Tag Archives: china

The Art of Suggestion

If you did one sketch every day, what would you draw today?

The first time I saw the work of Du Juan, who draws under the pseudonym Xiao Duzi, I couldn’t find a title or an explanation, just a short date—a day, a month, a year—and this diary-like approach is what piqued my curiosity.

Look closely at the giant man with a house for a head and a black cloud hanging over his shoulders, and you’ll see that most of the space is left to the observer, left to the imagination.


如果每一天你都会画一张画,今天的你会画些什么?

第一次看到小杜子的画,就是没有命名、没有简介,只见一个短短的日期,某年某月某日。正是这充满日记性质的概念,充分调动起了我的好奇心。

仔细一瞧,一栋房子代替大脑,乌云悬浮在巨人的两肩,而更多的空白,则留给观者,留给想象。

For now these drawings are largely a daily record of experience. In 2016, when Du Juan returned from England, where she’d studied, she took a job teaching. “Art is art, teaching is teaching,” she says, explaining that she prefers to keep the two separate. “The only thing linking them is that, when I teach, I can pass on some fundamental skills and my understanding of art. But art requires independent thought,” she says.

As for her influences and inspiration, Du says that recently she gets a large part of her inspiration from poetry, and reads everything from Oscar Wilde to classical Chinese verse. “In general I like two types: poetry that offers a glimpse of life, and poetry that expresses an emotional state,” she says. “Particularly once you’ve acquired a little life experience, you can sort of understand the deeper meaning of classical poetry.”


这些涂画,暂时多是日常感受的记录。2016 年,从英国留学归国后,目前的小杜子,日常从事着教育工作。“创作是创作,教育是教育。”对她个人来说,更愿意把两者分开,“它们所具有的联系只是(让教育)把创作中一些体会和基础技术传授出去。而创作的事儿还得是独立的思考。”

而要说对创作的影响和激发,小杜子说近期,诗歌占了不小比重。王尔德也好,传统的古诗也好,“一般会喜欢两种,一种是对生活的洞见,一种是情感的抒发。尤其当慢慢有了些生活的阅历,多多少少才似乎明白古诗中的深意。”

The characters in Du’s drawings are just outlines and suggestions, but the details are unique. She thinks this may be because she likes to take slow, solitary walks, where she sometimes happens across intriguing sights that she incorporates into her art. “No matter what I draw, or what materials I use, or what style I’m trying out,” she says, “I always hope the drawing will contain something that’s quiet and not obvious but can nevertheless be understood.”


画里的人物轮廓模糊,细节却很独到,小杜子说,那可能是因为喜欢一个人散步,走得也慢,意外会看到些有感触的小东西。“只是无论画什么,用什么材料,尝试什么风格等等,都希望画里建构一份安静和不被识破但可被理解的内容吧。”

Behance~/XIAODUZI
Weibo: ~/艺术插画师小杜子


Contributor:  Chen Yuan


Behance~/XIAODUZI
微博: ~/艺术插画师小杜子


供稿人: Chen Yuan

Vanishing Act

Ever since he moved to Shanghai in 2013, London-born photographer Alexis Goodwin has been fascinated by the city. He immediately found it “atmospheric, epic, and visually stimulating,” with high rises stretching into the clouds and bustling little alleyways coexisting in a strange harmony. Wherever he turned, there always seemed to be something to record, and he set out capture his experiences on film. The result is his new photography series, Shanghai Dreams. 


自从五年前踏足上海并在此生活的那一刻起,来自伦敦的摄影师 Alexis Goodwin 就深深地为之吸引。和很多人一样,Alexis 对这座城市的第一感觉,就是“大气、史诗般的壮阔和强烈的视觉冲击”,擎天入云的高楼和充满生活气息的羊肠小道,奇妙又毫不冲突地结合在一起。因此在每一个你转身的地方,好像都有一些特别的东西可以入镜,于是,他的新摄影系列《上海梦》(Shanghai Dreams)诞生了。

Living in the city, Goodwin slowly began to discover the lives of the people who live behind its prosperous façade, hawking goods in street stalls, playing chess or cards, or dancing in the plazas at dusk. And of course, he saw plenty of demolition crews.

Shanghai Dreams benefited from the fact that Alexis lived near Laoximen when large-scale demolitions were just getting underway. “I realized the region was changing fast, with entire blocks being demolished and street food vendors disappearing.”


在这座城市里生活,Alexis 慢慢发现了淹没在繁华背后的小人物的生活,有街头叫卖、柴米油盐,也有下棋打牌、跳广场舞,当然,还有拆迁的工地。

这个项目《上海梦》的开始,就得益于当时的 Alexis 住在老西门附近,而大规模的拆迁运动也正在同期进行。我发现这片地区的面貌在迅速改变,房屋推倒、整个街区被拆空,街头叫卖小商贩也逐渐销声匿迹。

Goodwin works in advertising and knows his way around post-production software. In this series, he used the same methods. “I chose to keep only the characters I was interested in and strip away everything else, creating an ethereal gradient background with just enough of the original ground to give an echo of reality,” he says. “But I used street photography of real people, which I hope is a little unexpected.”


