Tag Archives: illustration

A Year in Pictures

In the world of Taiwanese illustrator Cinyee Chiu, there are no gloomy clouds, or even any people—just endless sunshine and a kaleidoscope of colors, birds, and flowers. Her works are idealized reveries painted as a pleasant routine, and they’re best enjoyed quietly, with a hot cup of tea. One can while away a long, leisurely time looking at them.

In her most well-known work, she’s drawn the jieqi, the two-week unit of the Chinese lunisolar calendar. People in former times divided the year into 24 such periods according to the position of the sun and moon, the passing of the seasons, and the changes in the weather. Chiu uses illustration to reinterpret this tradition, imagining each jieqi as an animal colored in a seasonal pattern, giving new life to a time-honored part of Chinese culture.


在台湾插画师 Cinyee Chiu 的画中世界,没有抑郁的阴雨,只有永恒的阳光、和数不尽的彩色的鸟与花。这里流光溢彩、却袅无人烟,她把脑海中对于乌托邦的遐想,都描绘出来,成了这一片和煦的日常。她的画作适合静静地欣赏,佐一杯热茶,就这样缓缓地,虚度一个漫长的时光。

而她最著名的作品《24节气》,发想自中国传统的历法24节气,即古代人民依据日月的运行位置,结合季节更迭以及气候变化,将一年划分为二十四等分的历法。她用插画重新诠释了这个美丽的传统,每一个节气在她的想像里都成为一种动物,身上披着象征不同时令的毛色和花纹,让这个渊远流长的传统,栩栩如生了起来。

春 Spring: 立春 Start of Spring / 雨水 Rain Water / 惊蛰 Awakening of Insects / 春分 Vernal Equinox / 清明 Clear and Bright / 谷雨 Grain Rain
夏 Summer: 立夏 Start of Summer / 小满 Grain Full / 芒种 Grain in Ear / 夏至 Summer Solstice / 小暑 Minor Heat / 大暑 Major Heat
秋 Autumn: 立秋 Start of Autumn / 处暑 Limit of Heat / 白露 White Dew / 秋分 Autumnal Equinox / 寒露 Cold Dew / 霜降 Frost Descent
冬 Winter: 立冬 Start of Winter / 小雪 Minor Snow / 大雪 Major Snow / 冬至 Winter Solstice / 小寒 Minor Cold / 大寒 Major Cold

Chiu is a freelance illustrator, yet as she admits, she didn’t consider art as a career until after she graduated from university. She majored in economics and for a time worked in an unrelated field. Then one day she took up the brush she’d put away during college, quit her job, and began a degree at the Maryland Institute College of Art. That’s when she finally started pursuing her dreams.

Chiu says she feels most successful when she can use art to give form to the images in her head. “This kind of success is quite addictive,” she says.” If I don’t satisfy the craving once in a while, I start to get depressed.”

 


现在作为一位自由接案的插画师,但她坦言,真正将艺术作为职业考量却是在大学毕业后才决定的。大学时主修经济,让她经历过一些与艺术无关的工作。直到有一次,她重拾起已被搁置了整个学生时代的画笔,她毅然辞职,申请上美国马里兰艺术学院,才开始真正追寻自己的理想。

Cinyee Chiu 形容,能通过绘画将心中的画面确实呈现出来,传递出所想的讯息,是她认为自己最能获得成就感的时候,“这种成就感可能有点成瘾性,时不时就必须补充一下,不然我的心情就会隐隐低落。”

Websitewww.cinyeechiu.com
Instagram: @ccinyee
Behance~/cinyeechiu

 

Contributor: Yang Yixuan


网站: www.cinyeechiu.com
Instagram: @ccinyee
Behance: ~/cinyeechiu

 

供稿人: Yang Yixuan

Land of 8,000,000 Spirits

From Kazuki Okuda‘s pen comes a crocodile peeking out among the branches of an ancient tree and a giant graceful dragonfly perched on a girl’s chest. Other illustrations feature golden carp, green frogs, and emerald-headed mallards. We’re far from cities of concrete: this is a story of humans and nature.

Okuda’s works are exquisite and expansive, like a cicada’s delicately veined wings that, though small, create a resounding chorus from high in the trees. His works teem with all sorts of tiny creatures, and viewed from a distance, they form an epic, cinematic composition.


