of art.

May mga naiulat na nakitang alien sa Pilipinas. Madalas nagpapakita ng nakagugulat na pagkakahawig sa mga tao, ang kakatwang mga halimaw na ito ay tila nasakop na ang lungsod ng Maynila, sa pamamagitan ng paglitaw sa nakaraang ilang taon. Sa kabutihang-palad, tiniyak sa atin ng kontemporanyong arteistang nakabase sa Pilipinas na si Leeroy New na walang dapat na ikabahala. Iniluwal ng kanyang guni-guni at binigyang-buhay sa kanyang estudyo, ang patuloy na dumaraming lehiyon ng maanomalya at pagbabagong anyo ng buhay ay naritong lahat sa ngalan ng sining.

Originally trained as a sculptor, New’s insatiable curiosity led him to dabble with a variety of different mediums over the years, ranging from fashion to filmmaking. His creative work is an amalgamation of his past accumulated skills, ongoing societal observations, and his vivid—but at times disturbing—imagination. “Growing up in a small town in the south of the Philippines, I was part of a generation that was media fed with an assortment of futuristic visions and fantasy worlds,” New explained. “They were so seductive and alluring to me because it was so distinct from my immediate reality. But as an adult working in the creative industries, I have made it a point to actively participate and contribute to the ever-growing continuum of visual and experiential interpretations of the future, as well as the unknown, all the while actively participating in the transformation of my current realities.”

Orihinal na nagsanay bilang eskultor, ang hindi matighaw na pagkamausisa ni New ang nagtulak sa kanya para subukan ang iba’t ibang midyum sa paglipas ng mga taon, mula sa usong pananamit hanggang sa paggawa ng pelikula. Ang kaniyang malikhaing paggawa ay nagmula sa pinagsama-sama niyang kasanayan sa nakaraan, kasalukuyang pagmamasid sa lipunan, at ang malinaw — ngunit minsan ay nakababahalang — imahinasyon. “Sa aking paglaki sa isang maliit na nayon sa timog ng Pilipinas, bahagi ako ng isang henerasyong sinubuan ng media ng iba’t ibang pananaw sa hinaharap at mundo ng pantasya,” paliwanag ni New. “Sobrang nakatutukso at nakahahalina sa akin ang mga ito dahil tunay na kakaiba sa aking kagyat na realidad. Ngunit bilang isang adult na nagtratrabaho sa malikhaing mga industriya, sinigurado ko ang aktibong paglahok at pag-aambag sa patuloy na lumalaking hanay ng biswal at pangkaranasang interpretasyon ng hinaharap, gayon din ang mga bagay na hindi tiyak, habang aktibong lumalahok sa transpormasyon ng kasalukuyan kong realidad.”

His mind-bending work, which ranges from large-scale installations to elaborately hideous costumes, are often intended to be exhibited in public spaces; this stems from his early realization that the Filipino art scene operates quite differently from the art scene in Western countries. Through his understanding of the Filipino people’s cultural and creative habits, New decided the standard methods of presenting or experiencing art must be revamped. “I was drawn to the idea of creating work in public spaces as a means of meeting my target audience, the majority of the Filipino population who aren’t interested in art, halfway,” New explains. Despite being outwardly hideous and not adhering to conventional ideals of beauty, New’s imaginative work ultimately aims to enrich and improve people’s lives through creativity and art.

Ang kaniyang mga gawang nakakalito ng isip, mula sa malakihang instalasyon hanggang sa detalyado at kakilakilabot na mga kasuotan, ay kadalasang ipinasasadya para ipakita sa mga pampublikong lugar; nagmumula ito sa kanyang maagang pagkabatid na ang Pilipinong sining ay sadyang kakaiba ang takbo kumpara sa sining sa mga bansa sa kanluran. Sa pamamagitan ng kanyang pag-unawa sa pangkultura at malikhaing mga kinagawian ng mga Pilipino, nagpasya si New na palitan ang mga pamantayan sa pamamaraan ng pagpapakita o pagdanas sa sining. “Naakit ako ng idea ng paglikha sa mga pampublikong lugar bilang paraan ng pakikipagtagpo sa aking mga pinupuntiryang manonood, ang karamihan ng populasyon ng Pilipino na hindi interesado sa sining,” paliwanag ni New. Kahit na kapansin-pansin ang pagiging kontra at hindi pagsunod sa kumbensiyonal na mga ideal ng kagandahan, ang pangunahing layon ng maguni-guning gawa ni New ay ang pagyamanin at pahusayin ang buhay ng mga tao sa pamamagitan ng pagkamalikhain at sining.

