Tag Archives: street

Roller Coaster India



“During my trip to Kolkata, India, I could only think of one thing: roller coaster,” says Cuban filmmaker Yuribert Capetillo Hardy. As the name suggests, Hardy’s short film Roller Coaster India is nothing short of a vibrant, and at times, dizzying spectacle. The film’s point of view twists from scene to scene with almost zero delay, delivering a sensory overload that Hardy describes as a visualization of his feelings, fears, and emotions while traveling through India.

古巴电影制片人Yuribert Capetillo Hardy说:“在印度加尔各答旅游时, 我只能想到一个词——过山车。”顾名思义,他所拍摄的短片《Roller Coaster India》是一部充满活力,甚至可以说令人眩目的视觉影像。影片的各个场景快速地切换着,带来目不暇接的视觉体验,Hardy解释道,这正是对他在印度旅行时的感觉、恐惧和情感的“视觉化表达”。

The film is a choppy glimpse into everyday life on the streets of India, forcing viewers to cling to each scene. Hardy, who is now based in Holland, remarks that these moments are a stark contrast to his daily life but also make him reminiscent of his own childhood in Havana, Cuba. “Compared to my week in India, I realized that my life in the streets of Havana wasn’t that bad after all. The energy of this country, the spirituality of the people, and the spark in their eyes made this the trip of a lifetime.”

这部影片展示了印度街头日常生活的各种片段,迫使观众专注地观察每一个场景。Hardy现在在荷兰生活,他表示,影像中的生活和他平常的生活截然不同, 但使他想起了自己在古巴哈瓦那的童年。“我在印度度过的这一周, 让我意识到,曾经在哈瓦那街头的生活也没有很糟糕。这个国家的活力、人们的精神和他们眼中的火花, 使这场旅行成为了一次终生难忘的经历。”

Website: yosoyvideo.nl
Facebook: ~/Yosoyvideo
Instagram: @yosoyvideo


Contributor: Whitney Ng

地址: yosoyvideo.nl
脸书: ~/Yosoyvideo
Instagram: @yosoyvideo


供稿人: Whitney Ng

Scratching the Surface

Vhils is a Portuguse artist who has developed a unique visual language based on the removal of the surface layers of walls and other media with non-conventional tools and techniques. Coming from a background in graffiti, his work establishes symbolic reflections on identity, life in the urban context, the passage of time, and the relationship of interdependence between people and the surrounding environment. Currently based in Hong Kong, Vhils has developed a prolific series of works across the city. See below for a selection from the artist.

葡萄牙艺术家Vhils 通过凿刻墙壁表面,利用非常规的媒介工具,塑造出一种独特的视觉语言。他从涂鸦开始进行艺术创作,其作品展现了对身份认同、城市生活、时间流逝以及人与周边环境之间的相互依存关系的思考。Vhils目前生活在香港,并已经在香港街头拥有丰富的作品。一起来欣赏一下他的精选作品吧。

Website: vhils.com
Instagram: @vhils
Facebook: ~/vhils1


Contributor: George Zhi Zhao

Losing Identity

After reading the book Street Photography Now back in 2014, Pushkar Raj Sharma was inspired to pursue photography. Equipped with a camera in hand, he began spending all of his free time roaming the streets of New Delhi. “I searched the streets for certain moments,” he says. “I wanted to capture special moments that would accurately illustrate life in India. In my photos, I want to show the country’s richness, its frustrations, and most important of all, the spirit of its people.”

