Tag Archives: art

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

Us and the Cosmos Beyond

The imaginative universe that Ryo Hsu has crafted is wonderfully eccentric, a surreal world with astronauts exploring a strange stretch of outer space that’s populated with mysterious shapes and floating popsicles. Despite boasting an impressive body of work, the Shanghai-based illustrator and graphic designer has never received a formal art education and has been completely self-taught. Hsu originally worked as a professional hair stylist but never quite felt creatively fulfilled in the role. His ongoing love of illustration and design, combined with his dedication and fearlessness to experiment, eventually led him to take a leap of faith and pursue his creative interests full-time. Recently, we had the chance to speak to this multifaceted autodidact to find out about some of the underlying concepts in his work and what inspires him.


来自上海的插画家和平面设计师Ryo Hsu从未接受过正式的艺术教育,却创作了一系列令人印象深刻的作品。在这之前Hsu是一名专业的发型师,但发型师的工作未能让他充分发挥自己的创意才华。因为一直以来对插画和设计的热爱,投入和冒险精神,Hsu大胆决定改行,全身心投入自己感兴趣的创意事业。Hsu创造的插画天马行空,那是一个超现实的幻想世界。在这里,宇航员探索着充满神秘形状和浮动冰棍的奇妙空间。最近,我们有机会采访到这位拥有多方面才华的艺术家,了解他的作品中所蕴含的一些概念和创作灵感。

Neocha: Can you tell us about how you got started with design and illustration?

Ryo Hsu: I think it stems from my childhood infatuation with manga and comics. I’ve never stopped drawing, and eventually, I was introduced to digital software, which led to me to experiment with new approaches. In the beginning, I had trouble finding an aesthetic that would translate what I envisioned into a visual format, so I just kept experimenting and trying out different mediums.


Neocha: 你是如何开始接触平面设计和插图的呢?

Ryo Hsu: 可能是源自我小时候喜欢画漫画的经历。画画在我的成长中一直没有停止过,直到我接触到数字软件后,开始新的尝试。但一开始并没有找到能将内心所想完全表达出来的风格,各种喜欢的类型都会去尝试一些。

Neocha: Who or what do you consider to be your biggest influences?

Ryo Hsu: Aside from visual influences, music is the most impactful factor for me. I’ve loved rock music since I was a young kid, and I played in a band. It’s been ten years now, and bandmates come and go; I often just jam by myself. Music is an abstract art to me – it’s intangible. You can’t see it or touch it. Comprehension is completely dependent on an inner level. My artwork is often the result of imagery that pops up in my head from when I would listen to music. Even though I love rock music, I listen to a bit of everything. When I’m working, I most often listen to post-rock, dream-pop, and so on; these genres aren’t convoluted by the presence of vocals or lyrics, so a lot of it is up to my own imagination. As for influences of other artists, Tadanori Yokoo and Dali probably influence me the most. I’m also quite interested in astronomy, sci-fi, surrealism, and I buy a lot of books related to these matters. My artistic style came about naturally. It’s a combination of all of these interests.


Neocha: 你觉得对自己影响最大的人或事物是什么?

Ryo Hsu: 除了视觉,对我创作影响最大的恐怕是音乐,因为我从小很喜欢摇滚乐,然后就开始玩乐队,现在算来也有10年了,只是乐队分分合合,大多时候都是自己在玩。音乐本身是一种抽象的艺术,看不见,摸不到,必须完全靠精神去领悟。所以我的作品往往来源于我在听到某些音乐时脑海里所产生的画面感。虽然喜欢摇滚乐,但基本上什么都听,而创作时常听Post-rock、Dream-pop之类的音乐,因为这类曲子没有过多人声和歌词干扰,也就给我带来很多想像的空间。说起艺术家的话,横尾忠则和达利对我的影响是很大的。另外我也对天文、科幻、超现实主义非常感兴趣,会买很多关于天文类的书籍,所以当有一天我开始试着将我所听到的音乐与这些结合起来便是目前的风格。

Neocha: Space is a prevalent theme in your surreal and abstract illustrations. Can you tell us more about that? What is your fascination with space and what does space mean to you?

Ryo Hsu: I’m pretty obsessed with astronomy. I have a lot of astronomy-related books at my house. On clear nights, I like to observe constellations and ponder about the life forms that may exist in distant galaxies or if we’re the only living organisms out there.


Neocha: 太空是你的超现实和抽象插图作品中的一贯主题。能跟我们介绍一下这个主题吗?你为什么对太空如此迷恋?对你而言,太空意味着什么?

Ryo Hsu: 我对天文类的内容非常着迷,家中有天文图鉴和相关知识的书籍,也常常喜欢在晴朗的夜空辨识星座和行星,去猜测离我们遥远的星系有着怎样的生命,还是我们只是宇宙中唯一有生命的群体。

Neocha: What are some recent projects that you’re working on?

Ryo Hsu: Besides my professional work, I like to doodle and sketch in my free time. I recently published a small zine with Bananafish with all the random daily drawings I’ve accumulated. Also, I was fortunate enough to have my work selected for the Chinese version of the Japanese sci-fi novel The Next Continent.


Neocha: 你目前手头上有哪些项目在进行?

Ryo Hsu: 除了正式作品外,我只要有时间,平时都会画点小插画,最近把自己累积的一些日常插画与香蕉鱼合作出了一套小豆本,同时自己的插画也有幸被选中作为日本硬科幻小说《第六大陆》中国版的封面。

Neocha: What is the message that you intend to communicate through your personal work?

