Tag Archives: illustrator

Us and the Cosmos Beyond

The imaginative universe that Ryo Hsu has crafted is wonderfully eccentric, a surreal world with astronauts exploring a strange stretch of outer space that’s populated with mysterious shapes and floating popsicles. Despite boasting an impressive body of work, the Shanghai-based illustrator and graphic designer has never received a formal art education and has been completely self-taught. Hsu originally worked as a professional hair stylist but never quite felt creatively fulfilled in the role. His ongoing love of illustration and design, combined with his dedication and fearlessness to experiment, eventually led him to take a leap of faith and pursue his creative interests full-time. Recently, we had the chance to speak to this multifaceted autodidact to find out about some of the underlying concepts in his work and what inspires him.


来自上海的插画家和平面设计师Ryo Hsu从未接受过正式的艺术教育,却创作了一系列令人印象深刻的作品。在这之前Hsu是一名专业的发型师,但发型师的工作未能让他充分发挥自己的创意才华。因为一直以来对插画和设计的热爱,投入和冒险精神,Hsu大胆决定改行,全身心投入自己感兴趣的创意事业。Hsu创造的插画天马行空,那是一个超现实的幻想世界。在这里,宇航员探索着充满神秘形状和浮动冰棍的奇妙空间。最近,我们有机会采访到这位拥有多方面才华的艺术家,了解他的作品中所蕴含的一些概念和创作灵感。

Neocha: Can you tell us about how you got started with design and illustration?

Ryo Hsu: I think it stems from my childhood infatuation with manga and comics. I’ve never stopped drawing, and eventually, I was introduced to digital software, which led to me to experiment with new approaches. In the beginning, I had trouble finding an aesthetic that would translate what I envisioned into a visual format, so I just kept experimenting and trying out different mediums.


Neocha: 你是如何开始接触平面设计和插图的呢?

Ryo Hsu: 可能是源自我小时候喜欢画漫画的经历。画画在我的成长中一直没有停止过,直到我接触到数字软件后,开始新的尝试。但一开始并没有找到能将内心所想完全表达出来的风格,各种喜欢的类型都会去尝试一些。

Neocha: Who or what do you consider to be your biggest influences?

Ryo Hsu: Aside from visual influences, music is the most impactful factor for me. I’ve loved rock music since I was a young kid, and I played in a band. It’s been ten years now, and bandmates come and go; I often just jam by myself. Music is an abstract art to me – it’s intangible. You can’t see it or touch it. Comprehension is completely dependent on an inner level. My artwork is often the result of imagery that pops up in my head from when I would listen to music. Even though I love rock music, I listen to a bit of everything. When I’m working, I most often listen to post-rock, dream-pop, and so on; these genres aren’t convoluted by the presence of vocals or lyrics, so a lot of it is up to my own imagination. As for influences of other artists, Tadanori Yokoo and Dali probably influence me the most. I’m also quite interested in astronomy, sci-fi, surrealism, and I buy a lot of books related to these matters. My artistic style came about naturally. It’s a combination of all of these interests.


Neocha: 你觉得对自己影响最大的人或事物是什么?

Ryo Hsu: 除了视觉,对我创作影响最大的恐怕是音乐,因为我从小很喜欢摇滚乐,然后就开始玩乐队,现在算来也有10年了,只是乐队分分合合,大多时候都是自己在玩。音乐本身是一种抽象的艺术,看不见,摸不到,必须完全靠精神去领悟。所以我的作品往往来源于我在听到某些音乐时脑海里所产生的画面感。虽然喜欢摇滚乐,但基本上什么都听,而创作时常听Post-rock、Dream-pop之类的音乐,因为这类曲子没有过多人声和歌词干扰,也就给我带来很多想像的空间。说起艺术家的话,横尾忠则和达利对我的影响是很大的。另外我也对天文、科幻、超现实主义非常感兴趣,会买很多关于天文类的书籍,所以当有一天我开始试着将我所听到的音乐与这些结合起来便是目前的风格。

Neocha: Space is a prevalent theme in your surreal and abstract illustrations. Can you tell us more about that? What is your fascination with space and what does space mean to you?

Ryo Hsu: I’m pretty obsessed with astronomy. I have a lot of astronomy-related books at my house. On clear nights, I like to observe constellations and ponder about the life forms that may exist in distant galaxies or if we’re the only living organisms out there.


Neocha: 太空是你的超现实和抽象插图作品中的一贯主题。能跟我们介绍一下这个主题吗?你为什么对太空如此迷恋?对你而言,太空意味着什么?

Ryo Hsu: 我对天文类的内容非常着迷,家中有天文图鉴和相关知识的书籍,也常常喜欢在晴朗的夜空辨识星座和行星,去猜测离我们遥远的星系有着怎样的生命,还是我们只是宇宙中唯一有生命的群体。

Neocha: What are some recent projects that you’re working on?

Ryo Hsu: Besides my professional work, I like to doodle and sketch in my free time. I recently published a small zine with Bananafish with all the random daily drawings I’ve accumulated. Also, I was fortunate enough to have my work selected for the Chinese version of the Japanese sci-fi novel The Next Continent.


Neocha: 你目前手头上有哪些项目在进行?

Ryo Hsu: 除了正式作品外,我只要有时间,平时都会画点小插画,最近把自己累积的一些日常插画与香蕉鱼合作出了一套小豆本,同时自己的插画也有幸被选中作为日本硬科幻小说《第六大陆》中国版的封面。

Neocha: What is the message that you intend to communicate through your personal work?

Ryo Hsu: In the world as we know it now, humans seem to be the masters. But looking outwards, we’re just a tiny blue planet in the solar system. Even beyond that, there are so many unknown mysteries in the universe and places that we probably won’t be able to reach in many lifetimes. But the pioneers of our world are always endlessly looking to further the exploration of extraterrestrial knowledge. My work aims to express the loneliness between people, the sense of isolation between us the rest of the universe, and the longing to understand the unknown. The universe is deep and infinite. There is so much that we don’t know and so much more for us to explore.


Neocha: 你希望通过自己的作品传递什么样的信息?

Ryo Hsu: 在我们目前已知世界中,人类仿佛成为了主宰,但放眼望去,我们不过是太阳系中的蓝色小小星球,在这之外还有更多未知的世界,也许我们几辈子都无法到达更远的地方,但我们的先驱者总是不懈地去探索地外文明。我的画作中一方面会表达人与人之间的孤独感,人类与之宇宙的孤独感,另一方面也有着对未知世界的憧憬。宇宙深邃无穷,总有各种未知等待我们去探索。

Website: ryohsu.com
Behance: ~/ryohsu

 

Contributor: David Yen


网站: ryohsu.com
Behance: ~/ryohsu

 

供稿人: David Yen

Mother

 

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In the award-winning animated film Mother, Taiwanese animator and graphic designer Aco Chang presents the warmth of maternal love in a different light, showing how too often it can be taken for granted. “As a child, I inconsiderately tore apart a ball that my mother had made for me,” she said. “This memory heavily weighs on me, stabbing at me, like a needle in my heart.”


在屡获殊荣的动画短片《母亲》中,台湾动画创作人兼游戏美术设计张吾青以不同寻常的角度向世人展示母爱。她说:“小时候,我不懂事地撕破了母亲亲手做的球,而这件事沉甸甸地,像根针一般刺在我心底。”

Based on this past memory, Chang’s touching animation presents the shifting power dynamic between mother and daughter. In the film’s opening scene, the ball that the mother literally produces from her chest is seemingly symbolic of her love, a love that the daughter brazenly rips apart. The emotional short film is meant to be both an apology and a form of catharsis. The film comes full circle and concludes with the daughter, now grown up, reciprocating her mother’s love through the symbolic act of handing her a ball that’s identical to the one that she ripped apart as a child.


带着这般童年回忆,张吾青的这部动画短片呈现了一场母女间力量的动态转换。在短片开场,母亲从胸口取出象征着其母爱的球,而女孩却粗鲁地将其撕裂。这部触动人心的短片既是一份道歉,也是一场情感净化。影片首尾呼应,在结尾处,女孩的手捧一个与当初一样的球递给母亲,喻示着對母愛情意的歸還。

Chang’s introspective look at this childhood memory opened her eyes, allowing for much-needed self-reflection. Her symbology-filled animation is an attempt to find solace and rectify her regretful actions. From the moment of birth to the struggle for independence and power, the love that a mother has for her child remains unwavering – like a stream, it flows on quietly, a life-sustaining source of endless affection.


张吾青审视自身的童年经验,将情感反刍,转化,运用动画的形式展现各种象征性意涵,想望藉由创作的过程中疗愈与弥补深藏在心中愧悔的生命经验。由子宫爬出的婴儿,在挑战权力的转移与解构之后,母性始终像流水般绵延而静谧,由看不见的尽头注入生命与情意。

Website: juliaczzzaco.weebly.com
ArtStation
: aco.artstation.com
Facebook: ~/acochangart
Tumblr: juliaczzzaco.tumblr.com
Vimeo: ~/user30150008

 

Contributor: David Yen
Video & Images Courtesy of Aco Chang


网站juliaczzzaco.weebly.com
ArtStationaco.artstation.com
脸书: ~/acochangart
Tumblr: juliaczzzaco.tumblr.com
Vimeo: ~/user30150008

 

供稿人: David Yen
视频与图片由Aco Chang提供

In the Studio with Afa Annfa

Stepping into Afa Annfa’s studio, the one thing that stands out the most is her collection of dolls. Bearing goofy oversized heads, they appear adorable at first but a closer look yields an entirely different impression – a sense of sadness, which seems to linger just beneath their cheery demeanors, belies their cute appearance. Similar subtleties are found in the Hong Kong-based artist’s own works. Taking a close look – past the muted pastel colors, the young female characters wearing school uniforms, and the seemingly angelic entities fluttering about – the false sense of charm in her work quickly fades away and is instead replaced by an unsettling sense of melancholy.