奥田一生的笔下,鳄鱼的尖吻从古树枝桠中伸出来,巨大又纤巧蜻蜓匍匐在少女的前胸,还有金光鳞鳞的鲤鱼,青蛙、绿头鸭……这不属于钢筋水泥之城,这是自然和人的故事。

他的画,细腻又磅礴。细腻到蝉翼的纹路,都能纤毫毕现;而在声势上却显得宏伟磅礴,绿荫下,古树上,寄居着微小却实在的各种生物,远远看去,简直像是一幅史诗级电影的构图。

Okuda was born in Nara Prefecture and now lives in Kyoto. “The place I grew up has a lot of nature near where people live,” he says. In his view Japan is a mystical country, and the close relationship of nature and culture has given rise to a unique spiritual concept called yaoyorozu no kami (八百万の神, literally “eight million spirits”). Spirits, or kami, live in all things and are part of nature’s diversity. “While living there [in Nara], nature gave me the impression of both extreme charm and extreme fear,” he recalls.

这个奥田一生,生于日本奈良县,目前生活在京都,一个“被大自然环抱着,比邻人群之地”。在他眼里,日本是一个神秘的国家,自然和人文交织混合,因而也有一种独特的神学理论,“八百万の神”,即这个神灵 Kami 存在于一切事物里,囊括在自然万物中。“因而在奈良县生活,大自然给我留下的印象是既迷人又恐惧的。” 他说。

Insects feature prominently in Okuda’s art. These organisms have a particularly complex body structure that nevertheless looks very simple. One reason he draws them, he says, is that “although they’re beautiful, they cause fear. They simultaneously give rise to various conflicting emotions. They are living creatures like human beings, but they’re more a part of nature than we are, and unlike us, they are akin to the spirits. Using them, I can express the idea of yaoyorozu no kami and the various feelings I get from nature.”

奥田一生的画里常常出现昆虫。这种生物拥有非常复杂的身体结构,但看起来又非常简单。“(我画昆虫)其中很重要的一个原因是它们的视觉呈现。它们又美又让人心生恐惧,这也给了我很多矛盾的情感——昆虫是和人类一样的生命体,但它们融入自然的程度却超过了我们。并且,与我们不同的是,昆虫与出现在神性里的圣灵更相似。所以我借用它们的身形,以表达 Kami 的思想和来自大自然的各种情感。”

Nature is an important motif in Okuda’s work, and he shows this by insistently drawing living creatures. But he doesn’t want his paintings to show the splendor of nature alone—culture also occupies an important place. “I draw insects and living things with human beings to represent the wonders of culture and the wonders of nature,” he says.

“Insects and living creatures are an important channel through which we connect with nature. And this is an important theme,” he says. “I want people who see my pictures to be interested in nature and living things. And I also want them to have an adventure in the world inside the painting—an adventure at the intersection of culture and nature. something that’s fun.”


以画昆虫和生物来表现自然,这奥田一生画中的一个重要主题。然而,他并不想仅仅用绘画来表现大自然的壮美,“人文”主题也占有重要的比例。我画昆虫和生物与人类,以表达人类的文化和大自然的奇妙。这是我的绘画的真正主题。他说。

“昆虫和生物是连接我们与自然的一个非常重要的媒介。而人类与之结合的形式,就是我表达这一主题的方式之一。我希望看到我的照片的人对‘生物’、自然感兴趣,我也希望让观众在画中的世界里有一次冒险——在人类文化与自然交融的世界冒险,并乐在其中。”

Website: isseinoissyou.michikusa.jp
Behance:~/isseitakied303
Facebook~/kazuki.okuda.773

 
Contributor: Chen Yuan


网址: isseinoissyou.michikusa.jp
Behance: ~/isseitakied303
Facebook~/kazuki.okuda.773

 
供稿人: Chen Yuan

World of Zhu

In World of Zhu, a collaborative project between Indian artists Svabhu Kohli and Viplov Singh, the creative duo has created a vibrant animal universe where bears, flamingos, and deer take center stage. Over the past few years, the two artists have worked together numerous times on nature-focused art that aim to educate people on the importance of protecting the environment.

