Tag Archives: 绘画

An Eye for Change

As a child, Pat Lee, the colorist perhaps best known for his comic-book adaptation of Transformers, spent hours leafing through penny-bin comics, taking in all that he could from every corner of the world. Heavily influenced by Japanese works like AKIRA, Gundam, Ghost in the Shell, and Fist of the North Star, Lee integrates manga into a traditional Western style, a skill that landed him his first job at Image Comics and eventually established his reputation in the comics industry.


从小时候开始,Pat Lee 这位以改编《变形金刚》漫画作品而出名的漫画上色师,就喜欢把自己沉浸在漫画的世界里,常常一看就是好几个小时的时光飞逝。他从来自世界各地的漫画书中吸取不同的灵感刺激,其中对他影响最深的是日本漫画,譬如《阿基拉》(Akira)、《机动战士高达》(Gundam)、《攻壳机动队》(Ghost in the Shell)和《北斗神拳》(Fist of the North Star)等作品。他尤其擅长将日本漫画美学融合进传统的西方漫画,这样显着的风格不仅为他带来在美国漫画出版商 Image Comics 的第一份工作,最终也让他在漫画界获得一席之地。

“I kind of teetered off a bit when I was doing Marvel and DC stuff – it was very dark with a strong presence of very heavy blacks,” says Lee. “But I’ve realized I truly love making work that’s a hybrid of Japanese anime and American culture. It’s interesting to fuse things together.”

That’s exactly what he’s done with his ongoing series, Interference. Over the last 6 months, Lee has been gradually transforming images of Western pop-culture icons like Mickey Mouse and Marilyn Monroe into something more foreign.


Lee 说:“每当我给漫威或 DC 创作时,总是感到不太有把握。这些作品风格非常黑暗,像是压抑着一大片深沉的黑色色调。我意识到自己真正喜欢的是将日本动漫和美国文化相结合的作品。把不同的东西融合在一起比较有趣。”

他目前进行中的系列作品《Interference》(《干扰》)正是遵循这一理念来创作。在过去六个月里,Lee 将米老鼠和玛丽莲·梦露这些西方流行文化中的经典形象进行创新的演绎。

Each iteration of a figure changes in subtle ways, challenging the viewer to spot minor alterations, like an iris turned into a camera shutter, or a shoelace that’s actually a fiber-optic cable. While some pieces in the series involve futuristic technology, with aliens and robots seated alongside a bionic Bambi with exposed brain matter, all are a part of a larger narrative about technological development in a structure that mirrors that of a comic book.


他以极为微妙的方式去重新设计每一个角色,挑战观众是否能发现那些微乎其微的变化。譬如将角色眼睛的虹膜画成相机快门,或是将鞋带变成光纤。虽然系列中有一些作品涉及未来的科技,像是一只暴露着大脑、和外星人和机器人坐在一起的仿生小鹿斑比,但所有角色都座落于一个更宏观的叙事里——对于科技发展问题的探讨。

Lee, known for his work with Copic markers, primarily uses acrylic for the paintings in Interference, which he often makes in quick succession. “Acrylic is just fun to apply, because it’s not as technical as Copic,” he says. “If you compare the two, acrylic has a kind of glow to it, this shine, texture, tone. It’s a thicker feeling, where Copic is very light, very illustrative. Really, they’re a pair – I have to have both.”


Lee 先前以他用 Copic 马克笔(源于日本的马克笔品牌,因其优良品质深受设计人士喜爱)来作画的作品闻名,但在《Interference》中他改用压克力颜料,这让他的创作过程更加一气呵成。他解释道:“压克力用起来比较有趣,因为它不像 Copic 马克笔那样讲究技巧。如果你认真比较一下这两种媒介:压克力颜料会有一种光泽,更有质感和色调,有一种更浓厚的感觉;而 Copic 马克笔则更加轻盈,更加清晰。应该说它们是一种互补吧,两种颜料我都需要。”

Lee says he doesn’t know what his paintings are going to look like when starting – he works backward and forward without a final image in mind. His process aligns with how he sees the development in technology, be that VR, the sex industry, or personal communications, playing out – in steps, leaps, and sometimes sprints. “I think Interference is about asking if we’re prepared for the technology that’s coming. Is our society ready for these kinds of tools, this tech? Should we be scared about our future, or is it exciting?”


Lee 表示,一开始创作时他不会知道自己最终会画出什么样子,过程中他会不断地来回调整,但不会去预先设定一个最终结果。他的创作方式体现了他对未来科技,像是虚拟现实、性行业或个人通讯等等,如何一步一步、或者说是大步发展的看法。“我认为《Interference》其实是在提问,我们是否已经为即将到来的科技做好了准备?我们的社会是否准备好迎接这些工具和科技?我们应该对未来感到害怕?还是感到兴奋?”

Lee’s work draws no conclusions on its own but asks viewers to actively notice changes, both big and small. Interference can help train our eyes and minds to focus on what’s happening right now, and to ask where we want technology to take us.


Lee 的作品本身并没有提供任何结论,但他要求观众去主动发现其中或大或小的变化。《Interference》可以帮助训练我们的眼睛和头脑,去专注于当下发生的事情,并提出问题:我们到底希望科技带領我们到哪里?

Website: www.patleeart.com
Instagram
: @patleeart

 

Contributor: Sarah Forman


网站www.patleeart.com
Instagram
: @patleeart

 

供稿人: Sarah Forman

Retrofuturism with Page Tsou

Page Tsou is a Taipei-based, award-winning visual artist, and is the founder of AUSPICIOUS design studio. His work is self-described as retrofuturistic art that still retains a contemporary aesthetic. With a background that consists of both Eastern and Western influences, the surreal worlds he creates are ever-changing and filled with a myriad of imaginative imagery, from fishes wearing top hats to a steampunk version of Noah’s Ark where animals are carried away via huge blimps. More than just aesthetically pleasing, his personal body of work is compelling and narrative-driven, putting various overlooked societal issues under the microscope. Through his storyteller’s approach, Page’s intention is to generate much-needed empathy through his art. We recently had the chance to talk to Page about his inspirations and his thoughts on Taiwan’s creative scene.


鄒駿昇是屢獲大獎的台灣視覺藝術家,也是AUSPICIOUS設計工作室的創始人。他描述自己的作品是具有當代美學的復古未來感藝術。他的創作背景来自于東、西方双重文化的影響,在他創作的不斷變化且神秘又富有想象力的超現實的世界里,從戴着著高禮帽的魚,到被充滿蒸汽朋克風格的諾亞方舟飛艇吊起的動物們。不僅是視覺上富有美感,他的作品也有著極強的故事性,用顯微鏡觀察著各種不同被人們忽視的社會問題。通過講故事的形式,鄒駿昇用他的作品有意識地去製造著現當今社會普遍所缺少的同理心。我們最近有機會和鄒駿昇聊了他的創作靈感和對台灣創新產業的看法。

Neocha: When would you say your interest in visual arts began?

Page: I was about seven years old when I started to fall in love with drawing. At the time, I didn’t really feel like I existed at school, because my grades weren’t very good, and the teachers didn’t pay any attention to me. But painting was my way to get acknowledgement, and it made me feel happy.


Neocha: 你對視覺藝術的興趣是從何時開始的?

