Tag Archives: artist

Between Dreams & Reality

Jenny Yu is a Chinese-American artist and illustrator based in Los Angeles, California. She is the environment concept artist at Mindshow, an app for creating, sharing, and experiencing shows in VR. Her digital illustrations create worlds that border between the edges of fantasy and reality, expressing whimsical moments through lighting, color, and shape.

Jenny Yu是一位来自洛杉矶的美籍华人艺术家和插画家。她是Mindshow(一个创作、分享和体验VR动画电影的应用)的环境概念艺术家。她的数字插图呈现出一个界乎于幻想和现实之间的世界,通过光线、颜色和形状来演绎种种奇妙的瞬间。

Yu’s most notable influence is Hayao Miyazaki, but others include Yuri Norstein, Makoto Shinkai, Kazuo Oga, and Kevin Dart. In addition to animation, she looks towards film, cinematography, and photography for inspiration, citing the late Chinese director and photographer Fan Ho as another one of her influences.

对Jenny Yu的创作影响最深的是日本动画大师宫崎骏,除此之外,还有俄罗斯动画导演Yuri Norstein,新海诚(Makoto Shinkai),男鹿和雄(Kazuo Oga)和美国动画人Kevin Dart 等等。除了动画,电影、电影摄影和摄影作品也启发着她的创作。她表示已故中国导演和摄影师何藩也是一位对她影响很大的创意人之一。

In addition to studying the works of other artists, Yu takes inspiration from her own life and memories. She says, “Most of my inspiration comes from feelings and experiences from childhood that I selfishly want to preserve and the ephemera of moments.” Taking seemingly ordinary moments from everyday life, she manages to create images that are nostalgic, magical, and fleeting – images that she hopes will help “soften the edges of living.”

除了研究其他艺术家的作品之外,Jenny Yu也会从自己的生活和回忆中寻找灵感。她说:“我的大部分灵感来自于童年时期自己尤其珍视的心情和经历,以及每个时刻的稍纵即逝性。”她将看似平凡的日常生活场景,创作成充满怀旧风格和奇妙魅力的瞬间性画像,希望这些画像可以“朦胧美化现实的生活”。



Contributor: George Zhi Zhao

Behance: ~/jennyyuu


供稿人: George Zhi Zhao

The Snacks of Singapore

Singaporean cuisine is a culinary melting pot that consists of influences from a variety of Asian ethnicities, including Chinese, Malay, Indonesian, Indian, Peranakan, Thai and Sri Lankan. Multiculturalism has permeated to the very core of Singaporean cuisine and a wide spectrum of dishes can be found throughout the country, from traditional hawker centers to trendy coffee shops. Singaporean illustrator Lee Xi Li cites Singaporean culture as his biggest inspiration, and the young illustrator has created a series of colorful cartoons that showcase many of the country’s favorite snacks.


Lee was inspired to draw after discovering the likes of Herge’s Adventures of Tin Tin, Fujiko Fujio’s Doraemon by, and Guy Delisle’s travel chronicles. His background in architecture also plays a part in his creative process; each illustration is created with a balance of playfulness and artistic precision.

比利时漫画家Herge 的《丁丁历险记》,藤子不二雄的《哆啦A梦》和 Guy Delisle的旅行故事都是当初启发他开始画插画的作品。他曾修读建筑学,这一点对于他的创作也有所影响。他的插图作品充分平衡了娱乐性和艺术性。


Kueh can be likened to a type of bite-sized cake that features ingredients such as coconut, pandan leaf, and gula melaka, which are all native to Southeast Asia. “I was fascinated by the plethora of kueh from the various cuisines around Southeast Asia. (Drawing) each piece led to the discovery of kueh I never knew.”


“粿”是一种精致的小糕点,一般用椰子、香兰叶和椰糖制成,这些都是东南亚的特色食材。 “东南亚地区有各种不同的’粿’,其品种之多令我着迷。(绘画)每一种‘粿’的过程中,我发现了很多原来不认识的品种。“

Lunar New Year

Traditional snacks play an important role in the Lunar New Year, they’re not only treats made available for visitors but also carefully chosen because of the good luck they represent.