Pushkar Raj Sharma对街头摄影的爱好起始于2014年,那时他看了一本名为《Street Photography Now》的摄影书,之后他拿起相机,开始了对街头摄影的摸索。Pushkar喜欢将工作以外的时间花在街上,游走在这个城市里。我一直在街上寻找一些特别的瞬间,让它们塑造出一个活生生的印度,你能在照片里看到它的生命,它的丰盛,它的烦恼和忧郁,当然最重要的是,看到生活在这里的人们的精神。

Working a full-time job in IT, Sharma rarely had time to travel. As a result, his hometown of New Delhi became the focal point of his photography. His Losing Identity photo series consists of candid street snaps of the city’s inhabitants, all depicted as anonymous individuals with obscured faces. From a man with a pink facial mask to strangers carrying cardboard boxes and women conversing through the fabric of their saree, the series masterfully uses this anonymity, this deletion of their personalities and identities through Sharma’s attentively composed frame, to form a narrative that explores a common thread that connects these individuals from different walks of life.

Pushkar的正职其实是IT行业的从业人员,因为工作的关系他很少有机会外出旅行,所以他的家乡——德里,成了他照片中不变的主题。这几年中,Pushkar在德里街头拍摄了不少照片,他将其中的一些整理为一个摄影系列,名为“Losing Identity”。照片里有敷着粉面膜纸的男人,搬运着纸皮箱的工人,透过面纱谈话的女人们等等,他们的面部都被各种物件遮挡住了,你看不见他们的真实样貌,也好像抹去了他们的性格或身份。但有趣的是,通过这种方式,不同的陌生人也能被一种相同的元素串联起来了。

The series led Sharma to confront an identity crisis of his own. In today’s world, with the ubiquity of smartphones and digital cameras, almost everyone can become a self-proclaimed photographer. With photography now easily accessible to many people, the art of photography has been, unfortunately, devalued. The internet is flooded with a deluge of photos processed using similar filters, leading to a few certain styles being cemented in the minds of the masses as aesthetically pleasing. This shaping of what is considered “good” has led to people being afraid of creating and experimental with unique, unconventional styles. Musing on his own identity as a photographer, Sharma often ponders, “Have I lost my identity on the streets while trying to establish one?”

这系列作品让Pushka思考起身份认同危机(identity crisis),在相机和手机高度普及的今天,每一个人都可以成为摄影师,但也正因为摄影变的简单了,摄影艺术的独特性也仿佛在同步被腐蚀,网络上每天生产着大量相同风格相同美学的照片,这让人们的审美变的趋向统一,丢失了原本每个个体该有的独特个性。当我站在街头按下快门制造一张照片的时候,我是否也在慢慢丢失我自己的独特身份?

Instagram: @pushkarrajsharma


Contributor: Ye Zi 

Instagram: @pushkarrajsharma


供稿人: Ye Zi 

Kowloon Wasted Youth

Kowloon Wasted Youth is a photography series by Andreas Demeter, a German photographer, DJ, music producer, and art director currently based in Hong Kong. Shot on 35mm analog film without the use of any postproduction, the series is a visual diary of moments from the artist’s life, shot between 2016 and 2017.

Andreas Demeter是来自德国的一名摄影师、DJ、音乐制作人和艺术总监,现居香港。在2016年至2017年期间,他用35mm胶片拍摄了《Kowloon Wasted Youth》系列,作为一个记录生活的视觉日记,所有照片都没有经过任何后期编辑。

Demeter says about the series, “I wanted to give a glimpse into the odd beauty, seductive charm and harsh contrasts below the shiny surface of this hopelessly overpopulated post-colonial melting pot of Eastern and Western culture that likes to dub itself ‘Asia’s World City’ – a term that is being scoffed at by the local youth of today in a time of weltschmerz and political uncertainty, grasping for freedom and autonomy, while being forced to give in to the slow and sneaky erosion of hypercapitalism.”


For Demeter, Kowloon encompasses a more authentic side of Hong Kong, in contrast to the shiny skyscrapers and sterilized streets of Hong Kong Island. Through his series, he hopes to capture a side of Hong Kong’s youth culture that is “a lot more local, charismatic, charming, and authentic.”


