Tag Archives: travel

The Long Journey

Johan Chomet is a French photographer born in Paris. In 2013, he set out on The Long Journey, a series of travels that led him overland through Europe, Russia, Mongolia, China, Japan, Vietnam, Thailand, Myanmar, and Nepal. Most recently, Johan’s journey took him to Seoul, South Korea, where he captured a series of images that present his perspective of the city. Johan tells Neocha more about his work and his travels below.


Johan Chomet是来自法国巴黎的摄影师。2013年,他上了《The Long Journey》,进行了一场跨越欧洲、俄罗斯、蒙古、中国、日本、越南、泰国、缅甸和尼泊尔的漫长旅程。最近,Johan又去了韩国的首尔,在那里,他拍摄了许多照片,记录下他眼中的这座城市。Johan跟Neocha分享了许多关于他的作品与旅行的故事。

Neocha: What’s your process for planning your travels?

Johan: I never have a plan or route. I don’t try to organize anything in advance. I usually get transportation and visa sorted to my first destination and then take it from there. It gives me a lot more freedom as I don’t have to be somewhere at any specific time and can change my plans at the last minute if I feel like it. I also try not to have any time constraints.

Traveling overland is a totally different experience. You have to endure every kilometer of your trip, you have to find your way, and you have to deal with uneasy, sometimes unpleasant, situations. But you also get to live and share so much more. You see the landscapes changing and get to meet people along the way. To me, travel means freedom. It means adventures, meeting people, seeing things from a different perspective, and obviously photography! Travel and photography can hardly be separated for me.


Neocha: 你是怎样计划你的旅行的?

Johan: 我从来不会做计划或设计路线,我不喜欢提前计划好任何事情。我一般只会先把第一个目的地的交通和签证办好,然后就出发。这样我可以有更多的自由,因为我不需要在特定的时间到达某个特定的地方,也可以随时改变计划。我也尽量不给自己时间上的限制。

横越大陆的旅游是完全不同的体验。你不得不忍受旅行时每一公里的路途,你必须找到方向,你要处理一些不安,甚至令人不愉快的情况。但你也能够有丰富的生活体验,可以分享更多。你可以看到沿途风景的变化,一路认识新的朋友。对我来说,旅行意味着自由、冒险和结交朋友,从不同的角度来看待事物,当然还有摄影!对我来说,旅行和摄影是密不可分的。

Neocha: How did your trip to Seoul come about?

Johan: I really had no idea about what to expect when I decided to go to Seoul. I had been in Japan for a few months and my visa was expiring, meaning that I had to leave the country for a while. South Korea had always been on my list, and I was really looking forward to seeing it for myself, as for some reason I never got to see many images of the country. When I got to Seoul, it took me about 24 hours and a lot of walking around the city to take my first photo. Things were a lot less accessible and obvious than in Japan, and it felt like I had to soak it all in before I could start taking any photographs.


Neocha: 为什么会想要去首尔?

Johan: 我一开始决定去首尔的时候,我真的没有带着什么特别的期望。当时我已经在日本呆了几个月,签证快要过期,所以我要离开日本一会儿。韩国一直是我想要去的国家之一,我也很期待去这个国家,但不知道为什么,我一直很少机会看到关于这个国家的图片。刚到首尔的时候,我在这座城市里逛了很久,过了快24小时才拍下第一张照片。比起日本,这里的一切更难以接触,更隐晦,感觉就像我必须要深入其中,才能拍到想要的照片。

Neocha: What were some of your first impressions of the city?

Johan: Seoul had been very confusing for me at first, as I could see very little related to its past and history, and what I could see did not always feel coherent. Architecture in many parts of the city made me feel like I was in some sort of communist country with all these identical concrete buildings shaping the landscape, and just a few kilometers away you’d find yourself walking on huge avenues filled with hundreds of high-end shops, and you’d be reminded that you were in a country that’s embraced capitalism like no other.

Another thing that struck me was the overabundance of churches everywhere. Every direction you look, you’d see them – red neon crosses that have invaded Seoul’s skyline. Talking about neon, it’s something I’ve been shooting a lot of lately. I love the light and the atmosphere that it creates. Neon definitely feels a little bit retro, but at the same time, it keeps us fantasizing about these futuristic vertical metropolises.


Neocha: 你对这座城市的第一印象是什么?

Johan: 一开始,首尔让我感到很困惑,我很难看到这座城市与其过去和历史的关联,我所看到的事物也总是感觉不是很一致。很多地方的建筑让我感觉这是一个共产主义国家,一模一样的凝土建筑物,组成了这座城市的景观,然后仅几公里之外,就是宽阔的商业大道,充满数以百计间高端商店,这时你才会意识到,这也是个不折不扣的资本主义国家。

另一件我最难忘的事是,这里的教堂无处不在。不论在哪里,你都能看到那些红色的霓虹灯十字架,占据着首尔的城市天际线。说到霓虹灯,这是我最近很喜欢拍摄的东西。我很喜欢这种灯光,以及它所创造的氛围。霓虹灯确实有点复古的味道,但同时又会令人幻想到未来的垂直化大都市。

Neocha: As a film photographer, what are your thoughts on the film versus digital debate?

Johan: There shouldn’t be any final conclusion about film or digital – they both have their pros and cons. Digital is easy to use, convenient, accessible to everyone, and gives flawless results. Unlike film, the processing is instantaneous, costless, and allows for endless post-processing modification. As always, industries deliver what consumers are asking for.

Film is expensive and frustrating. There’s no insane post-processing to make dull images look great in the end. You can’t take hundreds of photos in a day, hoping to have a good one in the end or take the same photo over and over again until it looks good on-screen. You have to get it right the first time, and this is without a doubt the best way to learn. Shooting mechanical cameras and film gives me the feeling that I’m part of the process, that I’m in control, and that I’m actually making the photo. Working with film, I realized that I was spending a lot more time on framing and working on composition, and more importantly, I would not rely solely on the camera for the result. If your photos are not good enough, you can’t blame the autofocus or justify it by the fact that you didn’t have the money for that ISO 204800 camera. If your photos aren’t good, it’s simply because you’re not a good photographer. Technology in photography doesn’t make things better. It just makes things more convenient.


