All posts by ruby

Conrad Beijing

December 9, 2016 2016年12月9日

Located on Beijing’s East Third Ring Road, in the heart of the city’s central business district, the Conrad Beijing clearly stands out amongst its surrounding commercial office buildings. The hotel is characterized by innovative architecture and design, which serves as a refreshing, energized alternative to Beijing’s often monotonous urban sprawl.

坐落在北京东三环市中心商业区，北京康莱德酒店建筑的设计不仅延续了酒店整体的现代气质，还创新性地融合了独有的中国风，在周边林立的高楼大厦当中显得新颖又别致。

The building’s exterior stands tall and slender, encased in a sleek metal frame that sets its aesthetically apart from the norm. Designed by MAD Architects, the sinuous casing adds fluidity to an otherwise gridded structure. The outer network curves in a natural fashion, a shape reminiscent of moving organisms. MAD worked dilligently to achieve their concept of ‘Living Architecture’, designing a free-form, mutated structure that softened against the city’s urban rigidity.

整个细长的建筑体都包裹于一层金属表皮中，营造出一种独树一帜的美感。由MAD建筑事务所设计，蜿蜒的表面在网格的结构里引入了流动感。网络的曲线以一种自然的方式呈现，它的形状让人联想到一个移动的有机体。MAD以他们的“活建筑”的概念，设计了一个自由的，突变的结构，软化了城市本身的刚性。

Stepping inside, the hotel’s décor is characterized by deep block colours, interesting textures and reflective surfaces. Designed by LTW Design Works, its alluring interior is a natural extension of the building’s attractive outer shell. By considering Conrad Beijing’s unique setting and cultural identity, LTW has created a compelling narrative that defines the hotel. Its design is consistently sophisticated, but escapes being too traditional by maintaining a playful balance between the past and the present, refinement and flair. Every room is unique, yet close attention to design continuity allows for a seamless transition from one area to the next.

一走进酒店，迎面而来的就是极具视觉效果的装饰墙：深色的质感、妙趣横生的纹理、以及带着反射效果的表面，都给人眼前一亮的感觉。LTW Design Works的设计延续了精致风，也避免了过于保守。酒店在整体上完美融合了精巧与天然两种特性。每个房间都是独一无二的，但同时也非常注重设计的统一性，加上无处不在的柔和灯光与色调，让人自由顺畅地流转于各个房间中。

Traditional ink paintings in the main lobby, an old-fashioned spiral staircase in the Japanese restaurant, and charming silk-lined walls in the Chinese dining room are all nostalgic features that complement the hotel’s distinctly Asian aesthetic. Other rooms are less Eastern and more futuristic, bringing the hotel’s overall design into the present. While the lobby areas are characterized by bright open spaces, dark red mood lighting sets a more sensual tone in the bar, with scarlet light reflecting off its traditional wicker panelling. The further use of reflective, rose gold mirrors and plush pink carpets in the main reception area creates a softer, dream-like environment.

大堂中的传统水墨画，日式餐厅里的老式螺旋楼梯，中餐厅韵味十足的丝绸质感的墙面……这些古色古香的元素为酒店平添了别致的东方美学韵味。其他房间没有很重的东方色彩，更多表现出现代主义特色，将酒店整体的风格拉回到现代。同时，酒店的照明不仅具备装饰效果，还按照每个区域的功能，精心配置了最为合适的色调。迎宾大厅区的宽敞开放空间搭配的是明亮的灯光；用餐区的灯光色调偏深色系，显得更为轻松亲和；吧台处周围传统柳状嵌板折射出深红色灯光，突显出一种暧昧撩人的氛围。结合接待大厅中反射表面，玫瑰金色镜面，以及粉色毛绒地毯等，营造出柔和梦幻的环境。

MAD’s intended to project their concept of nature and the great outdoors onto Beijing’s urban landscape, which is clearly illustrated throughout the hotel’s completed design. A dramatic sculpture of five tropical fish made out of rusted metal wires stands as the focal point of the lobby area, which has been warmly lit to bring them glistening to life, as if swimming into the middle of the room. This contributes to an overall sense of fluidity throughout the hotel. The Conrad Beijing is a consolidation of culture and contemporary design, as well as a unique representation of life and movement amidst a comparably static landscape.

MAD将在北京城市景观中的自然映射在整个酒店设计里面。在大堂吧中央，五条造型生动的热带鱼，由锈蚀处理过的金属丝焊接构成。热带鱼雕塑底座四周是明亮暖色调的灯光，鱼身局部用冷色调的光进行雕塑的体现。运用冷暖和明暗的对比形成立体的效果，仿佛热带鱼鲜活游曳，涌入房间之中，有助于酒店整体流动性上的一致。北京康莱德是一个整合文化和现代设计的酒店，在一个相对静态的城市景观里显得更加生动。

The Conrad Beijing is an impressive consolidation of conventional culture and contemporary design. The overall grandeur of its Asia-inspired interior appropriately acknowledges its Chinese heritage, while its attention to detail, décor and intimacy has ensured an enjoyable, aesthetically pleasing experience for every guest.

北京康莱德酒店集传统文化与现代设计于一体，让人过目不忘。将中国风蕴藏于整体充满亚洲风情的室内装饰中，大气又明丽，同时在细节、装饰品以及感官上都为住客呈现出别具一格的美学基调和体验。

Website: ~/conrad-beijing

Address:
No 29. East Third Ring Road
Chaoyang District, Beijing
People’s Republic of China

Phone: +86 10 6584 6000

Contributor: Ruby Weatherall
Photographer: Shu He
Images Courtesy of GD-Lighting Design

网站: ~/conrad-beijing

地址:
中国
北京朝阳城区
东北三环路29号

电话: +86 10 6584 6000

供稿人: Ruby Weatherall
摄影师: 舒赫
圖片由GD-Lighting Design提供

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The World’s Longest Glass Bridge

October 13, 2016 2016年10月13日

The Zhangjiajie Grand Canyon Glass Bridge is located near Zhangjiajie City, in Hunan Province, China, and is the tallest and longest glass pedestrian bridge in the world. Bridging the gap between two peaks, which are said to have inspired the American blockbuster Avatar, it is 380 meters long, six meters wide, and stands nearly 300 meters above the canyon floor. Its sleek, transparent design blends seamlessly into its surrounding landscape, offering unparalleled views of the national forest park’s dramatic scenery.