香港艺术家Afa Annfa的工作室内摆放了许多她收藏的大头娃娃,这些娃娃造型可爱却又表情阴郁,正如Afa的绘画风格一样。她的画看起来很甜美,充满马卡龙色,穿着校服短裙的女生被天使围绕着。而你仔细凝视,也能很快发觉这之中的不寻常,仿佛一股忧伤压抑的暗流涌过。

Prior to becoming a full-time illustrator, Afa Annfa worked as an art director for an advertising firm and was also an established model and actor. But her interest in illustration didn’t arise out of thin air; it can be traced back to her childhood days. Afa’s father was an interior designer and her older sister was passionate about art; growing up in such a creative environment, picking up drawing was only natural to her. Despite not having had any formal art education, she was already drawing cartoon characters on her own in middle school. She sees her lack of formal training as giving her art a sense of purity and innocence. “I usually just practice by myself,” Afa says. “And I tend to draw with my feelings and instincts.” Recently, we caught up with Afa and talked to her about harnessing creativity, the underlying themes in her work, and what being a “slasher” means to her.


在成为一名全职插画师之前,Afa Annafa曾是广告公司的美术指导,也是一名活跃的模特及演员。不过,她对画画的兴趣自小就开始了。Afa的爸爸是室内设计师,姐姐也热爱艺术,这样的生长环境让她从小就养成拿画笔的习惯。 她从中学时期开始创作一些漫画角色,虽然没有正式修读过绘画课程,但这也让Afa的画风更自然纯粹,“我通常都是自己琢磨着画,凭着感觉 去创作的”Afa 说。最近,我们有幸跟afa讨论了她的创作进展,作品下隐含的主题,还有作为一个slasher对她而言意味着什么。

Neocha: Can you share with us how you approach some of your illustrations and paintings? How do you find inspiration?

Afa: When I’m fully invested and focused on creating something, I easily find myself zoning everything else out. For example, my biological clock might be completely reversed; I won’t eat healthily, nor will I find the time to exercise. But after every intense period of work, I’ll gift myself with a long vacation. I’ll read comics and travel. I feel like these vacations are mandatory and that these breaks contribute to my growth as an artist. When I start working again, I’ll use whatever I might’ve read or seen in my travels as creative concepts; that’s what my workflow is generally like, a system of input and output. When it comes to inspiration, I’m not someone that needs to search high and low. I have plenty of inspiration; most of it comes from books I’ve recently read or media that I’ve consumed. All of these elements are blended together with the message I want to convey. That’s how my inspiration comes about.


Neocha: 可以和我们聊聊你平时的绘画习惯吗?你喜欢通过什么方式寻找创作的灵感?

Afa: 我在投入创作的时候,很容易忽视其他东西。例如:我的作息会日夜颠倒不注意饮食健康,也很少做运动。而一轮紧张的工作过后,我通常会给自己放个长假,将这些时间全部用来看书看漫画和旅行。我认为这些都是必要的,是一个自我增值的时段。每当我再次开始创作,就到了输出的时候,我将书里看到的或旅行体会到的事情,变成我的创作理念。我的工作经常是这样一个输入再输出的循环。说起灵感,我不是需要外出走来走去找灵感的人。我的灵感大多来源于我最近在看的书,以及近期吸收的咨询。这些东西和我想传达的信息相撞,就混合成灵感,它是这样诞生的。

Conversation (2015)
Execution Ground (2014)
'0' (2014)

Neocha: Your illustrations are often cute in appearance, but below the surface, there are many layered concepts. Can you tell us about some of the concepts behind your The Silent Family series?

Afa: This is my first fully completed series. Many characters inhabit this world, but they’re all different forms of myself. The little girl in a school uniform is another version of me, one that’s filled with insecurities. The little monster represents my dark side; it’s a manifestation of my weaknesses, jealousies, and so on. This can also be thought of as a commentary on society. It’s a battle between my darkness and myself. The girl might lift the headscarf of the devil to see what’s within, they might fight with one each other, or they might try to embrace and accept one another. This work was an exploration of self and is quite meaningful and positive in a way. When you can bravely face your own darkness without wanting to run away, you’ll understand yourself more. It’s a big step forward.


Neocha: 你的画风甜美,但背后的意念却很深沉,跟我们说说创作《The Silent Family》的意念吧?

Afa: 这算是我第一个完整的系列作品。我的画里有很多角色,但他们其实都是我的分身。穿着校服的小女生,是内心混乱不安的我,旁边的小鬼是我的一些阴暗面,比如说懦弱,妒忌等等,也可以延伸到整个社会的氛围。这些是我和自己阴暗面做斗争,有时小女孩会掀开小鬼的头巾想看看里面是什么,他们会互相攻击,也尝试着去拥抱接受。这个作品是我一个自我探索 的过程,积极一点来说它也有很美好的含义,当你可以勇敢面对自己的阴暗面,不再逃避的时候,你会了解自己多一些,也向前迈进了一步。

The Silent Family and the Devil (2014)
Ugly as Sin (2014)
There is Hope (2014)

Neocha: In your new work Erotic Ghost Tales, some little monsters also make appearances. Can you tell a bit more about the concepts behind it?

Afa: I experimented with using paper cut-outs for this new series at my exhibition in 2016. I explore a deeper subject. I wanted to explore desire and sexuality from a female perspective. In our society, it’s considered normal for men to openly discuss sex. But this acceptance doesn’t extend to women who want to talk about sex; people are more critical of this. So for women constrained by our societal construct, they choose to not openly discuss sexuality. This is what I hoped to convey through my work. The monsters I draw have subtle meanings. For example, the three lines behind the geisha and the red ribbon in her hair are all meant to be symbolic. The little monsters that surround her represent yearnings and desires that are finally revealing themselves.


Neocha: 在你的新作品《Erotic Ghost Tales》里面,也出现了一些神秘的小鬼怪,能给我们介绍一下吗?

Afa: 2016展览的新作品我试着用了剪纸的手法,题材在上也更深入了一些,我想从女性的角度 去讲欲望和情色。在我们的社会环境中,男人讨论性是理所当然的,而社会给女性的空间却并不大,如果女性很积极得讨论性这个话题,容易遭人非议。所以女性在社会传统的约束之下,往往对性的表现是偏向含蓄的。这就是我这辑作品想要营造的氛围。我创作的妖怪们是很含蓄的,例如艺妓背后得三条白色线条,她发髻上得粉红色布条,都是隐藏的性符号。还有围绕在她身边的小鬼怪,代表一些欲望的暗涌,它们从黑暗中走出来。

Erotic Ghost Tales (2016)
Erotic Ghost Tales (2016)
Erotic Ghost Tales (2016)
Erotic Ghost Tales (2016)

Neocha: As both an illustrator and a model, how would you describe the life of a “slasher” (Slasher is a Cantonese slang that describes a multifaceted person working in different fields)? If you were to dabble in another field of work, what would it be?

Afa: I never planned to go down this path. Many choices in life are unexpected, and we just move with the currents. But I’m quite lucky; many people were willing to give me opportunities all along the way. My decision to study design was influenced by my father. After graduating, I naturally began working in an advertising firm. Being a model wasn’t planned. A modelling agency invited me to audition, so I went in with a mentality of wanting to try something new and possibly earn a little extra money. After being a model for a few years, my income from this became quite steady and it allowed me to quit my job at the ad agency so I could spend more time drawing. It was all unplanned, and I was very fortunate. At times, I felt directionless, but every step forward brought me closer to where I am today. Being a slasher satisfies my desires of wanting to try out and experience different things. If I were to pursue another line of work, I hope to be an author – I would love to write stories that can accompany my illustrations.


Neocha: 身为一名插画师同时也是一位模特,你觉得作为一名slasher(slasher是一个粤语俚语,意思是拥有不同身份不同职位的人)的生活是怎样的? 如果再增加一重身份,你希望会是什么?

Afa: 我反而没有计划过要走这条路,很多生命中的选择都是顺水推舟式的。不过我是很幸运的人,沿途一直有人给我机会。读书的时候选择设计,是受爸爸影响,毕业以后顺理成章去了广 告公司工作。说起做模特也是偶然,大学的时候有人介绍我去参演一些短片,工作以后也有模特经济公司邀请我去试镜。所以我就抱着尝试以及赚外快的心态去做了。几年之后,做模特成为稳定的经济来源,也造就我能辞去广告公司的工作,花更多时间去画画。这些是巧合也是幸运,曾经我以为走的冤枉路,其实一步步支撑我走到现在。Slasher的身份满足到我喜欢尝试不同事物的性格。如果多一重身份,我希望是作家。我想去创作一些故事,并为它们配上插画。

Website: afaannfa.com
Behance: ~/AfaAnnfa
Facebook: ~/AfaAnnfa
Instagram: @afa_annfa

 

Contributor & Photographer: Ye Zi


网站: afaannfa.com
Behance: ~/AfaAnnfa
脸书~/AfaAnnfa
Instagram@afa_annfa

 

供稿人与摄影师: Ye Zi

In the Studio with Alex Carroll

Alex Carroll‘s art studio spans an entire floor of his family’s Shanghai home. After brewing a fresh pot of jasmine tea and leading me up to the second floor, he bittersweetly admits that there will be no such spacious luxuries after he and his family moves back to America next year. The room is filled with supplies and a series of works that range from pieces in the idea stage to fully completed works. I spent very little of the morning directing our conversation; Alex articulates his thoughts in the same way that he creates his large visual pieces – with purpose. His words are profound with meaning and balanced with both humour and humility. Through chatting with him over the course of an afternoon, I came to know him as a true advocate for boundless creativity and as someone deeply respectful of the China that he has come to call home for the last decade.


Alex Carroll 位于上海的家中,他的艺术工作室便占了整整一层楼。Alex Carroll 为我煮了一壶茉莉花茶后,带着我上了二楼, 他苦中带乐地表示,明年他和家人回到美国定居后就再也不能享受到这样宽敞的空间了。在这个艺术工作室中,摆满了艺术用品和一系列由他创作的作品,既有处于构思阶段的作品,也有已经完成的作品。当天早上的采访中,只有小部分的时间我需要引导我们的对话,大部分时候,Alex Carroll都能准确清楚地来表达着他的想法,一如他在创作大型的视觉作品时那样,总是带着明确的主题。他的话语意味深长,又不失幽默和谦卑。一整个下午,通过与他的对话,我逐渐了解到他是一名真正在拥护无限创意的艺术家,以及他对中国所怀有的深深的敬意。在过去十年来,这里一直被他称为是自己的“家”。

Neocha: Each one of your pieces is extremely textural and fluid; what mediums do you predominantly work with in order to create the moving energy that is present within your art pieces?

