Tag Archives: 艺术

What Money Can’t Buy

Money Soldiers

Can money be a kind of art?

Everyone knows what paper money looks like, but not everyone’s observed it closely. For Japanese origami artist Yosuke Hasegawa, whose imagination borders on madness, banknotes are worth more than their face value. Bills from different countries have different designs that reflect their history and culture,  but most feature a portrait of a famous historical figure. Yet what if those figures could cast off their stolid, decades-old appearance?


钱,也可以是一种艺术吗?

来自日本的折纸艺术家长谷川洋介(Yosuke Hasegawa)对于纸钞这个每个人都习以为常、却不曾仔细观察过的日常用品,怀抱着几近疯狂的想像,对他来说,纸钞承载的不单单只有金钱的重量而已。各国纸钞因应各地历史和文化有着不同的设计,最普遍的是印有当地伟大历史人物的肖像。如果,这些名人能够摆脱百年来一如既往的严肃样貌呢?

Lincoln Cup (USA)
Lincoln Ninja (USA)
From Mongolia
From India
From Japan

Hasegawa has traveled to eighteen countries, including the US, the UK, India, Vietnam, and Nepal, and he’s collected money from all of them. Banknotes from more distant countries, or those that have been discontinued, he buys on the internet. Then he uses the portrait on the bill to make playful origami or collage pieces.

So far he’s made origami works with banknotes from 60 countries. How did he start doing all this? “At first, I took inspiration from another people’s money origami. Using money was very shocking and interesting for me, so just I tried to fold some. And I found out that I could do it perfectly on the first try, even without practice,” he says. “I made something new every time. And I couldn’t stop folding money.”


他总共游历过美国、英国、印度、越南、尼泊尔等等十八个国家,收集当地的纸钞,其余遥远国家的纸钞、或是不再发行的绝版纸钞就从网路上购买。之后将纸钞上的名人肖像创作成这些幽默的折纸或是拼贴作品。

至今,他已经创作超过六十种国家纸钞的折纸。而这一切是从何开始?“一开始我是受到别人类似的作品启发。对我来说,用钱折紙这个概念很惊人也很有趣,所以我也开始尝试折纸,发现我不需要任何练习,第一次就可以折得很好。我能用纸钞折出各种新的造型,久而久之,我就爱上折纸了。”

Party Queen (UK)
Jackson Clown (USA)
From Japan

“What I keep in mind when I fold origami is that the edge and folding lines should be sharp and crisp. Image, nuance, and balance are important, as is how it fits with the portrait,” he explains. “Traditional Japanese origami is mathematics, but my money origami is kind of freestyle folding.”


“在折纸过程中,我经常面临的挑战是如何让肖像清楚地展示,同时折出锋利的边缘和干净的收边。构图、平衡、微妙的细节之处,它们如何与人像契合,是我折纸最重视的部分。” 他进一步解释,“传袭于日本传统的折纸艺术,这是一种与数学原理相近,需要精密计算的艺术。但我折纸的时候更倾向于自由发挥。”

Einstein on the Street
Elizabeth on the Street

In Hasegawa’s hands, money becomes like a kind of art. He sees it simply as a medium, dismissing any thought of its conventional worth and endowing it with a new value.

“Origami is only part of my money works. I’m more interested in the demolition and rebirth of the value of money,” he says. “Each banknote has a value, but after it becomes origami, maybe you can no longer recognize that value.”


在长谷川洋介的手上,钱俨然成为一种艺术。他将之视为一种单纯的素材,脱去普遍 “价格” 的思考,再赋予新的 “价值”。

“折纸只是我作品中的一小部分。我更感兴趣的是通过折纸,去消减金钱的价值。每张纸钞原本都有各自的币值,但是当纸钞成为折纸,名人肖像的尊严和形象被抹去,你再也无法认出纸钞的原型时,它们的价值便不复存在了。”

 

Mao Flaming Star
Nobody Recognizes
Chase Your Dreams
Rookies
Landscape of the Money World
Money 911 Landscape
Delusion Landscape of Money

Websiteyosuke89.wixsite.com

 

Contributor: Yang Yixuan


网站: yosuke89.wixsite.com

 

供稿人: Yang Yixuan

Dualities

Room 2 (2016) 66 x 110 cm

When your eyes have come to expect dazzlingly bright works of art, it’s a surprise when you find yourself staring so long at the color black.

