Tag Archives: illustrator

Victo Isn’t a Boy’s Name or a Typo

Growing up in Hong Kong as an only child, Victo Ngai spent much of her childhood drawing and creating imaginative stories from her artworks while her parents were away working long hours. Upon graduating from the Rhode Island School of Design, Ngai blossomed into a decorated illustrator, creating her visual stories on a much larger scale through her characteristically fluid and surreal drawing style. In 2014, Ngai was listed by Forbes in the 30 under 30 of the Art & Style category for her impressive illustrations. Her thought-provoking works are often featured in the likes of The New Yorker and The New York Times where she brings some of the world’s most pressing stories to life. Most recently, she collaborated with Apple to produce a Chinese New Year billboard in celebration of the Year of the Rooster, which was unveiled at the Apple Store on Canton Road in Hong Kong. “I like things that are not very realistic. That is the charm of illustration – it completely allows you to create your own magical world.”


来自香港的倪传婧(Victo Ngai )是家里的独生女。因为父母经常外出工作只留她在家,倪的童年大多数时间在一个人奇思妙想和画画中度过。从罗德岛设计学院毕业后, 倪传婧成为一名插画家,以流畅的线条和超现实主义的绘画风格,描绘出她脑中构想的故事。 2014 年,她凭借出色的插画作品,入选福布斯艺术与风格类“30 Under 30:Art & Style”榜单 (30位最具潜力的30岁以下的杰出新秀)。 她根据世界上发生的重大新闻事件,创作出发人深省的插画作品,并常常被发表于《纽约客》(New Yorker) 和《纽约时报》(The New York Times)等报刊杂志。最近,她与 Apple 公司合作,创作一个庆祝中国鸡年春节的广告牌,于香港广东道的Apple零售店展出。”我喜欢超现实风格的东西。这也是插图的魅力所在。它让你可以构建一个属于你自己的神奇世界。“

Website: victo-ngai.com
Facebook: ~/victo-ngai-倪傳婧
Instagram: @victongai
Behance: ~/victo

 

Contributor: Whitney Ng


网站: victo-ngai.com
脸书: ~/victo-ngai-倪傳婧
Instagram: @victongai
Behance: ~/victo

 

供稿人: Whitney Ng

What if Kobe Bryant was a Samurai?

From a samurai-fied Kobe Bryant to a skeleton warrior rocking Jordans, Vanz Chiang’s illustrations seamlessly combines elements of Japanese culture with modern-day NBA superstars. The Taiwanese artist’s fearlessness to mash together unlikely elements from different cultures has led to collaborations with local Taiwanese streetwear goliath Remix Taipei, renowned streetwear brand Mishka NYC, and American sportswear brand Champion.


从穿着武士装的科比,到穿着乔丹球鞋的骷髅头战士,台湾艺术家江振嘉(Vanz Chiang)将日本传统文化和NBA球星做结合,创作出一系列出色的插图作品。正是这种大胆文化碰撞的风格,促成了他与台湾本地著名街头时尚品牌Remix Taipei、著名服饰品牌Mishka NYC和美国运动服装品牌Champion的合作。

Being someone who’s never bought into the rigorous structure of traditional academic curriculums, Chiang would often absent-mindedly doodle away during class and daydream about being a manga artist. “I’ve never had a concrete plan for the future,” he says with a nonchalant shrug. “My line of thinking was simple: I just wanted to do the things I loved. I’ve been lucky enough to have been able to find a career in something I’m interested in even before I even finished college.”


因为不喜欢学校严格的课堂气氛,江振嘉上课时总是心不在焉地涂鸦,或是发白日梦,幻想着成为一名漫画艺术家。”我对未来从来没有具体计划。”他耸了耸肩说,”我的想法很简单,只想做自己喜欢的事情。我很幸运,在大学毕业前就找到了自己的事业,还是自己感兴趣的事情。“

Chiang’s collection of books offers a revealing glimpse into his varied interests and creative inspirations. Inside his Banqiao studio space, his bookshelf is filled to the brim, from literature about skate culture like Thrasher Skate and Destroy: The First 25 Years of Thrasher Magazine and the Supreme monograph to art books like James Jean’s Xenograph and The Skateboard Art of Jim Phillips. But by far, the art books that dominate his shelves are those by Japanese artists. Chiang credits the famous Japanese manga artist Takehiko Inoue as being one of his biggest influences. Inoue is best known for the wildly popular Slam Dunk, a sports-themed manga series about a high school basketball team, and Vagabond, a manga series about a wandering swordsman. The influence from these two series is immediately obvious in many of Chiang’s works. Aside from the illustrative styles, the narratives presented in the manga are equally important to Chiang’s creative processs. “The manga series I enjoy reading are usually ones that explore human nature and the meaning of life,” he comments. “I suppose that might be because I’m quite introverted and often like to overthink.”


