All posts by yixuan

China in Black & White

Camera slung across her back, self-taught photographer Qiang Jing has criss-crossed Gansu, Chongqing, Beijing, and Sichuan, eventually ending up in in Yunnan, a province of captivating beauty in southern China. In her photos, she drains the color from China’s street scenes, leaving only a desolate black and white. Even the country’s panoramic landscapes look less magnificent through her lens.


她带着相机,走过甘肃、重庆、北京、成都等地方,最终落脚在云南这片恍若仙境的土地。从大学开始自学摄影的强婧,在她的照片里,中国日常街景的颜色都被删去,留下一片略显萧瑟的黑与白。此时,再辽阔的山河,看上去也不那么壮丽了。

Qiang Jing was born in Gansu province and now lives in Kunming, a city she didn’t choose at random: “I like the dazzling sun here, it takes me back to my childhood. Kunming has a brilliant blue sky and soft, billowy clouds. The city moves at an unhurried pace, and locals are the salt of the earth—simple, honest people.”

But the year-round warmth hasn’t brightened her shots. Instead, she captures scenes of ruins and debris that seem caught amid the constant changes of the world, steeped in both life’s bitterness and its joy. Their immense silence draws you in, speaking more eloquently than any words.


强婧生于中国甘肃省,现定居于云南昆明,会选择留在这里并不是偶然, “我喜欢这里灿烂的阳光,让我有种恍然回到小时候的气息。这里有蔚蓝的天空,云卷云舒,还有城市里慵懒的步调和没什么心眼、老实憨厚的当地人。”

可是,这里常年的温暖却未照亮她的景框,取而代之,是烟消云散后的残破景象。之中透露出一丝穿梭于人间冷暖、品尝到悲欢离合的细末余味,叫人深深沉浸在这画面制造的巨大静默里,无声胜有声。

“I take my camera and wander aimlessly through the streets, snapping photos of things that resonate with my current mood.” Her specialty, street photography, relies on individual emotions, because she doesn’t just document outdoor scenes from an objective angle. It’s more personal.

“Photography, for me, is an expression of inner feelings, an emotional outlet, as well as a form of therapy. What I shoot is just my inner state, and that’s why I enjoy taking pictures. On streets full of uncertainty and conflict, I find a peace, a unity with myself.”


“我拿着相机在街上漫无目的地游荡,拍下那些和当下内在的我引起共振的事物。” 她擅长的街头摄影,是要带着浓郁的个人情感去拍的,因为她记录的不仅仅是从客观视角出发的外在景象,更多的,还有自己的内心。

“摄影对于我是一种抒发内心感受的行为,一种情绪的宣泄,也是一种自我疗愈的方式。我拍下的即是我内心的样子,这也正是我享受摄影的原因,在充满不确定性和各种冲突的街头,找到一丝平静、和与自我的统一。”

Ever since she first began taking pictures, Qiang has made a habit of going out shooting on a semi-regular basis. She uses black and white so no colors will interfere with her vision—it’s the format that best expresses her feelings of solitude.

Set against the vastness of the world, people are insignificant specks, and her photos convey this sharp sense of loneliness and isolation. “I hold my breath and press the button to open the shutter: for me, photography is a sort of ritual. It’s like I’m mourning the passing of an instant, of everything that’s vanished around me, a reality that actually existed and will never exist again.”


从开始拍照到现在,强婧一直保持着一段时间就会固定上街拍摄的习惯。之所以选择黑白摄影,是因为没有颜色去扰动视觉,是最能表达她内心的孤独感的形式。

对比这个偌大的世界,人不过是渺小的客体。从她的照片里,的确感受得到这一股强烈的孤寂与脱离感。“吸气屏息,按下快门——对我来说,拍摄像是一种祭祀仪式,仿佛在追悼过去每一刻时间的逝去,那些从我身上消逝的一切,真实存在过、现又不复存在的事实。”

“Behind my photos, there’s a story about the loneliness of growing up, about love and hate, and ultimately about letting go,” she says. She puts all her pent-up feelings into her photography and creates a series of images that brim with emotion.

The darkness in Qiang’s pictures coexists with the light: neither is possible without the other. “Kunming is gradually having an effect on me,” she says. “Just as plants grow toward the sun, maybe I can eventually break free from my former melancholy and give voice to a tougher, stronger version of myself.” Now that she’s mastered darkness and light, her journey as a photographer goes on.


最后,强婧向我们娓娓道来,“在我摄影的背后,是一个关于成长过程中所感受到的孤独,以及爱与恨,最后放手的故事。” 她将长久以来累积的情绪通通投注在摄影里,成就了这一张张承载饱满情感的影像。

但事实上,强婧照片里的黑暗,与光亮永远都是并存的,两者是缺少了彼此即不成立的存在。她说 “昆明这座城市,正慢慢影响着我。仿佛植物会向阳生长一样,渐渐地,也许我能从最初的忧郁中挣脱出来,表达一个更有韧性、更坚强的自己。” 掌握了光和暗,她的摄影之旅将继续下去。

WeChat: jingjingzai2010

 

Contributor: Yang Yixuan


WeChat: jingjingzai2010

 

供稿人: Yang Yixuan

The Faces of Youth

Youth has never had just one face. Indonesian photographer Faisal Y. Djaja points his camera at youth from different backgrounds in his country, giving snapshots of their lives in one beautiful instant.