These layers of black are not silent, but neither are they deafening.

Rather, it’s like a dialogue without words.


在看过无数眩目的艺术作品之后,你毫无防备,竟对着一页的黑色看了这么久。

这样层叠的黑,并非静默,也绝无喧嚣。

那更像是一种无声的对话。

Wood Block 10.1 (2017) 90 x 120 cm
Wood Block 10.3 (2017) 90 x 120 cm

Born in Russia, raised in Ukraine, and currently based in Beijing, Alëna Olasyuk is the artist behind these achromatic works, all of which were created using traditional Chinese ink.

Using carved wood in lieu of standard canvases, Olasyuk’s Wood Blocks series is a work of patience and diligence. Anyone can touch the works, anyone can feel their imprint on their own body. Bodily impressions and visual perception overlap: the painting is no longer a painting, the wood is no longer wood. They encourage the viewer to interact with the work. It’s a dialogue between humans and art.


Alëna Olasyuk 在俄罗斯出生,在乌克兰长大,如今长居北京。我们所看到的黑,正是她用所钟情的中国墨水一笔笔画的。

这个系列叫做《Wood Blocks》(《木格》),Alëna 在已镂刻的木雕上耐心地描绘和涂色,最终形成了我们现在所见到的作品。每个人都可以触摸它,每个人也都能在自己身体上留下作品的印记。身体的感知和视觉的观感交叠,画不再是画,木也不再是木。它鼓励着观者与作品进行交互,这是人与作品的对话。

Wood Block 10.2 (2017) 90 x 120 cm

In traditional Chinese art, black and white symbolize the relationship between all things. They’re two extremes that achieve harmony in contrast and movement.

A closer look shows that Olasyuk’s works are more than simply blanketed in pure black ink. Viewed from the front, the entire frame appears to be engulfed in a murky obsidian, with only faint lines visible, but when the same work is observed from a different angle, threads of silver, glimmering colors, and a new world of texture emerge. Darkness reveals itself as light. These perspectives open up an entirely new reality, and as viewers contemplate them, the meaning of dualism becomes clear.

It’s a dialogue between the self and its inner essence. 


在中国艺术中,黑白两色反映的是事物之间的关系,它们是两个极端,在对比和运动中两相制约,以达到和谐。

但其实细看,Alëna 作品中的黑也并不是全黑。直面画布的时候,你会看到条条延展开去的黑色细线;然而,换个角度,你会将看到一个充满着银丝、明亮的颜色和纹理的新世界。玄黑,转而显现为光明。这样的视角开启了全新的现实,使人们在理解这些作品的同时,体悟到了“二元论”。

这是自身与内在的对话。

Duality 1 (2016) 56 x 76 cm
Duality 2 (2016) 56 x 76 cm

But how to achieve balance in this dualistic world?

Olasyuk’s series Duality presents the idea of a natural balance. In fact, duality itself is part of balance. It’s part of the purpose and very notion of life. But if one doesn’t accept this dual nature, the natural balance can’t exist. Complexity and concision, chaos and balance, movement and stasis, transience and infinity – these are the subjects Olasyuk is eternally exploring in her works.

It’s the perpetual dialogue between humanity and the universe.


那么,如何在这个世界的二元性下保持平衡呢?

Alëna Olasyuk 的作品系列二元性代表了自然平衡的思想。其实,二元性本身就是平衡的一部分,是生活的目标和理念的一部分。但是如果不接受事物的两重性,这种平衡就不可能存在。复杂与简约、混沌与平衡、运动与静止、短暂与无限——这些是 Alëna 在她的作品中永恒探索的主题。

这也是人与天地世界的亘古对话。

Duality 4 (2017) 75 x 105 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm
A painting from the Fear series (2016) 56 x 76 cm

Websiteolasyuk.com
Instagram: @olasyuk_a

 

Contributor: Chen Yuan


网址olasyuk.com
Instagram: @olasyuk_a

 

供稿人: Chen Yuan

A Day in the Studio with Yan Wei

 

无法观看?前往优酷

Yan Wei is a contemporary artist and painter from Beijing, China. After graduating from Tsinghua University’s Academy of Art and Design, she started her career as an illustrator working in the advertising industry. However, during her stint in advertising, she began to question her own goals and motivations. “I had to face the fact that advertising was not the reason I got into art,” she says. “I realized that advertising would only take me further away from my goals as an artist.”