Lo Hei Yusheng

Lee has also illustrated the traditional dish of yusheng, or otherwise known as the “prosperity toss,” which is a prevalent tradition within Southeast Asia. Each component of the salad is coupled with a fortuitous idiom and is usually enjoyed before each meal during the Lunar New Year period.




While mooncakes may appear similar on the outside, each cake can differ based on regionality. There are a wide variety of textures, ingredients and cooking methods that are used to create these Mid-Autumn Festival treats.


Proving that sweet treats in Thailand are more than mango sticky rice and red ruby, Lee drew a wide variety of other khanom, which is a Thai term for snacks and desserts. These delicacies include khanom baa bin, a Thai coconut cake; khanom tuay fu, a steamed muffin; khanom tien, a triangular stuffed dough with filling; and many more.




为了证明泰国的甜点不只有芒果糯米饭和“红宝石”,Lee 还创作了一幅 “Khanom” (Khanom即是泰语中甜品小吃的意思)这些美食包括以椰子为原料制成的糕点khanom baa bin、色彩斑斓的泰国蒸米糕khanom tuay fu、类似中国粽子的三角形甜品khanom tien以及更多让你食指大动的泰国小吃。

Dim Sum

Hong Kong-style dim sum is also widely available around Singapore. Lee decided to illustrate some dim sum trolley classics such as the har gao, or shrimp dumplings; char siew bao, otherwise known as barbecue pork buns; and siu maai, which are tiny steamed dumpling. There are also lesser known classics on the illustration, such as beef stomach, duck feet, and taro dumplings.



Beyond illustrating local snacks, Lee also contributes to a variety of local projects that celebrate Singaporean culture.”Growing up in Singapore, I’m most aware of the ever-changing landscape. It was my love for illustration that led me to rediscover my country,” he says. His latest illustration is a movie poster for 667, an anthology of short films by five Singaporean directors who each undergo a journey into their cultural heritage and explain how Singapore became their home.

除了展示当地小吃外,Lee也为各种新加坡文化项目贡献了力量。他说:“在新加坡长大,我感受着这里日新月异的风景。也正是我对插画的热爱让我再一次重新认识这座城市。 ”他的最新插画作品是一部名为《回程667》的电影海报,这部短片是由五位新加坡导演拍摄,并且他们都经历了一次文化遗产之旅以及体会到新加坡如何发展成为他们现在的家。

Website: leexinli.com
Behance: ~/PokPokandAway
Facebook: ~/PokPokAway
Instagram: @xinli29288


Contributor: Whitney Ng

网站: leexinli.com
Behance: ~/PokPokandAway
脸书: ~/PokPokAway
Instagram: @xinli29288


供稿人: Whitney Ng


Kim Sunkyung and Jeong Wonjun are the creative duos behind the South Korea-based art collective Sailors Studio. Their newest photography series, Conversation, features delicately distorted portraits that are projected across a fleeting cloth, tossed into twilight landscapes. The duo began experimenting with this fluid portrayal of the human face in their earlier photo series, Floating Life, where the cloth acted as “a screen to absorb a variety of images which tell the story of life and death”.

Kim SunkyungJeong Wonjun 是韩国艺术工作室Sailors Studio的两名艺术家。他们的最新摄影系列《对话》(Conversation),将精美的人像投射于飘逸的布料上,映衬暮色的风景背景。在早期的摄影系列《浮动生活》(Floating Life)中,他们第一次尝试创作这种充满液态动感的人像作品,用布料“作为屏幕,展现一系列影像,讲述有关生命和死亡的故事”。

From the Floating Life series
From the Floating Life series
From the Floating Life series

Whilst their previous photo series explored the themes of life and death, Conversation focuses solely on the former and delves into the topic of self-discovery. The work was originally inspired by French philosopher Emmanuel Levinas’ conception of responsibility, which states that being human meant that one is responsible for someone other than oneself, known as “the Other.” The cloth that is tossed into the air depicts one’s relationship with the Other, with each moment captured symbolizing a conversation. Through these portraits, “one finds one’s essence through the Other.” See the complete series below.