Ryo Hsu: In the world as we know it now, humans seem to be the masters. But looking outwards, we’re just a tiny blue planet in the solar system. Even beyond that, there are so many unknown mysteries in the universe and places that we probably won’t be able to reach in many lifetimes. But the pioneers of our world are always endlessly looking to further the exploration of extraterrestrial knowledge. My work aims to express the loneliness between people, the sense of isolation between us the rest of the universe, and the longing to understand the unknown. The universe is deep and infinite. There is so much that we don’t know and so much more for us to explore.


Neocha: 你希望通过自己的作品传递什么样的信息?

Ryo Hsu: 在我们目前已知世界中,人类仿佛成为了主宰,但放眼望去,我们不过是太阳系中的蓝色小小星球,在这之外还有更多未知的世界,也许我们几辈子都无法到达更远的地方,但我们的先驱者总是不懈地去探索地外文明。我的画作中一方面会表达人与人之间的孤独感,人类与之宇宙的孤独感,另一方面也有着对未知世界的憧憬。宇宙深邃无穷,总有各种未知等待我们去探索。

Website: ryohsu.com
Behance: ~/ryohsu

 

Contributor: David Yen


网站: ryohsu.com
Behance: ~/ryohsu

 

供稿人: David Yen

POW! WOW! Taiwan

 

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POW! WOW! Taiwan recently held the third installment of its annual festival, organizing live painting, public murals, exhibitions, street art classes, and music performances in the cities of Kaohsiung, Tainan, and Taipei. Bringing together over thirty renowned local and international street artists, the event was a celebration of creativity that not only gave artists the opportunity to showcase their skills, but also increased public awareness about street art’s potential to positively impact communities.


最近,一年一度的POW! WOW! Taiwan迎来第三届艺术节。本次活动包括在高雄、台南和台北三地举办的现场绘画、公共涂鸦、展览、街头艺术班和音乐表演。这一次,他们召集了30多名本地和国际著名的街头艺术家参与这一创意盛事,不仅为艺术家们提供了展现艺术才华的机会,同时让公众意识到街头艺术能为社会带来积极影响的潜力。

FLYFLYFLY & WIP / Photographer: Bana Chen
Photographer: Sean Marc Lee
Luise Ono painting a mural / Photographer: Bana Chen

POW! WOW! Taiwan is part of a series of international POW! WOW! festivals that take place each year in select cities across the world. Initially founded in Hong Kong in 2010, POW! WOW! has since been centered around an annual week-long event in Hawaii and has expanded to cities and countries including Taiwan, Long Beach, Israel, Singapore, Jamaica, Washington D.C., Guam, New Zealand, Germany, and more.


POW! WOW! Taiwan是POW! WOW!国际艺术节的一部分。每年,该活动都会在世界各地城市轮流举办。POW!WOW!于2010年成立于香港,之后每年都会在夏威夷举办为期一周的艺术活动,如今活动已扩展到台湾、长滩、以色列、新加坡、牙买加、华盛顿、关岛、新西兰、德国和其它地市。

Kristopher Ho / Photographer: Bana Chen
SATR / Photographer: Bana Chen
Mural by Felipe Pantone / Photographer: Sean Marc Lee

This year’s POW! WOW! Taiwan featured a special collaboration with Secret Walls, a live street art battle exhibition first started in London in 2006. Using a monochrome color palette of black and white, two teams of artists faced off against each other to create the best pieces. Live music, judging, and a 90-minute time limit pushed artists to collaborate in a competitive setting.


今年,POW! WOW! Taiwan携手Secret Walls推出特别企划。Secret Walls是来自伦敦的“街头艺术擂台”展览,始创于2006年。参赛的两队艺术家分别使用黑白两种色彩作画,看谁能创作出最好的作品。90分钟的时间限制,现场音乐和评判机制推动着这些艺术家在竞争中相互合作。

Photographer: Sean Marc Lee
Photographer: Sean Marc Lee
Photographer: Sean Marc Lee

The POW! WOW! event is inspired by and named after the Native American pow wow, a social gathering held by many Native American communities. Traditional pow wows bring communities together for dancing, singing, art, and fellowship to celebrate and preserve culture. Art and music played central roles in these gatherings, serving as mediums for cultural exchange between tribes and peoples.


POW! WOW!的名字和活动内容来源于美国原住民的社交聚会pow wow。在传统的pow wow上,来自不同社区的原住民一起跳舞,唱歌,创作艺术,建立友谊,一同庆祝和保护原住民文化。在这些聚会上,艺术和音乐发挥了核心的作用,是部落和人们之间文化交流的媒介。

Kristopher Ho / Photographer: Hexails
Photographer: Sean Marc Lee

In keeping with the legacy of Native American pow wows, music also plays a central role in POW! WOW! events around the world. This year’s POW! WOW! Taiwan featured live performances by regional DJs and musicians including SmashRegz, Eggplantegg, LEO37 & SOSS, True & Love, Paige Su, DJ RayRay, Sonia Calico, Rgry, and BenjaminSe7en.


为了传承美国原住民pow wow的传统,在世界各地的POW! WOW!活动中,音乐依然担任着重要的角色。今年的POW! WOW! Taiwan中有来自各地DJ和音乐家的表演,包括SmashRegzEggplanteggLEO37 & SOSS、True & Love、Paige SuDJ RayRaySonia CalicoRgry、和 BenjaminSe7en.

DJ RayRay / Photographer: Sean Marc Lee
Paige Su / Photographer: Bana Chen
Photographer: Bana Chen

After the closing of each year’s POW! WOW!, murals left around the city commemorate the explosion of creativity that occurred across the festival. Through its core tenets of cultural exchange, education, and public participation, POW! WOW! has become the leading global organization for promoting street art around the world. Be on the lookout for POW! WOW! events happening in your area in the future.