闫威是来自北京的一名当代艺术家和画家。从清华大学美术学院毕业后,她为广告公司做插画设计。但这个行业让她开始怀疑自己的选择,质疑起自己学美术的目标和初衷。“我意识到,广告不是我当初从事艺术创作的原因,并且会让我离自己成为艺术家的目标越来越远。”

Moonlight
Internal

Soon after this revelation, Yan quit her cushy advertising job and set up a painting studio in her parent’s home. She intended to dedicate all of her energy to making a reputation for herself in the art world. Over the next decade, Yan continuously progressed as an artist – her work would evolve from small ink-on-paper pieces to large-scale acrylic works on canvas.

Yan’s hard work would pay off. As of now, her work has been displayed in numerous exhibitions, received massive amounts of praise and attention online, and has been purchased by the Shanghai Art Museum for its public collection.


想清楚之后,闫威辞掉了原来收入颇丰的工作,在父母家中成立了一个画室。她打算把所有的精力投入到艺术创作中,争取在艺术界中立足。在接下来的十年里,闫威的艺术创作不断精进,作品也渐渐从一方方小画纸进军到偌大的丙烯画布上去。

功夫不负有心人。从毅然离职到重归艺术创作,再到十年如一日的创作,到目前为止,闫威的作品已经在许多展览上展出,在网络媒体上也获得了大量的点赞和关注,且不少作品已被上海美术馆收录。

Yan Wei’s creative process is centered around routine and discipline. She shares, “A lot of people might think, artists or those who work creatively might live more spontaneously and stay up late, but it’s not like that. I’ll wake up in the morning, eat breakfast, clean the house, and start to paint. Then I’ll have lunch and continue to paint, all the way until the sun goes down and it gets dark, and I can’t paint anymore.”


闫威创作流程的核心是规律和纪律。她分享道:“很多人会以为艺术家或在创意领域中工作的人,总是生活得很随性或经常熬夜,但事实不是这样。”她继续向我们描述她例行的生活:“我会起得很早,吃早餐,打扫家里,开始画画。接着我会吃午餐然后继续画画,一直到傍晚天色暗下来,我没办法再画了为止。”

Guardian

Youth, beauty, and femininity are recurring themes throughout Yan Wei’s body of work. Her art is a way for her to explore the changing roles of women within the context of modern culture and society. “I think of femininity as a whole,” she explains. “Each of my paintings, the subjects are different, but they all have something in common.”


在闫威的作品中,青春、美丽、女性气质是经常出现的主题。通过自己的作品,她在探索着现代文化和社会背景下女性角色的变化。她解释道:“我是将女性气质当作一个整体来思考的。我的每幅作品都会有不同的人物角色,但她们都有共同之处。”

Hunt

For Yan, her art has also become a process of self-discovery regarding what it means to be a woman. “When I depict women, I think it’s different than when men depict women. When men depict women, it might be as an outside observer. But when I depict women, it’s a depiction of who I am.”


对于闫威来说,艺术是一个自我发现的过程,让她探讨成为一名女性的意义。“当我画女性时,应该跟男性画家描绘女性形象是不同的。男人画女性时,可能是以外部观察者的角度来创作的。但是当我画女性的时候,其实也是在画自己。”

Double Birth
Croquet
Tide
Empirical Wonderland

Yan Wei will be hosting a solo exhibition in Beijing, China opening on March 3rd, 2018. See below for full details.


接下来,闫威将在北京举办个人作品展,开幕日为2018年03月03日。请参阅下面的详细信息。

Event:
VANITY
Yan Wei Solo Exhibition in Beijing

Date: March 3rd, 2018 ~ April 3rd, 2018
Opening Reception: March 3rd 15:00 – 18:00

Address:
Hi Art Center
B-B36, UBP
No. 10 Jiuxianqiao Road
Chaoyang District, Beijing
People’s Republic of China

 


活动:
《浮世》
闫威个人作品展

展期: 2018年03月03日 —— 2018年04月03日
开幕酒会: 03月03日,15:00 – 18:00

地址:
中国
北京朝阳区
酒仙桥路10号
恒通商务园B36-B座1层
Hi艺术中心

Instagram: @koomoowei

 

