Tag Archives: art

Juli Baker & Summer

Image Courtesy of The Jam Factory

The first time I saw Phaan’s artwork was on accident. I was scrolling through Instagram when her bright and colorful images caught my attention. I felt like I had discovered some kind of modern embodiment of French painter Henry Matisse, reincarnated in the hot and bustling streets of Bangkok, but with a dash of femininity and Southeast Asian flavor.


第一次看到Phaan的作品是无意间在Instagram上“滑”到的, 她的作品色彩缤纷亮眼,会让人有一种Henry Matisse 活在2017年并穿梭在曼谷热闹街区作画的一种南洋感受,当然还多了一点少女情怀,实在令人难以错过这个曼谷插画艺术家的作品。

Phaan (whose real name is Chanaradee Chatrakul Na Ayudhya) is a 23-year-old artist who graduated from Bangkok’s Chulalongkun University. Despite having graduated with a major in fashion design, she realized that fashion design wasn’t as she imagined when she first began attending school: designing clothing involves much more than simply conceptualizing designs and fashion sketches. It also entails pattern making, deciding on materials, brand marketing, and sales operations. In the wake of these realizations, doubts toward her pursuit of becoming a fashion designer had begun to fester. Phaan found that she only enjoyed the early stages of the design process, such as collecting image inspirations, forming creative concepts, and penciling drafts. In her sophomore year, she took the opportunity to partake in a student exchange program to the UK where she began taking illustration courses. This affirmed her interest for illustration, and Phaan began shifting her focus towards art, but she didn’t exactly intend on abandoning fashion design as she saw that fashion and illustration were closely linked with one another.


Phaan,本名Chanaradee Chatrakul Na Ayudhya,23岁,毕业于曼谷 的第一学府朱拉隆功大学,主修应用美术系的服装设计部门,对于服 装设计有着强烈的喜好。在校阶段,她发现服装设计不仅仅是前端的设计发想,还有到材质选用、版型制作,甚至到后端的品牌行销及销售经营等,这样一连串的学问让她对服装设计的热诚感到有些怀疑, 开始发觉自己好像比较享受服装设计一开始的灵感搜集、创意发想及设计草图绘制部分。大二那年有机会到英国交换学习,在那边修习插画课程,才更加确定自己对于插画的热情,从那个时候她更着重在插画艺术方面的创作,但仍旧不完全脱离服装设计产业,对Phaan来说, 服装设计和她的艺术创作是息息相关的。

In college, Phaan already began paving the way for her future career in art, even though her work was inconsistent at the time. Depending on her mood, she switched from subject to subject on a whim. But in terms of technique, there was a sense of consistency that can be observed in her use of bold, contrasting colors and the fluidity of her lines. In junior year, she became a columnist for Thailand’s independent magazine <em>Cheeze</em>, where she contributed articles as a writer and illustrator. This was the first of many steps she took in becoming the successful artist that she is today. Phaan’s big break happened when she was commissioned to design the cover art for <em>Stay at Home</em>, an album by the Thailand-based Plastic Plastic, a highly popular local indie band. This opportunity helped her become a recognized name in the local creative community and has contributed massively to her fanbase on both Instagram and Facebook.


大学时期, Phaan就开始自己的创作生涯,作品的主题经常因为自己的心情转变,不变的是使用大胆的对比色、随性的线条,介于现实及插画间完成一幅又一幅多采多姿的佳作。大三那年,为泰国独立时尚杂志《Cheeze》撰写关于电影及服装的专栏,并为该专栏绘制插画 ,借此渐渐打开的人气。一直到被泰国著名的独立乐团Plastic Plastic邀约设计《Stay at Home》专辑封面后,Phaan立刻受到泰国年轻族群的瞩目,让她不管在Instagram和Facebook都拥有一票死忠追随者。

