Tag Archives: art

Victo Isn’t a Boy’s Name or a Typo

Growing up in Hong Kong as an only child, Victo Ngai spent much of her childhood drawing and creating imaginative stories from her artworks while her parents were away working long hours. Upon graduating from the Rhode Island School of Design, Ngai blossomed into a decorated illustrator, creating her visual stories on a much larger scale through her characteristically fluid and surreal drawing style. In 2014, Ngai was listed by Forbes in the 30 under 30 of the Art & Style category for her impressive illustrations. Her thought-provoking works are often featured in the likes of The New Yorker and The New York Times where she brings some of the world’s most pressing stories to life. Most recently, she collaborated with Apple to produce a Chinese New Year billboard in celebration of the Year of the Rooster, which was unveiled at the Apple Store on Canton Road in Hong Kong. “I like things that are not very realistic. That is the charm of illustration – it completely allows you to create your own magical world.”


来自香港的倪传婧(Victo Ngai )是家里的独生女。因为父母经常外出工作只留她在家,倪的童年大多数时间在一个人奇思妙想和画画中度过。从罗德岛设计学院毕业后, 倪传婧成为一名插画家,以流畅的线条和超现实主义的绘画风格,描绘出她脑中构想的故事。 2014 年,她凭借出色的插画作品,入选福布斯艺术与风格类“30 Under 30:Art & Style”榜单 (30位最具潜力的30岁以下的杰出新秀)。 她根据世界上发生的重大新闻事件,创作出发人深省的插画作品,并常常被发表于《纽约客》(New Yorker) 和《纽约时报》(The New York Times)等报刊杂志。最近,她与 Apple 公司合作,创作一个庆祝中国鸡年春节的广告牌,于香港广东道的Apple零售店展出。”我喜欢超现实风格的东西。这也是插图的魅力所在。它让你可以构建一个属于你自己的神奇世界。“

Website: victo-ngai.com
Facebook: ~/victo-ngai-倪傳婧
Instagram: @victongai
Behance: ~/victo

 

Contributor: Whitney Ng


网站: victo-ngai.com
脸书: ~/victo-ngai-倪傳婧
Instagram: @victongai
Behance: ~/victo

 

供稿人: Whitney Ng

20 Years of Convenience

For the last 20 years, South Korean artist Me Kyeoung Lee has traveled around her home country, armed with acrylic inks and a penchant for painting quaint little convenience stores. Throughout her childhood, Lee recalls frequenting these charming corner stores that are now becoming few and far between in modern-day South Korea. In each painting, she captures every little detail, highlighting each store’s idyllic features, its traditional signage, and miscellaneous bric-à-brac.


过去20年,韩国艺术家Me Kyeoung Lee带着她的丙烯颜料上路,走遍了韩国许多地方,寻找那些旧式街边小店。在时髦的韩国城市街头,这样传统的杂物小店越来越少,甚至只能在她的童年回忆中才能找到 ,Lee决定用画画的方式将它们保存下来。在这些作品中,Lee仔细描绘每间小店的一砖一瓦,画出小店丰富的杂物细节,也保留了它的传统特征和质朴的风味,

Artsy~/me-kyeuong-lee

 

Contributor: Whitney Ng


Artsy~/me-kyeuong-lee

 

供稿人: Whitney Ng

The 2017 Kathmandu Triennale

The first-ever Kathmandu Triennale will be kicking off this Friday. Organized by the Siddhartha Arts Foundation, the inaugural event aims to celebrate Nepal’s rich cultural history and its growing art scene. As an extension of the past two Kathmandu International Art Festivals, the Triennale shares a similar goal of showcasing the educational potential of art and opening up a dialogue around the various social issues of modern-day Nepal.


本周五,首届加德满都三年展(Kathmandu Triennale,KT 2017 )即将开幕,主办方为悉达多艺术基金会(Siddhartha Arts Foundation),旨在展现尼泊尔丰富的文化历史,及其日益繁荣的艺术文化。作为过去两届加德满都国际艺术节(KIAF)的延伸,三年展的目标也在于传达艺术的教育影响力,也针对现今尼泊尔的各种社会问题,为大家创造对话的平台。

The Triennale this year is built upon the successful 2009 and 2012 editions of KIAF. The metric that defines their success goes beyond the large turnout, positive reception, and notable artists who attended. It’s measured by the lasting impact these two festivals have left on Nepal as a whole. During KIAF 2012, Cambodian artist Leang Sackon’s 70-meter-long installation, The Naga, needed to be transported into Nepal from Cambodia. To allow passage through India, amendments were made to an outdated transit treaty between India and Nepal, which has led to many economic benefits for Nepal. The past festivals also invited various schools to attend guided tours of the festival with the goal of teaching the youth about the value of art. This initiative, along with other like-minded art education platforms, has begun to shift the conservative viewpoint of the Nepalese school system that previously only saw art as an extracurricular activity.