张家界大峡谷玻璃桥坐落于中国湖南省的张家界市附近，是全球最高以及最长的玻璃桥。大桥连接着两座高峰，这两座高峰据说也是美国大片《阿凡达》的创作灵感地。这座玻璃桥长380米，宽6米，矗立于距峡谷底部300米的高空，其流线型的透明设计与周围的景观融为一体。置身于桥上，便可将这个国家森林公园的如画景致尽收眼底。

Designed by internationally renowned architect Haim Dotan, who established Haim Dotan Ltd. Architects in 1990, the Grand Canyon Glass Bridge is a cutting-edge reflection of the firm’s focus on innovative and ecological architectural and design projects. Inspired by the ancient Chinese master Lao Tzu, who said, “Great sound is unheard; great form is invisible”, Haim Dotan has managed to create a structure that is both great in size and subtlety, a symbol of both the celebration and preservation of its natural environment.

大峡谷玻璃桥的设计师为蜚声国际的建筑大师Haim Dotan，其于1990年成立了Haim Dotan Ltd. Architects，一直以创新和生态的建筑和设计项目为重点，玻璃桥正是其中的顶尖代表。Haim Dotan表示，玻璃桥设计理念来自中国哲学大师老子的观点：“大音希声，大象无形”。他希望在建筑中融合“薄如蝉翼却十足震撼”的感官体验，并在保护自然环境的同时，也体现大自然的巧夺天工。

Haim Dotan’s projects offer new perspectives on our global architectural landscape by incorporating progressive technologies that continue to develop construction techniques. Previous to the Zhangjiajie Grand Canyon Glass Bridge, Professor Dotan earned international recognition for his design of the Israel Pavilion for the Shanghai World EXPO 2010. He describes the design as a physical representation of the Confucianist concept of Yin and Yang due its focus on balance, with two curvaceous structures gradually intertwining. Dotan is also a refined poet, philosopher and artist, as well as an educator at Beijing’s DeTao Masters Academy, the Institute of Visual Art, and Shanghai’s Fudan University.

通过引入持续促进施工技术发展的先进科技，Haim Dotan的项目成果为当今全球建筑景观提供了新的视野。在张家界大峡谷玻璃桥之前，Dotan教授就以2010上海世博会上的以色列馆国家馆设计广获国际赞誉。他表示，由于该建筑围绕双曲线结构的交织与平衡展开，可被视为儒家学派阴阳观念的实体代表。Dotan同时也是出色的诗人、哲学家和艺术家，并在北京德稻大师学会、上海视觉艺术学院和上海复旦大学任教。

“I believe in nature, harmony, balance and beauty,” says Dotan, “Nature is beautiful as it is. One wants to make the least impact upon it. Therefore, the Zhangjiajie Glass Bridge was designed to be as invisible as possible – a white bridge disappearing into the clouds.” It certainly gives the impression of being suspended in mid-air, a structural glass deck that floats above the canyon like a bird in flight. Slatted handrails flank the bridge’s glass walkway, which narrows in the middle to create an exaggerated perspective. Though its vertigo-inducing views are not recommended for the faint-hearted, the Zhangjiajie Grand Canyon Glass Bridge is the perfect destination for a breathtaking set of holiday snaps.

“我崇尚自然、和谐、平衡和美，” Dotan说，“大自然本身就是一种美。我想尽可能减少对它的影响。因此，张家界玻璃桥在设计时就希望看起来尽可能是无形的——白色轻巧的桥消失在云端的感觉。”毫无疑问，玻璃桥极具震撼魅力，其悬浮在半空中，透明的玻璃板架在峡谷之巅，就像一只展翅于天空的鸟。玻璃道上侧挂的斜拉索构成扶手，越往桥中心收得越窄，看似弱不禁风，其实承受能力非常强。尽管这孤高炫目的视角并不适合恐高胆小一族，但若想在假期中一睹大自然动人心魄的美，张家界大峡谷玻璃桥是你的不二之选。

Website: haimdotan.com

Contributor: Ruby Weatherall
Images Courtesy of Zhangjiajie Grand Canyon Tourism Management Co. Ltd

网址: haimdotan.com

供稿人: Ruby Weatherall
圖片由张家界大峡谷旅游景区管理有限公司提供

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The Art of the Mural

September 30, 2016 2016年9月30日

The Art of the Mural is a celebration of muralism as a contemporary global movement. It features some of the most impressive mural art worldwide, offering insight into the gravity of muralism as an influential art form and encouraging the appreciation of street art culture as a valuable part of our visual landscape. As the first installment of a four-part series, the book introduces fifty outstanding artists from Africa to Asia, whose level of commitment to their work continues to bridge the gap between the worlds of fine art and street art.

The Art of the Mural一书堪称当代全球性壁画运动的代表作，以世界各地最让人惊艳的壁画艺术为特色，解析这个深具影响力的艺术形式的厚重意义，希望把街头艺术的欣赏纳入人们享受视觉风景的重要一环。本书作为四部曲的首推款，介绍了五十位来自非洲和亚洲的优秀艺术家，他们全心投入自己的工作，旨在为学院派美术和街头艺术构建交流平台。

The Art of the Mural draws attention to the universal nature of muralism and its ability to transcend cultural barriers. The book showcases a multi-cultural variety of work and styles, including an outstanding selection of Asian artists such as Clogtwo, TWOONE, and DALeast, from Singapore, Japan and China respectively. Although the latter two no longer live in Asia, their cultural heritage continues to permeate the work they create abroad. This is an integral part of contemporary international urban art: the fact that anyone, from anywhere, can engage with the medium as a vital social concept.

The Art of the Mural向人们凸显壁画中的共通性以及跨越文化障碍的魅力。书中也展示了大量风格各异的多元化作品，其中包括很多亚洲艺术家的杰出代表作，如来自新加坡的Clogtwo，日本的TWOONE和中国的DALeast都榜上有名。尽管后面两位艺术家目前都不居住在亚洲，但地域文化依旧传承于他们在海外的作品创作中。这就是当前国际性城市艺术的不可分割性：来自任何地方的任何人，都能以突出表现某种社会概念为主旨，加入到这个传播媒介中。

Based in Singapore, Clogtwo is a ‘visual anarchist’ whose style incorporates both graffiti art and fine art. His work is often aggressive, exploring the darker aspects of society but using black humor to create interesting and colorful narratives. DALeast’s fractured imagery is similarly dark, woven with intricate detail to look as though thousands of metal shards are converging together. This brings his figures energetically to life, alleviating them from their somber subject matter. As a Chinese artist, he is inspired by the way the material world revolves, how the spiritual world unfolds, life’s emotions and the infinite space between us, the questions his ancestors have been concerned with for centuries.

