Tag Archives: artist

Idiot Comics

Prior to meeting her, all I knew about the creator of Idiot Comics was that she was Chinese and went by the nickname Tou Yeye. Her illustrations have a goofy, off-the-wall humor, but in our conversation, she admits to depressive tendencies. “I’m often depressed and sometimes very goofy,” she says. “I like the writing of Yukio Mishima and Tatsuhiko Shibusawa, along with films of Roman Polanski.” These tastes are mirrored in her comics: cheerful but shot through with black and white lines, melancholy but saturated with color, never entirely choosing one side.


一个画漫画的女生叫头爷爷,这个名字大概是在采访之前我对《笨蛋漫画》作家唯一的了解。请她说说自己是个什么样的人,她回答“经常比较抑郁,有时候又很幽默。喜欢三岛由纪夫、涩泽龙彦的文字,也喜欢波兰斯基的电影。” 描述跟她的漫画不谋而合,快乐里保留黑白的线条,抑郁里永远有明亮的色彩,从不坚决地选任何一边。

"The philosophy of death."
PICNIC
"I want to kill someone."

When I was a freshman in college, I was extremely introverted and didn’t have many friends,” she recalls. “I read a lot of books by Osamu Dazai, who romanticized the idea of running away from home. Thinking it was a cool idea, I used all of my New Year’s red envelope money to travel to Tibet.”

Tou Yeye’s foray into creating comics began with the conclusion of this trip. She wanted a way to document her travels, as seen through her wild imagination. Her inaugural comic, Yi Chang, chronicles the entirety of her journey through Sichuan.


她的漫画创作始于自己的一段心路经历,“大一的时候曾经离家出走过一段时间,当时我很自闭,身边没什么朋友。天天看太宰治的书,觉得离家出走很酷,就拿着压岁钱独自去了四川藏区。” 之后她想把这次出走画成一个漫画,旅程中所有的细节加上天马行空的想象,就变成了头爷爷的第一个作品《一场》。

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    Swipe to read select works from Idiot Comics Vol. 1

Several characters make frequent appearances throughout Tou Yeye’s comics. The short-haired girl by the name of Weiwei represents the artist herself, the snarky bird is one of her real-life friends, and the rabbit and the dinosaur are friends she dreamed up. Throughout Idiot Comics, these characters can be seen cursing each other out, throwing poop at each other, or falling prey to spilled milk teas.

In a separate series, Nightmare Shop, Weiwei travels to a monochrome world. As she wanders through this colorless realm musing on the meaning of existence, the bird and rabbit can be randomly spotted embedded within the surreal landscapes.


她漫画里的人物常常是固定不变的。常出现的短发女生薇薇,是她自己,鸟是她的好朋友,兔子跟恐龙则是她幻想出来的朋友。他们在她的《笨蛋漫画》里会不小心在地铁里被奶茶泼到,骂一些好笑的脏话,甚至互相丢大便。

但在另一个系列作品《噩梦商店》里,一切艳丽明朗的色彩都褪去了。薇薇、鸟跟兔子去到一个宁静的黑白世界,淡淡地讨论着关于宇宙的终极问题。

After graduating from the Guangzhou Academy of Fine Arts with a degree in printmaking, Tou Yeye left China to study for two years in France. During her time abroad, she became friends with a lot of comics artists, whose bohemian lives seemed ideal. Back in China, she found a very different creative environment. She wants to keep doing what she loves but has to spend most of her time every day on French translations to make ends meet. “I know so many other comics artists who are really impressive, but they all have other jobs, or they’re still in school,” she sighs. “Still I’ve seen that the overall creative atmosphere in China is getting better and better.”

Tou Yeye says she may soon quit freelancing and find a steady job drawing things she might not really love. But Idiot Comics will go on no matter what. It’s a project that gives her and others a few minutes to escape from reality, a moment to enjoy a simple happiness.


头爷爷毕业于广州美术学院版画系,大学毕业以后去了法国游学两年,在法国学习期间,她认识了很多漫画家朋友,他们过着比较理想化的艺术家生活。回国后却发现国内的创作环境不太一样,她想继续画自己喜欢的东西,日常做最多的事反而是法语翻译工作。“我身边一直有很多画漫画特别厉害的人,但他们都有其他工作,或者还是学生。但我感觉到国内的总体创作氛围有越来越好的倾向。”

头爷爷表示接下来也许会结束自由职业状态找一份工作,画一些自己不那么热衷的东西,但笨蛋漫画一定会持续进行下去,给自己跟别人带来两分钟的简单快乐时光。

"Love is shit."

A limited number of Idiot Comics Vol. 1 is now available in the Neocha Shop.


《笨蛋漫画》Vol. 1 现于Neocha商店限量发售。

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.


如需使用PayPal或国际信用卡支付,请转至我们的Shopify页面;如需使用支付宝或微信支付,请至我们的微店


头爷爷的《笨蛋漫画》Vol. 1

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"Thank you for checking out Idiot Comics. I hope you all turn into idiots! Volume two of Idiot Comics will be out soon. Follow my official WeChat account to learn more. I hate you all!"

Weibo@头爷爷
Douban: ~/tianxiezuo

 

Contributor: Shou Xing


微博: @头爷爷
豆瓣~/tianxiezuo

 

供稿人: Shou Xing

Our Digital Selves

Currently based in New York, John Yuyi is a Taiwanese artist who was launched into the spotlight following the success of her FACE POST project. FACE POST was a photo series in which she affixed temporary transfer tattoos of old photos on the faces and bodies of herself and her friends. The idea of using temporary tattoos in this project would become the springboard for Yuyi’s now-signature aesthetic. And today – having completed multiple collaborations with luxury fashion brands and a successful solo exhibition in New York – Yuyi has proven herself a force to be reckoned with in the international art scene.


John Yuyi(江宥仪)是来自台湾、现在在纽约生活的艺术家。在早先的《FACE POST》系列里,她将自己上传过的照片做成纹身贴纸,转印在脸和身体上,这样有趣又前所未见的作品形式让她开始受到广大的关注。艺术生涯还很年轻,但 John Yuyi 已经在纽约办过个人展览、收过来自国际品牌的合作邀约。面对一步一步逐渐堆叠的名气,她始终维持自己稳定前进的步调,在创作路上不改依然故我的态度。

Throughout Yuyi’s works, the internet is one of the most prevalent topics explored. In this age of interconnectivity, our computers and phones have become invaluable devices that connect us with the world at large, and social media is a large part of the internet ecosystem. However, social media has proven itself to be a double-edged blade for many artists: Social media can be beneficial in bringing attention to the works of up-and-coming artists, but the quest for bigger followings and more “likes” can easily lead to self-imposed creative stagnation.

Today, rather than simply being spaces to share and communicate ideas with others, social media has come to define our identity. People meticulously curate posts to project a flawless digital persona, “likes” on social media have become metrics to measure our value as individuals, and many, like Yuyi, can find that differentiating between our real self and digital self has become increasingly difficult. Cognizant of these issues, much of Yuyi’s works – which is often jam-packed with symbols from Twitter, Instagram, and other notable platforms – serve as a reminder, or perhaps a warning, of this over-reliance on social media.