2009年和2012年举办的两届KIAF十分成功,为今年三年展的举办奠定基础。前两届KIAF吸引了众多观众,获得了公众的热情参与,更有多位著名艺术家参展,更重要的是,它们的举办为尼泊尔留下了深远的影响。在KIAF 2012期间,柬埔寨艺术家Leang Sackon 为了将70 米长的艺术装置《The Naga》从柬埔寨运到尼泊尔,促使印度和尼泊尔重新修订了两国间过时的过境条约,为尼泊尔带来了长久的经济利益。在前两届KIAF中,主办方还邀请了当地学校组织有解说的参观活动,目标是让青少年更多地了解艺术的价值。这样的活动,正逐渐改变尼泊尔学校以往只把艺术看作课外活动的传统观念。

The Naga by Leang Seckon
The Naga by Leang Seckon

The central theme of this year’s Triennale revolves around the concept of “The City.” The primary exhibition, The City, My Studio / The City, My Life, will explore the idea of cities being nodes of creativity. Through presenting a mix of new and existing works of participating artists, the exhibition will examine the complex role and multiple functions of cities, showing how they’re interconnected into the heritage, lives, and creative processes of these individuals. The exhibition is also dedicated to all those who lost their lives in Nepal’s 2015 earthquakes.


此次三年展的中心主题是“城市”。主要展览《The City, My Studio / The City, My Life》(城市——我的工作室,城市——我的生活)探索了以城市为创意节点的理念。通过展示各国艺术家的作品,探讨城市的各种复杂角色和功能,展现出城市与艺术家个人在传统、生活和创作过程中的相互联系。此外,今年的三年展的举办也是为了致献在2015年尼泊尔地震中丧生的人们。

Born in Kathmandu, Ang Tsherin Sherpa is known for his contemporary reinterpretations of traditional thangka art.
Street artist Kiran Maharjan is one of the organizers of the Prasad Project, which aims to make a positive impact on Nepalese youth.
Cai Guoqiang is an award-winning Chinese artist who's known for his literally explosive works of art.

KT 2017 will be inviting over 50 artists from 25 different countries to participate in this year’s exhibitions, such as influential local artists Ang Tsherin Sherpa, Kiran Maharjan, Hit Man Gurung and many more. Prolific international artists like Cai Guoqiang, Francis Alÿs, Surasi Kusolwong will also be showcasing their work in the city. KT 2017 will take place between March 24th and April 9th at multiple venues across the city of Kathmandu. Check out the official Kathmandu Triennale website for more information.


KT 2017 将邀请50多名来自25个不同国家的艺术家参加今年的展览,包括当地艺术家 Ang Tsherin Sherpa和 Kiran Maharjan,几位著名的国际艺术家,如蔡国强、Francis Alÿs和Surasi Kusolwong等也会在这里展出他们的作品。KT 2017 定于3 月 24 日至 4 月 9 日在加德满都多个场地举行。登陆浏览加德满都三年展官方网站,就能了解更多相关信息。

Silencio by Francisco Alÿs

Websitekt.artmandu.org

 

Contributor: David Yen
Images Courtesy of the Siddhartha Arts Foundation


网站kt.artmandu.org

 

供稿人: David Yen
图片由Siddhartha Arts Foundation提供

Between Two Ideals

Sydney-based designer and illustrator Joy Li arrived in Australia at the age of one after her parents immigrated over from mainland China. Growing up in an Asian household while living amongst a Western society has meant that Li has spent her entire life “wedged between two ideals.” Her latest project, Living as an Asian Girl, aims to showcase the frustration that many Asian women living in Western societies experience. This three-part series takes inspiration from social media, pop culture and internet memes. Although the presentation is light-hearted and approachable, Li seeks to shed a truthful light on the “difficulty in reconciling with conflicting identities and its subsequent effect on our psychological well-being.”


Joy Li是一名设计师和插画家。一岁时,她随父母从中国移居澳大利亚。作为一个生活在西方社会,却在亚洲家庭里成长的女生,Li的人生注定会夹在“两种价值观之间”。因此,在她的最新的设计项目《Living as an Asian Girl》中,Li希望向观众传达许多亚洲女性在西方社会生活会遇到的挫败和苦恼。整个项目分为三部分,灵感来自社交媒体、流行文化和网络爆红现象——虽然Li的表现手法走的是轻松有趣的路线,但她希望这件作品能传达给观众“在不同的身份间找寻平衡的艰难,以及它对我们心理上的影响”。

Words to My Daughter – “Dear Joy, I ____ You.”

Li arranges snippets of her everyday household conversations into a chart that measures each phrase’s frequency, tonal value and emotional impact. The sizing of the text correlates to the frequency that these phrases are heard. While such phrases may be eerily common across most Asian households, often uttered as a means of showing affection, they’re atypical and unexpected in Western society. Li’s intention is to shed light on these cultural contrasts while documenting her personal struggle with defining her own identity.