Page: 大約七歲的時候開始喜歡畫畫,在那時期,除了畫圖,我在學校的存在感很薄弱,因為學科成績不太出色,老師從來沒注意過我,畫畫使我被肯定,也讓我感到快樂。

Neocha: How have the cities where you’ve lived influenced your work?

Page: I grew up in the suburbs of Fengyuan, near Taichung. The desolation of the semi-industrial landscape there is actually what fueled my desire to make beautiful things. I then spent my high school and college years in the countryside where I practiced traditional ink painting for seven years. Afterwards, I started becoming interested in graphic design. Then, in London, I came to realize that the overall atmosphere of an environment is the key to shaping a beautiful aesthetic. I particularly like the clashing contrasts between the new and the old, and I started paying more attention to details, gaining a more objective understanding of my own culture by observing it from a distance. I came to realize that delivering a message to the audience is much more important than just painting a beautiful painting, and as a result, I gained a more overarching insight into creativity.


Neocha: 你所居住過的城市為你的作品帶來什麼樣的影響?

Page: 我在台中豐原郊區成長,那個半工業地帶的蕭條環境讓我對美好事物更加渴望。後來高中和大學在鄉下度過,畫了七年傳統水墨之後開始對平面設計感到興趣。在倫敦我理解到大環境的整體氛圍才是形塑美感的關鍵,我喜歡新舊混合和衝突與對比,對細節更講究,從遠方觀看自己的文化特質也客觀許多。並且理解到傳達訊息比只是把圖畫漂亮重要,對創意有了更宏觀的包容性。

Neocha: Where do you draw your inspiration from? How do you feel like these inspirations have shaped your unique aesthetic?

Page: I am influenced by all aspects of life. I like to learn about different narrative techniques from movies, and I pay close attention to how the director controls the atmosphere and transitions between scenes. I appreciate Andy Warhol’s sense of modernity, the serenity of Edward Hopper’s work, the creativity of Damien Hirst, the non-conformity of Banksy, the aesthetic of Dieter Rams, the composition and colors of Wes Anderson’s work, Carlo Scarpa’s attentiveness to spatial details, and Le Corbusier’s scale of proportions. I could actually go on and on. In short, I take all of these artistic qualities that I like, and after internalizing them, it all eventually comes together to become my own personal aesthetic.


Neocha: 哪些事物會為你帶來影響?(書籍、電影、某位藝術家….等)而這些又如何塑造出你獨特的美學?

Page: 影響我的事物是很全面的,我喜歡從電影裡學習各種敘事的方式,我會特別注意氣氛的掌握和轉場之間的安排。我欣賞Andy Warhol的時代性,Edward Hopper的寧靜,Damien Herst的創意,Banksy的體制之外,Dieter Rams的美感,Wes Anderson的構圖與色彩,Carlo Scarpa的空間細節,Le Corbusier的比例感。其實也講不完,總之就是集結各種喜好與特質,內化之後,就變成屬於自己的美學。

NeochaWhat challenges do you feel Taiwanese creatives face in today’s market? Do you currently face or have you faced similar hardships in the past? If so, what advice would you give to these up-and-coming creatives?

Page: It’s hard for a normal Taiwanese person to appreciate the invisible and intangible value of creativity and art. Professional designers and artists often face disrespectful attitudes about their work, and business owners can find it quite hard to communicate with creatives. I consider it a problem of the whole environment. Taiwan just needs more time. As long as creatives remain persistent and continue to create great work, things will eventually change for the better.


Neocha: 你認為台灣創意人才在現今市場上面臨什麼樣的挑戰?你目前或曾經是否有面臨相同困境?如果有的話,你會給予這些創意人才什麼樣的意見?

 Page: 台灣普遍民眾對於看不到的價值比較難接受,常有對於專業不尊重事情發生,甚至許多業主並不清楚如何和創作人溝通。那是大環境的問題,需要給台灣多些時間,創意人只能繼續堅持做對的事情,把事情做到位,時間久了總會有轉機。

Neocha: What kind of effect do you think Taipei being chosen as the 2016 World Design Capital has on Taiwan? What do you think the future holds for Taiwan when it comes to the creative industry?

Page: With World Design Capital taking place in Taipei this year, there have been more design-focused events, which allow more people to participate and gain a deeper understanding of design. The government is gradually discovering the importance of the creative industry, which means that creatives will have more opportunities in the future. Nowadays, with the convenience of the internet, it’s easy for exceptional creatives to connect with the rest of the world.


Neocha: 你認為2016年臺北市被選為世界設計之都能夠帶給臺灣什麼樣的影響?你認為台灣創意人才具有什麼樣的未來?

Page: 都市裡多一點設計的活動發生,讓民眾多些機會參與設計並且認識設計。政府逐漸重視文創產業,創意人在未來將有更多機會。網路的便捷,創意人只要表現出色,很容易便能和外界合作。

Neocha: What would you say the most difficult part of doing a commercial project versus a personal project is? From your experience, do you feel like working for Taiwanese brands and international brands are different?

Page: There are more conditions and requirements when it comes to creative work in commercial projects. It’s more restricting because you have to meet the needs of the client while also thinking about the market. It takes time and perseverance to create personal projects. I think that as long as you can maintain a relationship of trust and respect with the client, you can have a degree of freedom, no matter whether it’s an international or a domestic project. The first prerequisite is to be demanding of yourself and make high-quality work. Only then can you start to talk about freedom.


Neocha: 對你來說,進行商業創作及個人創作之間最困難的部分是?依你的經驗,台灣品牌及國際商業活動給予藝術家的創作自由是否有任何差異?

Page: 商業案是個條件式的創作,要能夠達到業主需求,同時也要考慮市場性,限制比較多。個人創作需要時間跟執行的毅力。我覺得只要業主對你的專業保有信任度和尊重的時候,無論國內或國際都可以獲得某種程度的創作自由。先決條件是,你自己要先對自己有要求,作品水平夠了,才有條件談自由。

From October 13th to 30th, Visual Taipei, a collaborative exhibition curated by Page Tsou is happening at the Songshan Cultural and Creative Park. The exhibition features artists from around the world and aims to showcase Taipei in a new way through international perspectives.


从十月13号到30号,Visual Taipei,鄒駿昇策展的合作展会在松山文化创意园区展出。汇集艺术家来自世界各地。目标通过国际视角用新的方式展示台北。

This story is part of a content partnership and media exchange between Neocha and World Design Capital Taipei 2016.


本篇文章來自內容合作夥伴Neocha和2016臺北設計之都的媒體交換。

Website: pagetsou.com
Facebook: ~/pagetsou

 

Contributors: David Yen, Saskia Kerkvliet, Alex Wang


網站: pagetsou.com
臉書: ~/pagetsou

 

供稿人: David Yen, Saskia Kerkvliet, Alex Wang

ONEQ’s Evocative Illustrations

ONEQ is a Japanese illustrator who’s most well known for her illustrations of vintage pin-up girls. Her drawings seamlessly blend Western and Eastern styles – think 1900s American poster art, with the curvy sexualized female form, mixed together with the flawless skin and delicate features of the females portrayed in Japanese manga. ONEQ says she’s endlessly fascinated with women and the female body. This fascination is mirrored in all of her work, where she draws captivating images of voluptuous hourglass-shaped women, powerful and seductive. Her illustrations are proud celebrations of femininity and sexuality.