Instagram: @dredogue


Contributor: George Zhi Zhao

Instagram: @dredogue


供稿人: George Zhi Zhao

Vans Custom Culture Asia

Vans has brought the Custom Culture Competition to Asia for the first time ever this year. With a well-established reputation for individualism and self-expression, the Vans brand spirit is perfectly embodied through this competition. Working with the goal of rallying Asia’s creative community and providing a new platform to help showcase the region’s burgeoning creators, the contest invites everyone to flaunt their creativity for a chance to see their design make its way onto a pair of these iconic canvas shoes.

今年,Vans 首次将 Custom Culture 鞋履设计比赛带到亚洲。这一比赛充分体现了Vans 一向推崇个性化和自我表现的品牌精神,致力凝聚亚洲创意社区,为新兴艺术家提供一个新的创意平台。比赛邀请一众亚洲艺术家,尽情发挥他们的设计创意, 获奖者的设计将会被用于设计该品牌的全新帆布鞋产品。

For the competition, Vans has invited various respected artists from around Asia as both mentors and judges. Mentors will help the selected finalists to flesh out and complete their final design. These mentors include Chinese visual artist Lin Wenxin, South Korean illustrator Original Punk, Hong Kong-based woodworking atelier Start from Zero, Singapore-based husband-and-wife creative duo Sabotage, self-taught Malaysian street artist Fritilldea, and India-based street artist duo Varsha Nair. Judges include renowned San Francisco-based illustrator Jay Howell, Nini Sum of the Shanghai-based artist duo IdleBeats, plus many more.

在今年比赛中, Vans邀请了亚洲各地备受推崇的艺术家作为导师和评委。导师将帮助决赛选手改善其设计作品。这些导师包括来自重庆的视觉艺术家林文心, 韩国插画家Original Punk, 香港木艺画室Start from Zero, 新加坡夫妻组合艺术家Sabotage, 自学成才的马来西亚街头艺术家Fritilldea和印度街头艺术家组合Varsha Nair。评委则包括来自旧金山的著名插画家Jay Howell,来自上海 IdleBeatsNini Sum等等。

For the chosen winner, in addition to seeing their design brought to life and made available as a limited-edition item throughout Asia, they’ll also receive a grand prize of $2,000 USD and the opportunity to co-host a global House of Vans workshop with their respective mentor. Submissions are open from now until July 31st. Click here to learn more. Be sure to submit an entry before it’s too late!

比赛获胜者除了其设计会被用在品牌于整个亚洲限量发售的全新产品上之外, 还将获得2000美元的奖金。比赛投稿现在已经开始,将一直持续到731日。点击这里,了解更多。记得在截止日期前递交你的参赛作品哦!

Website: vans.com/customcultureasia


Contributor: David Yen
Images Courtesy of Vans



供稿人: David Yen

Bicycle Boy

After visiting Seiseki-Sakuragaoka, the Japanese suburbs that the 1995 Studio Ghibli film Whisper of the Heart was modeled after, Polish-born and Tokyo-based artist Mateusz Urbanowicz was inspired to paint his Bicycle Boy series, which consists of ten watercolor paintings that bring the film’s narrow roads and suburban landscapes to life. Urbanowicz uses 6B pencils to sketch out each moment before coloring them with Schimincke and Winsor & Newton watercolors. This series takes us on a journey of a dedicated bicycle boy who rides up challenging inclines and through the elements in order to reach his destination. Many of Urbanowicz’s other illustrations are also inspired by his new adoptive home of Japan as well as the animated backgrounds that feature in many Japanese anime films.