来自新加坡的Clogtwo是一位视觉艺术家，同时也是一位先锋的无政府主义者。他的作品融入了涂鸦和油画的绘图风格，同时思想激进，勇于探索社会黑暗之面，但也加入黑色幽默让创造变得趣味无穷。DALeast的作品里充满破碎的意向同样带着黑暗面的隐喻，他作品以繁复的细节营造出似是上千小金属碎片制成的立体效果，因而涂鸦中形象更加栩栩如生，同时也给严肃沉重的主题带来缓冲。作为华裔艺术家，DALeast一直在思考这个物质社会的运转方式，精神世界是如何呈现，生活中的喜怒哀乐，人与人之间的无限空间，以及那些从人类祖先就开始思考、困扰了我们几个世纪的难题。

TWOONE’s work is equally dynamic, heavily influenced by his exposure to skateboarding and urban art subculture in both Japan and Australia. The artist moved from Tokyo to Melbourne at the age of eighteen, immediately becoming a prominent part of the local street art scene. He has continued to expand on the formal training he received in his youth, showing his work internationally inside galleries and, of course, outside on the streets.

受滑板的运动经历和在日本和澳大利亚的城市亚文化艺术影响，TWOONE的作品都充满了一种动态。这位来自东京的艺术家在十八岁时来到了墨尔本，不久便摇身成为当地街头艺术的领军人物。他正延续之前接收的正式艺术培训之路，继续深造，所以其作品不仅限于市井街区，也能在各地的艺术画廊里得以展出。

Art Whino gallery owner and creative director of the book, Shane Pomajambo, describes The Art of the Mural as capturing a particular moment in time, a personal observation and unification of a worldwide scene where artists have taken to the streets to creatively express themselves. He’s particularly amazed by street art culture’s ubiquitous history and equal development, that even if you exhibited thirty culturally different artists, the array of work could easily have come from one city. The Art of the Mural is now available for purchase from Schiffer Publishing and on Amazon.

该书的创意总监，同时也是Art Whino画廊的老板Shane Pomajambo称The Art of the Mural一书是某个时刻的捕获，以一种个性化的观察视角，串联起全球各地艺术家们在街头的创意之作。他尤其感叹于街头艺术文化那种俯拾即是的氛围和无差别发展历史，就算你展示了三十个不同文化风格的艺术家作品，其作品都有可能来自同一个城市。现在可以从Schiffer Publishing和Amazon上购买The Art of the Mural。

Contributor: Ruby Weatherall
Photographer: Whitney Ng

Additional Images Courtesy of DALEast, Clogtwo & TWOONE

供稿人: Ruby Weatherall
摄影师: Whitney Ng

附加图片由DALEast, Clogtwo与TWOONE提供

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Working with Negative Space

September 29, 2016 2016年9月29日

Contemporary Chinese artist Wang Tiande’s paintings engage with the cultural history of ink and its influence on the development of Chinese painting and personal expression. His work is deep and brooding, often rooted in classical landscapes and calligraphy but executed in a way that breathes new life and meaning into the traditional art form. His upcoming exhibition Literati Gathering will be showcased at San Francisco Bay’s Asia Art Week. It presents the artist’s “Houshan” series of layered, deconstructed compositional elements, created in his unique style as a response to the paintings and calligraphy of classical Chinese masters. Wang hopes to inspire discussion about the past, the present, and the ability to respect the timelessness of traditional art forms.

中国当代艺术家王天德的作品结合中国传统水墨画的文化历史，以及其对中国艺术发展和艺术家的表现形式所产生的影响力。其作品主旨深刻，充满哲思，常常以古代山水和书法为创作根基，同时也为传统艺术注入新的生机和寓意。他的展览Literati Gathering即将在旧金山湾区亚洲艺术周亮相。此次展示的是这位艺术家名为“后山”的系列画作，这组作品在对中国传统水墨和书法大家致敬的同时，以层次分明、解构组合元素的方式开创出独树一帜的艺术风格。王天德希望引发人们对传统和当代的探讨与思考，重拾对传统艺术里永恒魅力的尊重。

Born and raised in Shanghai, Wang Tiande graduated from the Chinese Paintings Department of Zhejiang Academy of Fine Arts before obtaining his doctorate degree from their Calligraphy department. Taking inspiration from the paintings and calligraphy of traditional Chinese masters such as Wu Hufan (1894 – 1968), Literati Gathering is a poignant choice of title for the series; the word Literati alludes to the class of Chinese scholar-painters who developed their style in the Song, Yuan, and Ming dynasties, and were generally more interested in personal erudition and expression over literal representation in their artistic style. Wang Tiande takes particular inspiration from Wu Hufan’s artistic attitude, for he stayed true to traditional Chinese art forms while embracing modernity.

土生土长于上海的王天德毕业于浙江美学学院中国画系，之后在书法系取得了博士学位。为展览取名为Literati Gatherin是受到如吴湖帆（1894 – 1968）等中国传统绘画和书法大师们的启发，此名也寓意深刻。 “文士”暗指的就是中国宋、元、明朝的人文画家一族，他们学识渊博，艺术造诣上极具个人风格。由于吴湖帆在融入现代元素的同时保持了中国传统艺术之精髓，王天德尤其受他艺术观的影响。

The work in Wang’s “Houshan” series is comprised of two layers, one negative and one positive. Each piece is supported by an under layer of rice paper, on which landscapes and inscriptions are rendered in traditional Yuan and Ming dynasty compositions and brushwork. Wang’s use of plain ink strokes and minimal color represents a common Literati lack of concern for ostentation, and an emphasis on personal, ethical expression. The upper surface of the paper is burned through with incense sticks instead of traditional brushwork in order to create another landscape through negative space. This separates the series from its traditional connotations and places it into a unique contemporary context.

王天德的“后山”系列画作构建于一正一负的两个层面，每一张作品都以宣纸为底，山水和题字都呈现出元明两朝的传统绘画和书写风格。淡墨和简色的运用，凸显“文士”不喜粉饰的共通点，同时也强调了个性化和精神伦理层面的表现形式。画纸上方用香烛以火灼取代传统毛笔，构建出灼空后的另一个空间的山水层面。这套从传统内涵中衍生而来的系列作品置入了与众不同的当代语境中。

By double layering each piece, Wang successfully adds texture, depth and complexity to the “Houshan” series of seemingly simplistic tones and landscapes. Although the layers overlap, they are intentionally mismatched in order to spark discussion about reconciling one’s past with the present. The lower layers are only partially visible through the upper layer of the painting. “For some things, full display is unnecessary. The value system of traditional landscape painting is obvious. We need not deny it. It exists,” Wang explains. “But our lifestyle and artistic discourse must be contemporary. These two layers, put together, will produce a new aesthetic experience.”

