All posts by george

Passing Time 一天有多少种颜色？

March 2, 2018 2018年3月2日

Metropolitan Singapore

Fong Qi Wei is a Singaporean photographer whose images intersect concepts of science, art, and technology. Through his unique approach to digital photography, Fong creates multilayered landscapes, seascapes, and cityscapes that convey the passage of time. His images from the Time is a Dimension and Temporal Chiaroscuro series are each a single composite of a sequence of images shot across varying times of day when changes in light and color are the most pronounced. During post-processing, Fong digitally slices the image into layers to present multiple “zones” of different times within a single frame.

新加坡摄影师 Fong Qi Wei 的作品是科学、艺术和技术不同概念的结合。通过独特的数码摄影方式，他创造出层次丰富的景观、海景和城市风景影像，以传达时光流逝的概念。他所创作的《时间是一个维度》（Time is a Dimension）和《时光的光影对比》（Temporal Chiaroscuro）系列中，每一张作品都是由一连串在不同时间点上拍摄的图片组合而成的，而这些时间点，往往是一天中光线和颜色变化最明显的时候。在后期处理过程中，Fong 会先在电脑上将照片剪裁成不同的图层，这样，同一张图片中就能同时显示出不同时间的影像。

Building Blocks Sunset

Look Ahead

Sunset at Marina Bay Sands

Fong draws inspiration from the chiaroscuro technique used in painting, which creates contrast through the interplay of light and shadow on a surface. He muses, “Is there something I can learn from artists using an age-old medium that I can also apply to photography? It occurred to me that, just as painters and illustrators express themselves with brushstrokes and graphite, I can also use the innate characteristics of photography to express myself.”

Fong 的创作灵感来自绘画中所使用的明暗对比法，通过光与影的相互作用形成对比。这种做法来自于他自己的一个思考：“我是不是可以借鉴一下那些用传统媒介创作的艺术家，将他们的创作方式运用到摄影中？我突然想到，就像画家和插画家用画笔和石墨来表达自己一样，我也可以利用摄影的特质来表达。”

Singapore Sunset

Evanescent Clouds (Labrador Park)

Fong’s work is a way for him to combine the best characteristics of different artistic mediums: painting is a medium that allows an artist to express their thoughts and emotions just as they envisioned them; photography is a medium that’s able to observe and convey an objective visual reality; and video has the ability to capture the passage of time. Like all photographers, Fong pays detailed attention to lighting, color, and composition. But what is unique to his work is his relationship to and manipulation of the fourth dimension of reality – time.

Explaining his artistic goals, Fong shares, “Our experience of a scene is more than a snapshot. We often remember a sequence of events rather than a still frame full of details. I strive to capture both details and also a sequence of time in a single two-dimensional canvas. I hope it gives you pause to reconsider what you experience versus what you shoot with the camera on your phone.”

Fong 的作品让他得以将不同艺术媒介的最优特征相结合：绘画能够表达艺术家的想法和情感；摄影可以观察和呈现客观的视觉现实；视频能够捕捉时间的流逝。与所有摄影师一样，Fong 的作品是在三维空间内创作的，着眼于照明、色彩和构图。但其作品的独到之处在于他与现实的第四维度——时间的关系和操控。

Fong 解释道：“我们对某个场景的经验不是一张快照就能诠释的。我们的记忆往往是一连串的事件，而不是单一的、充满细节的静止画面。我努力在二维的画布上既捕捉细节又表现出时间的转移。我希望这能让人们停下来，与手机拍摄的照片对比，重新审视自己的经历。”

Rochor Centre Sunset

Sunset in the Garden City

Air-Con Nation

Sunset at Old Hill Street Police Station

Salzburg Winter

Shafts of Sunset in the Modern City

Glassy Sunset

Website: fqwimages.com

Contributor: George Zhi Zhao

网站: fqwimages.com

供稿人: George Zhi Zhao

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INTERNET CAFE! PANDA 网吧见！

February 27, 2018 2018年2月27日

Born in 1993, Taiwanese photographer Chih Hsien Chen‘s foray into photography began during university when he enrolled in a course on film photography, but his interest in the medium didn’t truly take off until he began documenting the peculiar people and strange encounters in his daily life. Released last year, his photo series INTERNET CAFE! PANDA offers a jarring and candid look at life inside a Taichung internet café.

生于 1993 年的台湾摄影家陈志贤，在大学期间就已经在学习摄影，但要说对摄影产生浓厚的兴趣，则要到他真正用镜头记录下了日常生活中的“奇人佚事”的那一刻起。去年他的摄影系列《网吧！熊猫》（INTERNET CAFE! PANDA）发布，也给我们提供了一窥某家台中网吧里真实生活的机会。

The series began shortly after Chen graduated college and moved to the city of Taichung in search of employment, but after going through a series of failed interviews, he was left feeling hopeless towards the future. One day, he stumbled across a job posting for a position at an internet café. It seemed like a good fit for him – the location was convenient to his apartment, the hours were ideal, and it gave him the freedom to take on side projects in his spare time.