Djaja was born in the small seaside city of Manado, in northern Indonesia, not far from the Philippines. His hometown boasts a clear blue sea, an unbroken mountain chain, and streetscapes that combine old and new. Now in his twenties, Djaja isn’t a full-time photographer: he previously taught English and now works at the mayor’s office in the firefighting division and emergency call center. Only in his spare time can he pick up a camera and capture these subjects in the flower of their youth.


青春从来都不只有一种样貌,来自印尼的摄影师 Faisal Y. Djaja 将镜头对准了当地来自不同背景的年轻人,将他们的生命定格在这美好的一瞬。

90 后的 Faisal Y. Djaja 出生并成长在印尼北边、靠近菲律宾的一座海滨城市美娜多,这里有清澈的海、绵延的山,还有新旧文化共存的街景。这里丰富的自然人文景色,提供了他许多创作的灵感。但事实上,平常的 Faisal 并不是一位全职摄影师。之前曾经当过英文补教老师,目前在市政厅的消防与紧急事件部门工作。空闲时间,他才拿起相机,捕捉下这些正值青春年华的人们。

Why does he take photos of these youths? “They’re the people I can most relate to,” he says. “I started doing portraits when I was younger myself, and we have a lot of things in common—for example, the struggles of being a young citizen in a fast-growing city and trying to figure out our identity.”


为什么拍摄这些年轻人呢?他回答 “原因可能是因为他们是我最能够连结到的对象。我差不多在十九岁开始拍摄人像,我和他们之间共享很多东西,比如说在年轻时候,都同样面临到身在发展如此快速的城市中,寻找和定义自我的挣扎。”

 

When we’re young, we all want to stand out from the crowd. But Djaja thinks that this should be something that occurs naturally—you can’t force yourself to be unique. Perhaps that’s because each of us comes from a different cultural background, or possesses a talent that sets us apart from others. Such inherent distinctive traits are one of the things Djaja pays most attention to when selecting subjects. He’s grateful to have encountered so many unique personalities in his work. “I’m lucky I met my model friends, because I’ve experienced a lot of unexpected things working with them. Without them, my art is nothing,” he says.


作为一个年轻人,每个人都想要独一无二。但 Faisal 认为这应该是一件自然而然发生的事,而不是刻意强迫自己去产出某种独特性。也许是因为来自于不同的文化背景、或是拥有一项异于常人的才能。这种与生具来的独特性,是他在挑选拍摄对象时,最重视的特质之一。因此在他的照片中,处处可见到那些散发独特气质的人的踪影,“我很幸运能认识到一些模特儿朋友,目前为止我经历了很多意想不到的事情。没有他们,就没有我的艺术。”

Aside from his photography projects, Djaja has worked with his model friends in setting up an online community called imagi.native. The goal is to bring young local models together and let them forge closer ties. “We want to be the medium, and to show that our hometown has great models with potential,” he says. He hopes his own photography can be an inspiration and encourage other young artists to start creating, and not to hesitate. “Step out and start fresh, chase the sunrise or the sunset and see the extraordinary in little things.”


除了常在拍摄项目中与年轻模特儿合作,Faisal 还进一步与朋友共同创办了一个平台 imagi.native,旨在聚集当地的年轻模特儿,为他们提供一个更紧密的联系网络。“我们希望能成为中间的媒介,让大家看到我们的家乡也有这么多极具潜力的年轻人。” 总有一天,他希望自己的照片能作为一种启发,鼓励其他年轻的艺术家毫不犹豫地投入创作。“踏出去,重新开始,发现美好的日出日落,和那些生活中非比寻常的小事。”

Instagram@falsaldjaja | @imagi.native
VSCO: ~/faisaldjaja

 

Contributor: Yang Yixuan


Instagram: @falsaldjaja | @imagi.native
VSCO: ~/faisaldjaja

 

供稿人: Yang Yixuan

A Year in Pictures

In the world of Taiwanese illustrator Cinyee Chiu, there are no gloomy clouds, or even any people—just endless sunshine and a kaleidoscope of colors, birds, and flowers. Her works are idealized reveries painted as a pleasant routine, and they’re best enjoyed quietly, with a hot cup of tea. One can while away a long, leisurely time looking at them.

In her most well-known work, she’s drawn the jieqi, the two-week unit of the Chinese lunisolar calendar. People in former times divided the year into 24 such periods according to the position of the sun and moon, the passing of the seasons, and the changes in the weather. Chiu uses illustration to reinterpret this tradition, imagining each jieqi as an animal colored in a seasonal pattern, giving new life to a time-honored part of Chinese culture.