“In the past few decades, there has been a visible change in the world around us,” Kohli tells us. “There are new stories and new conflicts, and in addressing these ideas, we’re learning and reflecting. We share our planet with these different species and our collective survival rests on the balance we share with them. Telling their stories feels important at a time when the natural world is fast disappearing.”


很明显,在 Svabhu Kohli Viplov Singh 的最新作品《World of Zhu》里,小熊、火烈鸟、梅花鹿,这些野生的动物与人一样,竞相出现在画布上 ,构成了画面的有机元素。在过去的几年里,两位艺术家合伙创作了一系列的有关自然的绘画作品,描绘出生态、环保、爱和教育等主题。

Svabhu 说:“在过去的几十年里,我们周遭世界有了显著的变化。现在我们看到的景色,有着全新的故事和冲突存在。而我们与这些动植物共享我们的地球,我们共同生存在这平衡之中。我认为,人与动物沟通的形式是多种多样的,在大自然正在‘萎缩’的时候,去描绘和讲述人与动物之间的故事,是相当重要的。”

Behance: ~/svabhukohli | ~/viplovsingh

 

Contributor:  Chen Yuan


Behance: ~/svabhukohli | ~/viplovsingh

 

供稿人:  Chen Yuan

A World of Monsters & Plants

In one illustration, a slime-covered shark with jet engines on its fins swims through a tangle of video game cables and old brick cell phones. In another, flowers with fanged petals wrap their stems around a pair of faded blue jeans. One more features floating ketchup and mustard bottles, Chuck Norris as a merman with hair dryers in both hands, plus an array of other surreal elements, all of which are sandwiched between two giant hamburger buns.


在一幅插画中,一只涂满粘液、鳍上装着喷气发动机的鲨鱼正游走于一堆视频游戏电缆和旧式的砖手机中;在另一幅插画里,褪色的蓝色牛仔裤上,画着露出尖牙的花朵;还有一幅,番茄酱和芥末酱的瓶子成为了主角,动作片演员查克·诺里斯(Chuck Norris)变成一条手拿吹风机的人鱼,和其它超现实元素一起,夹在两块巨大的汉堡面包之间,变成了一个巨型汉堡包。

These are the imaginings of Singaporean artist Adeline Tan. Her work—a mixture of illustration, commissioned murals, and personal painting—take on various roles and purposes. “Art is comforting, it helps me manage negative emotions,” she explains. “As a Singaporean child growing up in the ‘80s, there was a lot of pressure to perform academically. Children find ways to cope, and for me, it was drawing. My parents quickly discouraged me, of course.”


这些插画来自于新加坡艺术家 Adeline Tan 的想象世界。她的作品包括插画、委托创作的涂鸦作品和个人绘画作品等等,类型和用途都十分丰富。“艺术有抚慰人心的作用,它可以帮我控制一些负面的情绪。”她解释道,“作为一个生活在 80 年代新加坡的小孩,在学业上常常要承受很大的压力。每个小孩都有自己的排压方法,对我而言,画画就是我排压的方式。当然,我的父母很快泼我冷水了。”

What began as a creative outlet quickly grew to become her passion. She worked for years as a graphic designer, during which she struggled to find time for creating personal works. 2013, when Tan gave birth to her little boy, was a pivotal year for her. “I quit my day job to become a mother and focused more on painting and drawing as it had more flexibility than the long hours of a designer,” she says. “From there, I created a lot more personal work and self-initiated projects.”


这种最初用来排解压力的爱好很快变成为了她的热情。在担任平面设计师的多年期间,她总是想办法抽出时间创作个人作品。2013年,Adeline 生下儿子,对她来说,这是关键的一年。她说:“我辞去了全职工作,成为全职妈妈,也因此可以更专注于画画,比起当全职设计师那种长时间工作,现在我在时间上可以更加灵活。从那时起,我就创作了越来越多的个人作品和项目。”

While Tan’s output is diverse, having a child definitely had an impact on the subject matters she works with. “After my son was born, I began exploring themes like an imagined future of our natural environment, family history, and nightmares,” things that her family deals with and that her son may have to as an adult. “I’ve also taken up more children- and education-related projects. One collaborator I especially love is EYEYAH Magazine.” An example of the work she does with them is her piece on mutant E-waste, and how toxic products end up in the ocean and other places.