Neocha: 作为一名用胶片拍摄的摄影师,你对于胶片摄影与数码摄影之间的争论有什么看法?

Johan: 对于胶片摄影与数码摄影之间的争论,应该永远也不会有最后结论,这两者都有各自的优点和弊处。数码摄影更容易、更方便,所有人都可以使用,拍出来的照片也很不错。与胶片摄影不同,数码摄影即时显像,不需要成本,也可以有无休止的后期修改。每个行业都会努力提供消费者所需要的产品,这一点向来如此。

而胶片摄影的成本更高,也往往容易令人沮丧,你不可以疯狂地进行后期处理,将一张原本平庸的照片变成一幅棒极了的照片;你也不能一天拍好几百张照片,然后指望其中会有一张好照片;或是一遍又一遍地拍同一张照片,直到在你屏幕上的照片看起来不错。你必须在第一次按快门就拍好,所以这无疑是学习摄影的最佳途径。用机械胶片相机和胶片拍摄,让我感觉自己成为了这个创作过程的一部分,我有控制权,我感觉这才是真正地在创作一张照片。用胶片拍摄时,我发现自己会花更多时间思考构图,更重要的是,我不会全然依赖相机。如果你的照片不够好,你不能说是自动对焦的问题,也没有藉口说是因为你没有足够的钱,买一台ISO 204800的相机。如果你的照片不够好,只是因为你不是一个好的摄影师。在摄影方面,科技不会让照片拍得更好。它只会让拍照变得更方便。

Neocha: How would you summarize your approach to photography, and what are some recurring themes in your work?

Johan: I used to take a lot of photos of people in busy places, mostly cities, of people in motion, people that would catch my attention. I’ve never tried to make any specific statement with my photos. I just want my photographs to be a reflection of a time and place. They’re just snapshots. I usually go out walking with a camera in my hand and take photos of the things that I react to. I don’t believe photography should be too cerebral, and I try not to overthink my shots. I like spontaneous things.

As I mentioned, film photography changed my approach a little. It forced me to take my time. It helped me to be more patient, and so I started to photograph things differently – more still images, pictures with no people, empty spaces. I also started paying more attention to colors and geometry. When I’m traveling, things are also a bit different. I try to build a series rather than taking a bunch of candid shots without any specific theme.


Neocha: 你如何描述自己的摄影方式,你的作品中的常见主题有哪些?

Johan: 我曾经拍过很多人们在繁忙地方的照片,大多是在城市,拍摄一些行动中的人们,拍摄那些会引起我注意的人。我从来没有试图在我的照片中表达某种特定的态度。我只想通过自己的照片记录某个时刻和地方……它们只是一张张快照。我通常拿着相机就出门散步,看到想拍的事物就拍下来。我认为摄影的时候不需要思考太多的事情,我在拍摄时尽量不去考虑太多。我喜欢自然而然的东西。

正如我前面所说,胶片摄影也影响了我的摄影方法。它让我在拍摄时放慢速度、更有耐心,也因为这样,我开始拍摄不同的对象,更多的是静止的图像,没有人,空荡的场所。我也开始更多地关注颜色和几何形状。当我去旅行时,拍摄的方法也会有点不同。我会试着创作一个系列,而不是没有任何特定的主题,直接拍一堆照片。

Neocha: Are there any particular themes or lasting impressions from your series in Seoul?

Johan: Culturally, It feels like there’s this huge gap with massive differences of interests and lifestyle between generations. South Korea, and Seoul probably even more, has been changing so much and in such a short period of time. Because so many younger generations of South Koreans are able to travel and study abroad, I guess many came back with a different idea of what they wanted for their country and for their lives. South Korea has been heavily impacted by Western culture, but it feels like its people managed to adapt and blend it to their own culture, making it theirs. I definitely want to go back to South Korea and focus more on the youth next time.


Neocha:这一次在首尔摄影的作品中,有没有什么特别的主题或比较深的印象?

Johan:从文化上来说,我觉得韩国不同世代的人们之间在兴趣和生活方式方面有很大的差异。在韩国,尤其是首尔,在很短的时间内,这里发生了翻天覆地的变化。很多年轻一代的韩国人出国旅游和留学,我想,他们中很多人回来后对于自己的国家和生活都会有了不同的想法。韩国受到很多西方文化的影响,但似乎韩国人们将这种影响成功融入到他们自己的文化中,将其变成韩国的特色文化。我还想再去一次韩国,下一次会把目光更多地放在年轻人身上。

Neocha: What is your personal philosophy towards photography? What does photography mean to you?

Johan: To me, photography is about accurately remembering and capturing real life for future generations. Photographers are witnesses of time, documenting life. Some photographers are talented enough to add emotions and beauty to their images, to get reactions out of their viewers. I hope that people can see my photographs in 30, 40, 50 years in a different context. Who knows what will have become of photography and the world in general by then.

My relation to photography is very personal – it’s almost a kind of therapy for me. Walking with a camera in my hands is one of the rare moments when I manage to completely focus my mind on what I’m doing. It forces me to be in the moment, and it stimulates me. It keeps me curious and gives me the motivation to make new projects, or even just to simply go outside and do something.


Neocha: 关于摄影,你的个人理念是什么?摄影对你来说意味着什么?

Johan: 对我来说,摄影是要准确地记录和捕捉当下的现实生活,留给未来的人们看。摄影师是时间的证人,生活的记录者。一些才华横溢的摄影师能把情感和美融入到他们的照片中,引起观众的情感共鸣。我希望在30、40或50年后,不同时代的人们可以看到我的照片。谁知道到时候,摄影和世界会变成怎么样呢?