在台湾插画师 Cinyee Chiu 的画中世界,没有抑郁的阴雨,只有永恒的阳光、和数不尽的彩色的鸟与花。这里流光溢彩、却袅无人烟,她把脑海中对于乌托邦的遐想,都描绘出来,成了这一片和煦的日常。她的画作适合静静地欣赏,佐一杯热茶,就这样缓缓地,虚度一个漫长的时光。

而她最著名的作品《24节气》,发想自中国传统的历法24节气,即古代人民依据日月的运行位置,结合季节更迭以及气候变化,将一年划分为二十四等分的历法。她用插画重新诠释了这个美丽的传统,每一个节气在她的想像里都成为一种动物,身上披着象征不同时令的毛色和花纹,让这个渊远流长的传统,栩栩如生了起来。

春 Spring: 立春 Start of Spring / 雨水 Rain Water / 惊蛰 Awakening of Insects / 春分 Vernal Equinox / 清明 Clear and Bright / 谷雨 Grain Rain
夏 Summer: 立夏 Start of Summer / 小满 Grain Full / 芒种 Grain in Ear / 夏至 Summer Solstice / 小暑 Minor Heat / 大暑 Major Heat
秋 Autumn: 立秋 Start of Autumn / 处暑 Limit of Heat / 白露 White Dew / 秋分 Autumnal Equinox / 寒露 Cold Dew / 霜降 Frost Descent
冬 Winter: 立冬 Start of Winter / 小雪 Minor Snow / 大雪 Major Snow / 冬至 Winter Solstice / 小寒 Minor Cold / 大寒 Major Cold

Chiu is a freelance illustrator, yet as she admits, she didn’t consider art as a career until after she graduated from university. She majored in economics and for a time worked in an unrelated field. Then one day she took up the brush she’d put away during college, quit her job, and began a degree at the Maryland Institute College of Art. That’s when she finally started pursuing her dreams.

Chiu says she feels most successful when she can use art to give form to the images in her head. “This kind of success is quite addictive,” she says.” If I don’t satisfy the craving once in a while, I start to get depressed.”

 


现在作为一位自由接案的插画师,但她坦言,真正将艺术作为职业考量却是在大学毕业后才决定的。大学时主修经济,让她经历过一些与艺术无关的工作。直到有一次,她重拾起已被搁置了整个学生时代的画笔,她毅然辞职,申请上美国马里兰艺术学院,才开始真正追寻自己的理想。

Cinyee Chiu 形容,能通过绘画将心中的画面确实呈现出来,传递出所想的讯息,是她认为自己最能获得成就感的时候,“这种成就感可能有点成瘾性,时不时就必须补充一下,不然我的心情就会隐隐低落。”

Websitewww.cinyeechiu.com
Instagram: @ccinyee
Behance~/cinyeechiu

 

Contributor: Yang Yixuan


网站: www.cinyeechiu.com
Instagram: @ccinyee
Behance: ~/cinyeechiu

 

供稿人: Yang Yixuan

Photography in the Raw

Beijing-based photographer Yum Tang is particular about food. “I like to challenge myself to try new things,” she says. Her passion for food challenges goes well beyond eating it—more often than not, what really fascinates her is finding the most original ways to photograph it.


现居北京的摄影师 Yum Tang(汤汤)是这样形容自己 “有时候比较挑食,喜欢挑战没吃过的食物”。她挑战食物的热情不只展现在料理上,很多时候,如何拍出食物最让人意想不到的样子,更是让她如此为之着迷的原因。

“People tend to think about what they like to eat, but even if they go to the market every day, they haven’t really thought about what those foods look like in their original state,” she says. “The ingredients come from nature, and many of them, when you look closely, have limitless potential, just like people. I want to document nature’s creativity.”

As a photographer, Tang is focused entirely on shooting food. She’s constantly exploring new ingredients and revealing the inherent beauty in their structure, color, and texture. Even in the raw, food can become a work of art.


“很多时候大家总在想什么好吃,即使天天逛菜市场,似乎也没有仔细看过这些食物本来的样子。食材是大自然创造出来的,很多食材其实仔细看,它们和人一样拥有无限的可能性,我想记录下大自然的别出心裁。”

作为一位摄影师,汤汤全心投入在食物摄影的领域,不停地在各种食材之间探索,把它们与生具来的美感,从结构、颜色、到肌理都发挥到极致。单就食物本身,无需料理,也能成为一道艺术品。

Tang painstakingly designs each scene and shot: it’s almost as though she built a miniature stage just for food. Here the ingredients are are front and center. They’ve taken on a new life, and they’re no longer just for eating. With these intriguing creations, Tang invites us to view food in its overlooked, uncooked state.


她别具匠心的场景和画面设计,就像是一个用尽心思、专为食物打造搭建的小剧场。食材登上舞台,脱离了平常只用来品尝的既定印象,仿佛都获得了新生。通过这样有趣的创作,邀请你来一起看看这些食材平时被忽略的原貌。

Behance~/yumtang
Weibo~/Yumtang

 

Contributor: Yang Yixuan


Behance: ~/yumtang
微博: ~/Yumtang

 

供稿人: Yang Yixuan

A Touch of Spring

“My name is Xuan Loc. It means spring bud.” Perhaps what gives the art of Vietnamese illustrator Xuan Loc Xuan such a lasting charm, with its fresh, springlike colors, is the meaning behind her name.