一踏进江振嘉位于板桥的工作室,就能看到他的书架上摆满了各式书籍。从有关于滑板文化的《Thrasher Skate and Destroy: The First 25 Years of Thrasher Magazine》和《Supreme》到Jame Jean的 《Xenograph》和 《The Skateboard Art of Jim Phillips》。但是,占满他书架的主力军还是日本漫画书。江振嘉说,著名日本漫画家井上雄彦(Takehiko Inoue)是对他影响最大的人之一。井上的作品包括广受欢迎的《灌篮高手》,一部关于高中篮球校队的体育主题漫画;以及关于流浪剑客的漫画系列《浪客行》。在江振嘉的许多插图作品中,都能清晰看到这两部漫画的影响,除了对他画风的影响之外,对他作品在叙事上的影响也同样重要。”我喜欢的漫画作品通常是以探索人性和生命意义为主题的,但我想这可能是因为我比较内向,常常会想太多。“

A closer look around studio reveals the full scope of his love of Japanese culture: various Japanese paraphernalia – such as oni masks, samurai helmets, and even a katana – decorate the workspace. “I like things that are intricate and mysterious,” Chiang explains, motioning towards the sheathed katana on his desk. “Many aspects of Japanese culture fit these two criteria. But I like Western armaments as well. Their heavy armor and bulky weapons still possess an inherent beauty. Japanese weapons are still my favorite. Katanas are elegant and simple, yet so powerful. Japanese armor is also beautiful and well-designed.


环顾他的工作室,你能充分感受到他对日本文化的迷恋:各种日本摆设品,包括恶鬼面具、武士头盔,甚至还有武士刀。”我喜欢复杂和神秘的东西。”江振嘉一边摆弄着他收藏的武士刀,一边说。“日本文化的许多方面都符合这两点。其实,我也是西方武器的粉丝。那些重甲和大型武器有一种内在的美。但我更喜欢武士刀,优雅简单,但威力强大,还有日本的盔甲,设计十分精美。“

Though perhaps not as readily apparent as the influence from Japanese culture, Taiwanese culture also plays a role in his creation process. “The temples of Taiwan, which can be found almost everywhere, definitely influence me,” he says. “I’m inspired by the architecture and the artistic details of the deities. I also love dragons, which are present in almost every temple. If I pass by one, I’ll often stop and take in all of the work that went into the details.”


虽然,在他的作品中,台湾文化的影响可能不如日本文化明显,但也影响着他的创作。“在台湾,随处可见的寺庙是我的创作灵感。寺庙的建筑结构,神像的艺术细节,都让我备受启发。我也很喜欢龙,几乎在每个寺庙都能看到龙的身影。我常常会停下来,认真欣赏所有的细节,思考它们的创作过程。“

In recent years, Chiang has invested much time and energy into collaborative brand projects. In 2017, he plans to readjust his focus and produce more art for himself. He’s currently in the preliminary stages of planning an exhibition and is in discussions with a few galleries. As Chiang pencils in additional details onto a new Monkey King illustration he’s been working on, he eagerly says, “I’m really looking forward to opportunities for showing off more of my personal artworks this year.”


最近几年,江振嘉将不少时间精力花在和各品牌的合作上面。但在2017年,他计划将工作的重心转移到个人作品的创作上面。最近,他正在和几个画廊联络,安排将在今年举办的一些个人展览。访问结束后江振嘉继续着他工作台上画到一半的作品,一幅孙悟空形象的插画。“我很期待今年的展览,让更多人看到我的个人作品。”

Website: vanzchiang.com
Facebook: ~/VanzChiang
Instagram: @vanzchiang

 

Contributor & Photographer: David Yen


网站: vanzchiang.com
脸书: ~/VanzChiang
Instagram: @vanzchiang

 

供稿人与摄影师: David Yen

20 Years of Convenience

For the last 20 years, South Korean artist Me Kyeoung Lee has traveled around her home country, armed with acrylic inks and a penchant for painting quaint little convenience stores. Throughout her childhood, Lee recalls frequenting these charming corner stores that are now becoming few and far between in modern-day South Korea. In each painting, she captures every little detail, highlighting each store’s idyllic features, its traditional signage, and miscellaneous bric-à-brac.


