Tag Archives: 日本

Strawberries Will Save the World

 

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Japanese director Yoko Okumura’s Strawberries Will Save the World is a short and whimsical documentary that takes viewers into the life of Yuko Okumura, an avid strawberry enthusiast and the director’s own mother. Yoko’s main instruction to her production team was to make the film “Make it cute. Make it really really cute! ” Strawberry mugs, strawberry socks, strawberry glasses, strawberry spatula, and even a strawberry-related chatroom – Yuko’s life and home is filled to the brim with anything and everything strawberry related. In Japanese, the word for strawberry is ichigo, which can be dissected into ichi (meaning one) and go (meaning five). As a result, the number 15 is considered to be related to the fruit. And whether it’s checking the time or driving around, Yuko feels like the number 15 shows up everywhere she goes even though she’s not looking for it. This became affirmation that, all along, it wasn’t her searching for strawberries – strawberries are naturally drawn to her.


居住在美国的日本影片制作人 Yoko Okumura拍摄了一部记录短片,讲述了一个草莓疯狂痴恋者的故事,而影片的主人公 ——Yuko Okumura,正是她的妈妈。短片以一种轻松可爱的手法讲述了Yuko女士对草莓的痴狂。拍摄的时候,导演Yoko Okumura给团队的要求就是:“拍得可爱一些,拍的非常非常可爱。” 草莓杯、草莓袜、草莓眼镜和草莓锅铲甚至是草莓聊天室,Yuko女士家中塞满了和草莓相关的一切,或者说,她的生命也是和草莓紧紧关联在一起的。在日语中,草莓的发音与数字“15”的发音一致, Yuko女士说每当她拿起手机或开车的时候,总能自然地看到”15“这个数字,仿佛不是她在找草莓,而是草莓进入了她的生活。

The internet has allowed Yuko to connect with other like-minded strawberry lovers and share her impressive collection with them. She’s now a member of a Japanese association of strawberry enthusiasts and is even brainstorming on how to shoot an entire movie about strawberries. As this simple fruit has brought so much joy to her own life, Yuko feels compelled to spread this same happiness to more people around the world. Watch the documentary above to see how Yuko plans to channel more positivity into the world with the power of strawberries.


现在,Yuko女士是日本一个草莓爱好者协会的成员,她通过网络向和她一样喜欢草莓的朋友们分享她的收藏,甚至还在筹备着一部和草莓相关的电影。Yuko女士一直坚信着一件事——草莓可以拯救世界。草莓为她的生活带来了太多的欢乐,而她正尝试着将这些欢乐传递出去,影响更多的人。观看上方的影片,感受这对母女用草莓向世界传递的童趣和正能量。

Website: yokofilm.com
Vimeo: ~/yokookumura

 

Contributor: Ye Zi


网站yokofilm.com
Vimeo~/yokookumura

 

供稿人: Ye Zi

Passion & Fragility

Friends

Mizuki Nishiyama is a Japanese multimedia artist, painter, and poet based in New York City. Currently a student at the Parsons School of Design, Nishiyama creates abstract expressionist works that examine personal experiences, ideas of the extreme, and the concept of human fragility. Nishiyama tells Neocha more about her artwork below.


Mizuki Nishiyama是来自日本的多媒体艺术家、画家和诗人,现居纽约,就读于帕森设计学院(Parsons School of Design)。Nishiyama以抽象表现主义的作品,探讨自己的人生经历,极端的想法和人类脆弱性的概念。最近,Nishiyama和Neocha分享了她对艺术、文化和创意的一些想法。

Snails In Her Eyes
Gustav
In My Lake of Boulders

Neocha: What first drew you to pursue art?

Nishiyama: My grandma, granduncle, and mother are all painters. Each of them work in different mediums – my grandma uses tennen iwa enogu (powdered minerals) for Nihonga (traditional Japanese art), my granduncle paints with watercolor, and my mother paints with oil. As my family has an artistic background, I presume I’ve been influenced by them. Nevertheless, many of my own personal developments have led me to explore different methods to recreate or make a statement, whether it be through music, dance, or writing. Over time, I’ve realized that painting allows me to create the most accurate representation of what I intend to visualize.


Neocha: 你一开始为什么会对艺术感兴趣?

Nishiyama: 我的祖母、伯祖父和母亲都是画家。他们各自用着不同的媒介来创作。我的祖母用Tennen Iwa Enogu(粉状矿物质)来画日本画(Nihonga,指日本的民族传统绘画),我的伯祖父画水彩画,而我母亲则是画油画。由于我家的艺术背景,我从小就已经受到他们的影响。尽管如此,我个人的很多经历也在促使我去寻求不同的方法来创作或表达,可以是音乐,也可以是舞蹈或写作。慢慢地,我意识到,绘画能最准确表达出我想要可视化的内容。

Rokurokubi

Neocha: Aside from familial influences, how does Japan and its culture influence your artistic process?