Xuan’s simple tones are taken from nature’s loveliest scenes: the greens of open fields, the blues of sea and sky, and the pinks of new spring buds provide the palette for her artwork. “The immense blue sky with small white clouds, the beautiful wild beaches, the erratic weather in Saigon—all of these inspired me in my work.”


“我的名字 Xuan Loc,意思是春芽。” 春光正暖,百花绽放,也许正是这股天生的春意,赋予了越南插画师 Xuan Loc Xuan 的画作中这股始终都在的旖旎和温柔。

她笔下那唯美淡雅的色调,像是汲取自大自然最美的光景一般,原野的绿、海天一色的蓝、初绽野花的粉,不过是她作品中一笔轻轻落下的挥毫。“辽阔的蔚蓝天空之上点缀着依稀的白云、美丽的沙滩、和西贡阴晴不定的天气,这些令我熟悉的越南景色,都影响了我的创作。”

Xuan painstakingly plans every detail in her art. Under the misty hues of smoke or clouds lies a layer of coarse paper fibers, and together these textures and hues combine to create a simple, natural effect. “I tend toward minimalism,” she says. “I use color as a main factor in my works. For me, colors determine the strength of a picture. As for my technique, I don’t draw surroundings or use background color but focus on the main subject. I carefully portray everything, from the eyes to the rosy cheeks to the corner of the mouth. Sometimes the smallest elements become the main attraction.”


Xuan Loc Xuan 细致地勾勒出画中每一个细节,除了那些如云烟般缥缈的用色,还有一层纸张的纹路质感,让色彩和质地相互交乘,调和出一股自然质朴的味道。“我喜欢极简的设计,颜色是我最重视的元素。对我来说,颜色能决定一幅作品的力度。所以我通常不会在背景加上过多颜色,我专注在主体上,细心地画出从双眼、泛红的脸颊、到嘴角的小细节。因为通常就是这些小东西,能成就一幅画最为吸引人的地方。”

Behance: ~/XuanLocXuan
Instagram: @xuanlocxuan

 

Contributor: Yang Yixuan


Behance: ~/XuanLocXuan
Instagram: @xuanlocxuan

 

供稿人: Yang Yixuan

Face Value

You're in my pictures.

These days it seems interactions with others are always mediated by the screen of some device. In our hectic lives, talking in person has become a luxury. Gone are the days of friendly banter and shooting the breeze, replaced by the tip-tap of our on-screen keyboards. But what if we could set our phones aside for a moment, look each other in the eyes, and spend more time speaking face to face?

To hold onto the important people in our lives, perhaps we need to do more than keep them in mind. Why not keep them in art? Shanghai-based designer Hema’s independent accessory brand Face to Face creates wearable pins with an individual likeness, letting you hold the memory of others close to your heart (in a literal sense). The cute, pastel-colored pins are created with a mix of unconventional materials, such as steel wires, pieces of metal, and even cereal grains, and finished with a transparent layer of resin. All of her pins are unique—one-of-a-kind, just like real people. “When I think of the people in my life, each one has their own distinctive traits,” she says. “So I wanted to record their faces in the form of pins.”


曾几何时,人与人的交流之间总是隔着一层荧幕,近在咫尺的陪伴渐渐变成我们紧凑生活中的一种奢侈,寒暄和话语也总是被键盘上的反覆敲字取代。如果,我们可以暂时放下手机,看一看彼此的脸,多一点面对面的时光——

为了把身边重要的人的脸庞好好记下,不只记在脑海,也要记录在创作里。现居上海的设计师河马(Hema)自创品牌 Face to Face ,主要的作品脸谱胸针收录了形形色色的人们的脸。扑上温柔的色彩,造以浑圆的形状,并结合多种异想天开的材质拼接,钢丝、金属、甚至是谷物,压印在通透的树脂里。每一个胸针就像我们所遇见的每一个人一样,都是仅此唯一的存在。“我想起身边的人们,每个人都很有自己的特点,于是想把他们的脸通过胸针的形式记录下来。”

I'm a Photographer
I'm a Storyteller

“At first I just wanted to make fun faces, so I made the pins. But ultimately, they’re static,” Hema says. “I also like things that are goofy and dynamic. I firmly believe movement brings vitality, so I began wondering if there was a way to make the pins more lively, have them tell a story.”

This desire led to her first animated works. The series Exhibition, based on her Face to Face pins, is inspired by childhood memories of her mother and others.


“我一开始只是研究怎么做有趣的脸,所以有了脸谱胸针,但它们毕竟是静态的。我也喜欢搞怪和动态的东西,坚信运动会带来生命力,所以想说是不是可以让胸针更生动一点,传递一些故事?”