ONEQは、ヴィンテージピンナップガールのイラストで特に知られる日本在住のイラストレーターです。彼女の絵は西洋と東洋の美人画のスタイルを見事にブレンドしたものです。曲線美が強調された女性の肉体にあふれた1900年代のアメリカのポスターアートが、日本の漫画の様式で描かれる女性の完璧で繊細な容貌の融合点を想像してみてください。ONEQは、女性とその肉体が持つ不思議な曲線美に魅せられていると語ります。そんな魅惑の影響が、妖艶にウエストがくびれ、たくましいほど極度に誘惑的な女性のイメージをとらえた彼女の作品すべてに反映されています。これらの作品は、女性らしさとセクシュアリティを高らかに称賛しているように見えます。

ONEQ was born, raised, and is currently based in Kumamoto, the capital of Kyushu island. As a completely self-taught artist, ONEQ’s love affair with illustration, like most illustrators, can be traced back to her childhood. Manga books were a big part of that childhood. Generally, Japanese manga is separated into different categories, some cater to a female audience and others cater to a male audience. Having an older brother allowed her the opportunity to be exposed to both worlds.


ONEQは、九州の熊本で生まれ育ちました。完全に独学のアーティストであるONEQと絵との親密な関係は、多くのイラストレーター同様、彼女自身の幼少期に遡ります。日本人である彼女にとって漫画文化は子供時代の大きな割合を占めるものでした。日本の漫画は、女性向けと男性向けという2種類に大きく分類する事ができるでしょう。年の近い兄がいる彼女は、その両方の持つ世界感に浸るチャンスに恵まれたわけです。

She cites three major influences that pushed her along the path to becoming an illustrator. The first is the famous manga artist Rumiko Takahashi, the illustrator behind Ranma 1/2 and InuYasha, who she says is her biggest influence. The second is Rockin’ Jelly Bean, a famous Japanese pop artist, whose use of colors captivated her and changed the way she looked at how colors could be used. The third is Simon Bisley, a British comic artist that portrays women in equal parts femininity and equal parts strength. All of these influences came together and evolved her artwork into what it is today.


彼女は、自身を振り返りイラストレーターの道へと歩ませた影響力の高い3人の作家を過去に挙げています。1人目は、『らんま1/2』や『うる星やつら』の作者として著名な日本の漫画家、高橋留美子で、ONEQにとって子供時代に強力な影響を初めに受けたとのこと。2人目は、鮮やかな色使いや完成度の高さが彼女を魅了し、色彩への見方を変えるきっかけとなった有名なポップアーティスト、ロッキン・ジェリー・ビーン。そして3人目は、女性の女らしさと力強さを濃厚に描きあげるイギリスのコミックアーティスト、サイモン・ビズリー。これらの素晴らしい影響力すべてが一体となり、今日見られる彼女の作品に昇華したわけです。

Having just turned thirty-four earlier this year, ONEQ is working full time as a freelance artist, but just recently reallocated one day out of every week to work at her friend’s bar. Her motivations behind this aren’t financial. The bar is stimulating and the atmosphere inspires her art, she says. “Many unique and powerful ladies go there on weekends. Their energy is captivating.” Not a stranger to this lifestyle, she recalls being mixed up in Japan’s night life scene as a teenager. Often missing school, ONEQ would find herself spending time in the more dubious parts of town. Even though she prefers the slow-paced and quiet life in Kumamoto, she considers Japan’s night life to be another aspect of Japanese culture that has influenced her artwork and style. She says, “In that regard, I consider my past to be both good and bad.”


ここ最近の彼女は、フリーランスアーティストとして制作に専念するかたわら、週に一度だけ友人のとあるバーへ手伝いに出かけるそうです。この不思議なライフスタイルのきっかけとなったのは経済的なものからではなく、その空間には彼女の制作を刺激し手助けする雰囲気やパワーがあるのだと言います。「週末になると、ユニークでミステリアスな女性が多く遊びに来ます。そのエネルギーや感触が制作の刺激になっている。」と彼女は語ります。そんなライフスタイルに無縁ではない彼女は、夜の繁華街で遊んでいたティーンエイジャーの頃を回想します。彼女はたびたび学校を休み、夜の妖しい繁華街で友人達と日常を過ごしたものです。熊本の静かでのんびりとした生活を好むとはいえ、夜の怪しげなネオン達が自身の作品にも少なからず影響を与える日本文化の側面でもあると考えています。「自分の過去は良い面と悪い面、両方の要素で成り立っていると思っています。」と述べています。

ONEQ’s creation process is a mix of both traditional and modern techniques. She first begins with rough sketches to flesh out the initial concept. Once the idea has been clearly thought out, she will then draw a refined version in monochrome by using mechanical pencils. If the image is intended to be a colored piece of work, it gets scanned and digitally colored in Photoshop. Her pieces that involve color could take upwards of two weeks to fully complete.


彼女の制作プロセスは、伝統と現代の技術をカジュアルに組み合わせたものです。まずラフスケッチから始め、最初のコンセプトを肉付けしていきます。アイデアやイメージが明確に浮かんだ段階で、今度はシャープペンシルを使ってモノクロで精密な線画を描いていきます。作品が彩色画となる場合は、Photoshopでデジタルに彩色を施します。色彩を用いた場合の彼女の作品は、最終的に完成までに2週間を超えることもあります。

Besides only working on paper and computer screens, she has also completed numerous murals and is keen on creating even more in the near future. She says, “I want to create more murals. It would be great if I could create murals in different places all over the world. Shanghai is definitely on my list.” ONEQ elaborates by saying that she doesn’t approach her art with any intentions of being famous; her sense of artistic accomplishment comes from creating artwork that she personally finds meaningful. This sincerity that she approaches all her illustrations with is undoubtedly another aspect of what makes her artwork so alluring.


スケッチブックやデジタルで描く作品のみならず、多数の壁画も手がける彼女は、近い将来さらなる壁画制作に意欲を見せています。彼女は、「もっと多くの壁画を制作したいと思っています。世界中のいろんな場所で壁画を制作しながら旅ができたら素晴らしく楽しいでしょうね。上海にもいつかぜひ描いてみたい」と言います。ONEQは、有名になりたいという欲求のみで作品に取り組むわけではなく、彼女自身の芸術的達成感が作品制作自体から同時に湧いてくるものであり、それが最も彼女にとって有意義だと感じる瞬間だと語ります。彼女の制作プロセスにおける誠意が、紛れもなくその作品の魅力を引き出す要素なのです。

Website: kotemufu.exblog.jp
Behance: ~/oneq-japan
Facebook: ~/oneq.pinup
Instagram: @negiyakisoba

 

Contributor: David Yen


ウェブサイト: kotemufu.exblog.jp
Behance: ~/oneq-japan
Facebook: ~/oneq.pinup
Instagram: @negiyakisoba

 

寄稿者: David Yen

Flabjacks “Survival Kit”

 

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Neocha recently collaborated with Ton Mak, the illustrator behind the Flabjacks series. Despite never having officially studied art, her love of doodling led her onto the path of becoming an artist. Now based between Hong Kong and Shanghai, she has created an imaginary world populated with pudgy, goofy creatures. She’s even been known to turn inanimate object, such as avocados or pots of cacti, into her chubby Flabjacks characters.