从事广告摄影的 Alexis,很熟悉后期处理照片的程序。在他这个系列,他也用了一样的方法:(后期处理)我选择只保留我感兴趣的角色,并删除所有的其他东西,创造一个飘渺的梯度背景,仅有足够的背景基础,以提供一个生态的现实。但我使用的是街头摄影的真实的人,我想创造一些意外感。

Goodwin’s fragmentary moments of anonymous people—office workers navigating intersections as they cycle to work, street vendors scrolling through their phones in their downtime—are what “reflect the soul of the city,” in his view. “Theses scenes are a distillation of a real Shanghai moment.”

Perhaps the other Shanghai, the “Bewitching City” of concrete and glass towers, is just a mirage. What really leaves a mark are the people, or life itself. “I hope to show the soul of a city,” he says. “I hope these images serve as a record and an homage to the magic of Shanghai life.”


Alexis 的镜头中,无论是在建筑工地吸烟的女孩,还是骑着自行车正准备在路口拐弯的上班族,或者是市场里的小摊贩闲来无事翻着手机……这些不知名的小人物所呈现的零星片刻,却恰恰是 Alexis 心目中反映了城市的灵魂的所在。这些场景是真实的上海的升华。他说。

而钢筋水泥与反光玻璃搭建出来的魔都,那不过是海市蜃楼般的光景,真正能留下印记的,是人,和生活本身。我希望通过这些照片来展示一个城市的灵魂,也希望借此表示对上海生活的一种记录和致敬。

Behance: ~/alexis goodwin
Instagram@alexisogoodwin

 
Contributor:  Chen Yuan


Behance: ~/alexis goodwin
Instagram@alexisogoodwin


供稿人:  Chen Yuan

Climbing Higher with Bao

Street art in Hong Kong is still very young, and Bao is one its leading lights. Even though she’s only been painting for the past three years or so, she competes with the globe-trotting artists who headline festivals worldwide.

Her cartoon murals bubble and roll like waves, with characters spilling over one another in a constant rhythm. Inspired by Japanese manga comics at a young age, Bao could be found with a pencil in her hand for most of her life. But until recently, she was stuck behind a computer in an uncreative design job. “Our generation says, if you do art you can’t survive or make money. So they ask you to study design instead,” she explains. The artist eventually found herself bored with her job, so a couple of years ago she up and quit, deciding instead to travel overseas and try living off her art.


在香港,街头艺术还很年轻,而 Bao 正是其中一位领军人物。尽管 Bao 创作街头艺术只有三年左右,但她早已和全球各地参办艺术节的街头艺术家不相上下。

Bao 笔下活泼可爱的卡通墙绘,像波浪一样翻滚着,人和物以流动的方式漂浮着。从小深受日本漫画的启发,Bao 热衷画画,并且在生活中大部分的时间里,她都会手握一支铅笔。但其实直到不久前,她还在电脑后面做着一份毫无创造性的设计工作。“我们这一代人常说,如果你从事艺术行业,就不能生存或赚钱啦。所以很多人会让你改学设计。” 她解释说。最终,Bao 实在发现对自己的工作感到厌烦,所以几年前她放弃了,决定去国外旅行,尝试以艺术为生。

It turned out to be a good move. She discovered her talent for street art in Italy, thanks to some local artists, just as the scene started blossoming back home. Space Invader had visited, leaving behind his trademark pixelated characters, and when the government began removing them, it caused something of an outcry, bringing even more attention to the murals. This was also around the time when Hong Kong Walls, the city’s premiere street art festival, was launched.

Although things were off to a good start when she returned, it was still an uphill battle: “My first year back, I was trying to find walls to paint everywhere. Begging people. No one would give me walls!” Undaunted, Bao persisted, and these days clients come to her.


这个放弃的决定,结果证实下来还不错。她在意大利发现了自己在街头艺术方面的天赋,这多亏了一些当地艺术家。这边,得益于Space Invader 曾经来访,在意大利留下了他标志性的像素人物,但当政府开始逐步清除它们时,却引起了一片哗然,更大成都上引起了人们对街头墙画的关注。而与此同时,在她的家乡香港,正逢当地的街头艺术节——“香港墙涂鸦”(Hong Kong Walls)开始的时候,墙绘也开始新兴发展。

Bao 回港时,适逢香港墙上涂鸦不错的开始阶段,但这仍可说是一场艰难的战斗。“第一年,我一直在找墙,到处找,到处求人。但没人给我墙!” Bao 却不气馁,一直坚持,以至最近都有顾客找上门来。

While she paints mostly at home, she’s been attending more international festivals of late, recently landing a Simpsons-themed project in Bristol. Originally she wanted to paint her own mural, but they were out of wall space. When they returned with an offer to have her paint Bart and Homer characters, she jumped at the opportunity. She and two other artists painted the yellow cartoon murals, while the rest of the artists did separate projects. Her murals look a lot like the very early Simpsons characters, but that’s just a coincidence. “I don’t really watch the show, but I started to watch it when I got the mural and I quite like it,” she admits with a laugh. “The style isn’t a reference to any period, it looks like the old Simpsons, but it’s actually just my style.”