在现今这个人人与网络紧密连结的世代里,手机成为我们观看外在的窗口。对艺术家来说,网络媒体的存在像是双面刃,能让作品轻易且有效的曝光,反过来却也可能就此限制住自己。

在 John Yuyi 的创作中,Instagram 和 Twitter 是频繁出现的符码。社交网络不单单作为她发佈作品的平台,甚至是创作的素材、灵感的发源地。有些时候,社交网络完全定义了我们,我们依靠一张张照片和一则则发言来拼凑别人眼中的自己,久而久之越来越脱离不了。社交网络确实操控了我们的生活,某种程度上我们都像是为了网络上自己的分身而活。John Yuyi 的作品作为一个提醒,让我们开始反思这样荒唐的现况。

As someone who recognizes her own dependence on social media, Yuyi confesses that the line between an influencer and an artist can seem blurred at times. It’s something that she herself often struggles to differentiate. The goals for an online influencer and an artist do admittedly have certain overlaps. While they’re both seeking recognition to some extent, their motivations are drastically different. For an online influencer, they’re marketing themselves as the intended product, but for an artist, their creations are the intended product. “In the past, I’d think about how many ‘likes’ I can get on my uploads,” she shares of her former insecurities. “But now, I don’t think about it like that. My content isn’t catered for Instagram. I create for myself.”


网红与网络艺术家,同样都是在吸引网民的目光,本质上却不太一样——前着借的是自己,后者借的是创作。John Yuyi 承认自己曾经非常依赖网络媒体,在两者模煳不清的分界之间,花上了一段时间来确立自己的定位。“以前的我会常常去猜想 po 这张照片能获得多少喜欢,但现在的我尽量不这么做,不为了 Instagram 去设计内容,而是以 ‘自己’ 为出发点去创作。”

Aside from her internet-inspired works, Yuyi’s approach of using temporary tattoos and human bodies as canvases continues in her other projects. Often times, ideas simply come from her day-to-day life, whether it be a sentence from a book she’s reading or lyrics from a song she just heard. Yuyi’s success as an artist comes from her talents of recognizing these hidden stories – her works present these overlooked stories as they are, but her visual approach adds the context required for her audience to fully appreciate these observations. “I find a lot of inspiration in my daily life,” she tells us. “I think of creating art like writing a journal. It’s simply a summary of all that I see and experience.”


之后 John Yuyi 持续蒐集符号和标誌,有时是书里读到的一段情节、或一段喜欢的歌词,灵感的足迹遍佈生活各处的小细节。“我的灵感都来自我的生活,创作对我来说像在写日记一样,我只是把我看到的、我想到的、我所在的世界记录下来。” 她用既已存在的故事来说故事,来自一双比常人更细腻、更专注的眼睛,这些事物早就存在在那,只是你我从未发现而已。在她的小世界里,没有什么是不合时宜。

Humbly, Yuyi says the successful conclusion of her debut solo exhibition in New York was the best birthday present she could’ve received this year. The next stop for her will be Los Angeles where she’ll host her second-ever solo exhibition, My (Temporary) Self. The exhibition will debut at Make Room on March 24th, 2018 and run until April 22nd, 2018.


John Yuyi 向我们开心的说今年的生日礼物,是顺利在纽约举行的第一场个人展览。而下一站她要前往洛杉矶,带着第二场个展《MY (TEMPORARY) SELF》于 2018 年 3 月 24 日至 4 月 22 日期间,在 Make Room 跟大家见面。

EventMY (TEMPORARY) SELF
Opening: Saturday, March 24, 2018, 6 ~ 9 pm
Exhibition Dates: March 24, 2018 ~ April 22, 2018

 

Address:
Make Room
1035 N Broadway
Los Angeles, CA 90012
United States of America

 

Website: www.johnyuyi.com
Instagram: @johnyuyi

 

Contributor: Yi Xuan


活动名称: MY (TEMPORARY) SELF
开幕时间: 星期六,2018年3月24日,下午6点至9点
展览日期: 2018年3月24日—2018年4月22日

 

地址:
美国
加州 洛杉矶
1035 N Broadway
Make Room

 

网站: www.johnyuyi.com
Instagram@johnyuyi

 

供稿人: Yi Xuan

Visual Metaphors w/ Wenting Li

Travellers: For the Parallel show at Light Grey Art Lab. / "旅行者":为《Parallel》在 Light Grey 艺术实验室的展览而创作的插画。

Wenting Li is a Chinese Canadian illustrator based out of Toronto. Her work is preoccupied with color and movement, the relationship between shapes, and the subtleties of complementing stories with imagery. As a young artist, she’s already established an impressive list of clients including The Globe and Mail, TED, Reader’s Digest, and The New York Times.


Wenting Li 是来自加拿大的华裔插画师,目前居住多伦多。她的作品专注于色彩与动态、形状之间的关系以及用图片补充故事的微妙之处。虽然还是个年轻的艺术家,但 Wenting 已经建立了一系列大客户群,比如《环球邮报》、TED、《读者文摘》和《纽约时报》。

Diving into Memory: As we remember things, we also alter the integrity of a memory. An illustration for Quebec Science. / “潜入回忆”:当我们记住事情的时候,我们也改变了一段记忆的完整性。为《Quebec Science》创作的插画。
Head Full of Memories: What we've come to know about the inner workings of memory. An illustration for Quebec Science. / “充满回忆的头脑”:我们已经知道了记忆的内在运作。为《Quebec Science》创作的插画。

Describing her personal work, Li tells us: “[It’s] especially focused on aesthetics but also on things I can’t think of words for and nebulous things like feelings.”

In contrast, her client work is more structured and goal-oriented. Li says, “Client work for me is about trying to map a prompt, such as an article, a story, or a concept, against the mess of visual connections unique to my head. I’m interested in visual metaphors, quiet moments, momentum, mystery, and how a drawing can open into parallel dimensions where things gesture at what they look like ordinarily, but their outlines are malleable.”


对于个人创作理念,Wenting 和我们说:“(我的作品)主要关注美学,以及我无法用语言描绘的事情,譬如像感觉这样含糊不清的事物。”

相比之下,她受客户委托创作的作品会更结构化,目标的导向更明确。她说:“给客户创作就像是在我自己脑袋一大堆乱七八糟的视觉联系中,试图让思维映射出一个主题,比如像是一篇文章、一个故事或一个概念。让我感兴趣的是那些视觉隐喻、安静氛围、动力张力和某种神秘的气质,尤其是看着画面里的事物映射着平凡的日常,但它们的轮廓却具有了可塑性,呈现出一个平行空间,这特别让我着迷。”

A Seat at the Table: Encouraging North American companies to become more diverse workplaces. An illustration for Corporate Knights. / "桌前一座":鼓励北美的公司工作场所变得更加多元化。为《Corporate Knights》创作的插画。
Winnipeg Beach: For a grown son's personal essay remembering his father. An illustration for The Globe and Mail. / “温尼伯海滩”:一个已长大的儿子写个人散文以回忆他的父亲。为《环球邮报》创作的插画。
Daughter: An unpublished piece on the burden of responsibility in elder care for The Walrus. / “女儿”:给《The Walrus》创作的还未发表的作品,关于养老责任重担的问题。