过去20年,韩国艺术家Me Kyeoung Lee带着她的丙烯颜料上路,走遍了韩国许多地方,寻找那些旧式街边小店。在时髦的韩国城市街头,这样传统的杂物小店越来越少,甚至只能在她的童年回忆中才能找到 ,Lee决定用画画的方式将它们保存下来。在这些作品中,Lee仔细描绘每间小店的一砖一瓦,画出小店丰富的杂物细节,也保留了它的传统特征和质朴的风味,

Artsy~/me-kyeuong-lee

 

Contributor: Whitney Ng


Artsy~/me-kyeuong-lee

 

供稿人: Whitney Ng

The Wanderlust of Sunga Park

Jaded by the daily grind of work, South Korean graphic designer and illustrator Sunga Park found solace in traveling around the world. Inspired by her travels, she would draw the buildings that she saw and the people that she met as a means of retaining these precious memories. Drawing these exotic locations became a form of respite for her, a welcome relief from her day-to-day routine.


厌倦了在韩国单调重复的生活,平面设计师和插画家Sunga Park选择周游世界,以调节自己。旅行的确带给她新的灵感,Sunga把旅行中看到的建筑物和遇见的人画下来,以保存这些珍贵的记忆。在旅行中画画带给她一个喘息的机会,将她从苦闷的生活中释放出来。

What makes Park’s work distinctive is her soft and fluid use of pen and watercolor. “Watercolor is the best medium for creating my art; the unpredictable characteristic of water allows me to give my art a natural aspect. My repeated attempts of working with watercolor led to a ton of failures. In a way, this medium taught me a lot about life.”


Sunga Park作品的独特之处,在于她对钢笔和水彩的出色运用,呈现出柔美而流畅的风格。“水彩是我创作时最好的伙伴;水的“不可预知”让我的作品中有一种自然的风格。在不断尝试用水彩创作的过程中,我也有过无数的失败。某种程度上,水彩也教会了我许多生活的道理。”

Park felt that her move from using software to using watercolor on real paper was truly liberating. “In graphic design, we have easy commands such as Ctrl+Z and Ctrl+S. But in reality, no one can save their real experiences onto a storage device and what we’ve done cannot be undone.” Working with watercolors led her to create a slew of projects in which she combines her previous graphic design experience with her love of visual art – she feels that her web design for House at Khlebny is one such project that has defined her as an artist.


对她来说,从电脑作画转为使用纸张和水彩作画是一种真正的解放。“用电脑创作平面设计时,我们可以很方便按下Ctrl+ Z和 Ctrl+S来操作。但在现实中,没有人可以将自己的真实体验保存到某个存储设备中,所有的行为都是无法撤消的。”她的水彩作品为她带来了许多设计项目的机会,在这些项目中,她将自己的平面设计经验与对视觉艺术的热爱出色结合。为 House at Khlebny 打造的网页和插画设计更她真正确定自己作为一名艺术家的身份。

Her most memorable travel experience took place when she was sketching along the streets of India and around Central Asia. In these countries, where she was unable to communicate in any language, she used art to bridge the gap. “Locals become really open-minded as soon as they came to understand what I was doing. They wanted to see my sketchbooks and even asked me if I could draw them. This is one of the greatest things that art can do – it allows me to share my talents with people and even give them a laugh.”


她最难忘的旅行经历是她在印度和中亚国家的街道上写生。在这些国家,她无法通过语言与当地人沟通,于是,她转用艺术作为沟通的桥梁。“每当他们知道我在画画的时候,就会自然放下防备。有时他们还会想看看我的速写本,甚至问我能不能画一下他们。这就是艺术的魅力所在——让我能够与他人分享我的才艺,甚至为他们带来欢乐。”

Currently on the move, Sunga feels incredibly blessed that her art has enabled her to travel to wherever her heart desires. Her upcoming itinerary includes a journey to Europe via the Trans-Siberian railway as well as North America and South America. This trip will form the basis of her next project, a foldable travel map that will depict all of her adventures. “The idea is to create a map that is almost like a book, so that I can share all of my travel stories with people that I meet on the road. My art can’t be completed on my own. It’ll be created with the people that I meet along the way.”


现在,Sunga 还在旅途中,她觉得自己十分幸运,因为艺术带她前往自己想要拜访的所有地方。接下来,她将要乘搭西伯利亚大铁路前往欧洲,之后再去到北美和南美探险。这趟旅行是为她的下一个项目作准备——Sunga要打造一个可折叠的旅行地图,在上面描画她的冒险旅程。“我想要创造一本像书一样的地图,这样我就可以和我在路上认识的人分享我在旅途中的故事。我的艺术不是由我自己一个人完成的,而是我和我一路上遇到的人一起创造的。”

Website: parksunga.com
Facebook: ~/parksunga.art
Instagram: @park_sunga

 

Contributor: Whitney Ng


网站: parksunga.com
脸书: ~/parksunga.art
Instagram: @park_sunga

 

供稿人: Whitney Ng

Doodling with Mooncasket

Mooncasket is a designer and illustrator from Hong Kong who is known for her cute and quirky character doodles. Part of a generation of up-and-coming Hong Kong creatives, Mooncasket’s murals, zines, stickers, and other DIY creations can be seen across the city. Neocha had the chance to speak with Mooncasket about her thoughts on culture and creativity.