波兰出生的艺术家Mateusz Urbanowicz目前生活在东京。在参观完日本郊区圣迹樱丘(Seiseki-Sakuragaoka)——1995年吉卜力电影《心之谷》(Whisper of the Heart)的场景原型后,Urbanowicz创作了《自行车男孩》(Bicycle Boy)水彩画系列,通过十幅水彩画,栩栩如生地呈现出电影中出现的狭窄小巷和日本郊区景观。Urbanowicz在创作时,先使用6B铅笔画出草图,然后用Schimincke和Winsor&Newton水彩上色。这个水彩画系列带领观众,跟随一名骑自行车的男孩,骑过艰难的斜坡,经历各种天气,朝着目的地进发。Urbanowicz的许多其它插图的灵感还来自于他如今生活的日本,以及许多日本动画中的场景。

Website: mateuszurbanowicz.com
Facebook: ~/urbanowiczmateusz
Instagram: @mateusz_urbanowicz


Contributor: Whitney Ng

网站: mateuszurbanowicz.com
脸书: ~/urbanowiczmateusz
Instagram: @mateusz_urbanowicz


供稿人: Whitney Ng


Cody Ellingham is a designer and art director based in Tokyo, Japan. After moving to Tokyo in 2012, he became mesmerized by “the urban landscape and neon fantasies of the world’s first cyberpunk city.” His multimedia project DERIVE uses reflection and unique perspectives to explore his experience of the metropolis.

Cody Ellingham是居住在日本东京的设计师和艺术总监。 2012年搬到东京后,他被“世界第一个赛博朋克(cyberpunk)城市的霓虹灯夜景”迷住了。他的多媒体项目——《DERIVE》,使用反射和独特的视角探索着他在这个大都市的生活。

Website: cbje.jp
Facebook: ~/derive.tokyo
Instagram: @cbje_tokyo


Contributor: George Zhi Zhao

网站: cbje.jp
脸书: ~/derive.tokyo
Instagram: @cbje_tokyo


Contributor: George Zhi Zhao

POW! WOW! Taiwan



POW! WOW! Taiwan recently held the third installment of its annual festival, organizing live painting, public murals, exhibitions, street art classes, and music performances in the cities of Kaohsiung, Tainan, and Taipei. Bringing together over thirty renowned local and international street artists, the event was a celebration of creativity that not only gave artists the opportunity to showcase their skills, but also increased public awareness about street art’s potential to positively impact communities.

最近,一年一度的POW! WOW! Taiwan迎来第三届艺术节。本次活动包括在高雄、台南和台北三地举办的现场绘画、公共涂鸦、展览、街头艺术班和音乐表演。这一次,他们召集了30多名本地和国际著名的街头艺术家参与这一创意盛事,不仅为艺术家们提供了展现艺术才华的机会,同时让公众意识到街头艺术能为社会带来积极影响的潜力。

FLYFLYFLY & WIP / Photographer: Bana Chen
Photographer: Sean Marc Lee
Luise Ono painting a mural / Photographer: Bana Chen

POW! WOW! Taiwan is part of a series of international POW! WOW! festivals that take place each year in select cities across the world. Initially founded in Hong Kong in 2010, POW! WOW! has since been centered around an annual week-long event in Hawaii and has expanded to cities and countries including Taiwan, Long Beach, Israel, Singapore, Jamaica, Washington D.C., Guam, New Zealand, Germany, and more.

POW! WOW! Taiwan是POW! WOW!国际艺术节的一部分。每年,该活动都会在世界各地城市轮流举办。POW!WOW!于2010年成立于香港,之后每年都会在夏威夷举办为期一周的艺术活动,如今活动已扩展到台湾、长滩、以色列、新加坡、牙买加、华盛顿、关岛、新西兰、德国和其它地市。

Kristopher Ho / Photographer: Bana Chen
SATR / Photographer: Bana Chen
Mural by Felipe Pantone / Photographer: Sean Marc Lee

This year’s POW! WOW! Taiwan featured a special collaboration with Secret Walls, a live street art battle exhibition first started in London in 2006. Using a monochrome color palette of black and white, two teams of artists faced off against each other to create the best pieces. Live music, judging, and a 90-minute time limit pushed artists to collaborate in a competitive setting.