Contributor & Videographer: George Zhi Zhao


Instagram@koomoowei

 

供稿人与摄影师: George Zhi Zhao

Photosynthesis

To what extent do a city’s artificial lights affect our lives? That’s the question posed by Macau-based photographer and visual artist TKH. Since 2014, he’s ardently observed and documented the different ways a city transforms after the sun goes down. This insatiable curiosity led to his Photosynthesis project, a photo essay that investigates the role of man-made light sources in our day-to-day lives. “Through my photos of these cold, nocturnal sceneries, I tried to find out how our society uses light to guide an individual at night and how our days don’t have to end after the sun sets,” he describes of the project. “It also shows that, with the help of artificial lights, a city continues to function through the night. By observing and documenting these basic constructs of civilization, I’ve found appreciation in how we, as urban dwellers, are able to use these lights to explore the darkness. The invention of artificial light is one of the biggest things separating humans and animals, and what’s buried beneath these seemingly serene night scenes is a chance for us to re-discover and re-familiarize ourselves with the invisible cogs that keep a city running.”


夜晚环境中,灯光对人类的日常行为究竟带来多少影响?这是来自澳门的艺术家/摄影师TKH向观众抛出的问题。2014年开始,TKH通过观察和记录城市夜晚场景,创作了《光合作用》系列作品,这是他一个持续进行中的实验性摄影项目,也是他社会观察项目的其中一项。当太阳落去,城市失去自然光线之后,人类借助多样的人造光线继续开展活动。“借由画面中冷滟的夜间景观发掘出当今的社会是如何以灯光引导着个体在夜间继续拓展其生活经验,以及晚上的灯光在公共场域中赋予城市看得见的运作模式。透过观看及纪录这些文明建设,我们看见城市人正以自己创造的光源继续对黑暗的探索,黑夜中的灯光将人类从动物社会体系中分割出来,然而埋藏在静态景致中的是重新认知和阐述凡常表像都市运转的感觉。”

Website: tkhmacau.com
Instagram: @tkh0917

 

Contributor: Ye Zi


网站: tkhmacau.com
Instagram: @tkh0917

 

供稿人: Ye Zi

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Blue & White Porcelain

Shann Larsson is a Hong Kong-based mixed media artist of Eurasian descent. Having been raised in Germany, Sweden, Indonesia, and Hong Kong, Larsson’s creative process has been deeply influenced by her exposure to these different cultures. Her latest project, Blue & White Porcelain, is a playing card deck that reflects the influences of her mixed cultural background. While the front-facing graphics and coloration are based on 14th-century Chinese ceramics, the card backs are influenced by modern Scandinavian porcelain, which tends to incorporate abstract and geometric characteristics. Building on the Chinese influences, the graphical elements on the rest of the cards, aside from the aces, are all based on the 12 animals of the Chinese zodiac.


Shann Larsson是一位现居香港的多媒体艺术家。身为一名欧亚混血,她成长于德国、瑞典、印尼和香港这四个地方,而这样的成长背景也深深影响到了她的作品创作。这在她近期的一件产品设计作品《Blue & White Porcelain》亦能体现出来。在扑克牌的牌面设计上,Shann以中国明朝时期青花瓷的纹样和颜色作为灵感,而牌背则借鉴了另外一种较为现代的瓷器——产于斯堪的纳维亚、独特风格的瓷器,其中包含了抽象元素和几何特征。在图案设计中,Shann还融入了中国的十二生肖,来展现牌面的大小等级。

In the printing process, Larsson used a Spot UV varnish on individual cards and the packaging, which gave it a special coating that augmented the colors of her watercolor paintings; the glossy surface is also a reference to the lustrous qualities of real ceramics. Understanding that design is a balancing act, Larsson finalized the project with the use of the simple, minimal Novecento font, which complemented her complex graphical designs.


在制作产品时,Shann选用了一种叫做局部UV的印刷方式,赋予卡片和卡盒一种微妙的光泽感,这样光滑的触感也正呼应了产品的瓷器主题。为了视觉上的均衡,Shann选用了简洁的字体Novecento,这种干净极简的字体正好中和了牌面上精细又复杂的设计图案。

Blue & White Porcelain recently won a Junior Award at the Red Dot Award: Communication Design event and it’s now available in the Neocha Shop.


