Tag Archives: artist

Emptiness & Impermanence

Park Ki Pyung is an artist and sculptor who lives and works in Seoul, South Korea. Born in 1991, he’s currently a full-time student at Hongik University. His sculpture work deals with themes of human existence, impermanence, violence, and emptiness.


Park Ki Pyung是在韩国首尔生活工作的艺术家和雕塑家。他出生于 1991 年,目前是弘益大学的全日制学生。他的雕塑作品涉及的主题包括生存、无常、暴力和空虚。

Park’s work begins with the artist’s fear of impermanence and the fact that every moment is limited. His sculptures are his attempts at creating something permanent in an ever-changing world. Park says, “Limitedness of every moment is what bothers me the most, and my work starts from this pain. I am trying to deny the limitedness of mortality, but at the same time, I want to be confirmed as a human being. The current moment will end, but my essence could live forever with my sculptures.”


Park的雕塑作品从他对变幻无常的时间及空间的恐惧开始。通过雕塑作品,Park希望在不断变化的世界中创造永恒的事物。Park 说:”时间的有限性令我深感困扰,而我就是以这种痛苦为起点,进行创作的。我试图否认生命的有限性,但同时,我也想确定自己作为人类的存在。现在的每一个时刻都会结束,但我的灵魂可以通过我的雕塑永远活着。“

According to Park, his most recent work is about the self. “These days, I’m using the figure of a person with only a shell, to describe the condition of emptiness,” he comments. “I use the shape of the human body, but exclude the front of their face so that I can delete the unique characteristics of each person.” Beyond emptiness, the scenes of war and violence depicted in many of his works are also meant to express how we commit acts of violence against the self.


Park告诉我们,他近期的主要作品都是有关自我空虚的。“在最近的作品中,我创作了只有外壳的人形雕塑,来展现空虚的状态。我还创造了一些没有正面的人形雕塑,因为这样可以抹掉每个人的个性特点。”同时,他的作品还探讨了战争和暴力的主题,表达出自我对抗的暴力。

Park’s sculptures are meant to express a universal condition. Through meditation on self and others, Park tries to channel and express what it means to be human, from birth through time and death. He says, “I focused on my feeling, my behavior, and my way of viewing the world, and tried to find the universality of the human being inside me. Also, I observed other people and substituted myself for them. The top priority of my work is to gain universality. For this moment and for the moment after death, my work has to form something that can be understood in any era.”


Park的雕塑作品尝试表达出一种普遍性。通过对自我和他人的冥想,他试图在作品中展现出人类从出生到死亡的意义。他说:“我在创作时,会专注于我的感觉,我的行为和我看待世界的方式,试图在自己内心找出人类的普遍性。另外,我还会观察其他人,将自己和他们进行换位思考。普遍性是我的作品中最重要的元素。我想创作出在任何时代都能被理解的作品,不论是现在这一刻,或是在死后的时间。”

Instagram: @park_ki_pyung

 

Contributor: George Zhi Zhao
Images Courtesy of Park Ki Pyung


Instagram: @park_ki_pyung

 

供稿人: George Zhi Zhao
Images Courtesy of Park Ki Pyung

Victo Isn’t a Boy’s Name or a Typo

Growing up in Hong Kong as an only child, Victo Ngai spent much of her childhood drawing and creating imaginative stories from her artworks while her parents were away working long hours. Upon graduating from the Rhode Island School of Design, Ngai blossomed into a decorated illustrator, creating her visual stories on a much larger scale through her characteristically fluid and surreal drawing style. In 2014, Ngai was listed by Forbes in the 30 under 30 of the Art & Style category for her impressive illustrations. Her thought-provoking works are often featured in the likes of The New Yorker and The New York Times where she brings some of the world’s most pressing stories to life. Most recently, she collaborated with Apple to produce a Chinese New Year billboard in celebration of the Year of the Rooster, which was unveiled at the Apple Store on Canton Road in Hong Kong. “I like things that are not very realistic. That is the charm of illustration – it completely allows you to create your own magical world.”