Wenting shares with us a story behind Constants, one of her recent illustrations for PLANADVISER, a trade magazine that, surprisingly, has established a reputation among artists as a platform for wildly conceptual illustration despite its technical content. Wenting says, “When I get the chance to work with PLANADVISER, I always try to let my subconscious go rampant. Some of the other sketches for this assignment included motifs like a kitchen full of animals, a home on the back of a giant fish, a vertical city – the concept I was given to work with was ‘stability of steady flow of income.’ Usually, I send in three or four of my favorite sketches, a distillation of maybe six or seven ideas, and many more thumbnails. The concept we went with is a tea drinker ensconced in front of her fireplace, with an endless supply of firewood for boiling water for tea, which comes from an enormous tree growing through her window and into the house itself. It’s something that was fun to draw. I knew I wanted to color the illustration as a night scene with dark blues and purples and lighter pinks and greens as contrast, with a sort of interior “glowiness,” and that’s what carried through to the final.”


Wenting跟我们分享了创作《Constants》(《常量》)背后的故事。这是她为商业杂志《PLANADVISER》创作的插图之一,神奇的是,这本商业杂志在艺术家之间颇有声誉,不仅仅囊括技术性的内容,还被视为是概念插图的一个重要平台。Wenting解释:“当我知道可以和(《PLANADVISER》)合作时,我就会让自己的潜意识尽情发挥。 这次合作的其它主题还包括一个充满各种动物的厨房,一条巨型大鱼背上的房子,以及一个垂直城市,我拟下的主题是‘稳定收入带来稳定’。通常我会发三到四幅我最喜欢的草稿,六七个比较好的想法,以及更多缩略图。我们采用的概念是一个在躲在壁炉前喝茶的女人,不断添柴煮茶。烧柴的木材则来自一棵穿过她房子窗户、径直伸入房子内的擎天大树。这样的题材很有趣,也比较大胆。我想用夜景的深蓝和紫色来给插图上色,加上浅粉色和绿色作为对比,突显出一些内部的光芒感,这主题和方法贯穿始终。”

Capture the Future: Poster illustration for the RBC Amplify 2018 program. / "捕获未来":为 RBC Amplify 2018 计划的海报插图。
Constants: Maintaining a constant flow in income and a constant supply of firewood for tea. An illustration for Planadviser. / "常量":保持收入不变,为煮茶提供不间断的柴火。 给《Planadviser》的插图。

Although Wenting was born in China, she left the country at the age of four. She cites her parents as her primary ties to Chinese culture. “[My parents] are in some ways very Chinese in terms of food, values, language, and so on, but in other ways are quite ambivalent – we don’t really mark the major Lunar New Year’s holiday for example. Sometimes the culture I come from can feel like more of a series of quirks, and other times it is definitely like looking at the world from a very different angle.”

While her cultural background doesn’t directly influence her work, Wenting is always hungry to discover new perspectives about the world around her as a means of fueling her creativity. She shares some of her recent sources of inspiration: “I’ve been listening to The Paris Review podcast and there’s something really nice about listening to people read you stories and poems and talk about their output. I’m also still reading Ted Chiang’s Stories of Your Life & Others – I’m stuck on a particular story about automatons in a Victorian-esque setting that is crawling up my skin.”


虽然 Wenting 在中国出生,但她四岁时就离开了这个国家,在她看来,父母是她与中国文化之间最主要的纽带。“(我的父母) 在食物、价值观、语言等等方面都很中国化,但在其它方面又相当矛盾。譬如,像中国农历新年这样的重要节日我们也不会怎么过。有时候,我感觉自己所来自的文化更像是一系列奇怪的事物,有时,又像是换了一个非常不同的角度来看世界。”

但她的文化背景并没有直接影响到她的艺术创作,Wenting 一直渴望发掘出看待周遭世界的全新角度,以作为她艺术的养分。她分享了她最近的一些文学灵感来源:“我一直都有听《巴黎评论》(The Paris Review)播客,听听别人给你讲故事、读诗歌,谈论他们的想法,挺有意思的。我还在读姜峯楠(Ted Chiang)的《Stories of Your Life & Others》(《你及他人一生的故事》),我尤其喜欢其中一个维多利亚时代背景关于机器人的故事。这个故事看得我毛骨悚然。”

Cherry Beach: Catching the Perseids shower in Toronto. / “繁星海滩”:在多伦多的海滩撞见了英仙座流星雨。

Despite her natural talents and reputation as an up-and-coming illustrator, Wenting still faces her fair share of creative struggles. She tells us, “Coming up with ideas is frustrating but really fun. Sometimes I lie down on the couch and despair of ever having a good idea again. Kind of like running through pain, I just keep drawing through it. It’s also helpful to switch your brain to a different track for a while, like go for a walk or clean all the sinks in your basement. I also struggle with living a life apart from my creative life – but waiting for a less busy time to live your life is an endless wait.”


尽管有着出色的天赋,且已被公认为新晋的创意人才,但在插画工作上,Wenting仍然有自己的挣扎与苦恼。她与我们分享道:“创意构思的过程有时很令人沮丧,但也真的很有趣,有时我躺在沙发上,绝望到怀疑自己以后还能不能再想出好的创意。就像是在痛苦中奔跑,我只能在痛苦中不停地画画。当然,把大脑切换到一个不同的频道一段时间会有所帮助,譬如去散散步,或是清理一下地下室的水槽。我还希望可以让工作不那么忙碌,好好享受一下创作之外的生活,但是要等到这样的时候,不知道要等到何年何月了。”

The Garden of Memory: An illustrator for the "Roots" issue of Amator. / “记忆花园”:为《Amator》“Roots”期刊创作的插画。
Small: The not-good-enough plague that comes with living in the social media age. An illustration for Canadian Living. / “小”:生活在社交媒体时代所带来的“不够好”状态的瘟疫。为《Canadian Living》创作的插画。
Into the Fire: Prumsodun Ok and the formation of Cambodia's first all-male, gay-identified Khmer dance company. An illustration for TED. / “入火”:Prumsodun OK 和柬埔寨第一个全男性、定义为同性恋属性的高棉舞蹈公司。为 TED 创作的插画。
Rowing: Opposing ideological agendas stalling the Democratic Party. An illustration for The New York Times. / “划船”:民主党内部的反对声音,拖延了民主党的议程。为《纽约时报》创作的插画。
Adding Value: Growing a shared set of values while growing a team. An illustration for Intercom. / "增值":在发展团队的同时,也要发展一套共同的价值观。为 Intercom 所创作的插图。

Website: wentingli.com
Instagram: @wentingthings

 

Contributor: George Zhi Zhao


网站: wentingli.com
Instagram: @wentingthings

 

供稿人: George Zhi Zhao

My Language Proficiency

Okui Lala, real name Chew Win Chen, is a fourth-generation Chinese Malaysian. Living in a country well known for its multicultural makeup, Chew is a multimedia artist who explores issues of language, migration, and identity through photography, video, and performance art. Today, we meet up with her in Penang’s Komtar Tower, a once iconic landmark in George Town that the state’s tourism board does not want to give up on despite dwindling public interest.