虽然 Bao 大部分时间是在家里作画,但她近期一直在参加更多的国际性活动,最近她获得了由布里斯托尔政府委托的一系列以《辛普森一家》人物为主题的作品。本来她只想自己选择主题来画墙绘,但因为种种空间限制,最终她负责了“辛普森一家项目”创作机会。当他们带着她画的 Bart 和 Homer 的人物回来时,她欣然抓住了这个机会。她和另外两位艺术家画了黄色的卡通涂鸦,而其余的艺术家则从事个人的不同工作。她的墙绘看起来很像早期辛普森笔下的人物,但那只是一个巧合。“我以前并不怎么看这个节目,但当我拿到画时我就开始看了,我还真的喜欢上它了。” 她笑着承认。“这画的风格并不像我任何时期的作品,它看起来像最初版的辛普森一家 (《辛普森一家》的第一季绘画风格和后续季有点不一样,人物形象更饱满可爱一些,但实际上这正是我的风格。”

The large-scale, full-color works represent a new stage for Bao. In the beginning, she’d do monotone pieces, sometimes just bold outlines on a blank surface. But as she’s gotten more comfortable with the medium, she’s started adding more and more elements. In Shanghai she recently did a five-story mural. Since she’s still rather new to things, she still uses paint brushes for outlines and only picks up spray cans to fill in larger pieces. Her background in design drudgery has come in handy too, helping her manage clients and organize work.


大规模且全彩的作品,代表了 Bao 一个新阶段的开启。一开始,她会做单调的作品,有时候只是在空白的表面上画一些粗体。但是,随着她对这种媒介越来越适应,Bao 开始添加越来越多的元素。她最近在上海了一面五层楼的墙。因为 Bao 对这样作画还比较陌生,她仍然用画笔画下轮廓,然后拿起喷壶来填充较大的部分。她原先在设计工作上的背景也派上用场,能够帮她管理客户和整理工作。

Street art has turned out to be a surprising source of income in a city with a notoriously high cost of living, allaying fears that art isn’t a viable career path. “There’s a living to be made now,” she says. But the public is still coming to terms with it. “I’ve only had good experiences, but I have friends who say people complain a lot. Some people hate it, they don’t care what you’re painting, they just don’t like it. Haters gonna hate.”


在一个以生活成本极高而出名的城市,街头艺术成了一个出人意料的收入来源,这减轻了人们对 “艺术不是一条可行的职业生涯” 的担忧。她说:“现在生计有了着落。” 但公众仍需要一个接受的过程。“我有些朋友告诉我说,对墙绘现在人们有很多抱怨。有些人讨厌墙绘,他们根本不在乎你在画什么,就是不喜欢它。愤世嫉俗的人看什么都不顺眼。” 

Website: simplebao.com

 

Contributor: Mike Steyels


网站: simplebao.com

 

供稿人: Mike Steyels

Face Value

You're in my pictures.

These days it seems interactions with others are always mediated by the screen of some device. In our hectic lives, talking in person has become a luxury. Gone are the days of friendly banter and shooting the breeze, replaced by the tip-tap of our on-screen keyboards. But what if we could set our phones aside for a moment, look each other in the eyes, and spend more time speaking face to face?

To hold onto the important people in our lives, perhaps we need to do more than keep them in mind. Why not keep them in art? Shanghai-based designer Hema’s independent accessory brand Face to Face creates wearable pins with an individual likeness, letting you hold the memory of others close to your heart (in a literal sense). The cute, pastel-colored pins are created with a mix of unconventional materials, such as steel wires, pieces of metal, and even cereal grains, and finished with a transparent layer of resin. All of her pins are unique—one-of-a-kind, just like real people. “When I think of the people in my life, each one has their own distinctive traits,” she says. “So I wanted to record their faces in the form of pins.”


曾几何时,人与人的交流之间总是隔着一层荧幕,近在咫尺的陪伴渐渐变成我们紧凑生活中的一种奢侈,寒暄和话语也总是被键盘上的反覆敲字取代。如果,我们可以暂时放下手机,看一看彼此的脸,多一点面对面的时光——

为了把身边重要的人的脸庞好好记下,不只记在脑海,也要记录在创作里。现居上海的设计师河马(Hema)自创品牌 Face to Face ,主要的作品脸谱胸针收录了形形色色的人们的脸。扑上温柔的色彩,造以浑圆的形状,并结合多种异想天开的材质拼接,钢丝、金属、甚至是谷物,压印在通透的树脂里。每一个胸针就像我们所遇见的每一个人一样,都是仅此唯一的存在。“我想起身边的人们,每个人都很有自己的特点,于是想把他们的脸通过胸针的形式记录下来。”

I'm a Photographer
I'm a Storyteller

“At first I just wanted to make fun faces, so I made the pins. But ultimately, they’re static,” Hema says. “I also like things that are goofy and dynamic. I firmly believe movement brings vitality, so I began wondering if there was a way to make the pins more lively, have them tell a story.”

This desire led to her first animated works. The series Exhibition, based on her Face to Face pins, is inspired by childhood memories of her mother and others.


“我一开始只是研究怎么做有趣的脸,所以有了脸谱胸针,但它们毕竟是静态的。我也喜欢搞怪和动态的东西,坚信运动会带来生命力,所以想说是不是可以让胸针更生动一点,传递一些故事?”

于是就衍生出更多具有故事感的动态图像作品。以下是河马以胸针为主要创作素材,发想的动图系列《看展》,灵感来自小时候有关母亲的回忆。

 

 

First time seeing an outdoor film 第一次看户外电影
First visit to a museum 第一次去美术馆
You told me about the Loch Ness Monster 你给我讲尼斯湖水怪的故事
First time taking me to see grown-ups at work 第一次带我去观察大人上班
First time following a pop star 第一次追星
Seeing a magic show together 一起看魔术表演
First time exploring the outdoors 第一次野外探险
First time at the firefly park 第一次去萤火虫公园

In her Forest series, the familiar faces of her pins have become fully developed characters with their own backstories. As they wander through a forest of the artist’s imagination, they pass by each other and encounter each other again. The series is inspired by Japanese novelist Haruki Murakami’s Norwegian Wood, with each image directly based on quotes from the book itself.