来自香港的倪传婧(Victo Ngai )是家里的独生女。因为父母经常外出工作只留她在家,倪的童年大多数时间在一个人奇思妙想和画画中度过。从罗德岛设计学院毕业后, 倪传婧成为一名插画家,以流畅的线条和超现实主义的绘画风格,描绘出她脑中构想的故事。 2014 年,她凭借出色的插画作品,入选福布斯艺术与风格类“30 Under 30:Art & Style”榜单 (30位最具潜力的30岁以下的杰出新秀)。 她根据世界上发生的重大新闻事件,创作出发人深省的插画作品,并常常被发表于《纽约客》(New Yorker) 和《纽约时报》(The New York Times)等报刊杂志。最近,她与 Apple 公司合作,创作一个庆祝中国鸡年春节的广告牌,于香港广东道的Apple零售店展出。”我喜欢超现实风格的东西。这也是插图的魅力所在。它让你可以构建一个属于你自己的神奇世界。“

Website: victo-ngai.com
Facebook: ~/victo-ngai-倪傳婧
Instagram: @victongai
Behance: ~/victo

 

Contributor: Whitney Ng


网站: victo-ngai.com
脸书: ~/victo-ngai-倪傳婧
Instagram: @victongai
Behance: ~/victo

 

供稿人: Whitney Ng

20 Years of Convenience

For the last 20 years, South Korean artist Me Kyeoung Lee has traveled around her home country, armed with acrylic inks and a penchant for painting quaint little convenience stores. Throughout her childhood, Lee recalls frequenting these charming corner stores that are now becoming few and far between in modern-day South Korea. In each painting, she captures every little detail, highlighting each store’s idyllic features, its traditional signage, and miscellaneous bric-à-brac.


过去20年,韩国艺术家Me Kyeoung Lee带着她的丙烯颜料上路,走遍了韩国许多地方,寻找那些旧式街边小店。在时髦的韩国城市街头,这样传统的杂物小店越来越少,甚至只能在她的童年回忆中才能找到 ,Lee决定用画画的方式将它们保存下来。在这些作品中,Lee仔细描绘每间小店的一砖一瓦,画出小店丰富的杂物细节,也保留了它的传统特征和质朴的风味,

Artsy~/me-kyeuong-lee

 

Contributor: Whitney Ng


Artsy~/me-kyeuong-lee

 

供稿人: Whitney Ng

Between Two Ideals

Sydney-based designer and illustrator Joy Li arrived in Australia at the age of one after her parents immigrated over from mainland China. Growing up in an Asian household while living amongst a Western society has meant that Li has spent her entire life “wedged between two ideals.” Her latest project, Living as an Asian Girl, aims to showcase the frustration that many Asian women living in Western societies experience. This three-part series takes inspiration from social media, pop culture and internet memes. Although the presentation is light-hearted and approachable, Li seeks to shed a truthful light on the “difficulty in reconciling with conflicting identities and its subsequent effect on our psychological well-being.”


Joy Li是一名设计师和插画家。一岁时,她随父母从中国移居澳大利亚。作为一个生活在西方社会,却在亚洲家庭里成长的女生,Li的人生注定会夹在“两种价值观之间”。因此,在她的最新的设计项目《Living as an Asian Girl》中,Li希望向观众传达许多亚洲女性在西方社会生活会遇到的挫败和苦恼。整个项目分为三部分,灵感来自社交媒体、流行文化和网络爆红现象——虽然Li的表现手法走的是轻松有趣的路线,但她希望这件作品能传达给观众“在不同的身份间找寻平衡的艰难,以及它对我们心理上的影响”。

Words to My Daughter – “Dear Joy, I ____ You.”

Li arranges snippets of her everyday household conversations into a chart that measures each phrase’s frequency, tonal value and emotional impact. The sizing of the text correlates to the frequency that these phrases are heard. While such phrases may be eerily common across most Asian households, often uttered as a means of showing affection, they’re atypical and unexpected in Western society. Li’s intention is to shed light on these cultural contrasts while documenting her personal struggle with defining her own identity.