今年,POW! WOW! Taiwan携手Secret Walls推出特别企划。Secret Walls是来自伦敦的“街头艺术擂台”展览,始创于2006年。参赛的两队艺术家分别使用黑白两种色彩作画,看谁能创作出最好的作品。90分钟的时间限制,现场音乐和评判机制推动着这些艺术家在竞争中相互合作。

Photographer: Sean Marc Lee
Photographer: Sean Marc Lee
Photographer: Sean Marc Lee

The POW! WOW! event is inspired by and named after the Native American pow wow, a social gathering held by many Native American communities. Traditional pow wows bring communities together for dancing, singing, art, and fellowship to celebrate and preserve culture. Art and music played central roles in these gatherings, serving as mediums for cultural exchange between tribes and peoples.

POW! WOW!的名字和活动内容来源于美国原住民的社交聚会pow wow。在传统的pow wow上,来自不同社区的原住民一起跳舞,唱歌,创作艺术,建立友谊,一同庆祝和保护原住民文化。在这些聚会上,艺术和音乐发挥了核心的作用,是部落和人们之间文化交流的媒介。

Kristopher Ho / Photographer: Hexails
Photographer: Sean Marc Lee

In keeping with the legacy of Native American pow wows, music also plays a central role in POW! WOW! events around the world. This year’s POW! WOW! Taiwan featured live performances by regional DJs and musicians including SmashRegz, Eggplantegg, LEO37 & SOSS, True & Love, Paige Su, DJ RayRay, Sonia Calico, Rgry, and BenjaminSe7en.

为了传承美国原住民pow wow的传统,在世界各地的POW! WOW!活动中,音乐依然担任着重要的角色。今年的POW! WOW! Taiwan中有来自各地DJ和音乐家的表演,包括SmashRegzEggplanteggLEO37 & SOSS、True & Love、Paige SuDJ RayRaySonia CalicoRgry、和 BenjaminSe7en.

DJ RayRay / Photographer: Sean Marc Lee
Paige Su / Photographer: Bana Chen
Photographer: Bana Chen

After the closing of each year’s POW! WOW!, murals left around the city commemorate the explosion of creativity that occurred across the festival. Through its core tenets of cultural exchange, education, and public participation, POW! WOW! has become the leading global organization for promoting street art around the world. Be on the lookout for POW! WOW! events happening in your area in the future.

每年POW! WOW!闭幕之后,留在城市各地的涂鸦作品为艺术家们的创意大爆发留下纪念。POW! WOW!凭借其文化交流、教育和公众参与的核心宗旨,现已成为世界各地促进街头艺术的代表性组织。下一次POW! WOW!来到您的城市时,可千万别错过了!

Mural by Ahdia One / Photographer: aserktw
Mural by Bounce / Photographer: Sean Marc Lee
Mural by Luise Ono / Photographer: Sean Marc Lee

Website: powwowhawaii.com
: @powwowtaiwan
Facebook: ~/powwowtaiwan


Contributor: George Zhi Zhao
Images Courtesy of POW! WOW! Taiwan

网站: powwowhawaii.com
: @powwowtaiwan
Facebook: ~/powwowtaiwan


供稿人: George Zhi Zhao
图片由POW! WOW! Taiwan提供

The Aesthetics of Hip-hop

Kenny Kong is a Chinese American illustrator and video game artist based in San Francisco, California. His illustrations bring us into a world that transcends place and space, blending together diverse cultural, spiritual, and religious elements to create images that exist between the past, present, and future. Recently, Kenny created the cover art for American hip-hop group Zion I’s newest album, The Labyrinth. In the interview below, he shares with us his thoughts on culture, creativity, and how hip-hop has influenced his work and philosophy.