每年POW! WOW!闭幕之后,留在城市各地的涂鸦作品为艺术家们的创意大爆发留下纪念。POW! WOW!凭借其文化交流、教育和公众参与的核心宗旨,现已成为世界各地促进街头艺术的代表性组织。下一次POW! WOW!来到您的城市时,可千万别错过了!

Mural by Ahdia One / Photographer: aserktw
Mural by Bounce / Photographer: Sean Marc Lee
Mural by Luise Ono / Photographer: Sean Marc Lee

Website: powwowhawaii.com
Instagram
: @powwowtaiwan
Facebook: ~/powwowtaiwan

 

Contributor: George Zhi Zhao
Images Courtesy of POW! WOW! Taiwan


网站: powwowhawaii.com
Instagram
: @powwowtaiwan
Facebook: ~/powwowtaiwan

 

供稿人: George Zhi Zhao
图片由POW! WOW! Taiwan提供

Black Waves

 

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teamLab‘s digital installations are a roving series of artistic works that utilise light, sound, movement and motion to create interactive spaces. Recently, teamLab brought Dance! Art Exhibition, Learn & Play! Future Park to Taipei’s Huashan 1914 Creative Park, where the exhibition will remain until April 9th.


日本艺术团体teamLab所创作的数字装置是一系列利用光、声音和动作来创造互动空间的艺术作品。近日,teamLab在台北华山1914文化创意产业园区举办了名为《Dance!Art Exhibition, Learn & Play! Future Park》的展览,展览将一直持续至2017年4月9日。

Amongst the many vibrant installations, Black Waves stands alone as an emotive showcase of one consistent scene – that of the unforgiving great ocean. Upon entering the exhibition, visitors are boxed in to dark room, illuminated only by the rolls and roars of crashing waves.


在众多艺术装置中,《Black Waves》脱颖而出,它是无间断影像装置,通过不间断的海浪画面,引发观众的情感共鸣。一进入展览,观众就置身于黑暗的空间中,只剩层层翻滚的海浪发出的亮光。

The waves themselves are computer generated in a 3D virtual space and presented as a continuous body. This was achieved by calculating the interactions of hundreds of thousands of particles. These particles were then extracted and lines were drawn in relation to their movement to create the artwork; teamLab refers to this technique as creating an ultra-subjective space.


这些海浪是电脑模拟出的3D虚拟空间,连续不断地出现。创作者需要对几十万颗粒的相互作用进行计算,然后提取出这些颗粒,根据颗粒的动作绘画出线条,从而创作出这一艺术作品。teamLab 称这种创作方法为“创作超主观空间”。

Beyond the crushing sound of the ocean’s waves, which was designed by Hideki Takashashi, the exhibition remains mostly quiet. Visitors feel completely immersed into the exhibition – as time passes, it will almost feel as if the waves are physically engulfing all your senses. Beyond being an artistic spectacle, Black Waves is a solace for visitors who seek to soothe their mind. Despite it’s looping facade, one could easily spend hours here.


装置中的海浪声由Hideki Takashashi创作,除了这些海浪声之外,整个展览大部分时候都是安静无声的。观众能充分沉浸于展览中。随着时间的推移,让人感觉到好像海浪正席卷身体所有的感官。《Black Waves》除了是一个奇妙的视觉作品,更能抚慰和平静观看者的内心。尽管所有画面都是循环出现,但置身于展览中让人一不小心就会度过数小时。

teamLab remarked that Black Waves was inspired by Japanese paintings of oceans and rivers, where by these bodies of water were expressed as a series of lines; these lines allow the viewers to see the waves as a living entity. “This is a way of seeing the world that lures us in and allows us to feel that there is no boundary between ourselves and nature.”


teamLab表示,《Black Waves》受到了日本有关河流和大海的绘画作品的启发。在这些绘画作品中,画家多通过线条来表现水体,让观众将海浪看作是一个生命体。“这是一种观察世界的方式,十分引人入胜,让我们觉得自己与自然融为一体,没有分界。

Websiteteam-lab.net

 

Contributor & Photographer: Whitney Ng
Video and Additional Images Courtesy of teamLab


网站: team-lab.net

 

供稿人与摄影师: Whitney Ng
视频与附加图片由teamLab提供

The Mystical Nature of Life

The mixed media works of Shanghai-based Mexican artist Francisco Hauss are eccentric creations, often comprised of whimsical sculptures layered on top of his otherworldly paintings. Whilst appearing light-hearted at first glance, each piece is actually rather symbolic. From the Big Bang to the formation of the ecosystem and the growing consciousness of its inhabitants, Francisco’s intentions are to present his interpretation of life and existence through art.


生活在上海的墨西哥艺术家Francisco Hauss所创作的混合效应法作品充满奇妙异想,包括奇特的雕塑以及风格神秘的绘画作品。乍看之下,这些作品的风格轻松诙谐,但实际上,每一件作品都诠释着Francisco生活概念下的理想——从大爆炸,到生态系统的构筑,再到生活在系统里的居住者日益丰富的意识。

Energy & Matter

To symbolise the Big Bang, Francisco creates each backdrop to appear cosmic-like in appearance – each piece is individually painted through a careful process that relies on the combination of colour pigments and chemical reactions.


能量与物质

Francisco 以宇宙般的画面作为每一幅作品的背景,象征宇宙大爆炸。每一件作品都依赖于颜料与化学反应的相互结合,经由严谨的创作过程单独绘制而成。

Symbiosis

The ecosystem is symbolized through Francisco’s creation of 3D textures that represents earth’s living matter. The relationship and coexistence between plants, animals and other organic matter are brought to life through the varied use of colours and shapes across one canvas.