通过这种双层面作品，王天德在看似色调简单的山水画“后山”系列中，融合了质感、深度和复杂性。虽然不同的层面有所重叠，但却特意错位搭配，就是为了能唤起人们对传统和现代的思考和讨论。每张作品下面的一层在上层的覆盖下，只有部分可显现，王天德解释到，“对于某些东西，全部显示出来没有必要。传统山水画的价值体系无需赘言，我们也无需否认，它就真实地存在于此。但是我们的生活方式和艺术表现必须与时俱进。两个层面交织在一起，将会产生一种全新的审美体验。”

Wang also creates an illusion of spatial depth by layering his pieces. He describes the creation of the virtual “third space” between the layers as an opportunity for debate, where contemporary people can appreciate and engage with ancient art as well as modern art. By working with negative space, he succeeds in generating apparent depth and space in his pieces and presents how complexity can come from simplicity. The simple layering of sheets of rice paper masterfully fuses two diametrically and chronologically opposed techniques, in a result that is both seamless and refreshing.

王天德以层次分明的作品创造出一种空间深度有致的幻境。他把这个夹层间虚拟“第三空间”的创作称为一种探讨机会，借此让当代人在欣赏或进行现代艺术创作的时候，多回望一下传统文化。繁自简出。以一种与“正”相对的“负”层创作，他在其画作中成功构建了一种可视的深度和空间。层层的宣纸通过精巧的排列，融合了两种截然不同，甚至是跨时代的艺术技巧，最终呈现无缝连接的艺术效果，让人眼前为之一亮。

Website: artsy.net/wang-tian-de

Contributor: Ruby Weatherall

网站: artsy.net/wang-tian-de

供稿人: Ruby Weatherall

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The Tree Project

September 8, 2016 2016年9月8日

The adorable cupcake brand Pantry’s Best boasts two beautifully designed stores in Shanghai: a bite-sized concession in the K11 art mall, and a seated eatery in the basement of the luxury mall L’Avenue. Mark Heutsche, a former computer scientist who finally pursued his life-long passion for baking when he relocated to Beijing, founded the company in 2009. He began by hand-making his grandmother’s pie and cake recipes before delivering the goods by bicycle to his friends around the city, a humble beginning for what has grown into a fully established dessert store and delivery service.

纸杯蛋糕品牌派悦坊，在上海开设有两家精心设计的实体店面：一家是在K11购物中心的玲珑小店，另一家在奢侈品购物中心L’Avenue的地下商场，并提供店内坐席。派悦坊创始人Mark Heutsche，毕业于斯坦福的计算机专业，移居北京后，最终决定追随他一直以来对烘培的热爱，并于2009年成立了自己的品牌。一开始，Mark按照他祖母的派和蛋糕食谱亲自动手制作甜品，然后骑着自行车给北京城里的朋友们送货上门，就以这样简陋的方式开始，他将派悦坊一路发展成如今的甜品店，并拥有成熟的配送。

Nestled into the basement of L’Avenue mall, Pantry’s Best has been sculpted into an unassuming dining area by local firm Lukstudio, offering a clean, casual space for children and adults alike. Characterized by smooth surfaces, creamy textures and curved lines, the store is a delectable replica of each hand-finished cake.

派悦坊在购物中心L’Avenue的实体店，由当地设计工作室芝作室打造为一处静美的小食肆，具有老少皆宜的干净舒适空间。整间店就犹如这里每一个手作蛋糕的影射，外表丝滑，质感乳糯，曲线优美。

Lukstudio has incorporated a central column into the design, transforming it from an obstacle into a tree-like sculpture that extends from the ground and expands into a ceiling of icing-inspired ripples. The stylised installation is further perforated with peepholes, to give the impression of a woodpecker’s pecks up and down the trunk. The brand’s K11 concession carefully maintains design continuity. It features many branch-like cylinders dangling above the retail display and rows of stump-like plinths standing on the counter to showcase the brand’s signature desserts.

芝作室在店面空间内大立柱的设计上颇费了一番心思，他们将这原本空间中的障碍物，转变成树形的雕塑。这个树形雕塑从地表迸发而出，直立耸入天花板，并在上方“激起”一片糖霜般的“涟漪”；“树干上”嵌着不同的“猫眼 ”，刻意营造出一种有啄木鸟在树干上来来回回啄洞的迹象。而在另一家位于K11购物中心的分店，这种设计概念得到精心的延续。在这里，柜台上方饰有枝叶般的柱形物垂直悬挂，台面上则设有树桩般的基台用于展示品牌的招牌甜点。

Christina Luk founded Lukstudio in Shanghai in 2011, and has worked with her team to create an extensive portfolio. Born and raised in Hong Kong, she later received a Bachelor of Architecture from the University of Toronto before finally returning back East in 2007. Christina has always been greatly inspired by her artistic and innovative surroundings, particularly in Asia, and Lukstudio’s nuanced design of Pantry’s Best represents the firm’s passion for choosing top quality materials and detailed craftsmanship.

陆颖芝自2011年在上海创立了芝作室，便与其团队并肩作战，打造出大量的作品。香港生香港长的她，在2007年归来之前，远赴多伦多大学深造，成为建筑学士。陆颖芝总能在充满艺术和创新的周遭事物中获取灵感，尤其是身处亚洲时。芝作室为派悦坊所作的设计，代表了这个设计团队对高质用材和精致做工的坚定追求。

Websites:

pantrysbest.com
lukstudiodesign.com

Addresses:

L’Avenue
B2/F, 99 Xianxia Road
Changning District, Shanghai
People’s Republic of China

K11 Art Mall
B2/F, 300 Huaihai Middle Road
Xuhui District, Shanghai
People’s Republic of China

网站:

pantrysbest.com
lukstudiodesign.com

地址:

L’Avenue
中国上海市长宁区
仙霞路99号, B2/F

K11 Art Mall
中国上海市徐汇区
淮海中路300号K11购物中心B2楼

Contributor: Ruby Weatherall
Photographers: Peter Dixie, Christina Luk
Images Courtesy of Pantry’s Best & LOTAN Architectural Photography

供稿人: Ruby Weatherall
摄影师: Peter Dixie, Christina Luk
图片由提供派悦坊与LOTAN Architectural Photography

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DRKRMS x Frank Nitty

September 5, 2016 2016年9月5日

Hong Kong’s DRKRMS is collaborating for the first time with new media artist Frank Nitty to present øpulu$: a unique examination into “The Age of Opulence”. This project explores the erosion of morality in our increasingly image-obsessed society, the excess of consumerism and its detrimental focus on quantity over quality. It features the original photography of five selected photographers from DRKRMS with a desire to express their thoughts on the subject. These images are then reimagined by Frank, whose uncouth animations bring them playfully to life.