Carroll: I play around a lot with the ideas of the physical and metaphysical. With a charcoal stick, I can communicate a bigger idea by bringing this “dead” material to life. I’ve always thought that working with charcoal was very romantic. I’m able to get this rich value from using black, with only the paper as highlights. I try to achieve density and transparency. Finding a nice balance between light and dark enables me to create the overall mood of each piece.


Neocha: 你的每一件作品都拥有非常突出的纹理质感和流畅性。在创作的时候,你主要会采用什么样的工具来营造出作品中这些充满动感的能量的呢?

Carroll: 我经常会以形而下和形而上的理念来尝试创作,譬如,通过木炭笔,我可以为这些“死”的”材料注入生命力,用以传达出更大的理念。我一直认为,只用木炭笔来创作是一件非常浪漫的事情。只用黑色来创作,我也能够打造出丰富的效果,而画纸就是我唯一的高光色彩。我尝试表现出密度和透明度,如果能在光与影之间找到一个好的平衡,就能让我在每一件作品中营造出整体的情绪。

Neocha: Can you tell us more about your drawing process? How does your art go from concept to completion?

Carroll: Drawing is both an additive and a subtractive procedure. For me, what is taken away is just as important as what is put down. I go out and buy erasers in the same way that I buy pencils; I give it the same attention to detail because I like the erased mark as much as I like the drawn mark. Drawing is about having this vocabulary of marks that you can employ to create the work. You build up a language and the more words you can utilise in your speech, the more dynamic your speech is.

I like to get my drawings to a point where everything flows together – what really excites me is working in black and white with a figure. It’s about being able to trace softness, hardness, density and light. Because our figures are like that; the way we move, when we add stress on one leg, that movement is hard, dark and bold. For my Transient series, I set about capturing movement through space. Each piece is derived from photographs; it represents metaphysical bodies moving out of sync with the physical surrounds and how we all have an expiration date.


Neocha: 你能跟我们分享一下你的绘画过程吗?从作品构思到最后完成创作,这一过程是怎样的?

Carroll: 绘画是一个不断加加减减的过程。对我来说,被擦掉的内容与加入的内容是同等重要的。我在外面买橡皮擦的时候和我买铅笔的时候是一样的谨慎,我都会考虑到至为细微的细节,因为对我来说,被擦除的痕迹与我所描画的痕迹是一样重要的。绘画其实就是在利用一系列自己掌握的“痕迹”来创作出作品,这些“痕迹”就像是语言的词汇一样,你在学习一种语言时,当你积累了越多的单词,你就可以用在你的演讲中,进行更好的表达。

我希望让自己创作的绘画作品产生让所有元素融汇在一起流动的效果,最让我兴奋的是,只用黑色和白色来创作人物廓形。这样的创作需要描画出柔软感、硬度、密度和光线。因为我们的轮廓就是这样的。而表达我们的移动方式时,我们会往一条腿上施力,所表现的状态应该是强硬的,用深度并且大胆的方式展现。在我的《Transient》 系列中,我通过一定的空间来定格运动。每一件作品都是源自于摄影作品的再创作,它代表了形而上的物体与形而下的环境之间的不同步。它还意味着,我们都有一个“保质日期”。

Neocha: How has moving to China influenced your art and the way that you create?

Carroll: Art is so valued here in China. The language itself is an art, writing Chinese is an art. Chinese calligraphy is a series of spontaneous gestures, but yet, every stroke is so learned and practised. I love that immediacy, where the brush stroke breaks and the white of the paper comes through. Coming to China and seeing this whole school of thought; that really affirmed what I was doing and it got me excited about the kind of work that I could create here. I have been so privileged to be in a culture that appreciates art and appreciates that kind of thinking – that just doesn’t exist in America.


Neocha: 移居中国对你的艺术作品以及你创作的方式有什么影响?

Carroll: 在中国,艺术是如此的宝贵。中文这种语言本身就是一门艺术,书写汉字也是一门艺术。中国的书法由一系列自然而然的姿态组成,但每一笔都体现着学习和练习的功力。我喜欢那种即时可见的效果,当毛笔提起时,纸张的白色逐渐透现出来。来到中国,目睹这种思想学派,让我真正明确了自己的艺术创作,因此,一想到我在这里能够进行的创作我就感到非常兴奋。我很庆幸自己能来到这里,这里的文化能真正地欣赏艺术和理解这种理念,这是美国的文化中所缺乏的。

Neocha: In addition to being an artist, you’ve also been an art educator for many years. How has teaching impacted on your perception of art as a whole?

Carroll: I believe that creativity from art paves the way to understanding the world and building self-knowledge. I didn’t grow up in a very creative household. For the longest time, I saw art as a hobby and drawing was something that I did to pass the time. My parents never discouraged it, but they didn’t encourage it. I think it’s so important for kids who don’t have an artistic outlet at home to be able to go to a classroom and see their creations as achievements. Beyond being fun, art is an achievement and it’s a joy to see kids exceed their own expectations – that’s why I teach. Art education is so important; I really believe that it is the key to building self-worth. There are some artists who are confident in what their art is and their artistic voice is so strong. But I’m humbled by art. I love that I can draw. I feel very privileged that I can draw and I always have. When I draw, I don’t necessarily see it as “this is what I can do”, but rather I see it as, “this is what was given to me.” And it’s my job to keep practising it. I’m not a religious person, but I am a spiritual person, and I see this ability as a gift rather than just a talent.


Neocha: 除了身为一名艺术家,你同时也担任了多年的艺术教育工作。总的来说,教学的经验对你的艺术认知有什么影响呢?

Carroll: 我相信来自艺术的创意能帮助人们理解世界和建立自我认知。我并非出身于一个非常有创意的艺术家庭;在很长的时间里,我一直将艺术视为一种爱好,把绘画当作打发时间的事情。虽然我的父母从未阻止我画画,但他们也没有鼓励我去画画。我认为对于那些在家中难以抒发出自己艺术创意力的小朋友,如果能够去到教室中学习,让他们将自己的创作视为成就,对他们来说是很重要的。除了好玩,艺术也是一种成就,当看到孩子们的创作超过他们自己的期望时,实在是一件很令人开心的事情。这就是为什么我选择做教育的原因。艺术教育是如此重要,我真的认为它是建立自我价值的关键因素。有一些艺术家对自己创作的作品十分自信,他们艺术风格是如此的强烈。但艺术让我感到谦卑。我很开心我能绘画,我感到非常幸运,自己会画画,并能够一直坚持画画。 当我绘画时,我不会觉得“这是我所能够做的事情”,而是“这是我所被赐予的礼物”,所以我的责任是不断地练习。我不是宗教人士,但我是一个有精神信仰的人,在我看来,这种能力并不纯粹只是一种能力,更是一份天赐的礼物。

Websitealexcarroll.net

 

Contributor & Photographer: Whitney Ng


网站alexcarroll.net

 

供稿人與攝影師: Whitney Ng

Chifumi Tattowiermeister

Upon his arrival in Cambodia, Chifumi Tättowiermeister discovered a developing contemporary street art scene in the capital of Phnom Penh. In the last four years, he has become a willing pied piper for young budding Cambodian street artists. Whilst there are no specific laws specifying that street art is illegal in Cambodia, murals are often whitewashed and painted over, even if artists had previously attained permission from the local city hall.


បន្ទាប់ពីគាត់បានមកដល់ប្រទេសកម្ពុជា លោក Chifumi Tättowiermeister បានរកឃើញទីតាំងសិល្បៈតាមដងវិថីបែបសហសម័យដែលកំពុងមានការអភិវឌ្ឍនៅក្នុងរាជធានីភ្នំពេញ។ កាលពីបួនឆ្នាំមុន គាត់បានក្លាយជាអ្នកដឹកនាំដែលប្រកបដោយឆន្ទៈសម្រាប់វិចិត្រករគំនូរតាមដងវិថីវ័យក្មេងដែលពោរពេញដោយទេពកោសល្យនៅក្នុងប្រទេសកម្ពុជា។ ទោះបីជាពុំមានច្បាប់ច្បាស់លាស់ណាមួយដែលបញ្ជាក់ថាសិល្បៈតាមដងវិថី គឺជាអំពើខុសច្បាប់នៅក្នុងប្រទេសកម្ពុជាក៏ដោយ ក៏គំនូរនៅលើជញ្ជាំងតែងតែត្រូវបានគេលុបដោយទឹកថ្នាំពណ៌ ស និងលាបថ្នាំជញ្ជាំង ទោះបីជាវិចិត្រករធ្លាប់ទទួលបានការអនុញ្ញាតិពីសាលាក្រុងក្នុងមូលដ្ឋានពីមុនមកក៏ដោយ។

In recent years, local government bodies have become more receptive to street art, especially if they’re promoting traditional Khmer culture or positive social messages. With this in mind, Chifumi draws inspiration from the local Cambodian society for his eye-catching murals that boldly celebrate the colours and culture of his new found home. Neocha caught up with Chifumi recently to learn more about his current projects and his involvement in this year’s Cambodia Urban Art Festival.