对女儿说的话—— 《Dear Joy, I ____ You.》

在这个作品中,Li记录了生活中妈妈经常和她说的话,并根据这些短语出现的频率、音调和冲击力作为标准,将短语以不同大小排布在网格上。出现越频繁的短句尺寸就越大,而且排列在最显眼的位置。观众透过这幅作品仿佛可以瞬间代入Li的生活。这样“关心式”的语句在亚洲家庭很常见,但以西方社会崇尚自由的标准来说,就显得有些突兀了。Li将这种有趣的对比记录在她的作品里,向观众直面传达了她成长环境的矛盾和挣扎。

Visual Serenade of Twitter Sentiments  – “A Sad Ballad for Asian Girls”

In this second piece, Li explores how Asian girls are represented online by correlating tweets into an image based on their delivery. The data was derived from Twitter searches relating to the keywords “Asian women” and “Asian girls”, with results ranging from offensive to empowering.


Twitter帖子的视觉小夜曲——《A Sad Ballad for Asian Girls》

在第二部分里,Li 将Twitter上搜索的帖子内容和根据这些内容形成的图像放在一起,进而探讨亚洲女孩在网络上的形象。她在Twitter网站上搜索“亚洲女性”和“亚洲女孩”的关键词,收集了一系列的帖子,其中既有侮辱性的内容,也有倡导女性赋权的内容。

A Character Quiz – “Who’s Your Token Asian?”

Along with limited representation amongst mass media, Asian women are also constantly pigeonholed into certain stereotypes. Li created this visual flow chart that takes viewers through a series of questions to discover their “token Asian.”


一个性格测验——《Who’s Your Token Asian》

除了大众传媒上营造的狭隘形象,人们对亚洲女性也存在一定的刻板印象。Li创作了一个视觉流程图,通过一系列的问题,让观众一步步发现和反省自己对亚洲女性的刻板印象。

Li describes herself as someone who draws inspiration from the past as much as the future and hopes that her work can “delight the mind’s eye and invite a sense of nostalgia.” What started off as a personal project has evolved into a beacon of truth that resonates with Asian women from all over the world.


Li形容自己是一个从过去和未来中找寻灵感的设计师,她希望自己的作品能够取悦观众的心灵和触发怀旧感。在最初,这只是Li自己的一个个人项目,现在已慢慢转变成一个追寻真相之旅,一个让世界各地的亚洲女性都深有共鸣的项目。

Websitejoyli.com.au
Behance~/joyyli
Instagram@_joyli

 

Contributor: Whitney Ng


网站joyli.com.au
Behance~/joyyli
Instagram@_joyli

 

供稿人: Whitney Ng

The Wanderlust of Sunga Park

Jaded by the daily grind of work, South Korean graphic designer and illustrator Sunga Park found solace in traveling around the world. Inspired by her travels, she would draw the buildings that she saw and the people that she met as a means of retaining these precious memories. Drawing these exotic locations became a form of respite for her, a welcome relief from her day-to-day routine.


厌倦了在韩国单调重复的生活,平面设计师和插画家Sunga Park选择周游世界,以调节自己。旅行的确带给她新的灵感,Sunga把旅行中看到的建筑物和遇见的人画下来,以保存这些珍贵的记忆。在旅行中画画带给她一个喘息的机会,将她从苦闷的生活中释放出来。

What makes Park’s work distinctive is her soft and fluid use of pen and watercolor. “Watercolor is the best medium for creating my art; the unpredictable characteristic of water allows me to give my art a natural aspect. My repeated attempts of working with watercolor led to a ton of failures. In a way, this medium taught me a lot about life.”


Sunga Park作品的独特之处,在于她对钢笔和水彩的出色运用,呈现出柔美而流畅的风格。“水彩是我创作时最好的伙伴;水的“不可预知”让我的作品中有一种自然的风格。在不断尝试用水彩创作的过程中,我也有过无数的失败。某种程度上,水彩也教会了我许多生活的道理。”

Park felt that her move from using software to using watercolor on real paper was truly liberating. “In graphic design, we have easy commands such as Ctrl+Z and Ctrl+S. But in reality, no one can save their real experiences onto a storage device and what we’ve done cannot be undone.” Working with watercolors led her to create a slew of projects in which she combines her previous graphic design experience with her love of visual art – she feels that her web design for House at Khlebny is one such project that has defined her as an artist.