共生

Francisco 以颇具立体感的 3D材料来代表地球上的生命物质,以此象征生态系统。通过丰富的色彩和形状,将植物、动物和其它有机物质之间的关系与共存生动地展现出来。

Mysticism

Francisco then molds a series of sculptures, which represents the gradual journey of earth’s ecosystem towards a steady stream of consciousness. Each sculpture takes after ancient totems, idols and shamans; they’re meant to be symbolic of our new age “gods”.


神秘主义

Francisco创作出一系列的雕塑作品来代表地球的生态系统逐步演变成一股稳定的意识流。每件雕塑作品皆以古代的图腾、偶像和萨满为灵感创作,通过重新创造让每一件雕塑作品成为新时代的“神灵”象征。

His completed work beckons to be slowly analysed and is centered by the delicate sculptures that Francisco tenderly creates from scratch. When they’re not on display in exhibitions, he sheepishly admits that he keeps each sculpture close, housing them in carefully wrapped pajama shirts.


最终的成品被Francisco一手打造的精致雕塑围绕着,显得耐人寻味。Francisco腼腆地表示,当这些作品没有在展览中展出时,他会用睡衣衬衫小心包裹起来,好好保存。

Francisco’s most recent project is a social art showcase entitled Mystic Water. The project begins with bottles filled with “mystic water” that are provided free of charge at public events. As time progresses, the price of the water slowly increases to the point where attendees are no longer willing to purchase water. Francisco’s intention was to emphasise the importance of water as a necessity rather than a luxury. His attention to detail and desire to showcase his ideology are evident in every step of his creation process. Through art, Francisco hopes to impart a sense of positivity and spiritual interconnectivity to his viewers.


Francisco的最新项目是一个名为《神秘水》(Mystic Water的社会艺术展览作品。在项目一开始,他会在活动中免费提供一些“神秘水”矿泉水瓶。随着时间的推移,这些矿泉水瓶的价格会慢慢上升,直到参加活动的人都不再愿意购买为止。Francisco的意图是强调水作为生活必需品——而非奢侈品——的重要性。每一个过程,人们都能清晰地感受到他对细节的注重,以及他展示自己生活理想的热切渴望。Francisco希望不断通过自己的艺术作品分享正能量和精神力量。

Behance~/francisco_hauss

 

Contributor & Photographer: Whitney Ng
Additional Images Courtesy of Chan Dick


Behance: ~/francisco_hauss

 

供稿人与摄影师: Whitney Ng
附加图片由Francisco Hauss提供

Origin of Everything

In light of Guangzhou Design Week, a single 3m x 3m x 3m cube was perched amongst the grasslands of Foshan, a city in China’s Guandong Province. Local design company C.DD summarises the concept of the installation’s design in one phrase, stating that the installation can be likened to the “origin of everything”.


作为广州设计周的参展作品,一个3米×3米×3米的立方体装置坐落于广东佛山的一片绿地之上 。设计机构尺道设计事务所(C.DD)用四个字概括了这个装置的设计理念——“万物归宗”。

Due to the size limitations of the exhibition work, chief designers Xiao Pinghe and Xing Linli decided to create a structure with the highest possible volume in order to express the theme of “city”. Due to the limitation of space, the designers hoped that observers would be forced to take note of the subtle nuances of traditional culture that were weaved into the installation.


由于展方有空间限制要求,总设计师何晓平和李星霖决定选了可以拥有最大容积的立方体作为装置的载体,以呈现“城市”这个广大的主题。由于空间的限制,设计师希望能引导观众去观察融入装置中的传统文化细节。

Within the structure, there is a one-way path that allows passage for a single person to enter the exhibition at a time. When an observer walks through the cube, the two squares created by the bamboo wall and exterior form the Chinese character hui, which symbolises their concept of “return to the origin”.


装置内设有一条仅能容纳一人通行的单向走道。竹子墙和外立面墙的两个方形实际上拼出了一个象征“归宗”的“回”字,而观众正是沿这个“回”字通道穿过立方体装置。

The exterior is a true homage to Foshan, with a map of Foshan city and Nanhai county, as well as the Chinese character for Foshan indented through the steel plate structure. Beyond the steel walls, the designers used bamboo to form a rectangular space around the center of the cube. In the structure’s core lies an unfinished paper Chinese lion and a traditional Chinese drum, which come to life with a combination of background music and flashing lights.


装置的外立面墙是对佛山这座城市的真正致敬——钢板墙面上拼出了佛山市和南海县的地图以及“佛山”两个字。除了钢板墙面,设计师还在装置的中央用竹子隔出一个长方体空间。在装置中心还有一个南狮白胚和牛皮鼓原型,在空间内背景音乐和闪烁彩灯的映衬下,显得栩栩如生。

Depending on the time of day, the lighting that illuminates the structure will offer visitors a varied experience. The design team hoped that the installation’s ever-changing facets would inspire visitors to uncover each visual dimension, and in turn, lead them to rediscover the many layers of Foshan’s traditional culture.


根据一天中不同的时间,装置的照明为观众带来不同的观赏体验。设计团队希望装置千变万化的模样可以启发观众去发现不同的视觉维度,从而重新去感悟佛山不同层面的传统文化。

Contributor: Whitney Ng
Photographer: Ou Yangyun
Images Courtesy of C.DD


供稿人: Whitney Ng
摄影师: 欧阳云
图片由尺道设计事务所提供

In the Studio with Alex Carroll

Alex Carroll‘s art studio spans an entire floor of his family’s Shanghai home. After brewing a fresh pot of jasmine tea and leading me up to the second floor, he bittersweetly admits that there will be no such spacious luxuries after he and his family moves back to America next year. The room is filled with supplies and a series of works that range from pieces in the idea stage to fully completed works. I spent very little of the morning directing our conversation; Alex articulates his thoughts in the same way that he creates his large visual pieces – with purpose. His words are profound with meaning and balanced with both humour and humility. Through chatting with him over the course of an afternoon, I came to know him as a true advocate for boundless creativity and as someone deeply respectful of the China that he has come to call home for the last decade.


