Tag Archives: hong kong

Cinematic Colors

Léon: The Professional (1994) /《这个杀手不太冷》

If you had to describe each of your favorite movies with a color, what colors would you choose?

It’s a question that’s often on Chu Sin-hang’s mind. As a serious movie buff, this Hong Kong-based illustrator enjoys reimagining her favorite movies as Pantone colors. Then, using these colors as canvases, she recreates iconic scenes with strokes of black and white. The project began in 2017, when she put Léon: The Professional (1994) on a backdrop of Apple Green, and it’s kept growing ever since. As of today, Chu’s FILMTONE series features over 100 charming illustrations of movies across all genres.“The FILMTONE series is basically just my way of sharing the movies that I love with others,” she says.

We caught up with Chu one afternoon and asked her to recommend some of her favorite films for different moods and occasions in the hopes of uncovering some hidden gems that might have slipped under our radar.

如果要为你喜欢的电影挑选一种颜色,那会是什么颜色呢?作为一位资深的电影迷,香港插画家朱倩珩Chu Sin-hang)细细地品味每一部自己喜欢的电影,从中“感受”出一种出自 PANTONE(潘通)色卡的颜色。再加上黑与白,每一幅作品都只运用三种颜色,描绘出那些电影里的经典画面。从 2017 年画下的第一部电影《这个杀手不太冷》开始,至今她已经创作了一百多部电影插画,成为了这个可爱的作品系列《FILMTONE》。

“《FILMTONE》只是一个我单纯向大家分享喜欢电影的方式。” 她这样说道。于是我们带着想探究更多的好奇心找到了她,花了一个下午,用以下这十个关于电影的问题,和她聊了聊心中珍藏的电影清单,希望能拯救你最近的电影荒。

What’s your favorite movie of all time?

It’s too difficult to pick a particular movie, but Wes Anderson’s films are undoubtedly my favorites.



  • Fantastic Mr. Fox (2009) / 《了不起的狐狸爸爸》

  • Moonrise Kingdom (2012) / 《月升王国》

  • The Grand Budapest Hotel (2014) / 《布达佩斯大饭店》

  • The Darjeeling Limited (2007) /《穿越大吉岭》

  • Isle of Dogs (2018)《犬之岛》

What movie do you never hesitate to watch again, no matter how many times you’ve seen it?

I’ve watched and re-watched countless Hayao Miyazaki’s animated films since I was a little kid. I can always pick up something new on each viewing.



  • Spirited Away (2001) / 《千与千寻》

  • Howl’s Moving Castle (2004) / 《哈尔的移动城堡》

  • Princess Mononoke (1997) / 《幽灵公主》

What have you seen recently that you’d recommend to all your friends?

Searching (2018). The creative use of texting, webcams, and FaceTime videos was really cool and made it a worthwhile watch.


《网络谜踪》运用了非常有创意的叙事手法,电影全由手机短信、网络摄像机、视讯画面等 “荧幕” 所见画面组成,我觉得实在太酷了,很值得一看。

Searching (2018) / 《网络谜踪》

What Hong Kong film would you recommend to someone who’s never seen any?

I’d recommend Chungking Express (1994) by Wong Kar-wai. It’s about the melancholy and loneliness of living in a large metropolis. The film was shot in locations with frenetic urban energy, like Lan Kwai Fong and Tsim Sha Tsui, so the audience can get a taste of Hong Kong’s hustle and bustle, as well as its beauty.



Chungking Express (1994) / 《重庆森林》

What’s the perfect movie for a first date?

I think Once (2007) is one of the best movies for a first date. First dates are about finding out if you can connect with someone and how you connect with them. Once is a movie that talks about these subtle connections.



Once (2007) / 《曾经》

What’s a good movie to watch on sleepless nights?

I’d pick Lost in Translation (2003). Watching Bob (Bill Murray) and Charlotte (Scarlett Johansson) deal with ennui and culture shock in Tokyo always pulls me into a state of jet-lag-like dreaminess. This mood makes me feel out of place and exhausted—and hence, cures my insomnia.



Lost in Translation (2003) / 《迷失东京》

What movie would you recommend for someone with a broken heart?

Eternal Sunshine of the Spotless Mind (2004) by Michel Gondry is about a couple who decide to undergo a medical procedure to erase each other from their memories after their relationship turns sour. Although the ending is sad, the movie reminds us there’s plenty of joy along the way. I think this movie might, to a certain extent, soothe a broken heart.



Eternal Sunshine of the Spotless Mind (2004) / 《美丽心灵的永恒阳光》

What movie would you recommend to cheer up someone who’s down in the dumps?

Amélie (2001) by Jean-Pierre Jeunet always helps me when I’m feeling my lowest. There’s something beautiful about the character Amélie. If you’re depressed, the comedic scenes will help perk you up.



Amélie (2001) / 《天使爱美丽 》

Has a movie ever left you so stunned that you couldn’t get up from your seat even after the credits?

Yes, The Truman Show (1998). The film explores the idea of surveillance and takes it to an extreme. The plot seems ridiculous at first, yet there’s quite a lot to reflect on. It messed with my head and made me question myself. What if every moment of my life was being monitored for public entertainment? What if my existence was a lie? What if the society I lived in was a conspiracy?



The Truman Show (1998) / 《楚门的世界》

If you were stranded on a desert island and could pick just one movie to keep you company, what would it be?

You’ve reminded me of a film I enjoyed a lot but haven’t drawn yet! I’d probably bring Cast Away (2000) by Robert Zemeckis. If I were stuck on a desert island, Chuck Noland (Tom Hanks) and Wilson the volleyball would definitely be my best companions. This movie would be a lifesaver. It would also help me deal with loneliness and mental anguish.



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Contributor: Yang Yixuan
English Translation: David Yen

Instagram: @thesamuraibun
Facebook: ~/thesamuraibun


供稿人: Yang Yixuan
中译英: David Yen

The Secret Life of Plants & Fungi

In hidden corners of our world, there exists a group of mysterious but adorable lifeforms. They may appear as a cluster of fallen petals, as a mushroom growing from a rotting log, or as a plump, prickly cactus. These seemingly random florae and fungi all come to life in the illustrations of Hong Kong-based artist Ceci Lam.