《Blue & White Porcelain》还是2017红点奖:传达设计部分的得奖作品!现正于Neocha商店限量发售。

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Sharon Larsson的《Blue & White Porcelain》

¥90

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Website: shannlarsson.com
Facebook: ~/shannlarssonsart
Behance~/shannlarsson 
Instagram@shannlarssondesign

 

ContributorYe Zi
Images Courtesy of Shann Larsson


网站shannlarsson.com
脸书:~/shannlarssonsart
Behance: ~/shannlarsson 
Instagram@shannlarssondesign

 

供稿人: Ye Zi
图片由Shann Larsson提供

✧*。(Single KTV)✧*

“Hi~~I’m*٩(Guo Pinjun*aka*٩(Σ>-(Pin Jun★Future))♡→*aka*。Pin Pin Future*。” – this is Taiwanese artist Guo Pinjun’s self-introduction. Through her preferred mediums of installation art, video, photos, and performing arts, Guo transforms Asian pop culture into a visual language of her very own. Her style is self-described as a blend of “infinite narcissism and an obsessive, cult-like sense of self-adoration.”


~我是*٩郭品君*)و*aka*٩(Σ>-(品君★未來)♡→)و*aka*٩( ピンピン未來)و*这是一段来自台湾艺术家郭品君的自我介绍。装置、视觉、行为艺术是她创作的主要形式。她将大众流行文化做为视觉语言,呈现“无敌自恋自溺自爱的邪教教主风格 ”来自品君自己的描述)。

✧*。(Single KTV)✧* is Guo’s recent art piece, combining installation art with performing art. “People don’t need a reason to go sing karaoke in Taiwan. It doesn’t matter if you’re in a good mood or a bad mood. It doesn’t matter if you’re a good singer or a bad singer. You can just go out and sing,” she says. “One night, I went to sing with my friends, and I sang a bunch of sad, lovesick songs in a row, such as SHE’s ‘Not Yet Lovers’ and Twins’ ‘Jian Xi Ai Shen.’ I was getting really into it and dancing around when I noticed one of my friends was staring at me in a pitiful way. She asked me, ‘Pinjun, are you desperate to meet a boyfriend?’ It was then that this idea came to me. Does singing love songs, after seven years of being single, look really sad in front of people? Does being single mean I can’t sing love songs?” For this art piece, she set up a unique KTV booth in a public space, inviting strangers to join her or watch her sing karaoke. By doing this, Guo hopes to initiate a conversation on the subject of loneliness with her audience and explore how society views “single” people.


*(单身KTV)*》是郭品君最近创作的装置行为艺术作品。关于如何萌生创作这件作品的想法,品君这样告诉我们:在台湾去唱卡拉ok是不需要理由的,不管你心情好或心情不好、唱的好或不好,只要找到机会就可以开唱,有一次和朋友约唱歌,我一连唱了好几首恋爱情歌,例如SHE的《恋人未满》、Twins的《见习爱神》等等,当我唱的超投入跳超嗨的时候转头看到我朋友竟然用一个很悲悯的眼神看着我,然后问我说,品君,你是不是很想要交男朋友阿?,这时我脑中闪过的是,难道单身已经7年的我唱起情歌来的样子在别人眼中原来是很可悲的?难道单身就不能唱情歌吗?” 因此,她创作了这件装置作品,在公众地方建立了这个粉色主题的开放式KTV包厢,邀请陌生人和她一起唱K。品君希望通过与观众的互动和交流,测试大众对于单身这个身分的反应。

Taiwanese pop culture at the turn of the millennium is one of the most prevalent influences in Guo’s art. In the early 2000s, as Guo sought to figure out her own identity as a teenager, a Japanese craze was sweeping through Taiwan, introducing things like Ganguro fashion, old school Decora style, anime, and sticker photo booths. “The interesting thing is that I absorbed these elements of Japanese pop culture after Taiwan had localized it,” she says. “So in a way, my work is a fusion of Taiwanese and Japanese styles.”