香港的DRKRMS首次攜手新媒體藝術家Frank Nitty推出一藝術項目: øpulu$，以全新角度審視當下的“豐裕（瘋欲）年代”，探討在這個越發迷戀色相年代下的道德崩壞，重量不重質、過度的消費主義。整個藝術項目以DRKRMS下五位甄選出來的攝影師原創作品為主，望表現他們對這個主題的思考，同時，Frank也對這些作品進行再創作，以質拙的動畫形式將它們以充滿趣味的方式實現成最終作品。

Original photography by Inga Beckmann

Started by Charlie Toller, Inga Beckmann, and later Callaghan Walsh, the vision of DRKRMS is to build a cross-border community of like-minded photographers. By developing original photography with emerging talent across Asia, they produce powerful imagery that shows lesser-known parts of the city in new and exciting ways. Charlie grew up between London and Tokyo, starting his career in London before moving to Hong Kong five years ago. He looks after talent acquisitions and collaborations at DRKRMS, so invited Frank to add a progressive element to their øpulu$ project. Photographers were excited by the idea of having a creative mind reinvent their work, and Frank was interested in the challenge of working with people he didn’t necessarily know, using their aesthetic to create something he might never have thought of.

DRKRMS最初由Charlie Toller和Inga Beckman發起，隨後Callaghan Walsh加入並一起創立，旨在為志同道合的攝影師構建一個國際社區。他們在亞洲地區發掘新興攝影師，通過讓人眼前一亮的全新方式創造具有影響力的攝影作品，展現城市鮮為人知的一面。 Charlie成長於倫敦和東京兩個城市，在倫敦開始他的職業生涯，五年前來到香港。在DRKRMS裡，他負責招攬人才和統籌協作工作，也由此邀請Frank加入他們的øpulu$項目，帶來更多激進的元素。攝影師們都相當期待他們的作品被再次創作；而與不甚了解的人一同工作，並用他人的美學創作自己都不曾想過的作品，這其中的挑戰Frank也非常樂意接受。

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When introduced, Charlie was struck by Frank’s peculiar nature and genuine creativity, and that they share a lot of fundamental views. They both enjoy the aesthetically pleasing and finer things in life, but are equally disturbed by the “truly meaningless drivel” permeating today’s society via popular culture. øpulu$ is a one-off project without brand partners, so exploring the “Age of Opulence” has naturally become an expression of their personal views. “But don’t expect the theme to be very much translated into the work”, Frank says, for it is also a chance for him to have fun and be provocative without being too commercial. Having done a lot of commercial work throughout his career, he describes his current much crazier style as a direct reaction to that.

初見Frank時，Charlie就被他身上獨特的氣質和天然的創造力所吸引，二人擁有諸多共同的基本觀點。他們都注重美學享受，追求生活中的精緻之物，同時都相當厭煩當今社會滲透在流行文化里的“言之無物”。由於øpulu$是一個一次性項目，也沒有品牌贊助，其探索“豐裕年代”的主題自然而然地集中在藝術家們的個人視角。 “但不要指望這個主題會過分轉化到作品中，”Frank表示，因為這對他來說是一個機會，一個放開玩的機會，一個脫離商業束縛去盡情挑釁的機會。Frank在其職業生涯中參與完成了很多商業項目，他自認這些經歷也成就了他現在頗為疏狂的藝術風格。

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Original photography by Callaghan Walsh

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Frank Nitty is Dutch, though has lived in Tokyo and is now based in Hong Kong. After graduating from Design Academy Eindhoven in the Netherlands, he never intended to get into “Art” with a capital A. He experimented with a variety of mediums before moving to Japan, where he developed his skill as a director and post-production artist. He believes in the beauty of skill and continuous learning: although the world around us is always evolving, skill can help you free yourself from the burden of asking help, and learning a new trade can help you to create new things. “As a director, you have to know a bit about everything to be able to organize the whole production process and know how to execute an idea into something real,” he says.

Frank Nitty來自荷蘭，但曾居於東京，而今常駐香港。從荷蘭埃因霍恩設計學院畢業後，他卻從未打算投身所謂的一本正經的藝術。在去日本前，他接觸了各種創作媒介，此後，正是在日本，他學習了導演和後期製作等領域知識。他堅信技術帶來的美感，並保持學習熱情。儘管我們都生活在一個不斷發展的社會，但技能還是可以幫助我們擺脫尋求幫助，新的知識面同時也能激發新的創造力。 “尤其是當你擔任一個導演的角色，你需要廣泛涉獵各方面知識，以統籌製作全局，並且需要知道怎麼把一個想法實現。”他說。

Original photography by Alexandre Dupeyron

In both his artistic and personal pursuits, Frank believes in the necessity of a balance between seriousness and humor. He views øpulu$ as an opportunity to achieve this equilibrium by incorporating ridiculous ideas into an otherwise serious subject. Since childhood, he has appreciated technically well-executed art and film as much as the ridiculous and silly. “I am always looking for that place where the two worlds meet: stupidity and drama,” he says. “Sometimes I stare at images for hours and something strikes me – it might be a pose, it might be a stupid look on someone’s face, sometimes the colors. There is no real creative process; the only limitation is my skill. If I don’t know how to do something, I just learn it.”