Having been a plant lover since childhood—an appreciation inherited from her father—Lam one day noticed a tiny mushroom sprouting on the side of the road. The next day, expecting to see it again, she was surprised when it was nowhere to be found. “At that moment, it felt like the mushroom was just a passerby, and we ran into each other by chance but it’s gone back to its world,” she recounts. “That’s when I believed plants had a life of their own, and that, just out of sight, they had busy lives of their own. I wanted to draw the world they live in.”

在一些我们不知道的角落,其实住着一群很神秘又可爱的生物:随意跌落到地上的花瓣、雨后在腐木上生长的蘑菇,以及圆滚滚胖乎乎的仙人掌,这看似随意却又相互关联的自然万物,组成了香港艺术家 Ceci Lam 的画。

受爸爸影响,从小就很喜欢植物的 Ceci,无意间发现大马路边有一株小蘑菇,隔天再去找,却怎么都找不到了。 Ceci 说:“有一下就觉得,她(蘑菇)昨天只是经过,刚好相遇,今天已经回去自己的世界了!那时候就觉得她们真是存在的,在我看不见的地方,用自己的生活方式努力生活着,只是在很隐密的角落,所以就想把她们的世界都画出来。”

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Instagram: @ceciilam


Contributor: Chen Yuan

Behance: ~/cecilam
Instagram: @ceciilam


供稿人: Chen Yuan

What Does Your Body Sound Like?



It’s a show the audience itself can’t help being a part of: in a dark, silent room, performers in tights lie down on a sort of bed and flail their limbs in an improvised way. Gradually a series of fluctuating, billowing images appear on a screen behind them as a dream-like music begins to sound. Everyone is drawn into a surreal ceremony until the performers leave the stage, and viewers turn around and look at the corporeal landscape evolving before their eyes.

This is Soundscape of Body. Transforming bodies’ shapes into image and sound, it seeks to let us see the body’s music, to hear the body’s terrain.



The Chinese name of the performance, Da Yin Xi Sheng, comes from chapter 41 of the Dao De Jing. It literally means “great sound, soft voice” but might be interpreted to mean the louder a sound is, the harder it is to hear.

“Your body is like a mystery. You can see it, but you never hear it. Through this work, I want you to hear the sound of your own body,” says Keith Lam, whose creative team, Dimension Plus, is behind Soundscape of Body. Lam is a Hong Kong-based new media artist who Neocha has written about before. This time he collaborated with his group’s coder, Seth Hon, to create this piece, which won a special honor at the 2018 Golden Pin Awards for the Best Designs of the Year.


“身体像是一道谜。你看得见,却从没有听过它。通过这件作品,我想让你听见它的声音。”Keith Lam 说。Keith 和他的团队 Dimension Plus 是《大音希声》的幕后创作者。在我们过去的报导中,曾介绍过这位来自香港的新媒体艺术家。这一次,他协同团队中的编码师 Seth Hon(韩家俊)完成的此件创新作品,获得了 2018金点设计奖“年度最佳设计奖”的殊荣。

“It’s a completely new and innovative way to create original music from our body,” said the judges. “It uses science to communicate how our body can contribute to society even after our passing.” Among the over 5000 works in this year’s competition, 37 took home awards. Others include Mist Encounter, a water-themed art installation made out of recyclable materials, and The Affairs, a new print newspaper.

This year’s awards were full of works that showed humanitarian concerns and an awareness of environmental sustainability. Each year the selection shows that design means more than just creating beautiful things. We live in an age where the objects around us become obsolete too quickly. Good design should do more than show creative thought—equally important is whether it can curb the waste of resources and remain “future-proof” as time passes.

“这是一个完全创新的手法让我们的身体创造出音乐。它运用了科学,来传达我们的身体即使在死后也能为社会做出贡献。”评审说。在今年参奖的五千多件作品之中,最终有 37 件获得年度最佳设计奖。同样得奖的还有运用可回收建材打造的《供雾所》(Mist Encounter)、以及献给新世代的报刊《周刊编集》(The Affairs)


Can people’s bodies become obsolete?

That’s a question that Lam, as he was conceiving this piece, wanted audiences to think about. He took up the project on commission for the Body Donation Programme at the Hong Kong University Medical School, which every year works with artists to create art. It aims to increase the public’s awareness of body donation and get them to think about the nature of bodies and the meaning of life—and the possibility that even after death, a body’s value can be extended.

When taking on this project, Lam did a lot of homework. One sentence he heard from Chan Lap Ki, an anatomy professor at the medical school, stuck with him: “the organs of the human body are as beautiful as any landscape.” He kept thinking about what it meant. A landscape isn’t necessarily just something you see, it can also be something you hear. What if you could make everyone’s body become a tune?


这是当 Keith 受到香港大学医学院的遗体捐赠计划“大体老师”的委托,在构想作品的同时,希望带给观众思考的问题。每一年,大体老师计划都会委托艺术家去创作,希望能借此提升大众对于捐赠遗体的认知,以及激发观众思考何谓生命的本质与身体的意义——即使在死后,身体的价值是否有延续下去的可能。

在接到这个项目之后,Keith 做了许多功课。当他从医学院的解剖学教授陈立基先生的访谈中,听到了这一句话“人体器官就好像风景一样漂亮。”时,便心心念念着这话里的含义。风景不一定是通过观看,也可以通过聆听来欣赏。如果让每个人的身体,都成为一章乐曲呢?

Soundscape of Body uses a parallel motion scanner that detects the distance from the performer’s body and uses a special coding technology to turn these data into images and music. The closer one gets to the sensor, the lower the sound gets. “All the performers are improvising, and we can’t tell them ahead of time what to do,” Lam explains. “So each performance is unique.”

After the performance ends, the audience can also get up on stage and scan their own bodies, and the results are anonymously uploaded to a website. “The interactive part got more popular than I expected. Audiences would wait to get on stage and have their own body scanned, for that may be the first time they listen to music from their own body.”

“The up-and-down motion of our body is naturally beautiful—it has rhythm and pitch,” says Lam. “Listening to our body as a musical score, we can rediscover it from a totally different perspective, and even rethink life and death.”