千禧时期的台湾流行文化对品君创作影像风格带来很深的影响。2000年开始,她渐渐进入脱离爸妈全权掌握,有点想要自己决定喜欢什么、爱追随流行的青少年时期,而当时台湾正在风靡一股非常强烈的哈日风潮。109辣妹、old school Decora视觉系、动漫、拍贴机等等的这些日本流行文化,影响着她的成长。有趣的点在于,我所吸收的都是台湾‘在地化’过后的日本流行文化,因此从我的影像中可以看到的是一种台日混血的风格呈现。

Aside from her own artworks, Guo was eager to share with us a list of some of her favorite modern creatives, including Japan’s Magma, Taiwanese designer JennyFax, British filmmaker Nadia Lee Cohen, Japan’s creative collective ChimPom, and French conceptual artist Sophie Calle. “My favorite art is art that’s very decorative, with aesthetics that people might consider kitsch. I also enjoy the inclusion of some dark humor, a little playfulness, and a bit of craziness. My own work is also moving in this direction.”


品君还和我们分享了一些她最近注目的艺术家,有日本的Magma,台湾的旅日设计师JennyFax,英国的Nadia Lee Cohen,日本的艺术家团体ChimPom 和观念艺术家Sophie Calle。“我喜欢非常装饰性、媚俗、黑色幽默、有趣、带点疯狂行为的作品,我自己的作品也是朝这样的方向前进的。

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Contributor: Ye Zi
Images Courtesy of pin_chun7


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供稿人: Ye Zi
图片由 pin_chun7提供

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

Saigon Emoji

Emojis have become an indispensable part of modern communication, allowing people to easily convey their feelings and thoughts at the mere click of a button. In 2015, to the surprise of many, the “Face with Tears of Joy” emoji was even selected as Oxford Dictionaries Word of the Year. Seeing this, Saigon-based designer Maxk Nguyn had an idea: “Why don’t I mix those tech icons with symbols of daily life in Saigon?” This light bulb moment culminated into the Saigon Emoji project. From streetside fruit vendor selling baskets of Instagram likes and Facebook Reactions to old mailboxes with unread notifications and a street cleaner sweeping away the past hour’s internet browsing history, Nguyễn’s fun series embeds these familiar digital symbols and emojis with photos of Saigon locals as a way of presenting the city and its stories through a universal language.


近年来,Emoji表情符号成为了现代人沟通过程中一个不可缺少的元素,一些无法用语言表达的想法或情感却可以用一个emoji符号轻松传递。emoji的喜极而泣符号更是在2015年的时候破天荒地成为了英国牛津字典的年度风云词汇。听到这则新闻,来自越南西贡 (胡志明市)的设计师 Maxk Nguyễn冒出了一个想法:当这种简单的数位图画影像和西贡的生活景象结合在一起,结果会是怎样? 《Saigon Emoji》就此诞生。坐在路边贩售水果的越南阿姨,果篮里装满的却是爱心和点赞符号;老房子的旧式信箱右上角冒出红色的未读邮件数字;清道夫的扫把下是上一小时的网络浏览记录。Nguyễn将这些数位符号带入西贡人的日常生活中,用emoji这个无国界之分的语言,讲着他家乡的故事。

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Contributor: Ye Zi


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脸书~/maxknguyen91

 

供稿人: Ye Zi

Endangered Species

Manila-based creative director Patrick Cabral began his Delicate Papercuts series in 2016. His desire was to explore and develop new techniques in the age-old art of paper cutting. Working with layers of vellum board and watercolor paper, Cabral creates stunningly intricate artworks that range from stunning portraits to intricate typography.


2016年,马尼拉创意总监Patrick Cabral开始创作名为《Delicate Papercuts系列的精致剪纸。他的愿望是从古老的剪纸艺术中探索和研究出新的创作技艺。Cabral通过薄纸板和水彩纸的层叠,创造出肖像或艺术字体剪纸等令人惊艳的精致艺术品。

In 2017, Cabral launched a special series in collaboration with the World Wide Fund for Nature and Acts of Kindness, extending his original project to include some of the faces of the world’s most endangered animals. Many of the animals in his Endangered Species series are native to Asia, including tigers, pangolins, elephants, dholes, tamaraws, rhinoceroses, snow leopards, and pandas. Upon completing the series, Cabral happily remarked that the star of his final portrait, the panda, was no longer listed as an endangered species as of 2017. Scroll down and see the complete project below.