于是就衍生出更多具有故事感的动态图像作品。以下是河马以胸针为主要创作素材,发想的动图系列《看展》,灵感来自小时候有关母亲的回忆。

 

 

First time seeing an outdoor film 第一次看户外电影
First visit to a museum 第一次去美术馆
You told me about the Loch Ness Monster 你给我讲尼斯湖水怪的故事
First time taking me to see grown-ups at work 第一次带我去观察大人上班
First time following a pop star 第一次追星
Seeing a magic show together 一起看魔术表演
First time exploring the outdoors 第一次野外探险
First time at the firefly park 第一次去萤火虫公园

In her Forest series, the familiar faces of her pins have become fully developed characters with their own backstories. As they wander through a forest of the artist’s imagination, they pass by each other and encounter each other again. The series is inspired by Japanese novelist Haruki Murakami’s Norwegian Wood, with each image directly based on quotes from the book itself.

Through all these works, Hema wants to help us hold onto the beautiful, one-of-a-kind faces around us.


在另一系列《森林》里,脸谱都化身为人,在一个不存在于现实的森林里来来去去,彼此错过、再相遇。这是河马以她最喜欢的日本作家村上春树的作品《挪威的森林》作为启发,依据书中名言所创作的动图。

通过这些创作,希望让大家都能好好记得我们身边那些美丽、而独一无二的脸庞。

 

What makes us most normal is knowing that we're not normal. 我们的正常之处,就在于自己懂得自己的不正常
It is wonderful for two people to love each other, don't you think? 人与人可以爱得那么深,实在美妙
How great? Great enough to knock down all the trees in all the forests of the world. 如何好法?好得像全世界森林里的树通通倒到地上
I want you always to remember me. Will you remember that I existed, and that I stood next to you here like this? 希望你可以记住我,记住我这样活过,这样在你身边呆过
We were like kids who grew up naked on a desert island. If we got hungry, we'd just pick a banana; if we got lonely, we'd go to sleep in each other's arms. 我俩就像在无人岛长大的光屁股孩子,肚子饿了就吃香蕉,寂寞了就相拥而眠
Nobody likes being alone that much. I don't go out of my way to make friends, that's all. It just leads to disappointment. 哪里有人喜欢孤独,只不过不乱交朋友罢了,那样只能落得失望

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WeChat: faceworkshop

 

Contributor: Yang Yixuan


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微信公众号: faceworkshop

 

供稿人: Yang Yixuan

Schoolgirl Nightmares

The world can be a cruel place.

But in it, Japanese artist Kazuhiro Hori sees young girls as the quintessential embodiment of innocence and purity. Channeling this outlook, his illustrations depict nightmarish worlds populated by rosy-cheeked schoolgirls in distress. The cake frosting has turned into a strong adhesive, gluing the girls in place like mouse traps; pools of strawberry jam puddle up underneath them, vibrant like freshly spilled blood; and possessed dolls claw at them, eyes gleaming with malicious intent. Hori’s illustrations, while steeped in a sense of horror, beckons viewers to look on in disbelief and ask, “What exactly is happening to these girls?”


这个世界,终究是残酷的吧。

在日本画家堀一浩(Kazuhiro Hori)的眼里,女孩是一如既往地天真烂漫,她们有着稍泛红晕的稚嫩脸庞,身穿象征纯洁的高校制服,但迎接她们的却不是一个单纯美好的世界。奶油蛋糕变成邪恶兹生的温床,草莓果酱流淌成鲜血,一个一个被赋予了生命的绒毛玩偶,伺机而动,贪婪地向女孩伸出魔爪。他的画作让人感到不寒而栗,甚至不忍去直视。这些女孩,到底发生了什么事?

“I work in an art school filled with 18- to 20-year-old girls,” Hori explains. “So from my perspective as a male, it looks like these girls live in a colorful, carefree world of cuteness and fun. They’re surrounded by their favorite food, music, manga, and friends. But the truth is, they experience a lot of worry and anxiety. A vague sense of unease towards the future awaits them. And unfortunately, their dream world is going to be replaced by the cruelness of real-life society.”


“我在一所学校工作,这里的学生大多是十八到二十岁、正在学习艺术的女孩。就我一个男性的眼光,这些女学生活在一个可爱、充满欢乐、色彩斑斓的世界里,被喜欢的食物、音乐、漫画书和朋友围绕着。但事实上,她们也有很多烦恼和忧虑,一股关于未来的隐约不安感也如影随形地相伴。很不幸的,将要取代她们所想的美好世界的,是一个残酷的现实社会。” 堀一浩这样解释道他的创作动机。

“I don’t think the real world is only filled with bad things,” he clarifies. “I’m just tapping into my personal feelings of different situations and observations, and then turning them into drawings.”

Growing up, many young girls will eventually step into a world inconsistent with how they might’ve imagined it in their youth, a place that’s perhaps not as bright or kind as they originally envisioned. Hori’s work—while cynical and distrustful—is simply his way of bidding farewell to the innocence of youth, a sendoff for the girls who sooner or later will be confronted with the unsympathetic realities of life.


“我不认为外面的世界是全然的坏。我只是提炼出我的感受,把它们画出来而已。” 日月星移,女孩总有一天要进入一个与她们想像不同的世界,也许是一个光明渐失、不再充满善意的地方。而堀一浩的画作带着一点悲观和警世的意味,不过是一场目送,眼看这些女孩向真实人生起程罢了。

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Contributor: Yang Yixuan


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Instagram: @chardinchardin

 

供稿人: Yang Yixuan

Cloakwork’s Street Art

Australia

“I want to paint something that represents youth, freedom and of course, rebelliousness.”