对我来说,摄影是挺个人的事情,几乎可以说是一种治疗。拿着相机散步是很弥足珍贵的时刻,因为我可以完全专注其中。它迫使我融入那一时刻,刺激着我。让我保持好奇,给我动力去进行新的项目,甚至只是简单地到外面去,做点什么。

Websitejohanchomet.com
Instagram@johan_chomet
VSCO~/thelongjourney

 

Contributor: George Zhi Zhao


网站johanchomet.com
Instagram@johan_chomet
VSCO~/thelongjourney

 

供稿人: George Zhi Zhao

A Route of Contrasts

 

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Cesar Ruiz Preciado is a Spain-based UX designer who, beyond design alone, has found a passion for the art of filmmaking. This interest stems from his travels and his enjoyment of capturing realistic portraits of local life. In Vietnam, the newly released addition to his series of short travel films, Preciado traverses the entirety of the beautiful country from north to south. Traveling on a combination of motorcycles, bicycles, trains, and boats, Preciado explores the tropical jungles of Sapa and Tam Coc as well as the hectic, moped-filled streets of Hanoi and Ho Chi Minh City. He describes his journey through Vietnam as an exhilarating experience filled with contrasts. See Vietnam in all its beauty by checking out Preciado’s short film in full above.


Cesar Ruiz Preciado是一名居住在西班牙的UX设计师。设计之外,他也是一位热爱拍摄短片的电影人,Preciado喜欢在旅行的时候用镜头记录下所去之地的风土人情。 短片《Vietnam》正是他旅行短片系列的其中一部。从越南北部的河内市一路向南到达胡志明市,他骑过摩托车和自行车,也乘过火车和船,经过了Sapa (沙壩)和Tam Coc (宁平)的原始丛林,再去往塞满路人和摩托车的繁忙城市,Preciado形容这是一场充满对比碰撞的旅途。点击播放上面的短片,跟着Preciado的镜头一起去越南看看。

Website: ruizpreciado.com
Vimeo: ~/ruizpreciado

 

Contributor: Ye Zi


网站ruizpreciado.com
Vimeo~/ruizpreciado

 

供稿人: Ye Zi

People of the Music

 

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The shrine has a mosque-like roof, white as a meringue. People, some in robes, walk among evergreen trees laden with jackfruit. It’s the rainy season in Bangladesh and everything is hot and wet. Muhammed Ali fixes us with a calm gaze beneath authoritarian eyebrows. Behind him, a woman sweeps around the grave of saint Lalon Shah and that of his mother. The two six-foot-long prisms are covered with patterned material and spicy smoke threads through latticed burners. More of Lalon’s disciples are buried outside the small mausoleum. Ali points out one of the graves. “My father lies there. I inherited the role of caretaker from him,” he says. He takes us to the main hall. We slip off our shoes and step onto cool, white stone. Inside, devotees recline in the midday heat. Women and children sit around bags of spicy peas and rotis, their saris the color of oak and red squirrels and emerald. Lalon Shah lived and taught here, in Kushtia, Bangladesh, throughout the 19th century. He died in 1890 aged over 100 years old.


这座陵墓的白色屋顶充满清真寺风格,看上去像是一块巨型蛋糖霜。常绿乔木菠萝蜜树林中,人来人往,其中还穿插着穿着长袍的僧人。正值孟加拉雨季,一切炎热又潮湿。Muhammed Ali凝视着我们,目光平静而肃穆。在他身后,一个女人正在清扫圣人Lalon Shah和他母亲的陵墓。两个六英尺长的棱柱,被布满花纹图案的材料覆盖着,一缕缕刺激的烟雾从镂空的焚烧器里飘出来。Lalon的其他弟子被埋在了小陵墓的外面。Ali指着其中一处墓地,说:“我的父亲就埋在那儿。我继承了他管理者的职位。”我们跟着他来到主殿,脱掉鞋子,踏上冰冷的石头地板。在炎热的正午,信徒们正在殿内斜躺着。女人和儿童围着一袋袋辣豌豆和罗蒂斯坐着,头上戴着橡木色、红棕色和翡翠绿色的纱丽布。19世纪的时候,Lalon Shah就在孟加拉的库什蒂亚这里生活和教课。1890年逝世时,他的年龄已经超过100岁。

“Lalon was one of the most influential mystic saints of the Indian subcontinent. He inspired millions with his songs,” says Lalim Haque, a researcher and Lalon expert. “His lyrics are so profound. He has been able to touch the lives of not only people who have a taste for music but all people.” Haque said Lalon’s songs, especially when heard in their original Bangla, have the power to propel people to spiritual heights. Estimated to have composed thousands of songs, Lalon and his followers went on to influence 20th-century greats like Bengali poet Rabindranath Tagor, American poet Allan Ginsberg, and even Bob Dylan. To contemporary Bangladeshis, he’s like Shakespeare, Martin Luther King Jr., and Eckhart Tolle rolled into one.


Lalim Haque是一名研究学者和Lalon专家,他说:“Lalon 是印度最有影响力的神秘圣人之一。他用音乐激励着无数的人。他的歌词如此深刻,他所触动的不仅仅是爱好音乐的人,而是所有人的生活。”Haque觉得,Lalon的音乐,特别是当它们以原始孟加拉语唱出时,拥有提升人们精神境界的力量。据估计,Lalon和他的追随者谱写了上千首歌曲,许多20世纪的文学和音乐才子都受到过他们音乐的影响,譬如印度诗人泰戈尔(Rabindranath Tagor),战后“垮掉的一代”代表诗人艾伦·金斯堡(Allan Ginsberg)和民谣歌手鲍勃·迪伦(Bob Dylan)。对于现代孟加拉人来说,他就像是集莎士比亚(Shakespeare)、马丁·路德(Martin Luther King)和心灵作家艾克哈特·托勒(Eckhart Tolle)于一身的伟人。

Outside the shrine, there is a park overlooked by a ten-foot portrait of Lalon. The air wafts of weed and tobacco. Rumana, a former lawyer, has been a full-time Baul for 22 years. She plants a clay pipe between her fingers, cups her hands and inhales. She is charismatic, intelligent, and, unlike many of her companions, reveals clean white teeth whenever she smiles, which is often. She can speak English but refuses to be interviewed until we come back with a translator, saying that Bengla is the only language she can use to describe these sacred things.