近期,Neocha与Ton Mak进行了一次联手合作。她是Flabjacks系列背后的插画师,尽管从未正经学艺,但对涂涂画画的爱让她走上了艺术家之路。如今身居香港和上海两地的她,已经一手打造出了一个想象世界,在这个世界里充满了傻乎乎、胖墩墩的各种角色设定。她甚至还将牛油果和仙人掌等物体进行拟人化,并加入到她的肥仔角色中去,并以此被广为所知。

For this collaboration, Ton Mak worked alongside Neocha and Moleskine® to created a limited edition Flabjacks “Survival Kit” that’s now available in our online shop. Check out the video to see Ton’s mischievous Flabjacks characters escaping her studio for a day of shenanigans in Shanghai.


在这次的联手合作中,我们与Ton Mak以及Moleskine®一起,创作了限量版Flabjacks “Survival Kit”,并已于Neocha在线商店出售。点击视频,观看Ton那些Flabjacks淘气包们从她的工作室出逃,在上海调皮捣蛋的一天。

The Flabjacks “Survival Kit” includes: Puff Ville, a limited-edition black-and-white risograph print; a limited-edition Flabjacks notebook done in collaboration with Moleskine®; and a Flabjacks tote bag. Each limited-edition Moleskine® notebook is debossed with the Flabjacks logo and features different fun characters hand-doodled by Ton Mak throughout the pages.


Flabjacks “Survival Kit”中包含有一副限量黑白孔版印刷版画《Puff Ville》,一个Flabjacks和Moleskine®限量合作笔记本,一个Flabjacks帆布袋。每一本限量Moleskine®笔记本都凹印有Flabjacks的标志,内页中则有各种不同的有趣角色,由Ton Mak手绘而成。

The Puff Ville print measures 30.3 cm x 30.3 cm, and is a risograph print done on high-quality Olin 300gsm art paper. Everything is packaged in its own customized Flabjacks pizza box. The Flabjacks “Survival Kit” can be purchased now exclusively on the Neocha Shop. It’s available in a limited edition of only 15.


孔版印刷版画《Puff Ville》尺寸为30.3 cm x 30.3 cm,印于300克欧林艺术纸上。以上物品包装于定制的Flabjacks披萨盒中。Flabjacks “Survival Kit”现已在Neocha商店独家上线,限量15份。


Full Product Details:

  • Custom Flabjacks pizza box
  • Limited-edition Flabjacks Puff Ville print (details below)
  • Limited-edition Flabjacks Moleskine® notebook of 15
  • Flabjacks Tote Bag
  • Price: $150

 

Print Details:

  • Limited-edition Puff Ville black-and-white risograph print
  • Edition size: 15
  • Print size: 30.3 cm x 30.3 cm
  • Paper: 300gsm Olin Art Paper

套装详情:

  • Flabjacks定制披萨盒
  • Flabjacks限量孔版印刷版画《Puff Ville》
  • Flabjacks限量Moleskine®笔记本
  • Flabjacks帆布袋
  • 价格: $150

 

版画详情:

  • 限量黑白孔版印刷版画《Puff Ville》
  • 版数: 15
  • 尺寸: 30.3 cm x 30.3 cm
  • 用纸: 300克欧林艺术纸

Website: flabjacks.com

 

Contributor: David Yen
Videographers: Winnie Chi, Gerhan, Patti Ruan
Photographers: Crown Wang, Leon Yan


网站: flabjacks.com

 

供稿人: David Yen
视频摄影师: Winnie Chi, Gerhan, Patti Ruan
图片摄影师: Crown Wang, Leon Yan

After the Masters

Japanese artist Masaki Yada uses a type of symbolism that is predominantly and usually seen in 17th century Dutch still life paintings to create his original style of art. His own aesthetics can be best described as “dark and cutting edge”. Masaki’s Eastern roots also leave imprints on his work; these influences are evident in the poetic and delicate details of his gorgeous creations. Masaki Yada skillfully uses contemporary techniques to reinterpret masterpieces of the past through his own means, and creates with a thoughtfulness that touches on many modern issues. Neocha recently spoke to Masaki about his dreamlike artwork, his journey as an artist, and his influences along the way.


日本人アーティスト、Masaki Yadaは、独自の美術様式を生み出すため、主に17世紀のオランダの静物画に見られる象徴性を用いています。彼の美学は、「ダークであり最先端」という言葉で最も端的に表現できるでしょう。また、Masakiの東洋のルーツもその作品に痕跡を残しており、その影響は詩的で繊細な細部に明らかな形で伺えます。彼は単に名作を再解釈するのではなく、現代文化に即した技術を駆使して制作しているのです。NeochaはMasakiに、その夢のような作品、アーティストとしての軌跡、そして、これまで彼が受けてきた影響について聞いてみました。

Neocha: Can you tell us about your journey into art?

Masaki: Initially, it was my mother who inspired me to paint. She is a trained painter, but didn’t really pursue a career as an artist. She graduated from an art college 45 years ago in Japan. At the time, it was generally agreed that women were supposed to get a stable job – they weren’t encouraged to become artists. So she had worked as an art teacher for 35 years. However, when I was born she named me Ya Yun in Chinese, which means elegant and artistic, and hoped that I would one day fulfill her dream of becoming a professional artist.


Neocha: アートの世界に足を踏み入れた経緯を教えていただけますか?

Masaki: 最初に絵を描くきっかけとなったのは母でした。母は熟練の画家なのですが、プロの芸術家の道に進んだわけではありませんでした。45年前に日本の美大を卒業した母ですが、当時、女性は安定した職に就くものと考えられていました。芸術家になるよう奨励されることはなかったのです。そのため、母は35年間美術教師を務めました。それでも母は、生まれた私に中国語で優雅で芸術的という意味のYa Yunと名付け、いつか息子がプロのアーティストになることを願ったのです。

Neocha: How was your work influenced by both Eastern and Western culture?

Masaki: I grew up seeing traditional Japanese and Chinese paintings because of my mother. I was exposed to the likes of Itō Jakuchū, Kanō school of painters, and Hasegawa Tōhaku. My mother was trained in a very traditional way in Japan. My first Western idols were Vermeer, Jan Van Eyck, Bruegel and other realist painters from the 16th century. I particularly love the Dutch and Flemish masters from the Dutch Golden age. I like their ethos of trying to break away from the religious constraints, and their eagerness of choosing more democratic themes really interests me. We tend to group old paintings as classical or simply “old”, but back then there were also many different styles, and many new ideas being formed and presented. I also like history paintings that comment on other paintings within the painting. For example, Vermeer’s paintings often does that. A lot of contemporary painters do it as well. I guess we are all fascinated with the idea of engaging in a dialogue with the masters from the past – it’s like how Renaissance painters wanted to engage in a dialogue with ancient Greek artists. My paintings are constantly evolving and are constantly being influenced by my surrounding environment as well as the people around me.


Neocha: 東洋と西洋の文化がどのようにあなたの作品に影響を与えたのでしょう?

