Tag Archives: 插画

Color and Verse

Traditional Chinese images of love—wind, flowers, snow and the moon, or oaths sworn to the mountains and seas—come largely from the world created by Tang and Song dynasty poetry. And in Zhang Mengke‘s works, poetry is a source and drawing is the medium. Her pink, mist-shrouded illustrations convey a poetic simplicity.

Inspired by music, fragrance, and dreams, along with the verse, dialogue, and palace settings of historical dramas on television, Zhang “makes verse visible” with an understated, suggestive style.


风花雪月,海誓山盟,这样的景象,大抵多出现在唐诗宋词营造的世界里。而在张梦珂的笔下,诗词是源泉,笔触是媒介,粉色氤氲的画幅里,透着古朴的诗意。

从音乐、气味、梦境,古代清宫剧中的诗句、对白和建筑场景产生的灵感,融合了淡雅的色彩和意蕴,张梦珂的笔下,“把诗句可视化” 了。

For Zhang, “poetry is profound and demands careful thought and patient appreciation. But because it often uses a particular meter or diction, it relies on reason and insinuation. Drawing, on the other hand, is the most intuitively visual medium—as soon as you look at a picture, you immediately feel something. That’s what I’m able to achieve in my art.”

You can see more of Zhang Mengke’s works below.


对她来说,“诗词,需要将它拼凑起来思考,慢慢品味,非常博大精深。但因为它可能会有固定韵律和字词,在我认为它是相对理性的、隐忍的。但画,则是人最直观的视觉感受,你在看到它的第一眼就会有一定的感受,也是我更擅长可以尽情发挥的。”

更多张梦珂的作品,欢迎继续浏览。

Behance: ~/kk_Meng

 

Contributor: Chen Yuan


Behance: ~/kk_Meng

 

供稿人: Chen Yuan

The Lighter Side

A white cloud brought to tears by a barbecue’s smoke, a star that needs a recharge, a planet with a moon that keeps blocking its sight: breaking down the barrier between reality and fantasy, these images can’t help but bring a smile to your face.

The Beijing-based artist who created them, John Johnny, describes himself as “a decently indecent person.” His comes up with bold, creative animations featuring everyday objects. That’s because, as he puts it, he “likes anything that’s fun, and likes to make life fun.”


被熏哭的白云、需要充电的星星、卫星障目的小行星……这种打破现实和幻想之间界限的作品,让看到的人不得不为之莞尔。

作者是约翰强尼,来自北京,喜欢用 “一个正经的不正经人” 来形容自己。他以日常物品为主体结合脑海里的各种奇思妙想,创造出天马行空的动图。用他自己的话来说,这是因为“喜欢一切有趣的东西,喜欢把生活变得有趣”。

《大自然的烦恼》系列 云
《大自然的烦恼》系列 星星
《大自然的烦恼》系列 沙漠
《大自然的烦恼》系列 火山

We say “everyday life” to mean something ordinary, but perhaps each day is an underappreciated miracle. “As I was doodling one day, I drew a character with a cute round head, and I thought it’d be fun to turn it into a GIF. Then I decided to make the round head into a sun instead.” Once you’ve got a sun, then you need a moon, and that’s how, with one idea after another, the Natural Exasperation series was born.

“What I like most is a mellow, simple style, something that’s relaxing to look at,” says John Johnny. “I think that’s what these times call for.”


我们每天称之为日常的生活,或许每个都是被忽视的奇迹。“有一天我在纸上涂抹,然后觉得一个圆脑袋挺可爱就想做个 GIF,就把圆脑袋变成了太阳……” 有了太阳,就有了月亮,也就有了他个人最喜欢系列《大自然的烦恼》。

约翰强尼说,“我个人要是做最喜欢那应该是轻松简单放松的风格。看了能让人放松,我觉得这个时代需要这些。”

《大自然的烦恼》系列 行星
《大自然的烦恼》系列 月亮
《大自然的烦恼》系列 太阳
《大自然的烦恼》系列 冰山
《大自然的烦恼》系列 大海
《大自然的烦恼》系列 小山
《让我治愈你》系列
《让我治愈你》系列
《让我治愈你》系列
《玉米兄的日常》系列
《玉米兄的日常》系列

Weibo: ~/约翰强尼

 

Contributor: Chen Yuan


微博: ~/约翰强尼

 

供稿人: Chen Yuan

A Diary in Comics

“I guess you could call my work a dumping ground of uncensored thoughts.”

For Ji Sub Jeong, aka Geesubay, a Korean-Canadian artist working in New York, art has been a passion since childhood. “I’ve been drawing obsessively as long as I can remember,” he says. “I’d doodle on anything I could get my hands on, from textbooks and magazines to the walls of my room (which my mom did not appreciate!). Drawing was something that I enjoyed tremendously, and I could never get enough of it.”


“我想你几乎可以把我的作品称为 ‘一团没有经过审查的思想垃圾堆’。”

韩裔加拿大籍插画家 Ji Sub Jeong aka Geesubay,目前在纽约发展艺术事业。他对于艺术的热爱从小就展露无遗,自从有记忆以来,画画就一直是他最着迷的事情。“我会在任何我碰得到的东西上乱画,从课本、杂志、到我房间的墙壁,虽然对此我妈妈很不高兴。我一直非常享受画画,我想我永远不会有觉得画够了的那一天。”

Window Thoughts /《窗边随想》
Everything Is A Blur /《世界是模糊的》
Naked And Shy /《裸体与害羞》
Not Fall Yet /《還沒掉下來》
Getting Over The Hurdle /《跨栏》

Jeong’s art is simple and free, full of a humor that brings a familiar smile your face. The mischievous, pudgy little boy in his drawings, out exploring the world, seems to be a creature of his imagination. As he plays and gets into trouble, he discovers life’s smaller joys. “I’ve never been one to keep a steady diary, but I’ve realized that I feel the most satisfied when I draw something I’ve had on my mind for a while,” he says. “So I guess my illustrations can be viewed as a visual diary that showcases my most private and honest feelings about the world.”