这个系列始于陈志贤大学毕业后搬到台中市找工作，通过在线门户网站求职的时候。他这段找工作的经历并不顺利，在面临了一系列失败的面试后，陈志贤对未来感到很绝望。直到有一天，陈志贤无意中看到了一条在网吧工作的招聘信息。这看上去似乎是个很适合他的岗位——地点方便，作息理想，还能给他在业余时间自己做项目的机会。

After he started working, Chen began to take an interest in the customers who frequented the café. His experience working there was quite different from his memories of visiting internet cafés during his youth – most of the customers were middle-aged or older, and a large number of them were vagrants. Students and younger customers would only visit during weekends or holidays when they weren’t in school.

开始工作后，陈志贤对这家网吧的“常客”很感兴趣。和自己年轻时去网吧玩的记忆相比，在网吧工作给他带来的感受实在大相径庭。在这里，大多数流连网吧的顾客，年纪都已逾中年，还有很多是流浪汉。而学生和年轻的顾客，只会在学校放假的时候才来，比如周末或假期。

Chen observed a shocking amount of questionable behavior during his time working at the café. Some customers would openly watch porn and leave it running on their screens even after they fell asleep. One customer would cover the café’s dirty headphones with toilet paper as a way to avoid direct skin contact with their ears. Others would even relieve themselves on the seats of the café, refusing to leave their computers to use the restroom. Chen’s photo series is a whimsical glimpse into Taiwanese internet café culture where adhering to social and moral norms seems to be optional.

在网吧工作期间，陈志贤也会看到很多“形迹可疑”的举动。比如有些顾客会公开地看色情片，甚至看到睡着了，但屏幕还亮着；有个人为了避免让网吧里的耳机直接接触皮肤，竟然会拿餐巾纸垫在听筒上。而还有的顾客，甚至能一直坐在网吧的座位上，一刻不离电脑，也不去上厕所。在台湾网吧里，坚持社会和道德规范似乎显得可有可无。而陈志贤的这个照片系列，正是在通过这个异想天开的机会，以瞥一眼现实。

Instagram: @chihhsienchen
Flickr: ~/chihsienchen

Contributor: George Zhi Zhao

Instagram: @chihhsienchen
Flickr: ~/chihsienchen

供稿人: George Zhi Zhao

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A Day in the Studio with Yan Wei 柔弱，并且固执

February 23, 2018 2018年2月23日

无法观看？前往优酷

Yan Wei is a contemporary artist and painter from Beijing, China. After graduating from Tsinghua University’s Academy of Art and Design, she started her career as an illustrator working in the advertising industry. However, during her stint in advertising, she began to question her own goals and motivations. “I had to face the fact that advertising was not the reason I got into art,” she says. “I realized that advertising would only take me further away from my goals as an artist.”

闫威是来自北京的一名当代艺术家和画家。从清华大学美术学院毕业后，她为广告公司做插画设计。但这个行业让她开始怀疑自己的选择，质疑起自己学美术的目标和初衷。“我意识到，广告不是我当初从事艺术创作的原因，并且会让我离自己成为艺术家的目标越来越远。”

Moonlight

Internal

Soon after this revelation, Yan quit her cushy advertising job and set up a painting studio in her parent’s home. She intended to dedicate all of her energy to making a reputation for herself in the art world. Over the next decade, Yan continuously progressed as an artist – her work would evolve from small ink-on-paper pieces to large-scale acrylic works on canvas.

Yan’s hard work would pay off. As of now, her work has been displayed in numerous exhibitions, received massive amounts of praise and attention online, and has been purchased by the Shanghai Art Museum for its public collection.

想清楚之后，闫威辞掉了原来收入颇丰的工作，在父母家中成立了一个画室。她打算把所有的精力投入到艺术创作中，争取在艺术界中立足。在接下来的十年里，闫威的艺术创作不断精进，作品也渐渐从一方方小画纸进军到偌大的丙烯画布上去。

功夫不负有心人。从毅然离职到重归艺术创作，再到十年如一日的创作，到目前为止，闫威的作品已经在许多展览上展出，在网络媒体上也获得了大量的点赞和关注，且不少作品已被上海美术馆收录。

Yan Wei’s creative process is centered around routine and discipline. She shares, “A lot of people might think, artists or those who work creatively might live more spontaneously and stay up late, but it’s not like that. I’ll wake up in the morning, eat breakfast, clean the house, and start to paint. Then I’ll have lunch and continue to paint, all the way until the sun goes down and it gets dark, and I can’t paint anymore.”

闫威创作流程的核心是规律和纪律。她分享道：“很多人会以为艺术家或在创意领域中工作的人，总是生活得很随性或经常熬夜，但事实不是这样。”她继续向我们描述她例行的生活：“我会起得很早，吃早餐，打扫家里，开始画画。接着我会吃午餐然后继续画画，一直到傍晚天色暗下来，我没办法再画了为止。”

Guardian

Youth, beauty, and femininity are recurring themes throughout Yan Wei’s body of work. Her art is a way for her to explore the changing roles of women within the context of modern culture and society. “I think of femininity as a whole,” she explains. “Each of my paintings, the subjects are different, but they all have something in common.”