Recently, Phaan invited me to visit her studio space on the outskirts of Bangkok. The vibrant studio was quite revealing of Phaan’s child-like sense of wonder and playfulness. Inside, an entire wall is used as a mood board, covered with an assortment of visual inspirations: Polaroid snaps of daily life, rough sketches, cut-out pages of magazines, and various movie posters are all pinned up in disarray. The rest of the studio is populated with vintage furniture, toys, and various patterned textiles. The entire feel of the space, which is actually located in Phaan and her parents’ house, was warm and joyful, a feeling native to her own artistic style. Phaan shares with us that she’s always had a close relationship with her family and this has been an integral part of her creative development. Growing up, she often enjoyed watching all kinds of movies and would watch foreign films with her father. To her, a movie is like a journey. Each scene and narrative helps her to understand, or at least fantasize about, the different cultural stories and backgrounds depicted in the films. With cinema at the root of her creative interests, she felt it the name Juli Baker and Summer to be perfect for her art and crafts label. In Rob Reiner’s comedy film Flipped, the main character, Juli Baker, shared a relationship with her dad that reminded Phaan of her own relationship with her parents. As for the word “summer,” Phaan tacked that on as she felt like bright and summery vibes characterized her own art perfectly.


来到Phaan在曼谷郊区的工作室就像来到一个大孩子的房间, 处处充满童趣。一整面墙宛如她的mood board,上面贴着日常生活照片、草图、杂志内页、电影海报等,工作室内摆着复古家具、玩具、充气沙发和各种花样的布料,完全和她的个性及作品相吻合,是那么地温暖、欢乐。事实上,Phaan的工作室就在她的住处内,和父母关系极为融洽的她仍 和家人同住,对她来说和家人相处的和乐感也是自己创作的来源之一 。受到爸爸的影响,从小就喜欢观赏各种电影,经常和父亲一起欣赏各国电影,对她来说看电影就像是旅游,由电影的场景与剧情,Phaan 可以了解或是幻想不同的文化背景及故事。电影启发了她的创作,她 的网站名为Juli Baker and Summer,就是源自于Rob Reiner所执导的青少年浪漫喜剧片《怦然心動》(Flipped)。片中女主角的名字就是Juli Baker,电影里Juli Baker和她爸爸的相处模式让Phaan联想到自己和父亲的亲子关系,至于为什么后面还会加上Summer则是反映她的作品随时让人感受到阳光正面的夏日清凉感。

“In October, I plan on releasing an illustrated travel book,” Phaan shares of her plans for the remainder of the year, speaking with the same sense of optimism and excitement that’s found in her art. “As for the rest of the time, if I’m free, I’d like to travel. I want to refuel myself with a trip and find more inspiration so I can draw more for the people who like my work. For me, art is both cathartic and a medium for self-expression. I hope that my art can bring people happiness.”


问到这个年轻艺术家的下一步是什么?她笑说,”十月预计出旅游游记绘本, 接下来剩余的时间就看看自己有没有机会到处旅游了。希望可以到国外充电一下,带回更棒的题材呈现给喜欢我的观众。艺术对我来说就是展现自己最佳的方式也是一种心理治疗,我希望藉由我的作品人们可以放松而有开心快乐的感觉。”这位随时充满笑容的艺术家, Phaan,如同她的画作一样,总是让人心情愉悦、充满活力。

Image Courtesy of The Jam Factory

Website: julibakerandsummer.wordpress.com
Facebook: ~/julibakerandsummer
Instagram: @julibakerandsummer

 

Contributor & Photographer: Etty Liu
Additional Images Courtesy of Juli Baker & Summer and The Jam Factory


网站: julibakerandsummer.wordpress.com
脸书: ~/julibakerandsummer
Instagram: @julibakerandsummer

 

供稿人与摄影师: Etty Liu
附加图片由Juli Baker & Summer与The Jam Factory提供

Strawberries Will Save the World

 

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Japanese director Yoko Okumura’s Strawberries Will Save the World is a short and whimsical documentary that takes viewers into the life of Yuko Okumura, an avid strawberry enthusiast and the director’s own mother. Yoko’s main instruction to her production team was to make the film “Make it cute. Make it really really cute! ” Strawberry mugs, strawberry socks, strawberry glasses, strawberry spatula, and even a strawberry-related chatroom – Yuko’s life and home is filled to the brim with anything and everything strawberry related. In Japanese, the word for strawberry is ichigo, which can be dissected into ichi (meaning one) and go (meaning five). As a result, the number 15 is considered to be related to the fruit. And whether it’s checking the time or driving around, Yuko feels like the number 15 shows up everywhere she goes even though she’s not looking for it. This became affirmation that, all along, it wasn’t her searching for strawberries – strawberries are naturally drawn to her.