他的创作简单、自由、充满令人会心一笑的小幽默。一个拥有浑圆身躯的小男孩喜欢到处闯荡,也许这个顽皮的男孩就是 Ji Sub Jeong 想像的投射,他总在无趣的规则边缘探索,惹一点事,嬉闹之间发现生活微小却显而易见的乐趣。“我从来不是能每天按时写日记的人,但我发现如果可以用画的把想法记录下来,这让我感到好满足。所以我的作品也可以被看作我的图像日记,诚实地展现了我个人对世界的看法。”

Headspace /《头上空间》
Cig Thought /《烟与随想》
Don't Ground Me/《不要拉我》
Clapping My Own Hands /《和自己击掌》
Peace Sign /《和平标志》
Finger Print /《指纹》
Who Am I /《我是谁》

Websitejisubjeong.com
Instagram@geesubay

 

Contributor: Yang Yixuan


网站jisubjeong.com
Instagram: @geesubay

 

供稿人: Yang Yixuan

Fantasizing in Shades of Blue

Seoul-based artist Jungho Lee creates surreal illustrations that bring the observations of his mind’s eye to life. Chock-full of symbolism, the imaginary settings he’s conjured are populated with an array of peculiarities. From strange books of varying shapes and sizes to cloudy dreamscapes and glowing cabins, his drawings exude a tranquility that’s tinged with a sense of loneliness.

Lee says, “Everyone experiences loneliness deep in their hearts. To be composed and face it head on is something that can make you more mature . . . Ultimately, I hope people can use their personal experiences to interpret my works in their own way and be more attuned to their own inner voice.”


插画艺术家 Jungho Lee 长居韩国首尔,在那里,他画下许多超现实的插画作品。他的作品展现着许多奇谲的视觉隐喻,画作和脑海中现实重叠:微启的书册、迷雾的夜晚、透着光亮的房子……透着安宁的意味,却也让人感到沉寂的孤独。

“每个人都有自己内心深处的孤独,坦然面对它会让自己的内心更加成熟。我希望我的画能根据大家各自的经历自由解读,可以倾听自己内心的声音。”Jungho 说。

Website: leejungho.com
Instagram: @jungho.el


Contributor: Chen Yuan


网站: leejungho.com
Instagram: @jungho.el


供稿人: Chen Yuan

The Adventures of an Odd Duck

《飞克船长》系列:摘星计划

Beijing-based illustrator Tiepi Guaiya (meaning “An Odd, Iron-clad Duck” in English) is an artist whose love for sci-fi and adventure shines through in his work. Each stand-alone frame is an immersive story that pulls viewers deep into the scene. With surreal details peppered throughout his work, his drawings invite viewers to journey into the depths of his active imagination. Summing up his own art, he describes it as consisting of “space, aliens, monsters, wild animals, skateboards, bicycles, pimped-out rides, fashion, sexual desire, local Beijing culture, and everything else that seems cool.”


来自北京的插画师铁皮怪鸭,画中充满着探索的气息与科幻的意味,每一幅画都像在讲述一个故事,具有引人入胜的魅力。铁皮怪鸭的插画融入了很多幻想的元素,把一些天马行空的想法变成了现实,“比如说太空宇宙、外星人、怪兽、野兽、街头滑板、自行车、改装汽车、服饰潮流、欲望性感和北京文化,以及一切很酷的想法”。

《飞克船长》系列:等你很久了
《飞克船长》系列:飞克船长谜一样的笑容
《飞克船长》系列:飞克船长在土星玩玩具
《飞克船长》系列:当飞克船长变成老船长 依然可以把你迷倒
《飞克船长》系列:飞克船长在复古迪厅
《飞克船长》系列:船长的实验室 她们都说船长认真研究的样子非常英俊 眉毛一挑世界地动山摇
《飞克船长》系列:飞克船长航海计划
《飞克船长》系列:摘星计划
《飞克船长》系列:北海公园营救计划
《科学怪青年》系列:北京飞碟
《科学怪青年》系列:驾驭自己的梦想
《科学怪青年》系列:发现外星人

Weibo: ~/铁皮怪鸭

 

Contributor: Chen Yuan


微博: ~/铁皮怪鸭

 

供稿人: Chen Yuan

The Taste Reminds Me of You

猪排三明治 / Pork cutlet sandwich

“My name is Ye Zhijun, I’m in my 20s, I’m a virgo, and I love photography, drawing, and food.”

Endearing and direct, just like her drawings, Ye Zhijun’s description of herself can’t help but bring a smile to your face. Ye’s works rarely strike a gloomy or grumbling note, because most of the time the people in her drawings are too busy happily stuffing their faces.

That’s the unique charm of Ye’s words and images: you feel like you’ve known her all your life.


我是叶纸君90 后处女座,最大的爱好是拍照画画和吃东西。

这样坦白却可爱的自我介绍,和她的画一样,看起来让人不禁莞尔一笑。她的作品很少有那种“悲天悯人”“我见尤怜”的感觉,因为画中的人,大抵都在眉开眼笑地吃吃吃。

是的,这就是叶纸君从文字、从画面传达过来的个人魅力,让人倍感亲近。

肉夹馍 / Roujiamo, or Chinese hamburger
烤肉 / Grilled meat

When Ye graduated from University of the Arts London, she felt lost: “I was drawing every day, but I didn’t know what I was going to do with my life.”

Back then she’d often go out to eat at little hole-in-the-wall restaurants. No matter how perplexed or lonely she felt, when seated in front of something delicious, “for a few moments my entire body felt cured. So I thought, why not put all these dishes into my drawings?”


三年前从伦敦艺术大学毕业后,叶纸君觉得很迷茫,在那段不长不短的时间里,“虽然每天都在画画,但不知道未来的人生会怎么样。”

当时,她经常会独自去很多小店吃东西,却意外地发现,无论再多迷惘和孤独,当面对美食的那一刻,“整个人就瞬间被治愈了,心想着那不如把这些美好的食物画出来吧。”

泡菜炒饭 / Kimchi fried rice
咖啡店 / Coffee shop
法式蛋糕 / French pastries

“The first thing I drew was a super simple but extraordinarily delicious bowl of noodles with scallion oil,” she says. “You put the chopped scallions on the strained noodles, add a bit of sugar and light soy sauce, then pour the hot oil on top. You can hear the noodles sizzle, and then the fragrance of scallion fills the entire kitchen. You mix it all together and take a big bite. It simply fills your heart with joy.”