在闫威的作品中，青春、美丽、女性气质是经常出现的主题。通过自己的作品，她在探索着现代文化和社会背景下女性角色的变化。她解释道：“我是将女性气质当作一个整体来思考的。我的每幅作品都会有不同的人物角色，但她们都有共同之处。”

Hunt

For Yan, her art has also become a process of self-discovery regarding what it means to be a woman. “When I depict women, I think it’s different than when men depict women. When men depict women, it might be as an outside observer. But when I depict women, it’s a depiction of who I am.”

对于闫威来说，艺术是一个自我发现的过程，让她探讨成为一名女性的意义。“当我画女性时，应该跟男性画家描绘女性形象是不同的。男人画女性时，可能是以外部观察者的角度来创作的。但是当我画女性的时候，其实也是在画自己。”

Double Birth

Croquet

Tide

Empirical Wonderland

Yan Wei will be hosting a solo exhibition in Beijing, China opening on March 3rd, 2018. See below for full details.

接下来，闫威将在北京举办个人作品展，开幕日为2018年03月03日。请参阅下面的详细信息。

Event:
VANITY
Yan Wei Solo Exhibition in Beijing

Date: March 3rd, 2018 ~ April 3rd, 2018
Opening Reception: March 3rd 15:00 – 18:00

Address:
Hi Art Center
B-B36, UBP
No. 10 Jiuxianqiao Road
Chaoyang District, Beijing
People’s Republic of China

活动:
《浮世》
闫威个人作品展

展期: 2018年03月03日 —— 2018年04月03日
开幕酒会: 03月03日，15:00 – 18:00

地址:
中国
北京朝阳区
酒仙桥路10号
恒通商务园B36-B座1层
Hi艺术中心

Instagram: @koomoowei

Contributor & Videographer: George Zhi Zhao

Instagram: @koomoowei

供稿人与摄影师: George Zhi Zhao

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The Art of War 子不画怪力乱神

February 22, 2018 2018年2月22日

Big Bruce Lee

Mu Pan is a Taiwanese artist currently based in New York City. With influences ranging from Hong Kong cinema of the 1980s and 1990s to Japanese manga and kaiju movies, Mu incorporates elements of Chinese history and mythology to tell epic stories and legends with modern sensibilities. Mu’s artwork is never about art for its own sake – in his own words, “I am just an otaku who draws.”

潘慕文（Mu Pan）是一名现居纽约的台湾艺术家。他融合中国历史和神话元素，用画作来讲述具有现代感的史诗故事和传奇，从80、90年代的香港电影到日本漫画和怪兽电影，都对潘慕文的作品产生了很大的影响。他的艺术作品从来不只是为了创作而创作，用他自己的话说，“我只是一个画画的宅男”。

From the The Loyal Retainers series. / 来自《The Loyal Retainers》系列

From the Ten Drawings series. / 来自《Ten Drawings》系列

As an artist who tells stories of epic, large-scale battles, war is one of Mu’s primary inspirations. He shares, “War, to some degree, is a beautiful thing to me. War creates great characters, and it also writes history. You’ve got to be a great artist in order to fight a war as a commander. There are so many arts you have to master in warfare, such as the formation, the economic concern, the time, the strategy, the geographic advantage, the numbers difference between you and your enemy, the art of brainwashing for loyalty, and the sense of mission. It costs a great amount of patience, and it also requires a high level of charisma and intelligence. Whether it is for invading or defending, to me it is just beautiful to see how a person can unite people’s individual strengths to become one great power to fight against the opponent.”

作为一个描绘史诗、大规模军事场面的艺术家，战争是他创作的主要灵感之一。他解释道：“对我而言，战争某种层面上是一件美丽的事情。战争创造了伟大的人物，也书写了历史。要成为战争中的指挥官，首先你必须是一位出色的艺术家。在战争中，必须掌握的艺术非常多，编队、经济问题、时间、策略、地理优势、我军与敌军在人数上的差异、关于忠诚与使命感的洗脑式说话艺术等等。这些都需要很大的耐心，同时也需要极大的魅力和智慧。无论是侵略还是防守，对我来说，看着一个人如何团结其他个体，凝聚成为对抗对手的巨大力量，这个过程真是充满了美感。”

Loyal Retainer: Final Chapter

Dinoasshole Chapter 3

Dinoasshole Chapter 5

Mu often draws from the theatre of modern events to find inspiration for his work. “Usually, when I’m excited about something I saw or read on the media, or from my daily life, I first associate the subject with a monster or some creatures on a large scale, then think about who it will be fighting with.”

潘慕文经常从现代事件中汲取创作的灵感。 “如果我从媒体、日常生活中看到或读到一些令我感兴趣的东西时，我会把这个主题延伸联想出某个怪物或是一些体型庞大的生物，然后去构想这只怪物开战的对象。”

From the Ten Drawings series. / 来自《Ten Drawings》系列

My Name is Charlie: Yellow

My Name is Charlie: Red

With regards to his creative process, Mu is about spontaneity and creating in the moment. He never creates preliminary sketches for a painting, preferring to work freely and make changes on the fly. As each painting progresses, it reflects the emotions and events of his daily life. “I let the piece flow with whatever is happening in my life,” he explains. “This gives me the motivation to keep going day after day.”