Through all these works, Hema wants to help us hold onto the beautiful, one-of-a-kind faces around us.


在另一系列《森林》里,脸谱都化身为人,在一个不存在于现实的森林里来来去去,彼此错过、再相遇。这是河马以她最喜欢的日本作家村上春树的作品《挪威的森林》作为启发,依据书中名言所创作的动图。

通过这些创作,希望让大家都能好好记得我们身边那些美丽、而独一无二的脸庞。

 

What makes us most normal is knowing that we're not normal. 我们的正常之处,就在于自己懂得自己的不正常
It is wonderful for two people to love each other, don't you think? 人与人可以爱得那么深,实在美妙
How great? Great enough to knock down all the trees in all the forests of the world. 如何好法?好得像全世界森林里的树通通倒到地上
I want you always to remember me. Will you remember that I existed, and that I stood next to you here like this? 希望你可以记住我,记住我这样活过,这样在你身边呆过
We were like kids who grew up naked on a desert island. If we got hungry, we'd just pick a banana; if we got lonely, we'd go to sleep in each other's arms. 我俩就像在无人岛长大的光屁股孩子,肚子饿了就吃香蕉,寂寞了就相拥而眠
Nobody likes being alone that much. I don't go out of my way to make friends, that's all. It just leads to disappointment. 哪里有人喜欢孤独,只不过不乱交朋友罢了,那样只能落得失望

Weibo~/FacetoFace
WeChat: faceworkshop

 

Contributor: Yang Yixuan


微博: ~/FacetoFace
微信公众号: faceworkshop

 

供稿人: Yang Yixuan

Comically Bizarre

We’re often limited in how much we can do and experience in our lives. To solve this dilemma, Chinese comic artist Nini created Maomao, an alter ego of herself who’s free to experience the things she can’t in her own life. “Maomao lives in a world of freedom, so she can completely be true to herself,” Nini says.

Born in the summer of 2015, Maomao is a blonde girl with unshaven legs who, in every scene, appears nonchalant about her nakedness. To understand Maomao, you only need to read the comics, but what about the artist behind her? To learn more about Nini, we decided to play a fun game of questions with her.


我们的日常生活充满了各种限制,于是漫画家拔丝拟泥(Nini)选择了创造另一个自己——毛毛,以体验她也许没办法亲身经历的生活场景。“毛毛活在一个相对自由的世界里,所以她能完完全全地做自己。”她说。

2015 年的夏天,毛毛开始出现在所有人的视线里,这个腿毛浓密一头金发的酷女孩,若无其事地裸体在每个场景里,把专属于 NiNi 的现实延伸开来。

关于 NiNi 的毛毛人格,我想有关毛毛的那些小漫画大概可以说明一切了,但关于 NiNi 本人的样子,我们找她玩了一个接力题游戏。

Basic Information

Name: Nini
Horoscope: Virgo
Birthday: August 23rd
Life motto: Be happy all the time.


基本信息

姓名: NiNi
星座: 处女座
生日:8.23
人生信条:及时行乐

Favorite Things

Favorite subject: Art, lalala.
Favorite food: Sweet, spicy, cold.
Favorite Song: Ugh, how am I suppose to pick just one.
Favorite movie: Can’t decide on a favorite, but the first movie that comes to mind is Happy Together.
Favorite colors: Red and green. Pink and purple. Purple and green.
Favorite novel: I don’t read books.
Favorite comic artist: I like any comic artist with a playful spirit.


个人偏好

科目: 美术课啦啦啦啦
食物: 甜的辣的 冰的
歌曲: 好烦 这要怎么选
电影: 讲不出最爱但是脑海里第一个浮现的是《春光乍泄》
颜色: 红配绿 粉配紫 紫配绿
小说: 不看小说
漫画家: 拥有有趣灵魂的漫画家都喜欢

Miscellaneous Q&A

 

The place you wish to go most: The fewer people, the better.
A period of time you miss the most: Studying for my entrance exam to postgraduate school. Boohoo.
Favorite activity: Taking walks on nights with pleasant weather.
Happiest memory from this year: Getting into postgraduate school.
Favorite ice cream flavor: Sea salt.
Worst fear: Bugs on my legs.
If you were an object or animal, what would you be: Probably a pig.
Number of secret crushes: One or two?
Something you can’t stand: A windowless room.
The person you want to see the most: I want to take a shower.
Where you’ll end up in ten years: Living in a friends’ house.
Favorite thing about yourself: Tough question.
Saddest experience: Too many to name.
Pets you’ve owned: I can’t even take care of plants. Forget it.
Something you refuse to eat: Insects.