Okui Lala 原名 Chew Win Chen,是第四代的马来西亚华裔。 在这样一个以多元文化著称的国家里成长,Chew作为一名多媒体艺术家,喜欢通过摄影、影片和表演 艺术来探讨语言翻译、移民和身份认知等问题。今天,我们和 Chew 约好到槟城的光大大厦(Komtar)见面。这幢大厦曾经是槟城首府乔治市的标志性地标,尽管近年来这幢建筑对公众的吸引力已不断式微,但当地旅游局仍然不想放弃它。

Inside the shopping mall, 80s brutalist architecture adds to the grimness of the unoccupied storefronts. It’s here where many of the city’s migrant workers set up their grocery stores, restaurants, and hair salons. It’s also here where many of the city’s Filipino workers send parcels and remittance back home to the families they left behind. Young Burmese men gather in the poorly lit eateries sprinkled throughout the mall, chatting over cigarettes and tea on their only day off.


在这幢购物中心里,80 年代的野兽派建筑让空置的店面显得更加萧条。在这里,许多移民工人开起了杂货店、餐馆和美发沙龙。也正是在这里,许多菲律宾工人往他们家乡里的亲人寄送包裹和汇款。年轻的缅甸男人在他们唯一的休息日里,聚集在商场内各个灯光昏暗的就餐角落,一边抽烟、喝茶,一边闲聊。

In 2015, Chew started working with Burmese migrants on a piece called Let’s Drink and Eat Tea! One of the standout tutorials of the series was a live performance of making lahpet thoke, a simple Burmese appetizer. In the tutorial, Chew learned how to prepare the dish via translated instructions. The normally quick-to-prepare dish took thrice the time to cook as Burmese was translated into Malay, and then Malay translated into English. The video aims to demonstrate the possibilities and limitations of using translation as a tool for understanding.


2015年,Chew 开始以缅甸移民为对象,进行名为《Let’s Drink and Eat Tea!》的系列项目。其中她还试过现场制作茶叶沙拉(Lahpet Thoke)的表演。茶叶沙拉是一道制作简单的缅甸特色开胃菜,但 Chew 要通过翻译后的说明来学习如何准备这道菜。因为多了先将缅甸语翻译成马来语,再把马来语翻译成英语这个步骤,最后 Chew 完成这道原本很简单的菜式花费了比平时多三倍的时间,以此说明,翻译作为交流理解的工具的可能性和局限性。

Let’s Drink and Eat Tea! kickstarted Chew’s thought process on her latest project – My Language Proficiency, a short film in which she holds a panel discussion with herself in Malay, Mandarin, English, and Hokkien. Confronted with an art scene that’s often segregated by language barriers, Chew wanted to explore what intellectual discourse would sound like in a multicultural society if everyone could have a seat at the table and speak in the language that they are most comfortable with. The project also examines the deep influence that history, education policy, migration, and upbringing have on a person’s choice of language.


《Let’s Drink and Eat Tea!》这个项目启发 Chew 开始思考自己的最新作品《My Language Proficiency》(我的语言能力)。她分别拍摄下自己说着四种不同语言的四部短片,用马来语、普通话、英语和闽南语与自己进行一场小组讨论。面对一个经常被语言障碍所隔离的艺术场景,Chew 想探究在多元文化社会中,如果每个人都可以坐在一起,用他们最熟悉的语言来交流,这样的“知性对话会是怎么样的”。此外,这个项目还会探讨历史、教育政策、移民和家庭教育对一个人语言选择的深刻影响。

An excerpt from My Language Proficiency / 一段来自《My Language Proficiency》的影片

 

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As we wander around Komtar, Chew notes how the two waves of Malaysia’s migrants intersect – the “official faces” of Malaysia’s multiculturalism (Malays, Chinese, Indians), and the second influx of foreign workers from Myanmar and the Philippines. “There is xenophobia among our rakyat,” Chew says, using the Malay word for citizens, a word that is usually associated with patriotism and unity on a national front.

In light of recent news of Malaysia’s racial segregation, the country was slapped with a temporary ban from the Indonesian government, stopping the intake of Indonesian workers as a reaction to cases of abuse and the death of an Indonesian maid. Penang itself, with its cosmopolitan past as a trading port, enforced a ban last year on foreign cooks in efforts to protect the authenticity of its famed hawker fares. But Penang’s food, a tourist draw on its own, is a byproduct of Chinese and Indian Muslim traders assimilating with the local culture. The irony was lost on a majority of Malaysians who voted in favor of the ban.

“We’re in George Town, and we have a lot of fixed ideas about what George Town’s heritage is,” says Chew, reflecting on the almost aggressive ownership Penang’s heritage center holds on what it deems as authentic. She says that the new wave of migrant workers is viewed by many locals as “the ‘others’ who will come and take over our jobs”.


“目前马来西亚人(rakyat)中存在一种仇外心理,” Chew 说道。“rakyat”一词是马来语中“公民”的意思,这个词往往还意味着爱国主义和团结。

鉴于最近不少新闻聚焦于马来西亚的种族隔离,甚至被曝有一名印尼女佣被虐待致死,当地政府已暂时禁止印尼工人入境,以作为对多宗虐待案件的回应。槟城以前曾凭借贸易港口的地位发展成为大都市,但在去年,政府下令禁止雇佣外国厨师,目的就是要努力保护当地著名的小贩市场。槟城的美食本身就是一个充满吸引力的旅游资源,也是中国和印度穆斯林商人为了融入当地文化而产生的副产品。但讽刺的是,大多数马来西亚人最后竟然投票赞成这一禁令。

Chew 说:“我们生活在乔治市,关于这座城市的文化遗产,我们有很多根深蒂固的想法。”她认为,乔治市作为槟城的文化中心,当地人对维持所谓地道文化的态度几乎可以说是“咄咄逼人”。她说,在许多当地人眼中,新的外来务工人员只是“一些来抢工作的外人”。

“We haven’t really overcome xenophobia on a social level. How are we going to handle these issues [related to migration policies]?” she questions when asked if she feels pressure to take a social justice angle to her work with migrant workers. Chew’s work urges one to turn inwards with self-reflection to better understand and receive others, to see that their cultural influences are equally important contributions to the make-up of a Malaysian identity.

“Myanmar migrants are new migrants but can the culture that they bring with them be considered heritage? I like this old and new contradiction,” she muses. The constant stream of languages that appear in Chew’s work, be it familiar or foreign, holds a lens to the complex identities of old and new migrants that have chosen Malaysia as home. And perhaps importantly, in an age of Brexit and Trump, Chew’s work implores for acceptance of self and of neighbor.


