All posts by jiali

Uttaporn Nimmalaikaew

March 29, 2016 2016年3月29日

Uttaporn Nimmalaikaew is a Bangkok-based painter who uses netting to create unique works of art. His portraits, suspended on layers and layers of mosquito nets, tulle, and thread, appear three-dimensional in a very analog and tangible way. As a student, he accidentally discovered this technique when paint splashed on a nearby mosquito net. The material gave way to new dimensions of painting. Using this technique, Uttaporn painted mostly portraits of his family members – especially his mother, who is an important source of inspiration for him. Neocha spoke to him recently about his process and the themes behind his work.


อัฐพร นิมมาลัยแก้วเป็นศิลปินจากกรุงเทพมหานครผู้ใช้ตาข่ายในการสร้างงานศิลปะที่เป็นเอกลักษณ์ ภาพใบหน้าของเขาซึ่งแขวนอยู่บนผ้าขาวบางหลายชั้น มุ้งกันยุงและด้ายดูเหมือนเป็นภาพสามมิติซึ่งมีความหมายในเชิงอุปมานเป็นอย่างมากและสัมผัสได้ เมื่อสมัยที่เขาเป็นนักเรียน เขาได้ค้นพบเทคนิคนี้โดยบังเอิญเมื่อมีสีสาดใส่มุ้งกันยุงที่อยู่ใกล้เคียง วัสดุนั้นมอบมุมมองในการสร้างภาพแบบใหม่ให้กับเขา ด้วยการใช้เทคนิคนี้ อัฐพรวาดภาพส่วนใหญ่ของสมาชิกครอบครัวและแม่ของเขาผู้ซึ่งเป็นแรงบันดาลใจหลักของเขา เราได้พูดคุยกับเขาเมื่อเร็ว ๆ นี้ถึงกระบวนการการทำงานของเขาและธีมภายหลังงานของเขา

Neocha: How did you first get started as an artist? When did you decide to experiment with mosquito net and tulle? Why did you choose these materials instead of more traditional painting media?

Uttaporn: I started in 2001 when I sent my work to art competitions. I am not only an artist, but also a full-time lecturer at the university. At the time, I was painting, but I thought that just painting on canvas wasn’t enough. I needed a way to make it unique. I tried many new techniques, and experimented with using different materials until I discovered painting on tulle by accident. I was sleeping in the mosquito net at my studio and I noticed a spot of paint on it. I saw the special properties of the material. Mosquito net is sparse: it wavers, it’s movable, and the layers can create the illusion of popping out. Nobody used this technique at the time. I found painting on tulle can represent emotions and senses very well because of the materials’ own properties. It is transparent and dimensional, which results in a mystical and attractive look. I’ve been developing both this technique and the concepts behind my work ever since then.


Neocha: คุณเริ่มเป็นศิลปินได้อย่างไร? คุณตัดสินใจเริ่มทดลองใช้มุ้งกันยุงและผ้าขาวบางเมื่อใด? ทำไมคุณถึงเลือกใช้วัสดุเหล่านี้แทนวัสดุการวาดภาพแบบดั้งเดิม?

Uttaporn: ผมเริ่มในปี 2001 ตอนที่ผมส่งงานของผมไปร่วมการแข่งขันศิลปะ ผมไม่ได้เป็นเพียงศิลปินแต่ยังเป็นอาจารย์ประจำในมหาวิทยาลัยอีกด้วย ในขณะนั้นผมได้วาดรูปแล้วแต่คิดว่าการวาดรูปบนผืนผ้าใบนั้นยังไม่เพียงพอ; ผมต้องการวิธีที่จะทำให้มันเป็นเอกลักษณ์ ผมทดลองเทคนิคอันหลากหลายโดยใช้วัสดุต่าง ๆ มากมายจนกระทั่งผมค้นพบการวาดภาพบนผ้าขาวบางโดยบังเอิญ ผมกำลังหลับอยู่ในสตูดิโอของผมและผมสังเกตเห็นจุดสีบนนั้น ผมเห็นลักษณะพิเศษของวัสดุ เส้นของมุ้งกันยุงแต่ละเส้นนั้นห่างกัน มันพลิ้วไหว มันเคลื่อนไหวได้ และเมื่อซ้อนกันเป็นชั้น มันสามารถสร้างภาพลวงตาว่ามันนูนขึ้นมาได้ในขณะนั้นไม่มีใครใช้เทคนิคนี้ การวาดภาพบนผ้าขาวบางสื่อถึงอารมณ์และความรู้สึกได้เป็นอย่างดีเนื่องด้วยลักษณะของวัสดุ มันโปร่งแสงและมีมิติ ซึ่งสร้างรูปแบบที่ลึกลับและน่าสนใจได้ หลังจากนั้นผมก็ได้พัฒนาทั้งเทคนิคและแนวคิดภายหลังงานของผม

Neocha: Can you tell us about your work process? How do you work from initial concept to the finished piece of art? Since your work is so layered and multi-dimensional, how do you envision the final creation beforehand? Do you use photography, sketching, modeling, or any other methods?

Uttaporn: My work processes differs depending on the project and artworks themselves. Sometimes, I print out the base layer, and on top, I paint to create the first layer. Sometimes, I only paint on the fabric for all the layers, and put them together until they create a 3D illusion. Sometimes I don’t paint, but instead use scissors or a soldering pen to cut on the fabric in order to have more diverse pieces of work.

Generally, I do plan my work and how I will paint it by sketching first. I will check the sizes and dimensions of the objects that should be on each layer. On the first layer, I paint the subject clearly and complete the configuration of the overall shape. On the next layers, I only paint the particular areas that I want to focus on and pop out. On the last layer, I paint the details of the subject such as the nose, mouth, fingers and feet.


Neocha: ช่วยบอกเราถึงขั้นตอนการทำงานของคุณได้หรือไม่คุณเริ่มจากแนวคิดไปจนถึงการทำผลงานให้เสร็จสิ้นอย่างไรบ้าง? เนื่องจากผลงานของคุณมีหลายชั้นและหลายมิติมาก คุณจินตนาการถึงผลงานเมื่อเสร็จสิ้นได้อย่างไร? คุณใช้การถ่ายภาพ การร่างภาพ การสร้างโมเดลหรือวิธีการอื่น ๆ หรือไม่?

Uttaporn: ผลงานของผมแตกต่างกันไปตามโปรเจกต์และผลงานศิลปะนั้น ๆ บางครั้งผมก็พิมพ์เลเยอร์พื้นฐานออกมาก่อน แล้วก็วาดลงไปบนนั้นเพื่อสร้างชั้นแรก บางครั้งผมก็วาดบนผ้าอย่างเดียวเพื่อสร้างทุกชั้นขึ้นมา แล้ววางมันซ้อนกันให้เกิดภาพลวงตาแบบ 3D บางครั้งผมก็ไม่ได้วาดเลย แต่จะใช้กรรไกรหรือปากกาบัดกรีในการตัดผ้าออกมาเพื่อให้ผลงานศิลปะนั้นดูมีเทคนิคที่หลากหลายยิ่งขึ้น

โดยรวมแล้ว ผมมีการวางแผนการทำงานและวิธีการวาดมันก่อนด้วยการร่าย ผมจะตรวจสอบขนาดและมิติของวัตถุที่ต้องอยู่บนแต่ละชั้น ในชั้นแรก ผมจะวาดวัตถุนั้นให้ชัดเจนและทำให้ส่วนต่าง ๆ ของรูปทรงรวมนั้นสมบูรณ์ ในชั้นถัดไป ผมจะวาดเฉพาะพื้นที่เฉพาะที่ผมต้องการใส่ใจและอยากให้มันโดดเด่น ในชั้นสุดท้าย ผมจะวาดรายละเอียดของตัวบุคคลนั้น ๆ เช่น จมูก ปาก นิ้วและเท้า

Neocha: Through your unique work process, what is the biggest challenge? What piece was the most difficult to conceive of?