Masaki: 母の影響で、日本と中国の伝統絵画を見て育ちました。伊藤若冲や狩野派、また、長谷川等伯といった画家の作品に触れました。母は極めて古典的な日本の手法で絵を学んだのです。私が最初に憧れた西洋の画家は、フェルメール、ヤン・ファン・エイク、ブリューゲル他、16世紀の写実画家でした。中でも、オランダ黄金時代のオランダやフランドルの巨匠らが好きです。宗教的制約から脱却しようとする彼らの気風に共感しますし、より庶民的な主題を選んだ熱意に興味を引かれます。昔の絵画を一様に古典あるいは単に「古い」ものと一括りしてしまうものですが、当時は数多くの画風や新しい画法が編み出され、発表されていました。また、絵画の中で他の絵画について解説する歴史的絵画も好きです。例えば、フェルメールの作品によくあるものです。多くの現代美術の画家も同様です。あたかも、ルネサンスの画家達が古代ギリシャの芸術家達との対話を望んでいたのと同じく、過去の巨匠との対話を通して繋がるという考えに誰もが興味をかき立てられるのではないでしょうか。私の絵は常に進化し、常に自分を取り巻く周囲の環境や人々に影響を受けています。

Neocha: What has been the biggest challenge during your creation process? What do you feel like has been your biggest achievement so far?

Masaki: My biggest challenge has been trying to find the “cross section” of who I am and what the world wants to see from me. If I try to be who I am not, then the discrepancy eventually catches up with me. But if I just make work that is purely self-indulgent, it’s like masturbation. To find the balance between them is an art in itself. The biggest achievement has always been the moment when I see the looks of the collectors who buy my paintings. For me, contributing to the happiness of people through my craft is way more important than any personal accolades. I feel like having the ability to enrich people’s lives through art is the greatest achievement, and I would like to continue doing that.


Neocha: あなたの制作過程において、これまでで最も大きな課題とは何でしたか?また、これまで達成した最大の功績とは何だと思いますか?

Masaki: 私の最大の課題は、自分という存在と人々が見たいと思うものの、いわば「断面図」を探し求めることでした。私が自分ではない者になろうとすると、いずれは食い違いが出てくるはずです。しかし、自己中心的な作品を作るだけなら、それは自慰行為のようなものです。その間でバランスを見い出すもの、それはアートそのものなのです。最大の功績は常に、私の作品を買ってくださるコレクターの様子を伺う瞬間です。私にとって、自分の作品を通して人々の幸せに貢献することは、どんな個人的栄誉より重要なものです。人々の生活を豊かにできると感じることが何よりの功績であり、これからも続けることができればと思っています。

Neocha: Do you think artists have the social responsibility to change the world or even change society?

Masaki: My primary interest lies in the engagement in dialogues with the masters from the past and understanding people at a deep level. But I do believe that art has a power and influence to change the world. For example, in 2003 the U.S. Secretary of State Colin Powell made a public announcement when the U.N. decided to intervene in the regional matters of the Middle East. Behind Colin Powell, a tapestry with the image of Picasso’s Guernica was hung on the wall as if sending out an anti-war statement. The following day that painting was covered up as to not to send out a mixed message. So to some extent, art definitely has power. It can be highly effective when raising awareness of certain issues. But at the same time, art is also powerless. I spend a lot of time in Berlin now, so I see the influx of refugees from the Middle East. Art cannot help them directly. Art cannot give them food, accommodation, means of integration and so forth, but these are things they desperately need. As corny as it sounds, I believe in love and the power of creating positive energy that reduces conflicts amongst people through art. I am trying to do that on a small scale and in my immediate environment rather than trying the change the whole world.


Neocha: アーティストは、世界や社会を変える社会的責任があると思いますか?

Masaki: 私の基本的な関心は、過去の巨匠達と対話して繋がること、そして人々を深く理解することです。それでも、アートには世界を変える力や影響力があると信じています。例を挙げると、2003年に国連が中東の地域問題への介入を決定し、米国務長官のコリン・パウエルが正式発表した時のことです。コリン・パウエルの背後の壁面に、まるで反戦メッセージを送るかのようにピカソのゲルニカのタペストリーが掛けられていたのです。矛盾したメッセージと取られないよう、翌日にあその絵が覆い隠されていました。つまり、確かにアートにはある程度の力があります。ある特定の問題への関心を高めるにあたり、高い効果を及ぼすことがあります。ただ、同時にアートは無力なものでもあります。私はベルリンで過ごすことが多いため、中東からの難民の流入を目の当たりにします。アートで難民を直接救うことはできません。アートは、食べ物、宿泊施設、地域への同化手段といった、難民らが切望するものを何も提供することはできません。陳腐に聞こえるでしょうが、アートを通して、人々の争いを軽減する愛と正のエネルギーを生み出す力を信じています。私は、全世界を変えようというより、自分の周囲の環境内で小規模にそんな変化をもたらすよう努めています。

Neocha: What do you think the aim of art should be?

Masaki: The role of art is to determine the “cross section” of an artist’s self expression and how the world can be a better place through art. It may pertain to provoking thoughts, evoking emotions, and giving a sense in which we feel “alive”. When I was still an art student, I went through a phase where I believed in the role of art as a vehicle to change the world, and my work had a strong sense of socio-political elements. I still think of it as important to some degree, but recently I tend to distance myself from the emotions that I had then. It is because a little while ago I realized that perhaps I was driven by anger and frustration towards society as a whole. But now I understand that everyone is working hard, striving for their own survival, and to some extent, trying to do something good as well. With that realization, I now want to make art with positive emotions and an intent of brightening up people’s lives just like Liang Kai’s, Jan Eyck’s and Vermeer’s paintings did to me when I was as a child. I realized that positive energy, light, and smile can bring to us more good than anger, frustration, conflict and violence. I’ve gotten a bit older so that has made me wiser and more mature, but it does not mean that I deny all the processes that I have gone through thus far. Everything I’ve been through was necessary for me to get to where I am right now. Without experiencing them all, then I would not feel what I feel now. So I’m really thankful.


Neocha: アートの目的はどうあるべきだと思いますか?

Masaki: アートの役割とは、アーティスト自身の表現の断面図とアートによっていかに世界をより良くするかを決めることにあります。それは、思考を刺激すること、感情を喚起すること、また、「生きている」と感じる感覚を与えることと関係するでしょう。私がまだ美術学生だった頃、世界を変える手段としてのアートの役割を信じ、自分の作品が強い社会政治的要素を反映していた時期がありました。今でもある程度までは重要だとは思いますが、最近では当時のそういった感情から自分自身を遠ざける傾向にあります。それは、自分が全体としての社会への怒りや不満に突き動かされていたのかもしれないと少し前に気づいたためです。今では、生き残るために誰もが懸命にもがき、何かしら良いことをしようと努力していることがわかっています。それに気づいた今、かつて子供だった自分を梁楷、ヴァン・エイク、フェルメールの絵が元気にしてくれたように、ポジティブな感情で人々の生活を明るくする目的でアートを作りたいと思っています。正のエネルギーや光、そして笑顔は、怒りや不満、争い、暴力より人々のためになると気づいたのです。少し歳をとった分、賢く成熟したわけですが、だからといって自分がこれまで歩んできた全ての過程を否定するわけではありません。私が経験したことは、今ある自分にとってどれも必要なものでした。過去に経験したことが少しでも欠けていれば、今の感情はなかったわけです。ですから、自分の経緯には感謝しています。

Neocha: How do you handle the balance between creativity and financial incentives?