Chew 的作品试图从社会正义的角度出发,探讨移民工人的现状和问题。被问及 Chew 是否对此也会感到不少压力时,她说:“我们的社会还没有真正克服仇外心理的问题。我们到底应该要如何处理(与移民政策相关的) 问题呢?” Chew 的作品敦促人们自我反省,去更好地理解和接受所谓的“外人”,也去明白他们的文化影响对马来西亚人身份的有着同样重要的贡献。

“缅甸移民是新移民,但他们带来的文化是否可以被视为(本土)文化遗产?我喜欢这种新与旧的矛盾。”她沉思着说道。Chew 的作品中充斥着源源不断的语言元素,无论是当地人熟悉的母语或是外语,其实都为我们提供了一种视角,以探讨那些马来西亚新老移民复杂的身份问题。重要的是,在这个对移民不够友善的整体环境下,Chew 的作品更是在呼吁人们要去包容和接纳自身的移民文化,而非抵触。

Website: cargocollective.com/okuilala

 

Contributor & Photographer: Adeline Chua
Video Courtesy of Okui Lala


网站: cargocollective.com/okuilala

 

供稿人与摄影师: Adeline Chua
视频由 Okui Lala 提供

Confronting the Uncomfortable

Lkhagvadorj Enkhbat is a contemporary Mongolian artist who is best known for his hyper-realistic portraits that depict seemingly unconscious men on the streets of Ulaanbaatar. The men depicted are homeless alcoholics who resort to rummaging and salvaging garbage to survive. By displaying these men at the lowest point in their lives, his art is an uncomfortable confrontation with the rampant problems of alcoholism and poverty that have plagued Mongolia.

While he’s earned praise for his work outside of Mongolia, many people in the country don’t see any merit in his art, viewing his work as nothing more than unpleasant imagery. Despite the negative feedback, he isn’t deterred. Similar to Orkhontuul, a Mongolian artist we’ve featured in the past, Lkhagvadorj isn’t afraid to expose the ugly truths of society.


来自蒙古的当代艺术家 Lkhagvadorj Enkhbat 向来以超现实主义的肖像画著称,在他笔下,常常描绘着乌兰巴托街头一些不省人事的男性,他们往往都是无家可归的酒鬼,只能靠翻找垃圾维持生计。通过记录下这些处于低谷中的男人们的生活,Lkhagvadorj 试图直面充斥于蒙古社会的酗酒和贫穷问题。

虽然他的作品早已在国际社会上获得认可,但在蒙古国内,仍然有许多人不能理解他的作品,在他们看来,他的作品无非只是一些令人不愉快的画面。尽管有这些负面的反馈,Lkhagvadorj 也没有因此却步。和我们之前介绍过的蒙古艺术家 Orkhontuul 一样,Lkhagvadorj 并不畏惧揭露社会的丑恶现实。

Lkhagvadorj’s interest in these dark subjects stems from his past: his father and the environment he grew up in. When Mongolia became a democracy in 1990, many men and women not only lost their jobs but they also lost their sense of self. This led many people to turn to the bottle as a way of drowning out their loss and sorrow – this was especially true where Lkhagvadorj grew up.

He shares, “There were more men in my neighborhood who became addicted to alcohol than in any other neighborhoods in Ulaanbaatar.”

Lkhagvadorj’s father was no exception.


Lkhagvadorj 对黑暗题材的兴趣源自他的过去、他的父亲以及他长大的环境。1990 年,蒙古转型成为民主社会,许多人因此失去了工作,同时也失去了他们的自我意识。许多人因此选择用酒精来麻醉掉强烈的失落感与悲伤,在 Lkhagvadorj 长大的地区尤其如此。

“在我家附近,沉迷于酒精的人要比乌兰巴托其它地方多得多。” Lkhagvadorj 说。

他的父亲也不例外。

Supermarket (2014)
Dream of Having a Horse (2013)
All Needs Fulfilled (2013)

“My father’s addiction got so bad that he would also end up on the street passed out. My family has tried so many times to make him stop, but nothing really worked. Eventually, he moved away to the countryside when I was in high school.”

For over a decade, Lkhagvadorj didn’t interact with his father, but recently, Lkhagvadorj’s father moved back closer to him and found employment as a security guard. Unfortunately, his father still hasn’t stopped drinking – he’s even one of the men depicted in the painting titled Supermarket. While the two have rekindled their relationship, Lkhagvadorj’s father remains unaware of the exact kind of works that his son paints.


“我父亲的酗酒问题变得非常糟糕,有时他甚至会醉倒在街上。我的家人试过很多次劝他戒酒,但根本没用。最终,在我读高中的时候,他搬到了乡下住。”

十多年来,Lkhagvadorj 都没有和父亲联系,但最近他的父亲搬回到 Lkhagvadorj 家附近,并且找了一份保安的工作。但他仍然没有戒酒。Lkhagvadorj 在自己一幅名为《Supermarket》(《超市》)的画里描绘了自己的父亲。虽然他与父亲重拾了父子间的关系,但父亲依然不明白他画的是什么类型的作品。

Sweat of a Winning Horse (2016)
Me Above the Birds (2015)
Sheep Man (2015)

In the beginning, Lkhagvadorj ventured out into the streets to take candid photos of these homeless people, using the images as references for his paintings. It was a very detached approach. However, after completing a few paintings, Lkhagvadorj decided to rethink his methods and set out with the goal of getting to know these people, to understand who they were before they ended up on the streets.

“Most these people had very interesting and fruitful lives before the ended up on the streets,” Lkhagvadorj comments. “They had a family and a job, but the bottle was a stronger pull for them. And I would ask them, ‘Why can’t you just stop drinking?’ and their responses were, ‘I can’t stop, I just have to drink.’”

Lkhagvadorj made it his mission to converse with and get to know more of these people as he continued to create more paintings. His interactions reached a point where he realized many of these marginalized individuals had specializations and skills in their own communities. Lkhagvadorj started to understand that their self-worth wasn’t diminished in any way by their lifestyles. He tells us, “These people did not see themselves as we saw them.”


开始的时候,Lkhagvadorj 壮着胆子拍路人的照片,用来作为他绘画的参考。但他发现,这是一种置身事外的做法。在反思自己的创作过程后,他开始主动去了解这些人,了解他们在沦落街头之前的生活。

“这些人在变成无家可归之前,大多过着非常有趣和充实的生活。他们有家、有工作,但酒精对他们的诱惑更大。我问他们,‘为什么你就不能戒掉酒呢?’他们的回答是,‘我戒不了,只能一直喝。’”

Lkhagvadorj 为自己定下了这样的任务:和这些人交谈,去了解他们。通过与这些人的交流,Lkhagvadorj 意识到,他们在自己的世界里也是各有专长的。Lkhagvadorj 对这些人的认知渐渐深入,他也明白了,他们的自我价值并不会因为他们的生活标准而降低,“这些人对自己的认知与我们眼中的他们是不一样的。”

Holding on to Dear Life (2016)
I am with a Flock of Sheep in the Prairie (2010)
Wolf (2012)

At gallery showings, there were times when Mongolian art critics stormed out of his exhibition because they were outraged by his work. Similar to how Mongolian society has shunned their homeless population, Enkdhat’s art has yet to find a home in Mongolia and most of his work tend to end up in foreign art galleries.