អង្គភាពរបស់រដ្ឋាភិបាលក្នុងមូលដ្ឋានកាន់តែអាចទទួលយកបាននូវសិល្បៈតាមដងវិថីនេះ ហើយ ប្រសិនបើពួកគេធ្វើការលើកតម្កើងវប្បធម៌ប្រពៃណីខ្មែរ ឬសារវិជ្ជមាននៅក្នុងសង្គម។ ដោយប្រកាន់ខ្ជាប់នូវទស្សនៈបែបនេះនៅក្នុងចិត្ត Chifumi បានទាញយកការបំផុសគំនិតពីសង្គមកម្ពុជានៅក្នុងមូលដ្ឋានសម្រាប់ការគួររូបលើជញ្ជាំងដែលគួរឲ្យទាក់ទាញភ្នែករបស់គាត់ ដែលកត់សម្គាល់យ៉ាងច្បាស់លាស់នូវពណ៌ និងវប្បធម៌នៃផ្ទះថ្មីដែលគាត់បានទៅដល់។ Neocha បានទៅជួបជាមួយ Chifumi នាពេលថ្មីៗនេះដើម្បីធ្វើការរៀនសូត្របន្ថែមអំពីគម្រោងបច្ចុប្បន្នរបស់គាត់ និងការចូលរួមរបស់គាត់នៅក្នុងទិវាសិល្បៈខាងក្រៅនៃប្រទេសកម្ពុជានៅក្នុងឆ្នាំនេះ។

Neocha: What is the creative process behind your amazing murals?

Chifumi: Whenever I’m out looking for a wall to do my next mural, I pay attention to every detail. For me, the social and cultural background of the city in which I’m painting in is just as important as the architectural space itself. I always create a sketch before I actually start painting; it is always as if the local context of each city feeds into my work. Living in Southeast Asia allows me to incorporate local mythology and culture as graphic elements in my work. I’m always on the road, so I usually have water-based acrylic paint with my own brushes and rolls handy – it’s not always possible to find good quality graffiti spray cans where I am.


Neocha: តើអ្វីគឺជាដំណើរការប្រកបដោយភាពច្នៃប្រឌិតដែលនៅពីក្រោយរូបគំនូរលើជញ្ជាំងដ៏អស្ចារ្យរបស់លោក?

Chifumi: នៅគ្រប់ពេលដែលខ្ញុំចេញទៅខាងក្រៅដើម្បីស្វែងរកជញ្ជាំងណាមួយដើម្បីគូររូបគំនូរលើជញ្ជាំងបន្ទាប់ទៀតរបស់ខ្ញុំ ខ្ញុំតែងតែយកចិត្តទុកដាក់លើគ្រប់ចំណុចលម្អិតទាំងអស់។ សម្រាប់ខ្ញុំ សាវតារផ្នែកសង្គម និងវប្បធម៌របស់ទីក្រុងដែលខ្ញុំកំពុងតែធ្វើការគូររូបគឺមានសារៈសំខាន់ដូចគ្នាទៅនឹងផ្ទៃលំហផ្នែកស្ថាបត្យកម្មរបស់ទីក្រុងនោះផងដែរ។ ខ្ញុំតែងតែធ្វើការព្រាងរូបគំនូរមួយមុនពេលដែលខ្ញុំចាប់ផ្តើមធ្វើការគូររូបគំនូរពិតប្រាកដ គឺហាក់បីដូចជាបរិបទក្នុងមូលដ្ឋានរបស់ទីក្រុងនីមួយៗត្រូវបានរួមបញ្ចូលទៅក្នុងការងាររបស់ខ្ញុំ។ ការរស់នៅអាស៊ីអាគ្នេយ៍បានធ្វើឲ្យខ្ញុំអាចរួមបញ្ចូលទេវកថា-វិទ្យា និងវប្បធម៌ក្នុងមូលដ្ឋានជាក្រាហ្វិកចូលទៅក្នុងការងាររបស់ខ្ញុំ។ ខ្ញុំតែងតែនៅតាមដងវិថី ដូច្នេះជាធម្មតាខ្ញុំមានទឹកថ្នាំពណ៌ដែលមានសារធាតុអាគ្រីលីកដែលផ្អែកលើកម្រិតទឹករួមជាមួយច្រាសផ្ទាល់ខ្លួនរបស់ខ្ញុំ និងលាបថ្នាំដោយការរុញដោយដៃ – ខ្ញុំមិនមែនតែងតែអាចរកបានកំប៉ុងបាញ់ទឹកថ្នាំរូបគំនូរលើជញ្ជាំងដែលមានគុណភាពល្អនៅកន្លែងដែលខ្ញុំរស់នៅនោះទេ។

Neocha: What brought you to Cambodia? What drew you to the art scene here?

Chifumi: Four years ago, I started a project for a French media platform that documented my journey from India to Australia and I continuously made art along the way. Unfortunately, before its completion, the project came to an abrupt end whilst I was traveling through Southeast Asia. I have been living in Cambodia ever since – it was a difficult time, but I still have so many great memories about my arrival in Phnom Penh. There was no real prominent street art scene and only a few street artists around when I arrived. So, I worked hard. I tried really hard to bring something cool and artistic to this city. Looking back now, it was a really great feeling.


Neocha: តើអ្វីដែលជម្រុញរូបលោកឲ្យមកកាន់ប្រទេសកម្ពុជា? តើអ្វីទាក់ទាញលោកឲ្យមានចំណាប់អារម្មណ៍មកលើឆាកសិល្បៈនៅទីនេះ?

Chifumi: កាលពីបួនឆ្នាំមុន ខ្ញុំបានចាប់ផ្តើមគម្រោងមួយសម្រាប់វេទិកាប្រព័ន្ធផ្សព្វផ្សាយរបស់ប្រទេសបារាំងដែលបានចងក្រងឯកសារអំពីការធ្វើដំណើររបស់ខ្ញុំពីប្រទេសឥណ្ឌាទៅកាន់ប្រទេសអូស្រ្តាលី ខ្ញុំបានបង្កើតសិល្បៈជាបន្តបន្ទាប់នៅក្នុងអំឡុងពេលនៃការធ្វើដំណើររបស់ខ្ញុំ។ ជាអកុសល មុនពេលដែលគម្រោងត្រូវបានបញ្ចប់យ៉ាងពេញលេញ គម្រោងនេះត្រូវបានបញ្ចប់ភ្លាមៗខណៈពេលដែលខ្ញុំកំពុងធ្វើដំណើរឆ្លងកាត់អាស៊ីអាគ្នេយ៍។ ខ្ញុំបានរស់នៅក្នុងប្រទេសកម្ពុជាចាប់តាំងពីពេលនោះមក – វាគឺជាពេលវេលាដ៏លំបាកមួយ ប៉ុន្តែខ្ញុំនៅតែមានការចងចាំដ៏អស្ចារ្យជាច្រើនអំពីការមកដល់ទីក្រុងភ្នំពេញ។វាពុំមានទីតាំងសិល្បៈតាមដងវិថីដែលគួរឲ្យចាប់អារម្មណ៍យ៉ាងពិតប្រាកដនោះទេ និងមានវិចិត្រកររូបគំនូរតាមដងវិថីតែពីរឬបីនាក់ប៉ុណ្ណោះនៅពេលដែលខ្ញុំបានមកដល់នោះ។ ដូច្នេះ ខ្ញុំបានធ្វើការខិតខំប្រឹងប្រែងយ៉ាងខ្លាំង ខ្ញុំបានព្យាយាមយ៉ាងខ្លាំងក្នុងការនាំយកអ្វីដែលមានភាពស៊ីវិល័យ និងមានលក្ខណៈសិល្បៈមកកាន់ទីក្រុងនេះ។ រំឮកឡើងវិញនៅពេលនេះ វាពិតជាអារម្មណ៍ដ៏អស្ចារ្យមួយ។

Neocha: You are the artistic director for the Cambodia Urban Art Festival 2016. What was it like to bring 14 artists together to showcase their work across Phnom Penh?

Chifumi: After residing in Phnom Penh for the last few years, I was determined to unify the graffiti and street art scene here, and I thought that the best way to do it would be to create a fun event that gave Cambodian youths a rich insight into this artistic culture. So, I decided to bring local artists and international painters together; the festival included artists of ten different nationalities and we hoped they would bring some fresh colours into Phnom Penh. It was so important for us to reference the local culture and context in these projects; once all of the murals were done, we organised a tour across the city with 50 free tuk-tuks. We even had a few local hip-hop artists performing at some of the venues; I’m elated that this project happened and I truly think that the Cambodian youth were really able to gain something from it.


Neocha: លោកគឺជាប្រធានផ្នែកសិល្បៈសម្រាប់ទិវាសិល្បៈខាងក្រៅនៃប្រទេសកម្ពុជា ឆ្នាំ 2016 –តើវាមានលក្ខណៈយ៉ាងដូចម្តេចដែរក្នុងការប្រមូលផ្តុំវិចិត្រករចំនួន 14 រូបឲ្យមកជួបជុំគ្នាដើម្បីធ្វើបទបង្ហាញអំពីការងាររបស់ពួកគេនៅទូទាំងទីក្រុងភ្នំពេញ?

Chifumi: បន្ទាប់ពីបានស្នាក់នៅក្នុងទីក្រុងភ្នំពេញបានពីរបីឆ្នាំ ខ្ញុំបានសម្រេចចិត្តធ្វើការបង្រួបបង្រួមការគូររូបគំនូរនៅលើជញ្ជាំង និងឆាកសិល្បៈតាមដងវិថីនៅទីនេះ ហើយខ្ញុំគិតថា វិធីសាស្រ្តដែលល្អបំផុតសម្រាប់ការធ្វើការបង្រួបបង្រួមនេះ អាចជាការបង្កើតព្រឹត្តិការណ៍កំសាន្តដែលផ្តល់ជូនយុវជនកម្ពុជានូវការយល់ដឹងយ៉ាងច្បាស់អំពីវប្បធម៌សិល្បៈនេះ។ ដូច្នេះ ខ្ញុំបានសម្រេចចិត្តនាំយកវិចិត្រករនៅក្នុងមូលដ្ឋាន និងអ្នកគូររូបអន្តរជាតិឲ្យមកធ្វើការជាមួយគ្នា។ ទិវានេះបានរួមបញ្ចូលវិចិត្រករដែលមានសញ្ជាតិខុសៗគ្នាជាង 10 ដើម្បីពាំនាំមកនូវពណ៌ស្រស់ស្រាយមួយចំនួនមកកាន់ទីក្រុងភ្នំពេញ។ ការយោងដល់វប្បធម៌ក្នុងមូលដ្ឋាន និងបរិបទក្នុងគម្រោងទាំងនេះក៏មានសារៈសំខាន់ចំពោះយើងផងដែរ។ បន្ទាប់ពីយើងគូររូបគំនូរលើជញ្ជាំងទាំងអស់រួចរាល់ហើយ យើងបានរៀបចំការធ្វើដំណើរជុំវិញទីក្រុងដោយការធ្វើដំណើរតាមរ៉ឺម៉កកង់បីចំនួន 50 ដោយឥតគិតថ្លៃ។ យើងក៏មានសិល្បករហ៊ីបហប់(hip-hop) មួយចំនួនតូចដែលធ្វើការសម្តែងនៅទីកន្លែងមួយចំនួនផងដែរ។ ខ្ញុំមានក្តីរំភើបរីករាយដែលគម្រោងនេះបានកើតឡើង ហើយខ្ញុំពិតជាគិតថា យុវជនកម្ពុជាពិតជាអាចទទួលបានចំណេះដឹងមួយចំនួនពីគម្រោងនេះ។

Neocha: What are some of the other upcoming projects that you have around Asia?