尽管他们以前的摄影作品探讨了生与死的主题,而这一次在《对话》中,他们只关注前者,深入探讨自我发现的主题。深受法国哲学家伊曼纽尔·莱维纳斯(Emmanuel Levinas)的责任观的启发,其中指出,作为人类,对他人的责任是与对自己的责任所不同的,这一点可以被称为“对方”。通过捕捉交谈中的每一个瞬间的特征,所完成的肖像告诉我们,“我们可以通过对方发现自我的本质”。下面一起来欣赏一下这一系列的作品吧。



Contributor: Whitney Ng



供稿人: Whitney Ng

Designing Happiness

Since arriving in Tokyo, Duncan Shotton has set about bestowing happiness around the world, one little hand-painted push pin at a time. Five years ago, in 2012, Shotton set up his own design studio in Japan. Since then, many aspects of his adopted home have served as inspiration. From holding his first pop-up shop in a tree within Tokyo’s Harajuku district to rethinking the humble soy sauce dish, Shotton has the ability to turn the everyday into the extraordinary.

2012年来到东京之后,英国设计师Duncan Shotton一直通过自己对平常生活的小用品的创意设计(譬如手绘小图钉),在世界各地传播快乐的精神。五年前,Shotton在日本成立设计工作室,日本的许多方面启发了他的创意灵感。不论是他在东京原宿区一棵树上开设的第一家概念性快闪店(pop-up shop),或是他对酱油碟的重新演绎,Shotton一直着眼于将平凡的小用品变得不平凡。


In Japan, it’s considered rude to wear shoes indoors. This custom is so deeply embedded into Japanese culture that many apartments come with a built-in sunken porch at the entrance. Shotton was inspired by stepping stones that he saw in Kyoto and designed Tobiishi as a clean space that serves as a stable treading spot for people greeting guests or accepting deliveries.


在日本,在室内穿鞋都是不礼貌的。这种习俗在日本文化中影响很深,以至于许多公寓在入口处都会设有一个“ 凹陷式门廊”。Shotton以自己在京都看到的垫脚石 为灵感,设计出Tobiishi,为人们在门口迎接客人或签收包裹时提供一个干净、稳固的踩点。

Soy Shape

Noticing that the natural color of soy sauce takes on a gradient form when poured into a shallow dish, Shotton designed these delightful dipping sauce dishes to give off the illusion of 3D shapes, giving an extra “dimension” to every sushi eating experience.

Soy Shape


Sticky Page Markers

This stationary series allows every bibliophile to build adorable landscapes from their favorite pages. From the iconic junk boats of Hong Kong sailing around the harbor to the infamous Godzilla monster terrorizing downtown, these page markers are sure to be a favorite amongst bookworms.

Sticky Page Markers


Shotton continues to work from Tokyo, collaborating with Japanese companies and sticking to a small production scale to maintain a high level of quality. His latest project, Planet Pins and the Moon – which is comprised of a hand-painted solar system and complete with a hand-casted concrete moon push pin – is now available for pre-order.

Shotton目前仍在东京生活,他与日本企业合作,坚持小规模的产量,以保证最佳质量。他最新的作品Planet Pins and the Moon是一组太阳系行星主题的手绘图钉,以及一颗用纯手作的混凝土月球图钉,现在已经开放预订。

Website: dshott.co.uk
Facebook: ~/DuncanShottonDesignStudio
Instagram: @_dshott


Contributor: Whitney Ng

网站: dshott.co.uk
脸书: ~/DuncanShottonDesignStudio
Instagram: @_dshott


供稿人: Whitney Ng

Scratching the Surface

Vhils is a Portuguse artist who has developed a unique visual language based on the removal of the surface layers of walls and other media with non-conventional tools and techniques. Coming from a background in graffiti, his work establishes symbolic reflections on identity, life in the urban context, the passage of time, and the relationship of interdependence between people and the surrounding environment. Currently based in Hong Kong, Vhils has developed a prolific series of works across the city. See below for a selection from the artist.