無論在藝術追求還是個人生活中，Frank都認定在嚴肅和幽默之間找到平衡的必要性。所以øpulu$項目，在他看來就是，通過在嚴肅中融入荒誕以達到某種平衡的一次機會。從童年起，他就一邊欣賞精雕細琢的藝術，一邊喜歡荒誕不經的電影。 “我常常希望找到這兩者間的融合地帶：愚蠢和戲劇，”他說，“我時候會盯著一些照片看上幾個小時，然後突然來了某種頓悟——那也許是照片上的某個姿勢，或是某個人臉上一個愚蠢的表情，還也許只是色彩。我並沒有什麼具體的創作步驟，我唯一的限制在於我的表現技能。一旦遇到不會的事情，我就去學習它。”

Original photography by Alexandre Dupeyron

From learning to play around with new media, Frank predicts his work will continue to evolve along with rapid advancements in technology. He foresees an oncoming era of VR and augmented reality, though in his opinion, “art has a place in there, but since it will become harder to program and design, it will take artists a bit longer to catch up”. DRKRMS is currently in discussion with Frank about an event to showcase his animations in an atypical way and bring together the wider DRKRMS community. Charlie says, “We have more øpulu$ content due for release in the coming weeks. If we can develop some conversations and bring people together creatively, we’ll feel a sense of fulfillment.”

從初步學習到玩轉新媒體，Frank預感到隨著技術的快速發展，他的作品還將不斷演變。他預見了VR時代和“增強現實”形式的到來，但是在他看來，“藝術在這期間也必將佔有一席之地，但鑑於編程和設計方便都會越來越難，所以藝術家需要更多的時間才能追上這個潮流。” DRKRMS現在正在籌劃一個或者一系列的活動，以非典型的方式呈現Frank的動畫藝術，將更廣大的DRKRMS社區緊密聚集到一起。 Charlie表示：“在未來幾週，我們將推出øpulu$項目的更多內容，若能引發對話和討論，創造性地聚集起不同的人群，我們將感到莫大的榮幸和滿足。”

Original photography by Callaghan Walsh

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Website: drkrms.com
Facebook: ~/drkrmsasia
Instagram:
@drkrms
@franknitty3000

Contributor: Ruby Weatherall
Images Courtesy of Inga Beckmann, Alexandre Dupeyron, Callaghan Walsh

網站: drkrms.com
臉書: ~/drkrmsasia
Instagram:
@drkrms
@franknitty3000

供稿人: Ruby Weatherall
圖片由Inga Beckmann, Alexandre Dupeyron, Callaghan Walsh 提供

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Hair Highway

August 31, 2016 2016年8月31日

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Studio SWINE is a collaboration between Japanese architect Azusa Murakami and British artist Alexander Groves. Their projects and videos explore the themes of regional identity and the future of resources in the context of globalization. Hair Highway is an imaginative project looking at China as the world’s largest importer of tropical hardwood and biggest exporter of human hair. The documentary asks the unprecedented question: What if you could use human hair as an alternative to diminishing natural materials?

设计工作室Studio SWINE由日本设计师 Azusa Murakami 和英国设计师 Alexander Groves 联合创办，其项目和影视作品旨在探讨地域特征以及在全球化背景下的资源发展方向。他们最新的创意作品——《Hair Highway》意在向中国，这个世界上最大的热带硬木进口国和头发的出口国，提出一个先锋性的问题：人的头发能否加以运用而替代日益减少的自然资源？

The stunning short film documents the global hair industry in Shandong province, but also reveals the possibility of creating objects by combining human hair with a natural resin, which reveals human hair’s potential to be turned into sustainable, handcrafted and highly decorative items. The film is a beautifully executed and thought-provoking look at China’s controversial relationship with its natural environment, whilst also drawing attention to its history of producing unique, original, artisan craft.

这段令人惊艳的短片记录了中国山东省的全球化头发产业链条，同时也展示了头发与天然树脂创意性结合的可能性，反应了人类头发成为可持续性资源以及转化为精致的工艺品的潜力。短片制作精良，并对中国引发争议的自然环境问题进行了深刻的思考与探讨，但另一方面，也向人们展现出中国制造业古朴的工艺特色和悠久历史。

By combining these unlikely matched components, Studio SWINE has created a composite material that provides a sustainable alternative to diminishing natural resources. The outcome is a selection of elegant household pieces; their design evokes the palettes of tortoiseshell and a grain resembling that of polished horn or exotic hardwoods that are inspired by the 1930’s Shanghai-deco style.

通过结合那些看上去风马牛不相及的元素，Studio SWINE创造出一种复合材料，为地球日益减少的资源带来可持续的替代品，并用此材料设计出一系列雅致的家居用品系列。其设计在色彩上，让人联想到玳瑁壳；在纹理上，则似受20世纪30年代上海装饰风格影响的抛光牛角，或者异域硬木。

Neocha Selects is a curated selection of some of the most inspiring and innovative video content from Asia. To see more stories like this, click here. To see original Neocha videos, click here.

Neocha Selects为来自亚洲地区内最具启发性和革新性的视频内容精选。查看更多类似文章，请点击此处。查看Neocha原创视频，请点击此处。

Website: studioswine.com
Facebook: ~/studioswine
Instagram: @studio_swine
Vimeo: ~/studioswine

Contributor: Ruby Weatherall

网站: studioswine.com
Facebook: ~/studioswine
Instagram: @studio_swine
Vimeo: ~/studioswine

供稿人: Ruby Weatherall

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Jiaxi & Zhe

August 29, 2016 2016年8月29日

Jiaxi & Zhe are a still life and architecture photography duo based in New York City. The pair share a profound obsession with the physical form of objects, and the transformative effect that photography has on their personal perception of things. They both believe that photography is the best medium to express their ideas, recognizing it as an unrivaled platform from which to convey their conceptual world to an audience.

位于纽约市的摄影二人组 Jiaxi & Zhe 以拍摄静物和建筑为主，他们都着迷于对象的物理形态，喜欢通过自己的观察和理解，用摄影镜头呈现出事物的不同之面。二人认为摄影是表达他们想法的最佳媒介，是向他人传递他们概念世界的绝佳平台。

Jiaxi Yang was born in Shanghai, and later moved to New York to study at the International Center of Photography; while Zhe Zhu comes from Shenzhen, and graduated from New York’s School of Visual Arts. The pair have both enjoyed successful solo photography careers, but later decided to join forces artistically after working together on a project. Charmed to discover that they have very similar tastes, they view themselves as stylistic soul mates. They describe their creative partnership as being consistently constructive. “We have learned a lot from working together and we continue to learn more,” they say. “But most importantly, we have learnt to respect each other’s ideas and always be open.”