居住在美国的日本影片制作人 Yoko Okumura拍摄了一部记录短片,讲述了一个草莓疯狂痴恋者的故事,而影片的主人公 ——Yuko Okumura,正是她的妈妈。短片以一种轻松可爱的手法讲述了Yuko女士对草莓的痴狂。拍摄的时候,导演Yoko Okumura给团队的要求就是:“拍得可爱一些,拍的非常非常可爱。” 草莓杯、草莓袜、草莓眼镜和草莓锅铲甚至是草莓聊天室,Yuko女士家中塞满了和草莓相关的一切,或者说,她的生命也是和草莓紧紧关联在一起的。在日语中,草莓的发音与数字“15”的发音一致, Yuko女士说每当她拿起手机或开车的时候,总能自然地看到”15“这个数字,仿佛不是她在找草莓,而是草莓进入了她的生活。

The internet has allowed Yuko to connect with other like-minded strawberry lovers and share her impressive collection with them. She’s now a member of a Japanese association of strawberry enthusiasts and is even brainstorming on how to shoot an entire movie about strawberries. As this simple fruit has brought so much joy to her own life, Yuko feels compelled to spread this same happiness to more people around the world. Watch the documentary above to see how Yuko plans to channel more positivity into the world with the power of strawberries.


现在,Yuko女士是日本一个草莓爱好者协会的成员,她通过网络向和她一样喜欢草莓的朋友们分享她的收藏,甚至还在筹备着一部和草莓相关的电影。Yuko女士一直坚信着一件事——草莓可以拯救世界。草莓为她的生活带来了太多的欢乐,而她正尝试着将这些欢乐传递出去,影响更多的人。观看上方的影片,感受这对母女用草莓向世界传递的童趣和正能量。

Website: yokofilm.com
Vimeo: ~/yokookumura

 

Contributor: Ye Zi


网站yokofilm.com
Vimeo~/yokookumura

 

供稿人: Ye Zi

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

The Line Between Fashion & Art

Every year, London’s Central Saint Martin hosts the BA Fashion Show, featuring collections from the year’s graduating designers. This year, Chinese designer Xiaoming Shan received special mention at the end of the show for creativity, making it the first time that a designer, aside from the winners, was given recognition in the speaker’s notes. Looking beyond Shan’s bold use of colors and shapes, deeper themes are present in his work, often based on his observations of modern times. “Everyday, you encounter different people, things, and events,” he says. “Even if you’re not consciously aware of it, they become catalysts for inspiration.” For Shan, finding creativity from his life experiences seems to come quite naturally.


Xiaoming Shan毕业于世界最负盛名的的时装设计学院之一的英国中央圣马丁艺术设计学院,今年,他的设计获得了年度毕业秀的特别创意提名。回看他的作品,引人瞩目的不仅仅是他对颜色和图案的大胆运用,背后的设计理念也远超越了这些强烈的视觉元素。他在不同时期的作品也往往带着当下的影子,叙述着当下发生的事。“每天接触到的不同的人,物,事,都会成为日后创作的良药,即使你不会特别留意他们。”在他眼里,一切积累与输出发生得如此自然。

Discussing some of the biggest changes he’s undergone since attending CSM, Shan shares: “I suppose it’s the way I view clothing. I feel like I’m slowly breaking away from this preconceived notion of what clothing can or can’t be, and it’s allowed me the freedom to pursue what feels right to me.” His eccentric and colorful designs are a clear departure from conventional fashion – it’s a visual representation of his understanding of pop culture, style, himself and his relationships. When viewing Shan’s work, perhaps we can temporarily set aside the idea of how certain things “should” be done and learn from how Shan creates what he wants to create.


