Tag Archives: artist

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

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

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

Finding Inspiration in Uncertainty

Yuma Yoshimura is a Japanese artist, painter, and muralist who creates psychedelic, monochromatic works that reflect the uncertainty and chaos of human existence. In 2004, he completed his education at Tama Art University where he studied painting and printmaking. Currently based in Tokyo, his work has been well-received internationally, having been exhibited in South Africa, Spain, Russia, and more.


Yuma Yoshimura是一名日本的艺术家、画家和壁画家,其创作的单色作品充满迷幻的风格,表达出人类生存的混乱与不确定性。他曾在多摩美术大学学习绘画和版画创作,2004年毕业之后,他生活在日本东京。他的作品曾在南非、西班牙、俄罗斯等国家发表。

The primary themes of Yuma Yoshimura’s work lie in the uncertainty and chaos that people experience in daily life, or in concepts of duality and opposition such as “darkness and light.” For him, these are universal conditions that all people face as they grow from childhood to adulthood. To believe in the unchanging in the face of the ever-changing, and to express this dynamic visually is a reflection of the artist’s own resistance to unrelenting change.


Yuma Yoshimura的作品主题主要围绕人们在日常生活中经历的不确定性和混乱,或是二元性和对立概念,如“黑暗与光明”。对他来说,这是所有人从孩童到成年人的成长过程中都必定面临的普遍状况。在千变万化中相信永恒不变,以视觉作品来表现变化的动态,反映出这名艺术家自己对于无情变化的抵抗。

For Yuma Yoshimura’s creations, he primarily works with acrylic paint, spray paint, markers, aluminum and wooden panels. For mural-sized works, he’ll only use monochromatic acrylic paint and spray paint – his decision is largely based on the physical characteristics of the wall, which include its size and the surrounding environment.


Yuma Yoshimura的创作过程主要利用丙烯涂料、喷漆颜料、马克笔、铝和木板。至于壁画尺寸的大作品,他会根据墙体的物理特性、大小和所产生的空间效果,直接在墙壁上使用单色丙烯涂料和喷漆颜料进行创作。

Despite using a simple, monochromatic palette, Yuma Yoshimura is able to conceive a multitude of visual elements through complicated compositions that mirror his inner state. The visual elements seen in traditional tribal tattoos and ornaments also fuel the sparks of his imagination. This influence from these primitive arts reflect Yoshimura’s attempt to express his own unique, but universal, human experience.


虽然创作中只使用了一种色彩,但Yuma Yoshimura依然能够通过复杂的构图来表现出丰富多样的视觉元素,传达出他的内心状态。部落纹身和装饰品这些视觉元素激发了他的创作灵感。来自原始部落的艺术影响反映出Yoshimura尝试表达的一种独特又普遍的人性经历。

Website: yumanizumu.jp
Facebook: ~/yumanizumu
Instagram@yuma_yoshimura

 

Contributor: George Zhi Zhao
Images Courtesy of Yuma Yoshimura


网站: yumanizumu.jp
脸书: ~/yumanizumu
Instagram@yuma_yoshimura

 

Contributor: George Zhi Zhao
图片由Yuma Yoshimura提供

Yen Tech

 

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Yen Tech is the brainchild of Nick Newlin, a visionary Korean American artist who creates genre-breaking music and visuals immersed in dystopian, futuristic worlds. His first full-length debut album Mobis was recently released through Shanghai-based record label SVBKVLT. A manic reflection on self and society, Mobis takes us through apocalyptic soundscapes that reference electronica, rap, and K-pop to bring the artist’s vision to life. Neocha spoke to Yen Tech about his thoughts on identity, culture, and creativity.


Yen Tech는 환상적이고 미래 지향적인 세계에 몰입하여 장르 파괴적 음악과 영상을 창조하는 환상적인 한인 아티스트인 닉 뉴린 (Nick Newlin)의 창조의 산물입니다. 최근 상하이에 기반을 둔 레이블인 SVBKVLT를 통해 그의 첫 번째 장편 데뷔 앨범인 Mobis가 발표되었습니다. 자기 자신과 사회에 대한 격정이 반영된 Mobis는 일렉트로니카, 랩, K-pop을 아우르는 묵시적인 사운드 스케이프를 통해 삶에 대한 예술가의 비전을 실현하고 있습니다. Neocha 는 Yen Tech와 함께 정체성, 문화 및 창조성에 대한 그의 생각에 관하여 이야기를 나누었습니다.

Take a listen to some of our favorite tracks from Mobis below. The full album is available for purchase on iTunes.

 Yen Tech – Armored Core
 Yen Tech – Holo Mode
 Yen Tech – Lotus


아래의 Mobis에서 사람들이 가장 선호하는 몇 개의 트랙을 들어보시기 바랍니다. 전체 앨범은 iTunes에서 구입할 수 있습니다.

 Yen Tech – Armored Core
 Yen Tech – Holo Mode
 Yen Tech – Lotus

Neocha: How did the Yen Tech persona come into existence? Is he a true representation of your personality or a fictional character?

Yen Tech: It’s a bit of both. My early work was focused on these really broad pop structures and the idea of the idol. So it went hand in hand where if you listened to my music or saw my videos you would maybe ask, “Is this guy for real?” I guess I like that kind of dissonance, where there’s a shiny veneer but something more complex underneath. Now Yen Tech is evolving to the point where that veneer is stripping away, and we can see a darker undertone where he’s not only projecting this sort of irrational confidence but also revealing his inner turmoils and paranoias. I guess in that way it’s sort of a split personality or a mirror to my own obsessions and neuroses. I created Yen Tech as this empty vessel, but he’s slowly gaining consciousness.


Neocha: 엔 테크 페르소나는 어떻게 생겨났습니까? 그는 당신의 성격을 진실로 대변하는 존재인가요 아니면 단순한 허구의 캐릭터인가요?

