Tag Archives: artist

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。

Tobiishi

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.


Tobiishi

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

Shotton注意到,将酱油倒入较浅的碟子时,其颜色会出现自然渐变的效果,于是,他设计了有趣的酱油碟,营造出3D形状的幻觉,让你在每一次吃寿司时都能享受到额外“维度”的体验。

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

这个文具系列让每个爱书之人在标签自己最喜欢的书页时,同时创造出可爱的风景。书签图案各式各样,包括香港标志性的传统垃圾船以及入侵东京的哥斯拉,这些书签贴纸肯定会深受书虫的喜爱

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
WeChat: VHILS

 

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.


有些作品大家都看过却未必清楚知晓作者出处,sheep大概就是这样一个插画师,默默地画着自己的画,默默地做着自己的人形,他的插画不算明媚也没有正能量,却是另一种黑暗又悲伤的细腻美,敏感纤弱的人物都仿佛诉说着关于自己的故事。

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.”


初见sheep的作品,很容易感受到一种日式氛围,但他的作品中的灵感来源也不仅仅来自日本百鬼,还有更多《山海经》和《搜神记》中的志怪传说。“早期学生时代会因为跟日本一些画家的作品产生共鸣感,所以技法和题材上会有意识在所谓的日式审美做尝试。反倒现在我创作的时候,也不会刻意去预设这是日式的,这是中式的概念了,就是整体的、我个人所想表达的东方的东西,无时代性和地域性。”就这个问题他如是说。

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.


说到这里,我们又跟他聊了聊他最初对日本文化的了解,sheep跟我们分享了一个他小时候看的童话故事-小川未明的《红蜡烛与人鱼》:大概内容是说一条向往人类世界的人鱼,将自己刚出生的女儿送往了海边的神社。小人鱼被海边渔村一对没有儿女的老夫妇遇见收养。老夫妇靠卖蜡烛为生,人鱼姑娘长大后对大海充满憧憬,开始在蜡烛上画画,使老夫妇的红蜡烛名声远扬,成为出海人祈福的象征,神社香火也旺了起来。有一江湖商人闻此消息,欲重金买走人鱼姑娘,说人鱼是不祥之物。老夫妇迷失心窍,点头同意。商人把人鱼姑娘关在笼中,装运到海上。结果当晚雷雨暴风,巨浪滔天,货船沉没。从此,老夫妇的蜡烛成为灾祸之物,买过的渔民出海无一幸免,生意也再做不下去了。没过几年,山脚下那座小镇就成了一片废墟,不存在了。之后偶尔会有出海的人看到海上隐约的烛光一直飘到废墟神社前。

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.


这个故事没有一般令人欣慰的圆满结尾,也没有十分需要令人悔改的警醒,但最后的一抹烛光却格外引人遐思,大概这也就像sheep现在的插画一样,说一个点到为止的故事,他的作品集《水仙》中也以绘本的形式诠释了这个故事。

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.


陶瓷专业出身的sheep对人形和雕塑都很有兴趣,因为不想局限于平面创作,他也制作了自己的人形,靠他自己一点点耐心的自学,白鹿童子也从的画作里活化而出,他还与摄影师扣桑合作,完成了这组人形照片。

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.”


跟sheep聊到押井守的《无罪》,他觉得作品也会像这样传达一些超越内容本身的东西,“其实很多创作就跟本能吃饭等一样,是一种类似快感的欲望,完成脑中所想的这件事会带来不可替代的幸福感,所以我不会特别预设自己是要传达什么意义或者想法,其他人看到作品就是当时我所脱壳出的一部分我,反而他们其实某种层面来说是没有意义的。”

Weibo: ~/ssheepp

 

Contributor: Shou Xing
Images Courtesy of sheep & Ko Rou


微博: ~/ssheepp

 

供稿人: Shou Xing
图片由sheep与扣桑提供

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


网站vans.com/customcultureasia

 

供稿人: David Yen
图片由Vans提供

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.


摄影师罗洋擅长拍摄以女性为主题的作品,她认为女性的原始天性中有着一股柔软与脆弱,这部分的特质是很人性化的,并且十分的感性,但同时也存在着一种潜在的顽强精神,正是这种特质打动了她。在这10年的拍摄过程中,罗洋的镜头下记录了很多女孩的成长,是女孩变成了女人再到母亲的过程,她一直都试图去捕捉这种身份的变化,特别是成为母亲的一些女性。罗洋说:“当我看到她们试图维持自我和母亲这个角色的平衡时,当她们努力在琐碎的家庭生活中不失去自我时,我发现这是我想去表达和欣赏的。所以当我认识到玉墨和她的儿子(这组作品的主角),很快就觉得我要去拍摄他们。”由此产生了这组母子为主题的作品。这将会是一个长期的拍摄,接下去也会继续记录他们母子两人的生活,记录人性与爱,试着打破常人固有的观念。对于这组有趣并且大胆照片,我们有太多的问题想问了,所以经过摄影师的允许,我们采访到了这组照片中的主角,模特母亲玉墨,通过她的角度我们试图了解这组照片对她的意义。

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

Hip-hop & Fine Art in the Forbidden City

 

无法观看?前往优酷

Yulong Huang is a Chinese contemporary artist based in Beijing, China. After graduating with a Bachelor of Fine Arts in Sculpture from the Jingdezhen Ceramic Institute in 2007, he has made a name for himself as a pioneering member of China’s new generation of artists. Fascinated with foreign culture since his youth, Huang combines Eastern tradition with modern influences to express a new Chinese youth identity. Best known for his sculptures of Buddhas in hoodies, his works have been featured in exhibitions around China and the world.