However visually jarring, New’s otherworldly creations forces people to take a second glance. Only upon closer examination will his surprising material choices reveal their true identities. For Baletes, one of his earlier projects, he reimagined the vines of the Filipino balete tree as a mutating organism that intertwined and entangled itself with the architecture of Quezon City’s Ateneo Art Gallery – the entirety of this amorphous creation was constructed with electric conduit casing and plastic cable ties.

Gaano man katinding tingnan, ang mga likha ni New na pang-ibang mundo ay pumipilit sa mga tao na sumulyap muli. Sa malapitang pagsusuri lang ihinahayag ng kaniyang mga piniling materyal ang tunay na pagkakakilanlan ng mga ito. Para sa Baletes, isa sa nauna niyang mga proyekto, hinaraya niyang muli ang mga baging ng punong balete ng Pilipino bilang mga nagbabagong organismong nakapulupot at nakasalabit sa sarili nito sa arkitektura ng Ateneo Art Gallery ng Quezon City — ang kabuuan ng walang hugis na likhang ito ay ginawa mula sa mga kable ng kuryente at mga pantaling kableng plastik.

“At one point, I realized that the value in my early works and methods is grounded on this practice of making the most of what is available, to be able to respond in an authentic manner to your social conditions,” says New. “I found this made things easier for me. Suddenly there was no pressure for me to try and catch up with the latest in art-making technologies. All I had to rely on was my inherent set of skills, sensibility for form, and, more importantly, a sense of empathy for socio-cultural situations.”

“Sa isang punto, nabatid kong ang halaga ng nauna kong mga gawa at pamamaraan ay nakabatay sa kaugaliang pagsulit sa kung ano ang mayroon, para makatugon sa isang awtentikong paraan sa iyong mga kondisyong panlipunan,” sabi ni New. “Nalaman kong pinadali nito ang mga bagay para sa akin. Bigla na lamang nawala ang pressure na dapat maghabol sa pinakabagong teknolohiya ng paggawa ng sining, at ang kailangan ko lang sandigan ay ang aking pinagbatayang kasanayan, sensibilidad sa anyo, at, higit na mahalaga, pagdamay sa mga sitwasyong sosyo-kultural.”

For New’s ongoing project Aliens of Manila, he continues his trend of using a myriad of unconventional materials to construct his intricate costumes, some of which have been used in his past works, such as latex and toy parts. Originally intended to be a joke and parody of the Humans of New York project, it soon developed into a collaborative project between him and fellow creatives that intended to be a visual expression of their thoughts about the relationship between people, mainstream society, and the government. 

Para sa kasalukuyang proyekto ni New na Aliens of Manila, ipinagpapatuloy niya ang kaniyang pauso sa paggamit sa sari-sari at hindi kumbensiyonal na materyal para gawin ang mabusising mga kasuotan, kung saan ang ilan ay ginamit na sa nauna niyang mga gawa, tulad ng latex at mga piyesa ng laruan. Orihinal na sinadya bilang biro at parunggit sa serye ng retrato ng Humans of New York, lumawak ito bilang bayanihang proyekto sa pagitan niya at ng mga kapwa manlilikha na nilayong maging biswal na paghayag ng kanilang iniisip tungkol sa relasyon sa pagitan ng mga tao, pangunahing lipunan, at gobyerno.

Photos from the Aliens of Manila project are sporadically updated on their Facebook and Instagram page, often accompanied by short blurbs of text, which are sourced from either the project participants or New’s writer friends. “We try to be conscious about drawing from real voices we encounter in our daily interactions. Each alien character most probably represents a person we’ve encountered in real life.”

Ang mga larawan mula sa proyektong Aliens of Manila ay ina-update paminsan-minsan sa kanilang pahina sa Facebook at Instagram, kadalasang sinasamahan ng maikling teksto, na hinalaw mula sa alinman sa kalahok ng proyekto o mga kaibigang manunulat ni New. “Pinipilit naming maging atentibo sa pagkuha mula sa mga tunay na tinig na nakakasalamuha namin sa araw-araw na pakikipamuhay. Bawat karakter ng alien ay malamang na kumakatawan sa isang taong nakasalamuha namin sa tunay na buhay.”

Website:
leeroynew.com

Facebook:
~/leeroynewpage
~/aliensofmanila

Instagram:
@newleeroy
@aliensofmanila

 

Contributor: David Yen
Images Courtesy of Leeroy New

Website:
leeroynew.com

Facebook:
~/leeroynewpage
~/aliensofmanila

Instagram:
@newleeroy
@aliensofmanila

 

Kontribyutor: David Yen
Ang Mga Imahen na Mula kay Leeroy New

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Finding Beauty in Imperfection

December 20, 2016 2016年12月20日

For many people in China, porcelain is a familiar part of life, commonly seen and used on a day-to-day basis. But paradoxically, porcelain can also be thought of as an unfamiliar material, in the sense that many people know next to nothing about it. Despite the nickname ciguo, which translates into “country of porcelain,” most people in China don’t fully understand the beautiful intricacies of ceramics and the meticulous creation process. Enter Chifengge, a Hangzhou-based pottery studio that specializes in wood-fired ceramic wares, working tirelessly to perfect this underappreciated craft. Founded by three young ceramics enthusiasts, the studio has been producing a varied assortment of earthenware since 2014—each creation uniquely different from the last.