个性问答

 

最想去的地方人少就好
最怀念的日子
考研5555
最喜欢做的一件事
天气好的傍晚去散步
今年目前为止最开心的一件事
考上理想中的研究生了
喜欢的冰激凌类型
海盐
最怕什么东西
腿很多的虫子……
用一种东西(或动物)比喻自己的话会是
猪吧
暗恋过几个人
一两个?
无法忍受的是
没有窗户的房间
现在最想见的一个人现在想去洗澡
觉得自己十年后会在哪里
朋友家蹭住吧
对自己最满意的地方
: 这题好难
伤心的经历
: 太多了
养过的动物
吊兰都养死的人,算了
不敢吃的东西
虫子

Have you ever been too shy to confess your love: Nope.
Would you rather have someone who loves you or someone you love: Both.
Most coveted Valentine’s Day gift: Buy me a house?
Normal bedtime: Usually 1 or 2 am.
How much do you drink: I’m an alcoholic.
What would you wear on a date: Something comfortable.
Most trusted people in life: My mom and my friends.
The person you love is asleep in front of you, what do you do: Turn on air conditioning.
Biggest regret of 2018: 2018 isn’t over yet.
The most touching memory: Someone letting me stay at their house.
Mom or dad: Mom.
The last time you gave a heartfelt laugh: This afternoon.
Your favorite person: Caishen, the god of wealth.
Biggest desire: Make a ton of money.


会因为害羞而不敢跟人表白么:不会
选择你爱的人还是爱你的人
:都要
情人节最想收到的礼物
给我买个房?
通常几点上床睡觉
通常一两点
喝酒么
: 一个酒鬼
与喜欢的人见面,想要穿成什么样
: 舒服的
最信任的人
: 我妈和好姐妹
如果看到自己最爱的人熟睡在你面前你会做什么
开空调
最想不好穿什么颜色的时候,你会选择什么颜色
黑色
2018 年你最后悔的一件事是什么
2018年还没完呢
曾经有过最被感动的事是什么
被人收留
比较喜欢爸爸还是妈妈

最近一次发自内心的笑是什么时候
今天下午
现在你最喜欢的人是谁
财神爷
目前最大的愿望
赚很多钱

Weibo: @拔丝拟泥
WeChat: WILDWORLD


Contributor: Shou Xing


微博: @拔丝拟泥
微信公众号: WILDWORLD


供稿人: Shou Xing

Worlds Within

Heads wrapped in yarn with only one eye peeking out, faces replaced with clocks, or necks transformed into springs and mouths made into beaks: with all these strangely deformed faces, what do these images represent? And why are they like this?

Zou Liangping, who hails from Hubei province, is currently doing an MFA in watercolor at the Sichuan Fine Arts Institute. These illustrations are part of her “dream series.” “Dreams are a bridge connecting the real world to a virtual world,” she says. “Painting, as a way of portraying the self’s position between dreams and reality, has a very direct relationship to the awakening and establishment of a person’s self-consciousness. These works are a subjective representation of the self in dreams and reality, from a physical state to a mental state.”


缠满绒线的大脑,只有一只眼睛、幻化成钟的脸庞,甚至脖子变成弹簧,嘴巴成了鸟喙……种种怪异的畸形脸,这些画作代表了什么?又缘何如此?

来自湖北的艺术家邹良平,目前还在四川美院水彩画系读硕士。这些作品,是她的“梦系列”水彩插画。“梦境是现实世界通往虚拟世界的桥梁,用绘画来描绘自己在梦境和现实中的生活状态,是与人的自我意识的苏醒与确立有很直接的关系。从某种意义上来说,(这些作品)是对梦境和现实中的自我从生理状态到心理状态的一种主观再现。

At first glance, each of the figures in the scenes has a large head, and the scenes playing out inside each one, or their metaphoric significance, are all different.

“Every story is the visual manifestation of individual and social experience, mental and emotional experience, creative experience, and meditates on a specific theme. It represents a moment’s mood and gives insight into my life,” says Zou.

Each figure in these images has an indifferent outer appearance and a rich inner world, and that may be the truest depiction of the current generation. Not yet thirty, Zou is an only child, like most people her age in China. Having no siblings and growing up amid the increasing alienation of a rapidly urbanizing society, Chinese artists of this generation often make silence and reflection a dominant theme of their work.


初初看画,画里的人个个支棱着大头,而每个脑袋中装载的景象、作为喻体的物件各不相同。

“每个故事的原型都是由个人社会体验、内心情感体验、创作体验以及围绕着某种主题线索的一种思考而呈现出的画面效果,它代表一个时间段里我的情绪和对生活的感悟。” 邹良平说。

其实,画面中每一个人都具有淡漠的外表和丰富的内心世界,也是这一代人最真实的写照。身为 90 后的邹良平,也是独生子女中的一员。在从小没有兄弟姐妹陪伴的情况下,这一代年轻人常常形单影只,并且随着城市化到来人与人之间的感情变得更加疏离,旋即而来的是沉默和思考,成为盘踞大脑的主旋律。

And so, to present these themes, Zou has placed all sorts of objects within the heads and faces of her characters. All of these elements carry symbolic meaning and are used to reveal each character’s emotions, personality, contemplations, and behavior. Zou says this approach is her way of conveying the idea that how a person perceives the external world is directly related to their own thoughts.


于是,画的背景不再是白布一张,而成了人的头脑和脸庞。邹良平说,因为 这样可以更好的诠释‘相由心生’这一道理。因此在我作品中通过每一个人的不同的面部符号语言,来揭示不同的心情、个性、心思与作为。”

Her paintings appear to use an irrational artistic form to reflect the fantastical. A closer look, however, shows that the irrational actually has its reason. “All I’m doing is recreating reality with my meandering artistic method,” she explains. Zou’s “fantastical” approach to painting lets her make free use of imagination to present her vision of reality as surreal, dream-like portraits.