Yen Tech: 두 가지 모두가 조금씩 섞여 있다고 할 수 있습니다. 저의 초기 작품은 정말로 광범위한 팝의 구조와 아이돌의 개념에 초점이 맞추어져 있습니다. 그 두 가지가 같이 접목되어 있기 때문에 제 음악을 듣거나 비디오를 본 사람들은 “이 사람 진짜야?”하고 묻게 되지요. 제 생각에 저는 그런 불협화음을 좋아하는 것 같습니다. 이를테면, 겉으로 보기에는 화려한 무늬목이지만 그 이면에는 훨씬 더 복잡한 무엇인가가 존재하는 것 같은 것 말이죠. 이제 엔 테크는 그 표면의 무늬목이 벗겨지는 지점으로 진화하고 있습니다. 그러면 사람들은 바로 그 이면의 비합리적인 자신감뿐 아니라 내면의 혼란과 편집증적 모습이 내재된 그의 어두운 면까지도 보게 되는 것이죠. 저는 그런 식으로 엔 테크를 저의 또 하나의 인격이나 저 자신의 강박 관념과 신경증에 대한 일종의 거울이라고 생각하고 있습니다. 엔 테크라는 일종의 빈 껍데기를 만든 것은 저이지만 그는 서서히 자신의 의식을 만들어가고 있는 것입니다.

Neocha: How do you channel your creative energy?

Yen Tech: For me, it’s all about world building. I approach Yen Tech the same way you would design a video game or write a novel. It has its own specific language and context. It’s not really enough for Yen Tech to just be a rapper, or a singer, and to be out here trying to get Soundcloud plays and tours, although I do those things as a platform. I treat the whole project more like an abstract narrative, and I try to apply that to all aspects, including the music and the visuals.


Neocha: 당신의 창조적 에너지는 어떤 채널을 통해 전달합니까?

Yen Tech: 제게 있어서 그것은 세계적인 건물과도 같은 것입니다. 저는 엔 테크에게도 비디오 게임 디자인이나 소설을 쓰는 것과 같은 방식으로 접근합니다. 모두 각각 자체 고유의 언어와 문맥을 가지고 있는 것이지요. 엔 테크는 단순히 래퍼나, 가수가 되려고 하는 존재는 아닙니다. 물론 사운드 클라우드 (Soundcloud)를 플레이하고 투어나 다니려고 만들어지지도 않았고요. 그런 모습들은 단순한 플랫폼에 지나지 않습니다. 저는 전체 프로젝트를 더욱 추상적인 서사의 형식으로 다루고 싶고 이 방향성을 음악과 영상을 포함한 모든 측면에 적용 하려고합니다.

Neocha: A lot of your work has a global, pan-Asian feel. How do you identify culturally?

Yen Tech: I’m a half-Korean American, but being mixed is sort of an interesting thing. I’m not really sure how to identify myself, and honestly, I’m kind of into that. It’s not some futuristic idea per se, but I do think that in today’s world, being some sort of global hybrid is necessary. I’ve tried to embody that with my project. In the end, I think these lines don’t really matter, we all come from the ocean anyway.


Neocha: 당신의 많은 작업에서는 글로벌하고 팬 아시아적인 느낌이 납니다. 이 작업을 문화적으로 어떻게 규정할 수 있을까요?

Yen Tech: 나는 한국계 미국 혼혈입니다. 하지만 혼혈이란 흥미로운 일이지요. 저는 저 자신을 어떻게 규정해야 할지 잘 모르겠습니다. 솔직히 말해서 그 문제에 집중하고 있는 것도 사실입니다. 미래에도 반드시 그럴지는 잘 모르겠지만, 현대에 있어서 일종의 글로벌 하이브리드는 필요하다고 생각합니다. 저는 그것을 제 프로젝트로 구현하려고 했었습니다. 하지만 결국에는 이런 구분이 의미가 없다는 것을 깨닫게 되었습니다. 우리는 모두 바다 너머 어디에선가 이주해온 사람들이니까요.

Neocha: Can you tell us about your upcoming plans?

Yen Tech: I’m working on a new record right now, and it has a very unexpected sound. The goal is to make it this very massive, sprawling experience. Before that, I’ll be releasing another video or two, one of which was for the Berlin Biennale and done in collaboration with Korakrit Arunanondchai, Alex Gvojic, and boychild – it’s pretty insane. Also, I really want to try and come back to China soon and do a performance, like maybe on top of a mountain. Stay tuned.


Neocha: 앞으로의 계획에 대해 말씀해 주실 수 있습니까?

Yen Tech: 지금은 새로운 녹음을 하는 중인데, 전혀 예기치 않은 사운드입니다. 매우 거대하고 폭넓은 경험을 하는 것이 목표입니다. 앞으로 한 두 장의 비디오를 발표할 예정인데 그중 하나는 베를린 비엔날레 출품용입니다. 코라크리트 아루나논드차이(Korakrit Arunanondchai), 알렉스 그보치(Alex Gvojic) 그리고 보이차일드(boychild)와 콜라보를 했는데 좀 파격적입니다 그리고 저는 정말로 곧 중국으로 돌아와 퍼포먼스 같은 것을 해 보고 싶습니다. 산 위 같은 데서요. 관심을 가지고 계속 지켜봐 주세요.

Website: yentech.net
Facebook: ~/yentechonline
Instagram~/yentech

 

Contributor: George Zhi Zhao
Images Courtesy of Yen Tech


웹사이트: yentech.net
Facebook: ~/yentechonline
Instagram~/yentech

 

기부자: George Zhi Zhao
이미지 제공Yen Tech

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

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 。

Chifumi Tattowiermeister

Upon his arrival in Cambodia, Chifumi Tättowiermeister discovered a developing contemporary street art scene in the capital of Phnom Penh. In the last four years, he has become a willing pied piper for young budding Cambodian street artists. Whilst there are no specific laws specifying that street art is illegal in Cambodia, murals are often whitewashed and painted over, even if artists had previously attained permission from the local city hall.