谈及自己求学期间最大的改变,Xiaoming Shan表示:“看待服装的态度吧,感觉自己慢慢从“服装”这个字眼中走了出来,可以更自由的做你认为对的事情。”他的作品也的确有别于我们一贯理解的服装概念,它们戏剧性的呈现了他对当下流行文化的思考,关于我们对自己风格的取舍,关于本我与他我。也许我们也可以暂时抛下我们认为“应该做”的成见,看看Xiaoming Shan呈现的他“想要做”的。

Weibo: ~/XIAOMINGSHAN_official
Instagram@xiaomingshan_official

 

供稿人: Shou Xing
Images Courtesy of Xiaoming Shan


微博: ~/XIAOMINGSHAN_official
Instagram: @xiaomingshan_official

 

供稿人: Shou Xing
图片由Xiaoming Shan提供

Liuba Draws

Based in Beijing, Russian illustrator Liuba Vladimirova draws romantic, idyllic images of the Chinese capital. Originally, Vladimirova moved to China to study Chinese and completed her master’s degree in the city of Shenyang. After graduating, without any jobs lined up, she made the move to Beijing. Looking back, she says, “It was a bold decision. But I guess I was so young, so I didn’t really think about it.” For five years, she worked a full-time job unrelated to art. During this time, her interest in illustration continued to grow, and so, to satisfy her creative needs, she began exploring the many nooks and crannies of Beijing with a notepad in hand.


俄罗斯插画家Liuba Vladimirova目前在北京生活,她以这座中国首都城市为灵感,绘画了一幅幅浪漫和诗意的城市画像。Vladimirova最初来中国是为了学习汉语,在沈阳修读完硕士学位后,在没有任何工作邀请的情况下,她还是毅然去了北京。回忆起当时,她说:“那真是非常大胆的决定。可能自己当时还是太年轻了,也没有想这么多。” 五年来,她做着一份与艺术无关的全职工作。期间,她对插图的兴趣越来越强烈。为了满足自己的创作欲望,她拿起一个本子,开始去探索北京的各个角落。

As Vladimirova continued to spend hours on her art each and every day, she began receiving more and more positive feedback. After much perseverance and hard-work, she eventually became a full-time freelance illustrator and now even runs her own company. Today, her time is split between completing commissioned work, conducting art workshops, and of course, drawing for her own pleasure. But as a self-taught artist, Vladimirova admits that she often still feels lacking in confidence. Regardless, she feels that any anybody who learns a skill by themselves is committing to an admirable endeavor. She says, “They consciously made the choice. They taught themselves. They invested their time to being something purely because they wanted it.” As time went on, her style continued to mature. Now, she’s honed in on an aesthetic that’s uniquely hers, one that’s been sharpened and evolved through countless hours of practice. In her artistic journey, the only thing that’s stayed consistent since the beginning is the preference of using watercolor.


每一天,Vladimirova都会花几小时的时间画画,慢慢地,她的作品开始获得越来越多好的评价。经过坚持和努力,现在她已经成为一名全职的自由职业插画,并经营着自己的公司。平日,她的时间主要用来完成客户委托的工作,举办艺术工作坊,当然,还有出于兴趣而画画。作为一个自学成才的艺术家,Vladimirova说自己还是常常感到不够自信。然而,她觉得,所有自学某种技能的人,都是曾经付出过令人敬佩的努力。她说:“他们明确自己的选择,努力自学成才,将时间投资在自己喜欢的事物上。”随着时间的推移,她的风格渐趋成熟。现在,她找到了专属自己的风格,那是她通过无数个小时练习的成果。然而,始终未变的是她从最初接触艺术开始就对水彩颜料产生的偏爱。

In terms of technique, Vladimirova is inspired by artists like Carson Ellis, Lizzy Stewart, and Yelena Bryksynkova. Outside of these big-name artists, she speaks fondly of conversing with other like-minded professional illustrators in her early days as a working artist. “These were people similar to me,” she recalls with excitement. “They thought in similar categories as me! They saw the world through the same artistic lens and appreciate colors and shapes from the aesthetic point of view.”


在创作技巧方面,Vladimirova的灵感主要来自于Carson Ellis,Lizzy Stewart和Yelena Bryksynkova这些知名艺术家。除此之外,还有她早期与其他志同道合的专业插画师之间的交流。她说:“他们都是和我一样的人,我们有相似的想法,会用相同的艺术角度看世界,从审美的角度来欣赏颜色和形状!”