对她来说,从电脑作画转为使用纸张和水彩作画是一种真正的解放。“用电脑创作平面设计时,我们可以很方便按下Ctrl+ Z和 Ctrl+S来操作。但在现实中,没有人可以将自己的真实体验保存到某个存储设备中,所有的行为都是无法撤消的。”她的水彩作品为她带来了许多设计项目的机会,在这些项目中,她将自己的平面设计经验与对视觉艺术的热爱出色结合。为 House at Khlebny 打造的网页和插画设计更她真正确定自己作为一名艺术家的身份。

Her most memorable travel experience took place when she was sketching along the streets of India and around Central Asia. In these countries, where she was unable to communicate in any language, she used art to bridge the gap. “Locals become really open-minded as soon as they came to understand what I was doing. They wanted to see my sketchbooks and even asked me if I could draw them. This is one of the greatest things that art can do – it allows me to share my talents with people and even give them a laugh.”


她最难忘的旅行经历是她在印度和中亚国家的街道上写生。在这些国家,她无法通过语言与当地人沟通,于是,她转用艺术作为沟通的桥梁。“每当他们知道我在画画的时候,就会自然放下防备。有时他们还会想看看我的速写本,甚至问我能不能画一下他们。这就是艺术的魅力所在——让我能够与他人分享我的才艺,甚至为他们带来欢乐。”

Currently on the move, Sunga feels incredibly blessed that her art has enabled her to travel to wherever her heart desires. Her upcoming itinerary includes a journey to Europe via the Trans-Siberian railway as well as North America and South America. This trip will form the basis of her next project, a foldable travel map that will depict all of her adventures. “The idea is to create a map that is almost like a book, so that I can share all of my travel stories with people that I meet on the road. My art can’t be completed on my own. It’ll be created with the people that I meet along the way.”


现在,Sunga 还在旅途中,她觉得自己十分幸运,因为艺术带她前往自己想要拜访的所有地方。接下来,她将要乘搭西伯利亚大铁路前往欧洲,之后再去到北美和南美探险。这趟旅行是为她的下一个项目作准备——Sunga要打造一个可折叠的旅行地图,在上面描画她的冒险旅程。“我想要创造一本像书一样的地图,这样我就可以和我在路上认识的人分享我在旅途中的故事。我的艺术不是由我自己一个人完成的,而是我和我一路上遇到的人一起创造的。”

Website: parksunga.com
Facebook: ~/parksunga.art
Instagram: @park_sunga

 

Contributor: Whitney Ng


网站: parksunga.com
脸书: ~/parksunga.art
Instagram: @park_sunga

 

供稿人: Whitney Ng

Contemporizing Thangka Art

Eight Spirits (2012)
Gold leaf, acrylic and ink on canvas
(50 x 90 in)

Tsherin Sherpa is a Tibetan artist who explores contemporary themes through his neo-traditional approach to Tibetan thangka painting. Born in Kathmandu, Nepal, he began studying thangka painting as a child under the tutelage of his father, Master Urgen Dorje, a renowned Tibetan thangka artist. In 1998, Sherpa moved to California, where he initially worked at a Buddhist center as a thangka artist and teacher. During this period, his introduction to the world of fine art led him to study art theory and art history, and to explore new works and mediums that are outside of traditional boundaries. Neocha spoke to Sherpa about his thoughts on art, culture, and Tibetan traditions in the modern world.