对女儿说的话—— 《Dear Joy, I ____ You.》

在这个作品中,Li记录了生活中妈妈经常和她说的话,并根据这些短语出现的频率、音调和冲击力作为标准,将短语以不同大小排布在网格上。出现越频繁的短句尺寸就越大,而且排列在最显眼的位置。观众透过这幅作品仿佛可以瞬间代入Li的生活。这样“关心式”的语句在亚洲家庭很常见,但以西方社会崇尚自由的标准来说,就显得有些突兀了。Li将这种有趣的对比记录在她的作品里,向观众直面传达了她成长环境的矛盾和挣扎。

Visual Serenade of Twitter Sentiments  – “A Sad Ballad for Asian Girls”

In this second piece, Li explores how Asian girls are represented online by correlating tweets into an image based on their delivery. The data was derived from Twitter searches relating to the keywords “Asian women” and “Asian girls”, with results ranging from offensive to empowering.


Twitter帖子的视觉小夜曲——《A Sad Ballad for Asian Girls》

在第二部分里,Li 将Twitter上搜索的帖子内容和根据这些内容形成的图像放在一起,进而探讨亚洲女孩在网络上的形象。她在Twitter网站上搜索“亚洲女性”和“亚洲女孩”的关键词,收集了一系列的帖子,其中既有侮辱性的内容,也有倡导女性赋权的内容。

A Character Quiz – “Who’s Your Token Asian?”

Along with limited representation amongst mass media, Asian women are also constantly pigeonholed into certain stereotypes. Li created this visual flow chart that takes viewers through a series of questions to discover their “token Asian.”


一个性格测验——《Who’s Your Token Asian》

除了大众传媒上营造的狭隘形象,人们对亚洲女性也存在一定的刻板印象。Li创作了一个视觉流程图,通过一系列的问题,让观众一步步发现和反省自己对亚洲女性的刻板印象。

Li describes herself as someone who draws inspiration from the past as much as the future and hopes that her work can “delight the mind’s eye and invite a sense of nostalgia.” What started off as a personal project has evolved into a beacon of truth that resonates with Asian women from all over the world.


Li形容自己是一个从过去和未来中找寻灵感的设计师,她希望自己的作品能够取悦观众的心灵和触发怀旧感。在最初,这只是Li自己的一个个人项目,现在已慢慢转变成一个追寻真相之旅,一个让世界各地的亚洲女性都深有共鸣的项目。

Websitejoyli.com.au
Behance~/joyyli
Instagram@_joyli

 

Contributor: Whitney Ng


网站joyli.com.au
Behance~/joyyli
Instagram@_joyli

 

供稿人: Whitney Ng

The Wanderlust of Sunga Park

Jaded by the daily grind of work, South Korean graphic designer and illustrator Sunga Park found solace in traveling around the world. Inspired by her travels, she would draw the buildings that she saw and the people that she met as a means of retaining these precious memories. Drawing these exotic locations became a form of respite for her, a welcome relief from her day-to-day routine.


厌倦了在韩国单调重复的生活,平面设计师和插画家Sunga Park选择周游世界,以调节自己。旅行的确带给她新的灵感,Sunga把旅行中看到的建筑物和遇见的人画下来,以保存这些珍贵的记忆。在旅行中画画带给她一个喘息的机会,将她从苦闷的生活中释放出来。

What makes Park’s work distinctive is her soft and fluid use of pen and watercolor. “Watercolor is the best medium for creating my art; the unpredictable characteristic of water allows me to give my art a natural aspect. My repeated attempts of working with watercolor led to a ton of failures. In a way, this medium taught me a lot about life.”


Sunga Park作品的独特之处,在于她对钢笔和水彩的出色运用,呈现出柔美而流畅的风格。“水彩是我创作时最好的伙伴;水的“不可预知”让我的作品中有一种自然的风格。在不断尝试用水彩创作的过程中,我也有过无数的失败。某种程度上,水彩也教会了我许多生活的道理。”

Park felt that her move from using software to using watercolor on real paper was truly liberating. “In graphic design, we have easy commands such as Ctrl+Z and Ctrl+S. But in reality, no one can save their real experiences onto a storage device and what we’ve done cannot be undone.” Working with watercolors led her to create a slew of projects in which she combines her previous graphic design experience with her love of visual art – she feels that her web design for House at Khlebny is one such project that has defined her as an artist.


对她来说,从电脑作画转为使用纸张和水彩作画是一种真正的解放。“用电脑创作平面设计时,我们可以很方便按下Ctrl+ Z和 Ctrl+S来操作。但在现实中,没有人可以将自己的真实体验保存到某个存储设备中,所有的行为都是无法撤消的。”她的水彩作品为她带来了许多设计项目的机会,在这些项目中,她将自己的平面设计经验与对视觉艺术的热爱出色结合。为 House at Khlebny 打造的网页和插画设计更她真正确定自己作为一名艺术家的身份。

Her most memorable travel experience took place when she was sketching along the streets of India and around Central Asia. In these countries, where she was unable to communicate in any language, she used art to bridge the gap. “Locals become really open-minded as soon as they came to understand what I was doing. They wanted to see my sketchbooks and even asked me if I could draw them. This is one of the greatest things that art can do – it allows me to share my talents with people and even give them a laugh.”