虽然 Adeline 的作品类型多样,但是小孩的出生肯定会对她的作品主题有所影响。“儿子出生后,我开始探索一些新的主题,譬如是构想自然环境的未来、家族历史和梦魇等等。”大多是以她的家人以及她的儿子将来成年后不得不面对的问题为主题。“我还开始创作更多与儿童和教育有关的项目。我特别喜欢和 EYEYAH Magazine 杂志合作。”他们曾合作一个关于突变电子废物,以及有毒产品污染海洋和其它地方的项目。

While she does lots of digital work, her favorite medium is painting. Often, that includes watercolors of plants with copious stems entangled in her trademark style. Tan also does a lot of mural work, something the artist began exploring a couple years ago. “I find that the difficulty faced when trying out a new format or medium or size is also exciting in the sense that I get to learn something new,” she says. “You are forced to look at the work in a different way, forced to use different brushes or tools from those you are comfortable with.”


虽然她创作了大量的数码作品,但她最喜欢的媒介依然是绘画。水彩绘画的花卉与相互缠绕的花茎是她的标志性元素。除此之外,从几年前起,她开始探索创作壁画作品。她说:“我发现,在尝试新的形式、媒介或创作不同大小尺寸的作品时,我会遇到的困难,同时也会感到兴奋,因为这意味着我可以学到新的东西。我必须要以不同的方式看待这项工作,抛掉过去用习惯的工具,去尝试不同的画刷或工具。”

The most recent mural she worked on was a collaboration with 32 other artists. Organized by artist Skl0, their work was printed on a replica of the HBD government subsidized housing blocks that the majority of Singaporeans live in. Tan’s work included a three-story unit consisting of a monster floral pattern on the outside wall, with a yeti-like couple dancing inside the windows. She also worked with artist Tiffany Lovage to create a life-sized mural of a tiger in X-ray view, leaping among tiger lilies, with the stripes on its body formed by a pattern of mutant tiger orchids.


最近,她与其他32位艺术家合作创作一个壁画项目。这个项目由艺术家 Skl0 策划,他们在大多数新加坡人所居住的组屋(HDB,政府补贴的住宅区)的复制品上创作壁画。Adeline 的作品包括一个三层楼的单元,她在外墙上画了一个怪物花卉图案,又画了一对像大脚野人(Yeti)一样的情侣在窗户里跳舞的情景;她还与艺术家 Tiffany Lovage 画了一只X射线图的老虎。这只与原物一样大小小的老虎正从虎百合花丛中一跃而出,身上的条纹也突变成老虎兰花。

Her characteristically dense and comical works, with multiple objects thickly entangled with one another, lend themselves to a variety of outlets. But no matter how her work is presented—whether it be a stamp collection, an animated GIF, the painted fabric of a pair of pants and sneakers, or a children’s illustration—Tan’s style always feels like a perfect fit. 


密集而有趣的画面,繁复的物体彼此纠缠在一起,这是她作品的标志性风格,这样的插画适合制作成各种各样的创意作品。无论是邮票、视频投影 GIF、裤子和运动鞋上的彩绘,还是儿童插画,Adeline 的作品总会让人有一种亲切感。

Website: www.mightyellow.com
Instagram: @yell0w

 

Contributor: Mike Steyels


网站: www.mightyellow.com
Instagram: @yell0w

 

供稿人: Mike Steyels

Surrealism in the Search Bar

Flourish 4

“If dreams are a translation of waking life, then waking life is likewise a translation of dreams.”

— René Magritte

 

The worlds created by Indonesian artist Musa Esrtungkoro, like those of celebrated surrealist painter René Magritte, have a powerful draw on people: they’re philosophically suggestive and highly enigmatic.


如果梦境是现实的诠释,
那么现实也是梦境的诠释。

——雷内・马格里特(René Magritte)

 

来自印尼的画家 Musa Esrtungkoro 笔下的世界,和举世闻名的超现实主义画家玛格丽特一样,有着让人为之深深吸引的力量:富有哲学的内蕴,同时又极尽诡秘。

Iqro
Empty

In the age of digital media, as opposed to the past, it’s easy to turn a vision into reality. Esrtungkoro can get inspiration from music, news, daydreams, or his immediate surroundings, then find suitable images online and import them into his illustration software. Next, he gives the images a “surrealist” treatment in Photoshop, using characters of his own design.