Chifumi: Recently, I attended the PRASAD Festival in Nepal. I actually painted a giant mural in Kathmandu before the 2015 earthquake, so I felt compelled to return and share some colours with the local people. I feel like the street art scene in Nepal is much like Cambodia, as in it’s very young. But I see a lot of opportunities and hope in these artists who are working hard to develop their own style and energy. My next few projects will be situated in Pakistan, India, Indonesia and Malaysia, but I’ll also continuously working from Phnom Penh – Asia keeps artists very busy sometimes! 


Neocha: តើមានគម្រោងអ្វីផ្សេងទៀតដែលលោកនឹងធ្វើឡើងនៅជុំវិញទ្វីបអាស៊ីនាពេលខាងមុខ?

Chifumi; នាពេលថ្មីៗនេះ ខ្ញុំបានចូលរួមទិវា PRASAD នៅប្រទេសនេប៉ាល់ – ជាក់ស្តែង ខ្ញុំបានគូររូបគំនូរលើជញ្ជាំងដ៏ធំមួយនៅ Kathmandu មុនពេលមានការរញ្ជូយដីនៅក្នុងឆ្នាំ 2015 ដូច្នេះខ្ញុំមានអារម្មណ៍ថា ខ្ញុំត្រូវបានគេបង្ខំឲ្យត្រឡប់ទៅទីនោះវិញដើម្បីចែករំលែកពណ៌មួយចំនួនជាមួយប្រជាជនក្នុងមូលដ្ឋាន។ ខ្ញុំមានអារម្មណ៍ថា ឆាកសិល្បៈតាមដងវិថីនៅប្រទេសនេប៉ាល់ គឺដូចគ្នានឹងឆាកសិល្បៈតាមដងវិថីនៅប្រទេសកម្ពុជាខ្លាំងណាស់ គឺនៅក្មេងខ្ចីខ្លាំងណាស់ – ប៉ុន្តែខ្ញុំមើលឃើញឱកាសជាច្រើន និងមានក្តីសង្ឃឹមយ៉ាងខ្លាំងចំពោះវិចិត្រករទាំងនេះដែលកំពុងខិតខំប្រឹងប្រែងអភិវឌ្ឍរចនាបថផ្ទាល់ខ្លួន និងថាមពលរបស់ពួកគេ។ គម្រោងមួយចំនួនតូចបន្ទាប់ទៀតរបស់ខ្ញុំនឹងធ្វើឡើងនៅប្រទេសប៉ាគីស្ថាន ប្រទេសឥណ្ឌា ប្រទេសឥណ្ឌូនេស៊ី និងប្រទេសម៉ាឡេស៊ី ព្រមទាំងការធ្វើការងារជាបន្តបន្ទាប់នៅទីក្រុងភ្នំពេញ។ នៅពេលខ្លះ ទ្វីបអាស៊ីធ្វើឲ្យវិចិត្រករទាំងឡាយមានភាពមមាញឹកខ្លាំងណាស់!

Neocha: Where do you hope that your art can take you in the future?

Chifumi: I feel that every painting I do is more for myself than for the sake of being remembered. Each mural is a personal challenge that I have to surpass. For contemporary street artists now, the lifestyle is intense. You are always invited to travel and put your mark onto many new places. All of my travels change and influence my artworks, allowing me to put different shapes and colours into play. With every new culture that I immerse myself into, it always gives me the energy to create more. I hope that my art will continue to take me on the road again and again in the future, and I also hope that my art will stay free in public spaces and won’t be locked into the cage of a gallery or museum space.


Neocha: តើអ្នកសង្ឃឹមថា សិល្បៈរបស់អ្នកនឹងនាំអ្នកទៅកាន់ទីណានៅពេលអនាគត?

Chifumi: ខ្ញុំមានអារម្មណ៍ថា គ្រប់រូបគំនូរដែលខ្ញុំគូរ គឺខ្ញុំគូរវាឡើងសម្រាប់ខ្លួនខ្ញុំច្រើនជាងសម្រាប់ការចងចាំរបស់អ្នកទាំងអស់គ្នា – រូបគំនូរលើជញ្ជាំងនីមួយៗ គឺជាការប្រកួតប្រជែងផ្ទាល់ខ្លួនដែលខ្ញុំត្រូវតែធ្វើឲ្យកាន់តែល្អឡើង។ សម្រាប់វិចិត្រកររូបគំនូរតាមដងវិថីបែបសហសម័យនាពេលបច្ចុប្បន្ន ពួកគេមានការផ្តោតយ៉ាងខ្លាំងទៅលើរចនាបថនៃជីវិត – អ្នកតែងតែត្រូវបានគេអញ្ជើញឲ្យធ្វើដំណើរ និងធ្វើការកត់សម្គាល់ទីកន្លែងថ្មីៗជាច្រើន។ រាល់ការធ្វើដំណើររបស់ខ្ញុំបានផ្លាស់ប្តូរ និងបានជះឥទ្ធិពលដល់កិច្ចការសិល្បៈរបស់ខ្ញុំ ដែលធ្វើឲ្យខ្ញុំអាចបង្កើតទ្រង់ទ្រាយខុសៗគ្នា និងដាក់ពណ៌ខុសៗគ្នានៅក្នុងសកម្មភាពនានា។ ជាមួយនឹងវប្បធម៌ថ្មីៗដែលខ្ញុំបានចុះទៅសិក្សាដោយផ្ទាល់ វាតែងតែធ្វើឲ្យខ្ញុំមានថាមពលក្នុងការបង្កើតអ្វីៗថ្មីៗបន្ថែមទៀត។ ខ្ញុំសង្ឃឹមថា សិល្បៈរបស់ខ្ញុំនឹងបន្តធ្វើឲ្យខ្ញុំអាចស្ថិតនៅតាមដងវិថីម្តងហើយម្តងទៀតនៅពេលអនាគត ហើយខ្ញុំក៏សង្ឃឹមផងដែរថា សិល្បៈរបស់ខ្ញុំនឹងស្ថិតនៅយ៉ាងមានសេរីភាពនៅទីតាំងសាធារណៈ និងមិនត្រូវបានចាក់សោរទុកនៅក្នុងទ្រុងនៃវិចិត្រសាល ឬទីតាំងណាមួយនៃសារមន្ទីរឡើយ។

Websitechifumi.fr
Facebook
: ~/chifumistreetart

 

Contributor: Whitney Ng
Images Courtesy of Chifumi Tättowiermeister


Websitechifumi.fr
Facebook
: ~/chifumistreetart

 

អ្នកជំនួយ: Whitney Ng
មានការអនុញ្ញាតពី រូបថត: Chifumi Tättowiermeister

Fly with Me

 

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Singapore-based artist Joelle Enver brings her loveable characters to life with a distinctive candy-like colour palette paired with whimsical rhymes. Each piece is effortlessly quirky; a true extension of Jo’s infectious personality. Under the online pseudonym, Rufflemyhair, she’s been delighting the masses with her illustrations since her days studying digital animation at Nanyang Technological University.


新加坡艺术家Joelle Enver以独树一帜的糖果色加上天马行空的调调,为其作品中可爱人物形象赋予了生命力。受到Jo本人鬼马般性格影响,她每一件作品都呈现出一种自然而然的古灵精怪。还在南洋理工大学修读数字动画专业时,她就以化名Rufflemyhair,通过轻松搞笑的插画虏获大批网民的喜爱。

“To me, my art is about storytelling and the evocation of emotion. If something could resonate with my deepest self, my core… then I would want to create it and hopefully convey that same feeling to other people,” Jo says.


“对我来说,我的艺术就是一种讲故事和情感召唤的表达。如果一旦有什么东西能泛起我内心深处、核心价值的共鸣,我就特别想去创建它,并希望将同样的感觉传达给他人。”

“Growing up, I spent almost all my time doodling and drawing. It hardly mattered what or where – it just came naturally to me.” Jo’s pursuit of a career in art almost did not happen. She was on the way to pursuing more stable professional fields, such as economics and geography. In Singapore’s academically driven society, the young artist never thought that her hobby could become a viable career until a friend approached her with a pamphlet from Nanyang Technology University. “In large, commanding letters, the pamphlet read: ART, DESIGN & MEDIA FACULTY. I just went, ‘this is it’.”


“在成长过程中,我几乎整天都在涂鸦或者绘画。画什么或者在哪里画都不重要,绘画对我来说就是一种非常自然的状态。”之前在职业规划上,Jo选择的是更为稳定的领域,如经济和地理之类,而非艺术。在学术氛围浓厚的新加坡社会,这个年轻的艺术家从不敢奢望她的爱好能够成为有稳定收入的职业,直到一个朋友带给她一个南洋理工大学的小册子。“册子上工整庄严的大字写着:艺术设计和媒体系。我就去读了,就这样。“

When Jo’s final year in NTU came around, she was tasked with creating an original short film. Her creative process was riddled with constructive critiques from her professors, who tore into nearly every aspect of the film. “When you invest your whole heart into your work, such scathing critiques definitely hurt. You’re brutally forced to wonder what you are doing in this field in the first place.” Her mentor, Professor Hannes Rall became a beacon of support throughout this entire process; his encouragement allowed her to condense the criticism into the tools that she needed to map her way through to a finished product. “Filter through the criticism, but stick to what I felt was right. Bit by bit, my magic world took its form. My characters came to life.”