បន្ទាប់ពីគាត់បានមកដល់ប្រទេសកម្ពុជា លោក Chifumi Tättowiermeister បានរកឃើញទីតាំងសិល្បៈតាមដងវិថីបែបសហសម័យដែលកំពុងមានការអភិវឌ្ឍនៅក្នុងរាជធានីភ្នំពេញ។ កាលពីបួនឆ្នាំមុន គាត់បានក្លាយជាអ្នកដឹកនាំដែលប្រកបដោយឆន្ទៈសម្រាប់វិចិត្រករគំនូរតាមដងវិថីវ័យក្មេងដែលពោរពេញដោយទេពកោសល្យនៅក្នុងប្រទេសកម្ពុជា។ ទោះបីជាពុំមានច្បាប់ច្បាស់លាស់ណាមួយដែលបញ្ជាក់ថាសិល្បៈតាមដងវិថី គឺជាអំពើខុសច្បាប់នៅក្នុងប្រទេសកម្ពុជាក៏ដោយ ក៏គំនូរនៅលើជញ្ជាំងតែងតែត្រូវបានគេលុបដោយទឹកថ្នាំពណ៌ ស និងលាបថ្នាំជញ្ជាំង ទោះបីជាវិចិត្រករធ្លាប់ទទួលបានការអនុញ្ញាតិពីសាលាក្រុងក្នុងមូលដ្ឋានពីមុនមកក៏ដោយ។

In recent years, local government bodies have become more receptive to street art, especially if they’re promoting traditional Khmer culture or positive social messages. With this in mind, Chifumi draws inspiration from the local Cambodian society for his eye-catching murals that boldly celebrate the colours and culture of his new found home. Neocha caught up with Chifumi recently to learn more about his current projects and his involvement in this year’s Cambodia Urban Art Festival.


អង្គភាពរបស់រដ្ឋាភិបាលក្នុងមូលដ្ឋានកាន់តែអាចទទួលយកបាននូវសិល្បៈតាមដងវិថីនេះ ហើយ ប្រសិនបើពួកគេធ្វើការលើកតម្កើងវប្បធម៌ប្រពៃណីខ្មែរ ឬសារវិជ្ជមាននៅក្នុងសង្គម។ ដោយប្រកាន់ខ្ជាប់នូវទស្សនៈបែបនេះនៅក្នុងចិត្ត Chifumi បានទាញយកការបំផុសគំនិតពីសង្គមកម្ពុជានៅក្នុងមូលដ្ឋានសម្រាប់ការគួររូបលើជញ្ជាំងដែលគួរឲ្យទាក់ទាញភ្នែករបស់គាត់ ដែលកត់សម្គាល់យ៉ាងច្បាស់លាស់នូវពណ៌ និងវប្បធម៌នៃផ្ទះថ្មីដែលគាត់បានទៅដល់។ Neocha បានទៅជួបជាមួយ Chifumi នាពេលថ្មីៗនេះដើម្បីធ្វើការរៀនសូត្របន្ថែមអំពីគម្រោងបច្ចុប្បន្នរបស់គាត់ និងការចូលរួមរបស់គាត់នៅក្នុងទិវាសិល្បៈខាងក្រៅនៃប្រទេសកម្ពុជានៅក្នុងឆ្នាំនេះ។

Neocha: What is the creative process behind your amazing murals?

Chifumi: Whenever I’m out looking for a wall to do my next mural, I pay attention to every detail. For me, the social and cultural background of the city in which I’m painting in is just as important as the architectural space itself. I always create a sketch before I actually start painting; it is always as if the local context of each city feeds into my work. Living in Southeast Asia allows me to incorporate local mythology and culture as graphic elements in my work. I’m always on the road, so I usually have water-based acrylic paint with my own brushes and rolls handy – it’s not always possible to find good quality graffiti spray cans where I am.


Neocha: តើអ្វីគឺជាដំណើរការប្រកបដោយភាពច្នៃប្រឌិតដែលនៅពីក្រោយរូបគំនូរលើជញ្ជាំងដ៏អស្ចារ្យរបស់លោក?

Chifumi: នៅគ្រប់ពេលដែលខ្ញុំចេញទៅខាងក្រៅដើម្បីស្វែងរកជញ្ជាំងណាមួយដើម្បីគូររូបគំនូរលើជញ្ជាំងបន្ទាប់ទៀតរបស់ខ្ញុំ ខ្ញុំតែងតែយកចិត្តទុកដាក់លើគ្រប់ចំណុចលម្អិតទាំងអស់។ សម្រាប់ខ្ញុំ សាវតារផ្នែកសង្គម និងវប្បធម៌របស់ទីក្រុងដែលខ្ញុំកំពុងតែធ្វើការគូររូបគឺមានសារៈសំខាន់ដូចគ្នាទៅនឹងផ្ទៃលំហផ្នែកស្ថាបត្យកម្មរបស់ទីក្រុងនោះផងដែរ។ ខ្ញុំតែងតែធ្វើការព្រាងរូបគំនូរមួយមុនពេលដែលខ្ញុំចាប់ផ្តើមធ្វើការគូររូបគំនូរពិតប្រាកដ គឺហាក់បីដូចជាបរិបទក្នុងមូលដ្ឋានរបស់ទីក្រុងនីមួយៗត្រូវបានរួមបញ្ចូលទៅក្នុងការងាររបស់ខ្ញុំ។ ការរស់នៅអាស៊ីអាគ្នេយ៍បានធ្វើឲ្យខ្ញុំអាចរួមបញ្ចូលទេវកថា-វិទ្យា និងវប្បធម៌ក្នុងមូលដ្ឋានជាក្រាហ្វិកចូលទៅក្នុងការងាររបស់ខ្ញុំ។ ខ្ញុំតែងតែនៅតាមដងវិថី ដូច្នេះជាធម្មតាខ្ញុំមានទឹកថ្នាំពណ៌ដែលមានសារធាតុអាគ្រីលីកដែលផ្អែកលើកម្រិតទឹករួមជាមួយច្រាសផ្ទាល់ខ្លួនរបស់ខ្ញុំ និងលាបថ្នាំដោយការរុញដោយដៃ – ខ្ញុំមិនមែនតែងតែអាចរកបានកំប៉ុងបាញ់ទឹកថ្នាំរូបគំនូរលើជញ្ជាំងដែលមានគុណភាពល្អនៅកន្លែងដែលខ្ញុំរស់នៅនោះទេ។