和传统绘画不同,得益于数媒时代的便利,Musa 在随时随地获取的灵感,诸如音乐、新闻、环境和梦境中汲取的点滴,都可以导入插图软件,再从网上找到合适的图片,然后用 Musa 自己设计创作的人物,在 Photoshop 上进行 “超现实” 处理。

Comfortably Numb

Comfortably Numb is a work inspired by the British band Pink Floyd’s song of the same name,” explains Esrtungkoro. “When I listen to the song I feel unexpected comfort, like being in the subconscious, where my body feels numb, like I’m flying through space and seeing planets while my body stays on earth.”


“比如《Comfortably Numb》这件作品,受英国乐队 Pink Floyd 的歌启发而作,我的作品与它同名。当我听这首歌时,我感受到了意想不到的安慰,就像沉浸于潜意识中,我的身体渐渐变得麻木,仿佛在太空中飞翔。最后,当我的身体停留在地球上时,我就看到了行星。”

Fly
Vandalisme
Waiting

Two constant sources of inspiration and encouragement for Esrtungkoro are the works of Magritte and those of contemporary digital collage artist Julien Pacaud. “When I see their works, I always wonder what they want to convey,” he says.

But he notes that, as an artist, he’s never tried to make his viewers “understand” his own works. “It’s up to them what they want to make of my works,” he explains. “I submit everything to their respective judgments, because I made these works only to pour out the contents of my heart that can’t be conveyed in the real world.”


一直给 Musa 以激励和灵感的,是雷内·马格里特(René Magritte)和朱利安·帕考(Julien Pacaud)两位超现实大家的作品。“当我看到他们的作品时,我总是想知道他们想通过他们的作品表达什么?”

但 Musa 觉得,以艺术家的身份出发,他从来没有想过让观者 “看懂” 自己的作品,“他们想从我的作品中得到什么,这取决于他们想要什么。我把一切都交给了人们各自的判断,因为我做这些作品,只是为了倾吐我内心深处无法表达的东西罢了。”

Undesirable
Modestly to Be High

Modestly to Be High depicts someone who is already tall but keeps looking down (modest),” says Esrtungkoro enigmatically. “I really like this work because he really lives in my head and reminds me of people whose lives are dedicated to helping others and looking after this aging universe, and I dedicate this work specifically to them.”

To approach his strange, surreal world built out of random objects, we may just need to switch up our point of view. Perhaps art is even truer, more moving than daily life.

 


“我最喜欢的作品是 Modestly to be High’(‘虚’高),它描绘的对象是一个已经很高的人,却一直往下看的样子,以示一种谦虚的姿态。” Musa 说,“这副作品一直存在在我的脑海里,它让我想起了那些毕生致力于帮助他人和照料这个宇宙众生的人,这件作品是我向他们致敬之作。”

在 Musa 用各种毫无关联之物所构建出来的超现实奇想世界里,或许我们换用一种超脱的眼界去看待,画,则可能比日常所见更为真实可感吧。

Nick Dark Pink Moon
Cello Song
Introvert

Behance: ~/MusaEsrtungkoro
Instagram@esrtungkoro_


Contributor: Chen Yuan


Behance: ~/MusaEsrtungkoro
Instagram@esrtungkoro_


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

A Diary in Comics

“I guess you could call my work a dumping ground of uncensored thoughts.”

For Ji Sub Jeong, aka Geesubay, a Korean-Canadian artist working in New York, art has been a passion since childhood. “I’ve been drawing obsessively as long as I can remember,” he says. “I’d doodle on anything I could get my hands on, from textbooks and magazines to the walls of my room (which my mom did not appreciate!). Drawing was something that I enjoyed tremendously, and I could never get enough of it.”