葡萄牙艺术家Vhils 通过凿刻墙壁表面,利用非常规的媒介工具,塑造出一种独特的视觉语言。他从涂鸦开始进行艺术创作,其作品展现了对身份认同、城市生活、时间流逝以及人与周边环境之间的相互依存关系的思考。Vhils目前生活在香港,并已经在香港街头拥有丰富的作品。一起来欣赏一下他的精选作品吧。

Website: vhils.com
Instagram: @vhils
Facebook: ~/vhils1


Contributor: George Zhi Zhao

A Tender Sadness

Nowadays, it’s all too common to see a piece of artwork get passed around the internet without any credits attached to the creator. One particular artist who often encounters this issue is sheep, a Chinese illustrator who purposefully stylizes his moniker with a lowercase “s.” But unlike most other artists, sheep doesn’t particularly mind – he’s more concerned with making art than the recognition that follows. His illustrations are peculiar; they’re beautifully illustrated, but the beauty is layered with a sense of melancholy and unease. The characters of sheep’s world are often depicted in their most vulnerable state, but they still remain eager on sharing their untold stories.


On first glance, some of sheep’s work might reveal hints of a Japanese influence behind the aesthetic. He explains, saying that one of his biggest inspirations is Hyakki Yagyo, a Japanese folklore about a night where a hundred different demons roam the streets, but his influences actually come from other sources that extend beyond Japanese culture, such as the fictitious worlds depicted in the Chinese books Classic of Mountains and Seas and In Search of the Supernatural. “When I was still a student, the works of a few Japanese manga artists really resonated with me,” he says. “So in terms of the technique and subjects I experimented with back then, it was influenced by Japanese culture. But for my newer works, I never stop and think if anything feels Japanese or Chinese – I’m simply interested in creating art with an overall Eastern aesthetic, art that transcends the boundaries of time and geography.”


As we discussed his background and initial interest with Japanese culture, sheep shared that one of his favorite fairy tales as a child was Mimei Ogawa’s The Mermaid and the Red Candles. The story is about a baby mermaid that was left at a shrine and discovered by an old couple from a seaside village who never had children of their own. The couple, who ran a candlemaking business, took the mermaid in and raised her. As the mermaid grew up, she helped the family business by drawing pictures of the ocean on the candles. Soon, these drawing made their candles quite famous in the area. Rumors about good luck blessing those who bought and lit her candles at the nearby shrine began to spread, leading to more people buying the candles. Hearing these rumors, a businessman convinced the couple that mermaids were bad luck and bought the mermaid from them. After, he locked in the mermaid in a cage and quickly left with her on a ship. On the same night, a violent storm sunk the ship. From that point on, the couple’s candles became a symbol of bad luck. All of the fishermen who bought the candles in the past all suffered an ill fate. Their candle business soon ended. Not many years later, the city became deserted, eventually turning to ruins. Legend has it now, fishermen passing by the ruins of the town would sometimes see a faintly glowing red candlelight drifting around the shrine.


The Mermaid and the Red Candles doesn’t have a happy ending or a sense closure. There’s no repentance or redemption, but it does leave plenty of room for personal interpretations. And in a way, it’s similar to sheep’s artwork now, which all have concisely constructed narratives that still leave much to the imagination of viewers. In Narcissus, sheep’s latest compilation book of his recent works, he even features an illustration based on Ogawa’s story.


Despite sheep’s impressive illustrative works, his interests and skills have gone beyond illustration alone. He originally comes from a background in ceramic design and has always been infatuated with sculpting. Eager to break the constraint of mediums, he began learning how to make sculptures and figurines by himself. His White Deer sculpture is even based off an earlier illustration of his. As part of the project, he also enlisted the help of photographer Ko Rou, to stage and set up a variety of scenes with the completed figurine.


As our discussion meandered and we began chatting about the movie Ghost in the Shell 2: Innocence, sheep comments that he believes art often conveys messages that surpass the original intent of the work. “Creation is like eating. It’s to satisfy an appetite. Completing an idea gives you an unparalleled sense of gratification. When I’m creating, I don’t immediately define what concepts or ideas I want to convey through it. When other people view my work, they might be looking at an authentic piece of my soul, but to them, it could be completely meaningless.”