Jiaxi Yang 生于上海，后前往纽约国际摄影中心深造；Zhe Zhu来自深圳，毕业于纽约视觉艺术学院。二人先前各自在个人的摄影事业中如鱼得水，而后通过一个项目的合作，决定在创作上携手并进。共同的审美追求，让二人视彼此为风格语境下的灵魂伴侣。他们表示二人的这段创意伙伴关系向来充满着建设性。“我们在一起工作时都会相互学习，收获良多，并会继续下去，”他们表示，“但是最重要的是，我们学会了尊重各自的想法，也懂得了培养一种更为开放的艺术态度。”

As a duo, they are gradually defining and evolving their style. They have always been interested in design and craft, the rawness of material, and the physical forms of objects, which naturally led them to start photographing still life and architecture with a very distinct design aesthetic. They also admit, “We are both a little shy, so we love being able to spend time with objects to find the best light and angle.” Coming from backgrounds in fine art, they naturally want to maintain a conceptual, minimal approach to their editorial and commercial work. Their sleek, striking images are a stunning reflection of their combined vision.

作为一个二人组合，他们正在不断地确立并发展其风格。他们一直对设计、工艺、材料的原生状态和物体的物理形态充满了兴趣，自然地，他们开始把镜头对准了静物和建筑，表现出一种独树一帜的设计美学。同时，他们坦言：“我们都有点怯生，所以喜欢与物为伴，寻找到最佳光线和角度。”纯艺术的学科背景，让他们自然而然地在编辑性和商业作品里，去保持一种概念性和极简主义的表现方式。他们那些流畅又夺目的影像，正是二人视觉组合的极好映射。

Usually using the same Phase One camera and lens, their creative process is very organic and they regularly improvise on set. Although they do a lot of prep work prior to a shoot they are wary of sets that are too tailor-made or stiff, so try to let things take shape in a natural fashion. They have partially split their roles: Jiaxi is particularly good at art direction, while Zhe is better with the more technical side of things, yet both agree never to rely on post-production to make an image visually compelling or bold.

他们通常使用的是飞思的相机和镜头，创作过程相当有机，常常现场即兴发挥。虽然他们在拍摄前都会做大量的准备工作，但是他们也会谨防拍摄过程变得太过量化和呆板，旨在使作品呈现出拍摄对象最自然的形态。为了更好地合作，他们也有所侧重地进行了大致的分工：嘉茜侧重于艺术向，Zhe更擅长技术性，但是他们又在后期制作上达成共识，认为绝不可依赖其去让一张照片夺人眼球。

Although their work is often conceptual, dealing with block colors, shapes and the interplay of light, they argue that lighting is no longer the most important factor in photography. They take a lot of inspiration from their surroundings in New York City – a place that is full of creative people pushing them to involve themselves in order to be competitive and relevant. They are engaged in a number of interesting projects, such as a recent commission from Fortune Magazine and they also shot a story for Wallpaper last month while visiting L.A. Although they agree that lighting is instrumental in photography for setting the mood, their perception of modern still life photography is much less technical and formal, and much more visually interesting and conceptual. For Jiaxi & Zhe, concept and style is becoming more important today than ever before.

尽管，在处理色彩碰撞、形态呈现和光影交织上，他们的作品常常很概念性；但是，他们认为光影不再是摄影最重要的因素。浸润于纽约文艺圈，他们没少受到启发，这个聚集无数创意人才之地也在不断推动他们的进步和提升，以提升其竞争力和影响力。他们还参与了不少有趣的项目，比如近期来自《财富》杂志的一个项目，以及上个月去洛杉矶时为《Wallpaper》杂志拍摄的一个故事。即使他们认同光影在摄影中对制造氛围的辅助作用，但是他们理解的当代静物摄影中，已经更少关乎技术和教条，更多的是视觉上的趣味和理念的延伸。两人都表示，当前的摄影，理念和风格比以往任何一个时期都要更重要。

Website: jiaxiandzhe.com
Instagram: @jiaxiandzhe
Tumblr: jiaxiandzhe.tumblr.com

Contributor: Ruby Weatherall

网站: jiaxiandzhe.com
Instagram: @jiaxiandzhe
Tumblr: jiaxiandzhe.tumblr.com

供稿人: Ruby Weatherall

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A Profile of Dani Bautista

August 19, 2016 2016年8月19日

Dani Bautista is a Filipino videographer and photographer who is now based in Hong Kong. Originally a skateboarder, the sport has hugely influenced his creative pursuits. Offering insight into Hong Kong’s energetic skate scene and some of his travels, his work is an exciting portrayal of youth spent in Asia.

來自菲律賓現居於香港的視頻與圖片攝影師Dani Bautista曾是一位滑手，在他之後的創作中也深受其運動經歷的影響。無論是香港充滿活力的滑板場地還是在他旅行中所見所聞，Dani Bautista總能以獨特的視角進行觀察，在其作品中生動刻畫出亞洲青年文化。

His love for skateboarding and photography are inextricably linked; he first picked up a camera because he didn’t know anyone who photographed skateboarding in Hong Kong, and decided he’d be the guy to try. This inevitably filtered into other aspects of his life, and soon after he found himself taking photos and videos of everything that caught his eye.

他對滑板和攝影的熱愛相互之間緊密的聯繫著。他第一次拿起相機正是因為在香港沒有看到有人去記錄滑板運動，他決定親自上陣嘗試。從此一發不可收拾，他始終與相機在一起，並沉迷於用拍照和視頻的方式去記錄生活中的每件事。

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He reflects, “When you start out in skateboarding, one of the first things you learn is how to fall. Every time you try something new, you expect to keep falling until you work through your mistakes and land the trick. I try to apply that mentality in whatever I do.” This explains his progressive success behind the lens. “But that’s not all skateboarding has given me,” he says, “The culture, the people, the music – every aspect of it has affected my filmmaking and photography.”

他解釋到，“當你最開始接觸滑板時，你首先要學的就是如何摔倒。同樣地，每當你嘗試新的事物時，都要做好隨時摔倒的準備，直到你從失敗中學會站起來，才能真正通過那些挑戰。我在嘗試任何事情時都會報著這樣的心態。”這段話很好的詮釋了他為何能在藝術這條道路上取得進步與成功。他也說到：“但這並不是滑板帶給我的全部，與它關聯的文化、人文、音樂——藝術等等都影響著我的攝影和視頻創作。”

For Dani, the most important factor in photography is focus: on the subject, the mood, and the story he is trying to tell. He also believes his surroundings have a huge impact on his photography, and so usually uses Micro Four Third cameras because they are the easiest to travel with. He tries to break out of his comfort zone whenever possible, seeking adventure in pursuit of interesting images.