Uttaporn: The most difficult part is measuring the distance between the layers which need to be placed correctly to create the 3D illusion for the viewer. This takes some time for me to plan out. The pieces which challenge me the most are the ones which incorporate objects, such as a chair or a bed. I also have to plan how to have them match up and incorporated into the illusion. For many pieces of my artworks, I do a lot of trials beforehand. I would say my artwork is a mixture of painting and sculpture.


Neocha: ในขั้นตอนการทำงานอันพิเศษของคุณนี้ มีอะไรเป็นความท้าทายที่ยิ่งใหญ่ที่สุด? ผลงานชิ้นใดเป็นชิ้นที่ผลิตออกมายากที่สุด?

Uttaporn: ส่วนที่ยากที่สุดคือการวัดระยะทางระหว่างแต่ละเลเยอร์ ซึ่งมันต้องได้รับการวาดให้ถูกต้องเพื่อที่ผู้ชมจะได้เกิดภาพลวงตาแบบ 3D ผมต้องใช้เวลาสักเล็กน้อยในการทำความเข้าใจจุดนี้  ผลงานที่ท้าทายตัวผมมากที่สุดคือผลงานซึ่งประกอบไปด้วยวัตถุต่าง ๆ เช่นเก้าอี้หรือเตียง ผมยังต้องวางแผนให้กับมันเป็นอย่างมาก เพื่อให้มันเข้ากันได้ดีและประกอบกันเป็นภาพลวงตา สำหรับผลงานส่วนใหญ่ ผมจะทดลองเป็นจำนวนหลายครั้ง มันเป็นส่วนผสมระหว่างการวาดและประติมากรรม เพื่อก่อให้เกิดผลงานศิลปะขึ้นมา 

Neocha: Birth, life, and death are prominent themes in your work. What attracts you to these themes and who are the characters you portray?

Uttaporn: I am personally interested in the truth of life, which is referred from Buddha’s teaching, but I represent his teaching in my own way. I use my own experiences and feelings to interpret his teachings, but I’m open for others to interpret my work in their own way as well. My art is inspired by seeing my family members, such as my father, mother, sister and other beloved ones – and how they are changing in bodies and in minds. My parents are getting older and older. My sister who fights to live, which makes me aware, concerned, worried and even scared of that change. These feelings motivate me to create the artworks using this tulle technique. This truth, called dhukka, is something that happens to everybody. After seeing my work, I hope people will consider it more, and even begin to accept it.


Neocha: ช่วยบอกเราถึงขั้นตอนการทำงานของคุณได้หรือไม่คุณเริ่มจากแนวคิดไปจนถึงการทำผลงานให้เสร็จสิ้นอย่างไรบ้าง? เนื่องจากผลงานของคุณมีหลายชั้นและหลายมิติมาก คุณจินตนาการถึงผลงานเมื่อเสร็จสิ้นได้อย่างไร? คุณใช้การถ่ายภาพ การร่างภาพ การสร้างโมเดลหรือวิธีการอื่น ๆ หรือไม่?

Uttaporn: ผลงานของผมแตกต่างกันไปตามโปรเจกต์และผลงานศิลปะนั้น ๆ บางครั้งผมก็พิมพ์เลเยอร์พื้นฐานออกมาก่อน แล้วก็วาดลงไปบนนั้นเพื่อสร้างชั้นแรก บางครั้งผมก็วาดบนผ้าอย่างเดียวเพื่อสร้างทุกชั้นขึ้นมา แล้ววางมันซ้อนกันให้เกิดภาพลวงตาแบบ 3D บางครั้งผมก็ไม่ได้วาดเลย แต่จะใช้กรรไกรหรือปากกาบัดกรีในการตัดผ้าออกมาเพื่อให้ผลงานศิลปะนั้นดูมีเทคนิคที่หลากหลายยิ่งขึ้น

โดยรวมแล้ว ผมมีการวางแผนการทำงานและวิธีการวาดมันก่อนด้วยการร่าย ผมจะตรวจสอบขนาดและมิติของวัตถุที่ต้องอยู่บนแต่ละชั้น ในชั้นแรก ผมจะวาดวัตถุนั้นให้ชัดเจนและทำให้ส่วนต่าง ๆ ของรูปทรงรวมนั้นสมบูรณ์ ในชั้นถัดไป ผมจะวาดเฉพาะพื้นที่เฉพาะที่ผมต้องการใส่ใจและอยากให้มันโดดเด่น ในชั้นสุดท้าย ผมจะวาดรายละเอียดของตัวบุคคลนั้น ๆ เช่น จมูก ปาก นิ้วและเท้า

Websiteuttaporn.blogspot.com
Facebook: ~/Uttaporn-Nimmalaikaew

 

Contributor: Jia Li


เว็บไซต์: uttaporn.blogspot.com
Facebook
: ~/Uttaporn-Nimmalaikaew

 

ผู้สนับสนุน: Jia Li

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The Playful World of Ina Jang

March 28, 2016 2016年3月28日

Ina Jang is a photographer from South Korea whose work incorporates collage, paper, and sketches. Often surreal and minimal, there is a playfulness to her work which makes viewers look twice. Although she was born in South Korea, she’s lived in Japan and New York, graduating from SVA with a degree in photography. Her work is shown in galleries worldwide and she is recognized as a promising emerging young photographer to watch. We spoke to her about her inspiration and conceptual process.


장이나는 대한 민국 출신의 포토그라퍼로 콜라주, 종이, 스케치를 혼합하여 작품 작업을 합니다. 자주 초현실적이고 미니멀적이어서, 그녀의 작품은 관람객들이 두 번 보게끔 하는 장난스러움이 포함되어 있습니다. 대한 민국에서 태어났으나, 일본과 뉴욕에서 살았고, SVA에서 사진학의 학위를 받으며 졸업했습니다. 그녀의 작품들은 전세계의 갤러리에서 전시되고 있으며, 그녀는 촉망받고 떠오르는 젊은 포토그라퍼로 인식되고 있습니다.  그녀에게 그녀의 영감과 개념적인 과정에 대해 물어 보았습니다.

Neocha: Can you tell us a bit about your background and how you got started in photography?

Ina: I was born and raised in Seoul, Korea and then I spent a little while in Japan before eventually moving to New York. My mother gave me a Lomo LC-A camera as a birthday gift, and taking photographs immediately became my daily routine. At first, I started photographing almost everything that interested my eyes as if I was using a cameraphone. Later, when nothing was left to be photographed, I started planning photoshoots with my younger sister, who then lived with me in Tokyo. When I noticed that photography became a huge part of my daily life, I decided to study photography and applied to the school in New York.

As I grew up in metropolitans entire my life, it never really felt like that there is a huge difference between Seoul and Tokyo or Tokyo and New York. With or without my realization, I believe that having lived in these three big cities, they must have an influence on everything I do. After living in New York for almost ten years, now whenever I visit Seoul or Tokyo, I get inspired by little details that I had not noticed before from each city; such as interesting graphic quality of Hangul or pristine and clear afternoon light in Tokyo. Recently, noticing these mundane values started creating a strange relationship between me and old memories which is a great source of inspiration.


Neocha: 당신의 배경과 왜 사진을 시각하게 되었는지 말씀해 주시겠습니까?