Weibo: ~/ssheepp


Contributor: Shou Xing
Images Courtesy of sheep & Ko Rou

微博: ~/ssheepp


供稿人: Shou Xing

Vans Custom Culture Asia

Vans has brought the Custom Culture Competition to Asia for the first time ever this year. With a well-established reputation for individualism and self-expression, the Vans brand spirit is perfectly embodied through this competition. Working with the goal of rallying Asia’s creative community and providing a new platform to help showcase the region’s burgeoning creators, the contest invites everyone to flaunt their creativity for a chance to see their design make its way onto a pair of these iconic canvas shoes.

今年,Vans 首次将 Custom Culture 鞋履设计比赛带到亚洲。这一比赛充分体现了Vans 一向推崇个性化和自我表现的品牌精神,致力凝聚亚洲创意社区,为新兴艺术家提供一个新的创意平台。比赛邀请一众亚洲艺术家,尽情发挥他们的设计创意, 获奖者的设计将会被用于设计该品牌的全新帆布鞋产品。

For the competition, Vans has invited various respected artists from around Asia as both mentors and judges. Mentors will help the selected finalists to flesh out and complete their final design. These mentors include Chinese visual artist Lin Wenxin, South Korean illustrator Original Punk, Hong Kong-based woodworking atelier Start from Zero, Singapore-based husband-and-wife creative duo Sabotage, self-taught Malaysian street artist Fritilldea, and India-based street artist duo Varsha Nair. Judges include renowned San Francisco-based illustrator Jay Howell, Nini Sum of the Shanghai-based artist duo IdleBeats, plus many more.

在今年比赛中, Vans邀请了亚洲各地备受推崇的艺术家作为导师和评委。导师将帮助决赛选手改善其设计作品。这些导师包括来自重庆的视觉艺术家林文心, 韩国插画家Original Punk, 香港木艺画室Start from Zero, 新加坡夫妻组合艺术家Sabotage, 自学成才的马来西亚街头艺术家Fritilldea和印度街头艺术家组合Varsha Nair。评委则包括来自旧金山的著名插画家Jay Howell,来自上海 IdleBeatsNini Sum等等。

For the chosen winner, in addition to seeing their design brought to life and made available as a limited-edition item throughout Asia, they’ll also receive a grand prize of $2,000 USD and the opportunity to co-host a global House of Vans workshop with their respective mentor. Submissions are open from now until July 31st. Click here to learn more. Be sure to submit an entry before it’s too late!

比赛获胜者除了其设计会被用在品牌于整个亚洲限量发售的全新产品上之外, 还将获得2000美元的奖金。比赛投稿现在已经开始,将一直持续到731日。点击这里,了解更多。记得在截止日期前递交你的参赛作品哦!

Website: vans.com/customcultureasia


Contributor: David Yen
Images Courtesy of Vans



供稿人: David Yen

23 Temple Street

Hong Kong’s Temple Street is without a doubt one of the most iconic locations in Kowloon, known for being home to one of the busiest night markets in the territory. Using Google Street View, South Australian artist Joshua Smith traversed the famous street and stumbled upon a building on the corner of Temple Street and Hi Lung Lane. Inspired by an explainable appeal of the structure, the miniaturist set off recreating the building in its exactness over the course of three months by using a combination of reference photos from friends visiting Hong Kong, photos provided by locals, and of course, Google Street View. The result is an intricate diorama of 23 Temple Street, constructed with fiberboard, cardboard, wood, plastic, spray paint, wires, and chalk pastels. His 1:20 scale counterpart includes an array of mind-blowing details, such as a traditional Hong Kong street shrine on the sidewalk, complete with offerings of oranges; various street poster ads, shoddily pasted all over the exterior of the building; and even his own graffiti, sprayed on the rolling metal doors. Check out the entirety of his replica below.