藏族艺术家Tsherin Sherpa通过“新传统“(neo-traditional)风格创作藏族唐卡绘画,探索各种当代艺术主题。Sherpa 出生于尼泊尔加德满都,他的父亲是著名的藏族唐卡艺术大师Urgen Dorje,Sherpa从小就跟随父亲学习唐卡绘画。1998年,Sherpa 来到美国加州。最初,他在当地一个佛教中心担任唐卡艺术家和教师。在此期间,他开始接触艺术,这促使他进一步去学习艺术理论和艺术史,并在传统界限之外探索新的作品和创作媒体。最近,Neocha与 Sherpa对话,了解他对艺术、文化和藏族传统在现代世界的一些想法。

In the Heat of the Moment (Black and White) (2016)
Platinum leaf, acrylic and ink on cotton
18¾ x 20 in

Neocha: How did you get started as an artist?

Tsherin Sherpa: At around the age of 13, my father decided to train me in the traditional art of thangka painting after seeing my interest in drawing. The formal training lasted for about five years. Training at such a young age was very tedious in the beginning. My first lesson was on drawing the head of the Buddha with a traditional grid measurement system, which I drew every day for almost three months. It was all about mastering the skill through repetition. After that, I learned how to prepare the mineral pigment paint, paint application, brush making, canvas preparation, and fine outlining with ink and gold. After a few years, I also studied Buddhist philosophy to understand the symbolism of Buddhist imagery.


Neocha: 你是怎样成为一名艺术家的?

Tsherin Sherpa: 在我大概13岁的时候,我的父亲发现了我对绘画的兴趣之后,决定让我学习唐卡绘画这种传统艺术。正式的学习持续了大约五年。在刚开始的时候,我年纪还很小,所以学习的时候会觉得很沉闷乏味。 我的第一堂课是在一个传统网格上画佛像的头部,连续三个月的时间里我每天都要画同样的佛像头部。通过反复的练习来掌握技巧。在那之后,我学会了如何制作绘画用的矿物颜料,如何上色,如何制作画笔和准备画布,以及如何用墨水甚至是黄金进行精美勾线。几年后,我还学习了佛教哲学,来进一步理解佛教意象中的象征意义。

Untitled (2016)
Gold leaf, acrylic and ink on canvas
36 x 71 in
UFO (Unidentified Fettering Organization) No. 1 (2016)
Acrylic, ink and gold pen on cotton
39½ x 53 in
UFO (Unidentified Fettering Organization) No. 2 (2016)
Acrylic, ink and gold pen on cotton
42½ x 55 in

Neocha: Can you tell us a bit about your creative process and technique? Where do you draw inspiration from?

Tsherin Sherpa: My recent works are very much inspired and informed by my own situation, as well as everything I experience around me. For example, the recent solo show I had in Hong Kong at Rossi & Rossi Gallery, titled Beautiful Decay, was inspired by the 2015 earthquake in Nepal. As for my technique, I blend traditional thangka painting techniques with several other techniques using various materials, which I experiment with on a regular basis in my studio. I am actually inspired and influenced by many artists both from the past and present: Duchamp, Warhol, and Murakami, to name a few.


Neocha: 你能跟我们分享一下你的创作过程和技巧吗?你创作的灵感从何而来?

Tsherin Sherpa: 我最近的作品的灵感大多来自于我生活的环境,以及我每天经历到的事情。例如,最近我在香港Rossi & Rossi Gallery举办的名为《Beautiful Decay》的个展,这些作品的灵感就来自于尼泊尔2015年的大地震。至于我的创作技巧,我会将传统唐卡绘画技法结合其他技巧和材料一起创作,我经常在我的工作室里进行不同的试验。实际上,我会从过去和现在的很多艺术家身上受到启发和影响,譬如Duchamp,Warhol和Murakami等等。

Muted Expression (2015)
Platinum leaf, acrylic and ink on canvas
46 x 102 in
Luxation 1 (2016)
Acrylic on canvas
20 x 20 in
Luxation 2 (2016)
Acrylic on canvas
20 x 20 in

Neocha: One of the main themes in your work is the profane versus the sacred. Can you tell us more about that?