她最难忘的旅行经历是她在印度和中亚国家的街道上写生。在这些国家,她无法通过语言与当地人沟通,于是,她转用艺术作为沟通的桥梁。“每当他们知道我在画画的时候,就会自然放下防备。有时他们还会想看看我的速写本,甚至问我能不能画一下他们。这就是艺术的魅力所在——让我能够与他人分享我的才艺,甚至为他们带来欢乐。”

Currently on the move, Sunga feels incredibly blessed that her art has enabled her to travel to wherever her heart desires. Her upcoming itinerary includes a journey to Europe via the Trans-Siberian railway as well as North America and South America. This trip will form the basis of her next project, a foldable travel map that will depict all of her adventures. “The idea is to create a map that is almost like a book, so that I can share all of my travel stories with people that I meet on the road. My art can’t be completed on my own. It’ll be created with the people that I meet along the way.”


现在,Sunga 还在旅途中,她觉得自己十分幸运,因为艺术带她前往自己想要拜访的所有地方。接下来,她将要乘搭西伯利亚大铁路前往欧洲,之后再去到北美和南美探险。这趟旅行是为她的下一个项目作准备——Sunga要打造一个可折叠的旅行地图,在上面描画她的冒险旅程。“我想要创造一本像书一样的地图,这样我就可以和我在路上认识的人分享我在旅途中的故事。我的艺术不是由我自己一个人完成的,而是我和我一路上遇到的人一起创造的。”

Website: parksunga.com
Facebook: ~/parksunga.art
Instagram: @park_sunga

 

Contributor: Whitney Ng


网站: parksunga.com
脸书: ~/parksunga.art
Instagram: @park_sunga

 

供稿人: Whitney Ng

Energy Transmutation

Keith Lam is a Hong Kong-based new media artist, co-founder of new media creative team Dimension+, and one of the minds behind common room & co, a multifunctional space consisting of an exhibition room, a café, an independent bookstore and a co-working area. The reason for establishing common room & co was that he hoped to help preserve Hong Kong’s Sham Shui Po area while also providing a communal space for local creatives to exchange ideas and exhibit their work. Recently, we dropped by the space to chat with Keith about the ins and outs of being a new media artist.


Keith Lam(林欣傑)是居住在香港的新媒体艺术家,也是新媒体创作团队Dimension+及文创空间common room & co. 的创始人之一。 common room & co.是一个结合了展览场地、咖啡店、独立书店及自造者工作坊的复合空间,Keith希望通过打造这个场地,在保留深水埗社区多样性的同时,也给本地的创造者们提供一个交流区域和展示平台。最近我们来到common room & co,和Keith见面聊了聊关于新媒体艺术的二三事。

Thinking back on how he first started working with new media art, Keith recalls that he’s been interested in art since middle school. However, after receiving stellar examination results in accounting, he found himself majoring in information systems. Serendipitously, a friend introduced him to new media art during his second year of university when he was on an exchange program in the United States. It was then that Keith discovered his chosen field of study could be assimilated with his love of art. After graduating, Keith was invited by the same friend to the City University of Hong Kong and worked as a research assistant to a professor of new media art. The decision to pursue this opportunity brought him closer to his dreams. Now, Keith has fully devoted himself to the world of art.


关于如何踏足新媒体艺术这个领域,Keith告诉我们一个小故事。从中学开始他就喜欢艺术科目,然而高考却因为会计科成绩太好而误打误撞进入信息系统专业。 而真正敲开新媒体艺术大门要归功于他的一位好朋友,他们在大二一起去美国交换的时候认识,在那期间朋友带他接触到许多有关新媒体艺术的东西,这让Keith开心地发现他在读的信息系统竟然可以和他中学热爱的艺术产生交集。毕业后,Keith受这位朋友推荐去了香港城市大学做新媒体艺术教授的研究助理,这也让他离这个领域更近一步,之后便一心投入了进去。

Explaining what a new media artist does exactly isn’t easy, Keith admits. When people ask him about his work, he instead describes the theme of “energy transmutation” that he often explores. To put it simply, it’s when one medium is transformed into an another, such as reinterpreting sound into a visual format. Then, in the conversion process, he imbues new meanings into the original work. Below, we take a look at three of his past interactive installations to better understand Keith’s process of “energy transmutation.”


说起新媒体艺术,Keith坦言要向人解释自己是做什么的,的确不是容易的事。如果真要解释的话,更愿意告诉别人他的作品中经常出现的概念就是 “能量转换” 。简单来说,就是将一种媒介转化为另一种媒介,例如声音变成画面等等。在转化的过程中为原来的媒介赋予新的理念。如果你还是觉得抽象,不如和我们一起走近Keith过往的三件交互作品,来看看到底什么是新媒体艺术中的“能量转换”。

Straw in the Wind

Straw in the Wind is an installation that debuted at Hong Kong’s Taiwan Redesign event. The installation is inspired by wind, specifically wind that flows from the Taiwanese city of Taitung to Hong Kong. Keith and his team collected meteorology data from select locations in Taitung, which they then used to manipulate the movement of the straws on display in Hong Kong. By using the faraway and unseen winds of Taitung to create visible movement in Hong Kong, they echoed the mission of Taiwan Redesign, which was to introduce the beauties of Taiwan to Hong Kong.