Masaki: When I think of creativity now, I often think of constraints as well. It is like yin and yang. Particularly now, the more limitations and restrictions I face, the more creative I have to become. In fact, when people face restrictions and complain about the lack of freedom, I see the lack of creativity in them. For me, creativity is the ability to reconfigure unthinkable combinations and ideas that have never been connected before. Creativity is to explore the infinite possibilities of synthesizing different ideas. Splashing paint on canvas is, therefore, not quite creativity for me. True creativity actually involves diligent investigation of the past and deep understanding of the field, and finding a possibility that has never been explored before. True creativity is built on the contradictions. I think creativity and financial incentives can, therefore, be dealt with in proximity. Suffering and struggles should not be too romanticized. But of course, the main motive should be to make great art that moves people in a significant and emotional way.


Neocha: 創造性と金銭的報酬とのバランスをどう処理していますか?

Masaki: 創造性について考える時、制約についてもよく考えます。いわば陰と陽の関係のようなものです。特に今は、制限や制約に直面すればするほど、ますます創造性が問われます。実際、人が制約に直面し、自由のなさを訴える時、そこには創造性の欠如が伺えます。私にとって創造性とは、それまで何の繋がりもなく、思いもよらなかった組み合わせやアイデアを再構成する能力なのです。創造性は、異なるアイデアを合成して限りない可能性を探るものです。ですから、キャンバスに絵の具を飛び散らせることは私にとって創造性ではありません。真の創造性は、過去についての飽くなき探求とその分野の深い理解力、そして、それまで開拓されなかった可能性を見つけ出すことです。真の創造性は、矛盾の上に成り立つものです。そのため、創造性と金銭的報酬は近接して対処することができると思います。生活のため葛藤することはあまり美化されるべきではないでしょう。ただ、もちろん最も重要な動機は、人々の感情に強く訴える優れた芸術を生み出すことです。

Websitemasakiyada.org

 

Contributor: Shanshan Chen
Images Courtesy of Masaki Yada

 

 


ウェブサイトmasakiyada.org

 

寄稿者: Shanshan Chen
Images Courtesy of Masaki Yada

The Man in Between Two Phrases

 

无法观看?前往优酷

Shun Kawakami is a Japanese artist and designer known for his signature style and ingenious approach that adopts the beauty of traditional Japanese aesthetics. He was born in Fukugawa, the old town of Tokyo, where Edo-era culture is still deeply engrained into the daily life of residents there. “Being born in that town and being raised by my grandfather who was a traditional craftsman influenced me a lot. He was the typical Edokko and actually used to wear a kimono everyday.”


日本の伝統美を取り入れたその独創的なスタイルとアプローチで知られるアーティスト・デザイナー、川上俊は、未だに江戸文化が深く根付いている東京の古都、深川に生まれた。川上氏は言う「生まれ育った深川という町、そして、伝統職人だった祖父の影響は大きいと思います。江戸っ子気質で、毎日着物を着ているような、そんな人でした。」

After working several years as a designer for a small company, Kawakami left and began working independently. He did a bit of graphics design for +81 Magazine, which was generating a lot of buzz in Japan at the time and is now regarded as one of the most innovative art and culture publications. Kawakami’s work started to receive attention overseas, and that recognition eventually turned into numerous prestigious international awards. Not complacent in the success, Kawakami continued to explore different creative methods of self expression. Also around this same time, Kawakami set off on his tour that took him around the world exhibiting his art.


デザイナーとして数年間会社勤めした後に独立した川上氏は、「+81 magazine」等のグラフィックデザインを手がけ、国内で注目を浴びるようになる。やがて、海外からも目にとまるようになった氏の作品は、国内外からの賞を数々受賞するようになった。同時に、川上氏は独自の表現を追求し続けるため、精力的な個展巡礼を始めた。

Kawakami is actively involved in a wide array of creative endeavors: he dabbles in interactive art, film, product design, and installation art, among others. “To me, there isn’t much difference between art and design,” Kawakami says. He says that even though these two forms of expressions are completely different things, the approach feels the same.


今日に至っての川上氏の領域は多岐にわたり、 アート、 デザイン、タイポグラフィック、インタラクティブ、映像、インスタレーション、空間演出など、アートとデザイン双方から多方面へアプローチを続け、国内外問わずグローバルに活動を行っている。「僕にとって、デザインとアートって、そんなに違いはなくて」と自信のアプローチについて語った川上氏、表現に違いはあれど、彼にとって、向き合い方は同じものだと言う。

The majority of Kawakami’s artwork involves Japanese pines trees. He’s fascinated in the asymmetrical nature of their form, and the organic flow of their lines. In the disarray of leaves and branches, he’s able to find a sense of beauty. Kawakami combines the unique features of these Japanese trees with his masterful use of negative space to create beautiful pieces of art.


川上氏の作品には、日本の松をモチーフとしたものが、多く見られる。松という樹の非対称なフォルムに美しさ、そして、流れを感じるのだと言う。これらの樹々の独特な形と彼の巧みな空間の使い方によって、美しい作品が作り出されているのだ。

Kawakami still tours alongside his art and hosts exhibitions around the world. He says that traveling not only exposes him to different cultures, but it also provides him a huge amount of artistic inspiration. Kawakami considers his travels to to be a crucial aspect of his work. “By traveling to many places, you’re exposed to new experiences and knowledge. I can then convert them to my ‘phrase’ and that inspires me to produce new pieces of art.”


精力的に個展を開き、常時国内外を移動している川上氏にとって、多くの文化に触れ、様々なインスピレーションを受けられる旅は非常に重要なものだと言う。「多くの旅をすることで、経験や知識を得て、それを自分の表現に『変換』することで、作品を作り続けられるから」

Website: shunkawakami.jp
Facebook: ~/shunkawakami
Instagram:  ~/shunkawakami


ウェブサイト: shunkawakami.jp
Facebook: ~/shunkawakami
Instagram:  ~/shunkawakami

Contributor, Photographer & Videographer: Yasuyuki Kubota
A
dditional Images Courtesy of Shun Kawakami


寄稿者、カメラマン&ビデオ撮影: Yasuyuki Kubota
Additional Images Courtesy of Shun Kawakami

The Art of Sun Yunfan

Sun Yunfan is a multifaceted artist who has the ability to transform mundane subjects into whimsical and unpredictable pieces of art. Yunfan’s creativity isn’t confined to a single medium – her work includes art books, paintings, collages, drawings, installation art, and even films. “For today’s artists, cross-disciplinary practice is becoming the norm,” she says. “I’m not interested in the modernistic endeavor of revealing the ‘limit’ or ‘essence’ of different mediums. I’m interested in finding what can be done with them. I see myself as a cook, and depending on what produce and inspiration I have, I might cook a soup in the morning and then bake a dessert at night. They are different projects.”


孙云帆是位艺术家多面手,她可以做到将平凡无奇的对象转化为难以预料的古怪艺术作品。其作品包括手工艺术书、油画、拼贴、绘画、装置,甚至短片,她的创意从未受限于单一媒介。“今天艺术家们跨界创作已经司空见惯,”她声明道,“我无意像个现代主义者那样殚力于‘揭示’各种媒介的‘本质’和‘极限’。我对这些媒介到底能被用来做什么更感兴趣。就像个一厨子,取决于今天有什么原材料和灵感,我也许早上炖一锅汤,晚上烘培一道甜点。它们都只是不同的项目。

Growing up between Shenzhen and Shaanxi, the now Brooklyn-based artist sees her art as having been “fermented” from the physical distance and isolation from China. “I suspect that I probably wouldn’t have become an artist at all had I not come to the States.” Still China clearly has an influence on her – the mountains, rocks, and rivers that appear in her work are credited as being influenced by the landscapes of Shaanxi. But at the same time, she feels like her artwork doesn’t directly reflect Chinese or American culture.


