Tag Archives: south korea

Shadows & Mirrors

A self-described “skateboarder and photographer,” Chris da Canha has a keen eye for color and light. Raised in South Africa and now based in Seoul, he’s traveled and shot in cities across Asia and Russia. His work, which has been featured in Maekan, Hypebeast, Vanity Teen, Ignant, and many other platforms, explores the subtle changes that play across the city’s architectural and human landscape.

“I learned how to shoot by walking the streets and hunting for the moments that felt right,” he explains. “I’m particularly excited by scenes showing poetic contradictions.” Often these contradictions are just subtle contrasts: a building warped beyond recognition in the hood of a car, a telephone pole whose bewildering network of cables is doubled by shadows. These familiar scenes are rendered slightly unrecognizable by precisely calibrated angles and light.

Chris da Canha 自诩滑板手和摄影师,对色彩和光线有着敏锐的眼光。他在南非长大,现居首尔,在亚洲和中东的城市旅行和拍摄。他的作品曾在 MaekanHypebeastVanity TeenIgnant 和许多其他平台上出现过,主旨在于探索城市建筑和人文景观中的微妙变化。


Often the details in these images don’t jump out at first glance, so they reward unhurried contemplation. In the mirrored glass of a skyscraper, a view of the city is slightly stretched and distorted, almost seeming to waver like a mirage—and this, combined with the haze in the distance, gives the scene a slightly unreal feel. In one of the photos below, the intense yellow of the wall makes the rust on the bars of scaffolding seem somehow redder and dirtier; in the other, an almost opaque window casts a greenish tint onto the street below. Such subtle effects give his work an understated drama.


Fascinated though he is by the sharp contrasts in color and shadow in the built environment, Da Canha also takes pictures of people. In fact, the bulk of his work centers on human subjects, often strangers he spots on the street.

These images seem to split the difference between portraits and candid snapshots, an effect he achieves by closely cropping them. “When I shoot, I’m thinking about what information I want to show, and what doesn’t belong,” he explains. “That helps with the composition, and I suppose makes it seem more careful,” he explains. “I find faces interesting, more often than not, and when the information around the face isn’t worthwhile, I shoot a little closer, and that’s developed into a kind of street portraiture.”

虽然他被城市建筑环境中那些鲜明的颜色和强烈的阴影对比所吸引,Chris 也还会为人物拍肖像照。事实上,他的大部分作品都是以人为主题的,且通常是他在大街上发现的陌生人。

这些照片似乎在肖像和人物抓拍之间划分了界限,因为 Chris 通过仔细的剪裁来达到这样的效果。当我拍照的时候,我会想我想要展示什么信息,什么信息需要删除。他解释说。这对构图很有帮助,我想这让它看起来更细致,他解释说。我发现人物的面部往往很有趣,当面部周围的信息不值得入镜时,我就拍得更近一些,这就发展成了一种街头肖像画。

Da Canha has lived in Seoul for the past five years, and thrives in the crackling electricity of the city’s creative scene. “Seoul was recommended to me by a friend living here at the time. I came and have never looked back. Korea’s a wonderful country, splitting at the seams with energy, and Seoul gets bigger every time you blink,” he says. He’s especially enthusiastic about the country’s photography community. “You won’t find a friendlier group of talented people excited to create rad imagery.”

Chris 在首尔生活了五年,在它创意界蓬勃发展期中成长起来。当时住在这里的一个朋友向我推荐来首尔的。我来了,从未回头。韩国是一个神奇的国家,充满活力,你眨眼间,首尔就好像变得更大了。他说。他对这个国家的摄影界特别有热情。你不会找到一个更友好的充满才华的大集体来创造这样的图景了。

Da Canha has shot for fashion and lifestyle brands, and has a collection recently appear in Dreamingless. He’s also begun a yearlong project intended for print, with 12 series of photographs grouped together under different aesthetic themes. Photography is his job, but it’s also his hobby, and he’s always on the lookout for something striking. “Daily life is more enjoyable when you’re actively looking for what you like.”

Chris 也为拍摄时尚和生活方式品牌拍摄照片,并有一个专题集最近出现在 Dreamingless 上。他还开始了一个为期一年的项目,计划刊印成册,将呈现 12 个系列的照片和其不同的美学主题。摄影是他的工作,但也是他的业余爱好,他始终都在寻找那些令人注目的东西。当你积极地寻找你喜欢的东西时,日常生活就会变得更加愉快。

Instagram: @chrisdacanha


Contributor: Allen Young
Chinese Translation: Chen Yuan

Instagram: @chrisdacanha


供稿人: Allen Young
英译中: Chen Yuan

Shin Morae’s Rosy World

Korean illustrator Shin Morae‘s work has dazzling gentleness. She takes slices of life from the young generation and places her characters in everyday settings: at home by the window, out in the street, and under the glow of neon lights.