Jo在南洋理工大学的最后一年里,老师布置了拍摄一个原创短片的任务。她的创意策划备受其教授挑剔,虽然这些批评都非常具有建设性,但几乎质疑她影片的每个层面。“当你全身心投入你的作品,这样严厉的批评无疑会让你感受伤心。你被无情地逼迫着去思考你到底是为什么来做这个事。”她的导师Hannes Rall教授,成了她这整个创作过程中的支撑灯塔——他的鼓励,促使她把批评变成鞭策自己完成最终作品的力量。“我一面汲取批评,但同时也坚持自己的感觉。我所构建出的魔法世界逐步成型,作品中的人物也开始立体丰满,富有生命力。”

In 2015, Jo’s short film Fly With Me won the top gong for Best Animation at Singapore’s 5th Short Film Awards. Her submission was motivated by the purest of intentions – to bring joy and laughter into the lives of her audience. After a rigorous production process, she was rewarded with a win that saw Fly With Me screened in over 15 countries. “It’s an exhilarating feeling, knowing that not only did my film bring a moment of light and happiness into the lives of viewers, but that experts in the field also thought that it was worthy to win Best Animation. It profoundly cemented my desire to be an artist, to give people something to take home with them, be it a small laugh or warmth in their hearts.”


2015年,Jo的短片飞《与我共飞》赢得了新加坡第五届短片奖的最佳动画奖。这个作品遵从心底最单纯的创作意图——给观众带来欢声笑语。经过了痛苦的制作后,她终于得到的喜人回报,带着自己的作品《与我共飞》在超过十五个国家的屏幕上亮相。“知道我的短片不仅能为观众带来一时的轻松和欢乐,而且还受到评委青睐,荣获最佳动画奖,这真的是太让人激动开心了。这也加深了我立志成为艺术家的愿望——人们散场归家后,仍能带点什么回去,或许是一个微笑,或者是一阵暖流。”

Singapore’s creative scene has made a progressive movement in recent years, as locals slowly begin to shake off the shackles imposed by a largely conservative society. Whilst Jo’s personal work is light-hearted and often doesn’t toe the line on controversy, she sees so much importance in the development of the local arts scene and encourages openness.


近年来,随着当地人们逐步摆脱充满保守风气的社会的枷锁,新加坡的创新氛围日益浓厚。尽管Jo的个人作品主题轻松,往往不参与争议性话题,但她看到了当地艺术氛围蓬勃发展的极大重要性,并倡导着开放性。

“Singapore has, for the longest time, been criticised for its rigidity and lack of creativity. The country is often fixated on minimising controversy, but I think we’re is trying very hard to step out of our boundaries. With major events like Singapore Night Festival (of Arts and Culture) gaining massive popularity, I would say that we’re definitely heading in the right direction.”


她表示:“新加坡在很长一段时期,都被诟病为古板僵化与创新疲软。目前,国家经常最大程度减小争议,但我想,我们还需要更加努力才能走出藩篱。随着大型文化艺术盛会正取得大众喜爱和关注,如新加坡仲夏夜空艺术节,我相信我们正朝着正确的方向前进。”

Currently, Jo is working on the sequel to her award winning short film, aptly titled Come Home With Me, which will feature a slightly different style and tone to the original Fly With Me. She remains focused on her journey as an artist, embodying the purest form of love and passion for creation.


目前,Jo正在筹划其获奖短片作品的续集,名为《Come Home With Me》。这个续集作品在风格和基调上与第一部《Fly With Me》都有所不同。她依旧专注于探索作为一个艺术家的漫漫长路,在创作中展示爱与热情的最纯粹表现方式。

“I feel incredibly lucky, and I can’t imagine doing anything else. I hope I will be remembered for just that: my passion and love for my craft, and how I wanted to use that to tell people stories.”


“我感到自己非常地幸运,我简直不能想象我从事其他工作将会是什么样子。对自己技艺的激情与热爱,以及借其与人们分享故事的愿望,我希望自己可以仅以此为人所记。”

Facebook: ~/rufflemyhair
Instagram: @rufflemyhair

 

Contributor: Whitney Ng


脸书~/rufflemyhair
Instagram: @rufflemyhair

 

供稿人: Whitney Ng

Modern Revival of Calligraphy

In a world where email, instant messaging and social media rule modern day communication, writing by hand has taken a back seat, often reserved for rushed shopping lists and meeting minutes. Long before we learnt to touch type with our thumbs, written word took shape through calligraphy, differing across cultures but still serving the same important purposes; communication between parties and the preservation of the world’s most important manuscripts.


在这个电子邮件、即时信息和社交媒体铺天盖地的世界里,手写这件事早已退居其后,通常只用于匆匆写下购物清单或者进行会议记录。早在我们学会拇指触打文字之前,手写文字就已经形成书法,在不同的文化体系中尽管有所不同,但都同样有着重要的意义:政党机关里的信函沟通,全球最重要的手稿存留。

Lettering by hand has almost become a lost art, kept alive by dedicated practitioners who are now few and far between. At the forefront of this modern revival is Kuala Lumpur-based calligrapher and hand letterer Sharon Tan, widely known by her online moniker @ronnycakes.


手工字体设计已经几乎成为一种失传的艺术,在零星的虔诚爱好者中存留一线生机。这场当代复兴浪潮首当其冲者之一,便是居住在吉隆坡的书法家和手写字体设计师Sharon Tan,以网名@ronnycakes为更多人所熟识。

“I began dabbling in calligraphy some time in April 2015. At the beginning, there was this manic and obsessive energy to practice and achieve perfect script – I spent two to three hours every night after work practicing my drills, strokes and writing quotes.” Sharon’s calligraphy journey could be likened to a pursuit for perfection – fuelled both by a hunger to truly hone the craft and the therapeutic reward that came with every stroke.


“我从2015年四月开始涉足书法。最开始的时候,浑身都是疯狂练习、执着于达成完美手稿的能量——我每天下班后都会花两三个小时进行练习,注重每笔每划,练字成句。” Sharon的书法之路堪称追求完美——如饥似渴地打磨练习,最终的一笔一划都能投以让人身心愉悦的回报。

The first few weeks were difficult, as she learned her way around new tools and coaxed herself into an entirely new form of writing. After six months of rigorous practice, she ran her first every calligraphy workshop, realising a personal dream to share her knowledge and passion for lettering.


最初的几周颇为难熬,因为她在用新的工具探索其道路,并不断引导自己尝试全新的书写形式。在经过半年的艰苦训练后,她创办了她的首个书法研讨班,实现自己的梦想——分享她对字体书写的知识和热爱。

Sharon cites her body of work as a series of spontaneous creations and an extension of her practice sessions. She encourages all of her students to approach calligraphy as an art form by beginning with the basics and building up to a solid foundation in order to branch off into other forms of contemporary lettering; she herself began by studying the Engrosser’s Script method.


Sharon表示她作品的主体就是一系列随性的创造和其长期练习的一种结果。她鼓励她所有的学生将书法视为一种艺术形式来学习,从最基础的练习开始,夯实基础,才能在此之上衍生出当代手写字体的其他表现形式。她自己就是从学习Engrosser’s Script的方法开始的。

In addition to lettering, Sharon also loves to combine calligraphy with watercolour illustrations to create whimsical mixed media pieces that are inspired by travel, literature and childhood nostalgia.


除了手写字体,Sharon还喜欢把水彩插画融入其书法中,创造出一种特立独行的混搭型作品,而那些灵感有的来自旅行,有的来自文学,还有的来自童年的怀旧情怀。

She also describes Kuala Lumpur’s art scene as a thriving environment, with calligraphy slowly making its way to centre stage. Calligraphy has a very niche local following in Malaysia, which has been steadily gaining traction in recent years. “I think that certain people appreciate the art of good penmanship, but not necessarily everyone. Some find it as a luxury that is hardly worth spending on. Others wonder why we spend so much time and money on something that can be reproduced by a computer!”


她还认为吉隆坡的艺术市场发展欣欣向荣,书法正在慢慢走向中心舞台。在马来西亚,书法在当地人中自有一个市场,并在近年来稳步发展,得到越来越多的关注。“我想特定的人群会欣赏这种精致的书法艺术,但未必会达到人人都接受的地步。有的人觉得那是一种与付出不成正比的奢侈之物,还有人会质疑:为何要如此费时费力去做一些用电脑就能批量复制的东西。”

In between holding down a full time job and co-owning a wedding photography business, Sharon sees calligraphy as an opportunity to push her creativity and collaborate without constraints. Previously, she’s worked with Stabilo, a German stationery manufacturer; Swatch, a swiss watch brand; and MUJI – such projects have allowed her to explore new techniques and create freely. As one of Kuala Lumpur’s most dynamic young artists, Sharon continues to blaze the trail for budding calligraphers in Malaysia and around the world.


在全职工作和合营的婚礼摄影生意之间,她将书法视为一个推动自己的创意和自由合作的一种机会。此前,她曾与德国文具制造商Stabilo、手表品牌Swatch以及MUJI等开展合作,在这样的项目里,她得以大胆地去探索新的技术和发挥天马行空的创造力。作为吉隆坡最具活力的年轻艺术家之一,Sharon将继续在书法之路上,为马来西亚以及世界上其他地方成长中的书法者们,开辟道路。

Instagram@ronnycakes

 

Contributor: Whitney Ng


Instagram@ronnycakes

 

供稿人: Whitney Ng

Reach’s Street Art

Reach is a Taiwan-based, multifaceted artist who plays many different creative roles; he’s not only an illustrator, but is also a creative director and photographer. He began his artistic journey in 1995 with graffiti and experimented with a variety of techniques, starting from tagging, to bubble letters, to wildstyle, and eventually 3D pieces. Over the years, Reach worked tirelessly to refine his artwork, looking to create a distinctive style of his very own. His perseverance has led him to become the established artist that he is today, and many consider him to have pioneered Taiwan’s graffiti and street art movement. One of his most famous characters is Pink Bear, a cartoon bear with lighting bolts for eyes. To create it, he used pink, one of his favorite colors, and black-and-white spray paint, which he considers to be an essential item to carry on a day-to-day basis. Not long after, he created the Blue Cat character and his famous cat’s claws, both of which have become iconic elements in his work. In 2009, he created Reach Boy, a character that not only represents himself, but is also a vessel for him to present his worldly views.