이나: 저는 대한 민국 서울에서 태어나고 자라났습니다, 그리고 뉴욕으로 옮기기 전 일본에서 잠시 살았습니다. 저의 어머니는 저에게 Lomo LC-A 카메라를 생일 선물로 주셨고, 즉시 사진을 찍는 것이 하루의 일과가 되었습니다. 처음에는 제가 카메라폰을 사용하는 것처럼, 저의 눈에 흥미로로운 거의 모든 것을 사진 찍기 시작했습니다. 이후에는 더이상 사진을 찍을 것이 남아있지 않을 때, 당시 도쿄에서 저와 함께 살고 있던 제 여동생과 사진을 찍을 계획을 세우기 시작했습니다. 제가 사진찍는 것이 제 하루 일과 중의 중요한 부분이 되어있는 것을 알아차릴 때, 그 순간 저는 좀더 사진을 공부하기로 결심했고, 뉴욕의 학교에 지원을 했습니다.

저는 평생을 대도시에서 자라났기 때문에, 서울과 도쿄 또는 도쿄와 뉴욕 사이에 큰 차이가 있다는 것을 느껴 보지 못했습니다. 깨닫던 깨닫지 못하던 간에, 제가 이 세개의 큰 도시에서 살았다는 사실이 제가 하는 모든 것에 영향을 틀림없이 주었을 것이라고 믿습니다. 뉴욕에서 거의 10년 가까이 살아온 이후에, 이제 서울 또는 도쿄를 방문할 때 마다, 제가 이전에 각 도시에서 발견하지 못했던 작은 싱세한 것들에 의해 영감을 받습니다. 예를 들면,  흥미로운 한글의 그래픽적인 품질이라던지 도쿄의 말끔하고 깨끗한 오후의 빛입니다. 최근에 이러한 일상적인 가치들을 발견함으로, 저와 큰 영감의 근원이 되는 예전 추억들간의 이상한 관계를 만들기 시작했습니다

Neocha: Your work has a very strong and distinct aesthetic. Visually, what are you drawn toward?

Ina: Simply put, I am drawn to minimal, elegant and obscure things. It’s hard to describe further in words as they seem to be intuitive. I like seeing blank papers, wooden craft blocks, and colorful ambiguous shapes just to name a few.


Neocha당신의 작품은 매우 강하고 뛰어나게 심미적입니다. 시각적으로, 무엇을 그리고자 합니까?

이나: 간단히 말해서, 저는 미니멀하고, 우아하며, 모호한 것들을 그립니다. 그것들은 직감적으로 보이기 때문에 좀 더 말로 표현하기는 어렵습니다.  저는 두 서너가지 예를 들면, 텅빈 종이, 나무 공예 토막, 알록달록한 여러가지 모양의 모양들을 보는 것을 좋아합니다.

Neocha: Can you tell us a little bit more about your work process? How do you translate your ideas from your mind into a sketch, then into a photographic composition, onto real people, models or friends?

Ina: My ideas are already very visual even before translating them into sketches. Sketching started as a reminder for myself to remember what the ideas are. It works as a type of language to me. There isn’t much of a huge transition from my mind to sketches. Usually, since the sketches are made for, and to be replaced by, photography, they aren’t too different most of times. So I always try to cast right people, and find the right location to realize these ideas. But I do enjoy making unforeseen decisions in the shoot or during post. As I work with people mostly, there are always unexpected circumstances. To be able to make images in those situations, I always need to be open-minded and be able to deal with problems quickly. Sometimes, I walk out the shoot with better images when things weren’t written in the script and I had to improvise some ideas.


Neocha: 당신의 작업 과정에 대해 좀 더 말씀해 주시겠습니까어떻게 당신의 마음속에 있는 아이디어를 스케치, 사진 구성, 실제 사람들, 모델들 또는 친구들로 옮길 수 있습니까?

이나: 제 아이디어는 스케치로 그것들을 옮기기 이전에 이미 매우 선명하게 보입니다. 제가 어떤 아이디어를 가지고 있는지 기억하기 위해, 제자신을 위한 기억나게 하는 것으로 스케치를 시작했습니다.  그것은 저에게 일종의 언어로서 역활을 합니다. 그래서 제 마음으로부터 스케치로 옮기는데 커다란 변화는 없습니다. 그리고 일반적으로, 스케치가 사진을 위해(사진에 의해 대체되도록) 만들어 지기 때문에, 어느 쪽이던지 대부분 큰 차이점이 없습니다. 그래서 저는  항상 알맞은 사람을 배정하고, 이러한 생각을 실제화하기 위해 알맞은 위치를 찾고자 노력합니다. 그러나 사진을 촬영을 하거나 촬영대에 서 있는 중에 뜻밖의 결정을 하는 것을 즐기기도 합니다. 제가 대부분 사람들과 함께 일하기 때문에, 항상 예상치 못한 상황들이 있습니다. 이러한 상황에서 이미지를 만들 수 있기 위해, 저는 항상 개방적이고, 빨리 그 난제를 풀 수 있어야 합니다. 때때로, 저는 어떤 아이디어를 즉석에서 작성해야 하는 원고가 완전히 끝나지 않았을 때, 보다 좋은 이미지를 위해 야외로 촬영을 나갑니다.

Neocha: In terms of photographic technique and complexity, do you have any special rituals or strict guidelines as to what camera, lighting conditions, film or computer, or time of day? Any type of insight into your work process?

Ina: I respond to certain lighting conditions. I prefer shooting with natural light personally. Other than that, I don’t think about the tools so much when I work. Film, digital, scan, screenshot, iPhone, anything works for me as long as if I can create something interesting out of it.


Neocha: 사진의 기술과 복합성에 대해서, 당신은 어떤 특별한 의례적인 일이나 엄격한 가이드라인이 있나요, 어떤 카메라, 조명 상태, 필름이나 컴퓨터 또는 그날의 시간에 관해서.. 당신의 작업 과정으로 어떤 종류의 통찰력같은?

이나: 저는 어떤 조명 상태에 반응합니다. 개인적으로 자연광에서 촬영하는 것을 선호합니다. 그거 이외에는, 제가 작업할 때 그렇게나 많은 도구들에 관해 생각하지 않습니다. 필름, 디지털, 스캔, 스크린샷, 아이폰  제가 그것에서 뭔가 흥미로운 것을 창조할 수 있는 한,  저는 어느 것과도 작업합니다.

Neocha: What are you working on currently and are you looking forward to anything in the future? Is there an artist you would like to collaborate with?

Ina: I was working on my first book and a new approach in image making in the past year. Naturally, In the process of making those projects, I came up with bunch of other ideas that needs some treatment. So I am excited to work on these new ideas which I cannot share yet (sorry!). I’ve never thought about collaborations, but recently I started putting some thought into making ceramic work in relation to my photography. So there might be 3D works in the near future.


Neocha: 현재 무엇을 작업하고 있으며, 미래에 무엇을 지향하고 있습니까? 공동 작업하고 싶은 작가는 있습니까?

이나: 저느 저의 첫번째 책을 작업하고 있었고, 과거에 이미지 만드는것에 대한 새로운 접근을 하고 있습니다. 이 작업을 진행하는 과정에서, 자연스럽게, 어떤 처리를 필요로하는 다른 아이디어가 무더기로 생겨났습니다. 그래서, 저는 이 새로운 아이디어를 작업할 것에 흥분했고 아직은 말씀드릴 수 없습니다 (죄송합니다!). 저는 공동 작업에 관해 생각해 본 적이 없지만, 최근에 사진과 관련하여 도자기 공예 작업에 대해 어떤 생각을 하기 시작했습니다. 그래서 아마도 가까운 미래에 보여줄 3D 작품이 있을 것입니다.