Since then, eating and drawing have become the two main parts of her day. “Drawing accounts for 60%, eating accounts for 35%. But when I draw, most of the subject matter is still food related.”

After toiling away for an entire year, in 2016 Ye published her first comic book, It’s Not Fun Until It’s Drawn: London.


“动手画的第一道菜是超级简单却又十分美味的葱油面。小葱切末,放在沥干的面条上,撒入生抽和白糖,热油浇在面条上,此刻你会听到滋滋滋的声音,再过一会儿,整个厨房都弥漫着葱油的香味。搅拌均匀,大吃上一口,简直是心满意足。”

自此之后,吃与画,成为她日常的绝大部分。“画画占60%,吃吃吃占35%,不过画画中大部分的主题还是跟吃相关了。”

一年多后,叶纸君出版了自己的第一本绘本《一定要画出来才好玩:伦敦》。

  • 第四话《居酒屋》

From rice bowls to roujiamo (a Chinese hamburger), from French pastries to Oreos, from snacks to hors-d’oeuvre to main courses, Ye’s drawn it all—and of course, she’s probably eaten it, too.

Asked why she’s so obsessed with food, Ye gives a serious answer: “Food does more than just fill your belly—it can also comfort your soul,” she says. “Behind every dish there’s a story. There may always be something even tastier than what you’re eating, but the people and ingredients that made that dish can never be replaced. They linger in our hearts and are hard to forget.”


从肉夹馍到煲仔饭,从奥利奥到法式蛋糕,各种或传统或新奇的零食、小吃和主食,叶纸君都画——当然,也可能是都爱吃。

要问为什么对吃如此执念,叶纸君的回答很正经:“美食不仅仅可以填饱肚子,更能抚慰人心。每一道菜的背后其实都蕴藏着一个故事,菜的味道或许能随时被更好吃的东西代替,但所关联的人与事,是无法取代的。它能够久久留存在我们心里,难以割舍与忘记。”

浪味仙 / Lonely God snack puffs
栗子饭 / Chestnut rice

In fact, Ye’s favorite dish, fried Chinese bread, is something she loves because it’s filled with love. “That was the first thing Chef made for me,” she says.

Chef is her boyfriend, and as his nickname suggests, he’s the one who does the cooking. “I remember once when driving back to Beijing with Chef I said I’d never met anyone who was so good to me. I’d never felt such kindness. Chef laughed and said, ‘I love you, that’s why I like to cook for you.’ That simple sentence utterly moved me. Every day I say, ‘I’m so happy I met you.'” Sweeter words are hard to imagine.


殊不知最让她喜欢的一道菜,“煎馒头片”,也正因为其承载了满满爱意。“因为这是大厨给我做的第一道菜。”叶纸君说。

大厨是她的男友,也充当着日常主厨的角色。“记得和大厨开车回北京的高速上,我说从来没有遇到过一个人对我这么好,第一次体会到这样的温暖。大厨笑着说,因为我爱你啊,这些饭菜都是我愿意为你做的。大厨简单的一句话,却让我感动到不行。每天都在感叹,遇见你真是太好了。”言辞之间,尽是甜蜜。

奥利奥 / Oreos

Ye says that the pudgy girl in the drawings is “one side of me.” Everyone has something to share, and the girl in the drawing is her window for sending the world faith, hope, and love.

“What I want to tell people is, not everything you experience in life can be perfect. But whether something is good or bad is up to you to decide. I hope everyone who sees my drawings can live without fear, and enjoy the people and things they encounter in life.”

In other words, “eat, drink, and be merry.”


画里那个肉嘟嘟的女生,叶纸君说那“算是我的一部分”,因为每个人都有想表达美好的意愿,而画中的女生,就是她输送爱、希望与信仰给这个世界的窗口。

“我想告诉大家的是,人生中遇到的所有事情不可能是完美的,但好与不好的处决权在自己的手中。希望看到叶纸君漫画的朋友,无畏结果,都可以尽可能地享受生命里遇到的人与事。”

毕竟,那句诗怎么说的,“弃捐勿复道,努力加餐饭”。

Douban: ~/leaf0831
Weibo: ~/leafstyle

 

Contributor: Chen Yuan


豆瓣: ~/叶纸君
微博: ~/叶纸君

 

供稿人: Chen Yuan

Prey & Predator

Details of The Resistance of the Prey (2017), Oil on canvas.

For many viewers, the eyes alone are enough to induce a sense of unease.

But is it the look of desperation that’s found in the eyes of an animal facing imminent death? Or is it the look of excitement that’s found in the eyes of a predator following a successful kill?

Created by Korean artist Moon ChanpilPrey & Predator is a series of paintings that depicts predator-prey relations through unsettling portraits. On a basic level, the series revolves around predation and the artist’s personal experiences, but closer scrutiny reveals a deeper narrative – the project aims to highlight the disturbing similarities between the behavior of humans and wild animals. “Predators cannot always be predators, nor can prey always be prey,” Chanpil tells us. “All beings are predator and prey at once.”


仅仅一个眼神,就能让你被画面中的恐惧牢牢攫获。

这可能是猎物濒死前绝望的眼神,也可能是捕食者终于果腹时渴求的眼神。

这一系列《猎物和捕食者》(Prey & Predator)的作品,来自韩国的插画家 Moon Chanpil。仅仅直视这系列作品中的眼睛,就会感到一种让人恐惧的力量迎面而来。画布上狩与猎的故事,也不只是个体化的经历,更像是创作者在诠释整个人类社会乃至自然界的普遍法则。“捕食者不可能永远是捕食者,猎物也不可能永远是猎物。所有的生物都既是捕猎者,也是猎物。”Chanpil 说。

The Resistance of the Predator (2017), 90.9 X 72.7 cm, Oil on canvas.
The Resistance of the Prey (2017), 90.9 X 72.7 cm, Oil on canvas.