成长于深圳和陕西两地,这位现居纽约布鲁克林的艺术家,将她的艺术视作中国的物理距离和疏离的发酵产物。“我怀疑,如果没有到美国我大概不会成为艺术家。”中国对她作品的影响是显而易见的,她作品里出现的那些山水、石头便是来自陕西的自然地貌。但是与此同时,她认为自己的作品并未直接映射中国或者美国的文化。

Yunfan believes that artists only create about half of their work, and that the other half of the work happens when the audience comes into contact with the artwork. Her approach to creating is self-described as “playing with a puzzle”, and that the easiest part of the puzzle is the initial inspiration. The challenging part is finding the remaining puzzle pieces and joining it all together to form a cohesive piece of work. “I don’t normally work with any sketches, scripts, or storyboards, but rather prefer the process be open and organic – even chaotic.”


云帆相信,创作者只能完成作品的50%,剩下的发生在作品与观众之间。她将自己的创作手法形容为“玩拼图游戏”,这个所谓的拼图游戏中最容易的部分则为最初的灵感;其困难在于找到所有其他的碎片,和它们各自合适的位置。“打草稿、写剧本、画分镜头故事板之类的工作方式和我八字不合,我宁愿创作过程是开放、有机的,混乱也没关系。”

Despite being well-versed with a variety of mediums, Yunfan tells us she is most experienced with painting and compares it to playing an instrument. “The medium yields to the artist’s maximum autonomy. And just the simple act of mixing paint allows the artist to mold her material on the molecular level. All experimentation is very direct and has immediate impact,” she explains to us. “Whatever object or subject is being constructed on canvas, the painter is simply dealing with paint. The color and texture of the paint have their own physicality on canvas, which is not directly traceable to the thing being depicted. The surface of any object on canvas can be considered a universe in itself.”


尽管在各种媒介中游刃有余,云帆告诉我们,她最熟悉的媒介还是油画,并将它比作演奏乐器。“它给予创作者最大程度的自主权。调色这样一个再简单不过的动作,却让画家能够在分子水平上塑造她的材料。在画布上所有的实验都很直接,每一笔的结果是即时的,”她解释道,“无论画布上构建的是什么物体或主体,画家只是在处理颜料。而颜料被运用在画布上所产生的色彩和肌理可以独立于其所描绘的东西, 产生其自身的物理存在。在画布上,任何物体的表面都可以自成一个宇宙。”

Recently, Sun Yunfan has been gravitating towards digital mediums such as video, animation, and music, describing the digital sharing process as “democratic and economical”. She is now even traversing into more unfamiliar territories for a new collaborative project with Dave Liang from The Shanghai Restoration Project and jazz singer Zhang Le. Yunfan wrote lyrics, some melodies, and even dabbled with music production as part of this collaboration. Their new album Life Elsewhere  is slated for release later this year.


近来,云帆将创作中心渐渐移向数字媒体,例如录像、动画和音乐,并将其分享过程描述成“既民主又经济”。在与来自上海复兴方案Dave Liang以及爵士乐歌手张乐合作的一个新项目中,她甚至逐步进击更多不为熟知的领域。云帆为这次合作写作歌词,创作部分旋律,甚至浅尝音乐制作。这张叫做英文名为Life Elsewhere,中文为“她乡” 的新专辑,将于今年晚些时候正式发布。

Websitesunyunfan.com
Instagram: @eighthday


网站sunyunfan.com
Instagram: @eighthday

Contributors: Leon Yan, David Yen
Images Courtesy of Sun Yunfan


供稿人: Leon Yan, David Yen
图片由孙云帆提供

World in a Room

Hometown of Friendship (2015)

In Chinese, sanmingzhi means “sandwich,” which is vaguely homophonic to Zhu Lingzhi’s first name. This revelation came about when a classmate mistakenly pronounced his name as such. Considering it as a fond memory of his childhood, the nickname stuck. Now, working under the moniker austin_sandwich, the Anhui-born and London-based illustrator and graphic designer repurposes the oddities he observes in everyday life into his surreal illustrations.


在中文里,朱凌志的名字发音读起来与“三明治”有点相似。这个绰号来源是他的同学对他名字一次不小心的误读。对他来说,这还算是一个挺美好的童年回忆,于是他就保留了这个绰号。目前居住在伦敦出生于安徽的他是插画家兼平面设计师,并以austin_sandwich的名字来进行创作,将日常生活中观察到的有趣事物通过超现实风格重新演绎成插画作品展现出来。

Scotland (2015)

In some of his recent illustrations, such as Hometown of Friendship and Between Two Worlds, the imaginative landscapes he has created are filled with an eccentric cast of characters and an assortment of seemingly unrelated objects, all of which are strewn about the canvas. His two-frame series Scotland is presented in a similar manner. Like the aftermath of an alien experimentation gone awry, disfigured cows, dismembered cow parts, and flesh-colored objects are scattered throughout the frame. While chaotic at first glance, the chaos is deliberate and methodical, evident by his neat arrangement of every character and item.


在他最近的一些插画作品如《Hometown of Friendship》和《Between Two Worlds》,各种看似毫无关联的物体分散在画布的各个角落,它们充满他所营造的天马行空的画面,形成了奇特的组合。他的两幅画组成的系列《Scotland》也采用了相似的表现手法。整幅画看上去就像一个失败了的外星人实验,分体的奶牛、牛身体的某个部位和肉色的物体分散于整个画面。然而,正如他的其他作品一样,这种混乱却是他故意为之,画面中的每一件物体其实都是经过精心排列。

His latest work, World in a Room, takes the form of a zine. In a visual style true to his past work, Lingzhi takes viewers on a seemingly hallucinogen-induced visual journey into weirdness, passing through through a series of bizarre spaces filled with geological formations, mysterious stairwells, disembodied limbs, amongst other peculiarities. This project is described by him as an attempt to capture the unfathomable impossibilities that may exist in the fourth dimensions. “As humans, even though we’re living in a three-dimensional world, we can only see in two dimensions,” he says. “In that sense, four-dimensional beings are able to see our three-dimensional world in its entirety.”


他最新的作品《World in a Room》采用了zine这种独立小型杂志的形式。这次的新作品从视觉风格上与他过去的作品保持了一致,引领观众踏上一场充满迷幻能量的视觉之旅,深入探索一个奇异的世界,从一系列怪奇空间穿境而过,那里充满了各种地质结构、神秘的楼梯间、分离出来的四肢等奇怪的物体。他将这一组作品称为对试图捕捉可能存在的四维空间里的神秘事物的尝试。他说:“作为人类,我们在三维世界中只能看到二维平面的全部。而四维世界的生物才能同一时间看到我们三维空间的全部。”

Beyond the abstract concepts that Lingzhi explores, the surrealist setting of each page is actually an extension of his sociocultural observations. The zine is a commentary on the state of modern life where people often forego real-life connections, preferring to retreat into a digital world that offers a different sense of interconnectivity. The ability to stay connected with the rest of the world while we’re just sitting in a tiny room is an interesting phenomenon, he mused.