Neocha: What brought you to Cambodia? What drew you to the art scene here?

Chifumi: Four years ago, I started a project for a French media platform that documented my journey from India to Australia and I continuously made art along the way. Unfortunately, before its completion, the project came to an abrupt end whilst I was traveling through Southeast Asia. I have been living in Cambodia ever since – it was a difficult time, but I still have so many great memories about my arrival in Phnom Penh. There was no real prominent street art scene and only a few street artists around when I arrived. So, I worked hard. I tried really hard to bring something cool and artistic to this city. Looking back now, it was a really great feeling.


Neocha: តើអ្វីដែលជម្រុញរូបលោកឲ្យមកកាន់ប្រទេសកម្ពុជា? តើអ្វីទាក់ទាញលោកឲ្យមានចំណាប់អារម្មណ៍មកលើឆាកសិល្បៈនៅទីនេះ?

Chifumi: កាលពីបួនឆ្នាំមុន ខ្ញុំបានចាប់ផ្តើមគម្រោងមួយសម្រាប់វេទិកាប្រព័ន្ធផ្សព្វផ្សាយរបស់ប្រទេសបារាំងដែលបានចងក្រងឯកសារអំពីការធ្វើដំណើររបស់ខ្ញុំពីប្រទេសឥណ្ឌាទៅកាន់ប្រទេសអូស្រ្តាលី ខ្ញុំបានបង្កើតសិល្បៈជាបន្តបន្ទាប់នៅក្នុងអំឡុងពេលនៃការធ្វើដំណើររបស់ខ្ញុំ។ ជាអកុសល មុនពេលដែលគម្រោងត្រូវបានបញ្ចប់យ៉ាងពេញលេញ គម្រោងនេះត្រូវបានបញ្ចប់ភ្លាមៗខណៈពេលដែលខ្ញុំកំពុងធ្វើដំណើរឆ្លងកាត់អាស៊ីអាគ្នេយ៍។ ខ្ញុំបានរស់នៅក្នុងប្រទេសកម្ពុជាចាប់តាំងពីពេលនោះមក – វាគឺជាពេលវេលាដ៏លំបាកមួយ ប៉ុន្តែខ្ញុំនៅតែមានការចងចាំដ៏អស្ចារ្យជាច្រើនអំពីការមកដល់ទីក្រុងភ្នំពេញ។វាពុំមានទីតាំងសិល្បៈតាមដងវិថីដែលគួរឲ្យចាប់អារម្មណ៍យ៉ាងពិតប្រាកដនោះទេ និងមានវិចិត្រកររូបគំនូរតាមដងវិថីតែពីរឬបីនាក់ប៉ុណ្ណោះនៅពេលដែលខ្ញុំបានមកដល់នោះ។ ដូច្នេះ ខ្ញុំបានធ្វើការខិតខំប្រឹងប្រែងយ៉ាងខ្លាំង ខ្ញុំបានព្យាយាមយ៉ាងខ្លាំងក្នុងការនាំយកអ្វីដែលមានភាពស៊ីវិល័យ និងមានលក្ខណៈសិល្បៈមកកាន់ទីក្រុងនេះ។ រំឮកឡើងវិញនៅពេលនេះ វាពិតជាអារម្មណ៍ដ៏អស្ចារ្យមួយ។

Neocha: You are the artistic director for the Cambodia Urban Art Festival 2016. What was it like to bring 14 artists together to showcase their work across Phnom Penh?

Chifumi: After residing in Phnom Penh for the last few years, I was determined to unify the graffiti and street art scene here, and I thought that the best way to do it would be to create a fun event that gave Cambodian youths a rich insight into this artistic culture. So, I decided to bring local artists and international painters together; the festival included artists of ten different nationalities and we hoped they would bring some fresh colours into Phnom Penh. It was so important for us to reference the local culture and context in these projects; once all of the murals were done, we organised a tour across the city with 50 free tuk-tuks. We even had a few local hip-hop artists performing at some of the venues; I’m elated that this project happened and I truly think that the Cambodian youth were really able to gain something from it.


Neocha: លោកគឺជាប្រធានផ្នែកសិល្បៈសម្រាប់ទិវាសិល្បៈខាងក្រៅនៃប្រទេសកម្ពុជា ឆ្នាំ 2016 –តើវាមានលក្ខណៈយ៉ាងដូចម្តេចដែរក្នុងការប្រមូលផ្តុំវិចិត្រករចំនួន 14 រូបឲ្យមកជួបជុំគ្នាដើម្បីធ្វើបទបង្ហាញអំពីការងាររបស់ពួកគេនៅទូទាំងទីក្រុងភ្នំពេញ?

