Tag Archives: 绘画

Gentle Giants

Like a modern reimagining of Alice in Wonderland, Tran Nguyen‘s works show gigantic young women and wild beasts towering above tiny houses, set against seas of fog and distant mountains. Born in Vietnam and raised in the U.S., Nguyen creates works that seem less like paintings than scenes from a fantasy film.

无限放大的少女和野生动物,在迷雾之中秉烛夜游;同比缩小的城堡与远山,让人疑惑这是否如当代版的梦游仙境——这些画面,出自生于越南、长于美国的艺术家 Tran Nguyen 之手。与其说是绘画,不如说这样的作品更肖似童话电影的布景。

Growing up between contrasting Vietnamese and American cultures, Nguyen has long been fascinated with dichotomies. How can two concepts be both parallel and perpendicular at the same time? It’s all dependent on perspective — ideas that initially seem incompatible with one another may actually be complementary once you examine the relationship between them. This understanding carries over into her art, which are masterful balancing acts that makes use of a multitude of contrasts. “Though I’m naturally drawn to melancholic narratives, I added the animal companions to make the painting feel less solemn,” she notes as an example. “The scale of the characters is also meant to contrast against the ordinary environments that each scene is set in, adding a sense of majesty and surrealism.”

越南与美国两个国度不同的文化冲突,让 Tran 一直以来对分化对立很感兴趣。两个不同的概念如何平行又垂直相交呈现?这完全取决于观点——一旦你审视他们之间的关系,最初似乎彼此不相容的想法,实际上可能是相互补充的。她的艺术作品也正利用这种矛盾创造了巧妙的平衡。“我很自然地被忧郁的故事所吸引,但我加入了动物伙伴,让这幅画不那么严肃。” Tran 说,“而人物放大缩小的比例,给了画面中角色以一种威严和超现实主义的感觉。”

“Ultimately, I want my viewers to reflect and feel a sense of well-being from my art,” she says. “However they perceive my work, I hope it somehow puts them at ease, especially if they feel down on their luck.”

“我希望观众能够从其中反映出一种幸福感。希望能这些画让他们感到轻松,尤其当他们感到时运不济的时候。” Tran 如是说。

Website: www.mynameistran.com
: @mynameistran
Behance: ~/trannguyen

Contributor: Chen Yuan

网站: www.mynameistran.com
: @mynameistran
Behance: ~/trannguyen

供稿人: Chen Yuan

Universal Equations

Matter and energy are absolutes
Everything is made of atoms
We’re just sleepwalking in
Different dreams constructed by equations
So I’m the cosmos
So you’re the cosmos


Every song is accompanied by a painting.

On the Murky Crows album It’s Okay We Will Meet in Other Ways, the Taiwanese band ponders the idea that our universe is simply an ever-changing reconfiguration of atoms. Each of the album’s ten imaginative tracks tells stories that revolve around themes of space, eternity, and the meaning of life. The band’s lead singer, Li Zhongli, not only guides listeners through these narratives with his gentle vocals but also makes use of his artistic talents, painting ten different portraits that portray the protagonists of each song.




在台湾乐队昏鸦的专辑《一切不灭定律》中,诉说 “宇宙里一切人事物,都是由最小的粒子不停转换着构成方程式所组合而成” 的主题。围绕着这个思考,十首歌描述了十个充满奇幻色彩的寓言故事,用以轻柔的吟唱,与我们一起反覆探讨着宇宙、永恒、生命的意义。而乐队的主唱李中立,同时也是一位才华洋溢的画家,他将十个故事里的男主角分别描绘出来,成为了以下十幅美丽的画作。



Listen to the full album and check out the accompanying artworks for each track below:







Guide me toward the Milky Way
We will meet again one day




因为我们 只因我们

Whisper to me his secrets
This is why we no longer need umbrellas
Just as we need no proof we exist
We aren’t nostalgic for our youth
And it’s all because, all because
We’ll forever die young





I can’t figure out why when I see your face
I shed hidden tears
But if one day
I accidentally discover
You’re not all that special
Then it doesn’t matter all that much





Smoke fills the air in this cursed village
As the young man passes by on his horse
The villagers point and say, “Save us!
Deep in the western mountains lives a devil.”





Having flown every inch of the globe
Perhaps one day you’ll meet me again
Whoa-oh it’s such a beautiful song
I just hope that it’s all real




请问你 你的王国可是金色
请问你 你的王国可是银色

Pray tell, your kingdom is made of gold
Pray tell, your kingdom is made of silver
With a faint smile, the beloved king
Disappears into the forest





Play me this song of loneliness
Take me quietly away from this
Senseless life, senseless life
Farewell for now





Thank you for helping me take my sweet revenge
But again, I must ask you
To devour its body and soul
And let me become you





Your Saturday self died on Sunday
Of your tears only a single drop remains
It formed a cloud
And fell as rain


After releasing It’s Okay We Will Meet in Other Ways, the band went silent for three years. During that time, many fans learned that frontman Li Zhongli’s moved out of Taipei and opened the Miaoko Hostel in Hualien. Here time ambles along at a slower pace. Every day the sun rises and sets with a sea breeze, and everywhere you look is blue.

Many of the original paintings from the album are on display in the hostel, allowing visitors from all over the world to enjoy them, and in turn, discover the band’s music. Even though he’s left Taipei, Li hasn’t stopped creating music. The Murky Crows’ latest album, I’m Just a Sad Boy Who Lives in a Handsome Body, is slated for release later this year.

距离《一切不灭定律》发行,乐队经过了三年的沉寂。熟知昏鸦乐队的人也许都有听说,主唱李中立离开了台北,搬到台湾东边美丽的花莲市,与家人一起在靠海的路肩上开了一家民宿 Miaoko Hostel。在这里,时光流逝地特别缓慢,每天的日出日落都与海风为邻,放眼望去尽是一片的蓝。而一部份《一切不灭定律》的原画作也保留在这里,与更多来自他方的旅人相见,将音乐与画的故事续写下去。

即使远离了都市,乐队依然保持在创作的路上。2018 下半年他们带来了新专辑《我们目前是什么都先不做》。

Facebook: ~/MurkyCrows


Contributor: Yang Yixuan

脸书: ~/MurkyCrows


供稿人: Yang Yixuan

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.


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
: @patleeart


Contributor: Sarah Forman

: @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.


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.


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 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.


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.


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.”


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.


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.


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”



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


  • 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



  • 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。



Contributor: Shanshan Chen
Images Courtesy of Masaki Yada





寄稿者: Shanshan Chen
Images Courtesy of Masaki Yada

The Man in Between Two Phrases



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.”


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.


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.”


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

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

Contributor, Photographer & Videographer: Yasuyuki Kubota
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.”


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.


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.”


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。

Instagram: @eighthday

Instagram: @eighthday

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

供稿人: Leon Yan, David Yen

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.


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.


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。

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austin_sandwich的《World in a Room》




  • 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


  • 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

Instagram: @austin_sandwich
Weibo: ~/austin_sandwich


Contributor: David Yen
Images Courtesy of austin_sandwich

Instagram: @austin_sandwich
微博: ~/austin_sandwich


供稿人: David Yen