Nishiyama: I was fortunate to have been raised in a culturally diverse environment. My father is from Japan and my mother is from Hong Kong, but they spent a big portion of their lives in Italy. Bouncing between five languages at home and attending a Canadian International School in Hong Kong, I’ve never been able to identify concretely with particular heritages. However, I’ve always had a fondness for Japanese history and culture. By visiting Japan ever so often, I’ve been exposed to traditional arts such as bunraku (traditional Japanese puppet theatre), kabuki (classical Japanese dance-dramas), buyō (traditional Japanese performing arts), and ukiyo-e (an art genre that flourished in Japan between the 17th and 19th century), which have all brought my attention and attraction to classical arts. I’m so grateful to have been brought up with multiple cultural values, as I do realize that I unconsciously blend aspects of all those cultures together.


Neocha: 日本文化对你的作品有什么影响?

Nishiyama: 我很幸运可以在一个多元文化的环境中成长。我的父亲来自日本,而我的母亲来自香港,但他们大部分时间都生活在意大利。在家里,我会在五种语言之间来回切换,加上是在香港的加拿大国际学校读书的,所以,对我来说,我从来都没有特别觉得自己属于哪一种文化。不过,我一直都很喜欢日本的历史和文化。我经常去日本,也接触到很多当地传统艺术,例如文乐(Bunraku)、歌舞伎(Kabuki)、舞踊(Buyō)和浮世绘(Ukiyo-e)、而这些艺术又让我开始注意并喜欢上古典艺术。我很感恩,自己能在这种多元文化的环境中成长,因为我发现,自己会不自觉地将这些不同文化融合在一起。

B.D.P.C.
She
Peas and Peaches

Neocha: What are some recurrent themes in your artwork?

Nishiyama: I’m a very emotionally driven person. I’m tempestuous, and my thoughts are impassioned. The images that I paint come from a very sensitive and ardent side of my human experience that I simply want to document.

My work covers unconventional topics about the human experience that are intentionally confrontational. I’m extremely intrigued by the rawness of the human psyche when we are vulnerable to our emotions. These feelings help cultivate my creativity through emotional intimacy between myself and the brush. The themes I’ve expressed thus far have been based on personal experiences and spontaneous social issues, often ignored or instinctively disregarded by society.

I started painting as a response to many situations in my life. This allowed me to take a step back, and analyze these situations through a secondary lens. I consider my paintings as somewhat of a visual diary. By looking back at my work, I’ve learned to understand myself better – emotionally and circumstantially.


Neocha你的作品有哪些常见主题?

Nishiyama我是一个很情绪化的人。我性格暴躁,充满激动的想法。我所创作的画像,灵感就源自于我想要记录的那些极为敏感和激烈的人生经历。

我的作品探讨的都是比较颠覆传统、关于人类经历的主题,充满着故意的对抗性。我尤其热衷研究人类最本质的精神世界,因为那时候的我们很容易受情绪主宰。这些情绪能让我和画笔融为一体,从而提升我的创意。迄今为止,我所表达的主题都是来自于个人的经历和当下的社会问题,尤其是那些常常被社会忽视或本能地忽略的话题。

我一开始画画,是为了对我的生命中很多情况作出回应。通过绘画,我可以让自己退后一步,以另一个角度来分析这些情况。我觉得自己的画作其实算是我的视觉日记。回顾这些作品,可以让我更好地了解自己的情感和身处的环境。

Camellia
Tic Tac Toe
Swing Me From The Cantaloupe I Swear To Beckon This Raisin Day

Neocha: How does color play a role in your art? What does color mean to you?

Nishiyama: Selecting the appropriate colors to provoke emotions and amplify messages are constantly on my mind. Themes surrounding my pieces are often quite impassioned, so I tend to naturally grab darker, more vibrant and vivid shades. I am currently experimenting with mediums. I am familiar working with highly pigmented shades, however, I’ve recently begun incorporating gouache, gloss, thickening mediums, as well as glazing to create a variety of looks.


Neocha: 色彩在你的艺术创作中扮演什么角色?色彩对你来说意味着什么?

Nishiyama: 我总是会去思考如何选择合适的色彩来挑动情绪,突显作品想要传达的信息。我的作品主题往往都十分激烈的情感,所以很自然地,我倾向于使用更鲜活生动的暗色调。我目前在尝试用不同的媒介进行创作。我比较擅长用高饱和度的色彩创作,但是最近我也开始使用水粉、光泽涂料、可以增厚质感的媒介,以及透明画法(glazing)来营造同不的效果。

Sunflowers Dream

Neocha: As both a painter and a poet, how does your creative process differ across these two mediums?