作为香港最繁忙的夜市之一,庙街无疑称得上是九龙最著名的地标之一。来自澳大利亚南部的艺术家Joshua Smith 利用 Google 街景, 深入探索这条著名的香港街道时,无意中发现了庙街和熙龙里拐角处的一栋大楼。这栋位于庙街23号的大楼建筑结构极具特色, 激发了这位微缩模型大师的创作灵感。他在三个月的时间里,参考去香港旅游的友人所拍摄的照片,当地人们拍摄的照片以及 Google 街景照片,按1:20的大小将这栋大楼制作成一个比例准确的微缩模型,使用的材料包括纤维板、纸板、木材、塑料、喷漆、电线、粉笔粉彩。这个1:20的微缩建筑模型拥有众多精妙的细节, 譬如在人行道上的香港传统街头神龛, 前面还摆着人们用来供奉神灵的橘子;各种各样胡乱粘贴在建筑的外表上的街头海报广告;他甚至在金属门上加上了自己的涂鸦细节。一起来看看他的这个微缩模型作品吧。

Website: iknowjoshuasmith.com
Facebook: ~/JoshuaSmithStencilArtist
Instagram: ~/joshua_smith_street_artist


Contributor: David Yen
Images Courtesy of Joshua Smith

网站: iknowjoshuasmith.com
脸书: ~/JoshuaSmithStencilArtist
Instagram: ~/joshua_smith_street_artist


Contributor: David Yen
Images Courtesy of Joshua Smith

Only a Mother Would Know

The philosophy behind the works of Beijing-based photographer, Luo Yang is centered on the female gender. For Luo, the plethora of characteristics that women are able to embody is what makes them such a rich and intriguing subject matter. Over the past decade, her body of work has centered on the journey of girls growing up into women – capturing both the fragility and tenacity of women are what makes her images so humanizing. The life changes that her subjects undergo, such as the process of entering motherhood, inspired her latest photo series. “I was drawn to these women and their attempts in maintaining a balance between self-care and child rearing. It was a process that I appreciated greatly and found myself wanting to express. When I met Yu Mo and her son, I knew that their relationship would be central to this series. I want to continue capturing this relationship as both mother and son grow together. I hope this to be a long-term project which breaks all preconceived conceptions about ordinary human relationships.” Having more questions than answers after our talk with Luo Yang, we decided to chat with Yu Mo, the mother who modeled for this project, in an attempt to gain more insight into what this project means to her.


Neocha: What does this series of photographs mean to you? Why were you interested in participating in this project in the first place?

Yu Mo: Children are endlessly growing and developing. Each phase passes by so quick. If you miss it, it’s gone forever. I’m grateful that Luo Yang could record this period in our lives through this photo series, which I greatly treasure. I really enjoyed Luo Yang’s other female-related works. Her style is quite different from other photographers I’ve known, so I really wanted to try and work with her. Coincidentally, she had an idea to shoot a project related to children and childhood, so the stars aligned.

Neocha: 罗洋的这组照片对你的意义是什么?你为什么想参与这次合作?

玉墨: 孩子时时刻刻在成长,每个阶段过得都很快,如果错过就永远失去了,罗洋通过作品去记录下来这一刻,对我而言,非常宝贵。当时只是看了罗洋的女性作品,非常欣赏,和我身边的摄影师的风格不同,所以想尝试和她合作,正好她也希望能拍小孩主题的作品,所以一拍即合。

Neocha: How does your son feel about this photo shoot? What was his reaction to some of the photos afterward?

Yu Mo: He’s actually participated in his fair share of shoots already and didn’t feel like this project was any different. He reviewed every single photo quite seriously and told me which ones he liked. His favorites from this shoot are the ones where we’re cuddling and playing around. I don’t fully understand the standards he judges these photos on, but I assume it comes from a childhood innocence.

Neocha: 你的儿子是怎么看待这场拍摄的?他看过最终照片之后有什么评价?

玉墨: 其实他参与的拍摄挺多的了,不会觉得这次拍摄有啥特别。他很认真地看了每一张照片,并果断告诉我哪些是他喜欢的照片,他特别喜欢和我依偎在一起的和玩耍的照片。我不了解他评判的标准,应该更多是来自小孩的天性吧。

Neocha: It’s difficult to keep a young child calm. Can you share some of the interesting things that happened during the shoot?

Yu Mo: Seeing as how he’s been photographed a lot, he’s sort of experienced, so he doesn’t act unruly. I did tell him beforehand that this shoot would be in the nude. The funny thing is, the moment he took off his clothes in the room, he went wild and started horsing around. The removing of clothes was like a release of energy for him, something that unleashed his true and most natural self.

Neocha: 孩子都比较难控制,在拍摄过程中有因此发生什么有趣的事吗?