我们对瓷器既熟悉又陌生，一方面从我们的生活器皿乃至国名，瓷器几乎遍布我们的日常；而另一方面，重视不同审美趣味的瓷器又似乎只受众于小部分人群。赤枫阁是由三个年轻人于2014年创办的一个柴烧工作室，这里没有千篇一律形色规整的器皿，每个作品都独一无二。

The studio is the brainchild of Yuan Cunze, Xu Chaoqi and Han Min, who all graduated from the China Academy of Art in 2013. Having graduated with a fine arts degree in ceramic design, the trio, like many of their peers, felt apprehensive about the future. Unlike other design-related majors, finding a stable career relevant to their field is considerably more difficult. Many of their fellow graduates chose to continue on to graduate school, switch career paths entirely, or pursue higher education overseas. After exploring their options over the course of a year, the three finally made the decision to start their own studio.

工作室由袁存泽，许超奇与韩敏发起，2013年毕业于中国美术学院的三个年轻人，像大多数纯艺专业毕业的人一样，对未来充满迷茫，他们所学习的工艺美术陶瓷设计并不像普通设计类专业那么容易找到对应工作，同系的朋友大多选择读研、转业或者出国深造，所以兜兜转转的下一年，工作室才成立起来。

The chifeng in their studio’s name means red maple in Chinese, a tree known for its vibrant red leaves during autumn, and alludes to Chifengge’s approach of using wood rather than commonly seen modern pottery firing methods. Nowadays, electric-powered kilns are preferred for their convenience and ease. But even in the past, using wood for the firing process wasn’t the norm; the inconsistent results from ashes and scorch marks were thought of as flaws. However, the recent resurgence of interest in wood-fired ceramics is revealing of society’s ever-changing taste and how the definition of beauty has broadened over time.

赤枫阁的名字源于对火焰痕迹的追求，这本身也对应了柴烧的特点。现代普遍使用电窑烧制瓷器，柴烧这种古老的烧制方法在古代正统瓷器烧制技术允许的情况下是不被欣赏的，并认为这是一种瑕疵，柴烧的兴起也恰恰证明了社会的发展，人们对美有了更广义的理解

The scorch marks and glazed ashes of wood-fired pottery are central to the creation process in modern times. Many different factors affect the outcome when using a wood-firing technique. The speed that wood is added during the process, weather conditions, and the kiln’s flow of air can all drastically affect how the creation turns out in the end. The final appearance of a wood-fired ceramic creation tells an unabashedly revealing story of the entire creation process, a story of its own birth laid out in plain view for all to see. Every scorch mark and layer of ash from the firing process adds unique characteristics to each piece of pottery and are considered as beautiful additions, rather than flaws.

现代柴烧注重火痕与落灰，顾名思义需要燃烧木材提供热能，加柴的速度和方式、天气的状况、空气的进流量等任何细微因素都会对烧制造成天差地别的影响，器物会忠实地记录它经历的所有考验，随意飘散经过的木灰造成的色彩变化与火焰行进的痕迹共同呈现出一种无法复制的美感。

Success stories of young people rolling up their sleeves and building something out of nothing are becoming more and more commonplace nowadays. But when I asked about how they planned to make money in the beginning, Han Min told me: “If we wanted to earn money, we would have used an electric kiln instead. Before we started this, we never thought about how to turn this into a business. The only thoughts that crossed our minds were on how can we make the best wood-fired pottery.” Coming from a design background myself, hearing such an earnest answer that focuses on creativity over profit, made me feel that much more hopeful about the future.

这种年轻人白手起家的故事我们似乎听的太多了，但当问及初期是否考虑销售问题时，韩敏说：“想赚钱的话，我们就直接去烧电窑了。我们在做这件事之前，完全没想过应该怎么去做生意，当时只考虑了怎么去烧制出最好的柴烧作品。”对于当下一个学服装的平面设计师来说，也许这是星星之火。

Dongjia: ~/chifengge
WeChat: han15868835868

 

Contributor: Shou Xing
Images Courtesy of Chifengge

东家: ~/赤枫阁
微信: han15868835868

 

供稿人: Shou Xing
图片由赤枫阁提供

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