Chifumi: បន្ទាប់ពីបានស្នាក់នៅក្នុងទីក្រុងភ្នំពេញបានពីរបីឆ្នាំ ខ្ញុំបានសម្រេចចិត្តធ្វើការបង្រួបបង្រួមការគូររូបគំនូរនៅលើជញ្ជាំង និងឆាកសិល្បៈតាមដងវិថីនៅទីនេះ ហើយខ្ញុំគិតថា វិធីសាស្រ្តដែលល្អបំផុតសម្រាប់ការធ្វើការបង្រួបបង្រួមនេះ អាចជាការបង្កើតព្រឹត្តិការណ៍កំសាន្តដែលផ្តល់ជូនយុវជនកម្ពុជានូវការយល់ដឹងយ៉ាងច្បាស់អំពីវប្បធម៌សិល្បៈនេះ។ ដូច្នេះ ខ្ញុំបានសម្រេចចិត្តនាំយកវិចិត្រករនៅក្នុងមូលដ្ឋាន និងអ្នកគូររូបអន្តរជាតិឲ្យមកធ្វើការជាមួយគ្នា។ ទិវានេះបានរួមបញ្ចូលវិចិត្រករដែលមានសញ្ជាតិខុសៗគ្នាជាង 10 ដើម្បីពាំនាំមកនូវពណ៌ស្រស់ស្រាយមួយចំនួនមកកាន់ទីក្រុងភ្នំពេញ។ ការយោងដល់វប្បធម៌ក្នុងមូលដ្ឋាន និងបរិបទក្នុងគម្រោងទាំងនេះក៏មានសារៈសំខាន់ចំពោះយើងផងដែរ។ បន្ទាប់ពីយើងគូររូបគំនូរលើជញ្ជាំងទាំងអស់រួចរាល់ហើយ យើងបានរៀបចំការធ្វើដំណើរជុំវិញទីក្រុងដោយការធ្វើដំណើរតាមរ៉ឺម៉កកង់បីចំនួន 50 ដោយឥតគិតថ្លៃ។ យើងក៏មានសិល្បករហ៊ីបហប់(hip-hop) មួយចំនួនតូចដែលធ្វើការសម្តែងនៅទីកន្លែងមួយចំនួនផងដែរ។ ខ្ញុំមានក្តីរំភើបរីករាយដែលគម្រោងនេះបានកើតឡើង ហើយខ្ញុំពិតជាគិតថា យុវជនកម្ពុជាពិតជាអាចទទួលបានចំណេះដឹងមួយចំនួនពីគម្រោងនេះ។

Neocha: What are some of the other upcoming projects that you have around Asia?

Chifumi: Recently, I attended the PRASAD Festival in Nepal. I actually painted a giant mural in Kathmandu before the 2015 earthquake, so I felt compelled to return and share some colours with the local people. I feel like the street art scene in Nepal is much like Cambodia, as in it’s very young. But I see a lot of opportunities and hope in these artists who are working hard to develop their own style and energy. My next few projects will be situated in Pakistan, India, Indonesia and Malaysia, but I’ll also continuously working from Phnom Penh – Asia keeps artists very busy sometimes! 


Neocha: តើមានគម្រោងអ្វីផ្សេងទៀតដែលលោកនឹងធ្វើឡើងនៅជុំវិញទ្វីបអាស៊ីនាពេលខាងមុខ?

Chifumi; នាពេលថ្មីៗនេះ ខ្ញុំបានចូលរួមទិវា PRASAD នៅប្រទេសនេប៉ាល់ – ជាក់ស្តែង ខ្ញុំបានគូររូបគំនូរលើជញ្ជាំងដ៏ធំមួយនៅ Kathmandu មុនពេលមានការរញ្ជូយដីនៅក្នុងឆ្នាំ 2015 ដូច្នេះខ្ញុំមានអារម្មណ៍ថា ខ្ញុំត្រូវបានគេបង្ខំឲ្យត្រឡប់ទៅទីនោះវិញដើម្បីចែករំលែកពណ៌មួយចំនួនជាមួយប្រជាជនក្នុងមូលដ្ឋាន។ ខ្ញុំមានអារម្មណ៍ថា ឆាកសិល្បៈតាមដងវិថីនៅប្រទេសនេប៉ាល់ គឺដូចគ្នានឹងឆាកសិល្បៈតាមដងវិថីនៅប្រទេសកម្ពុជាខ្លាំងណាស់ គឺនៅក្មេងខ្ចីខ្លាំងណាស់ – ប៉ុន្តែខ្ញុំមើលឃើញឱកាសជាច្រើន និងមានក្តីសង្ឃឹមយ៉ាងខ្លាំងចំពោះវិចិត្រករទាំងនេះដែលកំពុងខិតខំប្រឹងប្រែងអភិវឌ្ឍរចនាបថផ្ទាល់ខ្លួន និងថាមពលរបស់ពួកគេ។ គម្រោងមួយចំនួនតូចបន្ទាប់ទៀតរបស់ខ្ញុំនឹងធ្វើឡើងនៅប្រទេសប៉ាគីស្ថាន ប្រទេសឥណ្ឌា ប្រទេសឥណ្ឌូនេស៊ី និងប្រទេសម៉ាឡេស៊ី ព្រមទាំងការធ្វើការងារជាបន្តបន្ទាប់នៅទីក្រុងភ្នំពេញ។ នៅពេលខ្លះ ទ្វីបអាស៊ីធ្វើឲ្យវិចិត្រករទាំងឡាយមានភាពមមាញឹកខ្លាំងណាស់!

Neocha: Where do you hope that your art can take you in the future?

Chifumi: I feel that every painting I do is more for myself than for the sake of being remembered. Each mural is a personal challenge that I have to surpass. For contemporary street artists now, the lifestyle is intense. You are always invited to travel and put your mark onto many new places. All of my travels change and influence my artworks, allowing me to put different shapes and colours into play. With every new culture that I immerse myself into, it always gives me the energy to create more. I hope that my art will continue to take me on the road again and again in the future, and I also hope that my art will stay free in public spaces and won’t be locked into the cage of a gallery or museum space.