對於Dani來說，攝影的重中之重就在於專注：專注於主體，情緒，以及他想表達的故事。他深信個人環境對其攝影創作影響巨大，所以經常使用便於旅行攜帶的微單相機。他一直都力圖走出自己的舒適圈，尋求新的冒險，以呈現出更有意思的作品。

“India is definitely one of my favorite places to shoot,” Dani says, “It’s the most photogenic place I’ve been to. It’s so full of activity and color.” This is beautifully recorded in his Indian photo series, a vibrant selection of colorful compositions. He plans to go back one day, and hopefully to stay a little longer and take more pictures. But for now, he is working on starting his own production company, looking forward to travelling more, learning and doing bigger projects.

“印度絕對是我最愛的拍攝地之一，”Dani說，“那裡色彩濃烈明媚，氣氛熱情活躍，是我遊歷過的地方中最適合拍攝的國家。”他在印度的一系列攝影作品充滿了斑斕色彩的碰撞和活力，美輪美奐。他還計劃日後故地重遊，或許會在那裡待更長一段時間，捕捉更多的美景。不過目前，他正忙於創立自己的製作公司，期待更多的遊歷、學習和參與更大的項目。

Website: danibautista.com
Facebook: ~/dcatbautista
Instagram: @dcatbautista
Tumblr: danibautista.tumblr.com

Contributor: Ruby Weatherall

網站: danibautista.com
臉書: ~/dcatbautista
Instagram: @dcatbautista
Tumblr: danibautista.tumblr.com

供稿人: Ruby Weatherall

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Through His Eyes

August 17, 2016 2016年8月17日

Ever since acquiring his first camera two years ago, Nathaniel Soon’s passion for photography has continued to bloom. By travelling to rural areas of Asia, away from his home in Singapore, he has fallen further in love with the medium’s simple yet powerful nature, in particular its unique ability to present a personal portrayal of the world around us.

Kể từ khi có được chiếc máy ảnh đầu tiên của riêng mình hai năm về trước, đam mê nhiếp ảnh của Nathaniel Soon vẫn không ngừng thăng hoa. Bằng cách đi đến những vùng nông thôn châu Á, cách xa quê nhà tại Singapore, anh đã dần yêu bản chất đơn giản nhưng mạnh mẽ của nhiếp ảnh, cụ thể là khả năng độc đáo của môn nghệ thuật này trong việc thể hiện một cái nhìn cá nhân về thế giới xung quanh.

Nathaniel approaches his work with the belief that the best images are often the most spontaneous, an impulse that is complimented by his curious personality. This is beautifully represented in his photo series of Sapa, Vietnam. By trekking through the Hoang Lien Sin Mountains of Northwest Vietnam on foot, he was able to document his interaction with the H’mong, Tay and Dao hill tribes that make up much of the local population. He was privy to a number of chance encounters, for example, with the inhabitants of a rural Red Dao village.

Nathaniel tiếp cận công việc của anh với niềm tin rằng những hình ảnh đẹp nhất thường là những hình ảnh bộc phát nhất, một sự bốc đồng được tôn lên bởi bản tính tò mò của anh. Điều này được thể hiện rõ nét nhất trong chùm ảnh của anh về Sa Pa, Việt Nam. Đi phượt đường bộ qua dãy núi Hoàng Liên Sơn ở Tây Bắc Việt Nam, anh đã ghi lại những khoảnh khắc gặp gỡ với các dân tộc H’Mông, Tày và Dao, vốn là những tộc người chính ở khu vực này. Anh cũng có những trải nghiệm ngẫu hứng, chẳng hạn như gặp gỡ một ngôi làng người Dao Đỏ, hoặc một nhóm phụ nữ H’Mông đang chờ chồng trở về từ nương rẫy.

Although he tries not to identify with a specific type of photography, Nathaniel is most interested in the individualistic qualities of portraiture. Despite a personal appreciation of Sapa’s scenery, popular for its undulating terraced rice fields, he did not exhaust his efforts on photographing the natural landscapes, preferring instead to portray its indigenous people. Taking inspiration from Steve McCurry’s work, he experimented with close-up shots throughout the trip, aiming to capture the people he met in the context in which they lived, especially the connections between each tribe, their agriculture and their arable land.

Dù cố không rơi vào một thể loại nhiếp ảnh cụ thể nào, Nathaniel dành sự quan tâm lớn nhất đến tính cá nhân hóa của ảnh chân dung. Dù cá nhân anh đánh giá cao cảnh đẹp của Sa Pa, nổi tiếng với những thửa ruộng bậc thang nhấp nhô, anh đã không dốc hết sức để chụp lại những cảnh thiên nhiên của khu vực này, thay vào đó anh chọn cách mô tả những tộc người địa phương nơi đây. Lấy cảm hứng từ tác phẩm của Steve McCurry, anh đã thử nghiệm với những bức ảnh chụp cận cảnh trong suốt chuyến đi, với mục tiêu chụp lại những con người mà anh đã gặp trong bối cảnh cuộc sống của họ, đặc biệt là mối liên hệ giữa các tộc người, nền nông nghiệp và đất gieo trồng của họ.

In the process of developing his personal style, Nathaniel was drawn to capturing adversity; the stillness of a roadside hawker in comparison with the bustling city, or a Flower Hmong lady clutching both a field hoe and a mobile phone. His travels ignited an interest in the effects of rapid modernization in Asia, as documented through his lens.

Trong quá trình định hình phong cách cá nhân của mình, Nathaniel đã bị thu hút bởi sự tương phản trong nhiếp ảnh; sự tĩnh lặng của một gánh hàng rong bên đường giữa một thành phố náo nhiệt, hoặc một cô gái H’Mông Hoa tay này vác cuốc, tay kia cầm điện thoại di động. Hành trình của anh đã làm dấy lên sự quan tâm về ảnh hưởng của quá trình hiện đại hóa nhanh chóng ở châu Á, như được khắc họa qua ống kính của anh.

Nathaniel accepts the challenges of photography and the unpredictable nature of trying to capture a single moment in time, making it all the more rewarding when he is successful. For now his future plans are perfectly simple: to just keep on travelling, shooting and searching for opportunities to be inspired, and to inspire.

Nathaniel thừa nhận nhiếp ảnh là cả một sự đam mê lẫn thách thức, và chấp nhận sự bất định trong việc cố gắng nắm bắt lại một khoảnh khắc của thời gian. Hiện tại, các kế hoạch tương lai của anh rất đơn giản: đi tiếp, chụp tiếp và không ngừng tìm kiếm các cơ hội để được truyền cảm hứng, cũng như truyền cảm hứng cho người khác.