韩国插画师 Shin Morae 的作品,温柔得很耀眼。她很擅长截取当下年轻一代的生活片段,把画中人搬到寻常的生活场景:家中窗前、街头路边、霓虹灯下。

Shin’s drawings often use backdrops of pink, powder blue, or violet. “I don’t like pink, I just think it’s a good ‘material,'” she explains. “My drawings are a little depressing, so I need to tone that down through color. And pink is the best color for conveying a sort of funky mood. “

在粉红、粉蓝、粉紫构建出的色调背后,Morae 却说,“我不喜欢粉色。我只是认为它是个很好的‘材料’。因为我的画有些太忧郁,我需要用颜色来中和一些。而粉色是最能表达这种奇怪心境的颜色。”

She wants her work to resonate with others, so she cleverly combines color and urban youth culture with a highly interactive observational style. “Usually I start by writing in my notebook, then do the drawing with digital software,” she says. “The writing stage puts the emotions in. I want people to read my drawings the way they read an article.”


Website: shinmorae.com
Instagram: @shinmorae_


Contributor: Chen Yuan

网站: shinmorae.com
Instagram: @shinmorae_


供稿人: Chen Yuan

Love Through the Lens

Like the Beatles, Jeon Yunyoung thinks all you need is love. The Seoul-based photographer, who works under the name Neuj, sees love as an omnipresent force that powers the world, and believes it comes in all shapes and sizes. His photography reflects this belief, sometimes in obvious ways, with lovers locked in a passionate embrace, and other times more subtly, by choosing as his subject a close friend or family member.

“I want to convey all the emotions I feel in my photographs,” he explains. “But I also hope that, by sharing my work, and by establishing a relationship between artist and audience, I can spark new feelings.”

像披头士乐队(Beatles)一样,首尔摄影师 Jeon Yunyoung 也认为“爱才是人们最需要的”(All we need is love)。他将爱视为一种无所不在的力量,是世界的原动力。他坚信,爱会呈现出各种形态。他的摄影作品恰恰反映出这种信念,有时,爱以明显的方式呈现,譬如热情相拥的恋人;有时则更微妙,譬如摄影的对象是他的好友或家人,爱就通过镜头含蓄地展露。


Website: jeonyunyoung.com


Contributor: George Zhi Zhao

网站: jeonyunyoung.com


供稿人: George Zhi Zhao

Korea’s Pastel Schoolhouses

Macaron-colored walls composed in tidy symmetry. An intoxicating, sugary dream where time seems to have stopped. These aren’t stills from a Wes Anderson film—they’re real shots of Korean schools taken by Spanish photographer Andrés Gallardo Albajar.

Gallardo, who now lives in Estonia, took these photos in Seoul and Busan while traveling. “It all started by accident, when I got a little lost in Seoul and ended up in the playground of a school. I was fascinated by their pastel colors, their trees, their symmetries, and the symbols like clocks, the national flag and the alphabet I didn’t understand,” he says. “But I never expected I’d do a series about Korean schools.”

马卡龙色的外墙,整洁对称的构图,时光仿佛静止于甜美梦境里,让人沉醉。而这一切,并非是韦斯·安德森的电影画面,这是 Andrés Gallardo Albajar 镜头里韩国校园内的真实景色。

生于西班牙、目前长居爱沙尼亚的摄影师 Andrés,在旅行途中拍下了首尔和釜山两地的校舍,这一切都出于偶然。当时我在首尔汉城迷了路,最后走到了一所学校的操场上。我被他们柔和的颜色、树木、钟表、国旗,还有它强烈的对称感和我不认识的字符给迷住了。” Andrés 说,但我从来没有想过,我最终会组成关于韩国学校的一系列作品。”

Gallardo’s experiences in Europe and Asia have given him diverse impressions and experiences. Korea and Spain have different styles of architecture, but they have a lot in common, he notes, since they both have centuries-old cultures. For him, the process of exploring and taking pictures in each one is equally fascinating.

Asked how Korea differs from Europe, he says, “the people in South Korea were extremely nice to me, and that made a great impression. One can tell that South Korea is doing well financially, since you can see plenty of modern architecture by some of the biggest contemporary architects. That doesn’t happen in Estonia, for instance, where everything is more local.”

Andrés 在欧亚两地的经历,给他留下了不同的印象与感触。首尔与西班牙的建筑虽然风格不同,但区别并不大——它们都留有古代文化的印记。对他来说,探索和拍摄的过程都一样迷人。要说到比较,Andrés 说:韩国的人民对我非常好,这给我留下了深刻的印象。另外你可以看出,韩国在财政上做得很好,因为你可以看到很多当代最伟大的建筑师的现代建筑,而在爱沙尼亚,情况并非如此,那里的一切都更有本土气息。

“As a matter of fact, visiting all these schools had a big nostalgia effect on me. As a child my only purpose in going to school was to see my friends and play football or other games during breaks,” he explains. “When doing this series, I often had to wait until the break was over so I could take photos freely. While waiting I could observe the kids playing on the playground, and I could see how, even though thousands of kilometers and around 30 years separated them from my experience, kids will always be kids.”

事实上,参观所有这些学校,让我产生了很大的怀旧感。孩童时代,我上学的唯一目的就是去见好朋友,在课间休息时我们可以一起踢足球或者玩别的运动。但在拍这些照片的时候,我不得不等到休息时间结束,才可以自由拍照。在等待的时候,我可以看到孩子们在操场上自由自在地玩耍嬉戏。即使我的童年和他们隔着几千公里,也隔着大约 30 年的时光,但孩子永远都是孩子啊。” Andrés 如此感慨道。

City Fragments

How are our lives shaped by a rapidly changing urban environment? Korean artist Min Joonhong‘s multimedia works seek to answer this question.