当他画廊展出作品时,曾经有一段时间,一些蒙古艺术评论家会气急败坏地离开他的展览,因为他们接受不了眼前的画像。Enkdhat 的作品和这些无家可归的人口一样,在蒙古社会都遭到了冷遇,所以大部分作品都只能在国外美术馆展出。

Lkhagvadorj understands there is a dilemma to his craft in Mongolia. He understands that if he painted topics were more likely to be well-received by the masses, then more people would purchase his paintings. There were times when people tried to persuade him to paint things that were pleasant. However, no matter how many people would attempt to convince him to create art that’s more accessible to the public or art that can to garner more name recognition, he refuses to change his style. He insists that he paints what makes him feel like himself. “People will try to persuade me to paint something different, but I have stayed true to myself,” he states. “Just like these people who can’t stop drinking, I can’t stop painting these people. I just have to paint them and tell their stories.”


Lkhagvadorj 明白,他的作品在蒙古面临一种困境。他也明白,如果他画一些更令人赏心悦目的画,会有更多的人购买他的作品。有好几次,别人都劝他画一些更愉快的主题。但不管有多少人劝他去创作能带来更多知名度和吸引更多观众的艺术,他依然选择坚持自己的创作风格。他认为,他的画能让他坚持做真实的自己。他补充说,“很多人都劝我画别的主题,但是我其实只是要忠于真实的自己。就像这些戒不了酒的人,我也无法戒除要画他们的念头。我必须要画他们。”

Facebook: ~/LkhagvaArt
Instagram: @lkhagvadorj

 

Contributor & Photographer: Anand Tumurtogoo


脸书: ~/LkhagvaArt
Instagram: @lkhagvadorj

 

供稿人与摄影师: Anand Tumurtogoo

A Day in the Studio with Yan Wei

 

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


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

Moonlight
Internal

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

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


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

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

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


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

Guardian

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


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

Hunt

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


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

Double Birth
Croquet
Tide
Empirical Wonderland

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


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

Event:
VANITY
Yan Wei Solo Exhibition in Beijing

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

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

 


活动:
《浮世》
闫威个人作品展

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

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

Instagram: @koomoowei

 

Contributor & Videographer: George Zhi Zhao


Instagram@koomoowei

 

供稿人与摄影师: George Zhi Zhao

The Art of War

Big Bruce Lee

Mu Pan is a Taiwanese artist currently based in New York City. With influences ranging from Hong Kong cinema of the 1980s and 1990s to Japanese manga and kaiju movies, Mu incorporates elements of Chinese history and mythology to tell epic stories and legends with modern sensibilities. Mu’s artwork is never about art for its own sake – in his own words, “I am just an otaku who draws.”


潘慕文(Mu Pan)是一名现居纽约的台湾艺术家。他融合中国历史和神话元素,用画作来讲述具有现代感的史诗故事和传奇,从80、90年代的香港电影到日本漫画和怪兽电影,都对潘慕文的作品产生了很大的影响。他的艺术作品从来不只是为了创作而创作,用他自己的话说,“我只是一个画画的宅男”。

From the The Loyal Retainers series. / 来自《The Loyal Retainers》系列
From the The Loyal Retainers series. / 来自《The Loyal Retainers》系列
From the Ten Drawings series. / 来自《Ten Drawings》系列

As an artist who tells stories of epic, large-scale battles, war is one of Mu’s primary inspirations. He shares, “War, to some degree, is a beautiful thing to me. War creates great characters, and it also writes history. You’ve got to be a great artist in order to fight a war as a commander. There are so many arts you have to master in warfare, such as the formation, the economic concern, the time, the strategy, the geographic advantage, the numbers difference between you and your enemy, the art of brainwashing for loyalty, and the sense of mission. It costs a great amount of patience, and it also requires a high level of charisma and intelligence. Whether it is for invading or defending, to me it is just beautiful to see how a person can unite people’s individual strengths to become one great power to fight against the opponent.”


作为一个描绘史诗、大规模军事场面的艺术家,战争是他创作的主要灵感之一。他解释道:“对我而言,战争某种层面上是一件美丽的事情。战争创造了伟大的人物,也书写了历史。要成为战争中的指挥官,首先你必须是一位出色的艺术家。在战争中,必须掌握的艺术非常多,编队、经济问题、时间、策略、地理优势、我军与敌军在人数上的差异、关于忠诚与使命感的洗脑式说话艺术等等。这些都需要很大的耐心,同时也需要极大的魅力和智慧。无论是侵略还是防守,对我来说,看着一个人如何团结其他个体,凝聚成为对抗对手的巨大力量,这个过程真是充满了美感。”

Loyal Retainer: Final Chapter
Dinoasshole Chapter 3
Dinoasshole Chapter 5

Mu often draws from the theatre of modern events to find inspiration for his work. “Usually, when I’m excited about something I saw or read on the media, or from my daily life, I first associate the subject with a monster or some creatures on a large scale, then think about who it will be fighting with.”


潘慕文经常从现代事件中汲取创作的灵感。 “如果我从媒体、日常生活中看到或读到一些令我感兴趣的东西时,我会把这个主题延伸联想出某个怪物或是一些体型庞大的生物,然后去构想这只怪物开战的对象。”

From the Ten Drawings series. / 来自《Ten Drawings》系列
My Name is Charlie: Yellow
My Name is Charlie: Red

With regards to his creative process, Mu is about spontaneity and creating in the moment. He never creates preliminary sketches for a painting, preferring to work freely and make changes on the fly. As each painting progresses, it reflects the emotions and events of his daily life. “I let the piece flow with whatever is happening in my life,” he explains. “This gives me the motivation to keep going day after day.”


谈到自己的创作过程,潘慕文说主要都是自发性和即兴的创作。绘画时,他从来不会先画草图,而是更喜欢自由地创作,随心所欲地作出改变。每幅画在完成的过程中,反映出的正是他平日生活里的情绪和经历。他解释说:“我把作品与我生活中发生的一切交织在一起,这给了我继续前进的动力。”

From the Frog Wars series. / 来自《Frog Wars》系列

For Mu, art is a way to channel man’s energy, destructive power, and warlike disposition within the constraints of modern society. “I worship the strength of men and animals,” he tells us. “I dream to have the dominating power to rule, to destroy, and instill fear into my enemies. Of course, it’s impossible. No one can have this kind of power in today’s world. So I created my own world for myself with my images. In my images, I can be whatever I want to be and eat whoever I hate. Every monster I draw is actually a self-portrait.”


对潘慕文来说,艺术是在现代社会的制约下,人们得以发泄内心能量、破坏力和战争倾向的一种方式。他解释道:“我崇拜人和动物的力量。我梦想拥有支配权力来统治、摧毁,让敌人畏惧我。当然,这都是不可能实现的。今天的世界上没有人能拥有这样的力量。所以我用画像来为自己创造这样一个世界。在我的画里,我可以做任何我想做的事情,吃掉我讨厌的人。我画的每个怪物其实都是一幅自画像。”

From the Monkeys series. / 来自《Monkeys》系列
From the Ten Drawings series. / 来自《Ten Drawings》系列
Big Bad Wolves

Website: mupan.com
Instagram: @mupan1911

 

Contributor: George Zhi Zhao


网站mupan.com
Instagram@mupan1911

 

供稿人: George Zhi Zhao

Deciphering the Human Experience

Born in Taipei and raised in Shanghai, Jocelyn Tsaih is an illustrator, animator, and designer currently based in New York City. Her artistic style is defined by a distinct, minimalist approach that’s complemented by her quirky sense of humor.