《稻浪随风》

《稻浪随风》装置是香港台湾月活动的作品之一,以台东的风吹向香港的概念呈现。也就是说,Keith和他的团队在台东选了几个地方,收录当地风向与风速的数据,再透过网络传输到香港,利用这些数据来移动香港展场的稻草,仿佛把台东的风带来香港。在这个作品中,来自台东无形的风被转换成了香港展场可视的稻草移动,这也呼应了台湾月的活动主题,将台湾的美好传递到香港。

Landscape of Cloud

Landscape of Cloud is inspired by our modern-day online cloud storage services. The installation allows visitors to place any object they desire onto the projectors, which then analyzes the object’s colors through built-in sensors. By turning the handle next to the machine, the analyzed objects project colors up into the floating cloud. Keith describes this process as “uploading,” explaining that when we upload photos onto Facebook or Instagram, we’re projecting our personal condition online – it may appear beautiful but is completely imaginary.


《云图景象》

这件作品的意念源自现在盛行的云端科技。观众可以把任意物件放置在投影机的面板上,随后感应器会分析该物件的颜色,观众通过搅动机器旁的手把,就会把颜色投射到投影机上方漂浮的云形装置,改变云的颜色。Keith形容这个过程为”上载”,他解释道,这原理就如我们平时上载相片到脸书或者Instagram一样,是在投射我们的个人状态上云端,这个看似美丽梦幻的世界,也是一个虚拟世界。

One Day Social Sculpture

In order to create this installation, Keith collected data from various online forums and comment sections, which he then fed into an electronic cutting machine that used the information to create a tangible object out of formless digitized data. Originally, Keith had just intended to create a series of sculptures, but he realized that these sculptures accurately presented the state of today’s society as a whole. A look at a sculpture made with data from Hong Kong’s House News website revealed when discussions intensified according to societal affairs at the time


《One Day Social Sculpture》

制作这个作品时,Keith收集了几个社交网页上的访问及留言互动数据,再将数据传输到电子切割机,将其转化为一件实体雕塑,这个过程把无形的数据变化成可视的物体,甚至是一件艺术品。Keith和我们分享说起初只是想做一系列雕塑出来,而没想到在这些雕塑身上却意外地看到了整个社会的状态,这十分有趣。比如说其中一个雕塑的数据来自“主场新闻”的网页,你从雕塑的形态上就可以一眼看出什么时段网民有密集地讨论,再结合当下的时事,这变成了一件能反映出社会讨论氛围的雕塑作品。

Website:
keithlyk.net
dimensionplus.co

Instagram@keithlyk

 

Contributor: Ye Zi
Images Courtesy of Keith Lam


网站:
keithlyk.net
dimensionplus.co

Instagram@keithlyk

 

供稿人: Ye Zi
图片由林欣傑提供

Forest of Numbers

 

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Forest of Numbers is the brainchild of Tokyo-based architect and artist, Emannuelle Moureaux. Her largest installation to date was created to celebrate the 10th anniversary of Tokyo’s National Art Center (NACT), spanning 2000 square meters and utilising “100 colours”. This is the first time that the National Art Center has used the White Cube exhibition room without any partition walls.


《数字森林》是东京建筑师和艺术家Emannuelle Moureaux迄今为止最大型的艺术装置作品,是她为庆祝东京国家艺术中心(NACT)成立十周年而专门创作的。这个大型艺术装置占地2000平方米,一共使用了100种颜色。这是东京国家艺术中心的White Cube展厅首次在举办展览时没有设立任何隔墙。

The installation itself symbolises the next 10 years for NACT – the decade spanning between 2017 to 2026. More than 60,000 number figures ranging from zero to nine were aligned within a 3-D grid and suspended from above. A pathway was been purposefully created, cutting through the installation and allowing visitors to take a walk through the cascade of numerals.


装置本身象征着NACT的未来10年,即2017年到2026年之间的10年。超过60000件从0到9的数字构件悬浮在三维网格中。装置中间特意设置了一条供穿越的路径,以供参观者在这巨大的《数字森林》之中漫步。

As part of Moureaux’s 100 colors installation series, Forest of Numbers utilises 100 shades of colours across 10 layers of numbers. The walls that encapsulate the installation space feature a compilation of exhibition posters to commemorate the last 10 years, which are contrasted with white number cut outs on the opposite wall to symbolise the next 10 years to come.


作为Moureaux的“100色”系列艺术装置的一部分,《数字森林》在构建10层数字的时候共使用了100层颜色。装置所在的展览室的一面墙上展示着过去十年NACT的展览的海报,对面的墙上则展示着预示未来十年的白色数字。

Forest of Numbers was a true labour of love, created as a colourful celebration of the National Art Center’s anniversary and brought to life with the help of 300 volunteers. Moureaux’s playful installation creates joy from paper and thread, attracting over 20,000 visitors within the first ten days of its NATC debut.