Neocha: តើអ្នកសង្ឃឹមថា សិល្បៈរបស់អ្នកនឹងនាំអ្នកទៅកាន់ទីណានៅពេលអនាគត?

Chifumi: ខ្ញុំមានអារម្មណ៍ថា គ្រប់រូបគំនូរដែលខ្ញុំគូរ គឺខ្ញុំគូរវាឡើងសម្រាប់ខ្លួនខ្ញុំច្រើនជាងសម្រាប់ការចងចាំរបស់អ្នកទាំងអស់គ្នា – រូបគំនូរលើជញ្ជាំងនីមួយៗ គឺជាការប្រកួតប្រជែងផ្ទាល់ខ្លួនដែលខ្ញុំត្រូវតែធ្វើឲ្យកាន់តែល្អឡើង។ សម្រាប់វិចិត្រកររូបគំនូរតាមដងវិថីបែបសហសម័យនាពេលបច្ចុប្បន្ន ពួកគេមានការផ្តោតយ៉ាងខ្លាំងទៅលើរចនាបថនៃជីវិត – អ្នកតែងតែត្រូវបានគេអញ្ជើញឲ្យធ្វើដំណើរ និងធ្វើការកត់សម្គាល់ទីកន្លែងថ្មីៗជាច្រើន។ រាល់ការធ្វើដំណើររបស់ខ្ញុំបានផ្លាស់ប្តូរ និងបានជះឥទ្ធិពលដល់កិច្ចការសិល្បៈរបស់ខ្ញុំ ដែលធ្វើឲ្យខ្ញុំអាចបង្កើតទ្រង់ទ្រាយខុសៗគ្នា និងដាក់ពណ៌ខុសៗគ្នានៅក្នុងសកម្មភាពនានា។ ជាមួយនឹងវប្បធម៌ថ្មីៗដែលខ្ញុំបានចុះទៅសិក្សាដោយផ្ទាល់ វាតែងតែធ្វើឲ្យខ្ញុំមានថាមពលក្នុងការបង្កើតអ្វីៗថ្មីៗបន្ថែមទៀត។ ខ្ញុំសង្ឃឹមថា សិល្បៈរបស់ខ្ញុំនឹងបន្តធ្វើឲ្យខ្ញុំអាចស្ថិតនៅតាមដងវិថីម្តងហើយម្តងទៀតនៅពេលអនាគត ហើយខ្ញុំក៏សង្ឃឹមផងដែរថា សិល្បៈរបស់ខ្ញុំនឹងស្ថិតនៅយ៉ាងមានសេរីភាពនៅទីតាំងសាធារណៈ និងមិនត្រូវបានចាក់សោរទុកនៅក្នុងទ្រុងនៃវិចិត្រសាល ឬទីតាំងណាមួយនៃសារមន្ទីរឡើយ។

Websitechifumi.fr
Facebook
: ~/chifumistreetart

 

Contributor: Whitney Ng
Images Courtesy of Chifumi Tättowiermeister


Websitechifumi.fr
Facebook
: ~/chifumistreetart

 

អ្នកជំនួយ: Whitney Ng
មានការអនុញ្ញាតពី រូបថត: Chifumi Tättowiermeister

Hisham Akira Bharoocha

Ex-member of the Providence noise rock bands Lightning Bolt and Black Dice, Hisham Akira Bharoocha is also known as a multi-disciplinary visual artist. Half Japanese and half Burmese, Hisham moved around often in Canada, the U.S., and Japan with his family as a kid; his parents had the “American Dream” to make it out West, he says. Some of his artistic output includes some spectacular collages that he started to produce after he graduated from the Rhode Island School of Design (RISD) in Providence, Rhode Island. Neocha recently got to chat to Hisham about what inspires his stunning collage work in an exclusive interview below.


プロビデンス出身のノイズロック・バンド、ライトニング・ボルトとブラック・ダイスの元メンバーであるHisham Akira Bharoochaは、学際的なビジュアルアーチストとしても知られています。日本人とビルマ人との両親の間に生まれたヒシャムは、家族と共にカナダ、アメリカ、日本を転々とする幼少期を過ごしました。両親は、西洋で一旗揚げるという、いわゆるアメリカンドリームを抱いていたと彼は言います。彼のアート作品の中には、ロードアイランド州プロビデンス市のロードアイランド・スクール・オブ・デザイン(RISD)卒業後に制作を始めた見事なコラージュが見られます。今回のNeochaの独占インタビューでは、目を見張るようなヒシャムのコラージュ作品にインスピレーションを与えるものが何なのかを語っていただきました。

Neocha: When did you start doing collages?

Hisham: I started making collage-style notebooks when I was at art school. They were scrap books filled with photos and other things from my day to day life. I was influenced by Shinro Ohtake, Yamataka Eye, and Peter Beard, who all also made collage scrap books. After graduating from RISD, I found myself with not enough money to buy film, process the film, make prints, etc., so I started making collage as artwork as it was much cheaper to make. The reality of my situation drove me to make this kind of found image collage work. 


Neocha: コラージュを始めたのはいつ頃ですか?

Hisham: アートスクール在学中にコラージュスタイルのノートを作り始めました。これは、日常生活の写真を始め、様々な出来事が詰まったスクラップブックでした。私と同じようにコラージュのスクラップブックを作った大竹伸朗、山塚アイ、そしてピーター・バードに影響されたのです。RISDの卒業後はフィルムを買ったり、現像したり、印刷する資金がなかったので、はるかに安上がりなコラージュ作品を作り始めたのです。当時の生活が、このような既存の画像を集めたコラージュ作品を作るきっかけとなったのです。

Neocha: What is the concept behind some of your collages? Are they done in a series or sporadically?