Websitekeithlyk.net | dimensionplus.co
Instagram: @keithlyk | @dimensionplus


Contributor: Yang Yixuan

网站: keithlyk.net | dimensionplus.co
Instagram: @keithlyk | @dimensionplus


供稿人: Yang Yixuan

Jimei x Arles 2018

On November 23, the fourth annual Jimei x Arles International Photo Festival will open its doors in Xiamen, on China’s southeastern coast. Those lucky enough to nab tickets to the event, which closes on January 2nd, will catch sight of work by some of the most innovative artists working in photography today.

A spin-off of the Rencontres d’Arles, the prestigious photo festival held every summer in southern France, Jimei x Arles will bring together work by established international figures and up-and-coming artists in China. Inspiration for the event came from Chinese photographer RongRong, one of the founders of the Three Shadows Photography Art Centre—the first museum of its kind in China—and Sam Stourdzé, director of the Arles festival.

Each year the festival gives a Discovery Award to an emerging Chinese photographer. This year’s ten finalists—Shen Wei, Shao Ruilu, Su Jiehao, Pixy Liao, Coca Dai, Yang Wenbin, Lau Wai, Hu Wei, Lei Lei, and Wong Wingsang—show intensely personal work that spans the breadth of the medium. Neocha is proud to showcase the work of these photographers.

Click on the arrows to see more of each artist’s work.

11月23日,第四届集美·阿尔勒国际摄影季将在厦门开幕。有幸前往参观的观众,在展览 1月2日闭幕之前,将能欣赏到当下最具创新精神的摄影艺术家的作品。

集美·阿尔勒摄影季是世界著名、每年夏天在南法举行的阿尔勒国际摄影节(Rencontres d’Arles)所衍生出来的展览。由阿尔勒摄影节的总监萨姆·斯道兹(Sam Stourdzé)和中国当代摄影艺术家荣荣(中国第一家专业摄影艺术中心—三影堂摄影艺术中心创始人)联合发起,致力于展示来自中国的国际摄影大师及新晋摄影师的作品。

每年摄影季都会为杰出的新晋中国摄影师颁发 “集美·阿尔勒发现奖”。今年的十位入围者分别为沈玮、邵睿璐、苏杰浩、廖逸君、杨文彬、刘卫、戴建勇、雷磊、黄永生和胡伟。他们带有强烈个人色彩的作品,拓展了摄影媒介的广度。Neocha 这次很荣幸能展示这些摄影师的作品。



沈玮 Shen Wei

Shen Wei‘s photos have a deceptive stillness, like a muscle at rest. An image of the artist pausing as he descends into a pool is permeated with an eerie tension, while a photo of newly opened cherry buds seem to leap out of the frame. Two close-up self-portraits—one with eyes open, one with eyes closed—cloak his features in darkness, hiding as much as they reveal. Shen’s careful manipulation of light and color imbue static images with dynamic strength.




邵睿璐 Shao Ruilu

Shao Ruilu’s photos are visual riddles whose answers lie just beyond our reach. Perhaps the coins in various currencies suspended in mid-air offer a commentary on international finance or economic uncertainty. Perhaps the two still lifes, composed like paintings by Zurbarán, are a gloomy meditation on mortality: between one frame and the next, the peaches have rotted, the ash pile has grown, the newspaper’s been replaced. With her unusual subject matter, Shao raises questions that linger long in your mind.



苏杰浩 Su Jiehao

At first glance, Su Jiehao‘s photographs look like pure compositions of color and form—you could be forgiven for mistaking them for abstract paintings. Only upon closer examination do they come into focus as ordinary scenes: a ruler, a rainbow, a rooftop covered in snow. The final three images—stills from his video The Storm in the Morning—are less abstract but no less enigmatic. With his stunning sense of composition, Su creates images with an arresting beauty.



廖逸君 Pixy Liao

For the past eleven years, Pixy Liao has been documenting her life with her boyfriend Moro in the photo series Experimental Relationship. Often she places him in submissive positions, upending the traditional gender roles in which she was brought up. In these images, Liao, previously the subject of a Neocha profile, examines intimacy with a playful eroticism.

在过去的 11 年里,廖逸君点此阅读过去Neocha对她的报导)一直在《实验性关系》系列中记录她和男友 Moro 的生活。她经常把男友置于顺从角色的位置,颠覆传统的性别角色。在这些照片里,廖逸君以轻松、大胆的情欲表达,来审视两人的亲密关系。


戴建勇 Coca Dai

Shot over a period of seven years, Coca Dai‘s series Judy Zhu 2008-2015 chronicles the life of his girlfriend (now wife) Judy through pregnancy and motherhood. His images have an unrehearsed quality that only film can provide, and taken together, they offer a candid, multi-faceted portrait of one woman in contemporary China.

戴建勇用 7 年的时间拍摄了《朱凤娟(2008-2015)》系列,记录了他的女朋友(现在的妻子)朱凤娟从怀孕到成为母亲的过程。他的作品有一种不假修饰的自然特质,只有胶卷才能呈现出来。两者相结合,全方位地呈现出一名当代中国女性的真实写照。


杨文彬 Yang Wenbin

While other artists here explore love and relationships, Yang Wenbin shows the technology involved in solitary expressions of desire. The photos in his series Euphoric Mirror are utterly without eroticism: in one, vibrators are presented as simple industrial products, assembled on production lines in factories; in another, a computer mouse in a crotch hints at the dissatisfactions of internet stimulation. Yang’s offers an unsentimental view of sexuality in the digital age.

当其他艺术家在探讨爱情与关系时,杨文彬展示了科技如何介入人们的欲望表达。在一点也不色情的《欢愉之境》系列中:自慰振动器被呈现为简单的工业产品,正在工厂的生产线上被组装;鼠标落在裆部,暗示了互联网刺激带来的不满足。杨文彬对数字时代的 “性”,提出了一种不带情感的冷静观点。


刘卫 Lau Wai

In her series Memories of the Future, Hong Kong artist Lau Wai takes old photos and film stills of her hometown and adds her own cyberpunk touches. The effect is playful but hints at a more serious purpose: is she suggesting that the city’s history, as documented in photos from the last century, is as fake and retouched as her own images? Or is she hinting that Hong Kong’s future won’t be so different from its past? Lau’s work offers an ambiguous meditation on fantasy and time.