“我想你几乎可以把我的作品称为 ‘一团没有经过审查的思想垃圾堆’。”

韩裔加拿大籍插画家 Ji Sub Jeong aka Geesubay,目前在纽约发展艺术事业。他对于艺术的热爱从小就展露无遗,自从有记忆以来,画画就一直是他最着迷的事情。“我会在任何我碰得到的东西上乱画,从课本、杂志、到我房间的墙壁,虽然对此我妈妈很不高兴。我一直非常享受画画,我想我永远不会有觉得画够了的那一天。”

Window Thoughts /《窗边随想》
Everything Is A Blur /《世界是模糊的》
Naked And Shy /《裸体与害羞》
Not Fall Yet /《還沒掉下來》
Getting Over The Hurdle /《跨栏》

Jeong’s art is simple and free, full of a humor that brings a familiar smile your face. The mischievous, pudgy little boy in his drawings, out exploring the world, seems to be a creature of his imagination. As he plays and gets into trouble, he discovers life’s smaller joys. “I’ve never been one to keep a steady diary, but I’ve realized that I feel the most satisfied when I draw something I’ve had on my mind for a while,” he says. “So I guess my illustrations can be viewed as a visual diary that showcases my most private and honest feelings about the world.”


他的创作简单、自由、充满令人会心一笑的小幽默。一个拥有浑圆身躯的小男孩喜欢到处闯荡,也许这个顽皮的男孩就是 Ji Sub Jeong 想像的投射,他总在无趣的规则边缘探索,惹一点事,嬉闹之间发现生活微小却显而易见的乐趣。“我从来不是能每天按时写日记的人,但我发现如果可以用画的把想法记录下来,这让我感到好满足。所以我的作品也可以被看作我的图像日记,诚实地展现了我个人对世界的看法。”

Headspace /《头上空间》
Cig Thought /《烟与随想》
Don't Ground Me/《不要拉我》
Clapping My Own Hands /《和自己击掌》
Peace Sign /《和平标志》
Finger Print /《指纹》
Who Am I /《我是谁》

Websitejisubjeong.com
Instagram@geesubay

 

Contributor: Yang Yixuan


网站jisubjeong.com
Instagram: @geesubay

 

供稿人: Yang Yixuan

Fantasizing in Shades of Blue

Seoul-based artist Jungho Lee creates surreal illustrations that bring the observations of his mind’s eye to life. Chock-full of symbolism, the imaginary settings he’s conjured are populated with an array of peculiarities. From strange books of varying shapes and sizes to cloudy dreamscapes and glowing cabins, his drawings exude a tranquility that’s tinged with a sense of loneliness.

Lee says, “Everyone experiences loneliness deep in their hearts. To be composed and face it head on is something that can make you more mature . . . Ultimately, I hope people can use their personal experiences to interpret my works in their own way and be more attuned to their own inner voice.”


插画艺术家 Jungho Lee 长居韩国首尔,在那里,他画下许多超现实的插画作品。他的作品展现着许多奇谲的视觉隐喻,画作和脑海中现实重叠:微启的书册、迷雾的夜晚、透着光亮的房子……透着安宁的意味,却也让人感到沉寂的孤独。

“每个人都有自己内心深处的孤独,坦然面对它会让自己的内心更加成熟。我希望我的画能根据大家各自的经历自由解读,可以倾听自己内心的声音。”Jungho 说。

Website: leejungho.com
Instagram: @jungho.el


Contributor: Chen Yuan


网站: leejungho.com
Instagram: @jungho.el


供稿人: Chen Yuan

Twinkle Twinkle Little Circle

From A Planet of Seas & Mountains / 《山海星球》系列

“I wish everything in this world were round,” writes Yayi in a project statement.

Yayi is a Shanghai-based artist who spends her days designing, doodling, and searching for inspiration in the trivial details of life. Her unique style is characterized by minimal colors, collage elements, and perhaps most distinct of all, an assortment of circles. But why circles?

“I just like it,” Yayi shrugs. “I’ve always thought circles were such a mysterious shape. They’re soft yet plump. They can be energetic or they can be lethargic.”


“希望这个世界上的一切都是圆圆的”,是 Yayi 给某个系列写介绍时说的。目前生活工作于上海的她,日常画画、做设计,采集生活里能够感动自己的细枝末节,画着圆圆圈圈,配上简单的颜色和一些拼贴元素,就形成了她独特的风格。

但真要为“圆”找出个所以然来的话,Yayi 却说,其实只是因为喜欢这个形态罢了。“一直觉得圆是个微妙的形态,是柔软的、饱满的,有时活泼有时慵懒的感觉。”

From Twinkle, Twinkle series /《Twinkle, Twinkle》 系列
From Twinkle, Twinkle series /《Twinkle, Twinkle》 系列
From A Planet of Mountains & Seas / 《山海星球》系列

Yayi describes her process of drawing circles within the confines of a rectangular frame as “daydreaming within a sequestered universe of my own.”