谈到自己的创作过程，潘慕文说主要都是自发性和即兴的创作。绘画时，他从来不会先画草图，而是更喜欢自由地创作，随心所欲地作出改变。每幅画在完成的过程中，反映出的正是他平日生活里的情绪和经历。他解释说：“我把作品与我生活中发生的一切交织在一起，这给了我继续前进的动力。”

From the Frog Wars series. / 来自《Frog Wars》系列

For Mu, art is a way to channel man’s energy, destructive power, and warlike disposition within the constraints of modern society. “I worship the strength of men and animals,” he tells us. “I dream to have the dominating power to rule, to destroy, and instill fear into my enemies. Of course, it’s impossible. No one can have this kind of power in today’s world. So I created my own world for myself with my images. In my images, I can be whatever I want to be and eat whoever I hate. Every monster I draw is actually a self-portrait.”

对潘慕文来说，艺术是在现代社会的制约下，人们得以发泄内心能量、破坏力和战争倾向的一种方式。他解释道：“我崇拜人和动物的力量。我梦想拥有支配权力来统治、摧毁，让敌人畏惧我。当然，这都是不可能实现的。今天的世界上没有人能拥有这样的力量。所以我用画像来为自己创造这样一个世界。在我的画里，我可以做任何我想做的事情，吃掉我讨厌的人。我画的每个怪物其实都是一幅自画像。”

From the Monkeys series. / 来自《Monkeys》系列

From the Ten Drawings series. / 来自《Ten Drawings》系列

Big Bad Wolves

Website: mupan.com
Instagram: @mupan1911

Contributor: George Zhi Zhao

网站: mupan.com
Instagram: @mupan1911

供稿人: George Zhi Zhao

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Billie’s Boys Charm 夏季、怀旧和太空

February 19, 2018 2018年2月19日

Billie Snippet is a Korean-American illustrator and the co-founder of Uchuu Summer, an apparel and accessories label inspired by summer, nostalgia, and space. Similar to the aesthetic of Uchuu Summer, her illustrations are bright and colorful, featuring a world of (mostly male) character who like to show off their playful, nostalgic, and sensual sides. Her inspiration comes from many sources – including manga and anime from the 80s and 90s, cartoons from her childhood, children’s illustrations, vaporwave music, and fashion photography.

Billie Snippet 是一位美籍韩裔插画家，同时也是 Uchuu Summer 品牌的共同创始人，这个时尚品牌充满了夏季、怀旧和太空的意象。Billie 的插画风格与 Uchuu Summer 品牌相似，同样明亮而多彩。在她的插画世界里，主角大部分都是一些乐于展现其俏皮个性、怀旧情绪和感性一面的男性角色。她的灵感来源很丰富，包括了 80、90年代的漫画和插图、小时候看的动漫和漫画、儿童插画、蒸汽波（Vaporwave）音乐和时尚摄影等等。

Billie wasn’t always set on becoming an artist. She shares with us, “When I was in elementary school, I was the quiet child in my class that was always drawing. However, until high school, I only treated it as a hobby, because I was undecided between being an artist or a writer.”

After deciding to pursue a career in the arts, she first went into a program in Fine Arts at the University of California Santa Barbara, and then transferred to a program in Illustration at the Maryland Institute College of Art (MICA) after two years. During her college days, she began selling her illustrations at anime conventions, mostly offering books, goods, and her self-published doujinshi works. Building on her entrepreneurial success, In 2016, she founded the Uchuu Summer label with friend and fellow illustrator Gabrielle Howitz.

Billie 不是从小就立志成为一名艺术家。她与我们分享道：“小时候，我是班上比较安静的小孩，总是埋头在画画。在高中之前，我一直只是把画画当作一种爱好，因为我还未决定好要成为一名艺术家还是作家。 ”

下定决心从事艺术工作之后，她先是进入加州大学圣巴巴拉分校修读艺术专业，然后在两年后转到马里兰艺术学院（MICA）攻读插画专业。大学时期，她开始在动漫大会上出售自己的插图作品，主要是一些书、商品和自己出版的同人志作品。有了这些初期创业的经验，2016 年，她与她的插画家朋友 Gabrielle Howitz 一起创立了 Uchuu Summer 品牌。

While Billie works mostly digitally in Adobe Photoshop CC nowadays, she’s equally adept with traditional mediums like watercolor and ink. Regardless of medium, the images she creates have a distinct aesthetic with an overarching theme of male vulnerability.

“Vulnerability is a trait I find attractive and fascinating in people because it exposes their true self,” she shares with us. “It’s bare and alluring. And it is easier to trust a person that shows vulnerability.” For Billie, her depiction of male characters is a way to break away from stereotypical gender roles. “We live in a world where men are discouraged to show vulnerability. Instead, there is an abundance of vulnerable women in art – to the point where it became a cliché. So it’s more interesting for me to draw vulnerable men.”