His assemblages, which have been shown in London, Seoul, and Milan, are often large enough to fill entire galleries. With such size, it comes as something of a surprise that his central London studio, housed in a nondescript office building, is so small. “Here I work on scaled-down versions of my concepts, so I can familiarize myself with how they’ll be pieced together,” he explains. “This helps me work quickly once I’m in the actual space.” Each sculpture is created on location and customized according to the amount of space available.

日新月异的城市环境,究竟是如何塑造我们的生活的?对此,韩国艺术家 Min Joonhong 通过自己的作品以进行探讨,目前已经在伦敦、首尔和米兰展出。

组合艺术作品往往有着非常可观的体积,常常会占满整个画廊。但 Joonhong 的工作室却位于伦敦市中心里一栋普通办公楼里的小房间,实在让人意外。Joonhong 说,“我会先在这里将概念做成缩小版本的作品,熟悉一下各部分是如何拼凑在一起的。这有助于我到了实际场地时能更快完成作品。”每件作品都是他在展出场地上完成的,依据可用空间大小进行定制创作。

Efficiency and discipline are fundamental to Min’s creative process. He sticks to a rigid work schedule he sets for himself every day. Even outside his working hours, he says he spends much of his free time thinking about how to improve his art.

This incessant self-reflection carries over to the thematics of his works. Min looks to “uncomfortable memories” for inspiration and says that the best way to harness the anxiety and alienation of modern urban life is to channel them toward art. By reimagining the city environment, Min explores what’s left out in contemporary urban society.

Joonhong 创作的基础,源于效率和自律。他严格遵循自己订下的工作日程,在工作时间之外,也用很多时间以琢磨改进自己的艺术创作。

这种不断的自我反省,同样反映在他的作品主题上。Joonhong 说自己会从那些“不愉快的记忆”里寻找灵感,在他看来,驾驭现代城市生活中的焦虑和孤立感,最好的方式就是在艺术中寻找出口。从城市的角度来看,他正在建构一个如今城市化社会其遗漏部分的叙述作品。

Min’s vertical sculptures are designed to resemble a futuristic skyline. Yet his interest in the urban environment is also visible in his choice of materials. From broken furniture to discarded packaging, he scavenges random objects from London’s streets, reassembling them to create model high rises and skyscrapers.

Finding new uses for these left-behind items is his way of engaging with the past, just as building elaborate cityscapes is his way of embracing the future. As cities around the world continue to reinvent themselves, Min’s work invites us to consider how yesterday’s discarded junk can help us imagine the world of tomorrow.

Joonhong 对城市环境的兴趣,也体现在他所选择的材料中。他从破碎的家具到被丢弃的包装,他将自己从伦敦的街道上搜罗到的物品,重新组装成高楼和摩天大楼的模型,这样的垂直雕塑模拟着城市的天际线。

如果说,为这些被人们所遗弃的物品寻找新的用途是他与过去打交道的方式,那么,组装精致的城市建筑模型则是他拥抱未来的方式。随着城市向着“明日世界”这个目标不断建设,Joonhong 的作品恰恰是在邀请观众思考:属于昨日的物品究竟是如何被不断丢弃和回收的呢?



Contributor: Juliet Fang



供稿人: Juliet Fang

Magazine B

Issue No. 46 "Pantone"

“Colors can be read.” This was my stunned takeaway from reading “PANTONE,” the 46th issue of B magazine.

That a simple print publication could so thoroughly alter my perception, comprehension, and attitude towards a subject—a brand, no less—astounded me. Long an admirer of Pantone, I came away with an even deeper appreciation of it. But even readers unfamiliar with Pantone, or any other brand featured in an issue of B, will be left inspired and hungry for more.

B is an independent, ad-free publication produced in South Korea. In each issue, it offers insightful stories on a specific brand, but it abides by a strict editorial policy and receives no financial compensation in return. Recently we caught up with editor-in-chief Eunsung Park to learn more about his vision for this one-of-a-kind magazine, and about his thoughts on the future of print media.

“我竟然能读出色彩。”这是我第一次读到《B》杂志第 46 期的感受,那一期的主题是“潘通色卡”。这个看似普通的出版物,却神奇地影响了我对一个品牌的认知、理解和态度。加之原本就对此感兴趣的心态,再去探索杂志内容背后的意义,我会对它越爱越深;而哪怕是原本不熟悉它的人,在看完整本杂志后,我相信你们也会更想要了解它的故事。


Issue No. 44 "Vans"
Issue No. 13 "Lego"

Neocha: Your official criteria for featuring a brand are price, practicality, beauty, and philosophy. What do these mean to you?

Park: Our publisher, Suyong Joh, created those criteria in the initial planning stages of the magazine. But that doesn’t mean we use price, practicality, beauty, and philosophy as metrics to evaluate the brands we choose. Instead, we believe a good brand can’t rely only a single factor, whether that’s its price point, its usefulness, its design, or its ethos. All these factors must combine to form a balance that fits the brand. What we want to convey is that each brand has its own way of achieving that balance—just as every beautiful person has their own balance of different charms.