胡伟 Hu Wei

Hu Wei explores the commemoration of the past in his unconventional series Proposal for Public Assembly / Encounter. A native of Dalian, he presents photos and souvenirs of the monument built in 1995 to mark the fiftieth anniversary of the city’s liberation from Japanese occupiers. By using found images nearly as old as he is, Hu challenges the very notion of what constitutes photography. And when the past can’t be openly discussed, he perhaps offers an oblique commentary on which histories are remembered and which are passed over in silence.


胡伟在这个特别的作品《为公共集会(邂逅)的提案》中,探讨了对过去的纪念。这位大连艺术家的作品展示了1995 年为纪念大连从日本占领者手中解放五十周年而建造的纪念碑和相关的纪念品。通过这些几乎和他年龄一样大的旧有现成图像,胡伟挑战了摄影的定义。他的作品或许能对那些被铭记、以及被沉默传承到下一代的历史,提供一点注释。


雷磊 Lei Lei

Like many of the other Discovery Award finalists, Lei Lei uses digitally altered images to test the boundaries of photography. His 1700 Poses of Human Gesture shows the same girl sitting in countless different positions, while other images of his shown here present small variations in a violinist’s pose. Carefully manipulated to look old, Lei’s photos explore the ability of photography to capture the reality and the past from more than one perspective.

和许多其他 “发现奖” 入围者一样,雷磊也采用了数码处理图像来探索摄影的界限。在他的《人体动势1700例》中,同一个女孩以无数个不同的姿势坐着。在另一作品中,一名小提琴手在不同画面中细微地变换姿势。雷磊精心地 “做旧” 图像,以此探索摄影从不同角度捕捉现实和过去的能力。


黄永生 Wong Wingsang

Reflection and repetition underpin the work of Wong Wingsang. Polaroid head shots, samples of leaves, a sunset framed through reflections in a window: in each case, Wong draws our attention to tiny differences in nearly identical images. Conversely, his final photo included here—a triptych consisting of a house cat, cruise ships, and a solid black square—seems to dare us to find a common thread among seemingly unrelated images.


Website: jimeiarles.com
Facebook: ~/jimeiarlesphoto
Instagram: @jimei_arles


Contributor: Allen Young

网站: jimeiarles.com
脸书: ~/jimeiarlesphoto
Instagram: @jimei_arles


供稿人: Allen Young

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。” 

Instagram: @simplebao


Contributor: Mike Steyels

Instagram: @simplebao


供稿人: Mike Steyels

An Eye for Change

As a child, Pat Lee, the colorist perhaps best known for his comic-book adaptation of Transformers, spent hours leafing through penny-bin comics, taking in all that he could from every corner of the world. Heavily influenced by Japanese works like AKIRA, Gundam, Ghost in the Shell, and Fist of the North Star, Lee integrates manga into a traditional Western style, a skill that landed him his first job at Image Comics and eventually established his reputation in the comics industry.

从小时候开始,Pat Lee 这位以改编《变形金刚》漫画作品而出名的漫画上色师,就喜欢把自己沉浸在漫画的世界里,常常一看就是好几个小时的时光飞逝。他从来自世界各地的漫画书中吸取不同的灵感刺激,其中对他影响最深的是日本漫画,譬如《阿基拉》(Akira)、《机动战士高达》(Gundam)、《攻壳机动队》(Ghost in the Shell)和《北斗神拳》(Fist of the North Star)等作品。他尤其擅长将日本漫画美学融合进传统的西方漫画,这样显着的风格不仅为他带来在美国漫画出版商 Image Comics 的第一份工作,最终也让他在漫画界获得一席之地。

“I kind of teetered off a bit when I was doing Marvel and DC stuff – it was very dark with a strong presence of very heavy blacks,” says Lee. “But I’ve realized I truly love making work that’s a hybrid of Japanese anime and American culture. It’s interesting to fuse things together.”

That’s exactly what he’s done with his ongoing series, Interference. Over the last 6 months, Lee has been gradually transforming images of Western pop-culture icons like Mickey Mouse and Marilyn Monroe into something more foreign.

Lee 说:“每当我给漫威或 DC 创作时,总是感到不太有把握。这些作品风格非常黑暗,像是压抑着一大片深沉的黑色色调。我意识到自己真正喜欢的是将日本动漫和美国文化相结合的作品。把不同的东西融合在一起比较有趣。”

他目前进行中的系列作品《Interference》(《干扰》)正是遵循这一理念来创作。在过去六个月里,Lee 将米老鼠和玛丽莲·梦露这些西方流行文化中的经典形象进行创新的演绎。

Each iteration of a figure changes in subtle ways, challenging the viewer to spot minor alterations, like an iris turned into a camera shutter, or a shoelace that’s actually a fiber-optic cable. While some pieces in the series involve futuristic technology, with aliens and robots seated alongside a bionic Bambi with exposed brain matter, all are a part of a larger narrative about technological development in a structure that mirrors that of a comic book.


Lee, known for his work with Copic markers, primarily uses acrylic for the paintings in Interference, which he often makes in quick succession. “Acrylic is just fun to apply, because it’s not as technical as Copic,” he says. “If you compare the two, acrylic has a kind of glow to it, this shine, texture, tone. It’s a thicker feeling, where Copic is very light, very illustrative. Really, they’re a pair – I have to have both.”

Lee 先前以他用 Copic 马克笔(源于日本的马克笔品牌,因其优良品质深受设计人士喜爱)来作画的作品闻名,但在《Interference》中他改用压克力颜料,这让他的创作过程更加一气呵成。他解释道:“压克力用起来比较有趣,因为它不像 Copic 马克笔那样讲究技巧。如果你认真比较一下这两种媒介:压克力颜料会有一种光泽,更有质感和色调,有一种更浓厚的感觉;而 Copic 马克笔则更加轻盈,更加清晰。应该说它们是一种互补吧,两种颜料我都需要。”

Lee says he doesn’t know what his paintings are going to look like when starting – he works backward and forward without a final image in mind. His process aligns with how he sees the development in technology, be that VR, the sex industry, or personal communications, playing out – in steps, leaps, and sometimes sprints. “I think Interference is about asking if we’re prepared for the technology that’s coming. Is our society ready for these kinds of tools, this tech? Should we be scared about our future, or is it exciting?”