More often than not, Tsaih’s work features a mysterious, amorphous character that’s meant to embody the various facets of modern life. The character, initially based on a stick figure, evolved as a way for Tsaih to convey abstract concepts derived from her own experiences.


在台北出生,在上海长大的 Jocelyn Tsaih 目前长居在纽约,是一名插画家和设计师。她的作品风格简约,且充满着古怪的幽默感。

Jocelyn 的大部分作品里会出现一个神秘的、不定形的角色,意在表达现代生活的方方面面。而这个角色最初是她以火柴人为原型创作的,后来演变成她从自己的经历中传达抽象概念的一种方式。

“It sounds kind of cheesy, but I started drawing it as a way to express my internal conflicts and to represent anything human,” she shares. “As I explored different ways of conveying what I was feeling, I started to use the figure in ways that are more abstract. I think my thought process is that even though we are human, a lot of things about us are intangible, like emotions and feelings.”


“虽然听起来有点俗气,但我一开始画这个角色是为了抒发内心的冲突,表达关于人类的一切。” Jocelyn 说,“随着我尝试用不同的方式来传达自己的感受,我也开始用更抽象的方式来表现这个火柴人。我的想法是,作为人类,很多关于我们的事情都是无形的,譬如情感和感觉。”

Tsaih currently works at WeWork as a full-time graphic designer and illustrator. Outside of her full-time job, she’s equally busy with a constant juggling act between personal and freelance projects. She’s already accumulated an impressive list of clients including Adobe Photoshop, Condé Nast, Nickelodeon, Tictail, and GIPHY. But despite her professional accomplishments, there was a time when Tsaih felt uncertain about her future as an artist. As a teenager, many of her peers discouraged her desire to pursue a career in the arts. It was only after a period of self-doubt and confusion that she decided to trust her own judgment: “I believed that art was valuable, and I pushed myself because I didn’t want people’s skewed perceptions to be validated.”


Jocelyn 目前作为一名全职平面设计师和插画家任职于共享办公空间 WeWork。不上班的时候,她会去创作自己的个人项目和自由职业项目,她曾经合作过的客户里包括 Adobe Photoshop、康泰纳仕集团(Condé Nast)、美国儿童节目频道 Nickelodeon,以及 Tictail 和 GIPHY 网站。虽然如今在事业上获得成功,但曾经有一段时间,Jocelyn 也不确定自己是否真的能成为一名艺术家。十几岁的时候,她的许多同龄人都不鼓励她去追求艺术事业。在经过一段时间的自我怀疑和困惑之后,她才终于决定相信自己的判断:“我相信艺术是有价值的,我不断推动自己去努力,是因为我不希望证明人们扭曲的看法是对的。”

For Jocelyn, creativity comes from being open-minded; it comes from a willingness to dive head first into new experiences, whether it’s interacting with different people or being in an unfamiliar environment. She tells us, “A lot of my work represents my reaction to things, so the more experiences I have, the more ideas I’ll have to turn into drawings.” These days, she’s begun dabbling with ceramics and paintings – processes that, for her, require a lot more time and deeper reflection on the underlying concepts she intends to explore. Patience is a fundamental part of her creative process. “90% of the time is spent thinking an idea over and 10% of the time is spent making the actual work,” she explains, “The final result often looks simple, but it usually takes a long time for me to get to that point, although I know it doesn’t look like it.”


对于 Jocelyn 来说,创意来自于开放的心态和尝试新事物的经历,或是与不同的人互动,或是置身于异国的环境中。她告诉我们:“我的许多作品都表达了我对事物的反应,所以,我的经历越丰富,我才能有越来越多的想法来创作成画。”近来,她一直在涉猎陶瓷和绘画,对她来说,这些艺术创作过程需要花大量的时间对作品内在概念进行反思。Jocelyn 表示,耐心是她创作过程的关键。她解释说:“ 90% 的时间是花在思考上面的,只有 10% 的时间才是花在实际的创作中。最终的作品看起来很简单,但我其实需要很长的时间才能画出来,虽然我知道它看起来不像。”

After six years in New York City, Tsaih is now planning a move to San Francisco in the coming year. She sees this as an opportunity to explore a new environment and experience a change of pace. She shares with us, “Having come from Shanghai to New York, I feel like I’ve only known how to live in very stimulating, fast-paced environments. It might be a little challenging to shift to a slower pace of life, and I might end up hating it, but I hope some good things will come out of the experience either way!”


在纽约生活了六年后,Jocelyn 计划在新的一年搬到旧金山,体验新的环境,转换一下生活节奏。她说:“从上海来到纽约,我觉得自己好像只在紧张刺激、快节奏的环境里生活过。要转变到一种较慢的生活节奏,可能会有点挑战性,甚至我可能最终会讨厌这种生活。但我希望不管怎样,都能在这次经历中取得一些好的收获。”

Customs pins and a tote bag by Jocelyn Tsaih are now available in limited supply on the Neocha Shop. Click into our Shopify below for product details.


Jocelyn Tsaih 限量特供版胸针和帆布袋,现在上线 Neocha 商店,点进微店即可查看商品详情。

 


Jocelyn Tsaih “Into Yourself” 胸针

¥60

立刻购买

 

Jocelyn Tsaih “Shapes” 帆布袋

¥110

立刻购买

Websitewww.jocelyntsaih.com
Instagram: @jocelyntsaih

 

Contributor: George Zhi Zhao
Photographer: Nick Korompilas


网站www.jocelyntsaih.com
Instagram: @jocelyntsaih

 

供稿人: George Zhi Zhao
摄影师: Nick Korompilas

Little Thunder

Born and raised in Hong Kong, Little Thunder is a comic artist and illustrator whose distinctive style has led her to become one of the best-known artists in Hong Kong today. Often featuring empowered female subjects, her artworks draw inspiration from a variety of different sources, including Japanese manga, American pin-up art, and even Hong Kong’s rich cultural history. Her masterful approach to visual storytelling allows her to craft meaningful narratives even in the confines of a single frame.


Little Thunder(門小雷)是土生土长的香港漫画家和插画家。她从日本漫画、美式挂图艺术和香港的丰富历史文化中汲取灵感,创作出一系列充满力量的女性画像。加之以娴熟的视觉叙事方式,Little Thunder 让单幅的画像也营造出一种难得的叙事深度。

Little Thunder explores the theme of feminity through a mix of humor, sexuality, and observations of whimsical everyday occurrences. Describing the inspiration behind the empowered female subjects of her works, she says, “Some women have a natural air of confidence and independence. They’re really clear on what they’re doing and what they’re capable of doing, without blindly believing that, ‘Whatever men can do, women can do too!’ Men and women are different by nature, and the perceived ‘inadequacies’ of women are often some of their most attractive traits. These are the kinds of traits that fascinate me the most.”