虽然 Billie 现在主要采用 Adobe Photoshop CC 创作，但她同样善于使用水彩和墨水等传统材料。无论是用何种媒介创作，她的作品都有一个共同的特别之处：展示男性脆弱的一面。

她解释道：“我觉得，脆弱是一种特别有吸引力和迷人的特质，因为它暴露了每个人最真实的自我，赤裸又诱人。况且，一个愿意展现出脆弱那一面的人往往比较可信。”对于 Billie 来说，她对男性角色的描绘是摆脱性别偏见的一种方式。“我们生活在一个男性不愿意表现出脆弱的社会里。与此相反的是，在艺术中经常能看到大量女性脆弱的形象。虽然感觉已经有点陈词滥调，但我觉得画脆弱的男性会更有趣。”

Billie continues to self-publish her illustrations, comic books, is currently working on projects for the Uchuu Summer label, which will include a comic that’s planned to be released next year. Uchuu Summer apparel, products, and zines are currently available for purchase at shops in Los Angeles and Tokyo, as well as on Uchuu Summer’s web shop.

除了继续独立出版插画书和漫画书，Billie 目前还正在制作 Uchuu Summer 品牌的项目，其中包括预计明年发行的漫画。想要购买 Uchuu Summer 的服装、产品和杂志，除了可以在洛杉矶和东京的门店里现场购买，也可以到 Uchuu Summer 的在线商店购买。

Website: uchuusummer.com
Instagram: @bsnippet

Contributor: George Zhi Zhao

网站: uchuusummer.com
Instagram: @bsnippet

供稿人: George Zhi Zhao

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Poetics of Light & Shadow 光影交错间

February 14, 2018 2018年2月14日

Jusung Hyung is a freelance director and photographer based in Seoul, South Korea. He first became introduced to film and photography as a young boy when his father brought home a DSLR and a film camera. Awestruck by these devices, the ability to manipulate time by recording and playing back images would become a lifelong subject of fascination for Hyung.

Jusung Hyung 是来自韩国首尔的一位独立导演兼摄影师。小时候，他的父亲带了一台数码单反相机和电影摄影机回家，从那时起，他就开始接触到电影制作和摄影。Hyung 为这些器材的魅力震慑不已，通过录制和回放图像来操作时间的能力也成为了他一生的热情所在。大学的时候，他就修读了电影和广告专业。

While interested in both, Hyung clearly defines his personal relationships to the parallel mediums of film and photography – filmmaking is his profession, while photography is his hobby. His approach and philosophy towards these two mediums are interconnected, but also fundamentally distinct from one another. Hyung tells us, “When speaking of the difference in method of approach between filmmaking and photography, it’s first important to understand that because film is photographs in motion, the camera’s movements, the storytelling, and the chemistry with the actor are important. Photography is about trying to deliver the message shown in the photograph. If I was to use literature or the act of writing as an example, filmmaking would be like writing a novel or an essay, while photography could be viewed or expressed as a poem.”

虽然同时涉猎摄影与电影，但对Hyung来说，这两种媒介有着截然不同的意义：电影是他的职业，而摄影则是他的爱好。在他的创作方式和理念中，这两种媒介相互关联，但也有着根本性的区别。Hyung告诉我们：“当谈到电影制作和摄影方法的差异时，首先要了解的是，电影其实是动态的照片，相机的移动、故事的讲述以及与演员之间的化学反应都非常重要。而摄影则是要试图传达出照片中显示的信息。如果以文学或写作来比喻，可以说电影制作就像写一篇小说或散文，而摄影则是一首诗。”

Deeply reflective on the philosophical implications of capturing images, Hyung muses on the differences between English and Korean when it comes to how language shapes our everyday perceptions of photography: “It’s something I think about everyday. When I think of the origin of the word photography, in English, the word ‘photography’ can be broken down into two parts to mean light and illustration. However, in Korean calligraphy, the word means to express and show a real scene in its original form. I find the difference in interpretation and understanding of the word very interesting. Personally, the Korean interpretation of expressing and showing an image in its original form is a little bit closer to what I believe.”

Hyung 深刻反思着摄影背后的哲学含义，同时也试图探讨英语和韩语之间的差异，了解语言是如何影响我们平时对摄影的感知：“这是我每天都会思考的事情。譬如摄影的英文 ‘photography’，这个词可以分解成两个部分，分别表示光线和图像的意思。然而，在韩文中，摄影的字面意思是指以其本来的形式展现一个真实的场景。我觉得不同语言对摄影这个词的解释和理解上的差异很有意思。就我个人而言，韩语的字面解释更接近我对摄影的理解。”

Instead of being limited by preconceived notions of personal style, Hyung views his photography as a developing process: “Rather than seeking my own person style or aesthetic, I would say that I wait and observe to see the results of the capture. I would say that until now, I’ve still been in the process of discovering my own photographic philosophy and themes while taking pictures. For me, the important thing is mostly in becoming a photographer with a deep and nuanced eye for pictures.”

Hyung 没有受限于个人风格这种先入为主的观念，在他看来，自己的摄影本来就是一个不断发展的过程：“与其说是追求自己的个人风格或美学，我觉得我更像是在等待和观察，看自己作品会呈现怎样的结果。直到现在，我仍然在探索自己的摄影哲学和主题。对我而言，重要的是成为一名对影像有深入细致的眼光的摄影师。”

Despite the positive exposure that he has recently received for his photography via social media, Hyung remains humble and stays devoted to refining his craft. He says, “Many people call me an artist of photography. However, I don’t feel I’m good enough to deserve that title just yet. When I establish my personal photographic philosophy in detail, I’ll be happy to be called and to call myself an artist.”