Park:这些标准是杂志创始人 Suyong Joh 在筹办杂志的初始阶段所订立的。但是,这并不意味着我们在选择品牌时会将美学、价格、实用、品牌理念作为评价品牌的指标。相反,我们相信,一个好的品牌不能依赖单一的指标,不管是价格、实用性、设计或是品牌精神。所有这些因素都必须结合起来,达至适合该品牌的平衡。我们要传达的理念是,每个品牌都有自己独特的方式来达到这种平衡,正如每个人的美丽都是各种魅力组成的平衡。

Issue No. 13 "Lego"
Issue No. 13 "Lego"
Issue No. 13 "Lego"
Issue No. 13 "Lego"

Neocha: What’s your best-selling issue? Do you have a personal favorite?

Park: “Lego” and “Muji” are our best-selling issues. Our newer issues like “Acne Studios” and “Monocle” have had a good amount of sales. Our city issues always do well. If I were to choose an issue from that pool, it would be “Monocle.” It was a meaningful experience to cover a fellow media brand, and we got positive energy simply by following their journey and observing their achievements.


Park:“乐高”和“无印良品”是我们最畅销的两期杂志。我们最近推出的杂志,如 “Acne Studios” 和  “Monocle” 销量也很好。我们的城市主题杂志也卖得不错。如果一定要选一本个人最爱,可能是 “Monocle” 这一期。以一个同行媒体品牌为主题是一次挺有意义的经验,我们在了解他们的发展历史和成就这个过程中也获得了满满的正能量。

Issue No. 44 "Vans"

Neocha: How much time do you spend researching a brand when starting a new issue?

Park: We always approach the brand as if we knew nothing about it. If we think we already know it well, we run the risk of falling into boxed thinking, but if we keep an open mind, we discover new perspectives. That’s why we try not to overstudy the brand beforehand. We believe that rich stories should come out of the people we meet, and we try to keep a keen eye for observation by limiting our own voice.



Issue No. 42 "Star Wars"
Issue No. 42 "Star Wars"
Issue No. 42 "Star Wars"
Issue No. 42 "Star Wars"

NeochaB is perfect for aspiring entrepreneurs, people in search of unbiased information, or anyone interested in brand marketing and management. But not all readers may be equally familiar with every brand. How do you appeal to a diverse audience?

Park: The point is not how well readers know the brand, but rather how well we, as creators of the magazine, refrain from taking a know-it-all attitude. Instead of providing answers, we hope to help people pay attention to what’s happening. I believe you can do that regardless of your depth of knowledge.



Issue No. 61 "Acne Studios"

Neocha: You’ve done countless interviews. Which would you say is the most memorable?

Park: We’ve done too many memorable interviews. But if I were to choose one from the past year, it would be the interview with architect Andreas Fornell in the “Acne Studios” issue. He worked at Acne Studios in the past and now manages his own firm. As someone with experience from both the inside and the outside, he could look on the brand with affection and provide a pointed assessment all at once.

Neocha: 你们做过非常多的采访。哪一次对你来说是最难忘的?

Park: 我们做过太多令人难忘的采访。但如果要我从去年的采访中选一个,那应该是在 “Acne Studios” 那一期里与建筑师 Andreas Fornell 的采访。他曾在 Acne Studios 工作,现在在经营自己的公司。作为一个有来自内部和外部经验的人,他可以对这个品牌提供充满感情又一针见血的评价。

Issue No. 61 "Acne Studios"
Issue No. 61 "Acne Studios"
Issue No. 61 "Acne Studios"

Neocha: Since its launch in 2011, B has released more than 60 issues. What sort of challenges has it faced along the way?

Park: We face different difficulties with every issue. We may have published 66 books, built up a sales record, and made a name for ourselves, but that doesn’t mean the process has become any steadier or more peaceful. And it will continue to be a challenge in the future. Creating a brand, especially sustaining a media brand, is like a battle. Fighting through unexpected issues and seeking solutions gives us an outlet for our creativity.

Neocha: 自2011年推出,《B》至今已经发行了 60 多期杂志。在这个过程中,杂志面临过什么样的挑战?

Park: 我们办每一期杂志都会面临不同的困难。即便我们可能已经出版了 66 期杂志,有了不错的销售记录,也有了一定的知名度,但这并不意味每期杂志的筹办就能变得更顺利或简单。在未来,我们依然要面临各种的挑战。创造一个品牌,尤其是维持一个媒体品牌,就像是一场战役。在应对各种意想不到的问题、寻求解决方案的过程中,我们也是在发挥创意。

Issue No. 46 "Pantone"
Issue No. 46 "Pantone"

Neocha: “Independent” is a label that’s thrown around a lot nowadays. What qualities do you think make a magazine truly independent?

Park: In my opinion, independent magazines don’t rely on typical advertising models the way legacy media do. Instead, their creators take more risks taking a freer and bolder approach to content planning and creation.

Neocha: “独立”是现在常用的一个标签。你认为一本杂志应该有哪些品质才能真正称得上独立?

Park: 在我看来,独立杂志不应像传统媒体那样依赖广告。相反,他们的创办者要勇于承担更大的风险,在内容策划和创意方面会采取更自由、更大胆的做法。

Issue No. 46 "Pantone"

Neocha: Where do you see print media headed in Asia?

Park:  I think it’s important to see print media outside a regional context—to see it as its own thing. In countries where English isn’t the main language, people might think language is a barrier. Yet if we leverage the power of the content itself, that limitation becomes meaningless. As for the future, we should focus on what print media can do best, instead of doing the same things as digital media. I believe in the lasting strength of the printed word, the flow and pace of stories told on paper.