再细细一瞧,她的画看似采用非理性的艺术形式反映了荒诞的内容,实则非理性之中隐含着理性。这种 荒诞” 的绘画方式,可以让邹良平自由自在地发挥想象,“以曲折的艺术手法再度创造现实”,以梦,为马。

Website: ~/邹良平

 

Contributor: Chen Yuan


网站: ~/邹良平

 

供稿人: Chen Yuan

A Moment’s Encounter

Some photographers find their calling at an early age, playing around with a parent’s camera and taking snapshots of their friends. Not Su Yang, who also works under the name Jan Sol. As a child, he never felt drawn to photography, and he didn’t really start taking pictures until college. “I was studying advertising, and a professor told us to carry around a camera, so we could capture inspiration on the fly,” he says. “I liked taking shots of scenery everywhere, and when I put them online, to my surprise a lot of people liked them, which motivated me to keep going.” Eventually, magazines and fashion brands took note and started seeking him out for collaborations—and before long, almost by accident, he’d become a professional photographer.


有些摄影师很早就对摄影产生兴趣,喜欢摆弄父母的相机,拍摄他们朋友。但对苏洋来说却并非如此。小时候的他从未对摄影格外感兴趣,直到上大学他才真正开始拍照。他说:“我当时在学广告,那时候老师会建议我们随身带一个小相机,可以随时抓到一些灵感。然后我就喜欢到处拍一些风景,没想到传到网上还挺多人喜欢的,这就给了我一些动力继续拍下去。” 杂志和时尚品牌最终注意到他的作品,并开始与他合作。就这么偶然间,他很快成为了一名专业摄影师。

Unsurprisingly for a fashion photographer, most of Su’s work features human subjects. Yet that wasn’t always the case. “When I first started out, I didn’t like to take pictures of people at all,” he says. “I was far more interested in the world around me than in other people—and not just in terms of photography.” Shots of scenes and landscapes seemed let him more easily express his moods.

Later, as he started taking fashion assignments more regularly, he began to study the works of classic photographers and became fascinated with how they captured their subjects at a particular moment. “Only then did I start to practice, and the more I shot human subjects, the more interesting I found them.”


作为一名时尚摄影师来说,他的作品自然大多是人像作品,但他说,“其实最开始拍照的时候,我是一点都不爱拍人的。” 他说,“我当时对周遭环境事物的兴趣远远大过对人的兴趣,不仅仅是在摄影上。” 对他来说,场景和风景照片更适合传达情绪。

后来,因为时装项目越来越多,他开始研究著名摄影师的作品,对他们在瞬间内捕捉人物的技术入迷万分。“那时候起我自己也才开始进行练习,之后就是越拍越觉得人物非常有意思。”

Even Su’s noncommercial photography carries the imprint of his background in fashion. He often shoots his models alone in a room, sitting half-naked on a bed or on the floor, sunlight filtering onto rumpled bedsheets. The models have an air of self-conscious vulnerability as if they’re aware of how exposed they are—and aware too of how unnatural their position is, how strange it is to be sitting for a photograph. Su seems almost to be reminding us how carefully staged the moment is.   

In one photo, for example, two models, chests bared, look directly at the camera, their eyes meeting the viewer’s gaze. Yet their candor is at odds with their tension in their arms and the affectation of the props in front of them—a dinosaur figurine, a dragonfruit, and an open pomegranate. This combination of intimacy and artifice resembles nothing so much as a fashion shoot.


甚至连苏洋的非商业摄影也带有时尚摄影作品的痕迹。他的作品常常是他与一名模特呆在一间房间里就完成拍摄的。模特半裸地坐在床上或地板上,阳光投射在皱巴巴的床单上。镜头下的模特展现出一种害羞不安的脆弱,仿佛他们清楚知道自己暴露于镜头前,也意识到自己的姿势有多不自然,意识到这样坐着被人拍照的自己有多奇怪。几乎可以说,苏洋是要提醒我们,照片所捕捉的这一刻正是经过精心安排的。

例如,在以下的照片,两名模特裸露上身,直视相机,他们的眼睛直接迎向了观众的目光。然而,与模特坦率的眼神相对应的,是他们双臂的姿势及面前道具(恐龙公仔、火龙果与剥开了的石榴)所呈现的,这种半亲密半虚构的感觉难免让人联想到时尚摄影。

For Su, taking photos of human subjects offers than just an glimpse of a life at a moment in time. It forges a link between photographer and subject. “It’s about you participating in an interactive relationship—in the relationship between you and someone else. Your every move affects it,” he notes philosophically. “Whenever I shoot people, I’m actually constantly learning new ways to interact or connect. This is something really wonderful, even a bit zen.”


对于苏洋来说,拍摄人像照片不仅仅是对生命中某个时刻的一瞥,更是在摄影师和模特之间建立联系。“这个过程不仅仅是你单方面地去捕捉一些画面和角度,而是你本身就参与在这一个互动关系——你与他人的关系之中,你自己的一举一动都牵动着它。” 他指出,“我后来会认为我自己在拍摄人物的过程中其实是在不断学习与人交流或者交往的一个途径,这个事情非常奇妙,甚至有些禅意。”

His most recent project, Shanghai Passengers, is a study in the fleeting connections forged by the outsiders who pass through China’s largest city. “In recent years, Shanghai has had more interaction with the broader world. Every day a lot of people come and go, either stopping by for a few days or staying on for a year or two.” These visitors come with diverse backgrounds, and they mold their identity in response to their surroundings. “I find this fascinating. It’s like peering out from a box into a room, and this room is a part of the city.”