在陵墓之外的一个公园里,放置着一个高达10英尺的Lalon雕像。雕像上布满了杂草和烟草。前律师 Rumana 已经是一名有 22 年经验的全职巴乌尔。她的手指间夹着一根陶土烟斗,她双手掬起,吸了一口烟。她是一位漂亮而聪明的女性,还很喜欢笑,和她的许多同伴不同,她在笑的时候,会露出一口洁白的牙齿。她会说英语,但拒绝用英语接受采访,直到我们带回了一位会说孟加拉语的翻译,她才肯接受采访。她说,神圣之物只能用孟加拉语来讲述。

After returning with a translator, she tells us that she smokes weed every day to help focus and access a meditative state. “We believe that Lalon’s songs are as important as the verses in the Quran. In Islamic law people are obliged to recite verses from the Quran every day; similarly, we Bauls sing Lalon’s songs every day,” Rumana says. She exhales a plume of smoke and passes the pipe to a friend with a matted beard and bloodshot eyes. She picks up her ektara and starts to pluck, making up for her rudimentary singing talents with her sincerity. Her bearded companion calls for tea, prompting a sari-swathed woman in a nearby stall to bawl at her daughter, who jumps up and soon arrives with tiny cups of tea that would be unpalatably strong were it not for the large scoops of sugar.


有了翻译之后,她告诉我们,她每天都会抽食大麻,这样可以帮助她集中精神,达到冥想的状态。“我们相信,Lalon的音乐和在《古兰经》的经文一样重要。伊斯兰教法要求人们每天诵读《古兰经》;同样的,我们巴乌尔人也会每天唱颂 Lalon的音乐。”Rumana 说。她呼出一口烟,将烟斗传给旁边的友人。她的朋友长着一脸乱蓬蓬的胡子,双眼布满了血丝。她拿起Ektara(孟加拉单弦琴),开始弹奏。虔诚的心弥补了她质朴的歌声。她留着胡须的友人向邻近一个摊档点了一杯茶,裹着纱丽的女摊主把蹦蹦跳跳的女儿叫来,让她把几杯茶端来。如果不是加了好几大勺的糖,这些茶会浓得难以下咽。

Muhammed Ali places his teacup down on the shrine floor and strokes his beard. Behind him, a Baul group start to sing “A Strange Bird,” one of Lalon’s favorite songs. Below is the song translated by Azfar Hussain.

“Look, how a strange bird flits in and out of the cage!

O mind, you are a bird encaged! And of green sticks
Is your cage made, but it will be broken one day.
Lalon says: Open the cage, look how the bird wings away!”

Even though I don’t understand Bengla, the song touches my heart with its longing; it makes me want to rush over to someone and fling open my arms. There is no applause when it’s over, instead, the Bauls bless a finished song by praising the lord, saying “shai shai, shai shai.”


Muhammed Ali将茶杯放在陵墓地板上,捋着他的胡子。在他身后,一群巴乌尔音乐人开始哼唱Lalon最喜欢的歌《一只怪鸟》(A Strange Bird),Azfar Hussain翻译了其中的歌词。

“你看,一只奇怪的鸟是如何掠进掠出笼子!
……

内心啊,你就是一只囚禁中的鸟!
你的笼子,用绿枝打造,但它总有破碎的一天。
Lalon说:打开笼子,看看鸟如何展翅而飞!”

尽管我不懂孟加拉语,但这首歌所诠释的渴望之情触动了我的心;它使我想要跑向某人的怀中,张开我的双臂。歌声结束时,没有掌声。因为一般歌唱完毕后,巴乌尔音乐人喜欢说一个词来代替掌声,他们会说:“shai shai(我的主), shai shai(我的主)”。

Contributors: Nathan ThompsonJeremy Meek
Photographer & Videographer: Jeremy MeekNathan Thompson


供稿人: Nathan Thompson, Jeremy Meek
图片与视频摄影师: Jeremy MeekNathan Thompson

Myeongdong Cat Café

 

无法观看?前往优酷

Hidden deep within a meandering maze of boutique shops and restaurants in Seoul’s busiest shopping district, the Myeongdong Cat Café is a place where people can go to enjoy a coffee or tea, while playing with a wide variety of adorable kitties.


明洞猫咪咖啡厅位于首尔最繁华的购物区中,坐落于蜿蜒林立的精品店和餐厅之中,在这里,人们可以一边喝咖啡或喝茶,一边逗逗各种可爱的猫咪。

The café houses about 40 cats, from more than 10 different breeds, that all roam freely alongside café-goers. If you are a cat lover but are unable to have a cat as a pet or don’t want the responsibility of caring for one at home, then this is the place for you.


这家猫咖啡馆里大约有40只猫,共有10多种不同的品种,它们自由地漫步于咖啡馆的客人身边。如果你也爱猫,但又不能或者不想在家养猫,那么这里绝对是你的理想之地。

Upon entering the café on the fourth floor, visitors are asked to kindly remove their shoes, put on slippers, pay a door fee, and to refrain from overfeeding the kitties. Inside, the café looks like a cat’s playground filled with toys, cushions, and cardboard houses.