As a self-professed nature documentary fanatic, Chanpil’s infatuation with predator-prey relationships can be traced back to his childhood. “I loved seeing scenes of big cats hunting when I was younger; I cheered for their success,” he recalls. “But at the same time, [when I saw the prey], my mind cried out, ‘Run away! Survive!’ Although it was just television, it was sad to see a deer bitten in the neck and watch as the life disappeared from its eyes. I saw the lion’s eyes as he bit down into the deer’s neck as well, and in those eyes, I saw desire and fatigue.”

With scene like this imprinted in his mind, Chanpil began to question the nature of existence. “Why are we designed like this? Is that our world? Just a tragic existence?”


Moon Chanpil 从小就是自然纪录片的忠实粉丝。“当我还是个孩子的时候,我喜欢看着纪录片里大猫狩猎的场面,为他们狩猎的成功而欢呼。这实在很酷。但同时,另一种声音也一样在我脑海中回响——‘快跑!’‘活下去!” Chanpil 说,“虽然我和这一切隔着电视屏幕,但直面它依然一件很可悲的事。我看到狮子紧紧咬住鹿的脖子,我看到小鹿的生命气息渐渐从它的眼睛里消失;我还看到狮子眼中的欲望,看到了它竭力猎杀后的疲倦。”

所以,现在的 Chanpil 会忍不住想知道,“我们为什么生来如此?这就是我们所处的世界吗?我们就是某种悲惨的存在吗?”

Breath in the Predator (2015), 65 X 50 cm, Oil on canvas.
An animated version of Breath in the Predator
An animated version of Breath in the Prey

But of course, humans are different from lions and deer. We’re afforded the luxury of not having to be a part of the predator-prey cycle that every other living animal is fated to endure. Humans have escaped the food chain, but we’re the only exception. Other living creatures are unable to escape this vicious circle, and at the core of Chanpil’s paintings, there’s a sense of sadness that comes from this realization. He explains, “As I see the eyes of the dying deer, I feel sadness and empathy. It seems like its very purpose is to be killed and eaten. At the same time, for that lion, whose cruel fate is to kill again and again to survive, I also feel sadness and empathy. By projecting my own emotions through these animal’s lives, I’ve gained insight into the truth or secrets of human life. In my series, the events that occur between prey and predator come from my personal stories, but I think there’s a universality to them. This predator and prey dynamic may be happening within the mind of one individual, or between two individuals, or between an individual and a group, or between two groups of people.”


从某种意义上来说,或许人类和小鹿类和狮子是不同的,人类得以试着避开食物链系统中捕食者与猎物的关系,甚至人为地进行改变。Moon Chanpil 觉得,我们存活在一个“没有任何回旋余地”的世界中,自然系统很少允许像人类这样的例外发生。

现在,对我来说,最核心的情感反应是‘悲伤’——当我看到小鹿在被狮子咬伤后失去生命,我为之悲伤也为之同情。那只鹿生存的意义,或许就是为了死亡、为了被狮子捕食;而狮子则必须不断捕猎和杀戮才能得以存活,它的命运也一样残酷。” Chanpil 说,“我通过他们的生活投射我自己的情感,在这个过程中洞察人类生活的真相或秘密。在这个系列中,捕食者和被捕食者之间所发生的事,也就是发生在我身上的事。我认为这存在着普遍性。捕食者与被捕食者可能是发生在个人内部,或个人与个人之间,或个人与群体之间,或群体与群体之间的一个事件。”

Breath in the Prey (2015), 65 X 50 cm, Oil on canvas.
Hello There (2018), 72.7 X 53.0 cm, Oil on canvas. An extension of the Prey & Predator series.

Describing the creative process behind his series, Chanpil tells us, “When I approached the initial character design, I first needed to feel maximum empathy. So I drew a portrait based on my own face rather than creating a fictional character. However, in order to convey the theme of predator and prey more dramatically, I referenced the actual eyes of predator animals and prey animals, using the eyes of cattle or tigers in lieu of my own. For my predator paintings, the character’s eyes are those of the archetypal predator – the tiger.  Their mouths are rarely dry of blood, and in a way, I wanted to console them by removing that blood from their mouths. The blood-colored whale symbolizes what’s in the mind of a predator. While whales aren’t typically preys in the food chain, I’ve always thought that they have all the features of prey. They’re slow, kind, beautiful, and solitary.”


“要谈论角色的设计的话,首先,我得展现出极大的同理心。所以我根据我的脸画了一张自画像,而不仅仅创造了一个人物角色来。为了更生动地传达主题,我通过借用真实的掠食动物或猎物的眼睛来设计了人物的眼睛,我通常会大猫和牛的眼睛。比如‘捕食者’,他的眼睛是典型的食肉动物:老虎。老虎的嘴角常会凝结着干血,我想用抹去他们嘴上的血来告慰他们。而一只血红的鲸鱼,则象征着猎物的心灵。虽然鲸并不是食物链中的猎物,但我一直认为鲸具有这样的特性——缓慢、善良、美丽而孤独,满足了所有猎物的特征。”

The Encroaching Prey (2017), 90.9 X 72.7 cm, Oil on canvas.
The Encroaching Predator (2017), 90.9 X 72.7 cm, Oil on canvas.

For each painting, Chanpil taps into his own experiences and memories to convey emotions with depth and authenticity. “When I draw a predator, I like to imagine myself as the predator in the painting as I work on it. When I draw a prey, I like to imagine I’m the prey in the painting. But no matter which role I take, I always feel a sense of sadness.”

“Similar to real life, I like to express emotions with moderation in my work, so the emotions I paint aren’t that extreme. The characters aren’t loudly crying or yelling out in fury. But if the viewers are seeing strong emotions in my work, I believe it’s because they’re reacting to the character’s inner feelings. As I’ve previously said, it’s all rooted in a sense of melancholy – this is a sadness that no being in this world can escape from or get rid of. Aside from this sadness itself, I wanted to express my own feelings of fear that came from this realization. […] Prey & Predator is the world through my eyes. I want to show people the true essence of our world, but not necessarily the visible parts of it.”