In Passing By, a series of short animated clips, she presents everyday scenes (with circles, of course) from three different perspectives: as a lover of idle walks, as a lover of parks, as a lover of stories. The series is intimate yet playful, inspired by her observations of strolling around the city. From a lone trashcan in an empty shopping plaza to a flashing traffic sign lighting up the darkness of night, Yayi reimagines mundane settings as delightful works of art.


在一方方的小世界里画圆,Yayi 形容是“时不时在自己臆想的‘断层世界里做着‘清醒梦’”。

以“遛弯儿爱好者”、“公园爱好者”和“小故事爱好者”的身份来分类的《路过》系列,Yayi 放上了一些脑回路的场景画面,非常随意,也相当个人化。在生活里看到的某一个场景和画面的延展,比如凌晨商场里的垃圾桶,夏日深夜空旷马路边被交通警示灯反射过的禁止通行路牌,等等。这些过去的画面,被 Yayi 捕捉在记忆里,又重新翻出来构图创作。

From the Passing By series / 《路过》系列
From the Passing By series / 《路过》系列
From the Passing By series / 《路过》系列
From the Passing By series / 《路过》系列

For times when Yayi wants to create but isn’t feeling particularly creative, collage is her go-to medium. “It’s just me piecing together scattered visuals to try and jolt my brain into coming up with new ideas. That’s why I titled one of my collage series Losing My Mind.”


而在想创作又没有想法的时候,Yayi 会玩拼贴。她的回答很温柔得可爱:“算是通过把零碎的画面重组来刺激自己有些新的想法。所以我把我拼贴的系列叫做‘失心疯’。”

From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列

In her collage works, the elements Yayi selects reveal a fascination with films about space. “I suppose there really are quite a lot of movies about space that I’ve loved over the years,” she says, “from  A Trip to the Moon (1902), to the Soviet-era Solaris (1972), to the more recent Coherence (2013).”

She also cites a love for the work of installation artists Olafur Eliasson and Cai Guoqiang. “I recently watched a documentary about Cai Guoqiang’s Sky Ladder. His ongoing Project for Extraterrestrials series is also quite interesting; in it, he plays with the idea of space exploration but through the innocence of a young boy. All of his works are extremely impressive.”


殊不知,拼贴的素材或灵感来源,背后都会或多或少地融入她沉迷的星球和宇宙的元素。“从 1902 年的《月球旅行纪》,到后来苏联的《飞向太空》……再到近几年的《彗星来的那一夜》。关于宇宙和星球题材的电影,仔细想想我喜欢的还真的挺多的。”

她毫不掩饰她对当代装置艺术家 Olafur Eliasson 的钟爱,还有蔡国强。最近看的纪录片有蔡国强的《天梯》。他用男孩天真的一面去表达对外星世界的探索,做的一系列‘为外星人做的计划’行为和装置艺术都是让人印象非常深刻的作品。”

From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列
From Twinkle, Twinkle series /《Twinkle, Twinkle》 系列
From Twinkle, Twinkle series /《Twinkle, Twinkle》 系列

Her delicate recollections and observations of life, along with her love and longing for outer space, gives Yayi’s circles an ingenious romance.

Depending on the viewer, Yayi’s circles can take on different meanings. Some could see them as symbolic of deeper ideas. Others may just enjoy them simply as circles. Less than a bridge between artist and viewer, for Yayi, art is “an outlet for my own emotions, and hopefully something that resonates with the viewer’s emotions.”


对生活细腻的感知与记忆,对宇宙星球的喜爱与憧憬,让 Yayi 的圆形作品显得玲珑且浪漫。

这些圆,可以被赋予形形色色的含义,也可以干干净净地理解为圆本身。要说 Yayi 所想要搭建的那座桥梁,不过是“我自己的情绪出口,同样也希望大家解读出自己的情绪。”

From A Planet of Mountains & Seas / 《山海星球》系列
From A Planet of Mountains & Seas / 《山海星球》系列

Website: yayifsoso.com
Douban: ~/yayi_ifsoso

 

Contributor: Chen Yuan


网站: yayifsoso.com
豆瓣: ~/yayi_ifsoso

 

供稿人: Chen Yuan