Website: inaphotography.com



Contributor: Jia Li 


웹 사이트inaphotography.com



기부자: Jia Li 

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The Slowest Train

March 23, 2016 2016年3月23日

 

无法观看?前往优酷

The rapid growth of Yangon into a sprawling metropolis contrasts sharply with the many rural areas of Myanmar. The air there is thick with exhaust fumes, the streets are congested with traffic, and the lack of a well built public transport system means commuting can often be treacherous and expensive. One of the oldest methods of traveling through Yangon still remains the cheapest: the Yangon Circular Railway, a local commuter network that covers 30 miles and runs in a three-hour loop around the city of Yangon. This rail system offers a unique way to take in the city’s rapidly changing landscape.

The circular slow train loops around Yangon and runs 20 times daily through 39 stations, passing boisterous wholesale markets, slums, garbage dumps, and farmlands. It is a relic of colonial times, built by the British in 1954, and operated today by Myanmar Railways. At its fastest, the train chugs along at ten miles per hour.

Passengers can hop on and off at any station. Riding the train is a warm and breezy way to while away an afternoon with monks, vendors, kids, and Yangon residents from all walks of life. Snacks are sold throughout the cars or outside the windows as the train approaches each station. While some complain that the train is impractically slow, there is no doubt that life on the Yangon Circular Railway is a part of local culture that is slowly disappearing.

Address:
Platform 7, Yangon Railway Station
Pansodan & Bogyoke Aung San Rd
Yangon, Myanmar

Trains depart every 45 to 60 minutes.

Ticketing Info:
100 – 200 Kyats non-A/C
500 – 800 Kyats A/C coach

Passports are required for ticket purchase.

 

Contributor, Videographer & Photographer: Jia Li


Have a Nice Day 来自寒冷冬天的治愈力

March 21, 2016 2016年3月21日

 

无法观看?前往优酷

Jennis Li Cheng Tien is a multidisciplinary artist whose work explores ideas of interaction, public space, and identity. Born in Taiwan, she studied interactive media design in Singapore, and went on to work in advertising for many years. While working in the industry, Jennis honed her skills as a retoucher, and now wields Photoshop as her weapon of choice. This eventually led to the creation of Have A Nice Day. 


Jennis Li Cheng Tien是一位涉及多领域的艺术家,她的作品探讨有关互动、公共空间及事物特征的想法。她出生于台湾,在新加坡研读互动媒体设计,此后在广告行业工作数年。在这个行业中,她通过担当图片修图师磨练自己的技能,使用Photoshop作为自己的利器。这最终促成她的系列作品,《Have A Nice Day.》。

On first viewing, Have A Nice Day appears to be a collection of hazy images that evoke a molten version of the Internet. Cerebral, visceral, flesh-toned and fuzzy, the images in this project are achieved by fusing many Google images together into an unrecognizable, but yet vaguely familiar, form.


《Have A Nice Day》给人的第一印象 ,是一堆让人联想到融化版网络的模糊图片。脑部,内脏,肉色调和失真,这个项目中的图片是通过将许多Google图片融合成一体,形成既难以辨认又富有熟悉感的产物。

After quitting the advertising industry, Jennis moved from Asia to Berlin to pursue her studies into art in public spaces. Using the retouching tools in Photoshop in a freestyle and formless way is therapeutic, says Jennis, adding “It was like therapy for me in the darkest times of winter.”


退出广告行业后,Jennis从亚洲移居到柏林,以研读公共空间中的艺术。可以随心使用Photoshop修图工具会产生治疗效力,Jennis说,“这仿佛是在冬天最黑暗的时刻治愈了我。”

When gathering images for her project, Jennis normally looks for photos that have colors and faces which have a strong identity and visual presence already. Often, people react to Have A Nice Day by recognizing the features of someone familiar. However, Jennis says the pieces are purposefully abstracted and are not meant to represent any one specific person.


在为项目收集影像时,Jennis坚持寻找具有浓烈色彩的照片,以及饱含强大特征的外表形态。通常,人们观看《Have A Nice Day》时会有认出熟悉人物特征的反应。然而Jennis表示这些作品中任何一个具体个人都经过刻意的抽象化。

Her sparse and sunlit studio is filled with materials and textures which seem the opposite of the entirely digitally conceived Have A Nice Day series. In Jennis’ other work, she uses sculpture, hair, ink, and public spaces to create thought-provoking distillations of our modern interactions and experiences together.


她简洁明亮的工作室里挤满了各种材料和材质, 看起来与她那完全数字化的《Have A Nice Day》系列恰恰相反。在Jennis其他作品中,她通过使用雕塑、毛发、墨水和公共空间来创作现代社会语境下的行为互动和经历感受的无形融合,并引人深思。

Websitejennislichengtien.de
Tumblr: dasplayhaus.tumblr.com

 

Contributor, Videographer & Photographer: Jia Li


網站jennislichengtien.de
Tumblr: dasplayhaus.tumblr.com

 

供稿人、視頻與照片攝影師: Jia Li

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Skin & Detail

March 1, 2016 2016年3月1日

Zhang Shujian is a young Chinese painter from Hunan province. His photorealistic paintings pore over the details and imperfections of the human face. The tactile feel of his work is created by applying many thin strokes, and a rather elaborate multilayering process involving paint and varnish. Shujian’s approach distorts and contorts the human form into abstractions. We spoke to him recently about his inspirations and work process.


张书笺是一位来自中国湖南的年轻画家,他那犹如照片般写实的画作,事无巨细地刻画着人类面孔的细节和缺陷。尽管他的表现手法是将人物扭曲抽象化,但,在细笔勾勒以及那一层又一层的颜料和清漆下,他作品所描绘的内容俨然触手可及。近期,我們與他探討了他个人的灵感来源和创意过程。

Neocha: How did you start as an artist? Did you always draw?  How did you develop yourself in pencil, then eventually in painting?

Zhang Shujian: I started feeling like I was becoming an artist after I began working with a gallery. Of course I don’t mean that you have to be represented by a gallery to be an artist; the artwork is the most important part. I have always drawn and never pursued any other mediums – others just didn’t feel as natural. In art school, I studied pencil drawing and oil painting at the same time so there was never a progression from one to the other.


Neocha: 你是如何开始成为一个艺术家的?你一直都画吗?你是如何开始从用铅笔进行创作,后来发展到画油画的?

张书笺: 觉得和画廊合作后自己才是真的慢慢成为一名艺术家的,当然一名艺术家的状态是最主要的,不是说没画廊合作就一定不是艺术家。我是一直都画画,并没有去做其他的艺术形式,感觉不顺手。用铅笔和用油画都是美院的课程,都是同时进行的,并没有说一定有一个从铅笔到油画的时间过程。

Neocha: Do you use references, models, or people from real life? Who are the figures and faces that inspire your work?

Zhang Shujian: I use images that I find online or use my personal photography as references. There are no specific types of faces that inspire me.


Neocha: 你会用参考,模特,或者你身边的真人吗?什么样的脸和面孔会激发你的创作?

张书笺: 会参考啊,网上的图,自己拍的图,都在用。好像没什么特定的脸会激发灵感,什么样的都有。

Neocha: Who or what were your biggest inspirations when you started? What kind of things or ideas influence you?

Zhang Shujian: I am inspired by the behavior of people around me. The way they move and the things they say are my biggest inspirations. Besides that, critiques on social issues that I see online also have an influence over my work.


Neocha: 当你开始的时候,谁或者什么是你最大的灵感来源?什么样的事或思想会影响你?

张书笺: 身边人的状态、言行就是最大的灵感,包括在网上看到的针对社会时事的评论,都会对我有些作用。

Neocha: Your work is so textured and realistic, yet often distorted. What is your work process like? How do you render such delicate skin tones and hair? How long does it take?