2017年,Cabral 携手世界自然基金会Acts of Kindness机构,为世界上最濒危的稀有动物创作了一系列头部剪纸作品。这个名为《Endangered Species》(濒危动物)系列中的许多动物都来自亚洲,包括老虎、穿山甲、大象、亚洲豺犬,塔摩洛水牛、犀牛、雪豹和熊猫。完成这个系列的创作之后,Cabral高兴地表示,他最后创作的大熊猫在 2017 年已经不再是濒危物种。下面一起来欣赏Cabral完整的动物剪纸系列吧。

Websitepatrickcabral.com
Facebook~/DarkgravityOfficial
Instagram@darkgravity

 

供稿人: Whitney Ng


网站patrickcabral.com
脸书~/DarkgravityOfficial
Instagram@darkgravity

 

供稿人: Whitney Ng

20 Questions with Leungmo

Leungmo is a Hong Kong-based photographer and art director whose works can be characterized by the use of bold, contrasting colors and playful props – this stems from her ongoing fascination with vintage toys. Many of the dolls and props that appear in her photos are actually even listed for sale on littlebuttkid, her online store. Leungmo’s interest with cute toys can be traced back to her childhood when she received her first camera – a Hello Kitty film camera that her parents gifted her. But, at the time, Leungmo only wore it around her neck as an accessory. Her true initiation into the world of photography began in middle school. Inspired by the phrase “Don’t think, just shoot,” she began taking photos of anything and everything. Shower heads, windows, roads, and rocks – nothing was off limits for Leungmo as she developed into the talented photographer that she is today. We recently caught up with Leungmo and tried to catch her off guard with a rapid-fire round of twenty questions. Check out the interview below.


Leungmo是来自香港的女性摄影师及艺术指导。在她的作品中你常能见到大胆的色彩碰撞及童趣的场景。摄影之外,颇具童心的Leungmo还情迷于收藏旧玩具。这些玩偶不仅出现在她的相片中,现在也在她的玩具商店littebuttkid中出售。说起和摄影的关系,Leungmo的第一部相机是一部Hello Kitty的胶片机,那是小时候父母送她的礼物,只不过那时候的她只懂得把玩具相机挂在脖子上作装饰。真正开始拍照源于中学时代,那时候很流行一句话叫做“Don’t think just shoot” Leungmo便开始到处乱拍,拍家里的淋浴头、窗、马路和石头等等。下面,一起看看Neocha和Leungmo的20问答,进一步了解这位有趣的摄影师。

Neocha: Do you prefer shooting strangers or people you’re more acquainted with?

Leungmo: Probably strangers. I’m always so curious about other people’s stories. To me, my camera is a tool that helps me bridge the gap between unfamiliar people and myself.

Neocha: Describe your work in three words.

Leungmo: Waaaa… I’m terrified of describing my own work.

NeochaDescribe yourself in three words.

Leungmo: Waaa waaa waaa.


Neocha: 你更喜欢拍摄熟悉的人还是拍摄陌生人?

Leungmo: 陌生人吧,总是很好奇别人的故事,而相机成为我和陌生人接触的桥梁。

Neocha: 用三个词语形容你的照片。

Leungmo: 呜,最怕形容自己和作品。

Neocha: 用三个词语形容你自己。

Leungmo: 呜呜呜。

 

Neocha: What has been the most satisfying thing about photography for you?

Leungmo: Being able to make a livelihood with something I enjoy.

Neocha: What’s your favorite quote about photography?

Leungmo: “Ruin is a gift, ruin is the road to transformation.”

Neocha: What’s a message you’d want to share with other photography enthusiasts?

Leungmo: If you love it, keep doing it until you hate it or until you die.


Neocha: 有关摄影,你至今最满意的事是?

Leungmo: 兴趣能养活自己。

Neocha: 有关摄影,你最喜欢的东西或一句话是?

Leungmo: Ruin is a gift, ruin is the road to transformation.”

Neocha: 给其他喜欢拍照的人,你想说的一句话是?

Leungmo: 喜欢的话就一直拍至不喜欢或死。

Neocha: How do you feel about the internet? Is it a good thing or a bad thing?

Leungmo: The internet allows us to easily receive new information, but whenever I eat out with my parents, they’re just staring at their phones. Haha. It’s both good and bad I suppose.