For subjects matters, much of Vladimirova’s inspirations come from the city of Beijing, or more specifically, the hutongs of the city. In her works, she beautifully depicts the day-to-day life and persevering traditions of the ancient city. She describes the attraction to these scenes as a fascination with the “romantic side of a simpler life.” Today, as the city continues to grow, many of the places that she’s drawn in the past or planned to draw in the future have completely changed or altogether disappeared. However, Vladimirova remains optimistic, excited by the dynamic nature of China. With a smile, she proclaims, “You never know what is going to happen next!”


在作品主题方面,Vladimirova大部分的灵感来自北京这座城市,或者更具体地说,那些狭窄的胡同。她通过自己精美的作品,描绘出这座古老城市的日常生活和传承至今的传统。她说,这些场景的吸引力在于她对“简单生活浪漫的一面”的迷恋。今天,随着城市不断成长和进步,很多Vladimirova画过或想要画的地方都已经改头换面,甚至完全消失。然而,她非常乐观,对中国所焕发的活力而感到兴奋。她面露微笑,告诉我:“你永远不知道接下来会发生什么!”

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Contributor: Anastassia Ilina


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供稿人: Anastassia Ilina

Stickymonger

Based in New York, Stickymonger is a Korea-born artist whose work has the ability to transport viewers to dark, surreal worlds. At first glance, her large-scale, black-and-white murals look like ink illustrations, but, in fact, Stickymonger’s murals are actually constructed by cut pieces of vinyl, which she sticks onto gallery walls piece by piece. Her works depict gloomy scenes where young, doe-eyed girls appear to be melting into black puddles, stuck in jars of jam, or drowning in cascades of their own hair.


韩国艺术家Stickymonger目前生活在纽约,她的作品有一种带领观众进入黑暗、超现实的世界的魔力。乍一看,巨幅的黑白壁画像是用油墨绘画而成的插画,但事实上,Stickymonger的壁画是用剪切好的乙烯基,一片片贴上画廊墙的。她在自己描绘的黑暗世界上,又加上了有着天真无邪大眼的年轻女孩,她们或是融入浓稠的黑色水坑中,或是困在果酱罐子里,或是埋在自己瀑布般的头发里。

Stickymonger spent her childhood days in Korea where her family owned a gas station. She says that her fascination with ink and liquid fluidity, which are both trademarks of her artistic style today, began as she played among oil cans. Beyond these childhood memories, she cites graphic novels and anime to be some of her biggest influences. “Galaxy Express 999 is my bible,” she says of the manga series from the late 70s. Some of her other manga-related influences include the works of horror artists Junji Ito, Kazuo Umezu, and Kanako Inuki.


Stickymonger童年大部分是在韩国度过的,她的家人在那里经营着一间加油站。小时候在石油罐中玩耍的经历,让她对油墨和液体流动性的产生着迷,而这两点也成为了她的标志性艺术风格。除了这些童年回忆之外,插画小说和动漫作品对她影响也很大。她说:“《银河铁道999》是我的圣经。”除了这部 1970 年代末的漫画系列,恐怖漫画家伊藤润二、楳图一雄(Kazuo Umezu)和犬木加奈子(Kanako Inuki)的作品也对她的创作有重要的影响。

Despite the dark undertones, her artworks are actually meant to be a creative outlet for some of her past interpersonal struggles, frequently conveying feelings of anxiety and her experiences with prejudice. Oftentimes, the girls depicted in her murals are lost in thought, submerged in sludge with their eyes glazed over, or worriedly looking elsewhere as if searching for an escape from within Stickymonger’s sinister landscapes. Throughout her work, her subjects are intertwined with the landscape, dissolving into bodies of liquid blackness or forming portals into an alternate universe. The large-scale murals, which she has described as a visual representation of her sardonic worldviews, allow viewers to be fully immersed in her dark, haunting landscapes.


尽管作品风格较为黑暗,但她的作品其实是她在过去一些个人内心挣扎的创意宣泄口,所以她的作品中常常会透露出焦虑的情绪,以她个人的主观角度讲述她的经历。大部分时候,画中的女孩都陷入沉思,满身污泥,或目光呆滞,或苦恼地望向别处,仿佛想要寻找出口,逃离Stickymonger描绘的这个险恶世界。在她的作品中,她所画的对象与背景交织在一起,或是融入一大片黑色液态中,或是形成通往另一个宇宙的入口。她解释,这些巨幅壁画展现了她个人充满讥讽的世界观,让观众可以完全沉浸在她令人难以忘怀的黑暗世界中。

After having held successful exhibitions in San Francisco, New York, and South Korea, Stickymonger’s latest work will be featured in CIRQUE NOIR, a group show at AFA Gallery in New York City. The show will begin October 7th, 2017.