Tsherin Sherpa: It’s fascinating to see how icons and imagery connote different meanings to different people. I am interested in exploring and understanding the functionality of these images from one culture, and their perception among people from various backgrounds who may or may not be familiar with that culture. It’s interesting to see how people, who are familiar with the culture, interact and confront the work, in comparison to people who are experiencing it for the first time. For example, works such as Luxation 1 and Luxation 2 consist of sixteen fragments of a traditional thangka. Those who are familiar with the image can immediately recognize the iconography, or even reconnect the fragments in their mind. But someone who may not be familiar with the iconography or the culture may find it to be an abstract design.


Neocha: 你的作品中的其中一个重要主题是世俗与神圣。你能跟我们介绍一下这个主题吗?

Tsherin Sherpa: 不同的人对各种雕像和意象的含义会有不同的理解,这一点是很有趣的。我很喜欢去探索了解一个图象在某种特定文化中的功能,以及来自不同背景的人们对这些图象的认知,他们可能熟悉也可能不了解这图象背后的文化。将一些熟悉这种文化的人看到我的作品时的反应,与那些对这种文化陌生的人们第一次看到这些图象时的体验作对比,这是很有趣的。例如,《Luxation 1》和《Luxation 2》这两个作品中包含了传统唐卡艺术的十六块碎片,熟悉这些图象的人马上就能看出来,甚至能在他们脑中重新拼贴这些碎片,但对不太熟悉这图象或文化的人来说,他们可能会觉得这是一种抽象的设计。

Tara Gaga (2016)
Gold leaf, acrylic and ink on cotton
30½ x 40 in
Victory To the Spirit (2015)
Gold leaf, acrylic and ink on paper
51¾ x 41 in

Neocha: Another one of your main themes is the preservation of culture. How do you maintain Tibetan tradition while being an artist in the modern world?

Tsherin Sherpa: Because of the training I’ve received from my childhood until now, and having grown up surrounded by Tibetan culture, the traditional iconography has remained a part of my vocabulary, through which I use to explore contemporary concerns. There isn’t so much emphasis on the preservation of Tibetan traditions in my work. To me, the Tibetan identity, iconography, and tradition are simply the starting points of the conversation through which everything else is explored.


Neocha: 你的作品的另一个重要主题是文化保护。作为一位当代艺术家,你要如何延续藏族传统文化?

Tsherin Sherpa: 由于我从小就一直在学习传统藏族文化艺术,也一直在藏族文化的氛围中长大,藏族文化的传统意象已经深深铭刻在我的脑海深处,是我用来探索当代实事问题的创作素材。在我的作品中,并没有特别强调对藏族传统文化的保护。对我来说,藏族身份、藏族意象和传统文化只是我探索其它事物的起点。

Expressions (No. 2) (2012)
Gold leaf, acrylic and ink on paper
22¼ x 22¼ in

Neocha: Your recent work, Wish Fulfilling Tree, was in response to the Nepal earthquake of 2015. Can you tell us more about that project?

Tsherin Sherpa: On April 2015, a catastrophic earthquake generated a shockwave that coursed through the people and structures of Nepal. Being away in America, images and stories of the destruction and aftermath arrived through secondhand sources. Not until August of that year did I personally witness the damage to familiar locations and neighborhoods from my childhood. Seeing my home uprooted sparked the initial desire to bear witness and rebuild.

For this project, I chose the traditionally inspired structure of the mandala, for within its structure, it holds the connotations of home, wholeness, and harmony. As I traveled around, I listened to neighbors’ stories about what they had gone through and what they still needed in order to rebuild. Many people were living in temporary structures since their homes were uninhabitable. People continued waiting for the arrival of funding to aid them. With these experiences arose a natural desire to work with the Nepalese people as an act of healing. I photographed survivors as a part of my documentation. I collected broken household objects that were damaged during the earthquake. These objects may seem random, but they hold special memories tied to homes and families. By gathering them all together in a new arrangement, they begin re-contextualization into something that is stronger than the individual fragments. A further shared commonality was acquired by asking seven hundred survivors to sign five rupee bank notes as a wish or prayer. I collaborated with local craftsmen to make the copper structure of the mandala that now contains these gathered objects as well as my spirit figure holding its hands up in a peace symbol. It’s hoped that the symbolic communal wish will reverberate back out into the community for the healing and rebuilding process of Nepal.