Lee 表示,一开始创作时他不会知道自己最终会画出什么样子,过程中他会不断地来回调整,但不会去预先设定一个最终结果。他的创作方式体现了他对未来科技,像是虚拟现实、性行业或个人通讯等等,如何一步一步、或者说是大步发展的看法。“我认为《Interference》其实是在提问,我们是否已经为即将到来的科技做好了准备?我们的社会是否准备好迎接这些工具和科技?我们应该对未来感到害怕?还是感到兴奋?”

Lee’s work draws no conclusions on its own but asks viewers to actively notice changes, both big and small. Interference can help train our eyes and minds to focus on what’s happening right now, and to ask where we want technology to take us.

Lee 的作品本身并没有提供任何结论,但他要求观众去主动发现其中或大或小的变化。《Interference》可以帮助训练我们的眼睛和头脑,去专注于当下发生的事情,并提出问题:我们到底希望科技带領我们到哪里?

Website: www.patleeart.com
: @patleeart


Contributor: Sarah Forman

: @patleeart


供稿人: Sarah Forman

Faceless Portraits by Norris Yim

If everyone were a color, which one would you be? Hong Kong-based painter Norris Yim specializes in abstract portraits — unlike most portraits, his have no faces. Looks are not a person’s most important distinguishing feature in his art — which is perhaps to say, looks are not what’s important about a person. He likes to view people through color. “Every work uses different colors. Those abstract pigments represent my current feelings and mood. I use my own mood to get to know and define each person I paint. My mood forms the basis of the work. Even if I painted the same person a hundred times, I’d still get 100 different results.”

如果每个人都是一种颜色,你有想过自己是什么颜色?来自香港的抽象画家 Norris Yim 擅长人像画,但与一般作品不同,他画的人一律没有脸孔。在他的画里,长相不再是区分一个人的重点,或者说,长相根本不是一个人的重点。他喜欢以色彩去观看一个人,“每一幅作品用的颜色都不一样,那团抽象的颜料代表了我当下的感受和情绪,我用自己的心情去认识、和定义画笔下的每一个人,心情就是我的创作依据。 就算是同样的人我画一百次,也会有一百次不一样的结果。”

Painting, for Yim, is purely a means of self-presentation, a process of transforming his observation of others and internalizing it as creative inspiration. “I’m always painting for myself, and what I seek is my own spiritual satisfaction,” he says.“But this satisfaction is often tinged with loneliness.”

While Yim has always enjoyed flexing his creative muscles, he never realized how deep his love for art truly was until college. After this self-revelation, art became an essential part of his life. “In college, I found that painting was the one thing I could concentrate on, the one thing I always wanted to do. At first, I just wanted to take an extra arts course, but when I came into contact with painting, it was like finding my own long-lost soul,” he recalls.“Ever since then, in a very natural way, I feel I have to pick up a brush every day, even if it’s just to tweak a color. That’s how painting became fundamental for me.”

画画对 Norris Yim 而言,是纯粹用来阐述自我的工具,一个从观看他人、内化到创作灵感的转变过程。“我一直都是为了自己在画,求的是个人精神上的满足,心境上甚至是带点孤寂的那种。”从小在香港长大,Norris Yim 说自己一直都喜欢创作,尽管途中迂回了一些,最后依然幸运的走回纯艺术的道路上。 “大学时期发现,画画是唯一能让我专注下来,而且渴望一直去做的事。本来只是想多学一门手艺,一碰触到画笔,就像意外找回自己许久不见的灵魂。从那时候起,很自然地每天都要动动笔,仅管只是调个颜色也好。就这样画画成了我的基本。”

In his Portraits series, some of the subjects are based on real people while others are completely conjured up from the depths of his imagination. Who they are is unimportant, because they exist solely in Yim’s mind. Occasionally, he paints with a specific subject in mind, but even then he’ll often still title the work as Someone or Untitled. He does this to avoid any link to the outside world, and to make the painting solely a tool for recording his mood.

Among his early works are some portraits with distinguishable faces. He moved toward his current approach because he wanted his work to be unconstrained and offer more space for creative freedom. “Looking back at my past pieces, I always think they feel too much like portraits. Anyone can paint a likeness. While the human figure is there, the painter’s soul is missing. I don’t want to limit my own work to someone else’s standards. I’m often asking myself, is my imagination unlimited? This question is the basis of all my art. I want to seek more possibilities in painting and color, more possibilities in myself.”

在人像画《Portraits》系列里,人物有些是真实存在,有些是出自凭空幻想。至于他们是谁,也不太重要,因为这些人都只存在在 Norris Yim 的一刻想像里。即使有时候有明确画的对象,Norris Yim 还是会以《Someone》(《某人》)或《Untitled》(《无题》)来命名,为的是不让以外的事件碰触,让画纯粹作为一个记录自己心情的工具。


Behance: ~/norrisyim
Instagram: @norrisyimyn


Contributor: Yang Yixuan

Behance: ~/norrisyim
Instagram: @norrisyimyn


供稿人: Yang Yixuan

Persimmons & Gangsters

A rumor making its way around the internet claims that the historic Yau Ma Tei fruit market, Hong Kong’s largest, is run by the local crime syndicates known as triads. Intrigued, I decided to visit the market at its busiest time, between midnight and 7:00 am, to investigate.

Late at night, it’s easy to imagine drug deals and fistfights in the dimly lit corners of the buildings lining the street, most of which date back over a century. On the night I visit, a scent of citrus, rotten melon, and sweat hangs in the air. Shirtless men maneuver carts piled high with pallets of Washington apples and Japanese strawberries, while the luckier ones ride tiny, seatless forklifts from the loading zone to the storefronts.

Nearly half of all fruit sold in Hong Kong passes through Yau Ma Tei. Most workers arrive near midnight and work until 8:00 am. It’s not an easy job, and the schedule is grueling, but some of the old-timers have been here for over forty years.




Making my way around the market, chatting with the vendors and other workers, I meet an octogenarian by the name of Mr. Lam, who vehemently denies the rumors.

“No, no, no! The gangs never ran the market!” he insists. “In its heyday, there were nearly 400 stands, each with 10 to 20 employees. Most of them did physical labor at night. Some of the guys this job drew in were also in gangs. But the owners were usually well-to-do people who just wanted a business they could be proud of.”