色彩缤纷的《数字森林》是一个充满爱的作品——它是为庆祝东京国家艺术中心成立10 周年而诞生的,凝聚了300名参与制作的志愿者的努力。Moureaux用纸和线所创作的这个充满玩趣和快乐的艺术装置,在NATC首次亮相的前10天里就吸引了超过2万名观众。

Website: emmanuellemoureaux.com

 

Contributor: Whitney Ng
Video and Images Courtesy of Emmaneulle Moureaux


网站emmanuellemoureaux.com

 

供稿人: Whitney Ng
视频与图片由Emmanuelle Moureaux提供

Doodling with Mooncasket

Mooncasket is a designer and illustrator from Hong Kong who is known for her cute and quirky character doodles. Part of a generation of up-and-coming Hong Kong creatives, Mooncasket’s murals, zines, stickers, and other DIY creations can be seen across the city. Neocha had the chance to speak with Mooncasket about her thoughts on culture and creativity.


香港设计师和插画家Mooncasket以她笔下可爱而古怪的个性卡通形象而为人熟知。作为新一代崭露头角的香港创意人才,Mooncasket的涂鸦、独立杂志、贴纸和其他 DIY作品分布于这座城市的各个角落。最近,Neocha有机会与Mooncasket对话,来了解她的创作理念,以及她对文化和创意产业的理解。

Neocha: How did you get started as an artist?

Mooncasket: I’ve been drawing since I was a kid, but I hadn’t picked up a personal style until recent years. I was one of those people who went to art schools, but never took being an artist seriously until the motivation just hit me one morning, and I was like, “Yeah! I should try and do this for real!”


Neocha: 你是怎样成为一名艺术家的?

Mooncasket: 我从小就开始画画,但一直到最近几年我才开始形成自己的个人风格。我觉得我就是艺术学校里那些从未认真想过成为一名艺术家的学生,直到有一天,我突然充满了动力,觉得“是呀!我应该试着做一名真正的艺术家!”

Neocha: Tell us about your characters. Where do they come from?

Mooncasket: My everyday surroundings inspire me, and I like to add an ironic, playful twist to everything. Also, a mixture of cartoons from the ’80s and ’90s and old-school monster films inspire me. The characters I draw are like my imaginary creature friends. If you’re having a crappy day, I hope they make you smile inside as much as they do for me.


Neocha: 跟我们介绍一下你笔下的角色形象吧。创作他们的灵感是什么?

Mooncasket: 我身边的日常事物就是我的灵感来源,我喜欢在我的创作中加上一点幽默讽刺的元素。另外,80年代和90年代的漫画作品,以及老式的怪物电影也是我的灵感来源。我笔下的角色就像是我存在于二次元的朋友。如果你今天心情不好,我希望他们能让你发自内心地笑一下,就像他们能让我开心一样。

Collaboration with photographer Dani Bautista

Neocha: What is the creative scene like in Hong Kong now?

Mooncasket: The creative scene in Hong Kong is definitely growing. It’s great to see more artists coming out and creating, and the public definitely appreciates local creativity more. I can’t say it’s easy to make a living as an artist here, but there are always solutions to keep a roof over your head, by having other jobs while you continue to do what you love. In my case, I’m also working as a freelance graphic designer.


Neocha: 现在香港的创意行业发展如何?

Mooncasket: 可以肯定地说,香港的创意行业正在不断发展。我很高兴可以看到越来越多的艺术家出现,进行创作,而且大众也比以往更欣赏香港本土的创意作品。虽然在香港要靠艺术为生并不容易,但是在这里你总能找到自己的办法来维持生活,你可以一边兼职做其它工作,一边继续做自己热爱的事情。譬如我的另一份工作就是自由职业平面设计师。

Neocha: How do you balance your own creative vision when doing client work?

Mooncasket: I used to draw darker imagery, usually in black and white, and I started making zines because I didn’t know what to do with all of my doodles. The response that came out of that initiative was pretty good. So I thought to myself, if I wanted to make a living from my doodles, I could try tweaking my style a little to appeal to a larger audience. After that, my work has become more colorful, and I’ve created friendlier looking creatures. Depending what clients prefer, I’m keen on doing either of my styles. My best advice for up-and-coming creatives is to not being afraid of trying new things!


Neocha: 当你为客户工作时,你如何平衡自己的创意理念?

Mooncasket: 我一直以来的绘画作品都比较黑暗,以黑白色为主。随着我的作品越来越多,我还开始去制作zine杂志(Zine杂志是独立出版的小型杂志刊物),反响很不错。所以我对自己说,如果我想靠画画来谋生,我可以试着调整一下我的风格,来吸引更多的观众。在那之后,我的作品色彩更加丰富,我创作的角色形象看上去也会更可爱。取决于客户的喜好,这两种风格其实我都喜欢。对于新一代的艺术家,我的建议是不要害怕去尝试新的事物!

Website: mooncasket.bigcartel.com
Instagram: @mooncasket

 

Contributor: George Zhi Zhao


网站mooncasket.bigcartel.com
Instagram: @mooncasket

 

供稿人: George Zhi Zhao

Air-Ink: The Art of Pollution

 

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American author and inventor Richard Buckminster Fuller once said, “Pollution is merely a resource that isn’t being used properly.” Inspired by his words and the growing need to tackle this colossal environmental issue, Indian startup Graviky Labs had the idea to devise a truly way of repurposing pollution.