Nishiyama: Literature and painting go hand-in-hand when it comes to being able to show an accurate representation of what I intend to document. I’m a big fan of confessional poetry. I do not intend to create flawless stanzas nor sculptured phrases. I have always treated both my paintings and my poems as representative milestones in my life. The commonality would be the emotional heaviness I convey through both mediums.


Neocha: 你身兼画家和诗人两个身份,那么你在分别创作这两个媒介时,会有什么不同的创作思路吗?

Nishiyama: 文学和绘画都能准确表达出我想要记录的内容,在这一点上,两者是一样的。我特别喜欢自白派诗歌(Confessional Poetry)。我不打算创作出完美无瑕的诗节,也不想精雕细琢所用的词语。一直以来,我创作的画和诗都是记录我生命的里程碑。两者的共性在于我透过这两种媒介传达的沉重情感。

Katherine

Neocha: How has studying in New York City influenced your attitude towards art?

Nishiyama: I became more driven once I started attending the Parsons School of Design, due to constantly being surrounded by highly motivated and creative people. Moving to New York City meant there were going to be a lot of new life changes, and that resulted in many conversational pieces. Nonetheless, Hong Kong, Japan, and New York are all creative, visionary cities to develop one’s art. But I do favor New York simply because it is a new chapter in my life, and there is yet so much more for me to learn and explore.


Neocha: 在纽约学习的经历让你对艺术的态度产生了什么变化?

Nishiyama: 入读美国帕森斯设计学院( Parsons School of Design)后,我变得更有创作的动力,因为身边的人都充满了创作欲望和创意才华的人。搬到纽约后,在生活上自然会发生很多的变化,也因此创作了很多交谈画(Conversational Piece)。虽然香港、日本和纽约都是充满前卫创意的地方,非常适合发展艺术,但我尤其喜欢纽约。原因很简单,它代表着我人生的新篇章,在这座城市有那么多值得我去学习和探索的东西。

Messy Heads

Website: mizukinishiyama.com

 

Contributor: George Zhi Zhao


网站mizukinishiyama.com

 

供稿人: George Zhi Zhao

Black & White Tokyo

Veteran Japanese photographer Junichi Hakoyama is best known for his minimalist black-and-white stills that he captures on the streets of Tokyo. Armed with his Leica M Monochrom, Hakoyama creates alluring images with bold lines and high contrasts through his effective use of light and shadow. The result is a beautifully understated monochromatic series that he has simply titled Tokyo. Every shot carries a soothing balance of proportion and geometric structure, which transforms a simple subject in a common setting into a moment full of purpose. See more of his work below.


日本资深摄影师Junichi Hakoyama凭借在东京街头捕捉的简约黑白摄影作品而闻名。通过他的Leica M Monochrom 相机,他用大胆的线条和高对比度的光影组合呈现了一系列出色的影像作品。他将这个精美而低调的黑白摄影作品系列简洁地命名为《东京》(Tokyo)。每一张照片的比例和几何结构都有一种令人看上去很舒服的平衡,将人们常见的环境和普通的人物定格为一个充满目的性的时刻。一起来欣赏一下他的作品吧。

Flickr: ~/junichihakoyama
Instagram: @junichi_hakoyama

 

Contributor: Whitney Ng


Flickr: ~/junichihakoyama
Instagram: @junichi_hakoyama

 

供稿人: Whitney Ng

Designing Happiness

Since arriving in Tokyo, Duncan Shotton has set about bestowing happiness around the world, one little hand-painted push pin at a time. Five years ago, in 2012, Shotton set up his own design studio in Japan. Since then, many aspects of his adopted home have served as inspiration. From holding his first pop-up shop in a tree within Tokyo’s Harajuku district to rethinking the humble soy sauce dish, Shotton has the ability to turn the everyday into the extraordinary.


2012年来到东京之后,英国设计师Duncan Shotton一直通过自己对平常生活的小用品的创意设计(譬如手绘小图钉),在世界各地传播快乐的精神。五年前,Shotton在日本成立设计工作室,日本的许多方面启发了他的创意灵感。不论是他在东京原宿区一棵树上开设的第一家概念性快闪店(pop-up shop),或是他对酱油碟的重新演绎,Shotton一直着眼于将平凡的小用品变得不平凡。

Tobiishi

In Japan, it’s considered rude to wear shoes indoors. This custom is so deeply embedded into Japanese culture that many apartments come with a built-in sunken porch at the entrance. Shotton was inspired by stepping stones that he saw in Kyoto and designed Tobiishi as a clean space that serves as a stable treading spot for people greeting guests or accepting deliveries.


Tobiishi

在日本,在室内穿鞋都是不礼貌的。这种习俗在日本文化中影响很深,以至于许多公寓在入口处都会设有一个“ 凹陷式门廊”。Shotton以自己在京都看到的垫脚石 为灵感,设计出Tobiishi,为人们在门口迎接客人或签收包裹时提供一个干净、稳固的踩点。

Soy Shape

Noticing that the natural color of soy sauce takes on a gradient form when poured into a shallow dish, Shotton designed these delightful dipping sauce dishes to give off the illusion of 3D shapes, giving an extra “dimension” to every sushi eating experience.