Zhang Shujian: When I see an image that I like, I will first start sketching, then begin reworking it. Once I settle on something, I will then transfer it to a larger frame. When I’m working in a large frame, I slowly make my revisions. It’s a very traditional work process. Afterwards, I’ll start to paint the texture of the skin very clumsily, as if I’m weaving. Then I add multiple washes of color, layer after layer. For the hair, I go find the thinnest nylon brush in the art supply store and draw each strand one by one. On average, I finish one painting per month.


Neocha: 你的作品很有纹理也很现实主义,又非常扭曲。通常你的工作流程是如何的?你如何呈现细微的肤质及发丝?这会耗费你多久时间?

张书笺: 看到喜欢的图片就开始画草稿,做些改动,定稿就上大画框了,不过在画框上画的时候会慢慢的再做一些改动,很传统的流程。然后非常蠢的一点一点的画皮肤的质感,像编织一样,然后一遍一遍的染,染了再画,来来回回好多遍。头发就找画材店里最细的那种尼龙勾线笔一根一根勾。平均一个月一张吧。

Neocha: What are you currently working on and what are you looking forward to in the future?

Zhang Shujian: Everyday I draw, go online, and read books. I like being a recluse at home. I don’t have any expectations. I am mostly looking forward to continuing to paint without restraint.


Neocha: 你目前在忙什么,对未来有何期待?

张书笺: 就是每天画画,上网,看看书,很宅的。没什么特别的期待,能够没拘束的画下去就是最大的期待了。

Websitezhangshujian.com

 

Contributor: Jia Li


网站: zhangshujian.com

 

供稿人: Jia Li

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School Selfie

February 29, 2016 2016年2月29日

Sun Kaiqiang (aka juicy_tour) is a senior at the China Academy of Art in Shanghai studying film and television. His photo project, School Selfie, is a meditative look at everyday life on the Zhangjiang campus of CAA.


孙凯强(又称juicy_tour是一名就读于中国美术学院上海分院影视专业即将毕业的学生。他近期的校园自拍摄影项目,展现出中国美院张江校区在其眼中平日里的幽静怡然模样。

Dappled light and geometric compositions form unexpected images of serenity and order. Sun’s ongoing project started in 2015, and is a record of the school, a “self portrait”. Rather than peace and tranquility, Sun says he wanted to convey the inner world of the things around him.


斑驳的光影和几何构图创造了意想不到且井然有序的画面。孙凯强正在进行的这个项目始于2015年,他把这个项目称之为对校园的一种自画像式的记录。相对于展现平和安宁的校园氛围,他更想通过自己的叙事手法,展示周遭事物的内心世界。

With only a few months left to graduate, Sun says his images illustrate the sense of anticipation of students around him, as well as their disappointment and sense of significance in the contemporary world.

“Although the style of the photos is cozy and ethereal, naturally it reveals a sense of emptiness and confusion about the future. On the surface, the school is the subject, but it also reflects our own inner world. It is a statement concerning our uncertainty about the future. It’s learning and coping with loneliness, as well as the feeling of being forgotten in this hectic world of ours.”


对于即将毕业的孙凯强来说,这些照片形象地表达了他和同学们对未知世界的期待感及对当今社会的失望感并存的矛盾心态。

这种摄影风格看上去给人一种安逸、空灵的感觉,其实自然间流露出内心世界的空虚和对未来的迷茫。与其说表面是拍的学校,不如说再拍自己内心世界、对未来的迷茫、学习情感上的孤独、繁华下落寞。”

Using a Canon DSLR and Lightroom, VSCO, and Photoshop, Sun continues to use his spare time between classes to shoot School Selfie. The project will be finished when he graduates, but afterwards, he plans to continue creating similar projects as experimental short films.


通过使用佳能数码单反相机和Lightroom, VSCOPhotoshop, 孙凯强将继续利用课余时间进行校园自拍的后续创作。该项目将于毕业前完成。毕业后,他还希望创作一个类似的项目,但区别于前者,到那时他想用实验短片的形式去呈现他的想法。

Websitejuicy_tour
Instagram@juicy_tour

 

Contributor: Jia Li


网站: juicy_tour
Instagram@juicy_tour

 

供稿人: Jia Li

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The Photography of 3cm

February 16, 2016 2016年2月16日

3cm is Yung Cheng Lin, a photographer from Tainan, Taiwan whose work focuses on body manipulation, the female form, and visuals that can be both beautiful and gory at the same time. His photography tends to examine the topics of sexuality, birth, maturity, fragility, and often feature surreal compositions. These stunning images mixed with blood, hair, and skin compel and disturb viewers at the same time. We spoke to him recently about the themes behind his work.


3cm(林永政)是一名來自台灣台南的攝影師應承琳的艺名。他的創作主要專注於女性輪廓以及頗具美感的視覺元素的結合拍攝。他的作品詳細的描述了諸多關於出身,性,成熟,脆弱和超現實的場景。這些令人驚嘆的圖像常與血液,毛髮和皮膚混合,總能讓觀者深感壓迫與不安。近期,我們與他探討了隱藏在其作品之後的故事。

Neocha: Can you tell us about how you first got into photography, and what you studied or did previous to that? Was there anything in particular that set you off on the path of photography? What are some of your biggest influences in life, or in the way that you approach your art?

3cm: In art school, I studied fine arts and related subjects. Photography to me was easier to control, and I could quickly see the results onscreen. After I graduated, working took up most of my time, and left less time for painting and sculpture, so eventually that was replaced by digital mediums. In the past few years I’ve mainly focused on my own creative photography.


Neocha: 可否談談你是如何踏上攝影之路的?你之前的專業或是工作主要是做什麼的?有沒有什麼特別的東西導致你踏上攝影之路?對你人生或創作方式上產生最大影響的是什麼?

3cm: 求學時期就讀美術相關科系。然而「相機與畫筆」也就只是媒材上面的轉換,攝影對我來說甚至更好掌控,且能快速呈現畫面。出了社會,工作時間佔了大多數,能騰出足夠空間來作畫或雕塑更是少之又少,逐漸的由數位取代了既有的方式。因此,近幾年的自主創作以攝影為大宗。
 

Neocha: You work with mostly women in your photography. Is there a significance to that?

3cm: The traditional perception of women is that they are very fragile and elegant beings. The idea of that, alongside the topics I tend to explore, often relates to females and femininity. These things cohesively comes together to form into my work, which I then present to viewers for their own interpretation.


Neocha: 在你的攝影作品中大部分出現的都是女性,可否談談這樣做的意義?

3cm: 在傳統認知上,女性給人的印象是優雅的及脆弱的,加上個人所探討的議題多與女性相關,構成上是符合想呈現給觀看者的感受。

Neocha: Birth, pain, sexuality, intimacy, rot, and disease seem to be referenced in your work. What draws you to these themes, if they are indeed there? How do you come up with your ideas and concepts?

3cm: Social structures can contain a lot of gender inequality, unequal distribution and stratification, blind and senseless gender norms. These have all been a part of my life and experience.

In my ongoing series Red Line, I explore people’s belief in religion: is it real or is it imagined? The red line in the images represents faith, the pursuit of marriage, also bearing witness to sacrifices made in the name of love. How does a mere red line help someone reach salvation, and is it real? The feeling of pain is the first thing that I want viewers to see. The feeling of loneliness and lack of love is something I’m playing with between the photographer and the viewer, kind of an interesting twist on interactive feedback.

I love reading poetry. The words form a fantasy world, which I then combine with my real life experiences to create my work. Ancient poetry often provides me new ideas to make more complex images.