玉墨: 他拍得比较多了,可以说已经玩得蛮有经验了吧,所以还挺好控制的。事先有告诉他这次拍不穿衣服的照片,有趣的事是他脱完衣服就开始在房间疯玩,像是放开了天性、精力充沛。

Neocha: What are your thoughts on nude photography? What does it represent to you? If you weren’t nude in the shoot, how would it alter the meaning behind this series?

Yu Mo: As a model, I feel like it’s important to work with the photographer on their envisioned theme and message. Of course, during the process, the model can express their own thoughts and suggestions to the photographer. Being nude or not isn’t important. The most important part is fully conveying the feelings and themes that the photographer is after. Whether you’re clothed or nude, you can still produce great photography. In the end, it’s about what you’re trying to convey.

Neocha: 对于全裸体的拍摄你有什么看法?它代表了什么?如果拍摄是穿衣服的,正系列的意义会是跟裸体不一样么?

玉墨: 我觉得作为模特,主要是配合摄影师的主题和表达,当然,在具体呈现中可以提出自己的感受給摄影师参考。裸不裸不是主要的,关键是能不能体现摄影师的需要表达的情感,主题。穿衣服和裸体一样可以有好的照片,关键看你想表达什么。

Neocha: Have your friends or family seen these photos? What were their reactions?

Yu Mo: My family hasn’t seen them, but many of my friends have. Some people like them, some have said I’m brave, and some don’t approve. It’s definitely controversial, but I’m unaffected by outside opinion, I only look to myself. I think this project was quite a natural and realistic depiction of my son and I. What parents haven’t been in a circumstance where they’re unclothed in the same room with their offspring?

Neocha: 你身边的亲朋有看过这组照片吗?他们又会对这组照片有什么看法?

玉墨: 亲戚家人没有看过,朋友当中有很多关注. 有赞赏,也有惊叹我大胆的,也有不认可,争议肯定是有的,但我不会受外界干扰,还是比较属于自我的。而且我觉得我们作品表现得很现实,很自然。哪对父母没有在孩子的小时候和他们赤诚相待过?

Website: luoyangphoto.com
Instagram: @luoyangphoto


Contributor: Sonic Yuan


网站: luoyangphoto.com
Instagram: @luoyangphoto


供稿人: Sonic Yuan


Bicycle Boy

After visiting Seiseki-Sakuragaoka, the Japanese suburbs that the 1995 Studio Ghibli film Whisper of the Heart was modeled after, Polish-born and Tokyo-based artist Mateusz Urbanowicz was inspired to paint his Bicycle Boy series, which consists of ten watercolor paintings that bring the film’s narrow roads and suburban landscapes to life. Urbanowicz uses 6B pencils to sketch out each moment before coloring them with Schimincke and Winsor & Newton watercolors. This series takes us on a journey of a dedicated bicycle boy who rides up challenging inclines and through the elements in order to reach his destination. Many of Urbanowicz’s other illustrations are also inspired by his new adoptive home of Japan as well as the animated backgrounds that feature in many Japanese anime films.

波兰出生的艺术家Mateusz Urbanowicz目前生活在东京。在参观完日本郊区圣迹樱丘(Seiseki-Sakuragaoka)——1995年吉卜力电影《心之谷》(Whisper of the Heart)的场景原型后,Urbanowicz创作了《自行车男孩》(Bicycle Boy)水彩画系列,通过十幅水彩画,栩栩如生地呈现出电影中出现的狭窄小巷和日本郊区景观。Urbanowicz在创作时,先使用6B铅笔画出草图,然后用Schimincke和Winsor&Newton水彩上色。这个水彩画系列带领观众,跟随一名骑自行车的男孩,骑过艰难的斜坡,经历各种天气,朝着目的地进发。Urbanowicz的许多其它插图的灵感还来自于他如今生活的日本,以及许多日本动画中的场景。

Website: mateuszurbanowicz.com
Facebook: ~/urbanowiczmateusz
Instagram: @mateusz_urbanowicz


Contributor: Whitney Ng

网站: mateuszurbanowicz.com
脸书: ~/urbanowiczmateusz
Instagram: @mateusz_urbanowicz


供稿人: Whitney Ng