中国当代艺术家黄玉龙2007年毕业于景德镇陶瓷学院雕塑专业,目前生活在北京。他被誉为中国新一代先锋艺术家。黄玉龙年轻时就对外国文化特别感兴趣,通过融合东方传统文化与现代影响, 他诠释出一种全新的中国青年文化。他最著名的作品是穿着帽衫的佛像, 其作品曾在中国和世界各地的展览会上展出。

Websiteyulonghuang.com
Instagram: @huang__yulong

 

Videographer & Contributor: George Zhi Zhao
Music Courtesy of Do Hits Records


网站yulonghuang.com
Instagram: @huang__yulong

 

视频摄影师与供稿人: George Zhi Zhao
视频音乐友情提供: Do Hits Records

An Artful Aftermath

Cleveland-born and Singapore-based artist Debra Raymond knows first hand about being in transit. After leaving Ohio, she lived in Jakarta before relocating to the little red dot; in her art,“constant migration” remains as a heavy inspiration. Contemporary social issues such as urban alienation and technology’s hindrance on human connection feature heavily within her body of work.


艺术家Debra Raymond出生于美国克利夫兰,如今定居新加坡。对于”迁徙“,她深有体会。离开俄亥俄州后, 她先是在雅加达生活,后又移居新加坡。在她的作品中, “不间断的迁徙” 一直是一种沉重的创作灵感,她在作品中深入探讨着各种当代社会问题, 如城市异化和科技对人际关系的影响等等。

During her BA (Hons) Fine Arts in Singapore’s LASALLE College of the Arts, she explored the significance of play in childhood development and how to encourage human interaction through art in our technologically advanced era. In late 2016, Raymond completed an artist residency at the Children Centre of Japan in the Miyagi Prefecture’s Ogatsu-cho. During her residency, she conducted workshops with local children to create a series of works to remember the 2011 tsunami and earthquake.


在新加坡拉萨尔艺术学院(LASALLE College of the Arts)攻读荣誉学士学位期间, 她研究了戏剧在童年发展中的意义, 以及如何在科技先进的时代通过艺术来鼓励人类互动。2016年9月, Raymond 完成了“艺术家驻住计划”(Artist-in-residence),居住在日本宫城县小村庄Ogatsu-cho的儿童中心。期间, 她以2011年的海啸事件为灵感,为当地的儿童举办艺术讲习班。

Inspired by the houses that survived the tsunami, Raymond created 20 sculptures out of wood that was foraged from the area. The sculptures are based on 30 sketches that were painted in 30 days. The series was created to commemorate “the everydayness that we often take for granted” and installed around the prefecture.


Raymond 以海啸中幸存的房子为启发,利用当地获取的木材,并以她在驻住期间完成的30幅作品为基础创作了20个雕塑。她所创作这一系列雕塑,被安放在村庄的不同角落,目的是为了赞颂 “那些往往被人们当作理所当然的平凡生活” 。

Website: debraymond.com
Instagram: @deb.ra

 

Contributor: Whitney Ng
Images Courtesy of Debra Raymond

 


网站debraymond.com
Instagram@deb.ra

 

供稿人: Whitney Ng
图片由Debra Raymond提供

Xooang Choi on the Human Anatomy

Surreal and hyper-realistic, these seemingly contradictory traits have become the signature aesthetic of Xooang Choi‘s sculptures. His approach of incorporating anatomically correct human features – which have all been crafted with excruciating attention to detail – onto his nightmarish creations make each sculpture that much more harrowing. From the head of a Great Dane sewn onto the neck of a life-sized man to a pair of wings formed by disembodied hands, the South Korean artist seems to know no bounds in deforming and contorting familiar human bodies and body parts into deeply disturbing works of art. But through invoking discomfort, Choi’s goal is to draw attention to important societal issues such as human rights, discrimination, and isolation. Scroll down and see more of Choi’s haunting sculptures below.


看似矛盾的虚幻与现实相结合,成为了韩国艺术家Xooang Choi雕塑作品的标志性超现实主义风格。他所精雕细琢的人像拥有符合现实比例的身体,与梦魇般的元素相结合后,每一件雕塑作品更具震撼力。大丹犬的头像被缝接在真人大小的人类身体上,无数的手臂堆叠成一双翅膀——他在作品中无所顾忌地扭曲、变形人们所熟悉的人体和身体部位, 最终呈现出令人不安的作品。这些雕塑看上去可能令人不安,但Xooang Choi的真正意图是引起人们对人权、歧视和孤立等重要社会问题的关注。接下来,再来欣赏他其它的一些雕塑作品吧。

Facebook: ~/xooang.choi
Instagram: ~/xooang

 

Contributor: David Yen
Images Courtesy of Xooang Choi


脸书: ~/xooang.choi
Instagram: ~/xooang

 

供稿人: David Yen
图片由Xooang Choi提供