他最近的项目《Shanghai Passengers》(《上海过路人》)探讨着外来人在这座大都市参与的那些短暂互动关系。“我觉得上海近几年来与外界发生的联系越来越多,每天都会有很多人来来去去,短暂停留几天或是来呆个一两年。他们来自不同的文化社会背景,来到上海之后自然而然有一个自我身份与环境融合的过程,我觉得这个东西很有趣,像是从一个盒子里窥视一个房间,而这个房间又是城市的一部分。”

Recently Su has begun re-evaluating his relationship to his art. “For the last year or two what I’ve focused on is pausing and returning to my own life, immersing myself in my relationship to my surroundings, and trying to get out of the ruts of my previous photography.” 

Oddly enough, his philosophical view of photography as source of human connection has led him to turn his lens back to scenes without people. “I’ve become interested in real things again. I’ve returned to landscapes and documentary photography,” he says. “It’s like a circle, and you’ve reached a certain point again. But then you discover it’s really different from last time.”


最近,苏洋开始重新审视自己与艺术的关系, “近一两年更多是停下来重新回归到自己的生活里,融入到自己与周遭的关系里,尽力抛除以前拍摄时候的 ‘惯性’。”

奇怪的是,他这种将摄影视为人际关系源泉的想法却使他将镜头再次转向没有人物的场景。他说:“我又开始感兴趣那些最真实的事物,所以也会再度去拍一些风景或是纪实类摄影,这就像一个圆,又回到了某一个位置,但你会发现。这次和上一次又很不一样。”

This newfound interest in things is less a move away from human subjects than an attempt to hone a style. Whether he’s shooting for a fashion brand or working on his own projects, Su seeks to make his photography distinctively his own. “Now I understand my work as conveying a sense that it’s mine,” he says. “It’s a pretty individualized thing.”


重拾对事物的兴趣并不意味着他要减少人像作品,而更多的是磨练风格的尝试。无论是时尚品牌委托的拍摄还是个人项目,苏洋都试图让自己的摄影作品与众不同,正如他说:“现在我对作品的理解,就是传递一些自己的气息,它带有强烈的个人化特质。”

Website: jan-sol.com
Instagram: @jan_sol

 

Contributor: Allen Young


网站: jan-sol.com
Instagram: @jan_sol

 

供稿人: Allen Young

China’s Contemporary Ruins

海边

Green fields stretching to the horizon and trees rising up to the sky, bridges crossing streams and trails of smoke rising from the chimney of a house—that’s what you expect to see in the traditional landscapes of Chinese shanshui art, whose name literally means “mountains and water.”

But the scenes captured by Zhang Kechun have none of this. His series Between the Mountain and the Water is shrouded in stillness, poverty, and thick smog. The locations he shot certainly lie between mountains and water, but high rises have replaced the green peaks, and debris has stopped up the flowing rivers.


山水之间,本应是绿野遍布,古树参天,再有小桥流水人家,炊烟袅袅。

但在张克纯用镜头所记录的景象中,没有这些。它们沉寂、凋敝、甚至说雾霾重重——这系列《山水之间》的取景之地,确确实实在中国内陆的大山大水中间。只是,高楼取代了青山,断垣截住了流水。

山涧修路
游泳重庆
断桥 达坂城

In 2008, Zhang Kechun experienced first-hand the cataclysmic Wenchuan earthquake in northwestern Sichuan, and the snapshot he took of that terrifying moment won him the National Geographic Picks Global Contest.  The experience, he says, “broadened his field of vision and made his work more systematic.” After shooting his series The Yellow River, in which he traced the waterway up to its source, his photography “naturally expanded to cover the entire country.” And that’s how this new series came about.

Scouting out the perfect location is essential to every shoot. Barren mountains, crumbling walls, surreal scenes with clusters of high rises—they’re all hidden in plain sight, waiting to be discovered. The hazy, low-contrast feel of his images also doesn’t need much post-processing, it just needs to be shot on an overcast day.


2008 年,张克纯亲历了那场灾难性的汶川大地震,抓拍到震撼的瞬间,让他一举获得美国国家地理学会全球摄影大赛自然类大奖。这段经历所带给张克纯的,他说,是让他的 “视野更宽泛,工作更系统”。在拍摄完沿着黄河溯源的《北流活活》系列之后,张克纯镜头里的视野,就 “自然而然地覆盖到整个国家”。因此,这个系列也就应运而生了。

通常,他会先通过各种渠道找到这些地方,然后前去拍摄。荒山、断壁、高楼群起的超现实的场景,都是现成的。那画面中朦胧阴郁的色调,要拍到也并不难,只要在阴天的时候去拍,再经过一些处理就可以了。

江边喝茶的人
警校
环球中心

“My focus has really always been how ordinary people get by in such a rapidly developing country. Against a sweeping historical backdrop, I look at the lives of those who play bit parts,” Zhang says. “I covered practically the whole country to take these photos.”

The scene that left the deepest impression on him is an image of students holding class under a truncated bridge. The imposingly tall structure cuts through the landscape, heading who knows where, while a group of students lined up in rows attend a physical education class underneath, obediently following instructions.

“I think it’s a metaphor for the current state of China,” he says of the photo. He thinks all of his works are very explicit: they’re the kind of image that can be easily understood at a glance. Perhaps his photos, in the subjects they capture and the stories they tell, offer a thinly veiled commentary on a country constantly in the throes of sweeping change.