尽管他的作品最近在社交媒体上大受欢迎，但 Hyung 仍然保持着谦虚的心态，努力提高自己的摄影技术。他说：“许多人称我为摄影艺术家。不过，我觉得我的能力还不配得上这个头衔。当我能够真正地建立属于自己的摄影哲学时，我很乐意被称为或自称为一名艺术家。”

Website: jusunghyung.com
Instagram: @jusunghyung

Contributor: George Zhi Zhao

网站: jusunghyung.com
Instagram: @jusunghyung

供稿人: George Zhi Zhao

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The Art of Kushti 摔跤吧！人们

February 8, 2018 2018年2月8日

The Art of Kushti is a photography series by Italian travel, documentary, and street photographer Marcello Perino. Taken in New Delhi during Perino’s travels across India, the series explores the practice of kushti, a wrestling tradition that has existed in South Asia for centuries.

《The Art of Kushti》是意大利旅行、纪实和街头摄影师 Marcello Perino 创作的摄影系列。Perino 横跨印度旅行，在新德里期间所拍摄了这组照片，探讨印度当地的传统泥地摔跤（Kushti），一种在南亚流传了几个世纪的摔跤传统。

Kushti is more than just a sport – it’s a martial art, a way of life, and a spiritual practice that requires strict discipline from practitioners to follow the rules and regimens of the tradition. The history of kushti goes back to the 16th century when northern India was conquered by the Mughals. Although wrestling has been practiced in South Asia since at least the 5th millennium BC, the Mughals would bring their own wrestling traditions to India and influence the way that wrestling was practiced there – this blending of traditions would birth the modern tradition of kushti that continues to be practiced today.

泥地摔跤不仅仅是一项运动，它更是一种武术、一种生活方式、一种需要严格自律的修行，是对规则与传统的恪守。泥地摔跤的历史可以追溯到 16 世纪，当时印度北部被莫卧儿王朝（Mughals）所征服。公元前五千年以来，南亚地区已经出现了摔跤运动，但是莫卧儿王朝还是把他们自己的摔跤传统带到了印度，从而影响了当地的摔跤方式。两种传统摔跤的混合催生了现代的泥地摔跤，一直流传至今。

Kushti wrestlers will live and train together in centers called akharas, which serve as training schools and arenas where they can compete against each other and train using a range of fairly simple but effective equipment. Living under the guidance of a guru, practitioners adhere to a rigorous training schedule that begins before sunrise and ends in the early evening. Practitioners are required to adhere to a specific diet and will have responsibilities at the akhara that include cleaning, cooking, washing, and other jobs. Some elite wrestlers will practice 365 days a year, live under strict rules of celibacy, and avoid smoking tobacco or drinking alcohol.

泥地摔跤运动员需要在名为 Akharas 的摔跤中心生活和训练，这些中心既是训练学校，也是学员互相比赛的竞技场，其中训练用的设备虽然简单却十分有效。在教练的指导下，摔跤运动员必须坚持严格的培训安排，他们往往要在天亮之前就起来训练，一直到傍晚才结束。在摔跤中心，摔跤运动员必须遵守特定的饮食习惯，还要负责相应的工作，包括清洁、煮饭、洗衣服等等。一些精英摔跤运动员全年 365 天都要参加训练，严格按照独身生活的规条，并且严禁烟酒。

The Art of Kushti was taken in New Delhi at the Guru Hanuman Akhara, the oldest akhara in India. Wrestlers at the akhara practice under the guidance of Maha Singh Rao, a national legend and coach who has been awarded the Dronacharya Award, the highest honor that can be given by the Indian government in the field of coaching in sports and athletics. The Guru Hanuman Akhara has produced nationally and internationally recognized wrestlers, who continue to carry on the art and tradition of kushti.

《The Art of Kushti》是于印度新德里历史最悠久的 Guru Hanuman Akhara 摔跤中心拍摄的。摔跤中心的教练 Maha Singh Rao是一位获得 Dronacharya 奖的民族传奇，Dronacharya 奖是印度政府在体育和田径培训领域颁发的最高荣誉。Guru Hanuman Akhara 摔跤中心至今成功培养了多名享誉国内外的摔跤运动员，是泥地摔跤这项艺术和传统运动的重要传承者。

Website: ovosphotography.com

Contributor: George Zhi Zhao

网站: ovosphotography.com

供稿人: George Zhi Zhao

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First Generation 拥有双重身份的一代人

January 23, 2018 2018年1月23日

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First Generation is a short film from directors Jeannie Nguyen and Andrew Yuyi Truong that showcases the Asian-American coming-of-age experience. Set in the 1990s, the film follows protagonist My-Linh, a young, misled Vietnamese-American girl who must decide how she will fit into the two worlds that she inhabits. With the absence of her overworked mom, she must rely on the guidance of her friends and the media to understand where she belongs.