Not far away, in a stall selling persimmons, snake fruit, Asian pears, and other delicacies, shirtless man named Mr. Yung recalls how in the past gangs would sometimes converge on the market, making any business impossible. “It used to be pretty dark around here. Gangs would come around, so regular people were afraid to walk through the area.”


“不不不!这些帮派势力从来没有进到市场!”他坚持道, “在全盛时期,这里有将近四百个摊位,每个摊位有十到二十名员工。他们大多数人都在晚上做体力活。这里也吸引了一些帮派分子来从事这份工作。但摊主通常不在乎,因为他们都是富有的人,只想要一份可以引以为傲的事业。”


Still, Yung agrees with Lam that stall owners are mostly honest businesspeople, even if some of their employees had ties to the triads. “The transport guys were usually gang members, and I think some of them still are,” he adds. “They used to fight over the stalls. Now and then, they’d get into a brawl in the market over territory. Today the police come through all the time, so it’s safe for tourists. Some people even take wedding photos here.”

The triads may mostly be gone, but their freewheeling ethos remains. When I ask the veterans of the market why they’ve stayed around all these years, “freedom” is a common refrain.

“My family doesn’t like it, but they’re used to it. They understand this is how I make a living,” says Mr. Ng, known around the market as Sau Nga Zai, or Snaggletooth. Nicknames are the designation of choice around here. “This guy’s name is Sai Leung—Boss Leung,” he says, pointing to his partner, “because he’s always giving orders.”

尽管如此,翁先生依然同意前一位林先生的说法。摊主大多是诚实的商人,即使他们的部分雇员和黑社会有关系。 “运输工人通常是帮派成员,我认为他们当中一些人现在仍然是。”他补充道。 “他们曾经在摊位上打架,偶尔会为了地盘问题发生争吵。但现在警察很常巡逻,所以对游客来说是安全的。甚至有人在这里拍婚纱照。”


“我的家人不喜欢这里,但他们习惯了。他们明白这就是我谋生的方式。”吴先生说,或应该称他为“缺牙仔”或“断牙”。在这里,彼此之间的称呼都用昵称。 “这个人的名字叫梁世,或梁老大。”他指着他的搭档说,“因为他总爱指使别人。”

Ng leaves home at 10:30 pm to come to the market, works all night, and gets off around 8:00 am. “I don’t have much time with my wife,” he says. “When I leave for work, she often hasn’t come home yet. My son once asked me not to work in this industry, but he’s grown up now.”

People who work regular hours may not see the graveyard shift as a kind of freedom, but for Ng, working while Hong Kong sleeps is liberating. “When I’m off, I’m totally free,” he boasts. “That makes the hard parts of the job worth it.”

吴先生晚上十点三十分离开家往市场出发,工作一整夜,早上八点左右下班。 “我没有太多时间陪我的妻子。当我离开家时,她还没回家。我的儿子曾要求我不要在这个行业工作,但他现在长大了。”

对那些按照正常工时作息的人,可能不会把半夜工作的生活模式看作一种自由,但对于吴先生而言,能在整座城市都入睡后去工作,反而是一种解放。“当我下工时,我会觉得我是完全自由的。”他骄傲的说, “这让一切的辛苦工作都值得了。”

In 1913, when the fruit market was built, Yau Ma Tei wasn’t known for much more than the nearby Tin Hau Temple. Today the main attraction is the market, which covers around 14,000 m2 and serves nearly 250 vendors. Since the 1970s, there have been proposals to relocate it, even though it’s been designated a historic building, because of the noise and the traffic disruption it causes. As of now, though, the market still stands in all its shirtless, cart-filled glory.

According to Lam, in the past, some of the noise came from the fighting that took place when the triads were more active nearby. “For some of the guys who worked in the market, physical violence was their only response to any conflict, and it drew attention.”

In addition to freedom, a tight-knit community also keeps people around. Mr. Sum, who’s 31, found his first job at Yau Ma Tei. Now, rather than hauling boxes of mandarins at 2:00 am, he comes in at 5:00 am to handle the books. Sum says that the market’s family-like relationships between merchants and customers, which have withstood natural disasters and economic downturns, are hard to find nowadays.

1913 年,水果市场刚刚建成,当时的油麻地只以天后庙为人所知,而今天大多数人都是因为市场本身慕名而来。它占地约 14,000 平方米,聚集了将近 250 家摊商。70 年代以后,由于噪音扰民和中断交通的原因,有人建议将油麻地市场找地方重新安置,尽管它已经被指定为历史建筑。不过这项提议最终没有实行,市场至今还在繁忙地运作着,一如往昔。

根据林先生所说,那些过去常被抱怨的噪音,是来自黑社会还在附近活跃时发生的斗争。 “对于在市场工作的一些人来说,暴力是对冲突的唯一回应。这很容易引起人们的注意。”

除了自由之外,团结的社区精神也是吸引人们留下的原因。沈先生今年 31 岁,在油麻地市场找到他的第一份工作。现在他不再是水果商,不用凌晨两点来搬运一箱箱柑橘;沈先生如今已是一位书商, 每天凌晨五点过来整理书籍。沈先生表示,市场内顾客和摊商之间像家人一样的紧密关系,能扛住所有自然灾害和经济衰退的打击。这种情谊现在很难在外面找到了。

“Human relationships are important here. We’re very close,” he says. “In other industries, people often care more about money than relationships. We’ve been working with some of our customers for a very long time, so if we ever need help, they’ll help us out, even if they lose money—and we’ll do the same for them. I don’t think there are many industries like that in Hong Kong anymore.”

The common complaint that young people in Hong Kong today are afraid of hard work finds an echo at the market. Many stall owners are frustrated at how difficult it has become to find people willing to do the physical labor their jobs require. “Sure, the gangsters fought over turf and sold drugs from time to time,” says Lam. “But then again, they were willing to work hard.”


在今天,有关香港年轻人不愿再付出劳力辛苦工作的种种抱怨,在市场摊贩间引起了共鸣。许多摊主对于再也找不到愿意做这样需要体力工作的年轻人,而感到沮丧。 “当然,流氓们虽然时不时会打架,有时候甚至贩毒。但是,他们愿意一次又一次的付出,努力工作。”

Photographer & Contributor: Viola Gaskell

摄影师与供稿人: Viola Gaskell

The Time Goes By

“Those wrinkles weren’t there before,” the elderly woman remarks, gesturing at one of the photos of herself. “My eyes are getting covered up by the sagging skin.”