Little Thunder 的许多作品都是通过幽默、性爱或者异想天开的日常主题来探索女性的本质。对此主题的钟爱,她解释说:“有些女性天生就有一种自信和独立。她们非常清楚自己在做什么、有能力做什么,而不是盲目地相信‘男人可以做的女人也可以做!’男人和女人天生就是不同的,有一些女性所谓的‘不足’往往是她们最吸引人的特质,也是最让我着迷的地方。”

Being also inspired by Hong Kong’s traditional culture, many of Little Thunder’s works convey a sense of nostalgia and communicates her hopes of preserving the fast-disappearing aspects of old Hong Kong. She says, “Hong Kong is developing so rapidly now; it’s copying what’s abroad or trying to appease China. It’s nonstop demolishing and rebuilding, and a lot of Hong Kong’s old architecture and history are disappearing. In terms of art and culture, it’s definitely a step back. It makes me think of how beautiful Hong Kong was when I was growing up. That’s the Hong Kong that always lingers in my memory, and now I can only express it through my art.”


香港传统文化也是她的创作灵感之一,因此,Little Thunder 的许多作品都表现出一种怀旧情绪,传达出她想要保留住这些快速消失的香港文化之愿景。她说:“香港现在发展得这么快,或在照搬国外,或在企图满足中国。到处都在拆除和重建,很多香港的老建筑和历史都正在迅速消失。在艺术和文化方面,这绝对是大退步。这让我想起了在我成长过程中所见的香港的美好,那时候的香港一直留在我的记忆里,现在我只能通过艺术来表达出来。”

In terms of how she chooses the medium for a new artwork, Little Thunder tells us, “I’ll use whatever materials I can get my hands on.” These days, she uses a lot of ink and watercolor, though she’s comfortable creating in both analog and digital mediums. Similar to her artistic approach, Little Thunder strives to maintain a fresh attitude towards life. “My inspiration comes from observation and experience in my daily life, using different perspectives to observe and avoiding the trap of viewing the familiar as ordinary or mundane. This way, I’ll naturally find inspiration everywhere.”


在艺术媒介方面,Little Thunder 表示:“一旦我开始创作的话,可能什么材料都会用上。”近期她最常用的是水墨和水彩,即使她很擅长用胶片和数媒进行创作。与之相同的是 Little Thunder 对生活一样永葆新奇的态度。“我的灵感来源于我日常生活中的观察和经验,用不同的视角来观察,避免将熟悉的事物普通或平凡化了。这样的话,我到处都能找到灵感。”

Despite the role that social media has played on her road to success, Little Thunder has mixed feelings about how our digital interconnectedness can affect creativity and artistic motivations. She says, “Drawing is a really personal thing, but now that we live in a world of social media, it makes art more complicated. The artist will be affected by other people’s opinions, how many ‘Likes’ they’ll get, or whether or not their art will really resonate, which are all things that contaminate the purity of the art. I know that it’s hard to maintain that kind of purity, but at the very least you need to understand that you are the very first viewer of any of the artwork that you create, and if it’s able to give you a positive reaction, then it’s already a success.”


Little Thunder 在网络上吸引了大批的粉丝,现在已经成为香港最著名的漫画艺术家之一。尽管社交媒体是 Little Thunder 获得成功的因素之一,但她对于数字社交对人们创造力和艺术动机的影响有着复杂的感情。她说:“绘画本是非常个人的事情。但现在我们生活在社交媒体的世界里,这让艺术变得更复杂了。艺术家会受到别人意见的影响,会关心他们能得到多少个‘赞’,或者他们的艺术是否能与观众产生共鸣?这些都会玷污艺术的纯粹。我知道,要保持这种纯粹并非易事,但至少你需要明白,你是自己的作品的第一个观众,只要你喜欢它,它就已经是一件成功的作品了。”

Instagram: @littlethunder
Facebook: ~/runthunderrun

 

Contributor: George Zhi Zhao


Instagram: @littlethunder
脸书: ~/runthunderrun

 

供稿人: George Zhi Zhao

Drama & Absurdity

Born in 1982, Tang Dixin is a Hangzhou-born multimedia artist whose creativity seems to know no bounds as he effortlessly crisscrosses between painting, performance art, installation art, and more. Despite his artistic diversity, Tang’s works are united through a similar sense of dramatic apprehension and his love for absurd metaphors. In paintings, he invokes tension through the use of bright, vibrant lines, which slice through slabs of solid colors. Seemingly abstract at first glance, a closer look at his paintings reveals recognizable human forms and hidden layers of emotion. Tang’s painted works feel quite organic with his background as a performance artist, as each painting carries a visual dynamism that makes them feel closer to staged performances rather than static pieces of work.


1982年出生于杭州的艺术家唐狄鑫,他的创作领域横跨绘画、装置和行为艺术等多种媒介,充满戏剧性的张力,亦充满荒诞的隐喻。野性的张力通过大面积颜色和高亮度的线条轮廓呈现出来,看似具有模糊抽象的含义,实则在描绘具体而现实的躯体和情感,似乎正在通过画面上演一台虚构表演

In earlier years, Tang’s projects as a performance artist often involved putting himself in dangerous situations, such as leaping onto an active train track and hopping back onto the platform right before the train pulls in. Explaining with an impish smile, he tells us, “It’s using fear to stimulate my id.” And though he’s moved on from this risky method of creative expression, Tang’s paintings still adhere to the theme of “mutual destruction” that fascinated him as a performance artist; nowadays, it’s just explored via a different approach. “As a performance artist, it’s me physically conducting a certain act. When I paint, I’ll simply depict someone performing what I might’ve originally done. The message is the same, but it’s interesting to present it in a new way.”


早些年,唐狄鑫也创作行为艺术的作品,他常常会将自己置于十分危险的境地——比如俯身跳下铁轨,再在列车来临前果断跳上站台。他俏皮地说,那是因为想把心中住的小神仙吓一跳。相比行为艺术,他的油画亦传达出背后那个“互撕互毁”的过程,他说:“一个是我跳到人群中,另一个我描绘有个人跳进人群。要表达的内容其实也没什么不同,但一点也不想同归。”

Tang Dixin’s newest works are now on display at AIKE DELLARCO in Shanghai.

 

Date: November 8, 2017 ~ December 31, 2017
Opening hoursTuesday ~ Sunday 10:00am ~ 6:00pm

Address:
AIKE DELLARCO
Building 6, No. 2555 Longteng Avenue
Xuhui District, Shanghai
People’s Republic of China

 

Contributor: Chen Yuan
Image Courtesy of AIKE DELLARCO


目前,唐狄鑫的最新作品正在艾可画廊呈现,欢迎大家前往观瞻。

 

展期: 20171108日 —— 20171231
开放时间: 周二至周日 早上10点至下午6

地址:
中国
上海市徐汇区
龙腾大道25556号楼
艾可画廊

 

供稿人: Chen Yuan
图片由艾可画廊提供