Neocha: 你最近的作品《Wish Fulfilling Tree》是为2015 年的尼泊尔地震事件而创作的。你能跟我们介绍一下这个项目吗?

Tsherin Sherpa: 2015 年 4 月,一次灾难性的地震对尼泊尔的居民和建筑都造成了巨大的冲击。当时我身在美国,只能通过二手资源的图片和报道来了解那次灾难和善后工作。直到那年的 8 月,我才得以亲自目睹这场地震对尼泊尔造成的伤害,那是一个我曾经十分熟悉的社区,我度过童年的地方。看到我的家被连根拔起,激发了我要记录这场灾难和重建的愿望。

对于这个项目,我选择了以传统文化为灵感的曼荼罗结构,因为它代表了家,和谐和完整。我四处游走,聆听邻居们的经历和他们重建家园的需求。很多人都住在临时搭建的“家”里,因为他们原本的家已经无法居住,人们还在等待援助资金的到来。这些体验很自然地激发了我与尼泊尔人们一起努力的渴望。对我来说,这也是一种愈伤的行为。我拍摄了当地的幸存者,作为我的纪录片的一部分。我还收集了当地居民家中在地震中破碎了的物品。虽然只是很普通的物件,但都代表了这些家庭的特别回忆。我将它们收集起来放在一起,形成新的组合,来重新讲述那些故事。相比单独个体来说,新的组合产生更强有力的冲击力。我还邀请了七百名幸存者在五张尼泊尔纸币上签名,作为一种愿望或祷告,进一步加强这种共性凝聚的力量。我和当地的工匠合作,打造出铜制的曼荼罗结构,在上面加入这些收集回来的小物件,以及我设计的做和平手势的人像。我希望在尼泊尔重建的漫漫长路中,这件作品所承载的美好愿望能留存于人们的心里。

Wish Fulfilling Tree (2016)
Cast-bronze mandala, found objects and signed Nepalese rupee notes
Dimensions variable
Twinkle Twinkle… Who You Are (Blue) (2015)
Gold leaf, acrylic and ink on paper
13 x 16 in

Neocha: Any upcoming plans you would like to share with our readers?

Tsherin Sherpa: I’m participating in a couple of current and upcoming shows, including Between Us: Relationship and Identity in Tibetan Contemporary Art at the Frank Museum of Arts at Otterbein University in Ohio, USA, and the Kathmandu Triennale 2017: The City, My Studio in Kathmandu, Nepal.


Neocha: 你有任何即将推出的项目想要与我们的读者分享的吗?

Tsherin Sherpa: 我正在筹备一些展览,有正在进行中的也有即将推出的展览,包括在美国俄亥俄州奥特拜因学院弗兰克艺术博物馆(Frank Museum of Arts)举办的《我们之间︰藏族当代艺术中的关系和身份》(Between Us:Relationship and Identity in Tibetan Contemporary Art)和和在尼泊尔加德满都举办的2017加德满都三年展︰这座城市,我的工作室》(Kathmandu Triennale 2017:The City, My Studio)。

 

OMG (2016)
Gold leaf, acrylic and ink on cotton
31¾ x 26¼ in

Websitetsherinsherpa.com

 

Contributor: George Zhi Zhao
Images Courtesy of Tsherin Sherpa and Rossi & Rossi Gallery


网站tsherinsherpa.com

 

供稿人: George Zhi Zhao
图片由Tsherin Sherpa与Rossi & Rossi Gallery提供

Doodling with Mooncasket

Mooncasket is a designer and illustrator from Hong Kong who is known for her cute and quirky character doodles. Part of a generation of up-and-coming Hong Kong creatives, Mooncasket’s murals, zines, stickers, and other DIY creations can be seen across the city. Neocha had the chance to speak with Mooncasket about her thoughts on culture and creativity.