Neocha: Who’s your idol?

Leungmo: Diane Arbus.

Neocha: If you could collaborate with anyone in the future, who would you want it to be?

Leungmo: My boyfriend. He’s a fantastic partner in life and in work. I want to create more with him.


Neocha: 你对互联网的看法,觉得它是好东西还是坏东西? 

Leungmo: 互联网的确令我们更方便接受到新资讯,但令到我爸妈每次外出吃饭都只看着电话,哈哈,有好有坏吧。

Neocha: 你的偶像是?

LeungmoDiane Arbus。

Neocha: 将来可以和一个人合作,你希望是谁?

Leungmo: 男友,他是我生活和工作上的好拍档,将来会和他合作做更多创作。

Neocha: How does living Hong Kong influence your photography?

Leungmo: I have to constantly remind myself to not be drowned by work.

Neocha: What’s your favorite thing about Hong Kong? How about your least favorite?

Leungmo: I like Sham Shui Po. I don’t like Admiralty Station during peak hours.

Neocha: Ten years from now, where do you hope to live? 

Leungmo: Hong Kong. Every time I go on vacation, I come back and feel like Hong Kong is still the best. It feels like home.

Neocha: Where do you want to shoot next?

Leungmo: There are actually so many places in Hong Kong that I haven’t been to. I want to wander the streets and find even more interesting locations and stories.


Neocha: 生活在香港对你拍摄的影响是?

Leungmo: 要时常提醒自己不要被工作淹没。

Neocha最喜欢和最不喜欢香港的地方是?

Leungmo: 喜欢深水埗,不喜欢下班时间的金钟站。

Neocha: 未来10年,希望自己生活在哪里?

Leungmo: 香港,每次外出回来还是觉得香港最好,有家的感觉。

Neocha接下来最想去哪里拍摄?

Leungmo其实香港有很多地方没去过,想多在街上游荡,发掘有趣的地方和故事。

Neocha: If you could only choose between digital and film, what do you choose?

Leungmo: Film. There’s just an irreplaceable quality to it.

Neocha: Who do you want to photograph the most?

Leungmo: I want to photograph an exact clone of myself. It’s impossible to see yourself through your own eyes – it’s always in a reflection or a photograph.

Neocha: If you weren’t a photographer, what do you think you’d be doing?

Leungmo: I’d be the manager of a toy store. I love the toy store in the movie Mr. Magorium’s Wonder Emporium.


Neocha: 数码相机和菲林相机,只保留一个你选?

Leungmo: 菲林吧,有种无法取代的质感。

Neocha: 最想拍摄的人是?

Leungmo: 想有另一个自己替自己拍照,因为永远无法用肉眼看见自己,只能透过反射或照片。

Neocha: 如果不做摄影师,你会做的职业是?

Leungmo: 玩具店店长,喜欢电影《Mr. Magorium’s Wonder Emporium》那样的玩具店。

Neocha: What talent do you want to have the most?

Leungmo: I want the translation konjac in Doraemon. When you eat it, you’re instantly able to talk to someone in a foreign language. Doraemon often uses it to talk to dogs, cats, ancient civilizations, and aliens. Besides translating, I can eat it like regular food.

Neocha: What are you most afraid of?

Leungmo: The passing of a relative.

Neocha: What do you consider to be the superficial type of pain?

Leungmo: A cut.

Neocha: What do you feel like the epitome of happiness is?

Leungmo: Loving someone and being loved back.


Neocha: 最希望自己拥有哪种才华?

Leungmo: 想要叮当的翻译蒟蒻,只要吃下之后就能与不同语言者对话无碍,亦可翻译文字。叮当经常用此来和猫、狗、古代人或外星人对话。除了翻译之外也能当作普通的食物来冲充饥。(转自维基)

Neocha: 你最恐惧的是什么?

Leungmo: 亲人离去。

Neocha: 你认为程度最浅的痛苦是什么?

Leungmo: 皮外伤。

Neocha: 你认为最完美的快乐是怎样的?

Leungmo同时爱与被爱。


Website: cargocollective.com/leungmo
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Contributor: Ye Zi


网站: cargocollective.com/leungmo
脸书~/leungmo
Instagram: @leungmo

 

供稿人:  Ye Zi