《First Generation》是由 Jeannie Nguyen 和 Andrew Yuyi Truong 导演的一部短片，讲述的是亚裔美国年轻人的青春成长故事。影片故事发生在二十世纪九十年代，主角 My-Linh 是一位年轻且迷惘的越南裔美国女孩，如何融入自己所居住的两个世界是让她一直苦恼的问题。由于母亲的工作过于忙碌，对于 My-Linh 来说，她只能依靠朋友和媒体的指引，才能了解她的归属所在。

Initially sparked by the concept of showcasing Asian-American female style during the 1990s, the film was shot over the course of two long days in May of 2017. Jeannie tells Neocha, “We’re from the Bay Area, and we’re not too sure if the style spanned across the States, but it was unique and a somewhat rebellious way of presenting oneself – heavy set make-up, extra-wide baggy pants juxtaposed with tiny tank tops, hair done in half cornrows, and embellished with glittery butterfly clips. Looking back at it now, it’s interesting to us to see how this minority group rocked such a bold style. So after, we figured that we wanted to create a film during this time period and tackle issues of beauty and fitting in.”

这在 2017 年 5 月拍摄了长达两天的短片，最初的灵感是想展现 20 世纪 90 年代美国亚裔女性的风格。Jeannie 告诉 Neocha：“我们来自美国湾区，所以也不太确定当时的服装风格是不是在美国各地都流行，那是一种独特又有点叛逆的个性风格：浓艳的妆容，大号宽松的裤子搭配紧身的小背心，半侧头发扎着地垄沟辫（cornrow，非洲辫的一种），再别上闪亮的蝴蝶发夹。现在回想起来，一个少数团体会有这样大胆的风格，挺让人意外的，也挺有意思的。所以，之后我们就决定以这段时期为背景拍一部电影，探讨当时的审美风格和社会融入的问题。”

One of the primary themes of the film is the impact of mainstream media on identity, self-image, and perceptions of beauty. Jeannie shares, “As with many young minority females, when I was younger, I never truly understood how I fit in with society. With the media being a huge subconscious influence, I felt less of a woman when I saw blue-eyed, blonde models who were in every beauty commercial and graced the cover of every beauty magazine and. I was brainwashed by the media and started to resent my Asian descent. When we were represented in the media, we’re known as submissive and nerdy. Luckily, my mom canceled cable so I stopped watching television beginning my high school year, and I truly believe that helped me realize that the majority of things we’re exposed to is nonsense. With that idea in mind, we wanted to create a film that young Asian-Americans can relate to – a movie that can help them see through the bullshit.”

这部电影的主题之一，旨在探讨主流媒体如何影响人们的身份认同、自我形象和审美。Jeannie 说：“和许多少数团体里的年轻女孩一样，我年轻的时候一直都不知道怎样才能真正融入这个社会。而且媒体会对人们有巨大的潜意识影响，当我看到所有时尚杂志和广告中，总是出现金发碧眼的模特时，我会觉得自己不如她们好看。我被媒体洗脑，开始憎恨自己身上的亚裔血统。那时的媒体总是将我们描述成顺从且乖巧的书呆子。所幸我妈妈后来取消了有线电视，所以我在高一的时候就不看电视了，我真心觉得这才帮助我意识到，之前我们在媒体上看到的大部分东西都是无稽之谈。有了这个想法后，我们就想要拍一部年轻亚裔美国人有共鸣的电影，帮助大家看穿这些‘谎言’。”

Website:
mosss.co
andrewyuyitruong.com

Instagram:
@andrewyuyitruong
@jeeb0t

Vimeo: ~/andrewyuyitruong

Contributor: George Zhi Zhao

网站:
mosss.co
andrewyuyitruong.com

Instagram:
@andrewyuyitruong
@jeeb0t

Vimeo: ~/andrewyuyitruong

供稿人: George Zhi Zhao

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Everyday Abstractions 平面跟现实之差

January 22, 2018 2018年1月22日

Andhika Ramadhian is a 21-year-old Indonesian graphic designer and photographer who’s best known for his stunning minimalist images. Inspired by architecture and the works of other minimalist photographers, Ramaddhian began capturing scenes from his daily life with his iPhone and DSLR camera. Using Photoshop, he masterfully renders a layer of magical surrealism onto his mundane snapshots. With his keen understanding of color and geometric harmony, he’s able to transform the ordinary into the extraordinary. In his own words, “I create another world which is completely abstracted from the reality of my imagination.”

Andhika Ramadhian，一位21岁的来自印度尼西亚平面设计师和摄影师，他用镜头创作了惊人的极简主义图片。受到建筑设计和其他极简派摄影师的启发后，Andhika 就着手用他的 iPhone 和 DSLR 相机捕捉日常生活中的场景。为了实现超现实的图像质量，Ramadhian的后期处理方法需要用 Photoshop 进行大量的编辑。凭借着对色彩和几何和谐的敏锐理解，Andhika 创造出神奇的瞬间，将平凡变成非凡。用他自己的话说，“我创造了另一个完全脱离了我想象的现实的世界。”

Instagram: @andhikaramadhian

Contributor: George Zhi Zhao

Instagram: @andhikaramadhian

供稿人: George Zhi Zhao

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Deciphering the Human Experience 穿越你的身心

January 19, 2018 2018年1月19日

Born in Taipei and raised in Shanghai, Jocelyn Tsaih is an illustrator, animator, and designer currently based in New York City. Her artistic style is defined by a distinct, minimalist approach that’s complemented by her quirky sense of humor.