在这一系列中,Chanpil 在画布上展现出的思想和情绪相当真实,真实到他无需设计,画布上所展现的内容本身,就已是他全部的思想和情绪。“当我画捕食者的时候,我会想象我是一个捕食者,是捕食者在作画,我就是它;同样地,我画猎物时就会假想自己是猎物本身。而两种角色的表情都很悲伤。”

“就像我自己在现实世界里一样,我更喜欢适度的情绪表达,而不是在工作中将之爆发。所以作品中人物的面部表情并不极端,他们不会大声号哭。但是,如果画中的情感被传递给你为某种极端的感受,我想那是因为你对角色的内在情感作出反应。正如我前面提到的,这种感觉是悲伤。这个世界上没有人能够从这种悲伤中逃离或解脱。‘我们无法动弹。’——我也想借此表达我的恐惧。” Chanpil 说。

“《猎物和捕食者》是我看到的真实世界。我想要透过这个系列去讲述世界的本质,而不是表面上的可见世界。”

A Predator (2014), 53 X 46 cm, Oil on canvas.
A Prey (2014), 41 X 32cm, Oil on canvas.

Behance: ~/moon_on
Instagram: @moonchanpil

 

Contributor: Chen Yuan


Behance: ~/moon_on
Instagram: @moonchanpil

 

供稿人: Chen Yuan

Black Holes and Strange Worlds

Despite a gravitational force strong enough to swallow light, black holes don’t actually destroy everything inside them. According to the late Stephen Hawking, black holes aren’t as “black” as we think. Matter or energy pulled beyond the event horizon might still find a way out, or even emerge in another universe. 

This may be true enough of real black holes, at least in one scientist’s theory. But the black holes imagined by Korean illustrator Sangho Bang are very different. For him, they’re an otherworldly refuge.


黑洞,其实并非是所有物质的黑终结之地。尽管黑洞的引力巨大,能把任何物质包括光线都吸入其中,但史蒂夫霍金用他伟大的一生向我们提出了这样的见解:黑洞没有我们想象的那么。任何进入黑洞的事物最终还是会找到出口,或者跑出黑洞外,又或者跑进了另一个宇宙。

那是一个科学家头顶上的星空,和他对黑洞的理解。而对于来自韩国的插画艺术家 Sangho Bang 来说,他心中畅想的黑洞,更像是一处宇宙避难所。

Bang draws planets filled with outlandish creatures, often covered in craters and bulges, in a vibrant, psychedelic world of holes. “My work is mainly about building a world of other planets, depicting their landscapes and inhabitants, and giving them artistic expression,” he explains. “On the planets I create, everything is extremely primitive: creation, disintegration, copulation.”


在 Sangho 创造的星球上,你会看到无数形态怪谲的生物,像是变异的多囊细胞核,充斥在鲜艳颜色迷幻孔洞世界。“我的作品主题主要是建立行星世界,描述景观,并通过艺术媒介表现出来,” Sangho 说,“在我创造的星球上,创造、爆炸和交配,一切都是非常原始的。”

For Bang, black holes are portals to an unknown world. “When I peer into those holes, I can see other worlds inside,” he says. “And the worlds in those holes have holes of their own. This chain of interlinked black holes means we can never know the exact scale and location of these worlds.”


而黑洞是通道,连接的是另一个未知的世界。“当我往这些洞里看进去时,我可以看到里面出现了其他的世界,也看到了其他世界里一样的洞。这种黑洞一层层的连锁循环,阻止了我们猜测世界大小尺寸或具体位置的可能,” Sangho 说。

Bang’s worlds are a refuge, a sanctuary for his own reality and feelings. The organisms and spaces on the planets he creates can be microscopically small or larger than the sun. The planet’s form is also in constant flux: it might appear as an animal’s head, a plant, or a complex cellular shape. There’s no order or logic, and nothing has to respect or resemble the world as it actually is.

“Whether we’re stepping into an invisible space or a vast, boundless universe, our imagination lets us enter the black hole and probe even its furthest reaches.”


这里也是 Sangho 作为自己现实和感受的避难所。在这个星球上,空间和生物体可以像细胞一样小,也可以比太阳还大;星球的形状也千变万化,可能是动物的头颅,可能是细胞或植物。一切都不必参考和遵循既有的存在,也没有秩序和概念。

“我们可以进入一个看不见的空间,或进入一个巨大深邃的宇宙。我们通过想象,进入到黑洞内部,甚至可以看到它最深处的部分,去一探究竟。”

Website: www.bangsangho.com
Behance: ~/bangsangho
Instagram: @bang.sang

 

Contributor: Chen Yuan


网址: www.bangsangho.com
Behance: ~/bangsangho
Instagram: @bang.sang

 

供稿人: Chen Yuan

Redefining Femininity & Sexuality

Butt Sausage

Drawing the most feminine parts of the female body as a series of dishes – isn’t that a bit over the top? Trying to fully express women’s desire for sexuality and even its symbolic form, through the tip of a pen – isn’t that a bit audacious?

Claudia Chanhoi, a Hong Kong-born and U.S.-based artist, says most of her creations feature women’s body parts but aren’t only about women’s sexual desire. They also represent the artist herself, a modern straight woman.

But what do these illustrations aim to communicate?


如果要你说,把女性最具特色的身体部位当成一道道菜品,画成画,是不是有点太堂而皇之?如果要你说,把女性对性的渴求甚至象征形象也统统诉诸笔尖,是不是太过于胆大妄为

现居美国的艺术家 Claudia Chanhoi,她大多数作品创作的对象就都是女性的身体部位,但它们实际上不仅仅女性性欲的代表,也是身为现代女性异性恋的艺术家本人的象征。

那么,这些图像具体想表达些什么呢?