Neocha: 出生、痛苦、性、親密關係、衰敗以及疾病似乎都是你作品中會出現的影子。你為什麼會創作這類主題?它們是真實存在你生活中的嗎?你是如何萌發靈感和創作概念的?

3cm: 社會結構上存在著各種權利分配的不平等和曲解,即性別階層化,探討各性別理所面對的矛盾、盲目甚至無理的兩性規範,也都是我生活周遭的經驗和體悟所得的。

就如同目前正在進行的系列作品(紅線),探討的是人民追隨宗教信仰,那是實還是虛呢,畫面裡出現的紅線正是代表著信仰,拜月老求姻緣,也述說著為愛情做出的改變與付出,區區一條紅線為何能幫助自己得到救贖,是真實的嗎?疼痛感是觀看者第一眼的感受也是我希望的,反思而產生對於被攝者的關懷,如同缺乏愛情的人總是覺得寂寞需要多一點的關愛,也是種互動回饋概念,耐人玩味。

平常喜愛閱讀詩詞,藉由文字間產出的幻想及畫面的浮現,再與生活經歷結合,咀嚼成一個作品。故詩詞總能給予我新思維,創造出更多元化的影像。

Neocha: What is your work process like, in terms of idea creation, posing, casting, and technical detail? Do you shoot only with one kind of camera? Is there a lot of post-production involved? Do you mainly shoot in controlled environments or venture out to public spaces?

3cm: I usually shoot with quite simple equipment: only one camera, with minimal equipment and people. Before shooting, I have a sketch of how I want the image to be, so that I can communicate to the model and know what to do for post-production. But usually, I shoot it just the way I want it to be and don’t add much during post-production.

I like to shoot both indoors and outdoors – both kinds of environments can give me unexpected effects, which I think is good.


Neocha: 從創意靈感、姿勢、選角以及技術等細節上來講,你的工作流程是怎樣的?你是否只是用一種相機?會不會有大量後期工作?你會比較傾向於在可控的環境中工作還是去公共區域來些即興發 ?

3cm: 進行拍攝時設備簡單為主,只使用一台相機來進行拍攝,沒有過多的裝備和人力,通常在拍攝前就會把畫面擬畫成草圖也方便與model溝通和後期工作,但拍攝時基本上會盡量就達到我要的畫面,後期的工作占比較小。

兩種環境下我都會使用,也都會有預期不到的效果,對我來說都是好的。

Neocha: What are you currently working on and what are you looking forward to in the future?

3cm: I plan to create visuals based on the text from the book Lover’s Discourse. Also I hope to collaborate in different projects with others artists or brands in the future. Maybe mixing together different mediums to create something fun.


Neocha: 你最近在創作什麼?未來有什麼打算?

3cm: 計畫把戀人絮語一書內的優雅文字轉化成圖像,也希望能多與他人或是商業案合作,多元結合,玩味性高。

Flickr: ~/3cm
Facebook: ~/by3cm
Instagram: @3cm_lin

Contributor: Jia Li


Flickr: ~/3cm
臉書: ~/by3cm
Instagram: @3cm_lin

供稿人: Jia Li

Hash Pipe

January 29, 2016 2016年1月29日

 

无法观看?前往优酷

Hash Pipe is a new limited-edition screen print from the Shanghai-based German artist and IdleBeats co-founder Gregor Koerting. Last month, he premiered the poster in a joint exhibition called Tale of Two Cities in Shanghai with the print studio Frenchfourch.


《Hash Pipe》是居住在上海的德国艺术家兼IdleBeats联合创始人Gregor Koerting的限量丝网版画新作。在上个月的《双城记》——与巴黎版画工作室Frenchfourch的联展上,他首次展示了这个海报作品。

Hash Pipe is a screenprint that depicts the experience of underground nightlife in Shanghai. This vivid print takes place in a graffiti-sprawled women’s restroom in a seedy nightclub. Two young women can be seen smoking out of a hash pipe – one of the characters glances over her shoulder with a semi-surprised look.


版画《Hash Pipe》描绘了上海地下夜生活的体验。作品中这个栩栩如生的场景是来自于布满涂鸦的酒吧的女洗手间。其中,两个年轻女生正共用一支抽麻烟斗,其中一个女生转头过肩一瞥,略带惊讶神色。

Gregor has created this poster as a four-color silk-screen print, bringing to life a candid moment not commonly seen. His illustration embodies a carefree spirit, and is a representation of individuality and breaking taboos.


Gregor将这作品以四色丝网印做成海报,重现那不寻常的偷窥一刻。他的绘画中包含了一种无所谓精神,是对个体和冲破禁忌的一种表现。

Hash Pipe can be purchased now exclusively on the Neocha Shop. Each print measures 38 x 57 cm , and was screen printed on high-quality Somerset 300gsm watercolor paper in four layers: yellow, red, blue and black. It is available in a limited edition of only 18.


《Hash Pipe》现由Neocha网店独家贩售。作品尺寸为38x57cm,由黄、红、蓝、黑四色网印于300毫克高质Somerset水彩纸上。此海报限量印制18版,现可供购买。

/**/


Gregor Koerting《Hash Pipe》

¥930

立刻购买

Details:

  • Edition size: 18
  • Screenprint size: 38 x 57 cm
  • Number of colors: 4
  • Paper: Somerset 300gsm Watercolor Paper
  • Price: $150 for single print without frame

 

Websiteidlebeats.com

 

Contributor & Videographer: Jia Li
Photographers: Jia Li, Banny Wang


详情:

  • 印刷数量: 18
  • 作品尺寸: 38 x 57 cm
  • 颜色: 4
  • 纸张: 300克Somerset水彩纸
  • 价格: ¥930单幅无装裱作品

 

网站idlebeats.com

 

供稿与视频摄影: Jia Li
图片摄影: Jia Li, Banny Wang

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Jonathan Van Smit

January 28, 2016 2016年1月28日

Jonathan Van Smit moved from New Zealand to Hong Kong in 2008, drawn to wandering the back alleys and side streets of the city when he’s not at his day job in the financial industry. Entirely self-taught, all of his photographs are raw, dark and gritty compositions focused on the underbelly of life in Hong Kong, Southeast Asia and China. Despite being a 65 year-old self-proclaimed Gweilo (or foreigner), Jonathan possesses a remarkable ability to slip seamlessly into the underworld with his photography. Wandering the streets with his Leica rangefinder and wide angle lens, he prefers to shoot as close as possible to get a sense of intimacy. We spoke to him recently about his work and his approach to street photography.


2008年Jonathan Van Smit從新西蘭移居香港,在其供職於金融行業之餘,他常遊走於當地錯綜複雜的街頭巷尾。對於攝影,他完全是無師自通, 並以 風格粗獷、黑暗且冷峻不羈 的風格展示著香港、東南亞及中國大陸地區地下階層的墮落生活。儘管65歲的他對外自稱鬼佬(外國人),但他潛入地下群體進行拍攝的能力還是超凡的。帶著自己的徠卡旁軸相機和廣角鏡頭遊走於各種小巷街道的他,喜歡盡可能靠近被攝物以達到一種親近感。我們最近與他談論了其作品及其街頭攝影的方式。

Neocha: Coming from a different background, how did you get into photography, and specifically street photography?

Jonathan: Photography for me is primarily a way to explore this world that we live in. I don’t like to think of myself as a street photographer. I am just an amateur photographer who likes traveling, walking around, exploring other people’s lives, and trying to see what’s around the corner or behind closed doors. I’m also quite interested in economic marginalization and how people react to adversity. I also like bridges, big cities, seedy bars, intersections, alleyways, dark places, and the night time.