除了朱凌志所探索的抽象概念,每一幅画中的超现实主义背景实际上是他对社会文化的一种观察。这一本zine表现了现代生活中人们放弃现实生活联系的状态,他们宁愿藏身于虚拟的数字世界里,在那里找到另一种不同意义的联系。朱凌志若有所思地表示,我们只需要坐在一个小房间里,就能保持与世界的紧密联系,这是一种非常有趣的现象。

Due to the number of different colors used, World in A Room was mostly laser printed. But one page of every zine was screen printed in canary-gold; the screen printed page is both signed and marked with the edition number by Lingzhi himself. “Using a manual printing technique like silkscreen printing produces different results every time,” he explains. “For me, creating a zine means complete freedom. The design, dimensions, and materials are all completely customizable. The narrative can be presented in any way the artist sees fit.”


由于《World in a Room》中使用的颜色较多,所以主要是采用激光彩色打印。但其中会有一页采用金色的丝网印刷;每张丝网印刷的页面上,朱凌志都亲自签上了名字,并标上版号。他解释道:“丝网印刷具有一种独特性和唯一性,因为每一张作品手工印刷出来都不会一模一样。对我来说,zine是一个非常自由的东西。你完全可以按照自己的喜好来设计它的样式,尺寸以及材质。画面的叙事也可以按照艺术家认为合适的方式来表现。”

World in a Room is now available in the Neocha Shop. The 16-page zine measures 14 x 13 cm and is available in a limited edition of 50.


《World in a Room》现已于Neocha商店发售。每本zine共 16 页,14 × 13 厘米,仅限量发售50本。

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.


如需使用PayPal或国际信用卡支付,请转至我们的Shopify页面;如需使用支付宝或微信支付,请至我们的微店


austin_sandwich的《World in a Room》

¥95

立刻购买

Details:

  • Year of Publication: 2016
  • Edition Size: 50
  • Number of Pages: 16 (including front and back cover)
  • Size: 13 x 14 cm
  • Binding: Simple binding (signed and numbered)
  • Printing: Digital printing & screen printing
  • Paper: 150g Zen Pure White & 135g Colorplan Citrine
  • Price: $14

详情:

  • 出版年份: 2016
  • 出版数量: 50
  • 页数: 16(包括封面与背面)
  • 尺寸: 13 × 14cm
  • 装订: 简单装订(艺术家签名及编号)
  • 印刷: 激光彩色印刷与丝网印刷
  • 纸: 150 g Zen Pure White & 135 g Colorplan Citrine
  • 价格: ¥95

Behance~/austinsshoa941
Instagram: @austin_sandwich
Weibo: ~/austin_sandwich

 

Contributor: David Yen
Images Courtesy of austin_sandwich


Behance~/austinsshoa941
Instagram: @austin_sandwich
微博: ~/austin_sandwich

 

供稿人: David Yen
图片由austin_sandwich提供

The Works of Xu Liang

Xu Liang was born in Changde, Hunan province and is a graduate of the Mural Painting Department of the Central Academy of Fine Arts. He now works and lives in Beijing, and he is a member of the C5Art Art Institute.


生于湖南常德的画家许良毕业于中央美术学院壁画系,现工作生活在北京,是C5ART的签约艺术家。

The hyperrealism present in his graphite drawings could be mistaken for a real depiction.


他的铅笔作品的写实程度堪称“以假乱真”。

This piece has the feel of a double-exposed photograph, adopting a classical Western sketching method based on three colors and using warm-colored paper. Taking a fixed approach that is suitable for portraiture requires a high level of skill, just as it is efficient and capable of producing beautiful works. Only when working with the dark colors will Xu make adjustments according to the content of the painting. A fascinating method of painting.


这幅感觉像照片重爆的作品,运用了西方古典的三色素描方法,在暖色的有色纸上完成,运用一套固定的搭配,很适合画人物,这种方法很巧妙,即省力又很出效果,而他只在做底色的时候根据画的内容即兴的做一些调整。非常有意思的尝试。

The majority of Xu Liang’s pieces are oil paintings. However, in his view, creating artwork on paper is a more convenient way of sketching, outlining, and experimenting. Working on paper as opposed to canvas, Xu can adjust and account for mistakes or challenging parts in a portrait, such as a strand of hair or other subtle details.


许良的大部分作品还是以油画为主,但是对于他来说,纸上创作是适合做草图,小稿和实验的很方便的做法,他可以通过这种方式,解决一些对画人物兴趣点的表现方式,比如发丝之类。

Xu Liang also occasionally draws landscapes. Standard landscape scenes, an ocean view, flowers, or mountains, become abstract representations under Xu’s hand as he uses the texture of graphite to blend different shades into one.


许良也会描绘一些场景,虽然是很常见的海、花或者山,但他尝试把它们抽象化,然后利用铅笔本身的质感,减少色阶然后让色阶彼此清晰。

When talking about his understanding of gender, Xu Liang humorously calls himself a “typical straight guy”, therefore taking greater interest in women as the subjects of his pieces.


在谈到对性别的理解的时候,许良笑称自己是个标准直男,本能地就想以女性为题材创作,他也十分享受这个设定。

In 2013, Xu and two other painter friends of his, Yuan Xiaoguang and Zhang Hanpu, collaborated on a graphite piece entitled “City”.


2013年的时候,许良和两位画家朋友原晓光和张汉普投入创作了一副铅笔作品《城市》,这幅作品历经了两年多的创作,仍然没有全部完成。

According to Xu Liang, graphite is a medium that complements a city like Beijing – grey, drab, cold and lonely. “City” was created as the three artists approached graduation and began to feel the financial and emotional burden of settling down in Beijing and buying a house. To express these insurmountable pressures, as well as the large scale of the city, the three settled on graphite pencil – by no means a small undertaking for a canvas measuring 1.07 by 4.5 meters.


在谈到为什么会用这种“麻烦”的方式创作这样一幅1.07米×4.5米大尺寸的作品的时候,许良说,当时他们三人正值毕业之际,作为在北京求学的三人来说,第一次感受到想要买房安定下来的压力,而北京这个城市给人的感觉就是大家都很忙,距离也都很远,常常感到很孤独,而铅笔又有一种冷冷的、灰灰的、脏脏的感觉,和北京很像,所以选择了这样一个“吃力不讨好”的方式创作,很大,很有距离,但是仔细看又回发现小的生活细节藏在里面。

During the process, each of the three collaborators was responsible for a particular section of the canvas. Communication was essential, as conflicts often arose. Each day, the artists wouldn’t stop working until they made what they considered good progress.


许良说在合作的过程中三位艺术家每人负责一个区域,各画各的,互不干扰,但其实经常会产生争执,所以需要一直沟通,直到完成到了一个还不错的程度才停下来。

“City” stands in contrast to most of Xu Liang’s other graphite works, which are largely portraits.


许良的铅笔作品大多数是以人像为主的,城市这幅作品和画人像相比,则更偏重表达意图。

Currently, “City” is still unfinished. We eagerly await its completion, as well as its formal unveiling by Xu Liang and his team.


这幅作品虽然还是未完成的状态,但一定会有合适的机会出现让它正式亮相。

Contributor: Taylor Shen


供稿人: Taylor Shen