 

Non-reproductive Sex

 

Sex, a veiled and silenced word, traditionally connotes privacy, shame, even filth. But just because it’s silenced, does that mean it doesn’t exist?


不是为了生育的性

 

性,这似乎是一个看不见也说不出口的词,在传统历史中,它囊括了私密、羞耻,甚至“肮脏”的概念。但不被说出口,就代表它不存在了吗?

Feeling Detached From The Body
Coconut Summer

Chanhoi was raised in Hong Kong by devout Catholic parents. As a child, she attended a very traditional all-girls Catholic school where she was taught that female sexuality should be passive and vulnerable. “Women couldn’t really express sexual desire – doing so would be shameful and wrong,” she recalls. Back then, it didn’t even occur to her that sex could come before marriage or should happen outside of procreation. In her mind, sex was only for reproduction.

“Honestly, at the time, I didn’t really think much about it, since I was still too young to understand what sexuality and sex actually meant,” Chanhoi says. “Once I got a bit older and entered puberty, people around me started making comments about my appearance. […] It seemed like it was a woman’s job to be sexually appealing, and to uphold all those standards of beauty.”


Claudia 小时候在香港长大, 父母是传统的天主教徒,她小时候就读的学校,更是一所非常传统的私立女子天主教学校。小时候的她,被教导为“女性的性行为应该是被动的、易受伤的”;“女性不能真正表达自己的性欲,否则它会显得可耻”。甚至,对那时候的 Claudia 来说,性行为在结婚怀孕前,是一件“永远不会去做”的事情。性,仿佛永远只能为生育服务。

“老实说,当时我并没有太多的想法,因为我还太年轻,不了解性欲和性的真正含义。等我长大了一点,到了青春期之后,我发现女性的身体被广泛当成是性对象,我周围的人也开始对我的外表发表评论,并且觉得女性需要努力保持性吸引力,坚持所有这些美丽的标准。”

Vag 03

Looking back now, she says, “I was confused, and I always felt I wasn’t good enough to meet society’s expectations of how women should look or how they should behave.”

Perhaps that’s when she started asking questions about gender inequality and women’s roles. “Even though I was taught that women shouldn’t display their sexuality, from my own experience, I’d say society uses female bodies as sex objects. Women have never really had full ownership or control over their bodies.”


回看那时候,Claudia 说:“我感到很困惑,总是觉得自己不够好,没办法满足社会对女性应有的期望。”

那或许正是 Claudia 开始质疑女性的社会角色和性别不平等问题的时刻——“从我所经历的情况来看,社会一直在使用女性身体作为性对象。对我而言,女性似乎从未真正掌握过自己的身体。”


Sex Tablets?

 

In 2013, in her last year at the London College of Communication, Chanhoi started a final project titled The Sexual Objectification of Women. Three years later, still fascinated by feminism and what it means to be a woman in modern society, she picked the project back up with the addition of new illustrations. “Most of my work is created purely from my own experiences. I see this as a visual journal, a message to share, a joke,” she says. “Of course, these illustrations go far beyond the original topic.”


性爱药丸?

 

2013 年,Claudia 在伦敦大学传播学院开启了她的最后一个学生时代的项目女人物化的性The Sexual Objectification of Women)。出于对女权主义的好奇,对“在现代社会做女人是种什么样的感受”好奇,Claudia 在 2016 年重启了这个项目,“我的大部分作品都是纯粹基于我的经验而创作的。我觉得这是我的视觉杂志,亦是可供分享的一条信息、一个笑话,当然这也完全超过了我最初选定的主题。”

Bad Medicine

The subjects of Chanhoi’s drawings are often based on more than everyday objects. “Once, while recovering from the flu, I had to take different drugs every day. Staring at those pills, I suddenly began to wonder: if loneliness is a sort of illness, might casual sex be a short-term treatment? That’s how I created ‘Bad Medicine: Sex Tablets.’”


Claudia 作画的对象,不外乎是大家每天在生活中都能看到的东西。 “有一次我从流感中恢复过来,每天都必须服用不同的药片。 盯着这些药片,我立即质疑自己,‘如果孤独是一种病的话,那么性爱算不算短期特效药?’ 这就是我创造一剂坏药—性爱药丸的原因。”

Isolation Room
Body 01
Loneliness is An Infectious Disease

For Chanhoi, art is her best means of connecting with people and telling stories. She believes that the message or concept behind the image is crucial. In a world where everything moves quickly, people can always forget a beautiful image. For a work to be really memorable and irreplaceable, it has to say something meaningful. “I hope people can relate to my art and understand the thinking behind it, and not just see it as a bunch of images with nipples and genitals,” she adds.


Claudia 觉得,在画面背后所蕴涵的信息或概念是至关重要的。在这个快节奏的世界中,人们往往会很快就忘记美丽的图像,但真正能够让人铭记且无法替代的作品,是那些言之有物的作品。对 Claudia 来说,作品就是她与人沟通和讲故事的最佳交流工具。

“我希望人们会在我的艺术作品中感到关联性,并理解背后的概念,而不把我的作品当作乳头和生殖器的图像。”


 

Shifting Power Dynamics

 

Chanhoi began to see her project as a potential platform for expression and a way of better understanding herself and her own sexuality. She was struck by how celebrities like Rihanna and Beyoncé, as strong, independent women, used their sex appeal to celebrate feminine sexuality and proclaim their power over men. This insight upended Chanhoi’s whole concept of sexual power, a shift she found liberating and fascinating.


“性力量”的易位

 

在这个个人项目创作中,Claudia 把它作为一个可供表达的平台,来更好地理解自己和自己的性欲。在这个过程中,Claudia 意识到像蕾哈娜、碧昂丝这样的名人,作为强大的独立女性,她们利用女人的性吸引力来彰显女性的“性力量”(sexual power),展现女性对男性的性权力或掌控力。从这个角度来看,Claudia 发现“性力量”的观点竟整个转变了,这个转变显得非常自由且迷人。

To Love Your Body To Love Somebody
Plum Double

“Generally speaking, I think women have more sexual power than men, even though I’m a heterosexual woman,” says Chanhoi. “For such a long time throughout history, women’s bodies have been sexualized and taken away from them. Now women can be as sexual as we like, and can freely express our desires, without being called out or rejected.”