美国作家和发明家Richard Buckminster Fuller 曾经说过:“污染仅仅是没有被正确使用的资源。”这句话启发了印度初创公司 Graviky Labs,针对社会对于解决空气污染问题越来越迫切的需求,他们构想设计出一个真正的创意解决方案——将污染物重新利用。

Co-founders Anirudh Sharma, Nikhil Kaushik and Nitesh Kadyan began to prototype a device that could be retrofitted onto the tailpipe of pollution emitting vehicles in 2013. This device, known as KAALINK, was the key to upcycling pollution. Over the course of the next few years, copious amounts of research and development took place in order to detoxify the pollution particles gathered by KAALINK, in turn, creating a consistent and viable ink. The device manages to stop air pollution at the source, without hindering the performance of vehicle engines.


2013年,公司的创始人Anirudh Sharma, Nikhil Kaushik 和 Nitesh Kadyan研发出可以被改装在车辆排气管上的设备原型。这个被称为KAALINK的设备是回收污染废气的关键。在接下来的几年间,他们进行了大量的研究和开发,想办法去除由KAALINK收集的污染颗粒里的有害物质,以制作出品质稳定的油墨。这一设备试图在不影响车辆发动机的性能的前提下,从源头上控制空气污染。

First, KAALINK is retrofitted onto the exhaust of a car, truck, or diesel generator, capturing the outgoing pollutants at the source.


首先KAALINK会被安装到汽车或卡车的排气管上,或是柴油发动机上,在源头收集排出的污染物。

The collected soot then undergoes a series of purification in order to remove heavy metals and carcinogens. The result is a purified carbon-based pigment in powdered form.


然后,这些被收集到的烟尘污染物会经历一系列净化的过程,以除去其中的重金属和致癌物质。最终的产品是净化的粉状碳基颜料。

Finally, the carbon powdered pigment is processed to create different types of inks and paints.


粉状的碳基颜料被加工处理后就能形成不同的油墨和颜料。

Around 45 minutes of car emissions equate to 30ml of Air-Ink, which can be safely used. Recently, Graviky Labs partnered with Tiger Beer to introduce Air-Ink to the public. They also enlisted seven Hong Kong-based artists to help introduce this concept of painting with pollution. Air-Ink has been launched on Kickstarter and this series of environmentally savvy inks and paints will soon be readily available to creatives from around the world.


每 45 分钟的汽车废气排放量大约能产生 30 毫升可安全使用的 Air-Ink。最近,Graviky Labs 更与啤酒品牌 Tiger Beer合作,向公众推广Air-Ink。他们还邀请了7名来自香港的艺术家助力推广“用污染物绘画”这一概念。公司已经在众筹网站Kickstarter上推出了Air-Ink,不久之后,世界各地的创意人士们就能用到这一系列的环保油墨和颜料产品。

Websitegraviky.com
Facebook~/Graviky

 

Contributor: Whitney Ng
Video and Images Courtesy of Emmaneulle Moureaux


网站graviky.com
脸书: ~/Graviky

 

供稿人: Whitney Ng
视频与图片由Graviky Labs提供

Inside a Mong Kok Tattoo Parlor

 

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Located in Mong Kok, Hong Kong – an area in no short supply of tattoo parlors – sits MoFo Tattoo. With drop-down windows and a brightly lit neon sign, MoFo Tattoo stands out amongst the clutter of parlors. The founder, Hong Kong native Karl Hung, and one of the resident tattoo artists, Cash Chan, are lovebirds who also share a mentor-apprentice relationship. The two attended design school together, and after graduation, they bonded over their mutual interest in tattoo culture. Recently, we dropped by and chatted with the couple about the unique look of the shop and the addictive nature of tattoos.


美富纹身由香港纹身师洪德輝(Karl Hung)创办,虽然地处纹身铺密集的旺角地区,但醒目的霓虹招牌和敞亮的落地窗户还是让美富纹身显得突出。这次新茶有幸采访了美富的两位纹身师Karl HungCash Chan,除了同事身份之外,他们其实还是一对酷酷的小情侣。Karl和Cash曾是设计学院的同学,毕业后,因为两人对纹身文化共同的痴迷,他们从同学变为情侣,再变成现在的师徒关系。

The atmosphere of MoFo Tattoo is different from the feel of a typical tattoo parlor; the space has a nostalgic quality to it and feels more like a vintage toy store than a tattoo shop. Karl says that many customers have preconceptions of a traditional tattoo parlor being a dark and evil place. Some customers are nervous even before they step through the door. So to offset this misconception, he had the idea to put cute objects in the store to alleviate the brooding atmosphere many associate with tattoo parlors. It was only two years ago when Karl began collecting Japanese vinyl toys and antique furniture two years ago. But as his house slowly filled up with his collection, he had the idea to introduce a similar vintage aesthetic to the tattoo shop. “The dragon and phoenix at the entrance came from a restaurant that went out of business,” Karl comments on my visit. “We asked a friend to grab it for us. No one expects a dragon and phoenix in a tattoo parlor. I think it’s quite interesting so I made it happen.” Besides the collection of toys and dolls, the store showcases old Cantonese movie posters and the framed works of other various tattoo artists, all collected by Karl. “When you like another tattoo artist’s work, you’ll want to buy their art.”