Soy Shape

Shotton注意到,将酱油倒入较浅的碟子时,其颜色会出现自然渐变的效果,于是,他设计了有趣的酱油碟,营造出3D形状的幻觉,让你在每一次吃寿司时都能享受到额外“维度”的体验。

Sticky Page Markers

This stationary series allows every bibliophile to build adorable landscapes from their favorite pages. From the iconic junk boats of Hong Kong sailing around the harbor to the infamous Godzilla monster terrorizing downtown, these page markers are sure to be a favorite amongst bookworms.


Sticky Page Markers

这个文具系列让每个爱书之人在标签自己最喜欢的书页时,同时创造出可爱的风景。书签图案各式各样,包括香港标志性的传统垃圾船以及入侵东京的哥斯拉,这些书签贴纸肯定会深受书虫的喜爱

Shotton continues to work from Tokyo, collaborating with Japanese companies and sticking to a small production scale to maintain a high level of quality. His latest project, Planet Pins and the Moon – which is comprised of a hand-painted solar system and complete with a hand-casted concrete moon push pin – is now available for pre-order.


Shotton目前仍在东京生活,他与日本企业合作,坚持小规模的产量,以保证最佳质量。他最新的作品Planet Pins and the Moon是一组太阳系行星主题的手绘图钉,以及一颗用纯手作的混凝土月球图钉,现在已经开放预订。

Website: dshott.co.uk
Facebook: ~/DuncanShottonDesignStudio
Instagram: @_dshott

 

Contributor: Whitney Ng


网站: dshott.co.uk
脸书: ~/DuncanShottonDesignStudio
Instagram: @_dshott

 

供稿人: Whitney Ng

Puzzleman Leung

Despite frequent appearances on notable photography and art websites, little is actually known about Puzzleman Leung. In that regard, the Puzzleman moniker seems like a perfect fit, appropriately encapsulating the photographer’s mysterious nature. While the photographer’s Facebook and Instagram feature a girl’s portrait, it’s actually rather difficult to even ascertain Puzzleman’s gender. On websites that feature Puzzleman’s work, the pronouns of “he” and “she” are often interchangeable. Even on Puzzleman’s “About Me” page, little information is offered beyond age and geography, with one line stating “Born in Macao and living in Taipei.” But Puzzleman’s latest photo series doesn’t take place in either of those cities. Titled Tokyo Tokymeky, the new project sees Puzzleman roam through Tokyo with frequent collaborator and model Bee Ke, snapping juxtaposing images of her and the surrounding environment. With the recent release of this photo series, we were fortunate enough to catch up with this enigmatic photographer for a quick chat. In our conversation, it was easy to see that Puzzleman’s quirky images are simply an extension of the photographer’s own personality. Scroll down to check out more photos from the new photo series and read the highlights from our interview.


摄影师Puzzleman Lueng,正如Ta的名字一般,像一幅散落四处的拼图碎片般带有些神秘色彩。Ta的作品经常出现在各大摄影艺术网站,然而对于摄影师本人,你能从互联网上获得的资料甚少,只知道Ta是一位来自澳门,但居住在台北的摄影师。你甚至很难推测出Ta的性别,TaInstagram脸书账号被清一色的魔幻少女照片占领;而翻看各网站的报道,也会看到竟然有用“He”也有用“She”的称谓来形容这位神秘人士。最近,我们很开心联系到这位拼图男人本人,Ta刚带着自己的御用模特Bee Ke漫游东京,完成了这辑最新摄影作品《Tokyo Tokymeky》。和Puzzleman交流的过程中,发现Ta的文字和影像一样有趣,下面我们一起跟着Puzzleman的镜头去东京逛一圈,和拼凑一下这次聊天中Ta留给我们的拼图线索吧。

Not Interested

“Since I was little, I haven’t been interested in photography. I find that people who dabble with photography needs to spend a lot of money on equipment – I think it’s stupid. I feel nothing when I see these commercial shots or landscape shots of sunsets.”

Action

“All photography for me is just the action of pressing a button when I find something interesting.”


没兴趣

从小我对摄影并没什么兴趣,因为知道玩摄影的人要花大钱去买器材就觉得是一件很蠢的事,而且看到那些商业的照片或夕阳的风景照完全无感。

动作

目前摄影对我来说只是对自己有兴趣的画面去按下快门的一个动作而已。”

Sculpting

“When I’m creating an image, I feel like a sculptor. I’m turning my subject or my thoughts into my envisioned image.”