香港设计师和插画家Mooncasket以她笔下可爱而古怪的个性卡通形象而为人熟知。作为新一代崭露头角的香港创意人才,Mooncasket的涂鸦、独立杂志、贴纸和其他 DIY作品分布于这座城市的各个角落。最近,Neocha有机会与Mooncasket对话,来了解她的创作理念,以及她对文化和创意产业的理解。

Neocha: How did you get started as an artist?

Mooncasket: I’ve been drawing since I was a kid, but I hadn’t picked up a personal style until recent years. I was one of those people who went to art schools, but never took being an artist seriously until the motivation just hit me one morning, and I was like, “Yeah! I should try and do this for real!”


Neocha: 你是怎样成为一名艺术家的?

Mooncasket: 我从小就开始画画,但一直到最近几年我才开始形成自己的个人风格。我觉得我就是艺术学校里那些从未认真想过成为一名艺术家的学生,直到有一天,我突然充满了动力,觉得“是呀!我应该试着做一名真正的艺术家!”

Neocha: Tell us about your characters. Where do they come from?

Mooncasket: My everyday surroundings inspire me, and I like to add an ironic, playful twist to everything. Also, a mixture of cartoons from the ’80s and ’90s and old-school monster films inspire me. The characters I draw are like my imaginary creature friends. If you’re having a crappy day, I hope they make you smile inside as much as they do for me.


Neocha: 跟我们介绍一下你笔下的角色形象吧。创作他们的灵感是什么?

Mooncasket: 我身边的日常事物就是我的灵感来源,我喜欢在我的创作中加上一点幽默讽刺的元素。另外,80年代和90年代的漫画作品,以及老式的怪物电影也是我的灵感来源。我笔下的角色就像是我存在于二次元的朋友。如果你今天心情不好,我希望他们能让你发自内心地笑一下,就像他们能让我开心一样。

Collaboration with photographer Dani Bautista

Neocha: What is the creative scene like in Hong Kong now?

Mooncasket: The creative scene in Hong Kong is definitely growing. It’s great to see more artists coming out and creating, and the public definitely appreciates local creativity more. I can’t say it’s easy to make a living as an artist here, but there are always solutions to keep a roof over your head, by having other jobs while you continue to do what you love. In my case, I’m also working as a freelance graphic designer.


Neocha: 现在香港的创意行业发展如何?

Mooncasket: 可以肯定地说,香港的创意行业正在不断发展。我很高兴可以看到越来越多的艺术家出现,进行创作,而且大众也比以往更欣赏香港本土的创意作品。虽然在香港要靠艺术为生并不容易,但是在这里你总能找到自己的办法来维持生活,你可以一边兼职做其它工作,一边继续做自己热爱的事情。譬如我的另一份工作就是自由职业平面设计师。

Neocha: How do you balance your own creative vision when doing client work?

Mooncasket: I used to draw darker imagery, usually in black and white, and I started making zines because I didn’t know what to do with all of my doodles. The response that came out of that initiative was pretty good. So I thought to myself, if I wanted to make a living from my doodles, I could try tweaking my style a little to appeal to a larger audience. After that, my work has become more colorful, and I’ve created friendlier looking creatures. Depending what clients prefer, I’m keen on doing either of my styles. My best advice for up-and-coming creatives is to not being afraid of trying new things!


Neocha: 当你为客户工作时,你如何平衡自己的创意理念?

Mooncasket: 我一直以来的绘画作品都比较黑暗,以黑白色为主。随着我的作品越来越多,我还开始去制作zine杂志(Zine杂志是独立出版的小型杂志刊物),反响很不错。所以我对自己说,如果我想靠画画来谋生,我可以试着调整一下我的风格,来吸引更多的观众。在那之后,我的作品色彩更加丰富,我创作的角色形象看上去也会更可爱。取决于客户的喜好,这两种风格其实我都喜欢。对于新一代的艺术家,我的建议是不要害怕去尝试新的事物!

Website: mooncasket.bigcartel.com
Instagram: @mooncasket

 

Contributor: George Zhi Zhao


网站mooncasket.bigcartel.com
Instagram: @mooncasket

 

供稿人: George Zhi Zhao

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