踏入这家位于第四层楼的咖啡馆时,顾客会被要求脱掉鞋子,穿上拖鞋,交入场费,同时被提醒不要给猫喂太多吃的。咖啡馆里面看起来就像一个猫的游乐场,摆满了各式玩具、垫子和纸板屋。

There are all sorts of cats roaming around the café: Burmese cats, orange Tabby cats, black cats, playful cats, little kittens, shy anti-social cats, sleeping cats, cats wearing costumes, and fat cats. Which kind is your favorite?


各种各样的猫在咖啡馆里悠闲地走来走去: 缅甸猫、橙斑猫、黑猫、调皮活泼的猫、小猫咪、比较害羞的猫、爱睡觉的猫、穿着衣服的猫、还有胖胖的猫。你最喜欢哪一种呢?

The most popular cat at the café is a rarely seen, hairless breed, called the Sphynx cat. For many visitors, this is usually the first time they will have ever encountered this kind of unique cat. Bald, wrinkled, and a bit fat, this highly social cat draws a lot of attention wherever she goes.


咖啡厅最受欢迎的猫是一种很少见的,无毛的品种,叫做斯芬克斯猫。对于大多数客人来说,这通常是他们第一次遇到这种独特的猫。秃头,起皱,有点肥胖,这种极富有社交天赋的猫在任何地方都会引起很多的关注。

After a busy day of shopping or a Korean BBQ dinner in Myeongdong, be sure to head straight over to the cat café for a relaxing time playing with some cute kitties. But if the cats aren’t enough to satisfy your needs, Seoul is also home to a number of dog cafés, sheep cafés, and raccoon cafés. Amazing!


逛了一天街,或者是在明洞吃完韩国烤肉晚餐后,记得去这家猫咖啡馆好好放松,跟这些可爱的小猫咪玩一下。但是,如果单是和小猫玩还不能满足你,首尔其实还有许多宠物咖啡馆,包括狗狗咖啡馆、绵羊咖啡馆和浣熊咖啡馆。是不是很赞!

Address:
37-14, Chungmuro 2-ga, Jung-gu
Seoul, South Korea

 

Facebook~/catplayground

 

Contributor, Photographer & Videographer: Leon Yan


地址:
韩国首尔
中区
37-14 忠武路2街

脸书~/catplayground

 

视频摄影师与图片摄影师: Leon Yan

Black & White Tokyo

Veteran Japanese photographer Junichi Hakoyama is best known for his minimalist black-and-white stills that he captures on the streets of Tokyo. Armed with his Leica M Monochrom, Hakoyama creates alluring images with bold lines and high contrasts through his effective use of light and shadow. The result is a beautifully understated monochromatic series that he has simply titled Tokyo. Every shot carries a soothing balance of proportion and geometric structure, which transforms a simple subject in a common setting into a moment full of purpose. See more of his work below.


日本资深摄影师Junichi Hakoyama凭借在东京街头捕捉的简约黑白摄影作品而闻名。通过他的Leica M Monochrom 相机,他用大胆的线条和高对比度的光影组合呈现了一系列出色的影像作品。他将这个精美而低调的黑白摄影作品系列简洁地命名为《东京》(Tokyo)。每一张照片的比例和几何结构都有一种令人看上去很舒服的平衡,将人们常见的环境和普通的人物定格为一个充满目的性的时刻。一起来欣赏一下他的作品吧。

Flickr: ~/junichihakoyama
Instagram: @junichi_hakoyama

 

Contributor: Whitney Ng


Flickr: ~/junichihakoyama
Instagram: @junichi_hakoyama

 

供稿人: Whitney Ng

Buzkashi

 

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Based out of Shanghai, Marc Ressang is a Dutch photographer and videographer whose recent travels took him to Tajikistan. There, he shot Buzkashi, a short film offering an intimate look into how one of the oldest and most violent sports in the world is played. Buzkashi, which roughly translates to “goat pulling” in Persian, is a highly dangerous sport. The fiercely competitive sport calls for players to undergo extensive amounts of training prior to ever competing. Imagine polo but with more aggression, more competitors swarming the field, and instead of using a ball, they opt for a decapitated – and often times eviscerated – goat carcass.


荷兰摄影师兼电影人Marc Ressang目前生活在上海,他最近到了塔吉克斯坦旅行。在那里,他拍摄了短片《Buzkashi》,近距离地观察当地的抢羊比赛“buzkashi”——世界上最古老和最暴力的体育项目之一。“Buzkashi”是波斯语,可以大概地翻译成“拉羊”,这项比赛的竞争异常激烈,且有一定的危险性,所以大多数选手在比赛开始之前都要先进行艰苦的训练。可以把这项比赛想像成更激烈的马球比赛,有更多的竞争者,而他们要抢的不是一个球,而一头通常被斩首(或已经取出内脏)了的羊的尸体。

While buzkashi can be traced back to nomadic Turkic tribes, its exact origins are up for debate. In modern times, it’s been established as the official national sport of Afghanistan. However, derivative forms of the sport have made its way out of the country, including a form of buzkashi in western China that’s played on yaks instead of horses. In Ressang’s short film, rather than the more structured, team-oriented playstyles seen in Afghanistan, he presents the most common playstyle of Tajikistan – a sprawling, chaotic free-for-all where individual riders attempt to wrestle control of the carcass and score a goal. Watch the stunning video in full above or scroll down to see more images from Ressang’s trip to Tajikistan.