Based in Kuala Lumpur, Malaysia, Cloakwork is an illustrator and street artist who’s traveled the world in search of blank walls. His colorful murals have found homes in the streets and alleyways of Mongolia, Japan, South Korea, Taiwan, Hong Kong, England, Australia, and beyond.


“我想要画出能反映青春、自由、当然还有反叛精神的东西。”

常居在马来西亚吉隆坡的涂鸦艺术家、插画家 Cloakwork,同时也是一位旅行家,他走遍世界各地许多地方,一路上寻找空白的墙。现在在蒙古、日本、韩国、台湾、香港、英国、澳大利亚等地方的大街小巷里,都可以发现 Cloakwork 的創作。

Malaysia
Malaysia
Australia

Cloakwork has been making street art for the last eight years, citing as motivation his “rebellious personality and trying-to-do-something-extraordinary mentality as a student.” Using vibrant colors and bold line work, he creates narrative-driven pieces with astounding details. A look at his work makes clear that each wall he paints is a work of love.


Cloakwork 从事涂鸦已经有八年的时间,“一开始,我想是我的叛逆性格,以及从学生时代就开始发迹,那种总是想要做点大事的憧憬,让我成为一位涂鸦艺术家。” 于是他将热情淋漓尽致地挥洒在墙面上,他尽兴地画, 大胆的笔触和鲜明的用色,充满故事性的篇幅设计,让每一幅涂鸦都具有丰富、又不失细节的饱满视觉感。

Taiwan
Malaysia
Malaysia
Malaysia

“My style is myself,” Cloakwork says. “But I am still soul-searching and exploring the world.”

The different people, places, histories, and cultures he’s encountered influence the aesthetic and creative direction of each piece. Including local culture into his graffiti has become a hallmark of his work.

“I always keep myself inspired, and I’m also endlessly interested in different cultures and countries. Every place is different and unique,” he notes. “When I paint at a spot, I usually create something that fits the surroundings to make the mundane wall into something that’s both alive and humorous.”


“我的风格就是我。我也还在寻找自我和探索世界的路上。” 在 Cloakwork 的涂鸦旅程中,每一个地方不同的人民、街景、历史和文化都成为启发创作的来源,让他的作品始终充满地方性的文化色彩。“我接收灵感的开关始终保持在开启的状态上。我也对于各个国家的文化很感兴趣,每一个地方都是独一无二的。我希望能创作出符合当地情景和环境的涂鸦,让一面平凡无奇的墙能获得新生,获得被观赏的乐趣和幽默感。”

U.K.
U.K.
U.K.
Mongolia
Mongolia
Mongolia

As in much of Asia, in Malaysia street art still hasn’t quite reached mainstream status. A lot of people remain skeptical about the artistic merits of graffiti art. Often street artists are seen as just vandals. “In Malaysia, to be honest, graffiti is still in a grey area of public opinion,” he says. “There are those who appreciate street art, but there are also some who are just following trends. But I do believe that public perception is slowly changing for the better as people become more educated and are appreciative of art. Street art is for everyone, and whether they approve of it or not, it will always be around.”


然而,在亚洲许多地方,街头艺术的文化还在发展的进程中。部分民众对涂鸦抱持质疑的眼光,甚至把它视为一种破坏公物的行为,不是一种艺术的表现形式。“在我的家乡马来西亚,涂鸦艺术依然处在大众和政府认可的灰色地带。有些人是真心欣赏,有些人只是为了跟随潮流而已。但我相信未来会更好,人们会慢慢被教育去欣赏街头艺术。毕竟,街头艺术是画给每一个人的,无论你同意或不同意,它还是会在那里。”

 

South Korea
Hong Kong
Hong Kong
Australia
Australia

Cloakwork says that graffiti for him is a way to have fun and delight anyone who stumbles across his work. “The future is hard to predict, but I feel I’ll keep doing graffiti until my body tells me to stop,” he says. “So why is street art so irreplaceable to me? Perhaps that’s the answer.”

If you’re lucky, perhaps one day on your travels you too might just stumble across one of his colorful pieces.


对现在的 Cloakwork 来说,涂鸦单纯是为了享受这个过程,并在同时娱乐观众。“未来的事还很难说,我只知道我会一直涂鸦下去,直到我的身体告诉我该停止了为止。” 所以为什么涂鸦对他来说如此重要?也许这句话本身就已解释了所有。

关注更多 Cloakwork 的消息,有机会的话,也许你能在旅行路上的墙与墙之间,幸运找到他到访过的踪迹。

Websiteiamcloakwork.com
Instagram@cloakwork

 

Contributor: Yang Yixuan


网站: iamcloakwork.com
Instagram: @cloakwork

 

供稿人: Yang Yixuan

Young Romance

 

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“He asked me to be his girlfriend. I thought it was too soon. Like, we had been talking for just a week. Then he cried, tears fell down his face. I didn’t know what to do. I’d never had a boyfriend. So I was like, well, okay then.”