Girlfriend

“The subject I photograph the most is my girlfriend. When we work together, we find ways to push each other, to prepare for a shoot. I like this process of mutual agitation.”


雕塑

在创作那些画面的过程中,我觉得自己更像在做一个雕塑,把被摄物体或自己的思想弄成自己理想的样子。

女友

目前最常拍的人是我的女友,在和她合作的过程中,我俩会不断作出有趣的想法来刺激对方,去准备拍摄,很喜欢这样互相激荡的过程。

Accidents

I like spontaneous shoots, but I also like planning. I feel that the most interesting images happen somewhere in between the two, so I suppose those would be the ‘accidents.’ Sometimes when I nail a shot and it turns out just exactly as I envisioned it, I find it unbelievably boring. I’m always looking forward to making these ‘accidents’ whenever I’m shooting. I’m pretty infatuated with this idea of accidental shots, and I’m pretty stubborn, so I’ll do anything to try and make them happen.”


意外

“我喜欢随手拍,也喜欢先构思,但我觉得最有趣的画面通常出现在这两者之间,那就是‘意外’了。有时候当我把先构思好的画面可以完整呈现出来的时候我反而会觉得很无趣,所以我特别期待每次在拍摄过程中出现的意外画面了,我对它总是特别的着迷,甚至会执着到想尽办法去让它出现。”

Contradiction

“To me, Tokyo is a wonderful place, an amazing city filled beautiful sights and colors. I’ve always been quite infatuated with this place. But on the other hand, I feel that I try to distance myself between Tokyo’s inhabitants. I’m afraid of offending them, so I’ve always been terrified of any interactions with them. It’s pretty contradictory, loving a city but being afraid of its inhabitants. I’m always left scratching my head when I think about this. I suppose it’s because I don’t know them so I don’t fully understand them. The best thing for me to do is to probably go and learn Japanese.”


矛盾

“东京对我来说是一个很好的地方,很好的城市,充满了各种各样我喜爱的画面和颜色,我一直对这个地方充满好奇心。而相反东京人常让我觉得有点退避三舍,因为很怕会冒犯到他们所以一直很害怕和他们接触,其实在这样的关系下是挺矛盾的,喜欢一个地方却对当地人退避三舍,每次想到这都让我觉得很奇怪,可能是因为我不认识他们还不了解他们吧,所以只好去学日文了解。”

Time Machine

“A great photo should be an image that inspires others or one so powerful that it refuses to leave the minds of viewers. The most important part is the inspiration. The definition of a great photo now and what can be considered as a great photo in the past have drastically changed. Fifty or sixty years from know, I wonder if photos from now would be as intriguing as the older, classic photos that we look at in awe today. Sometimes I wish I had a time machine so I could go into the future and find out.”


时光机

“好照片应该是可以让人产生灵感或不断在观者里不断浮现的吧,最重要的还是那一道灵光。现在好照片的定义和以前已经不太一样了,我不知道这个时代的经典照片在五六十年后再看会不会和我们现在在看过去经典的照片一样有吸引力,这是我一直很想坐时光机去看看的事情之一。”

As we concluded our conversation, we asked if Puzzleman had any specific message that he wanted to communicate to viewers. Instead of answering, Puzzleman asked us: “What I want to know is, with the way that people mass consume photography nowadays, don’t they get tired of it? Have you thought of what happens if one day people get tired of photography?” If you have any thoughts to share on the matter, drop by any one of Puzzleman Leung’s social media pages and share your thoughts!


最后,当我们问起关于摄影有什么想和读者分享的时候,Puzzleman反而回赠我们一个疑问:“其实我反而想问大家,每天看那么多照片,你们会腻吗?有想过如果有一天大家对影像已经没感觉的时候怎么办?”。如果你对于这个问题有任何想法,或者想更了解这位有趣的摄影师,不妨去他的社交网络页面给他留言解答吧。

Websitepuzzlemanleung.com
Facebook: ~/Plzmanleung
Instagram:  @puzzleung
Flickr: ~/puzzlemanleung

 

Contributor: Ye Zi


网站puzzlemanleung.com
脸书: ~/Plzmanleung
Instagram@puzzleung
Flickr~/puzzlemanleung

 

供稿人:  Ye Zi

“King” by Grades

 

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The music video for London-based musician Grades’ “King” was created by the award-winning Japanese director Taichi Kimura. The video features a young Japanese student with giant pigtails and a highly active imagination. While she is head down, buried with school work, her mind begins to wander from her studies at hand, into a world of make-believe where her school becomes a cartoon battlefield and she plays the role of an adorable heroine.