Hisham: The concept comes from my fascination with how human minds are all wired differently and my collages are a visualization of how surreal the mind can be. Our viewpoints on what we experience through our senses is skewed are all based on our cultural background, life history, and mental affiliations to objects based on our upbringing. One’s mental architecture can be vastly different from another person’s. My collage work references dreams, daydreams, and meditation as well. 

Sometimes they are created as a series, mostly because a group of them were made at a certain time in my life where a few topics were at the forefront of what I was thinking about. But they are sometimes created sporadically, since I may be working more on mural paintings or drawings. I work on all mediums at the same time usually. 


Neocha: ヒシャムさんのコラージュにはどのようなコンセプトがありますか?シリーズ、それとも単発的に制作しているのでしょうか?

Hisham: コンセプトは、人間の心がそれぞれどのような異なる形で繋がっているのかという点への強い関心から生まれ、コラージュ作品には、心がいかに超現実的なものかがビジュアライズされています。私達が感覚を通じて得られる視点はぼやけていて、これは育ち方に基づく文化的背景、生活史、そしてオブジェクトとの精神的な結び付きによって異なります。人間は、一人ひとりの精神構造が大きく異なります。作品の中には、夢や白昼夢、そして瞑想をテーマにしたものもあります。

時には、人生のとある時期に考えていたことが真っ先に浮かんだものをいくつかのトピックとし、シリーズ化した作品もあります。ただ、壁画や線画の制作に徹していたため、単発的な作品もあります。と同時に、普段は考えを伝えるための手段として作品を手がけています。

Neocha: What materials do you use? Anything special or notable about your creative process?

Hisham: Until very recently I was using only found imagery for my collage work. That grew out of my photographic background, being interested in documenting moments that happen in the world that I am not imagining but just come upon – found moments. In my own collage-making process, I am constantly amazed and inspired by strange images I come upon which I cut from old books I find at the thrift stores. When I photograph, I am amazed to happen upon a situation that I could not have imagined myself, which leads me to want to make an image using a camera. In this way, I feel collage making is an extension of my fascination of the strange world we live in.

I have recently started using my own photographs in collages, and it has definitely changed the way the finished collages feel to me, since there is a reference to my own experiences and impressions I carry home in the photographs. I like that they reference a personal experience but they are very different from my earlier collage works. I still use found images in my collages, but at this point I haven’t really been mixing found imagery with my own photographs. 


Neocha: どのような素材を使っていますか?ヒシャムさんの制作プロセスで特筆または注目すべき点はありますか?

Hisham: つい最近まで、既存の画像のみをコラージュ作品に取り入れていました。これは、私の想像によるものではなく、この世で起きた瞬間的な出来事を記録に残すことに関心がある、写真家としての歴史から生まれたものです。浮かび上がったその瞬間を残すのです。コラージュ制作のプロセスでは、古本屋で見つけた本から切り抜いた奇妙なイメージに驚かされ、インスパイアされることがあります。写真を撮る時は、想像もしなかった状況との偶然の出会いに驚き、そこからカメラを使ってイメージを作るという思いに駆られます。これによりコラージュ制作は、私達が住む一風変わった世界への魅力を伸ばすものだと感じています。

最近は、撮影した写真をコラージュに取り入れることで私自身の体験や印象の片鱗が見せられるため、コラージュへの仕上げに対する思いが大きく変わりました。個人的な体験が元になっていたとしても、初期のコラージュ作品とは大きく違う点が気に入っています。今でも既存の画像をコラージュに使うことはありますが、既存の画像と私の写真を合わせて使うことはほとんどありません。

Neocha: Who are some of your creative influences? What inspires your collages?

Hisham: I mentioned some names earlier, but I remember being so in love with Russian propaganda poster art from the communist era, as well as some artists like Tadanori Yokoo, Dieter Roth, Man Ray, Maholy-Nagy, Henry Darger, Adolf Wolfi, Gabriel Orozco, Rosemary Trockel, Lothar Tempel, Tony Oursler, Sol Lewitt, Robert Irwin, Richard Tuttle, John McCracken, Frank Stella, James Turrell, Blinky Palermo, and Ann Truitt – to name a few off the top of my head. As a teenager, I was super into skateboard graphics from the 80’s and 90’s especially Jim Phillip’s graphics. These artists inspire me not only for my collage work, but for all the other types of work I do, which include mural paintings, performance, sculpture, and so on. 

I’m also very much inspired and influenced by my friends that I went to art school with, like Ara Peterson, Brian Chippendale, Bjorn Copeland, Whitney Bedford, Jim Drain, Dan Colen, and Joe Bradley – to name a few. I am still very inspired by my friends in New York. Going to studio visits is very inspiring. I feel lucky to get to go to galleries and museums regularly here. 


Neocha: ヒシャムさんの創造力に影響を与えた人物は誰ですか?コラージュにインスピレーションを与えるものは何でしょうか?

Hisham: 先ほど何人かの名前を挙げましたが、旧ソ連・共産主義時代のプロパガンダポスターアートであったり、横尾忠則、ディーター・ロス、マン・レイ、モホリ=ナジ・ラースロー、ヘンリー・ダーガー、アドルフ・ウォルフィ、ガブリエル・オロスコ、ローズマリー・トロッケル、ローター・テンペル、トニー・アウスラー、ソル・ルウィット、ロバート・アーウィン、リチャード・タトル、ジョン・マクラッケン、フランク・ステラ、ジェームズ・タレル、ブリンキー・パレルモ、そしてアン・トゥルイットといったアーチストにハマっていたことが頭に浮かびます。十代の頃は、80年代から90年代にかけてスケートボードのグラフィックス、特にジム・フィリップスのグラフィック作品にハマりました。これらのアーチストは、コラージュ作品だけでなく壁画、パフォーマンス、彫刻など、私が手掛けたあらゆる種類の作品に影響しています。

また、アラ・ピーターソン、ブライアン・チッペンデール、ビョルン・コープランド、ホイットニー・ベッドフォード、ジム・ドレイン、ダン・コーレン、ジョー・ブラッドリーなど、アートスクール時代の仲間達にも大いに触発され、影響を受けています。ニューヨークの友人達からは今でも大いにインスパイアされています。スタジオに足を運ぶ際はとても良い刺激になります。ここでは定期的にギャラリーや美術館を訪れることができ、とても幸運だと思っています。

Neocha: As you are also a musician, what role does music play in your visual artwork? Any relation?