Neocha: 你觉得亚洲纸媒的未来如何?

Park: 很重要的一点是要抛开区域来思考纸媒,把它单独地来看待。在非英语国家,人们可能会认为语言是一个障碍。然而,如果我们利用内容本身的力量,这种限制将不再存在。至于未来,我们应该专注于纸媒的优势之处,而不是与数字媒体做同样的事情。我相信印刷出来的文字,以及纸媒呈现的故事节奏感是有着持久性力量的。

“Lego” is now available on the Neocha Shop in limited supply. The “Star Wars,” “Vans,” “Acne Studios,” and “Pantone” issues will be made available soon!

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现在,“Lego” 专刊在 Neocha 商店中限量贩售。另外,“Star Wars”、“Vans”、“Acne Studios” 和 “Pantone” 也即将面世!

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《B》第 13 期 “Lego”



Product Details:

  • Year of Publication: 2013
  • Number of Pages: 160
  • Dimensions: 17 cm x 24 cm
  • Price: 19 USD


  • 出版年份:2013
  • 页数:160
  • 尺寸: 17 x 24 厘米
  • 价格:130 RMB

Website: magazine-b.com


Contributor: Handowin Ho
Photographer: David Yen

网站: magazine-b.com


供稿人: Handowin Ho
摄影师: David Yen

In the Studio with Hongdam

Ilwol Hongdam is one of South Korea’s most famous tattoo artists. He estimates that over the past four years he’s inked over 3,000 tattoos, and he’s recently begun traveling internationally to reach clients in Shanghai, Hong Kong, New York, and Paris.

Such a career was unimaginable in Hongdam’s youth: providing tattoos is illegal in Korea. Growing up, Hongdam steered clear of tattoos, which were associated with gangs. Only after graduating from college did he discover there was less of a stigma in foreign countries. He recalls being shocked by online images of doctors, police officers, and members of other respectable professions with tattoos. That it could be natural for a teacher to write on a blackboard with a tattoo exposed shattered his preconceptions at a time when he was having difficulty finding a career.

Ilwol Hongdam 是韩国最著名的纹身艺术家之一。他估算了一下,过去四年来他的纹身作品已经累积3000多件。最近,他开始环游世界,在上海、香港、纽约和巴黎等城市留下自己的纹身作品。

这样的职业在 Hongdam 年轻时是不可想象的,因为在韩国,纹身依然违法。人们总是将纹身与帮派联系在一起,从小到大 Hongdam 都尽量避免与纹身扯上关系。直到大学毕业后,他才发现原来在外国纹身并非是不良身份的象征。当他第一次在网上看到医生、警官或其他受人尊敬的职业工作人员竟然也有纹身时,感到十分震惊。一名在黑板上写着板书的老师,手上的纹身就这样坦然地暴露出来,原来这只是再普通不过的事情。当他为找工作而烦恼的时候,这个发现彻底颠覆了他的想法。

Hongdam’s background is in traditional Korean art, and from the delicate flower petals and gentle animals that abound in his work, one might expect this to have always been his interest. However, Hongdam says he originally wanted to pursue fashion, and was devastated when he was rejected from the department. Reluctantly, he enrolled in Korean Art and had a low opinion of it until he went to an exhibition by one of his upper classmates. “He wasn’t famous or anything, but his work—a large painting of a woman on silk—was so different from what I had thought of as Asian art.” Hongdam recalls thinking it only meant ink drawings on hanji (traditional Korean paper), so he was surprised by the mix of materials such as oil and acrylic. “It seemed like the division between Asian and Western art was breaking down, and I was shocked that Asian art could do so much, that it could represent things in new ways.”

Hongdam 学的是韩国传统艺术,在他的作品中,常常能看到那些精致细腻的花瓣和温和的动物。人们可能会想纹身就是他的兴趣所在,然而 Hongdam 说他最初想学的其实是时尚专业,当他被学校拒绝时感到十分挫败。最后,他不太情愿地进入了韩国艺术专业,一直以来他对这个专业都兴趣乏乏,直到他去参加一个高年级校友的展览。“他不是什么著名艺术家,但有一幅作品是在丝绸上画的巨幅女性画像,这完全颠覆了我印象中的亚洲艺术。” Hongdam 回忆说。他一直以为亚洲艺术就是在韩纸上的水墨画,所以他对于这种混合不同材料,譬如油画颜料和丙烯颜料,来创作的方式感到很震惊。“这打破了我心中关于亚洲艺术和西方艺术之间的疆界,原来亚洲艺术也可以有这样丰富的表现形式,我真的很意外。”

After working for a time as an art teacher, Hongdam turned to tattoos, both out of curiosity and as a way to keep drawing. Given his traditional training, this turn is both natural and unusual. Unlike irezumi (Japanese tattoos), which are characterized by thick lines that cover large portions of the body, Hongdam’s tattoos resemble the lighter, minimalist style of more traditional ink-wash paintings. One characteristic of traditional Korean art, he says, is that “the canvas is not filled but uses the beauty of blank space, the emptiness.”