《King》是居住在英国的日本导演Taichi Kimura为伦敦音乐人Grades制作的音乐录影带。影片中,顶着两个巨大的双丸子的头的日本小学生,突发奇想把学校变成了卡通片里的战场,将自己从沉闷的课业里暂时解救出来,化身正义王子,和故事里的怪兽们展开大战。

From the music video’s storyline, the audience can catch glimpses of Kimura’s own child-like sense of creativity. Growing up, he was infatuated by video games. So, the idea of incorporating video game-like elements into this music video came quite naturally to him; his goal was to make a video with mass appeal. “As a child, I always dreamed of delving into an interactive world where I could defeat the bad guys and become a hero for a day. I assumed that many others have this same dream,” says Kimura. This nostalgia became the starting point for his video, which he thought would stir up memories of simpler times as a child for many viewers.


说起这支MV的故事构想,我们看到了导演Kimura纯真任性的一面。在日本长大的他从小就是一个电子游戏迷,所以就自然想到以游戏作为切入点,去制作一条能串联大众的影片。“我一直有这种幻想,自己成为了游戏世界里头和敌人对战的那个英雄,所以我也假定这个世界上很多人也会和我有同样的想法吧。” 拍摄这支童真的MV,Kimura想带着观众一起回到那个单纯勇敢极具创意的儿童时代。

Kimura had hoped to shoot the video in a traditional school constructed with wood, envisioning a location with warm tones, a location that wouldn’t look out of place in a Hayao Miyazaki film. In the end, they found the ideal filming location in a mountainous area a few hours away from Tokyo. As this school was in such a remote location and situated on a mountainside, it was difficult to transport the entire crew and all of the equipment. But in the end, Kimura felt that the result was truly worth the hassle.


在选景的时候,Kimura想拍摄一个木结构学校,就像宫崎骏电影里的场景一样,是暖色调的。最后他们在离东京几小时路程的一个偏远山区找到了这间学校。这个场地位于半山腰,要带整个拍摄团队以及大量的拍摄器材过去实在不是一件容易的事情,好在拍摄出来的效果达到了他们预先的期盼。

The young star of this music video, Lyka, was discovered by Kimura on YouTube. “Honestly, I usually hate music videos with dancers. But when I randomly came across her on YouTube. I thought that she was absolutely gangster. She was super cute but had such a strong attitude and crazy skills. The video treatment was actually written based on her.”


影片中的小演员Lyka是Kimura在YouTube上找到的。”坦白来说,我原来还蛮讨厌有舞者的MV的。但我意外地在一条YouTube视频中发现了她,我觉得她很可爱,但也带有一种邪恶又疯狂的气质,有自己强烈的个性和态度。这正是我故事中的主人公,我按照她的形象设计了整个故事。”

This being Kimura’s first-ever attempt at adding animated elements into his video, he enlisted the help of animator Rapparu to bring his vision to life. The animation process for Kings was extremely intense, requiring five animators who worked between 15 to 18 hours a day, on rotation, to achieve the final result. Laughing, Kimura says, “During the creation process, I was very harsh. I remember Rapparu called to say that he couldn’t take anymore and wanted to kill himself. I told him that’s fine, but kill yourself after you finish. Since then, he calls me a demon, which is fair play I guess.”


这次与Kimura合作的动画师是Rapparu,这也是Kimura第一次尝试有动画元素的影片。他笑说,合作的过程中,我非常严苛,我还记得有一次他电话过来,和我说无法承受下去了想要自杀,我只回复说,那就等到做完影片后再自杀吧。自此之后,他便称我为魔鬼了。这部影片的动画制作过程非常紧张,5个动画师每天工作15-18小时连轴转,才达到了最终想要的效果。

Website: taichikimura.com
Vimeo: ~/taichikimura

 

Contributor: Ye Zi


网站taichikimura.com
Vimeo:~/taichikimura

 

供稿人: Ye Zi

Cinematic Tokyo

Cinematic Tokyo is a series from Dutch photographer and cinematographer Stijn Hoekstra. After initially developing his photography style in his native home of Amsterdam, Hoekstra planned to bring his visual approach to photographing other cities. The Cinematic Tokyo series was made possible when Hoekstra was commissioned to shoot a documentary on a flower artist in Tokyo, giving him the opportunity to capture the streets during his free time. Hoekstra says, “Whenever I work in another country, I try to book some extra nights to do the thing I like most – photographing the city in my own way.”


《Cinematic Tokyo》(电影东京)是由荷兰摄影师和电影摄影指导Stijn Hoekstra创作的摄影作品系列。在家乡阿姆斯特丹期间,Hoekstra初步形成了自己的摄影风格,之后,他便计划利用自己的视觉创意在其它城市进行拍摄。《Cinematic Tokyo》系列是Hoekstra受委托前往东京为一名花艺师拍摄纪录片期间所创作的。一有空,他就会走上街道进行拍摄。Hoekstra说:“每次我去到另一个国家工作时,我都会多住几晚,去做自己想做的事情——用自己的方式拍摄这座城市。”

Hoekstra draws from his background as both a photographer and a cinematographer to bring his audience a unique perspective on visual storytelling. He says, “I always try to take a cinematic approach in my photography. Every picture is shot with a wide angle lens, and I’m always looking for different perspectives.” Through particular attention to subject, lighting, and composition, each of Hoekstra’s images manages to tell a story in a single frame.