继在旧金山、纽约和韩国成功举办展览后,Stickymonger将参加纽约的AFA 画廊举办的群展《CIRQUE NOIR》,展出自己的最新作品。展览开幕时间为2017年10月7日。

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Contributor: Megan Cattel


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供稿人: Megan Cattel

A Route of Contrasts

 

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Cesar Ruiz Preciado is a Spain-based UX designer who, beyond design alone, has found a passion for the art of filmmaking. This interest stems from his travels and his enjoyment of capturing realistic portraits of local life. In Vietnam, the newly released addition to his series of short travel films, Preciado traverses the entirety of the beautiful country from north to south. Traveling on a combination of motorcycles, bicycles, trains, and boats, Preciado explores the tropical jungles of Sapa and Tam Coc as well as the hectic, moped-filled streets of Hanoi and Ho Chi Minh City. He describes his journey through Vietnam as an exhilarating experience filled with contrasts. See Vietnam in all its beauty by checking out Preciado’s short film in full above.


Cesar Ruiz Preciado是一名居住在西班牙的UX设计师。设计之外,他也是一位热爱拍摄短片的电影人,Preciado喜欢在旅行的时候用镜头记录下所去之地的风土人情。 短片《Vietnam》正是他旅行短片系列的其中一部。从越南北部的河内市一路向南到达胡志明市,他骑过摩托车和自行车,也乘过火车和船,经过了Sapa (沙壩)和Tam Coc (宁平)的原始丛林,再去往塞满路人和摩托车的繁忙城市,Preciado形容这是一场充满对比碰撞的旅途。点击播放上面的短片,跟着Preciado的镜头一起去越南看看。

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Contributor: Ye Zi


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供稿人: Ye Zi

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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供稿人: Ye Zi

Letters to the Future

Influenced by French philosopher Jean Baudrillard, the new ten-frame series by Chinese artist austin_sandwich explores the concept of hyperreality. The idea is that the human experience is simply a simulation of reality, and we’re unable to discern whether we’re truly living in reality or not. With each stamp-shaped frame, Zhu teases this concept by superimposing unlikely, surreal objects – such as statues of Greek gods, mysterious stairwells, and even the Los Angeles Walt Disney Concert Hall (a nod to Baudrillard referencing Disneyland as a prime example of hyperreality) – onto an identical backdrop, a geologic formation that changes in color from scene to scene. The retrofuturistic aesthetic that Zhu employed for this series is a way for him to express the relationship between our modern society and our future society. His ultimate goal is to “make people consider our lifestyles and living environments today and how it’ll affect the future.” See the series in its entirety below.


中国插画家austin_sandwich 的最新作品来源于法国哲学家让·鲍德里亚(Jean Baudrillard)作品中模拟物带来的一种超现实概念(Hyperreality)。按照这个概念,人类的经历只是对现实的简单模拟,我们无法辨别,自己到底是生活在现实或摸拟中。朱凌志将整个系列以邮票的框架呈现,把一系列看似毫无关联的事物叠加在一起,譬如希腊诸神的雕像,神秘的楼梯,甚至是洛杉矶迪斯尼音乐厅 (因为让·鲍德里曾在书中指迪斯尼乐园是超现实概念的典型例子),放在到同一个背景上。背景中的山地是一样的,但在不同场景中呈现了不同的色彩。在这一系列作品中,朱凌志以复古未来主义的审美,表达现代社会与未来社会关系,讲述他的意图——“让人们思考我们今天的生活方式和环境,以及它对未来的影响。”下面一起来欣赏这个全新系列吧。

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Contributor: David Yen
Images Courtesy of austin_sandwich


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供稿人: David Yen
图片由austin_sandwich提供

Reconstructing Loneliness

Chinese photographer River Zhang says he likes being alone. Having studied in four universities between China and the UK, Zhang’s daily routine consists of getting up on time, making breakfast, eating it, and either attending class or creating art. He says that “this state of loneliness” is something he values, as it introduced him to thoughts about loneliness and thereafter his photographic works on the subject of loneliness.