在作为一名艺术教师工作了一段时间后,Hongdam 开始纹身的工作,一方面是出于好奇,另一方面也算是他用来继续画画的一种方式。既然他接受的是传统艺术教育,这一转变可以说是既自然、又非比寻常。不像 Irezumi(日式纹身)的线条粗厚,往往覆盖身体很大部分,Hongdam 的纹身则更精细、简约,就如同传统的水墨绘画,“ 传统韩国艺术是画布不会被填满,而是充分利用留白的一种艺术。” 他说。

Hongdam also sees similarities between traditional Korean art and tattoo as a medium. Most of the material and sense of color comes from nature, such as muk (Korean ink), which comes from charcoal trees, and hanji, which comes from mulberry trees. Skin, too, is a natural medium, and Hongdam finds fascination in working with various skin tones, which bring out or tone down his art. He observes one more common feature: “You can’t fix mistakes in traditional ink paintings. You can paint over a mistake in oil, but in once you make a mark with ink, that’s it. That’s why traditional ink artists tend to work in constraint and under high pressure.”

Hongdam 认为,传统韩国艺术和纹身之间的共同点在于 “媒介”。大部分的材料和色彩灵感都来自大自然,譬如他所用的韩国墨水(muk)就是来自木炭,而韩纸则是来自桑树。皮肤也是一种天然媒介,在各种肤色上创作对他来说是一件充满魅力的事情,因为不同的肤色会突显或是柔和他的艺术。他还观察到这两种艺术间的另一个相同点: “在传统水墨画中,一旦画错了是没有办法去弥补的。这和油画不同,因为在油画中你可以直接在画错的地方上继续画,遮掉错误。但一旦你用墨水画多了一点,也就无可挽回了。这就是为什么传统的水墨画艺术家总是在紧张与高压的状态下工作。”

The pressure is even greater for tattoo artists, whose canvas is after all a client’s body. In this, Hongdam sees enormous responsibility. “You know how listening to an old song brings up memories of when you first heard it, like how it was snowing that day or how you were with your first girlfriend? Tattoos are the same. When you look at a tattoo you think back to the artist, and how you felt when you got it,” Hongdam says. “A tattoo you get in a bad environment becomes a scar. I keep this in mind because it’s really important, though it’s hard if the client is rude.”

Asked if he has any particularly memorable clients, Hongdam is quick to reply: “I remember so many of them.” Once he spent three days giving a tattoo to a dermatologist from Paris who specialized in tattoo removal. He’s even given tattoos to celebrities, though because he lacks a television in his office, he sometimes fails to recognize them.

Sometimes he still feels nervous, despite his years of experience in the business. “One time a client kept crying through the process. At first, I thought it was because of the pain, but he told me the tattoo was of his mother’s words, and she had just passed away.” Of course, many people get tattoos for much lighter reasons. “One foreigner said the first thing they drank in Korea was banana milk – which comes in a very distinctive can – and said they wanted it tattooed because it was their image of Korea.”

这样看来,纹身艺术家的压力甚至更大,毕竟他们的“画布”是客户的身体。也正因如此,Hongdam 觉得自己有着很大的责任。“你应该也知道,听一首老歌,你脑海里就会浮现一些回忆,想起你第一次听到它的时候,想起那天下雪,想起你和第一任女朋友在一起的时候。纹身也是这样。当你看到一个纹身时,你会回想起这名纹身师,想起你纹身当时的感觉。” Hongdam 说,“如果你是在恶劣的环境中得到这个纹身,那它就会变成一道疤痕。我一直提醒自己这一点,因为它非常重要。当然要做到这一点并不容易,特别是遇到不礼貌的客户时。”

当他被问及是否有什么特别难忘的客户,Hongdam马上说:“非常多。” 有一次,他花了三天时间给一个专业去除纹身的巴黎皮肤科医生纹身。他也曾经给名人纹身,但因为他的办公室里没有电视机,所以有时候就算是名人他也会认不出来。

尽管已经有多年经验,他有时候仍然会感到紧张。“曾经有一位客户在我为他纹身时一直哭。一开始我以为是因为痛,但他告诉我这个纹身是他母亲曾经说过的话,而她刚刚去世了。” 当然,很多人纹身只是出于更简单的原因。“曾经有一位外国人说,他在韩国喝的第一瓶饮料是香蕉牛奶,他觉得这种牛奶的瓶子形状很特别,纹这个图案也是因为它代表了自己对韩国的印象。”

Even though Korea isn’t the first country that come to mind when one thinks of tattoos, Hongdam says the tattoo scene there is developing quickly. His age puts him somewhere between an older generation that still views tattoos negatively and a more open-minded younger generation, and this fact informs his work.

“Some people think of me as a tattoo artist and not an artist, which is surprising. To me, they are very much the same. Tattoo artists are artists. Some people work with wood or rocks—I’m just someone who works with skin. Why should people who do tattoos only do tattoos, or why should people who paint on canvas be restricted to that medium? I want tattoos to become a natural part of art and society.”