Hoekstra利用自己作为摄影师和电影摄影指导的经验,为观众带来独特的视觉叙述视角。他说:“我总是试图以电影方式来进行摄影。每张照片都是用广角镜头拍摄,我也一直会去寻找不同的视角。“Hoekstra的摄影作品尤其关注拍摄对象、光线和构图,每张单独的照片都像是在讲述一个故事。

Color grading plays a major role in Hoekstra’s creative process and is essential in bringing out the cinematic quality of his images. According to him, “Color gives the photo the mood it deserves. It took a lot of time to develop this particular style, and it’s still developing.” Hoekstra continues his Cinematic city series in New York and Cuba.


调色(Color grading)是Hoekstra的创作过程中的重要部分,对于提升其照片的影像品质十分关键。他解释道:“色彩赋予照片相应的情绪。我花了很多时间来掌握这种特殊的风格,并且还在不断地学习。“接下来,Hoekstra将继续在纽约和古巴创作自己的《Cinematic》电影城市摄影系列。

Behance~/stijnhoekstra
Instagram@stijnhoekstra

 

Contributor: George Zhi Zhao


Behance~/stijnhoekstra
Instagram@stijnhoekstra

 

供稿人: George Zhi Zhao

Bicycle Boy

After visiting Seiseki-Sakuragaoka, the Japanese suburbs that the 1995 Studio Ghibli film Whisper of the Heart was modeled after, Polish-born and Tokyo-based artist Mateusz Urbanowicz was inspired to paint his Bicycle Boy series, which consists of ten watercolor paintings that bring the film’s narrow roads and suburban landscapes to life. Urbanowicz uses 6B pencils to sketch out each moment before coloring them with Schimincke and Winsor & Newton watercolors. This series takes us on a journey of a dedicated bicycle boy who rides up challenging inclines and through the elements in order to reach his destination. Many of Urbanowicz’s other illustrations are also inspired by his new adoptive home of Japan as well as the animated backgrounds that feature in many Japanese anime films.


波兰出生的艺术家Mateusz Urbanowicz目前生活在东京。在参观完日本郊区圣迹樱丘(Seiseki-Sakuragaoka)——1995年吉卜力电影《心之谷》(Whisper of the Heart)的场景原型后,Urbanowicz创作了《自行车男孩》(Bicycle Boy)水彩画系列,通过十幅水彩画,栩栩如生地呈现出电影中出现的狭窄小巷和日本郊区景观。Urbanowicz在创作时,先使用6B铅笔画出草图,然后用Schimincke和Winsor&Newton水彩上色。这个水彩画系列带领观众,跟随一名骑自行车的男孩,骑过艰难的斜坡,经历各种天气,朝着目的地进发。Urbanowicz的许多其它插图的灵感还来自于他如今生活的日本,以及许多日本动画中的场景。

Website: mateuszurbanowicz.com
Facebook: ~/urbanowiczmateusz
Instagram: @mateusz_urbanowicz

 

Contributor: Whitney Ng


网站: mateuszurbanowicz.com
脸书: ~/urbanowiczmateusz
Instagram: @mateusz_urbanowicz

 

供稿人: Whitney Ng

An Artful Aftermath

Cleveland-born and Singapore-based artist Debra Raymond knows first hand about being in transit. After leaving Ohio, she lived in Jakarta before relocating to the little red dot; in her art,“constant migration” remains as a heavy inspiration. Contemporary social issues such as urban alienation and technology’s hindrance on human connection feature heavily within her body of work.


艺术家Debra Raymond出生于美国克利夫兰,如今定居新加坡。对于”迁徙“,她深有体会。离开俄亥俄州后, 她先是在雅加达生活,后又移居新加坡。在她的作品中, “不间断的迁徙” 一直是一种沉重的创作灵感,她在作品中深入探讨着各种当代社会问题, 如城市异化和科技对人际关系的影响等等。

During her BA (Hons) Fine Arts in Singapore’s LASALLE College of the Arts, she explored the significance of play in childhood development and how to encourage human interaction through art in our technologically advanced era. In late 2016, Raymond completed an artist residency at the Children Centre of Japan in the Miyagi Prefecture’s Ogatsu-cho. During her residency, she conducted workshops with local children to create a series of works to remember the 2011 tsunami and earthquake.