 

Naive confessions, ambiguous interactions, foolish first loves: as we’re reliving our youth through the people on screen, a pair of hands suddenly enters the frame with a yell of “Cut!” abruptly interrupting the story.

#BKKY is a creatively shot narrative documentary by Nontawat NumbenchapolThe four letters of the title stand for Bangkok Youth, and in making the film, the director interviewed a hundred 17- to 20-year-olds living in Bangkok from across the gender spectrum. In front of the camera, they open up about how they see their youth, their dreams, and their struggles. Drawing on these interviews, the film introduces a character named Jojo, blending fiction and reality and breaking with traditional modes of storytelling.


“他问我要不要当他的女朋友,我觉得进展太快了。我们开始说话后不过只过了一个星期。接着他哭了,眼泪从脸上滑落下来。我不知道该怎么办,我从没交过男朋友。所以,我想说,那好吧。”

 

青涩的告白、暧昧的互动、懵懂的初恋…… 在我们通过电影缅怀青春之余,一双手突然插进画面,“卡!”,打断了故事的进行。《#BKKY》(《曼谷青春纪事》),四个英文字取自 Bangkok Youth(曼谷青年),是一部以创新手法拍摄的剧情纪录片。导演 Nontawat Numbenchapol 总共访问了一百位十七到二十岁、生活在曼谷的青少年,他们广布在性别光谱的不同位置上,在镜头前,向我们倾诉他们眼中的青春、梦想、与自我的挣扎。电影以这些访问素材为基底,再编织出一个角色 Jojo,虚构的剧情与真实的访谈段落交错进行,打破传统的叙事模式。

Numbenchapol’s first documentary, Boundary, focuses on the border between Thailand and Cambodia, while his second, By the River, takes a look at the mining industry. “The feature documentaries I made were very political and very serious, so no young people in Thailand went to see them,” he says. “That’s how I got the idea to make #BKKY, a documentary for teenagers. I really wanted to be up to date on what’s going on nowadays. It’s kind of my area of research.”

To find people to interview, he crisscrossed Bangkok, going to schools, malls, anywhere young people hang out. Out of everyone he interviewed, the one who made the biggest impression on him was Jojo, whose story inspired the course of the entire film. “She’s very open, clever, and lively, and her gender is very fluid as well,” notes Numbenchapo. “When she told me she’d been keeping a diary for several years, I asked her if I could read it, and she said yes! I was so inspired that I started writing a script, mixing it with the other interviews.”


在导演 Nontawat Numbenchapol 先前的两部纪录片作品《Boundary》(《边界》)、《By the River》(《河畔》)中,分别探讨了泰国柬埔寨边境、矿产工业的问题,“这两部纪录片都非常政治性和严肃,没有年轻人愿意看。所以我才有了拍摄《#BKKY》的想法,我想要知道现在年轻人的生活,一部份也算是我的研究。”

于是他穿梭在曼谷各处,任何年轻人聚集的地方如学校、购物中心,找到了访谈的对象,其中让他印象最深刻的 Jojo,也是后来影响了全片走向的人,“她很开放、聪明、活泼,性别认同是流动的。当 Jojo 跟我说她一直保有写日记的习惯时,我问她能不能让我看,而她答应了!我从中获得很大的灵感,所以就开始进行这部片的剧本,之中再加入先前的访谈段落。”

Through the film, we can see the most open-minded side of today’s Thai youth. Their fluid sexual orientation and gender identities reveal the diversity of romantic and sexual relationships in contemporary Thailand. But this open-mindedness is not welcome everywhere. To conform to traditional values, many people still choose to live hidden lives. As a boy in the film who dreams of changing his sex asks, “If other boys found out I was trans, what would they think?”


通过电影,我们看到了这个时代的泰国青少年最坦率的一面。他们流动的性向与性别认同,揭示了泰国时下多元的爱情与情欲关系。但这股开明的风气并不是处处受到欢迎,为了迎合社会的传统价值观,许多人依然选择隐瞒。就如同电影中一位梦想着变性的男孩所说 “如果被其他男生发现我变性,他们会做何感想?”

In Numbenchapol’s view, Thai society today is very open. “Maybe that’s because of the internet and social media,” he speculates. “Every young person is unique, and they all have many choices. That’s very different from my generation. We had no choices, and we were always told what to do and what not to be by parents or teachers. And everyone looked the same. But now young people are very different, even though parents, schools, and the media are still the same, conservative and not very open. Sometimes I feel they have too many choices, and that makes them confused, in gender issue too.”


而在导演眼中,如今泰国是一个开放的社会,“也许是因为社交媒体和网络的关系,每个年轻人都很独特,知道自己拥有更多选择。不同于我这一代,以前我们总是被父母和学校告知要做什么或不做什么,每个人看起来都一样。但现在不一样了,虽然父母、学校、媒体的态度倒是没有改变太多,依然相当保守。有些时候,我认为太多的选择也容易造成混淆或困惑,当然在性别的议题上也是如此。”

Young people still don’t understand the direction of the future, but compared to those of us who have already grown up, they seem fearless. So what does growing up mean? In the film, the interviewees all offer different explanations.