Hisham: The creative process is very similar. It can start with a gesture, one mark with a brush, one cut-out shape in blank space. One mark leads to another. One drum hit or note on a guitar will lead to the next and very quickly you will have a beat or a melodic line. It may start with a gesture but usually a concept can be discovered during the process of creation.  

Most of my visual work feels rhythmic. I try to create compositions that keep your eye moving across a surface, so the viewer has the experience of movement when looking at an image. I like cyclical rhythms in my music and I try to create visual work that expresses that kind of feeling, like a rhythm where you can’t tell where it starts and ends. I want my visual work to feel like a non-religious mantra, not so much like a sentence with a start and ending. 


Neocha: ヒシャムさんはミュージシャンでもありますが、ビジュアルアートでは音楽がどのような役割を果たしていますか?繋がりはありますか?

Hisham: 制作プロセスがとてもよく似ています。身ぶりであったり、絵筆による印付けであったり、余白から形を切り抜くことから始める時もあります。そして、一つの印から次の印が生まれます。ドラムの一打やギターの音符から次の音色が生まれ、次の瞬間にはビートやメロディーラインが作られます。たとえ身ぶりから始まったとしても、通常、コンセプトが制作プロセスの中で見つかります。

私の大半のビジュアル作品にはリズムが感じられます。作品を見る人がイメージを見た際には動きを感じ、表面全体を見渡すような構成を心がけています。私は自分の音楽の周期的なリズムが好きで、どこから始まりどこで終わるのかも分からない、リズムのような感覚をビジュアル作品で作るように心がけています。始めと終わりがある文章ではなく、宗教性を帯びないマントラをビジュアル作品で表現したいと思っています。

Neocha: Have you come across anything interesting and new happening in the Asia region that has inspired you?

Hisham: I have always been interested in artists from Asia since I grew up in Japan. I like technology-meets-sound artists, such as Ryoji Ikeda – but of course I am also inspired by work by legends such as Lee Ufan, Ai Weiwei, and Park Seo-Bo. I hope that Asian artists can support each other knowing that there are cultural tensions based on what our governments have done to each other during wars and what not, but art should be a place where we can all connect and come together, talk about issues and support each others’ viewpoints. 


Neocha: アジア地域で、インスピレーションの源となるような興味をそそる新しい出来事には遭遇しましたか?

Hisham: 日本で育ったため、アジアのアーチストにはずっと興味がありました。池田亮司のようにテクノロジーとサウンドを融合させるアーチストが好きですが、もちろん、リー・ウーファン、アイ・ウェイウェイ、パク・ソボといった巨匠達の作品にも刺激を受けています。戦争中の政府による行為が原因で文化的な敵対意識があるとはいえ、アートとはお互いを理解し合い、協力し合い、問題について語り合い、意見を認め合うことができ、アジア人同士のアーチストがお互いを支え合う手段になることを願っています。

Website~/hisham-akira-bharoocha
Instagram
: @softcircle
Soundcloud: ~/soft-circle
Twitter: ~/HishamBharoocha

 

Contributor: Leon Yan


ウェブサイト~/hisham-akira-bharoocha
Instagram
: @softcircle
Soundcloud: ~/soft-circle
Twitter: ~/HishamBharoocha

 

寄稿者: Leon Yan

Raqib Shaw’s Fantasy World

The work of Indian-born, London-based artist Raqib Shaw imagines and creates fantastical worlds full of imagery that reflects a unique kind of cultural hybridity. His visually spectacular, and sometimes personal, paintings and sculptures merge iconography from both the East and West.

In recent years, Shaw has borrowed compositions from the work of the Old Masters from the 15th to 17th century – for example, the Italian artists Girolamo Mocetto and Marcello Venusti – reinterpreting and transforming the religious settings from the original paintings with his own imagery. Some of the newly introduced elements include images shot in his Peckham studio in South London, landscapes from his childhood home in Kashmir, some Hindu iconography, and Japanese decorative arts and architecture.

Raqib Shaw sometimes has also appeared as the main protagonist in his paintings in different guises. He has appeared as a joker, a mime artist, and even a ghoul lying in a coffin. The world of Shaw’s paintings is entirely constructed by his imagination and delivered with an injection of underlying black humour.

Shaw explores several dualities by combining elements, such as from Renaissance architecture by Mocetto, stylised landscapes of waterfalls, Japanese landscape paintings, and Baroque architecture by Marcello Venusti. By sometimes injecting his own presence in the painting and in his studio, his work suggests a convergence of reality and fantasy.

Shaw’s fantasy world celebrates a society free of any moral restraints, as in his series of paintings Garden of Earthly Delights, which were inspired by Hieronymous Bosch’s 15th century visionary triptych. Populated with a wide range of hybrid creatures, Shaw portrays a sensational scene of erotic hedonism, with an array of vibrantly painted flora and fauna, and a scene inhabited by figures such as phallus-headed birds, bug-eyed butterfly catchers, reptilian warriors, and monkeys holding parasols.

In both Shaw’s paintings and sculptures alike, he creates narratives that are multifaceted, and disrupt the harmony of the linear perspective. The dualities are everywhere in his work: heaven and hell, eroticism and restraint, transgression and submission, reality and fantasy.

Websiteropac.net/artist/raqib-shaw

 

Contributor: Shanshan Chen