在新加坡拉萨尔艺术学院(LASALLE College of the Arts)攻读荣誉学士学位期间, 她研究了戏剧在童年发展中的意义, 以及如何在科技先进的时代通过艺术来鼓励人类互动。2016年9月, Raymond 完成了“艺术家驻住计划”(Artist-in-residence),居住在日本宫城县小村庄Ogatsu-cho的儿童中心。期间, 她以2011年的海啸事件为灵感,为当地的儿童举办艺术讲习班。

Inspired by the houses that survived the tsunami, Raymond created 20 sculptures out of wood that was foraged from the area. The sculptures are based on 30 sketches that were painted in 30 days. The series was created to commemorate “the everydayness that we often take for granted” and installed around the prefecture.


Raymond 以海啸中幸存的房子为启发,利用当地获取的木材,并以她在驻住期间完成的30幅作品为基础创作了20个雕塑。她所创作这一系列雕塑,被安放在村庄的不同角落,目的是为了赞颂 “那些往往被人们当作理所当然的平凡生活” 。

Website: debraymond.com
Instagram: @deb.ra

 

Contributor: Whitney Ng
Images Courtesy of Debra Raymond

 


网站debraymond.com
Instagram@deb.ra

 

供稿人: Whitney Ng
图片由Debra Raymond提供

Tokyo Roller-zoku Gangs

Tokyo Roller-zoku Gangs is a portrait series from American photographer Denny Renshaw. Created in Tokyo across five weeks in 2013 and 2015, the series was shot in parks, parties, bars, and music venues around the city. Renshaw tells us more about the series and the history behind the Roller-zoku subculture below.


2013年和2015年期间,美国摄影师Denny Renshaw前往东京,用五个星期的时间在公园、派对、酒吧和音乐场所拍摄下人像作品系列《Tokyo Roller-zoku Gangs》(Roller-zoku 指上世纪五六十年代东京的摇滚文化)。下面Renshaw 给我们介绍了这一人像作品系列,并讲述这种日本摇滚亚文化现象背后的一些故事。

“Among Japan’s many fashion tribes, one of the less explored is the Roller-zoku. For over 30 years the Roller-zoku have been borrowing greaser styles, gathering together for loud rock-and-roll music, and sporting leather, denim, and big greased up pompadours. Foreigners often associate them with the group of Roller-zoku seen in Yoyogi Park every Sunday, but this tribe can be found all over Tokyo. The Roller-zoku have grown from the roots of both 50’s and 60’s rock and roll and rockabilly because Japanese record labels did not differentiate between these musical categories at the time of their introduction.”


“在日本的各种时尚圈子中,Roller-zoku是其中比较鲜为人知的群体。30多年来,这些日本摇滚人一直在借鉴街头混混的造型风格, 他们聚集在一起听吵闹的摇滚音乐, 穿上皮夹克、牛仔服,向上梳起复古的‘庞毕度头’(pompadours)。外国人一般会首先想到的是每周日出现在代代木公园的Roller-zoku, 但其实他们遍布了东京的各个角落。Roller-zoku源自于50年代和60年代的摇滚乐和洛卡比里(Rockabilly)音乐, 因为在当时,日本的唱片公司把这些音乐混为一谈。”

“Japan experienced the popularity of these early rock-and-roll styles as did much of the world at that time, but it was the revival in the late 70’s that brought the fashions still associated with the Roller-zoku. Japanese bands like the Cools and Carol were at the forefront of this musical revival and began associating themselves with leather jackets, greased back hair, and motorcycles.”


”和当时世界其他地方一样,早期摇滚风格在日本经历了备受追捧的热潮,但直到70年代的复兴时期,才出现这种摇滚音乐的标志性时装风格。正是Cools and Carol 和其他引领着这种音乐复兴浪潮的日本乐队, 让皮夹克、‘庞毕度头’和摩托车与这种音乐文化关联起来。

“Unlike many other fashion tribes, these greasers are often all ages from the young to the old. An interesting aspect of this tribe is some members’ predilection for dancing, which can be seen being practiced in Tokyo parks on weekends. Much like early hip-hop was associated with breakdancing, Roller-zoku have their own brand of dancing, incorporating classic rock-and-roll dancing as well as intricate footwork, acrobatics, and theatricality.”


”不同于许多其它时尚圈子, 这些梳着‘庞毕度头’的摇滚人中既有年轻人也有年长者。关于这个群体,一个有趣的地方是一些成员特别喜欢跳舞。周末的时候,你会在东京的公园看到他们练习跳舞。就像霹雳舞是早期嘻哈音乐的标志性舞蹈一样,Roller-zoku 也有自己的特色舞蹈,他们在传统的摇滚舞蹈基础上,加入了复杂的步法, 动作和戏剧元素。“

Website: dennyrenshaw.com
Instagram: @dennyrenshaw

 

Contributor: George Zhi Zhao
Images Courtesy of Denny Renshaw


网站dennyrenshaw.com
Instagram@dennyrenshaw

 

供稿人: George Zhi Zhao
图片由Denny Renshaw提供