虽然“buzkashi”可以追溯至游牧的突厥部落,但其确切的起源仍然有争议。在现代,阿富汗将其定为官方的民族体育运动。如今,这项运动已经被传至其它国家,衍生出不同的运动形式,譬如,在中国西部就有一种“buzkashi”是在牦牛而不是马背上进行的。在Ressang的短片中,他展示了塔吉克斯坦式的“buzkashi”,不同于在阿富汗看到的那种更有组织性、更注重团队的风格,在塔吉克斯坦,这项运动更混乱无序、无限制,选手单独参赛,争夺羊尸,以获得胜利。一起来观看这部引人入胜的短片,或欣赏更多Ressang在这趟塔吉克斯坦之行中所拍摄的照片。

Website: marcressang.com
Vimeo: ~/marcressang
Facebook: ~/MarcRessangPhotography
Instagram: @unioz

 

Contributor: David Yen


网站: marcressang.com
Vimeo: ~/marcressang
脸书: ~/MarcRessangPhotography
Instagram: @unioz

 

供稿人: David Yen

Puzzleman Leung

Despite frequent appearances on notable photography and art websites, little is actually known about Puzzleman Leung. In that regard, the Puzzleman moniker seems like a perfect fit, appropriately encapsulating the photographer’s mysterious nature. While the photographer’s Facebook and Instagram feature a girl’s portrait, it’s actually rather difficult to even ascertain Puzzleman’s gender. On websites that feature Puzzleman’s work, the pronouns of “he” and “she” are often interchangeable. Even on Puzzleman’s “About Me” page, little information is offered beyond age and geography, with one line stating “Born in Macao and living in Taipei.” But Puzzleman’s latest photo series doesn’t take place in either of those cities. Titled Tokyo Tokymeky, the new project sees Puzzleman roam through Tokyo with frequent collaborator and model Bee Ke, snapping juxtaposing images of her and the surrounding environment. With the recent release of this photo series, we were fortunate enough to catch up with this enigmatic photographer for a quick chat. In our conversation, it was easy to see that Puzzleman’s quirky images are simply an extension of the photographer’s own personality. Scroll down to check out more photos from the new photo series and read the highlights from our interview.


摄影师Puzzleman Lueng,正如Ta的名字一般,像一幅散落四处的拼图碎片般带有些神秘色彩。Ta的作品经常出现在各大摄影艺术网站,然而对于摄影师本人,你能从互联网上获得的资料甚少,只知道Ta是一位来自澳门,但居住在台北的摄影师。你甚至很难推测出Ta的性别,TaInstagram脸书账号被清一色的魔幻少女照片占领;而翻看各网站的报道,也会看到竟然有用“He”也有用“She”的称谓来形容这位神秘人士。最近,我们很开心联系到这位拼图男人本人,Ta刚带着自己的御用模特Bee Ke漫游东京,完成了这辑最新摄影作品《Tokyo Tokymeky》。和Puzzleman交流的过程中,发现Ta的文字和影像一样有趣,下面我们一起跟着Puzzleman的镜头去东京逛一圈,和拼凑一下这次聊天中Ta留给我们的拼图线索吧。

Not Interested

“Since I was little, I haven’t been interested in photography. I find that people who dabble with photography needs to spend a lot of money on equipment – I think it’s stupid. I feel nothing when I see these commercial shots or landscape shots of sunsets.”

Action

“All photography for me is just the action of pressing a button when I find something interesting.”


没兴趣

从小我对摄影并没什么兴趣,因为知道玩摄影的人要花大钱去买器材就觉得是一件很蠢的事,而且看到那些商业的照片或夕阳的风景照完全无感。

动作

目前摄影对我来说只是对自己有兴趣的画面去按下快门的一个动作而已。”

Sculpting

“When I’m creating an image, I feel like a sculptor. I’m turning my subject or my thoughts into my envisioned image.”

Girlfriend

“The subject I photograph the most is my girlfriend. When we work together, we find ways to push each other, to prepare for a shoot. I like this process of mutual agitation.”


雕塑

在创作那些画面的过程中,我觉得自己更像在做一个雕塑,把被摄物体或自己的思想弄成自己理想的样子。

女友

目前最常拍的人是我的女友,在和她合作的过程中,我俩会不断作出有趣的想法来刺激对方,去准备拍摄,很喜欢这样互相激荡的过程。

Accidents

I like spontaneous shoots, but I also like planning. I feel that the most interesting images happen somewhere in between the two, so I suppose those would be the ‘accidents.’ Sometimes when I nail a shot and it turns out just exactly as I envisioned it, I find it unbelievably boring. I’m always looking forward to making these ‘accidents’ whenever I’m shooting. I’m pretty infatuated with this idea of accidental shots, and I’m pretty stubborn, so I’ll do anything to try and make them happen.”


意外

“我喜欢随手拍,也喜欢先构思,但我觉得最有趣的画面通常出现在这两者之间,那就是‘意外’了。有时候当我把先构思好的画面可以完整呈现出来的时候我反而会觉得很无趣,所以我特别期待每次在拍摄过程中出现的意外画面了,我对它总是特别的着迷,甚至会执着到想尽办法去让它出现。”

Contradiction

“To me, Tokyo is a wonderful place, an amazing city filled beautiful sights and colors. I’ve always been quite infatuated with this place. But on the other hand, I feel that I try to distance myself between Tokyo’s inhabitants. I’m afraid of offending them, so I’ve always been terrified of any interactions with them. It’s pretty contradictory, loving a city but being afraid of its inhabitants. I’m always left scratching my head when I think about this. I suppose it’s because I don’t know them so I don’t fully understand them. The best thing for me to do is to probably go and learn Japanese.”


矛盾

“东京对我来说是一个很好的地方,很好的城市,充满了各种各样我喜爱的画面和颜色,我一直对这个地方充满好奇心。而相反东京人常让我觉得有点退避三舍,因为很怕会冒犯到他们所以一直很害怕和他们接触,其实在这样的关系下是挺矛盾的,喜欢一个地方却对当地人退避三舍,每次想到这都让我觉得很奇怪,可能是因为我不认识他们还不了解他们吧,所以只好去学日文了解。”

Time Machine

“A great photo should be an image that inspires others or one so powerful that it refuses to leave the minds of viewers. The most important part is the inspiration. The definition of a great photo now and what can be considered as a great photo in the past have drastically changed. Fifty or sixty years from know, I wonder if photos from now would be as intriguing as the older, classic photos that we look at in awe today. Sometimes I wish I had a time machine so I could go into the future and find out.”