尽管说起纹身,韩国可能不是你第一个想到的国家,但 Hongdam 认为,纹身文化在韩国正在迅速发展。从年龄上看,他介于视纹身为不良标志的旧一代,与态度开明的年轻一代之间。

“有些人认为我是一个纹身艺术家,但又不是艺术家,这一点挺令人惊讶的。对我来说,这两者是一样的。纹身艺术家就是艺术家。有些艺术家用木材或岩石来创作,而我则是在肌肤上创作。为什么纹身艺术家就只能做纹身,为什么画画的人就只能用画布来创作? 我希望纹身能成为艺术和社会中自然存在的一部分。”

He’s not dogmatic about what tattoos should be, and he remains open to all kinds of inspiration. “I don’t want to be an artist who says tattoos have to be one way, or that ink painting should be another—I don’t really find that exciting or appealing. If we weren’t open to new ideas, we wouldn’t have watercolor tattoos, fine line tattoos, pictorial tattoos, or anything else. Though it’s intimidating to encounter ideas you disagree with, we have to be exposed to them, so we can either accept or reject them and see where to go from there.”


Hongdam hopes younger people see in him an example. “Other than deciding to be a tattoo artist, I’ve decided very few things for myself. Mostly I’ve followed advice from my parents or teachers. The first thing I decided after thinking about what I was good at and what I wanted to do was to become a tattoo artist,” he says. “So I have no regrets—this is something I’ve chosen. In art or anything else, I think it’s important for people to take ownership of their own decisions.”

“It’s a lot like tattoos,” he adds. “Clients often ask their friends where they should get their tattoo. And if they regret their decision, they blame their friends. I think choosing a path is a lot like choosing where to get a tattoo.”

Hongdam 希望年轻人能以他为鉴。“除了做纹身艺术家这个决定,我自己其实很少决定任何事情。大部分时候我都只是按照父母或老师的意见走。在我认真思考了自己擅长什么和想要做什么后,立即就决定成为一名纹身艺术家。我没有遗憾,因为这是我的选择。不论是艺术,或是其它任何事情,我认为对人们来说,自己的决定要自己做,这一点是很重要的。”


Website: iwolhongdam.com
Instagram: @ilwolhongdam


Contributor: Eugene Lee, Joe Park

网站: iwolhongdam.com
Instagram: @ilwolhongdam


供稿人: Eugene Lee, Joe Park

Fantasizing in Shades of Blue

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

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

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

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

Website: leejungho.com
Instagram: @jungho.el

Contributor: Chen Yuan

网站: leejungho.com
Instagram: @jungho.el

供稿人: Chen Yuan

Billie’s Boys Charm

Billie Snippet is a Korean-American illustrator and the co-founder of Uchuu Summer, an apparel and accessories label inspired by summer, nostalgia, and space. Similar to the aesthetic of Uchuu Summer, her illustrations are bright and colorful, featuring a world of (mostly male) character who like to show off their playful, nostalgic, and sensual sides. Her inspiration comes from many sources – including manga and anime from the 80s and 90s, cartoons from her childhood, children’s illustrations, vaporwave music, and fashion photography.

Billie Snippet 是一位美籍韩裔插画家,同时也是 Uchuu Summer 品牌的共同创始人,这个时尚品牌充满了夏季、怀旧和太空的意象。Billie 的插画风格与 Uchuu Summer 品牌相似,同样明亮而多彩。在她的插画世界里,主角大部分都是一些乐于展现其俏皮个性、怀旧情绪和感性一面的男性角色。她的灵感来源很丰富,包括了 80、90年代的漫画和插图、小时候看的动漫和漫画、儿童插画、蒸汽波(Vaporwave)音乐和时尚摄影等等。

Billie wasn’t always set on becoming an artist. She shares with us, “When I was in elementary school, I was the quiet child in my class that was always drawing. However, until high school, I only treated it as a hobby, because I was undecided between being an artist or a writer.”

After deciding to pursue a career in the arts, she first went into a program in Fine Arts at the University of California Santa Barbara, and then transferred to a program in Illustration at the Maryland Institute College of Art (MICA) after two years. During her college days, she began selling her illustrations at anime conventions, mostly offering books, goods, and her self-published doujinshi works. Building on her entrepreneurial success, In 2016, she founded the Uchuu Summer label with friend and fellow illustrator Gabrielle Howitz.

Billie 不是从小就立志成为一名艺术家。她与我们分享道:“小时候,我是班上比较安静的小孩,总是埋头在画画。在高中之前,我一直只是把画画当作一种爱好,因为我还未决定好要成为一名艺术家还是作家。 ”

下定决心从事艺术工作之后,她先是进入加州大学圣巴巴拉分校修读艺术专业,然后在两年后转到马里兰艺术学院(MICA)攻读插画专业。大学时期,她开始在动漫大会上出售自己的插图作品,主要是一些书、商品和自己出版的同人志作品。有了这些初期创业的经验,2016 年,她与她的插画家朋友 Gabrielle Howitz 一起创立了 Uchuu Summer 品牌。

While Billie works mostly digitally in Adobe Photoshop CC nowadays, she’s equally adept with traditional mediums like watercolor and ink. Regardless of medium, the images she creates have a distinct aesthetic with an overarching theme of male vulnerability.

“Vulnerability is a trait I find attractive and fascinating in people because it exposes their true self,” she shares with us. “It’s bare and alluring. And it is easier to trust a person that shows vulnerability.” For Billie, her depiction of male characters is a way to break away from stereotypical gender roles. “We live in a world where men are discouraged to show vulnerability. Instead, there is an abundance of vulnerable women in art – to the point where it became a cliché. So it’s more interesting for me to draw vulnerable men.”