Chanhoi enjoys being a woman in today’s society, but she recognizes it’s not easy. Women are often unfairly put into different boxes: attractive or ugly, single or taken, married or unmarried. “You can even be called a prude and a slut at the same time, depending on who’s doing the judging. I can’t sum up how society sees women because there are too many rules women are asked to follow. Even women treat other women very harshly,” she adds. “What I can say is that modern women are more empowered to have a voice than ever before, and that voice will always be heard.”


“一般说来,尽管我是一名异性恋女性,但我认为女性比男性拥有更多的性权力……在人类历史上,女人的身体在很长一段时间里都已经被‘性欲化’了,而且被剥夺于自身之外。 我想我们女性可以像任何人一样享受性生活,并且可以随心所欲地表达自己的欲望,而不会被社会声讨且反对。”

Claudia 很喜欢在现代社会中做女人的角色,但做女人并不容易。女人往往会被不公平地划分成不同的类别:有吸引力或没有吸引力、单身或有对象、未婚或已婚……“你甚至可以同时被称为修女荡妇,仅凭人们评判角度的不同。我恐怕无法总结我们的社会如何看待女性,因为有太多的规则要求女性来遵守,甚至女人也会对女人自己非常苛刻。我可以说的是,现代女性比以往任何时候都更有能力发出声音,而且将一直被大众听到。”

Drive Through 02
Sexy Back 01
Fantasy Room
Lips 01
I Feel Strong To Be Served

Website: www.claudiachanhoi.com
Instagram@brainxeyes

 

Contributor: Chen Yuan


网站: www.claudiachanhoi.com
Instagram: @brainxeyes

 

供稿人: Chen Yuan

Four Characters

Mostly comprised of four characters, idioms, or chengyu, are one of the most beloved methods of expression in China. The appeal of chengyu lies in their power to convey complex and wordy ideas in a concise manner. But being that many of these phrases originated from ancient Chinese literature, they can, at times, be difficult to make sense of without an understanding of their original context. Luckily, the more convoluted expressions have all but faded from the colloquial lexicon in modern-day China, while many of the easier-to-understand idioms are still widely used.

Today, the internet has become a breeding ground for linguistic creativity. Chinese netizens have begun cleverly crafting their own four-character phrases that follow the formula for traditional idioms. One such phrase birthed by the internet is rén jiān bù chāi (人艰不拆), which translates to “life is already hard enough as is, just cut me some slack.” It’s most often used in a jestful manner. Another quirky internet expression that’s made the rounds in recent times is kōu jiǎo dà hàn (抠脚大汉), which is equivalent to “catfishing” in American slang, but it’s tailored to specifically refer to a man pretending to be a woman.

Similarly, many emojis and stickers used in Chinese messaging apps have followed this trend. Images accompanied by four or five-character phrases are commonplace; they’re used to add humor or alter the expression’s original meaning. While much of these are basically Chinese memes, they serve as a testament to the linguistic versatility and nuanced possibilities of the Chinese language. Designer and recent college graduate Xia Ruolan found herself intrigued by the evolution of these expressions, and in wanting to help explain their meanings to a Western audience, she created Four Chars, an illustration project that translates and simplifies some of the more commonly seen four-character Chinese phrases.


如今我们已经很少会在日常对话中用到寓意艰深的成语,有些艰涩难懂的文言文,也随之渐渐淡出人们的视野。但其实随着互联网时代的到来,人们对使用俗语、成语的热情却并没有消退。无论多么纷繁复杂的内容,都可以用四字来概括,甚至年轻一代人还会自创四字短语。从“人艰不拆”到“抠脚大汉”,表情包文化的迅猛发展,也让四字短语的视觉表达成为了展示汉语魅力的契机。

刚从卡内基梅隆大学的产品设计系毕业不久的设计师夏若兰,就创作了这样的“四字画语”,试图用插画的形式来解释四个小小汉字的万千含义。

In the early days of Four Chars, Xia mainly used the project as a way of setting aside personal time for herself after work, a way to unwind from her stressful days. Xia recalls the many trials and tribulations that she experienced within the first year of her career: She underwent four different boss changes, switched departments three times, and even had to relocate to another country. But aside from helping her cope from the stresses of work, and perhaps more importantly, the project was a way for Xia, who’s spent much of her life abroad, to reconcile with her cultural roots.

“It may seem like being independent and living in a new country is a liberating experience,” she tells us. “But the truth of the matter is, it felt like I was running into dead ends everywhere.”

Being that Xia’s mother tongue is Chinese, Xia often found herself unable to fully articulate certain ideas in English. Out of these frustrations, she gained a newfound appreciation for the depth and versatility of the Chinese language. Xia wanted a way to share the beautiful subtleties and complexities of her native language with the world but needed to figure out an easily accessible approach. Noting the vast amounts of four-character expressions that exist nowadays, Xia came up with the idea to use illustration to offer easy-to-understand explanations for these common Chinese phrases, and thus, Four Chars was born.


最初创作“四字画语”的原因,有一部分正是源于夏若兰“在异国他乡独自生活,出于平复心态、提升自己的需要”而为之。夏若兰说,工作还没满一年,她就换了四个老板,调了三次组,在两个不同国家工作。“一个人在一个陌生的国度生活,好像有无限的自由,但也却处处是边界。”

作为一个中文母语者,夏若兰说,她不时会面临有货倒不出的困窘。有些略带俗气的双关词语,让夏若兰一再感受到汉语词汇的广博且充满弹性(雅俗共赏)的内涵。这也让她产生了某种使命感,要让汉语的丰富含义更加平民化地传播。加之夏若兰发现 Instagram 汉语学习专题与插画专题相交叉的一个市场空白,每四个汉字都可能是一个触发点,画面的创作空间非常广阔。“四字画语”就此诞生了。

From fine art to movies and video games, Xia’s inspiration comes from a variety of different sources. “One time, I was cooking something with Sriracha. I was just staring at the bottle of red sauce, and the idiom rè huǒ cháo tiān (热火朝天) popped up in my head mind. At the same time, an image of René Magritte’s surrealist paintings surfaced in my mind. Combining the two, I came up with the idea to draw a bunch of Sriracha rockets flying into the sky as a way of presenting the idiom.”