Kenny Kong是来自旧金山的美籍华人插画师和游戏设计师。他的插画带领我们进入一个穿越地理和空间的世界,混合不同文化的,精神的和宗教的元素,去创作存在于过去,现在和未来之中的图像。最近,他也创作了美国嘻哈组合Zion I的新专辑《The Labyrinth》的封面插画。Kenny跟我们分享了一些他对于文化,创意和嘻哈文化的想法,以及这些如何影响他作品和人生观。

Neocha: How did you get started as a visual artist?

Kenny: I got started the same way most kids get started – drawing Ninja Turtles and Voltron in front of the TV. However, when of all the other kids moved on to basketball or riding bikes, I just kept drawing. I draw my ass off, even to this day. It’s become a way of relaxing and daydreaming. I get really irritable when I don’t sketch for a few days. Thankfully, all that drawing has opened a lot of doors for me professionally. I’ve been working as a video game artist for six years now, in addition to doing freelance illustrations and designs.

Neocha: 你是怎么成为一名视觉艺术家的?

Kenny: 我就像大部分孩子一样,从对着电视画一些忍者神龟和战神金刚开始。但是,当其他小孩跑去打篮球和骑单车时,我还在继续画。直到今日,我每天都玩命儿的画,庆幸地是我画的这些画,也为我创造了很多专业机会。我已经从事游戏设计师的工作六年了,偶尔也做些自由插画师和设计工作。

Neocha: Can you tell us about how hip-hop and growing up in the Bay Area has influenced your work?

Kenny: I grew up in Oakland, California and the first song I ever memorized was “The Humpty Dance” by the Digital Underground. In Oakland, you couldn’t go anywhere without hearing Too $hort being blasted from car speakers, or kids doing MC Hammer dances on street corners. I learned how to moonwalk on the school playground in kindergarten. Hip-hop was all around me as a kid, and I soaked it all in.

It wasn’t until middle school that I saw b-boying live and up close. It was at a school dance somewhere – dark, with a bunch of sweaty teenagers awkwardly standing around. In the middle, a circle had formed, and when I peeked in, I saw these older guys busting windmills and flares and I was mesmerized. They were like superheroes, flying on the floor. There was no internet at this time, so I didn’t even realize these moves existed or were even possible. It was incredible – it was like watching the X-Men, except they were Filipino and wore baggy clothes. I quit basketball and started b-boying after that. I love the energy of the dance and how it relates to the music. Getting down in a circle, feeling the rhythm of a funky ass tune, and expressing that energy through your body is one of the best feelings in the world. It’s like poetry in motion and I try to capture a lot of that essence in my visual work.

Neocha: 能跟我们讲讲嘻哈文化和在旧金山湾区长大对你的作品有什么影响吗?

Kenny: 我在加利福尼亚奥克兰长大,我能记起的第一首歌就是Digital Underground的《The Humpty Dance》,在奥克兰,大街小巷都能听到汽车喇叭里放着Too $hort的歌,或者孩子们在街角跳着MC Hammer的舞步。我在幼儿园的游乐园里学会了怎么跳月球漫步。嘻哈陪伴着我长大,我也对其耳融目染。


Neocha: We love the color schemes in your work. How does color inspire you, and how do you use it to express your creative vision?

Kenny: Color is great. You can take a shitty drawing and make it look good just by adding the right colors. That’s because you can create entire moods and emotional landscapes with the right use of color. With my own work, I approach color like the time of day. Early mornings are bright with some blues and yellows. I’m more of an evening person though, so my work tends to use more sunset colors, like pinks, oranges, and purples. I also like getting down in grimy night clubs, so sometimes I’ll use neon colors with a darker tone to capture that vibe. Color is complex, and I’m still figuring it all out.

Neocha: 我们很喜欢你作品中的色调。颜色是怎么启发你?你是怎么运用颜色去表达你的创意想法的?