Shot by Lean Lui, the aforementioned photo is from The Time Goes By, a series inspired by and dedicated to the photographer’s septuagenarian grandmother.

Lui recalls the incident that sparked the idea for the series. “There was one time when I did her makeup, dressed her up, and took some photos of her. Everyone who saw the photos said she looked beautiful. I thought she’d be so happy, but it made her sad. She felt like all of her friends had aged gracefully. But when she looked at herself, she felt like she hadn’t. She felt her appearances now were worlds away from the beauty of her younger days.”


这系列照片是 Lean Lui 送给她婆婆的专题辑《The Time Goes By》,照片的灵感也是来自于年逾古稀的婆婆。

“有一次帮她化妆打扮拍照,每个人都说我把她拍得很漂亮,我以为她会很开心,但没想到她在看到照片的时候是闷闷不乐的。”Lean 说,“婆婆说以前那些长相一般的同学跟现在也没什么分别,很耐老,相反年轻时貌美如花的自己,一老就显出了太大的反差。”

As the Chinese saying goes, time wears away youth.

Lui considers herself as someone who’s always able to say the right things, and in this instance, she wanted to tell her grandma that she’s just as beautiful as ever. But seeing as how her grandma wasn’t comparing herself to anyone else but her past self, Lui struggled to find the right words.

“If it’s something you treasured and you lost it, the people who never had it won’t be able to empathize with the pain of losing it,” Lui says. “I could sympathize with her frustrations of aging, but I also understand that the past is the past. If your eyes droop, then it droops. If your skin is loose, then it’s loose. Aging is an inevitable part of life, but I also understand how scary it can be for many, especially women.”


面对这个问题,平时能言善辩的 Lean 语塞了。Lean 没有办法说出像“别这样说啦!你现在也很漂亮啊!”这样安慰人的话,因为婆婆比较的对象不是他人,正是年轻时候的自己。


“You really won’t be beautiful if you don’t appreciate the beauty you have now,” Lui told her.

“I’m already old and wrinkly, what beauty is there to speak of?” Lui’s grandmother sulked.

“你要是不懂得欣赏自己现在的美,那可就真的不美了哦。”Lean 这么告诉婆婆。

“现在又老又皱皮的,还有什么美可言?”婆婆说,但 Lean 知道这只是婆婆的赌气话而已。

But how exactly is beauty defined? When you’re young, you may have pretty eyes, a gorgeous face, and a perfect body, but is that all beauty is?

Lui decided to share the Japanese idea of wabi-sabi with her grandmother. This philosophy embraces aging and the imperfections that come with it, believing that the true essence of beauty lies in authenticity. “If you want to look like your younger self again, that’s impossible,” Lui told her. “But what you have now is wisdom and life experience, and I believe that the unconditional love you have for our family now is the most beautiful thing about you.”


Lean 选择告诉婆婆日本的侘寂美学(wabi-sabi)是什么:那些经历岁月洗礼后遗留下来的,才是最本质最真实的美。“你要是要追求年轻的肉体的话,那真的是没有的了;但是你拥有的是睿智与生命阅历,再以我的角度而言,你现在的美,是美在对家人无条件的爱与牺牲。”

In truth, beauty and age shouldn’t be seen as relative with one another. While superficial traits are universally used to gauge beauty, the intangible factors that make a person “beautiful” are often discounted. Is the wisdom and experience that come with age not more meaningful than external beauty? This quote perhaps sums it up best:

“One day, I was already old, in the entrance of a public place a man came up to me. He introduced himself and said: ‘I’ve known you for years. Everyone says you were beautiful when you were young, but I want to tell you I think you’re more beautiful now than then. Rather than your face as a young woman, I prefer your face as it is now. Ravaged.’”

–– An excerpt from Marguerite Duras’s The Lover





Lean Lui is currently hosting a solo exhibition in Hong Kong of a photo series based on the relationship between humans and nature. See below for details.


Event: Flow by Nature
Date: March 27, 2018 ~ May 12, 2018
Opening Hours: Tuesday ~ Saturday 11:00 am ~ 7:00 pm (closed on public holidays)

5th floor, Amber Commercial Building
70-74 Morrison Hill Road
Hong Kong



Contributor: Chen Yuan

Lean Lui 近期在香港 F22 Poto Space Cafe 举办个人摄影展“Flow by Nature”,欢迎前往观瞻。


活动: “Flow by Nature
展期: 2018年03月27日——2018年05月12日
时间: 周二至周六 
上午 11:00 至晚上 19:00 (公众假期休息)

摩理臣山道 70-74 号
凯利商业大厦 5 楼



供稿人: Chen Yuan

Redefining Femininity & Sexuality

Butt Sausage

Drawing the most feminine parts of the female body as a series of dishes – isn’t that a bit over the top? Trying to fully express women’s desire for sexuality and even its symbolic form, through the tip of a pen – isn’t that a bit audacious?

Claudia Chanhoi, a Hong Kong-born and U.S.-based artist, says most of her creations feature women’s body parts but aren’t only about women’s sexual desire. They also represent the artist herself, a modern straight woman.

But what do these illustrations aim to communicate?


现居美国的艺术家 Claudia Chanhoi,她大多数作品创作的对象就都是女性的身体部位,但它们实际上不仅仅女性性欲的代表,也是身为现代女性异性恋的艺术家本人的象征。



Non-reproductive Sex


Sex, a veiled and silenced word, traditionally connotes privacy, shame, even filth. But just because it’s silenced, does that mean it doesn’t exist?




Feeling Detached From The Body
Coconut Summer

Chanhoi was raised in Hong Kong by devout Catholic parents. As a child, she attended a very traditional all-girls Catholic school where she was taught that female sexuality should be passive and vulnerable. “Women couldn’t really express sexual desire – doing so would be shameful and wrong,” she recalls. Back then, it didn’t even occur to her that sex could come before marriage or should happen outside of procreation. In her mind, sex was only for reproduction.

“Honestly, at the time, I didn’t really think much about it, since I was still too young to understand what sexuality and sex actually meant,” Chanhoi says. “Once I got a bit older and entered puberty, people around me started making comments about my appearance. […] It seemed like it was a woman’s job to be sexually appealing, and to uphold all those standards of beauty.”