与其说是纹身店,美富纹身给人的第一印象更像是一家怀旧的古董玩具店,一进门就可以看到各式旧公仔放满这个店铺。Karl说传统纹身铺给人的印象是环境昏暗,比较邪恶的地方,这会让有些客人还没来到就开始紧张。但他想多放些可爱的东西在店里,让客人处于一个轻松好玩的环境中。Karl两年前开始收藏日本搪胶玩具以及各式古董家具,渐渐的家里东西越存越多。于是在店铺装修构思的时候,他就打算延续这个自己喜欢的怀旧风格。 “店门口的一对龙凤也是我们托朋友在一家酒楼结业的时候收回来的,没有人会想到在纹身店挂一对龙凤,我觉得挺有趣的,便这么做了。” Karl介绍道。除了大量的玩具公仔以外,店里还挂满了不同类型纹身师的画作,也几乎都是Karl的收藏品。“当你欣赏某位纹身师的时候,就会很想买下对方的作品。”

For Cash Chan, her first encounter with tattoos was when she was 16-years-old. The interest would snowball into a full-blown fixation. She’s been hooked ever since. Chan gets at least one new tattoo per year and proudly says that over 70% to 80% of her body is covered in tattoos. “I use my skin to collect the works of my favorite tattoo artists,” she says. “Will I cover my entire body in tattoos? It’s only a matter of time.” For Chan, tattoos aren’t sentimental souvenirs; instead, she sees them as a method of self-expression, as unique and timeless accessories.


Cash Chan第一次接触纹身是16岁的时候,之后便一发不可收拾, 以至少一年一个的速度增加。现在Cash的身上已有7-8成的皮肤都布满纹身。“我会在身上收集我欣赏的纹身师的作品。纹满全身?那是迟早的事情。” 对她而言,纹身并不感情用事的纪念品,而是属于每个人独有的装饰,是一件永不褪色的衣服。

With her long eyelashes, black eyeliner, and dark red lipstick, Chan might appear intimidating and unapproachable to those that don’t know her. But fitting the Libra archetype, Chan is actually quite sweet and charming. “I love Disney princesses. So when I first started designing tattoos, a lot it was related to princesses,” Chan says. After participating in a tattoo exhibition in England, she was awestruck by the bold use of colors and lines by many of the European artists. “Their works were quite avant-garde, unconfined by any conventional rules.” Returning to Hong Kong, she went a month without creating any new tattoos, but rather spent her time contemplating what type of work she wanted to create. She admits to having felt quite lost and directionless during that time. But inspiration returned one day while she was in the shower. “A colorful image just suddenly came to me. I don’t know what it was, but all I could think about was this image. I knew that’s something I wanted to create right then and there.” When asked about the meaning behind it, she shrugged and said, “When you like something, you like something. There’s no particular reason.”


长而上挑的黑色眼线和深红色唇膏是Cash的外形标志。虽然外表看起来有点冷酷,但天平座的Cash本人还是挺萌的。“我超级喜欢迪士尼公主,所以刚入行时我的纹身作品很多都是和公主相关的。” 然而这一年Cash也经历了纹身风格上的转变。 她坦言,在参加英国纹身展的时候,欧洲纹身师对于颜色及线条的大胆运用让她印象深刻,“他们的创作真的很前卫,完全不会被任何条条框框所限制。” 回到香港后她在店里静坐了一个月,没做过一个纹身,但每天都在思考自己真正想做的风格是什么,那阶段的她比较迷失。关于新的灵感是如何诞生的,Cash笑说灵感来自某天洗澡的时候, “我脑中突然浮现出一个彩色图案,我不知道它是什么,但我满脑子都是这种图案,我便知道就是它了。” 问起图案背后的含义,Cash也非常率性的告诉我们,“我觉得喜欢就是喜欢,并没有什么特殊的原因。”

Every tattoo artist at MoFo is adamant about their aesthetic. Chan mentioned, at times, customers will search for an image online and request that they replicate it. The tattooists will generally flat-out refuse these requests. “We want customers come to us because they like our style,” Chan explains. “Through talking with our clients, we’ll attempt to understand their personality and customize a one-of-a-kind tattoo for them. All customers need to do is show up with an idea, and we’ll take care of everything else.”


这里的纹身师都十分坚持自己的个人风格。 Cash提到有些客人会上网找一张图,然后希望他们纹一模一样的。当遇到这种情况时,美富的纹身师多数会拒绝。“希望客人找我们纹身就是喜欢我们的风格,我们会在与客人的聊天过程中了解他/她的性格,并为其定制一个独一无二的纹身。客人只需要提供一个想法,之后的创作都由我们搞定。”

Instagram:
@mofo_tattoo
@karltattooer
@lilycashchan

 

Contributor, Photographer & Videographer: Ye Zi


Instagram:
@mofo_tattoo
@karltattooer
@lilycashchan

 

供稿人,图片摄影师与视频摄影师: Ye Zi