时光机

“好照片应该是可以让人产生灵感或不断在观者里不断浮现的吧,最重要的还是那一道灵光。现在好照片的定义和以前已经不太一样了,我不知道这个时代的经典照片在五六十年后再看会不会和我们现在在看过去经典的照片一样有吸引力,这是我一直很想坐时光机去看看的事情之一。”

As we concluded our conversation, we asked if Puzzleman had any specific message that he wanted to communicate to viewers. Instead of answering, Puzzleman asked us: “What I want to know is, with the way that people mass consume photography nowadays, don’t they get tired of it? Have you thought of what happens if one day people get tired of photography?” If you have any thoughts to share on the matter, drop by any one of Puzzleman Leung’s social media pages and share your thoughts!


最后,当我们问起关于摄影有什么想和读者分享的时候,Puzzleman反而回赠我们一个疑问:“其实我反而想问大家,每天看那么多照片,你们会腻吗?有想过如果有一天大家对影像已经没感觉的时候怎么办?”。如果你对于这个问题有任何想法,或者想更了解这位有趣的摄影师,不妨去他的社交网络页面给他留言解答吧。

Websitepuzzlemanleung.com
Facebook: ~/Plzmanleung
Instagram:  @puzzleung
Flickr: ~/puzzlemanleung

 

Contributor: Ye Zi


网站puzzlemanleung.com
脸书: ~/Plzmanleung
Instagram@puzzleung
Flickr~/puzzlemanleung

 

供稿人:  Ye Zi

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

Back to the Futuro

 

无法观看?前往优酷

This is what an abortive dream looks like: barren, bleak, ghostly and surreal. Like the shattered tapestries of glass that hang from many of the window frames, these derelict prefabricated homes are full of wasted potential and squandered hope. But while these desolate structures may seem nightmarish, their science fiction aesthetics reflect the utopian imaginings of a postmodern bygone era.


这就是梦想流产后的样子。贫瘠、荒凉、幽灵般,充满超现实主义。这些被废弃的预制装配式房屋,如同悬挂在窗框上破碎了的玻璃,代表着被浪费掉的潜能和破灭了的希望。残破的建筑看起来有点可怕,却又呈现出一种科幻小说般的美学风格,反映出后现代主义曾经的乌托邦式幻想。

These, in particular, were formerly vacation houses in a once-operational Taiwanese seaside holiday resort. Now, however, they look more like a last resort for degenerative zombies. The unusual idiosyncratic pods lie silently in motionless limbo on a bay overlooking the waters of the East China Sea, and the subtropical location seems to have played a key part in their demise. Although they are beset with rotted aspirations, they were conceptualized during a flourishing period of optimism – the 60’s and 70’s.


图片中这些废弃建筑曾是台湾一处海滨度假村的房子。然而,现在这些房子看起来更像是僵尸最后的乐园。设计别致的豆荚形建筑,面朝中国东海,默默地矗立在海湾边上。亚热带的地理位置似乎是它们被废弃的关键原因。虽然这些建筑现在只剩下各种破灭了的愿望,但对它们最初的构想和设计却发生在充满乐观精神的1960 和1970 年代。

Born in post-war Finland, the oval-shaped structures were a product of a booming experimental era when new trends and lifestyle perspectives were emerging like never before. Spurred on by a renewed faith in technology, unprecedented economic growth and an increase in leisure time, the Finnish architect Matti Suuronen conceived them as versatile housing units. They were made to adaptably serve many functions and designed to be easily transported, assembled and taken down as required.


这些椭圆形建筑首次出现在战后的芬兰,那是一个充满实验精神的时代,新的潮流、新的生活方式和观点以前所未有的速度纷纷涌现。人们对科技重拾信心,经济获得前所未有的增长,人们也有了越来越多的度假时间,在这种情况下,芬兰建筑师 Matti Suuronen构思了一系列多用途的度假房屋。独特的设计,使这些建筑能够灵活适应不同的用途,易于运输、组装和拆除。

Suuronen built the first prototype in 1968 and named it Futuro. Grounded in mathematical theory, the spheroid structures feature an ellipsoid fiberglass and reinforced plastic shell, with oval-shaped windows, door handles, light fittings and even elliptic-shaped power sockets. He also designed some box-shaped Venturo houses that followed the same prefabricated concept.


1968 年,Matti Suuronen建成第一个原型,并命名为“Futuro”(未来)。这些椭圆形建筑基于数学理论建造,外壳使用玻璃纤维和增强塑料制成,并配有椭圆形的窗户、门把手、灯饰配件,甚至连电源插座都是椭圆形的。Matti Suuronen还根据同样的预制概念,设计了一些箱形“Venturo”房屋。

The unique UFO form of the Futuro houses fascinated many and they were to be licensed and mass-produced in 50 countries. They were a popular hit with the growing leisure class who could also adapt the modular structures to be ski cabins, bungalows, hunting and fishing lodges, gas stations, and more. However, only 100 made it through production as an oil crisis struck in the beginning of the 70’s, which culminated in petroleum shortages and elevated prices around the world. The oil shock made the plastics for these pod structures more expensive and Suuronen’s space-age vision of the future died before it had begun.


Futuro飞碟式的独特形状吸引了很多人的注意,并申请了许可,准备在 50 个国家进行批量生产。越来越多的有闲阶级(leisure class,指拥有资产,生活以社交娱乐为主的阶级)喜欢上这种建筑,他们将这些模块化建筑用作滑雪小屋、度假小屋、狩猎和捕鱼旅馆、加油站等等。然而,最终只有 100 幢“Futuro”房屋得以被建造,1970 年代爆发的石油危机导致石油短缺,令世界各地的油价急剧上升。石油危机导致豆荚形建筑所需的塑料原材价格上涨,Suuronen对太空时代的未来愿景还没开始就已经夭折。

Over on the other side of the world, a few years later, an entrepreneurial Taiwanese businessman had audacious ambitions to use some of the same prefabricated pods to develop a seaside resort on the edge of the island. He had made his money with the popular soda Sarsaparilla and wanted to create a coastal holiday spot for the rich in Taiwan. However, although the pods were set up and inhabited for a short period of time, the fate of the flying saucer homes again ended in tragedy. The project was abandoned when the extreme weather and lack of interest scared off investors.