摄影师张沛之说自己是不喜欢从众的人。在中国大陆和英国四所大学接受过摄影教育的他,每天生活规律,早上定时起床,做早餐、吃早餐,然后上课或创作。他说自己很享受“孤独的状态”,也是这种仪式般的孤独带给他对“孤独”的思考,而创作了一系列关于孤独的作品。

Zhang, who graduated from the University of Creative Art in the UK earlier this year, created the photography series Dialogue with Memory as his graduation project. The series explores his loneliness of being an only child. To complete the project, Zhang’s father helped him scan over 400 photos from their family albums. Zhang says, “Among those photos, some I can remember vividly, others I have no memory of at all. I believe all these memories are from my confusion as an only child. So I ended up working with the photos that I remember the most.”


今年刚从英国创意艺术大学毕业的张沛之创作了名为《与记忆的对话》的毕业作品。该作品在年度毕业生大展伦敦“无围栏”毕业作品展展出,讨论了自己作为独生子的孤独感。张沛之的父亲帮他扫描了400多张家庭相簿里面的照片。张沛之说:“这些照片中,有的会让我有非常强烈的记忆,有些则完全记不起来,我相信那些记忆都是来自于‘独生子女孤独的困惑’,于是我筛选了有强烈记忆的作品进行二次创作。”

To create the series, Zhang selected the photos that he liked the most, pixelated them, and printed them out. From afar, viewers can make out the content of the image. However, viewing at a closer distance, the colored photos turn into abstract collages of colorful blocks. In order to give context to the contents of each photo, Zhang filled certain squares with Chinese text, each standing alone in the middle of certain blocks. Zhang intentionally used photos that might outwardly show harmony and happiness, but to him, they represent painful memories – this contrast is invisible to the viewer, and that is why he used mosaics to conceal the superficial harmony and happiness. The blocks also represent another aspect of his childhood, which is that they’re similar to the paper he worked with for writing practice around the time when these photos were taken. Zhang’s carefully composed text not only serves as a form of self-expression but as a form of catharsis. These works were created in the context of China’s family planning policy and ideas of Confucianism, topics that, to him, have direct connections to the notion of loneliness.


张沛之从童年的照片里选出最合心意的照片,将他们像素化并印制出来。在远处,观者可以恍然辨认相片的内容,而凑近之后,色彩斑斓的战片变成印着汉字的方框,却辨别不出照片的内容。为了解释图片内容,张沛之以书法练习方格的模样在马赛克上写上了汉字,这些字比起方格来要小许多。对张沛之来说,这些文字才是照片的真正意义。张沛之选择了表面看起来欢乐和谐,但是背后却隐含痛苦回忆的照片,而这种强烈的反差使得外人完全看不到。所以,他选择用马赛克来掩盖表面的欢乐和谐,而马赛克又正好和他小时候练字的田字格有着非常多的相似点,照片上他的年纪也正是学写字的年纪。张沛之写下这些表达内心的文字,并把自己的作品作为“一种自我救赎的方式”。张沛之在创作初期就把这组作品放在“计划生育”以及“儒家思想”的大背景下去考虑,这两个背景有着非常充分的关联:孤独。

Zhang says: “In Confucianism, which has existed in Chinese society for 2500 years, loneliness isn’t something to be openly discussed. The five cardinal relationships in Confucianism tell us that everyone has close relations to those around them, so those who feel lonely are thought of as being incomplete humans. However, under the family planning policy in the past, it feels impossible – every family only has one child, which is a lonely thing, but we cannot talk about it.”


张沛之说:“在束缚了中国2500多年的儒家文化中,是不允许讨论孤独的存在的。儒家文化中的五伦,都是在讨论每个生命与周边生命的关系,感受到孤独的人,在五伦的关系中,是不完整的,不能被称作完整的人。但是在之前有计划生育的大背景下,这就显得格格不入,明明一家就一个孩子,明明就是一个个孤独的个体的存在,却无法被讨论。”

Website: zhangriver.com

 

Contributor: Shanshan Chen


网站: zhangriver.com

 

供稿人: Shanshan Chen