Claudia 小时候在香港长大, 父母是传统的天主教徒,她小时候就读的学校,更是一所非常传统的私立女子天主教学校。小时候的她,被教导为“女性的性行为应该是被动的、易受伤的”;“女性不能真正表达自己的性欲,否则它会显得可耻”。甚至,对那时候的 Claudia 来说,性行为在结婚怀孕前,是一件“永远不会去做”的事情。性,仿佛永远只能为生育服务。


Vag 03

Looking back now, she says, “I was confused, and I always felt I wasn’t good enough to meet society’s expectations of how women should look or how they should behave.”

Perhaps that’s when she started asking questions about gender inequality and women’s roles. “Even though I was taught that women shouldn’t display their sexuality, from my own experience, I’d say society uses female bodies as sex objects. Women have never really had full ownership or control over their bodies.”

回看那时候,Claudia 说:“我感到很困惑,总是觉得自己不够好,没办法满足社会对女性应有的期望。”

那或许正是 Claudia 开始质疑女性的社会角色和性别不平等问题的时刻——“从我所经历的情况来看,社会一直在使用女性身体作为性对象。对我而言,女性似乎从未真正掌握过自己的身体。”

Sex Tablets?


In 2013, in her last year at the London College of Communication, Chanhoi started a final project titled The Sexual Objectification of Women. Three years later, still fascinated by feminism and what it means to be a woman in modern society, she picked the project back up with the addition of new illustrations. “Most of my work is created purely from my own experiences. I see this as a visual journal, a message to share, a joke,” she says. “Of course, these illustrations go far beyond the original topic.”



2013 年,Claudia 在伦敦大学传播学院开启了她的最后一个学生时代的项目女人物化的性The Sexual Objectification of Women)。出于对女权主义的好奇,对“在现代社会做女人是种什么样的感受”好奇,Claudia 在 2016 年重启了这个项目,“我的大部分作品都是纯粹基于我的经验而创作的。我觉得这是我的视觉杂志,亦是可供分享的一条信息、一个笑话,当然这也完全超过了我最初选定的主题。”

Bad Medicine

The subjects of Chanhoi’s drawings are often based on more than everyday objects. “Once, while recovering from the flu, I had to take different drugs every day. Staring at those pills, I suddenly began to wonder: if loneliness is a sort of illness, might casual sex be a short-term treatment? That’s how I created ‘Bad Medicine: Sex Tablets.’”

Claudia 作画的对象,不外乎是大家每天在生活中都能看到的东西。 “有一次我从流感中恢复过来,每天都必须服用不同的药片。 盯着这些药片,我立即质疑自己,‘如果孤独是一种病的话,那么性爱算不算短期特效药?’ 这就是我创造一剂坏药—性爱药丸的原因。”

Isolation Room
Body 01
Loneliness is An Infectious Disease

For Chanhoi, art is her best means of connecting with people and telling stories. She believes that the message or concept behind the image is crucial. In a world where everything moves quickly, people can always forget a beautiful image. For a work to be really memorable and irreplaceable, it has to say something meaningful. “I hope people can relate to my art and understand the thinking behind it, and not just see it as a bunch of images with nipples and genitals,” she adds.

Claudia 觉得,在画面背后所蕴涵的信息或概念是至关重要的。在这个快节奏的世界中,人们往往会很快就忘记美丽的图像,但真正能够让人铭记且无法替代的作品,是那些言之有物的作品。对 Claudia 来说,作品就是她与人沟通和讲故事的最佳交流工具。



Shifting Power Dynamics


Chanhoi began to see her project as a potential platform for expression and a way of better understanding herself and her own sexuality. She was struck by how celebrities like Rihanna and Beyoncé, as strong, independent women, used their sex appeal to celebrate feminine sexuality and proclaim their power over men. This insight upended Chanhoi’s whole concept of sexual power, a shift she found liberating and fascinating.



在这个个人项目创作中,Claudia 把它作为一个可供表达的平台,来更好地理解自己和自己的性欲。在这个过程中,Claudia 意识到像蕾哈娜、碧昂丝这样的名人,作为强大的独立女性,她们利用女人的性吸引力来彰显女性的“性力量”(sexual power),展现女性对男性的性权力或掌控力。从这个角度来看,Claudia 发现“性力量”的观点竟整个转变了,这个转变显得非常自由且迷人。

To Love Your Body To Love Somebody
Plum Double

“Generally speaking, I think women have more sexual power than men, even though I’m a heterosexual woman,” says Chanhoi. “For such a long time throughout history, women’s bodies have been sexualized and taken away from them. Now women can be as sexual as we like, and can freely express our desires, without being called out or rejected.”

Chanhoi enjoys being a woman in today’s society, but she recognizes it’s not easy. Women are often unfairly put into different boxes: attractive or ugly, single or taken, married or unmarried. “You can even be called a prude and a slut at the same time, depending on who’s doing the judging. I can’t sum up how society sees women because there are too many rules women are asked to follow. Even women treat other women very harshly,” she adds. “What I can say is that modern women are more empowered to have a voice than ever before, and that voice will always be heard.”

“一般说来,尽管我是一名异性恋女性,但我认为女性比男性拥有更多的性权力……在人类历史上,女人的身体在很长一段时间里都已经被‘性欲化’了,而且被剥夺于自身之外。 我想我们女性可以像任何人一样享受性生活,并且可以随心所欲地表达自己的欲望,而不会被社会声讨且反对。”

Claudia 很喜欢在现代社会中做女人的角色,但做女人并不容易。女人往往会被不公平地划分成不同的类别:有吸引力或没有吸引力、单身或有对象、未婚或已婚……“你甚至可以同时被称为修女荡妇,仅凭人们评判角度的不同。我恐怕无法总结我们的社会如何看待女性,因为有太多的规则要求女性来遵守,甚至女人也会对女人自己非常苛刻。我可以说的是,现代女性比以往任何时候都更有能力发出声音,而且将一直被大众听到。”

Drive Through 02
Sexy Back 01
Fantasy Room
Lips 01
I Feel Strong To Be Served

Website: www.claudiachanhoi.com


Contributor: Chen Yuan

网站: www.claudiachanhoi.com
Instagram: @brainxeyes


供稿人: Chen Yuan