“I don’t know. I’m not sure if people actually discover themselves before they die.”

“I really don’t know what my passion is. Some adults also haven’t figured that out.”

“I didn’t set my dreams too high. I just live my life. Growing up is just having a family, having kids, just working or hanging out sometimes,” he muses.

They express some concern, but they still face themselves honestly, and they accept without guilt those deepening desires that come with growing up. Standing before the unknown, they nevertheless opt to be calm, and perhaps this nonchalance is a sort of rebellion unique to youth, a way for them to fight against the system.


这个年纪的他们还不明白未来的去向,但与我们长大的人相比,却显得无所畏惧。所以, “长大是什么呢?”

“我不知道。我不确定是否有人能在死前,真正找到自己。”

“说真的,我不知道我的热情所在。有些大人同样也不知道。”

“我不知道,我没有把理想设定太高。我只是过过日子,长大不过是成家、生小孩、工作、偶尔出去玩而已。”

他们语露一丝担忧,却还是诚实地面对自己,对于那些伴随成长越趋深刻的热切欲望,也坦然回应。即使眼前是一片未知,他们依然选择一派轻松,也许这股淡然,正是青春独有的一种反叛,是他们对抗体制的另一种方式。

Website: www.mobilelabproject.com

 

Contributor: Yang Yixuan


网站: www.mobilelabproject.com

 

供稿人: Yang Yixuan

An Inner Journey

The story goes like this: in a gorgeous world drawn from a fantasy or a dream, a faceless girl is floating in an unfamiliar place. She’s been searching, longing to find a way out of this strange land, but she keeps tumbling down again and again, constantly tumbling down.

This colorful and expressive music video is a collaboration by Malaysian animator Yan Dan Wong and Swedish animator Annalotta Pauly. Their images are accompanied by the upbeat melody of Vulfgang Rainstorme’s recent track “Semblance.”


故事是这样的。在一个也许由幻觉,抑或是梦境,所构成的绚丽世界里,有一个失去了容貌的女孩,在这个陌生的地方潜游着。一路上她在寻找,寄望能找到一个出口,让她脱离这个奇怪的地方,可是身体却一再地往下坠落,不断坠落。

伴随着这一首轻快节奏的音乐,我们跟着女孩踏上一段 “寻找” 的旅程。这个画面缤纷、意寓鲜明的音乐视频是马来西亚动画师 Yan Dan Wong,协同另一位动画师好友 Annalotta Pauly 共同创作的动画作品。

 

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“I was approached by a Canadian artist, Vulfgang Rainstorme, for a commission for an animated music video for a song on his new album A Yellow Spot,” says Wong. “When we found out that the album was dedicated to his late mother, we thought of themes of loss, searching, feeling incomplete, and finding peace to let go. So we thought of a narrative about a faceless female character embarking on a journey to look for something or someone.”


“一开始我们接到了加拿大音乐人 Vulfgang Rainstorme 的委托,为专辑《A Yellow Spot 》当中的一首歌《Semblance》创作动画。后来我们得知这张专辑是他献给母亲的怀念之作,于是构思了关于失去、探寻、感到迷失、最终重拾平静、和放下这个主题。并以一个无脸女孩为主角,出发去寻找的故事。”

 

This kaleidoscopic world full of challenges is all in the girl’s mind. Her quest is a healing process. “Grief creates a hole inside of you. We sometimes experience unfathomable sadness, but not everything is bad all the time. The world the girl finds herself in is neither good nor bad, it just is,” Wong explains. “After getting reassured by the memories of a lost loved one, the girl gets the courage to dive down through the dark and stormy waters, and she ends up at the surface again.”


原来这一个充满挑战的奇幻世界,是存在于女孩心底的。这个探寻之旅就是一个治愈内心的过程。“有时候悲伤会在你心底窜出一个洞,我们也许会经历深不可测的忧伤,但事情并不会一直都那么糟糕。女孩也发现了,自己所处的世界不好也不坏,不过就是如此罢了。直到她被所思之人的回忆再次安慰,重获了勇气,于是她向未知一跃而下,穿过黑暗和暴风雨,最终重回了表面,回到一切起始的地方……”

“She finds herself in the place where she started. Maybe not much has changed, but she knows she’s stronger now. You can’t avoid grief, but you can work through it. That’s our understanding of the music video.”

The girl eventually ends up in the same place of shelter—the only difference is that she’s found what she was looking for. After crossing through grief, she’s again recovered her face. She’s no longer the person she once was.


“她发现自己回到了原点,旅程就结束在这里。周遭事情没有太大的变化,但她知道自己更坚强了。你没有办法避免悲伤,但你可以试着克服它。这是我们对这个音乐和视频的理解。”

女孩终究落脚在同一片安身之地,唯一不同的是她找到了心想的东西。度过了悲伤,重获了容貌。她不再是原来的自己。

Websiteyandanwong.com / apauly.com

 

Contributor: Yang Yixuan


网站: yandanwong.com / apauly.com

 

供稿人: Yang Yixuan