Alex Carroll 位于上海的家中,他的艺术工作室便占了整整一层楼。Alex Carroll 为我煮了一壶茉莉花茶后,带着我上了二楼, 他苦中带乐地表示,明年他和家人回到美国定居后就再也不能享受到这样宽敞的空间了。在这个艺术工作室中,摆满了艺术用品和一系列由他创作的作品,既有处于构思阶段的作品,也有已经完成的作品。当天早上的采访中,只有小部分的时间我需要引导我们的对话,大部分时候,Alex Carroll都能准确清楚地来表达着他的想法,一如他在创作大型的视觉作品时那样,总是带着明确的主题。他的话语意味深长,又不失幽默和谦卑。一整个下午,通过与他的对话,我逐渐了解到他是一名真正在拥护无限创意的艺术家,以及他对中国所怀有的深深的敬意。在过去十年来,这里一直被他称为是自己的“家”。

Neocha: Each one of your pieces is extremely textural and fluid; what mediums do you predominantly work with in order to create the moving energy that is present within your art pieces?

Carroll: I play around a lot with the ideas of the physical and metaphysical. With a charcoal stick, I can communicate a bigger idea by bringing this “dead” material to life. I’ve always thought that working with charcoal was very romantic. I’m able to get this rich value from using black, with only the paper as highlights. I try to achieve density and transparency. Finding a nice balance between light and dark enables me to create the overall mood of each piece.


Neocha: 你的每一件作品都拥有非常突出的纹理质感和流畅性。在创作的时候,你主要会采用什么样的工具来营造出作品中这些充满动感的能量的呢?

Carroll: 我经常会以形而下和形而上的理念来尝试创作,譬如,通过木炭笔,我可以为这些“死”的”材料注入生命力,用以传达出更大的理念。我一直认为,只用木炭笔来创作是一件非常浪漫的事情。只用黑色来创作,我也能够打造出丰富的效果,而画纸就是我唯一的高光色彩。我尝试表现出密度和透明度,如果能在光与影之间找到一个好的平衡,就能让我在每一件作品中营造出整体的情绪。

Neocha: Can you tell us more about your drawing process? How does your art go from concept to completion?

Carroll: Drawing is both an additive and a subtractive procedure. For me, what is taken away is just as important as what is put down. I go out and buy erasers in the same way that I buy pencils; I give it the same attention to detail because I like the erased mark as much as I like the drawn mark. Drawing is about having this vocabulary of marks that you can employ to create the work. You build up a language and the more words you can utilise in your speech, the more dynamic your speech is.

I like to get my drawings to a point where everything flows together – what really excites me is working in black and white with a figure. It’s about being able to trace softness, hardness, density and light. Because our figures are like that; the way we move, when we add stress on one leg, that movement is hard, dark and bold. For my Transient series, I set about capturing movement through space. Each piece is derived from photographs; it represents metaphysical bodies moving out of sync with the physical surrounds and how we all have an expiration date.


Neocha: 你能跟我们分享一下你的绘画过程吗?从作品构思到最后完成创作,这一过程是怎样的?

Carroll: 绘画是一个不断加加减减的过程。对我来说,被擦掉的内容与加入的内容是同等重要的。我在外面买橡皮擦的时候和我买铅笔的时候是一样的谨慎,我都会考虑到至为细微的细节,因为对我来说,被擦除的痕迹与我所描画的痕迹是一样重要的。绘画其实就是在利用一系列自己掌握的“痕迹”来创作出作品,这些“痕迹”就像是语言的词汇一样,你在学习一种语言时,当你积累了越多的单词,你就可以用在你的演讲中,进行更好的表达。

我希望让自己创作的绘画作品产生让所有元素融汇在一起流动的效果,最让我兴奋的是,只用黑色和白色来创作人物廓形。这样的创作需要描画出柔软感、硬度、密度和光线。因为我们的轮廓就是这样的。而表达我们的移动方式时,我们会往一条腿上施力,所表现的状态应该是强硬的,用深度并且大胆的方式展现。在我的《Transient》 系列中,我通过一定的空间来定格运动。每一件作品都是源自于摄影作品的再创作,它代表了形而上的物体与形而下的环境之间的不同步。它还意味着,我们都有一个“保质日期”。

Neocha: How has moving to China influenced your art and the way that you create?

Carroll: Art is so valued here in China. The language itself is an art, writing Chinese is an art. Chinese calligraphy is a series of spontaneous gestures, but yet, every stroke is so learned and practised. I love that immediacy, where the brush stroke breaks and the white of the paper comes through. Coming to China and seeing this whole school of thought; that really affirmed what I was doing and it got me excited about the kind of work that I could create here. I have been so privileged to be in a culture that appreciates art and appreciates that kind of thinking – that just doesn’t exist in America.


Neocha: 移居中国对你的艺术作品以及你创作的方式有什么影响?

Carroll: 在中国,艺术是如此的宝贵。中文这种语言本身就是一门艺术,书写汉字也是一门艺术。中国的书法由一系列自然而然的姿态组成,但每一笔都体现着学习和练习的功力。我喜欢那种即时可见的效果,当毛笔提起时,纸张的白色逐渐透现出来。来到中国,目睹这种思想学派,让我真正明确了自己的艺术创作,因此,一想到我在这里能够进行的创作我就感到非常兴奋。我很庆幸自己能来到这里,这里的文化能真正地欣赏艺术和理解这种理念,这是美国的文化中所缺乏的。

Neocha: In addition to being an artist, you’ve also been an art educator for many years. How has teaching impacted on your perception of art as a whole?