Kenny: 颜色太牛逼了,只要加对颜色,你能把屎一样的绘画变的好看。只要用对了颜色就能让作品带有情绪。在我的作品中,我运用颜色就像时间一样,明亮的清晨是蓝色和黄色的。我是一个夜猫子,所以我的作品更多是日落般的颜色,像是粉色,橙色和紫色。我也喜欢去脏脏的夜店玩,所以我会用霓虹色和深色调去捕捉那种气氛。颜色是复杂的,所以我还在不停的研究。

Neocha: Can you talk a little about your creative process? How is your creative process for visual arts the same or different from your process for dance?

Kenny: Like Bruce Lee says, “Don’t think. Feel!” I approach the page, canvas, and dance floor the same way, by trying to feel my way through the creative process, using intuition and spur of the moment decisions to create something interesting. Most of the time, I have some sort of inspiration going into it as well. Like Bruce Lee also said, you need emotional content. Another one of his quotes goes like, “It’s like a finger pointing to the moon – don’t concentrate on the finger or you will miss all that heavenly glory.” In my case, the moon is the initial inspiration, feeling, or idea that I’m trying to convey, and the finger is the form and technique used to convey that idea. A lot of times it’s like digging for gold. I’ll find some dope music that inspires me, and start freestyling. There’s a lot of garbage that comes out of this, but sometimes you need to dig in order to find the gold. Eventually, the good stuff emerges, and when it does, it’s like discovering Jesus or something.

Neocha: 能跟我们讲一下你的创作过程吗?你作为视觉艺术家和作为一个舞者的创作过程有什么不同吗?

Kenny: 就像李小龙讲的:“不要想,去感受!” 我对纸张,画布还是舞池的态度都是一样的,通过创作过程去感受我的方法,用直觉很即兴地去创作有趣的东西。很多时候,我好像有点灵感了,我也会开始创作。李小龙也说过,你需要有情感的内容!“就像用手指指向月亮-别只专注在手指上,不然你会错过所有迷人的壮丽。” 对我来说,月亮就是我试图去传达的最初灵感,感觉还有想法,手指就是转化想法为作品需要的技法和形式。很多时候就像掘金一样。我会听些很屌的音乐,给我找些灵感,然后就开始随心所欲的画。大多时候画出来的都很垃圾,但是有时你真的需要深挖才能找到金子。最后,好东西终究会浮现,就像发现了耶稣一样。

Neocha: Your work blends the traditional, the modern, and the futuristic to create worlds that are transcendent and timeless. How does your own cultural identity influence your work, and what does culture mean to you?

Kenny: Culture, to me, is the soul of the people. The values, beliefs, traditions, and styles of a group of people are all manifested through their culture. The type of music they play, their style and how they dress, the food they eat, and how they treat one another are what makes them who they are as a people. There is such richness and depth in these cultural expressions and it inspires me, endlessly.

I often think about how we are living in a specific global culture that’s becoming more and more homogenous. It has largely been shaped by a Western, colonial, and capitalist point of view that, while it’s introduced many conveniences and modern living, it has also produced an imbalanced and spiritually deficient culture. There is so much to be learned from other cultures, whether it be from hip-hop, or Chinese and Eastern philosophies, or indigenous peoples. It’s crucial to explore and learn more about these ideas in order to find a greater sense of balance and to reconnect us with ourselves, with each other, and with the world. There are many different ways to live, and many philosophies that may contain much more wisdom than the American or Western philosophy that we’re given by default.

Neocha: 你的作品混搭了传统,现代和未来的元素,创造了这些穿越且永恒的世界。你自己的文化身份怎么影响你的作品的?文化对你来说意味着什么?



Website: kendobi.com
Instagram: @kendobi


Contributor: George Zhi Zhao

网站: kendobi.com
Instagram: @kendobi


供稿人: George Zhi Zhao

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។

: ~/chifumistreetart


Contributor: Whitney Ng
Images Courtesy of Chifumi Tättowiermeister

: ~/chifumistreetart


អ្នកជំនួយ: Whitney Ng
មានការអនុញ្ញាតពី រូបថត: Chifumi Tättowiermeister