More often than not, Tsaih’s work features a mysterious, amorphous character that’s meant to embody the various facets of modern life. The character, initially based on a stick figure, evolved as a way for Tsaih to convey abstract concepts derived from her own experiences.

在台北出生，在上海长大的 Jocelyn Tsaih 目前长居在纽约，是一名插画家和设计师。她的作品风格简约，且充满着古怪的幽默感。

Jocelyn 的大部分作品里会出现一个神秘的、不定形的角色，意在表达现代生活的方方面面。而这个角色最初是她以火柴人为原型创作的，后来演变成她从自己的经历中传达抽象概念的一种方式。

“It sounds kind of cheesy, but I started drawing it as a way to express my internal conflicts and to represent anything human,” she shares. “As I explored different ways of conveying what I was feeling, I started to use the figure in ways that are more abstract. I think my thought process is that even though we are human, a lot of things about us are intangible, like emotions and feelings.”

“虽然听起来有点俗气，但我一开始画这个角色是为了抒发内心的冲突，表达关于人类的一切。” Jocelyn 说，“随着我尝试用不同的方式来传达自己的感受，我也开始用更抽象的方式来表现这个火柴人。我的想法是，作为人类，很多关于我们的事情都是无形的，譬如情感和感觉。”

Tsaih currently works at WeWork as a full-time graphic designer and illustrator. Outside of her full-time job, she’s equally busy with a constant juggling act between personal and freelance projects. She’s already accumulated an impressive list of clients including Adobe Photoshop, Condé Nast, Nickelodeon, Tictail, and GIPHY. But despite her professional accomplishments, there was a time when Tsaih felt uncertain about her future as an artist. As a teenager, many of her peers discouraged her desire to pursue a career in the arts. It was only after a period of self-doubt and confusion that she decided to trust her own judgment: “I believed that art was valuable, and I pushed myself because I didn’t want people’s skewed perceptions to be validated.”

Jocelyn 目前作为一名全职平面设计师和插画家任职于共享办公空间 WeWork。不上班的时候，她会去创作自己的个人项目和自由职业项目，她曾经合作过的客户里包括 Adobe Photoshop、康泰纳仕集团（Condé Nast）、美国儿童节目频道 Nickelodeon，以及 Tictail 和 GIPHY 网站。虽然如今在事业上获得成功，但曾经有一段时间，Jocelyn 也不确定自己是否真的能成为一名艺术家。十几岁的时候，她的许多同龄人都不鼓励她去追求艺术事业。在经过一段时间的自我怀疑和困惑之后，她才终于决定相信自己的判断：“我相信艺术是有价值的，我不断推动自己去努力，是因为我不希望证明人们扭曲的看法是对的。”

For Jocelyn, creativity comes from being open-minded; it comes from a willingness to dive head first into new experiences, whether it’s interacting with different people or being in an unfamiliar environment. She tells us, “A lot of my work represents my reaction to things, so the more experiences I have, the more ideas I’ll have to turn into drawings.” These days, she’s begun dabbling with ceramics and paintings – processes that, for her, require a lot more time and deeper reflection on the underlying concepts she intends to explore. Patience is a fundamental part of her creative process. “90% of the time is spent thinking an idea over and 10% of the time is spent making the actual work,” she explains, “The final result often looks simple, but it usually takes a long time for me to get to that point, although I know it doesn’t look like it.”

对于 Jocelyn 来说，创意来自于开放的心态和尝试新事物的经历，或是与不同的人互动，或是置身于异国的环境中。她告诉我们：“我的许多作品都表达了我对事物的反应，所以，我的经历越丰富，我才能有越来越多的想法来创作成画。”近来，她一直在涉猎陶瓷和绘画，对她来说，这些艺术创作过程需要花大量的时间对作品内在概念进行反思。Jocelyn 表示，耐心是她创作过程的关键。她解释说：“ 90% 的时间是花在思考上面的，只有 10% 的时间才是花在实际的创作中。最终的作品看起来很简单，但我其实需要很长的时间才能画出来，虽然我知道它看起来不像。”

After six years in New York City, Tsaih is now planning a move to San Francisco in the coming year. She sees this as an opportunity to explore a new environment and experience a change of pace. She shares with us, “Having come from Shanghai to New York, I feel like I’ve only known how to live in very stimulating, fast-paced environments. It might be a little challenging to shift to a slower pace of life, and I might end up hating it, but I hope some good things will come out of the experience either way!”

在纽约生活了六年后，Jocelyn 计划在新的一年搬到旧金山，体验新的环境，转换一下生活节奏。她说：“从上海来到纽约，我觉得自己好像只在紧张刺激、快节奏的环境里生活过。要转变到一种较慢的生活节奏，可能会有点挑战性，甚至我可能最终会讨厌这种生活。但我希望不管怎样，都能在这次经历中取得一些好的收获。”