來自台灣的Reach目前是位具有多重身份的藝術家,畫家、藝術總監、攝影師。從1995年開始塗鴉,從Tag, Bubble Letter開始,到Wild Style以及3D,Reach一路不斷摸索前進,找尋真正屬於自己的風格,現在的他已經成為了台灣塗鴉先鋒之一。多年下來,他用最愛的粉紅和必備的黑白噴漆,創造出了具有閃電眼睛的Pink Bear,以及隨後的Blue Cat包括衍生出來的貓爪等經典形像以及圖形​​。今次,他以2009年基於“塗鴉人”特徵創作出的Reach Boy為角色,是為了通過這一個代表著自己的形象表達自己看到的世界。

Reach’s journey to becoming an artist wasn’t all smooth sailing. After making the decision to pursue street art full time in 2005, he faced many financial hardships. In 1999, after becoming the leader of SoulSkool, a Kaohsiung graffiti crew, he had to come to terms with many difficult decisions. Seeing the challenges he’s faced as valuable experiences, the mental fortitude that came with having dealt with these hardships have contributed to his career as an artist. Looking back on his past, he says, “Making a career out of being an artist will be different for everybody. Every artist will have to walk their own path. Identifying fact from fiction is important, but having a clear conscience is the most important. My only advice is for them to be patient.”


從一開始到現在,他在這條創作道路上也並非一帆風順。 2005年決心做職業街頭藝術的他,也曾經歷過一段經濟困難時期。然而1999年起已擔任高雄塗鴉團 (SoulSkool) 團長的他,已經面對、處理很多現實面的事情,並將這種經驗和心理準備帶到隨後新的職業決​​定中。今天的他回望那段時光,表示,“從事藝術創作,每個人都有不同的方式跟不同的道路要走,問心無愧最重要,看清事實很重要。唯一能夠建議的,就是’be patient’” 。

When street artists start gaining a following and receiving attention from the media as well as from other artists, they’ll often start receiving opportunities to create paid commercial work. Reach’s success today followed this familiar route that other street artists have gone down. The balancing act between creating art and commercial work is a delicate one, and Reach isn’t afraid to speak out about artists having financial needs. He emphasizes that no matter what a person’s viewpoint on the differences between artwork and commercial work might be, as long as the creator stays devoted to his own creative process and beliefs, then these two types of creations are only different in how they’re presented and the artistic quality of the creations will not be affected.


街頭藝術家在擁有了很多追隨者,並受到媒體和藝術家的關注之後,常常擁有機會以成名時候的街頭風格從事一些帶有商業性質的工作。如今的Reach無疑就是這些藝術家中的一員。對這種在藝術和商業中的遊走,他表明創作者作為社會人在實際物質上的基本需求,並強調,儘管每個人對藝術與商業在主觀界定上存在差異,但是只要維持自己創作的初衷和信念,那麼這兩種創作形式只是形式上的不同,並不存在本質上的衝突。

Photo by Bo-Lin Lo
Photo by Bo-Lin Lo
Photo by Bo-Lin Lo

From being the head of Taiwan’s first graffiti crew to becoming the well-known artist that he is today, he has already had his fair share of solo exhibitions. Reach not only watched Taiwan’s graffiti scene mature and develop, but was an active and integral part of its growth. “In my opinion, I believe that Taiwanese graffiti is becoming more ‘professional’ so to speak. The entire environment and related industries are as well.” Having observed all the progress made over the years, he also sees many seasoned artists still committed to their art and continuing to improve upon their craft. But a lack of new artists entering the scene has left a void that’s yet to be filled, which is similar to the problem many traditional crafts are facing today. Reach believes the biggest problem “is the lack of industries supporting the craft, and a lack of a more nurturing environment for these artists.” He says, “So, many artists like me must look for opportunities abroad instead”


從台灣第一個塗鴉團團長到業已開辦過多個個展,Reach目睹並親歷了台灣塗鴉的發展。 “從我自己的角度上來看,我認為台灣塗鴉正走向’專業’ 的階段,環境與相關產業也是。”他看到了積極一面的發展,但是同時也注意到在老成員越來越堅持也越做越好的同時,這個圈子因為頗乏新鮮血液的注入而造成斷層,有點類似傳統技藝所面臨的人才問題。在他眼裡,目前最大的問題是“大環境與相關產業的支持度來說是有,但不夠高,不夠支持我們少數人為生,因此我們必須往海外找尋機會。”

Photo by Bo-Lin Lo
Photo by Bo-Lin Lo
Photo by Bo-Lin Lo
Photo by Bo-Lin Lo
Photo by Bo-Lin Lo

Earlier this year, between April and June, Reach held a new exhibition under the theme of “Drink Hard!” The new exhibition featured illustrations, neon lights, and installation works as tall as 150cm that were created using fibre-reinforced plastic. Other collaborative merchandise that were available for purchase at the exhibition included water glasses, coffee mugs, coasters, and pins (which were available via toy dispensers). The exhibit is a showcase of Reach’s signature artworks, which he describes as being about “presenting my feelings and the world as I see it through humorous exaggerations”. This exhibition explored the importance of respecting the environment. His message was that we must first change ourselves, and only through doing so will we begin to affect other people, and in turn, influence the world at large.


今年4月到6月,Reach以“Drink Hard!”為主題進行了他的新一個覽。展出的形式有畫作、霓虹燈與高達150公分的大型 FRP 創作,還有些週邊商品的合作,如:水杯、琺瑯杯、杯墊,徽章 ( 透過扭蛋機方式呈現,達到互動效果 )。秉承著他一貫的創作態度「用幽默誇張的態度,來表達我所看見的世界和感受!」,此次展覽的目的是藉由他的視野,訴求對環境的重視,讓大家知道改變能即刻從自我開始,進而去影響更多身邊的人、生活、甚至是地球。

Photo by Bo-Lin Lo
Photo by Bo-Lin Lo
Photo by Bo-Lin Lo
Photo by Bo-Lin Lo

Having also recently participated in Kaohsiung’s Pier-2 Art Center’s “Art Around” project and a joint exhibition at Galerie Matthew Namour in Canada, Reach says he has no plans of slowing down, nor does he feel discouraged from the lack of mainstream support. He only has plans of improving and making even better art, and hopes to establish Taiwan as a creative force to be reckoned with, on an international level. Even more importantly, he wants to inspire and motivate this generation of young creators to be more fearless and courageous in their means of self-expression.


近期剛完成加拿大蒙特羅藝廊Matthew Namour的聯展高雄駁二藝術特區Art Around計畫的Reach表示,他不會因為外界支持的缺乏就氣餒,就停下自己的腳步。他將繼續做好自己該做的事,努力擴展台灣塗鴉在國際上的地位,希望自己能夠對年輕一代有所啟發,並給他們帶來勇氣。

Websitereach-studio.com
Facebook~/reachcaer
Instagram@reach_studio
Weibo: @塗鴉人Reach

 

Contributor: Banny Wang
Images Courtesy of Reach Studio


網站: reach-studio.com
臉書~/reachcaer
Instagram@reach_studio
微博: @塗鴉人Reach

 

供稿人: Banny Wang
圖片由Reach工作室提供

Kristen Liu’s Art

Born and raised in San Francisco by her grandmother and art teacher mother, Kristen Liu-Wong spent her childhood inside museums or at school with her mum who was finishing a degree in textiles. She looked up to artists in high school who had either begun as illustrators or street artists, influencing her choice to study illustration at Pratt Institute, New York. “It seemed to be a little fresher than the fine art world of Chelsea which is why I didn’t go into painting,” she says.


土生土长于美国洛杉矶,由祖母和身为艺术老师的妈妈一手带大,Kristen Liu-Wong的童年不是就浸润在博物馆里,就是跟着当时进行面料设计深造的妈妈待在学校里。她高中的启蒙艺术偶像不是插画家就是街头艺术家,所以在纽约普拉特学院她选择了插画作为专业。“那似乎比切尔西式的纯美术更有意思一点,所以我也没有学油画。”

Now based in L.A., her bold artwork explores themes of sexuality, power and violence through her personal portrayal of Japanese folk art. In an attempt to reveal all aspects of human nature she paints bright, bizarre narratives – their playful neon colors making a mockery of the darker, grotesque subject matter.


目前居住在洛杉矶,她的艺术作品通过极具个人风格的日式民间绘画方式,大胆探索性、权利、暴力等主题。为了揭示人性的每个层面,她用色明亮,但同时画风怪诞,带着童趣的亮色形成一种黑色幽默,更加凸显一种荒诞不羁的主题。

Her unique, surrealist style combines cartoon-inspired science fiction with the eroticism of Japanese shunga prints. Although she is Chinese, “the graphic nature of Japanese shunga is just so appealing that I especially draw upon that influence”. The environments she creates are of an exaggerated aesthetic, but she feels like the actions, circumstances and characters all speak to her personal reality. The scenes are unrealistic yet focus on relatable, everyday themes such as sexuality and vulnerability. This is reminiscent of Japanese shunga, which traditionally portrays the aesthetics of everyday life despite its overzealous eroticism.


卡通式的科幻风和日本春宫图的情色暧昧相结合,形成了她独特的超现实风格。虽然身为中国人,但“日本春宫图的绘图方式却相当吸引我,对我绘画影响尤其深刻。”她的画作中呈现一种极度夸张的美学氛围,但她认为里面的行为、场景和人物都在与她的个人生活相对应。那些场景尽管显得不真切,却又是建立在日常生活中的基础上,比如性、地位和弱点。这让人不由地想起日本春宫图,其中同样地以夸张的情色成分描绘日常生活的美学。

Unlike her relatively mild-mannered self, Kristen’s fantastical, fictional space-witches embody sex as well as violence. “I was tired of seeing women portrayed as flat, weak characters with nothing to offer. Women are often portrayed sexually but by men for men – I wanted to show a woman’s perspective of our sexuality”. Their often threatening manner, blemished skin and black eyes offer something visually upsetting to offset their sexuality.