香港设计师和插画家Mooncasket以她笔下可爱而古怪的个性卡通形象而为人熟知。作为新一代崭露头角的香港创意人才,Mooncasket的涂鸦、独立杂志、贴纸和其他 DIY作品分布于这座城市的各个角落。最近,Neocha有机会与Mooncasket对话,来了解她的创作理念,以及她对文化和创意产业的理解。

Neocha: How did you get started as an artist?

Mooncasket: I’ve been drawing since I was a kid, but I hadn’t picked up a personal style until recent years. I was one of those people who went to art schools, but never took being an artist seriously until the motivation just hit me one morning, and I was like, “Yeah! I should try and do this for real!”


Neocha: 你是怎样成为一名艺术家的?

Mooncasket: 我从小就开始画画,但一直到最近几年我才开始形成自己的个人风格。我觉得我就是艺术学校里那些从未认真想过成为一名艺术家的学生,直到有一天,我突然充满了动力,觉得“是呀!我应该试着做一名真正的艺术家!”

Neocha: Tell us about your characters. Where do they come from?

Mooncasket: My everyday surroundings inspire me, and I like to add an ironic, playful twist to everything. Also, a mixture of cartoons from the ’80s and ’90s and old-school monster films inspire me. The characters I draw are like my imaginary creature friends. If you’re having a crappy day, I hope they make you smile inside as much as they do for me.


Neocha: 跟我们介绍一下你笔下的角色形象吧。创作他们的灵感是什么?

Mooncasket: 我身边的日常事物就是我的灵感来源,我喜欢在我的创作中加上一点幽默讽刺的元素。另外,80年代和90年代的漫画作品,以及老式的怪物电影也是我的灵感来源。我笔下的角色就像是我存在于二次元的朋友。如果你今天心情不好,我希望他们能让你发自内心地笑一下,就像他们能让我开心一样。

Collaboration with photographer Dani Bautista

Neocha: What is the creative scene like in Hong Kong now?

Mooncasket: The creative scene in Hong Kong is definitely growing. It’s great to see more artists coming out and creating, and the public definitely appreciates local creativity more. I can’t say it’s easy to make a living as an artist here, but there are always solutions to keep a roof over your head, by having other jobs while you continue to do what you love. In my case, I’m also working as a freelance graphic designer.


Neocha: 现在香港的创意行业发展如何?

Mooncasket: 可以肯定地说,香港的创意行业正在不断发展。我很高兴可以看到越来越多的艺术家出现,进行创作,而且大众也比以往更欣赏香港本土的创意作品。虽然在香港要靠艺术为生并不容易,但是在这里你总能找到自己的办法来维持生活,你可以一边兼职做其它工作,一边继续做自己热爱的事情。譬如我的另一份工作就是自由职业平面设计师。

Neocha: How do you balance your own creative vision when doing client work?

Mooncasket: I used to draw darker imagery, usually in black and white, and I started making zines because I didn’t know what to do with all of my doodles. The response that came out of that initiative was pretty good. So I thought to myself, if I wanted to make a living from my doodles, I could try tweaking my style a little to appeal to a larger audience. After that, my work has become more colorful, and I’ve created friendlier looking creatures. Depending what clients prefer, I’m keen on doing either of my styles. My best advice for up-and-coming creatives is to not being afraid of trying new things!


Neocha: 当你为客户工作时,你如何平衡自己的创意理念?

Mooncasket: 我一直以来的绘画作品都比较黑暗,以黑白色为主。随着我的作品越来越多,我还开始去制作zine杂志(Zine杂志是独立出版的小型杂志刊物),反响很不错。所以我对自己说,如果我想靠画画来谋生,我可以试着调整一下我的风格,来吸引更多的观众。在那之后,我的作品色彩更加丰富,我创作的角色形象看上去也会更可爱。取决于客户的喜好,这两种风格其实我都喜欢。对于新一代的艺术家,我的建议是不要害怕去尝试新的事物!

Website: mooncasket.bigcartel.com
Instagram: @mooncasket

 

Contributor: George Zhi Zhao


网站mooncasket.bigcartel.com
Instagram: @mooncasket

 

供稿人: George Zhi Zhao

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