Neocha: 毫無相關背景的你是如何走上攝影之路並且專注於街頭攝影的?

Jonathan: 對我來說,攝影是探索世界的首選方式。我並不認為自己是街頭攝影師,我只是一個愛好旅行、愛閒逛、愛探索他人生活以及犄角旮旯正在發生著什麼的一個業餘攝影師。我同樣對經濟邊緣化以及人們如何應對逆境十分感興趣。我也喜歡橋、大城市、衰敗的酒吧、十字路口、小巷、黑暗地帶以及夜晚。

Neocha: Why do you choose to use mostly black and white? Why do you use your current camera setup? Have you explored other cameras and techniques before in the past?

Jonathan: I find colour really distracting in photographs. Using black & white tends to emphasis the content more, at least for me it does, and it also connects us with photography tradition.

I mostly use Leica rangefinders because I’m so used to the manual controls, which allows me to take photos faster than, say, a Sony or Fuji. Sometimes I need to be quick and change focus or shutter speed or aperture without looking down at the camera which I can easily do with Leicas. I’ve tried other brands but generally end up being frustrated as they seem to be designed by technicians rather than photographers.


Neocha: 為何你的大部分攝影作品都是黑白的?你為什麼用現在這台相機?在此之前你是否嘗試過使用其它相機或技巧?

Jonathan: 我發覺色彩很容易分散人對攝影作品的注意力,使用黑白攝影可以更強調出拍攝內容,至少我是這樣覺得的,而且這也能讓我們更接近攝影傳統。大部分時候我用萊卡旁軸是因為 我習慣手動調控,這能讓我比使用像索尼或富士這類相機更順手且快捷。有時我需要特別快速地完成拍攝,包括變換焦點、調整快門速度或不看取景器直接調整光圈,這些我都可以用徠卡辦到。我曾試圖用其它品牌的相機但都以失敗告終,它們似乎是為技術而生而非攝影師。

Neocha: What fascinates you about Hong Kong? Cambodia? What are some stories you return to over and over again?

Jonathan: Hong Kong interests me because it is currently my home and I have a permanent resident visa here. It also has a strong and unique culture, sadly that seems to be diluting as more and more old buildings are being demolished. I am always struck by the huge gap between rich and poor in what is one of the world’s wealthiest cities. I like the more traditional, grass roots parts of Hong Kong rather than the glitzy shopping malls with their aimless materialism.

Cambodia is very different, of course – the less developed law and order there makes it a refreshing change from living in Hong Kong, which is much more regulated. Compared to Hong Kong, Phnom Penh is chaotic, edgy and relatively lawless, which perversely enough, I find relaxing. I also have friends over there, people smile more, and I enjoy the food and music so it is a holiday break for me. In terms of photography there, I’m interested in the way women are treated, which is often shocking, and drug use seems to be common too.

For example, a common theme I have come across is that a girl gets pregnant, her boyfriend can’t or simply doesn’t want to support the child, so she needs to earn an income while her family looks after the child. A young woman can earn $128 a month in a Phnom Penh garment factory but double that working in a bar. The loss of self-esteem from bar sex work can lead to drug use, especially ice, which in turn can lead to unsafe sex and HIV.


Neocha: 香港或柬埔寨有哪些吸引你的地方? 有哪些主題是你一再反覆拍攝的?

Jonathan: 我對香港感興趣是因它現在是我的家 並且我也有這裏的永久居住签证 ,並且它有強大而獨特的文化,然而很遺憾的是它正在被稀釋,許多舊樓也在不斷被拆除。作為世界上最富有的城市之一,香港一直以來 讓我很震驚的是其貧富差距的巨大鴻溝。比起那些耀眼且物欲橫飛的百貨商場, 我喜歡香港更傳統、低層的部分。

柬埔寨則十分不同,比起生活在秩序井然的香港,這裡欠發達的法律與秩序讓人耳目一新。與香港相比,金邊是混亂的、焦躁不安的、毫無法律制約之地……而這反而令我感到輕鬆。我也有朋友在那裏,當地人很愛笑,我喜歡那裡的食物和音樂,所以待在那對我來說猶如度假。在那裡拍攝的話,我對當地人對待女性的態度很感興趣,他們時常讓人震驚,而且吸毒現象也十分普遍。

譬如,我見到過的普遍現象之一是,女生懷孕了,她的男友無法或根本不想提供任何幫助,於是她把孩子放在家裡讓親人照顧,自己出去掙錢養家。一個年輕女性在金邊的製衣工廠工作一個月可以賺到128美元,但在酒吧工作則是雙倍。而從事酒吧性工作的女性在自尊丟失的同時也會有吸毒隱患,尤其是冰毒,而它也是招致不安全性行為和HIV的元凶之一。

Neocha: What’s your routine, if you have one, during a day – do you go out to take photos during certain times of day? Are there favourite neighborhoods or parts of a city you go to first for inspiration?

Jonathan: To be honest, I don’t really have a routine… I am fairly random most of the time. Assuming I am not working, meeting friends, or have something planned, I’ll start walking in the morning and keep on going all day – sometimes until late at night with a couple of stops for coffee or food. I like the Kowloon part of Hong Kong, and go there a lot as it’s easy to get to. Sometimes, I’ll get on a bus or train, and then get off somewhere at random. I like the freedom of not having a plan.


Neocha: 你是否有一套例行程序? 如果有,你通常在一天中的什麼時候出去拍照?你是否有在自己所著街區特別喜歡的會在第一時間去那裡找尋靈感的地方或城中其他某個地方?

Jonathan: 我並沒有什麼例行程序……大部分時候我都十分隨意。假如我沒在工作、見朋友或計劃做某事的話,我會從早上開始散步散一天,有時候會到很晚,中途會有幾次停下來喝咖啡或吃點東西。我喜歡香港的九龍地區,也會常去那邊,因為過去很方便。我可以坐上巴士或地鐵,然後隨機挑一站下車,我很享受這種隨心所欲的自由。

Neocha: Language – how do you find access to your subjects especially in such unguarded, intimate moments, and without a common language? How many times do you revisit subjects before you feel the connection? When you’re walking around on the streets of Hong Kong or elsewhere, how do people react to you?

Jonathan: It is not really a big issue for me, and language isn’t the only form of communication. For example, there’s mime, smiling, signing and body language too, and I use all these when gaining access to what I want to photograph. I guess I’ve found a way to cope with my very limited language skills, and also I usually prefer to be a passer-by than a participant when taking photographs. I generally don’t want my subjects to be engaged in the taking of a photo. I am just another Westerner with a camera, I guess.

 


Neocha: 關於語言 —— 你是如何在沒有共同語言為基礎的前提下與被攝者接觸並抓到那些自然、親近時刻?在你感受到彼此感覺對應之前,你會反覆拜訪幾次被攝者?當你在香港或別處的街道上散步時,人們的態度是怎樣的?

Jonathan: 對我來說這不是什麼大問題,而且語言並非是溝通的唯一方式。 譬如,模仿、微笑、手勢以及肢體語言,在我嘗試接觸想要拍攝的任何人物時我都會用上。我可能是找到了一種方式來應對自己十分有限的語言技巧,在拍攝當中 ,比起作為參與者, 我更願意 作為一個旁觀者的身份。基本上我不想讓被攝者有感覺像是在擺拍。我只是另一個拿著相機的鬼佬,我想。

Neocha: How often does fear cross your path? How often do you have to diffuse or leave situations?

Jonathan: There’s a fine line between exhilaration and fear, and I get a bit nervous sometimes when drugs are involved. It is not a big deal. Most people I meet are charming and friendly.