Kristen的作品以梦幻、虚构以及女巫式的魔幻构建出性与暴力的主题,与她相对温和低调的性格成鲜明反差。“我看够了女性被塑造成那种平面、弱势且毫无建树的角色。在男性的笔下,女性通常以附属于他们的产品形象出现。我想站在女性的角度,传递我们的性观念。”她们常被设定为带着攻击性的行为,拥有不洁的皮肤以及发黑的双眼。这些特征可以制造出视觉上的不安定,以对人物的性征做出补偿。

She knows pretty early on in the creative process how each piece will look by quickly sketching a thumbnail of the main figures and general composition. This then translates into a final drawing, which is transferred onto a panel for the painting; the specific colors and patterns are chosen as she goes along. “The artist Jan Yager once said something that really resounded with me: ‘I decided I had to do work that was authentic – of its place and of its time’, so I always try to approach my work with full commitment to try my best and not cut corners.”


她在创作每一幅作品的早期已有整体布局,知道如何通过快速勾勒出主要人物的缩略图进行主题呈现。随后,她将最后的画面放到木板上进行细化上色,具体的色彩和线条在这个实现的过程中诞生。“艺术家Jan Yager曾说过一句深得我心的话: ‘我决心创作真实的作品,无论是在空间还是在时间维度上。所以我总是全力以赴地投入我的工作,不走任何捷径。’”

She says, “I always have a new favorite piece because I believe that you’re only as good as your latest piece. I try to make each painting my new best.” An important mantra to keep motivated, she’s currently involved in a variety of exciting projects including a mural for Nous Tous gallery in Chinatown, L.A. before their opening of Everything You Own is Mine on August 6th. Her biggest upcoming show will be a two-person show in November at Ruckus Gallery Philadelphia – “that is the one that’s really going to be fun, but will also kick my ass.”


她说:“我最爱的作品总是我最新的作品,因为我相信只有最新的作品才能代表自己当下的水平。每一次的创作我都努力做到最好。”为了鞭策自己不断进步,她目前参与的项目内容涉猎广泛,有8月6号在洛杉矶中国城Nous Tous画廊的《Everything You Own is Mine》一展开幕做壁画;而11月的费城Ruckus画廊,将引来她的双人大展,“那真的很有意思,同时也绝对是自我挑战与突破呀。”

Websitekristenliuart.com 
Instagram: @kliuwong
Tumblrkliuwong.tumblr.com

 

Contributor: Ruby Weatherall


网站kristenliuart.com
Instagram@kliuwong
Tumblrkliuwong.tumblr.com

 

供稿人: Ruby Weatherall

ONEQ’s Evocative Illustrations

ONEQ is a Japanese illustrator who’s most well known for her illustrations of vintage pin-up girls. Her drawings seamlessly blend Western and Eastern styles – think 1900s American poster art, with the curvy sexualized female form, mixed together with the flawless skin and delicate features of the females portrayed in Japanese mangas. ONEQ says she’s endlessly fascinated with women and the female body. This fascination is mirrored in all of her work, where she draws captivating images of voluptuous hourglass-shaped women, powerful and seductive. Her illustrations are proud celebrations of femininity and sexuality.


ONEQは、ヴィンテージピンナップガールのイラストで特に知られる日本在住のイラストレーターです。彼女の絵は西洋と東洋の美人画のスタイルを見事にブレンドしたものです。曲線美が強調された女性の肉体にあふれた1900年代のアメリカのポスターアートが、日本の漫画の様式で描かれる女性の完璧で繊細な容貌の融合点を想像してみてください。ONEQは、女性とその肉体が持つ不思議な曲線美に魅せられていると語ります。そんな魅惑の影響が、妖艶にウエストがくびれ、たくましいほど極度に誘惑的な女性のイメージをとらえた彼女の作品すべてに反映されています。これらの作品は、女性らしさとセクシュアリティを高らかに称賛しているように見えます。

ONEQ was born, raised, and is currently based in Kumamoto, the capital of Kyushu island. As a completely self-taught artist, ONEQ’s love affair with illustration, like most illustrators, can be traced back to her childhood. Mangas were a big part of that childhood. Generally, Japanese manga is separated into different categories, some cater to a female audience and others cater to a male audience. Having an older brother allowed her the opportunity to be exposed to both worlds.


ONEQは、九州の熊本で生まれ育ちました。完全に独学のアーティストであるONEQと絵との親密な関係は、多くのイラストレーター同様、彼女自身の幼少期に遡ります。日本人である彼女にとって漫画文化は子供時代の大きな割合を占めるものでした。日本の漫画は、女性向けと男性向けという2種類に大きく分類する事ができるでしょう。年の近い兄がいる彼女は、その両方の持つ世界感に浸るチャンスに恵まれたわけです。

She cites three major influences that pushed her along the path to becoming an illustrator. The first is the famous manga artist Rumiko Takahashi, the illustrator behind Ranma 1/2 and InuYasha, who she says is her biggest influence. The second is Rockin’ Jelly Bean, a famous Japanese pop artist, whose use of colors captivated her and changed the way she looked at how colors could be used. The third is Simon Bisley, a British comic artist that portrays women in equal parts femininity and equal parts strength. All of these influences came together and evolved her artwork into what it is today.


彼女は、自身を振り返りイラストレーターの道へと歩ませた影響力の高い3人の作家を過去に挙げています。1人目は、『らんま1/2』や『うる星やつら』の作者として著名な日本の漫画家、高橋留美子で、ONEQにとって子供時代に強力な影響を初めに受けたとのこと。2人目は、鮮やかな色使いや完成度の高さが彼女を魅了し、色彩への見方を変えるきっかけとなった有名なポップアーティスト、ロッキン・ジェリー・ビーン。そして3人目は、女性の女らしさと力強さを濃厚に描きあげるイギリスのコミックアーティスト、サイモン・ビズリー。これらの素晴らしい影響力すべてが一体となり、今日見られる彼女の作品に昇華したわけです。

Having just turned thirty-four earlier this year, ONEQ is working full time as a freelance artist, but just recently reallocated one day out of every week to work at her friend’s bar. Her motivations behind this aren’t financial. The bar is stimulating and the atmosphere inspires her art, she says. “Many unique and powerful ladies go there on weekends. Their energy is captivating.” Not a stranger to this lifestyle, she recalls being mixed up in Japan’s night life scene as a teenager. Often missing school, ONEQ would find herself spending time in the more dubious parts of town. Even though she prefers the slow-paced and quiet life in Kumamoto, she considers Japan’s night life to be another aspect of Japanese culture that has influenced her artwork and style. She says, “In that regard, I consider my past to be both good and bad.”


ここ最近の彼女は、フリーランスアーティストとして制作に専念するかたわら、週に一度だけ友人のとあるバーへ手伝いに出かけるそうです。この不思議なライフスタイルのきっかけとなったのは経済的なものからではなく、その空間には彼女の制作を刺激し手助けする雰囲気やパワーがあるのだと言います。「週末になると、ユニークでミステリアスな女性が多く遊びに来ます。そのエネルギーや感触が制作の刺激になっている。」と彼女は語ります。そんなライフスタイルに無縁ではない彼女は、夜の繁華街で遊んでいたティーンエイジャーの頃を回想します。彼女はたびたび学校を休み、夜の妖しい繁華街で友人達と日常を過ごしたものです。熊本の静かでのんびりとした生活を好むとはいえ、夜の怪しげなネオン達が自身の作品にも少なからず影響を与える日本文化の側面でもあると考えています。「自分の過去は良い面と悪い面、両方の要素で成り立っていると思っています。」と述べています。

ONEQ’s creation process is a mix of both traditional and modern techniques. She first begins with rough sketches to flesh out the initial concept. Once the idea has been clearly thought out, she will then draw a refined version in monochrome by using mechanical pencils. If the image is intended to be a colored piece of work, it gets scanned and digitally colored in Photoshop. Her pieces that involve color could take upwards of two weeks to fully complete.


彼女の制作プロセスは、伝統と現代の技術をカジュアルに組み合わせたものです。まずラフスケッチから始め、最初のコンセプトを肉付けしていきます。アイデアやイメージが明確に浮かんだ段階で、今度はシャープペンシルを使ってモノクロで精密な線画を描いていきます。作品が彩色画となる場合は、Photoshopでデジタルに彩色を施します。色彩を用いた場合の彼女の作品は、最終的に完成までに2週間を超えることもあります。

Besides only working on paper and computer screens, she has also completed numerous murals and is keen on creating even more in the near future. She says, “I want to create more murals. It would be great if I could create murals in different places all over the world. Shanghai is definitely on my list.” ONEQ elaborates by saying that she doesn’t approach her art with any intentions of being famous; her sense of artistic accomplishment comes from creating artwork that she personally finds meaningful. This sincerity that she approaches all her illustrations with is undoubtedly another aspect of what makes her artwork so alluring.


スケッチブックやデジタルで描く作品のみならず、多数の壁画も手がける彼女は、近い将来さらなる壁画制作に意欲を見せています。彼女は、「もっと多くの壁画を制作したいと思っています。世界中のいろんな場所で壁画を制作しながら旅ができたら素晴らしく楽しいでしょうね。上海にもいつかぜひ描いてみたい」と言います。ONEQは、有名になりたいという欲求のみで作品に取り組むわけではなく、彼女自身の芸術的達成感が作品制作自体から同時に湧いてくるものであり、それが最も彼女にとって有意義だと感じる瞬間だと語ります。彼女の制作プロセスにおける誠意が、紛れもなくその作品の魅力を引き出す要素なのです。

Website: kotemufu.exblog.jp
Behance: ~/oneq-japan
Facebook: ~/oneq.pinup
Instagram: @negiyakisoba

 

Contributor: David Yen


ウェブサイト: kotemufu.exblog.jp
Behance: ~/oneq-japan
Facebook: ~/oneq.pinup
Instagram: @negiyakisoba

 

寄稿者: David Yen