Carroll: I believe that creativity from art paves the way to understanding the world and building self-knowledge. I didn’t grow up in a very creative household. For the longest time, I saw art as a hobby and drawing was something that I did to pass the time. My parents never discouraged it, but they didn’t encourage it. I think it’s so important for kids who don’t have an artistic outlet at home to be able to go to a classroom and see their creations as achievements. Beyond being fun, art is an achievement and it’s a joy to see kids exceed their own expectations – that’s why I teach. Art education is so important; I really believe that it is the key to building self-worth. There are some artists who are confident in what their art is and their artistic voice is so strong. But I’m humbled by art. I love that I can draw. I feel very privileged that I can draw and I always have. When I draw, I don’t necessarily see it as “this is what I can do”, but rather I see it as, “this is what was given to me.” And it’s my job to keep practising it. I’m not a religious person, but I am a spiritual person, and I see this ability as a gift rather than just a talent.


Neocha: 除了身为一名艺术家,你同时也担任了多年的艺术教育工作。总的来说,教学的经验对你的艺术认知有什么影响呢?

Carroll: 我相信来自艺术的创意能帮助人们理解世界和建立自我认知。我并非出身于一个非常有创意的艺术家庭;在很长的时间里,我一直将艺术视为一种爱好,把绘画当作打发时间的事情。虽然我的父母从未阻止我画画,但他们也没有鼓励我去画画。我认为对于那些在家中难以抒发出自己艺术创意力的小朋友,如果能够去到教室中学习,让他们将自己的创作视为成就,对他们来说是很重要的。除了好玩,艺术也是一种成就,当看到孩子们的创作超过他们自己的期望时,实在是一件很令人开心的事情。这就是为什么我选择做教育的原因。艺术教育是如此重要,我真的认为它是建立自我价值的关键因素。有一些艺术家对自己创作的作品十分自信,他们艺术风格是如此的强烈。但艺术让我感到谦卑。我很开心我能绘画,我感到非常幸运,自己会画画,并能够一直坚持画画。 当我绘画时,我不会觉得“这是我所能够做的事情”,而是“这是我所被赐予的礼物”,所以我的责任是不断地练习。我不是宗教人士,但我是一个有精神信仰的人,在我看来,这种能力并不纯粹只是一种能力,更是一份天赐的礼物。

Websitealexcarroll.net

 

Contributor & Photographer: Whitney Ng


网站alexcarroll.net

 

供稿人與攝影師: Whitney Ng

Performing Sculpture

Widely regarded as one of the most innovative artists of the 20th century, Alexander Calder’s creations modernized and reimagined the possibilities of sculptural art. Transcending time and mediums, his lasting influence is still evident today. Performing Sculpture, a playful photo series that pays homage to the iconic American artist, debuted just last year on BROWNIE.


作为20世纪最具创意的艺术家之一,Alexander Calder的作品以现代化的风格重新演绎雕塑艺术的无限可能性。他作品的影响力跨越时间与媒介时至今日依然显而易见。《舞蹈的雕塑》是一组致敬 Alexander Calder 这位传奇美国艺术家的摄影作品系列,在去年首次发表于BROWNIE网站

Shot by Tan Yuxi, a Chongqing-born and Shanghai-based photographer who was inspired after seeing Calder’s exhibition at Tate Modern, Performing Sculpture is comprised of ten image pairings that consist of wires, disc-shaped props, and women in colorful one-piece swimsuits; it’s a whimsical reimagining of Calder’s creations. Beyond vaguely alluding to the nature of interpersonal connections between us as humans, Yuxi has left the narrative purposefully ambiguous and open to interpretation.


该系列创作者谭羽希是一名出生于重庆,现居上海的摄影师。《舞蹈的雕塑》是她在伦敦泰特现代美术馆(Tate Modern)看到Alexander Calder的展览后大受启发而创作的,她以线、唱片圆盘形状的道具及身穿连体泳衣的女性为元素创作出10组摄影作品,以异想天开的风格对Alexander Calder的雕塑作品进行创新构思。除了隐晦地影射人际关系本质,谭羽希故意模糊作品要表达的想法,而让观众自己来定义作品背后的意义。

“When someone looks at this series, they can extract their own meanings out of it,” Yuxi says. “I feel like that’s the purpose of this project. It’s possible that some people won’t have any thoughts about it, but to me, them not finding any meaning in it is part of the work. So to that effect, I’m purposefully omitting what I want to express and the meaning behind it.”


谭羽希解释:“当不同的人看到这个作品,或多或少都有自己能想到的东西,我觉得这就是作品的意思。其实可能会有人没有任何想法,但对于我,没有想法也是表达内容的一种。所以我不会说我要表达什么,或者想传递的信息是什么。”

Despite femininity and females being the main narrative-driving force behind this project, Yuxi considers Performing Sculpture to be a slight departure from some of her previous works. The main differentiating factor was the number of models involved in the shoot. Coordinating multiple subjects at once was a fairly new and challenging experiencing for Yuxi, a challenge that pushed her out of her comfort zone. But as with many other great artists, she regards all difficulties as invaluable learning experiences.


尽管女性主题和女性依然是这个作品背后的主要叙事动力,但谭羽希认为《舞蹈的雕塑》与她以前的作品还是有所不同的。最主要的差别在于参与拍摄的模特的数量。同时协调多名拍摄对象对她来说是一件相当具有挑战性的事情,是一次全新的经历,这也迫使她不得不走出自己的舒适区。但是,正如其他优秀的艺术家一样,在她眼中,困难是宝贵的学习经验。

Similar to the masterful manner that Calder’s able to use sculptures to bring his creative vision to life, Yuxi’s talent lies in her ability to use photography and the female form as the vessel for her creative energy. “I enjoy shooting females,” she says. “Perhaps it’s because I find them to be endlessly interesting. I want to know what they’re thinking and why they do what they do.”