Neocha: 你多久會出現一次憂慮感? 多久你需要驅散一次這種糟糕的狀態或者完全任其發展?

Jonathan在高興和憂慮之間有著微妙的界線,當面對毒品題材時我也會顯得倍加焦慮……但這不是什麼大問題。我遇到的大部分人都很善良友好的

Neocha: What are your influences and inspirations? From photography, literature, or experiences?

Jonathan: I haven’t had a TV for many years so I read a lot, and I manage to get through two to three books every month. Plenty of non-fiction books like River of Time by Jon Swain which I’ve just read for the second time but also fiction authors like Jim Harrison, Annie Proulx and Raymond Carver. I also keep myself up-to-date with current affairs.

I sometimes look at other people’s photos but I’m more interested in getting out and taking my own. I think the most important thing to me is moving outside my own day-to-day existence and comfort zone, and gaining a wider set of personal experiences through exploration and travel.

 


Neocha: 你所受到的影響以及你的靈感來源從哪裡來?是攝影作品、文學作品還是人生經驗?

Jonathan: 由於不用電視機多年所以我讀了很多書,基本維持在一個月2-3本的量。許多並非小說類讀物,譬如我剛剛重讀了來自Jon Swain的作品《River of Time》,當然我也喜歡一些小說家,譬如Jim Harrison, Annie Proulx以及Raymond Carver,此外,我也會關注時事以便讓自己跟上時代。 

有時我也會看些別人的攝影作品 ,但我更喜歡出去走走並拍攝自己的。對我來說最重要的是讓我的日常所在置於外部空間,這讓我感覺舒服,並且通過這樣的探索和旅行可以讓自己的閱歷更為寬泛。

Neocha: What are you working on currently and are there any projects you’re looking forward to in the future?

Jonathan: I’d like to spend more time traveling in Asia especially the area from the Bay of Bengal over to Vietnam and West China. I’m also trying to move away from darker subject matter but maybe that’s just a temporary phase. I don’t think of a specific theme when I’m taking photos. That comes afterwards when I’m editing.


Neocha目前你在做什麼?在未來你會期待做什麼樣的項目?

Jonathan: 我想要花更多的時間在亞洲旅行,特別是孟加拉灣到越南和中國西部這一條線。我也在試圖從暗黑題材中轉型,可能這只是臨時階段而已。我在拍照時並沒有什麼具體的拍攝主題,那都是在我處理它們的時候才會有的。

Websitejonathanvansmit.com
Flickr: ~/K_iwi

 

 

Contributor: Jia Li


网站jonathanvansmit.com
Flickr: ~/K_iwi

 

 

供稿人: Jia Li

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Press Matter

January 21, 2016 2016年1月21日

 

无法观看?前往优酷

Press Matter is a studio located in Shanghai that specializes in the delicate craft of printmaking. Founded in 2012 by two local entrepreneurs, Yang Mo and Chen Jie, their printing studio has been up and running for nearly four years now. The two demonstrated the entire process of lithographic printing for us, from beginning to end, using a piece of work from the artist Mingming, a customer who frequently uses their studio.


印物所是一间提供不同手工印刷方式的工作室,由两位而立之年的上海男生杨默和陈捷创立,从2012年至今,已经将近4年了。印物所常驻艺术家明明创作的這幅作品让我們有幸见证了一副石板版画从石板打磨到印刷成品这整个过程。

One might expect that Yang Mo and Chen Jie would share a story with us about how their passion and persistence led to the start of their print studio, but this was actually not the case. The pair tells us that the real reason behind starting Press Matter was rather simple: they were displeased with the extortionate inflation of prices for limited edition artwork in China. Artwork that has been mass-produced with a machine press is seen as less valuable in the eyes of many collectors, but this drop in value doesn’t happen when the same artwork is hand printed. Printed work is also unlike artwork that was created solely for the canvas, which is very exclusive, limited, and in most cases for the average person, nearly impossible to obtain. Their goal is to popularise printmaking in China and to make art something that everybody can afford.


在这情怀一词泛滥的年代,大到盖房子,小到卖冰淇淋,无不以情怀说事儿。本来以为杨默和陈捷会诉说一个坚持手工充满情怀的动人创业初衷,结果俩人非常朴实得表示最初成立印物所大部分原因只是对国内限量艺术品价格虚高的不满,而手工印刷这种方式令艺术品既不像机器印刷那样因为大量复制而失去收藏性,也不像画布作品那样因为太限量而变得遥不可及。正如版画在国外的普通家庭里是非常常见的艺术收藏品一样,他们想在中国推广手工印刷画作,让艺术品变成普罗大众也能消费得起的一种商品。

Yang Mo and Chen Jie have experienced their own fair share of challenges over the last four years. Despite facing these hardships, Press Matter maintains their devotion to creating work with sincerity, while also still holding a reverence for handcrafted artwork.


虽然杨默和陈捷成立印物所的初衷并不是一碗读者期待的鸡汤,但是在这不算顺利的创业4年中,印物所始终秉承着一种对手工和艺术的敬畏之心在创作。

Yang Mo comes from a background with professional printing experience, and through his expertise, he is able to provide invaluable feedback to his current artist clientele, whether it be the method of printing, choice of paper, or the ink ratio. His method of printing can be described as intimate with a touch of serendipity. This approach allows Press Matter to produce highly sought-after prints with great collection value.


作为正经版画专业的科班生,杨默为艺术家提供了极为专业的意见,印刷方法的选择,纸张的选择,颜料的配比,这些充满独一性、偶然性和个人性的因素交织在一起,印物所制作出了一批又一批具有高度收藏价值的画作。

On the other hand, his business partner Chen Jie comes from a background in the advertising industry. Because of that, he is able to provide all of the possible sales channels for their prints. He also has fostered a mutually beneficial link between art lovers and underappreciated artists. The whole process starts when the artist first creates their work. Press Matter then provides the artist technical assistance during the whole printing process, and also contacts art galleries and various sales channels. Art lovers are then able to purchase their favourite works more easily, allowing the artists to make money off their work.


而广告行业驰骋多年的陈捷则调用自己强大的艺术品交易渠道资源,在怀才不遇的艺术家和艺术爱好者之间建立起一个健康的链接:艺术家创作 → 印物所提供技术支持并联系展示、销售渠道 → 艺术爱好者购买到心仪的作品 → 艺术家靠自己的作品生存下去。

Nowadays, even with so many different printmaking techniques to choose from, lithography still remains one of the most trusted methods. It is capable of yielding the most impressive results by bringing out even the most minute of details from the original work in its exact likeness. Another benefit of lithographic printing is that it allows traditional artists to be able to reproduce their work without being restricted by technology, while also being able to use more traditional methods of illustration. This allows the artist to be able to infuse their own personal style into their work.


在各种手工印刷方式中,以石板印刷效果最优秀,这种在石板上创作并拓印的方法制作出来的印刷品从各种细节上都堪称可以与原作相媲美,这种方式也让传统画家不受限于技术条件,采用传统方法作画,最大程度地发挥艺术家自己的风格。

In addition to the creativity and labor put into the original artwork by the artist, in every print there is also the artistry that was instilled during the hand printing process. This is what makes hand printed artwork so fascinating, and that much more desirable for collectors.


一幅手工印刷画作制作完成的背后,除了包含艺术家的智力劳动外,也包含着手工者的个体创造性,这大概就是手工印刷的魅力吧。

Weibo: @印物所
Instagram: @Press_Matter

 

Contributor: Taylor Shen
Photographer: Chan Qu
Videographer: Jia Li


Weibo: @印物所
Instagram: @Press_Matter

 

供稿人: Taylor Shen
图片摄影: 
Chan Qu
摄影摄影: Jia Li

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