虽然 Billie 现在主要采用 Adobe Photoshop CC 创作,但她同样善于使用水彩和墨水等传统材料。无论是用何种媒介创作,她的作品都有一个共同的特别之处:展示男性脆弱的一面。

她解释道:“我觉得,脆弱是一种特别有吸引力和迷人的特质,因为它暴露了每个人最真实的自我,赤裸又诱人。况且, 一个愿意展现出脆弱那一面的人往往比较可信。”对于 Billie 来说,她对男性角色的描绘是摆脱性别偏见的一种方式。“我们生活在一个男性不愿意表现出脆弱的社会里。与此相反的是,在艺术中经常能看到大量女性脆弱的形象。虽然感觉已经有点陈词滥调,但我觉得画脆弱的男性会更有趣。”

Billie continues to self-publish her illustrations, comic books, is currently working on projects for the Uchuu Summer label, which will include a comic that’s planned to be released next year. Uchuu Summer apparel, products, and zines are currently available for purchase at shops in Los Angeles and Tokyo, as well as on Uchuu Summer’s web shop.

除了继续独立出版插画书和漫画书,Billie 目前还正在制作 Uchuu Summer 品牌的项目,其中包括预计明年发行的漫画。想要购买 Uchuu Summer 的服装、产品和杂志,除了可以在洛杉矶和东京的门店里现场购买,也可以到 Uchuu Summer 的在线商店购买。

Instagram: @bsnippet


Contributor: George Zhi Zhao

Instagram: @bsnippet


供稿人: George Zhi Zhao

Poetics of Light & Shadow

Jusung Hyung is a freelance director and photographer based in Seoul, South Korea. He first became introduced to film and photography as a young boy when his father brought home a DSLR and a film camera. Awestruck by these devices, the ability to manipulate time by recording and playing back images would become a lifelong subject of fascination for Hyung.

Jusung Hyung 是来自韩国首尔的一位独立导演兼摄影师。小时候,他的父亲带了一台数码单反相机和电影摄影机回家,从那时起,他就开始接触到电影制作和摄影。Hyung 为这些器材的魅力震慑不已,通过录制和回放图像来操作时间的能力也成为了他一生的热情所在。大学的时候,他就修读了电影和广告专业。

While interested in both, Hyung clearly defines his personal relationships to the parallel mediums of film and photography – filmmaking is his profession, while photography is his hobby. His approach and philosophy towards these two mediums are interconnected, but also fundamentally distinct from one another. Hyung tells us, “When speaking of the difference in method of approach between filmmaking and photography, it’s first important to understand that because film is photographs in motion, the camera’s movements, the storytelling, and the chemistry with the actor are important. Photography is about trying to deliver the message shown in the photograph. If I was to use literature or the act of writing as an example, filmmaking would be like writing a novel or an essay, while photography could be viewed or expressed as a poem.”


Deeply reflective on the philosophical implications of capturing images, Hyung muses on the differences between English and Korean when it comes to how language shapes our everyday perceptions of photography: “It’s something I think about everyday. When I think of the origin of the word photography, in English, the word ‘photography’ can be broken down into two parts to mean light and illustration. However, in Korean calligraphy, the word means to express and show a real scene in its original form. I find the difference in interpretation and understanding of the word very interesting. Personally, the Korean interpretation of expressing and showing an image in its original form is a little bit closer to what I believe.”

Hyung 深刻反思着摄影背后的哲学含义,同时也试图探讨英语和韩语之间的差异,了解语言是如何影响我们平时对摄影的感知:“这是我每天都会思考的事情。譬如摄影的英文 ‘photography’,这个词可以分解成两个部分,分别表示光线和图像的意思。然而,在韩文中,摄影的字面意思是指以其本来的形式展现一个真实的场景。我觉得不同语言对摄影这个词的解释和理解上的差异很有意思。就我个人而言,韩语的字面解释更接近我对摄影的理解。”

Instead of being limited by preconceived notions of personal style, Hyung views his photography as a developing process: “Rather than seeking my own person style or aesthetic, I would say that I wait and observe to see the results of the capture. I would say that until now, I’ve still been in the process of discovering my own photographic philosophy and themes while taking pictures. For me, the important thing is mostly in becoming a photographer with a deep and nuanced eye for pictures.”

Hyung 没有受限于个人风格这种先入为主的观念,在他看来,自己的摄影本来就是一个不断发展的过程:“与其说是追求自己的个人风格或美学,我觉得我更像是在等待和观察,看自己作品会呈现怎样的结果。直到现在,我仍然在探索自己的摄影哲学和主题。对我而言,重要的是成为一名对影像有深入细致的眼光的摄影师。”

Despite the positive exposure that he has recently received for his photography via social media, Hyung remains humble and stays devoted to refining his craft. He says, “Many people call me an artist of photography. However, I don’t feel I’m good enough to deserve that title just yet. When I establish my personal photographic philosophy in detail, I’ll be happy to be called and to call myself an artist.”

尽管他的作品最近在社交媒体上大受欢迎,但 Hyung 仍然保持着谦虚的心态,努力提高自己的摄影技术。他说:“许多人称我为摄影艺术家。不过,我觉得我的能力还不配得上这个头衔。当我能够真正地建立属于自己的摄影哲学时,我很乐意被称为或自称为一名艺术家。”

Instagram: @jusunghyung


Contributor: George Zhi Zhao

Instagram: @jusunghyung


供稿人: George Zhi Zhao