“其实我一直在关注处在高速发展中的这个国家下的普通人的状态。一个大的时代背景下,小人物的生活。” 张克纯说。“我几乎跑遍了整个中国来拍摄这些照片。”

让他感触最深的,是这张站在断桥下上课的学生们——擎天的大桥横断,不知去往何处;而底下的学子莘莘在上体育课,排排站立,悉听规训。

我觉得它隐喻了中国的现状。” 张克纯说。他说他的作品很直白,是那种观众可以一眼看明白的照片。那么,也许他要说的东西,要阐述的故事,作为观者的你我,应该也可以通过这一张张照片体悟出来罢。

泸州长江桥后
矿山前
朝天门大桥下

Website: www.zhangkechun.com


Contributor:  Chen Yuan


网站: www.zhangkechun.com


供稿人:  Chen Yuan

Color and Verse

Traditional Chinese images of love—wind, flowers, snow and the moon, or oaths sworn to the mountains and seas—come largely from the world created by Tang and Song dynasty poetry. And in Zhang Mengke‘s works, poetry is a source and drawing is the medium. Her pink, mist-shrouded illustrations convey a poetic simplicity.

Inspired by music, fragrance, and dreams, along with the verse, dialogue, and palace settings of historical dramas on television, Zhang “makes verse visible” with an understated, suggestive style.


风花雪月,海誓山盟,这样的景象,大抵多出现在唐诗宋词营造的世界里。而在张梦珂的笔下,诗词是源泉,笔触是媒介,粉色氤氲的画幅里,透着古朴的诗意。

从音乐、气味、梦境,古代清宫剧中的诗句、对白和建筑场景产生的灵感,融合了淡雅的色彩和意蕴,张梦珂的笔下,“把诗句可视化” 了。

For Zhang, “poetry is profound and demands careful thought and patient appreciation. But because it often uses a particular meter or diction, it relies on reason and insinuation. Drawing, on the other hand, is the most intuitively visual medium—as soon as you look at a picture, you immediately feel something. That’s what I’m able to achieve in my art.”

You can see more of Zhang Mengke’s works below.


对她来说,“诗词,需要将它拼凑起来思考,慢慢品味,非常博大精深。但因为它可能会有固定韵律和字词,在我认为它是相对理性的、隐忍的。但画,则是人最直观的视觉感受,你在看到它的第一眼就会有一定的感受,也是我更擅长可以尽情发挥的。”

更多张梦珂的作品,欢迎继续浏览。

Behance: ~/kk_Meng

 

Contributor: Chen Yuan


Behance: ~/kk_Meng

 

供稿人: Chen Yuan

Water and Ink

For the artist known as Lost Mountain Man, just a few strokes is all it takes to evoke meandering brooks, learned scholars, or gatherings of old friends.

The artist’s light, elemental brushwork—the antithesis of overwrought illustration and design—combines traditional ink painting with modern sensibilities. Traditional Chinese ink paintings usually leave empty space on the scroll, and Lost Mountain Main, fascinated by eastern aesthetics, uses a understated, gentle, pleasantly flowing technique to add a touch of the mystical.


沉浸在忘川山人的水墨世界,寥寥几笔勾勒的画卷里,却是文人墨客,流觞曲水,畅叙幽情。

对比色彩繁芜的插画或设计,忘川山人笔下那氤氲开的淡淡笔触,让传统水墨与现代审美交相融合。自中国古代传承而来的水墨画,则大多都会在卷幅上留白。忘川山人对这样的东方美学很是着迷,含蓄、温润,娓娓道来的手法,让他笔下那氤氲开的淡淡水墨,也仿佛带着些许仙气。

In most of his works, the artist conveys a certain feeling, one that arises from the dialogue between humans and nature and appears at both the individual and the monumental scale. Watercolor and ink compose and rearrange these subtle relationships, creating an intriguing effect. “Ink and watercolor both involve a play between pigment and water. With practice on the page, with long-term perseverance, you can achieve harmony, coordination, and control. All that remains is the emotion you want to give voice to.”

The landscapes in these works are a reflection of the artist’s own idiosyncrasies. “I’ve always felt I lived in a state of utter loneliness,” he says. “I often reflect on the impermanence of the world and the insignificance of human life. Time passes and stillness persists in the boundless universe above me. And in the contrast between the minuscule and the vast, I find an outlook that teaches humility, that teaches reverence.”


在大部分的画作里,他阐述的是某种情感,在人与自然环境对话时产生,在微小的个体或宏伟的场景中普遍存在着。而水彩和水墨,则在对这些微妙关系的梳理与重构中,让画面的表达变得更为有趣。“其实水墨和水彩都是颜料与水的游戏,还是需要多做纸上练习,长期坚持,就会与之产生和谐的默契和把控力,剩下的,只有你想抒发的情感内容了。”

其实画中的世界,也正是他个人意趣的写照:我始终感觉自己身处巨大的孤独之中,时常念及世事无常,人若草芥,而头上的无边宇宙斗转星移,寂静仍然,我将这种渺小与浩大的事物之间的反差视如一种观照,照见谦卑,照见虔诚。

Douban~/忘川山人
Instagram: @lostmountainman


Contributor: Chen Yuan


Douban~/忘川山人
Instagram: @lostmountainman


供稿人: Chen Yuan