正如Alexander Calder 以巧妙绝伦的方式通过雕塑作品让自己的创意构思唤发蓬勃生命力,谭羽希的天赋也在于她能够让摄影和女性主体变成展现她的创作能量的载体。“我很喜欢拍女人,”她说道,“也许是因为对于我来说,女人更有趣。我想知道她们在想什么,她们为什么这样做。”

Prints from Tan Yuxi’s Performing Sculpture are now available from the BROWNIE online shop.


谭羽希《舞蹈的雕塑》印制品现已于BROWNIE网上商店发售。

Website: yukivigo.com
Instagram@yukivigo

 

Contributors: David Yen, Banny Wang
Images Courtesy of BROWNIE


网站: yukivigo.com
Instagram@yukivigo

 

供稿人: David Yen, Banny Wang
图片由BROWNIE提供

Read, Play, Paint, Discover

Hangzhou has long been a must-go location for both tourists in and out of China, with millions of visitors flocking to the capital of the Zhejiang Province to catch a glimpse of its idyllic natural surrounds. The city is steeped with a rich history, which has inspired art and poetry for centuries, before evolving into the bustling modern civilisation that it is today. In the hotspot of Hangzhou’s Binjiang District lies the Wheat Youth Arts Hotel, a minimalistic hotel that seeks to entice and entertain every contemporary traveller.


杭州一直就是旅游胜地,每年有成千上万的人来到这座浙江的省会城市,一览自然田园风光。杭州这座历史悠久的城市,在成为今天现代文明的城市前,孕育了众多各朝各代的艺术与诗歌。在杭州滨江区的商圈里坐落着麦尖青年艺术酒店,一家极简风格,目标服务年轻旅行者的酒店。

The Wheat Arts Youth Hotel is the brainchild of Shanghai-based design company X+Living, who previously designed the stunning Hangzhou and Yangzhou branches of Zhongshuge bookstore. The design team responsible for bringing this project to life is comprised of Chen Fan, Dan Chen, Feng Wu, Xiao Zhang and Ren Lijiao. The philosophy of X+Living is to create value with design – the company was adamant about creating a space that was both a visual spectacle, as well as a warm and inviting place for guests to rest their heads. This endeavour to strike a natural balance between good design and comfort is apparent from the moment visitors enter through the lobby door.


麦尖青年酒店是上海唯想建筑设计的作品,唯想之前设计了精美绝伦的杭州和扬州的钟书阁书店,由范晨,陈丹,吴锋,张笑和任丽娇协调设计。唯想建筑的理念是用设计创造价值,公司的基石是创造新颖的空间,同时又为客人提供温馨和友好的环境。希望客人在踏进酒店时,就能感受到设计和舒适中的平衡。

In true boutique hotel style, the entrance to the hotel is blink-and-you’ll-miss-it subtle and nestled on the seventh floor of a shopping mall. The words mai jian, meaning the tip of a stalk of wheat in Chinese, appear on a clean white wall at the entrance, a preface to the warm and inviting lobby. Much like Hangzhou itself, the lobby features nuances of both traditional and modern Chinese culture. Art, music and literature are vital themes throughout the hotel’s design and is a big part of the hotel’s overall creative energy. The walls are lined with endless bookshelves that hug the corners of the lobby and contrast against a three-dimensional world map, which is comprised of many traditional Chinese checker pieces.


酒店具有的精品酒店风格,不起眼的入口,需要从商场七楼内部进入。 来到门前,小巧简白的酒店门口简单写着“麦尖”两字,引领你进入温馨的酒店大堂。就像杭州这座城市一样,大堂内体现着传统和现代的中国元素。设计师用日常人们热爱的音乐、绘画与读书来装扮整个酒店的氛围。

En route towards each hotel room, guests can also discover amusing tidbits that line the corridors of the hotel. A preview of the amenities that await in each room have been arranged into a stylised display that hangs at the end of the lobby. Chinese checker pieces also make a colourful reappearance, along with a series of bright and playful paintings. Every floor features numerous bookshelves and a piano that guests are encouraged to play to their heart’s content.


在前往房间的路上,客人能够发现走廊里布满着有趣的涂鸦。更有部分空间用彩色跳棋来装饰天花,像彩虹糖般甜蜜。设计师用跳棋来比喻每个人,所以在一面墙上用跳棋装点了一幅世界地图,寓 意欢迎世界各地朋友来此一聚,并用跳棋来代表酒店的服务人员,所以设计师原创出 跳棋一样的凳子,让人们可以坐在上面,像是一种服务的意识。 每一层都有很多藏书,还有一架钢琴供客人弹奏。

Each hotel room is equipped with Scandinavian-style furnishings that offer both comfort and functionality to every guest. The TV is hidden behind a sliding canvas that features a thematic splash of colour and a bold greeting that is unique to each room. An easel is placed next to every window, in the hopes that guests can get creative during their stay. For weary explorers, unwinding with a book from the hotel’s cozy coffee shop before taking a long soak in a bathtub is the perfect way to end a long day.


酒店里每件房间都为客人准备了功能性和舒适性俱佳的北欧风家具。电视隐藏在可滑动的画作后,大胆的笔触和色彩给每件房间带来独特的特点。每个窗边都放有一个画架,希望每一位客人都能在酒店留下他们自己的创作。疲劳的旅客在酒店舒适的咖啡厅看看书,然后在浴室泡个澡,完美地结束漫长的一天。

Wheat Youth Arts Hotel aims to honour Hangzhou’s long-standing affinity with art and culture, whilst providing travellers with a truly unique accommodation option. Every aspect of the hotel, from the attentive staff, to the hotel’s bright, open spaces and seemingly infinite book collection beckons guests to enjoy this contemporary artistic playground.