要说灵感的发源,艺术家的作品、电影游戏的画面,都会成为夏若兰的启发点,“有一次我用 Sriracha 辣酱(中国好像买不到,但在海外很火的中国特色辣酱)做晚饭,看着红红的瓶身,就想到了热火朝天那个词。脑海中又有超现实主义艺术家雷内马格里特(René Magritte)的经典画作,于是就画出了一大堆辣酱瓶子因为自身太辣变成了火箭往天上飞的场景。”

Xia acknowledges that conceptualizing and executing the illustrations aren’t the toughest steps of the creative process. The most challenging part lies in the fact that there are lots of four-character phrases that simply cannot be explained in a sentence or two. “In most cases, I have to simplify the full meaning; if the dictionary doesn’t explain the literal meaning or breakdown underlying connotations of the phrase, I also have to figure out how to add it in. My boyfriend will often help out too and fix up my ‘Chinglish.’” Xia says, grinning. “But when I’m trying to translate these idioms, it’s not just about their meaning. The most important thing is to explain why its an interesting phrase.”

One of the quirkier phrases Xia covers in the series is “děng dēng děng dēng (等灯等灯),” a four-character onomatopoeia that references Intel’s iconic jingle. The first and third character, děng (等), means wait. The second and fourth character, dēng (灯), means light. Her illustrations present a literal interpretation of the phrase with characters holding traffic lights. This expression is most often used as playful banter between friends and simply means “wait” or “hold on a minute.”

Another phrase Xia enjoyed working on was wèi ài gǔ zhǎng (为爱鼓掌), which is a double entendre. Its literal meaning is “clap in the name of love,” but in Chinese, the onomatopoeia for clapping – “pa, pa, pa” (啪啪啪) –  is associated with the sounds of intercourse (or specifically, the sound of skin slapping against skin). The expression is essentially used as a euphemism for talking about sex. Taking into consideration of the fact that many people might not understand the dual meaning of the phrase, she decided to approach the illustration and definition in a literal manner. Another point she took into consideration is that if she were to present the true meaning through illustration, it’d most likely result in a raunchy image that could be censored by Instagram. Xia tells us, “It was fun to look at the comment section for this post,” she says. “Many people who’re aware of the true meaning were cracking jokes with other double entendres.”


但往往最难的不是设计本身,而是那些无法用三言两语去解释的字词。“大多数情况是,自己把词典提供的释义进行略微的改动;如果词典没有提供引申义和字面义的,自己也需要补上。有时候在美国的男友也会帮忙改语法,以及改掉我比较 Chinglish 的部分。”夏若兰说,“在解释这些词的时候,不仅要解释字面义,还要解释为什么这个词是有趣的。”

比如源自于英特尔广告声音等灯等灯,在形象化描绘了等待红绿灯的场景后,也需要融入声音的通感。又比如为爱鼓掌,一语双关。直接解释的话,鼓掌其实就是啪啪啪的声响,但夏若兰担心这么解释反会加深非汉语用户的理解难度;可要是直接诠释啪啪啪本意,则肯定要涉及到露骨画面,会被网络筛查。所以夏若兰在这时就用了更通俗易懂的方法去描述性爱。“有趣的是,这个词的评论区冒出不少人,他们用了相似的语言风格表露了他们作为老司机的一面。”

Having never been formally trained in art, Xia says this project is actually her first-ever attempt at dabbling with illustration. “While Four Chars has helped me a lot personally, it’s actually my first time ever doing something like this. It’s helped me with managing my stress, but in a way, it’s pretty much just escapism. […] I do feel a sense of elation and relief whenever I’m working on the project. It feels different from doing something just to kill time. There also aren’t any extreme ‘eureka’ moments nor do I experience creative stagnation; the project lets me channel my creativity in a pretty consistent way. I also get to experiment with new styles or aesthetics every day.”

Recalling what life was like before she began the project, Xia estimates that 90% of her time was spent figuring out how to be more effective, how to work faster, and how to get results. Being locked into this mentality led her to feel restless and irritable all the time. “So, as someone who’s always looked within for answers, I began asking myself how I could get out of this slump. I guess I hoped I could use the remaining 10% of my time to come up with an answer, and it turns out, Four Chars was the result of that – this project gave me a chance to work on something that didn’t necessarily need an end goal. It was time that I can use for my personal enjoyment and to better myself creatively. In a way, I’m grateful. If I didn’t face the hardships that I did, then I wouldn’t have come up with Four Chars. Its helped me find motivation in all aspects of my life.”


其实作为一个没有机会进行“艺术科班培训”的画手,夏若兰说,这是她第一次以插画师的身份来做项目。“当然,四字画语给我带来的收益并不是十全十美的。它作为一个精神后花园,很大程度上会让我脱离对物理世界的体会(也会让我产生幻觉)……创作四字画语带给我一种上升着的快感,和消磨时间的快感不同,它并不存在一个‘高潮与高潮消退的阶段。每一天都可以尝试新的画风。”

因为之前受到种种压力的影响,夏若兰每天可能会有 90% 的时间在让自己加速、高效、出成果,需要做到“充实”。但这种充实却建立在浮躁本身的泡沫之上。“于是,习惯于独立思考的我立即开始向内心求助,祈求着那个 10% 的我的援助。‘四字画语’就是那个 10% 的时间,它给了我一个‘沉浸做一件事不求目的’的时间段,是一个享受匠人精神的时间段。如果没有之前的转折,就没有四字画语的初心。它像是一个自我鞭策的存在。”

Website: ruolan.design
Instagram
: @four_chars

 

Contributor: Chen Yuan


网站: ruolan.design
Instagram: @four_chars

 

供稿人: Chen Yuan