麦尖青年艺术酒店向杭州悠久的历史文化致敬,也为旅客带来了独一无二的居住体验。在酒店的方方面面,从细心的工作人员到明亮开放的酒店空间,以及丰富的藏书,都在期盼客人能够尽情享受这座充满艺术气息的空间。

Address:
No.9, Taian Road 7F (Xinguang Center)
Hangzhou, Bingjiang District
People’s Republic of China

Tel:
+86 0571-28000999

 

Contributor: Whitney Ng
Photographer: Shao Feng
Images Courtesy of X+Living


地址:
中国
杭州市滨江区
泰安路9号 7楼(星光中心)

电话:
+86 0571-28000999

 

供稿人: Whitney Ng
摄影师: 邵峰
图片由唯想国际提供

Moments in Motion

The creations of Han Chenxu often leave an observer wondering if they have chanced upon a series of hyperrealistic paintings or surreal photographs. Chenxu describes himself as simply an ordinary person who works at an ordinary job, but with an innate liking for photography. “Initially, I was aimless and experimented with a simple camera. I remember my first camera was the Olympus μ [mju:]300 DIGITAL. As time went on, I gradually began to learn my way around the camera. Soon, it seemed like photography had simplified before my very eyes and the repetitive process filled me with a sense of urgency to create outside of the box.”


韩晨旭的作品经常让观者疑惑,他们看到的是超写实的绘画还是超现实的摄影作品。韩晨旭讲他就是一个干着普通工作的普通人,但是天生就热爱摄影。他说:“记得我第一台相机是奥林巴斯μ(mju)300,那时候只是握着相机漫无目的到处拍。随着拍摄量的积累,感觉自己的拍摄过程渐渐显得单调又反复,叫我意识到是时候做一些改变和新的尝试了。”

Before Chenxu began to observe Chinese-style paintings, he felt that he was not particularly driven to broaden his senses or ideals. With a genuine lack of overall direction, his creative journey was filled with detours as he attempted to hone his artistic vision. Serendipitously, Chenxu stumbled across a WeChat article that detailed differing photography styles of various countries from across the world, including Japan, America and Russia. But he found that there was no distinctive Chinese style of photography. There were no clear influences or representatives. Even with the emergence of photography greats such as Lang Jingshan or new wave photographer Sun Jun, he still felt that when it came to photography, there wasn’t a true pioneer of an aesthetic that could be considered Chinese.


在韩晨旭开始研究中国画前,他一直处于摸索的状态。那时候也没什么条件和意识去搜索有关这方面的代表人物及作品,让他走了很多弯路。他无意间看到有篇微信公众号的文章提到摄影风格的划分,这包括了日系、美系、俄系,但他发现中国的摄影却没有一个代表;纵然前有郎静山这样的大师级人物,现有孙郡这样的青年开拓者,但真正形成一个大范围影响的却少之又少。

Stylistically, Chenxu states that Chinese paintings carry a heavy contrast with a characteristic emphasis on using negative space. “Artists manage emptiness with intention, adhering the same care and attention that they would give to the focal subject. If one were to paint a school of fish swimming through cascading water, the fish might be painted in black and the water would simply be blank negative space. This makes it so that the placement of each subject becomes of utmost importance, in order to ensure that the observer can feel the moment in motion,” he says. “Negative space is essential. It’s the subtle implications that lie in the words unspoken. It’s about looking beyond the surface. It’s supposed to be freely interpreted and carry an infinite number of meanings.”


绘画风格上,韩晨旭说国画讲究计白当黑,强调运用空白。“对留白经营很用心,把其当成画的部分,费等同的心思去考虑。例如画游鱼戏水时,鱼身是黑,水便是白。布置鱼群成了关键,讲究位置合适,让旁观者感受到环绕鱼身的流水,引起对水的联想。这样的留白绝非可有可无,更是言外之言、物外之趣,意味无穷。”

Despite having no theoretical knowledge of photography, Chenxu had always believed that painting and photography were inextricably linked, with both mediums utilising a two-dimensional plane to create art in a three-dimensional space. “I began to wonder how I could play with shapes and create a photo that would represent my subject’s true colours. More often than not, my photographs become a reflection of my thoughts – they wholly influence how I capture and edit my photographs.”


尽管韩晨旭没有理论性的摄影知识的,他一直认为绘画与摄影有着千丝万缕的关系,都是以二维方式展现三维空间的艺术。“我开始思考该如何让一张照片展现出国画那般的气韵生动、应物象形,又该如何让照片里的主体随类赋彩。很多的时候只是凭自己的直觉去拍摄和处理。”

“I find that I draw a lot of inspiration from this traditional painting style, especially when I‘m photographing subjects like lotus flowers. I take everything into account, from composition to shutter speed, to ensure that I achieve a hazy mood, which allows my photographs to appear dream-like and understated. Contemporary image post processing adds another dimension, allowing my photographs to become as multidimensional as a traditional Chinese painting, fluid yet cohesive.” Chenxu cites that the empty spaces within each of his photographs pay homage to the nuances of Chinese paintings and he’s still constantly looking for ways to create more images that he can be proud of.


“当我在拍摄像荷花为主题的作品时,借鉴了国画中的表现手法。从开始构图、拿捏快门速度实现照片的简洁和朦胧,到借助现在数码暗房的处理,力求画面开合争让,有开有合。”  韩晨旭照片中较大面积的留白就是为了营造这一画面效果,竭尽创造满意的摄影作 。