而几年后,在世界的另一边,一名拥有冒险精神的台湾企业家,利用相同的预制式豆荚形建筑,在台湾海边建造了一个海滨度假村。这名企业家靠生产黑松沙士饮料积累了财富后,想要为台湾的富人打造一个沿海度假村。虽然,这些豆荚形建筑被成功建造出来,并有人居住了一段时间,但这种飞碟式建筑的命运再一次以悲剧收场。极端的天气,加上人们对它们缺乏兴趣,投资者撤资,导致项目被废弃。

Standing shoulder to shoulder in dereliction, the solitary structures have now been left to rot on their seaside plot in Taiwan. Although this cluster of pods is one of the few remaining examples of this type of modernist modular architecture, it looks like they have been condemned to decay for good. Neglected by the world, the moldering units are destined for oblivion, like discarded irreparable spaceships on an apocalyptic alien crash site.


如今,这些建筑孤独地矗立在台湾的海边,继续腐烂下去。这些豆荚形建筑是现存不多的现代主义模块化建筑,现在却像被诅咒了一样,只能自生自灭地腐烂下去。这些残破的建筑已经被世界所忽略掉,注定要被人们遗忘,就像无法维修的宇宙飞船,被遗弃在一个外星飞船坠机地。

Ravaged by time, the atrophied abandonment is just about all that is left of this futuristic vision of housing. Although Norwegian artist Lars Ramberg has described these prefabricated homes as “ageing carcasses of failed modernism,” these structural skeletons appear to prove him wrong, as they have given rise to a subculture of aficionados and appear contemporary even by today’s standards. Perhaps these surreal UFO units were just ahead of their time, and time alone will tell what’s to become of these postmodern ruins.


随着时间流逝,这些未来主义建筑沦为废墟。挪威艺术家Lars Ramberg称这些预制式房屋是失败了的现代主义“残骸”。然而,事实却绝非如此。这些建筑“残骸”吸引了一批亚文化爱好者,即使以今天的眼光来看,它们也丝毫不失现代风格。也许这些超现实主义的飞碟式建筑只是超前了时代,只有时间会知道这些被废弃的后现代主义建筑最终的结局。

Videographer, Photographer & Contributor: Ghost


供稿人,图片摄影师与视频摄影师: Ghost

Painting Without a Paintbrush

 

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Known for “painting without a paint brush” and creating masterpieces from unconventional items, Malaysian artist Red Hong Yi has amounted an impressive portfolio of larger than life portraits consisting of some of Asia’s most prominent figures. From the humble teh tarik man, to megastars like Jackie Chan and Jay Chou, and even Singapore’s national symbol, the Merlion, Red has used unorthodox items, such as tea bags, coffee stains, and sunflower seeds, to create symbolic portraits that are astounding in both scale and detail.


马来西亚艺术家Red Hong Yi 被大家称为“不用画笔绘画”的画家,原因是她总能想到出其不意的材料来创作,茶包、瓜子,甚至是咖啡杯底残留在纸上的咖啡渍,都成为了她绘画的“颜料”。她用这些我们日常生活中随手可得的材料,创造出一幅幅以著名亚洲人物为原型的大型肖像作品。从马拉西亚街头的“拉茶人(teh tarik man)”,到超级巨星成龙和周杰伦,再到新加坡的国家象征鱼尾狮。这些画作通常竖立起来比Red的个子还高,但当你走近细看,就会发现Red在创作大画幅作品的同时,也保留到它精致的细节,让人过目不忘。

Ai WeiWei with Sunflower Seeds (2012)
Open Your Eyes (2017)

Ai Wei Wei – Sunflower Seeds

The portrait that started it all was her sunflower seed tribute to Chinese contemporary artist Ai Wei Wei. Red completed this “painting” in an old Shanghainese shikumen alleyway with seven kilograms of sunflower seeds – five years later, she revived this portrait using 20,000 sunflower seeds to create her second Ai Wei Wei portrait, entitled Open Your Eyes.


艾未未,材料: 葵花籽

作为她的第一幅巨型肖像作品,她用葵花籽描绘出中国当代艺术家艾未未。Red 在上海一个传统石库门弄堂完成了这个作品,一共使用了7公斤的葵花籽。5年后,她再次创作艾未未的画像,这一次,她一共使用了20000颗葵花籽,并将作品命名为《睁开你的眼睛》(Open Your Eyes)。

Zhang Yimou – Socks and Pins 

During Red’s time in Shanghai, she also completed another portrait in one of the city’s iconic shikumen alleys. To depict the face of Chinese filmmaker Zhang Yimou, Red used pins to piece together an array of monochromatic socks, which were then hung on bamboo poles much like how locals hang their laundry.


张艺谋,材料: 袜子和别针

在上海的时候,Red还在另一处标志性的石库门弄堂完成了另一幅肖像作品——中国著名导演张艺谋。Red用别针把一堆单色袜子拼凑在一起,然后像当地人晾衣服一样,挂在竹杆上。

Yao Ming – Basketball and Red Paint

Armed with a basketball and a pail of paint, Red bounced her way into creating a patterned portrait of Chinese basketball superstar Yao Ming.


姚明,材料: 篮球和红色颜料

带着篮球和一桶颜料,Red 用篮球“拍”出中国篮球巨星姚明的画像。

Dato’ Lee Chong Wei – Shuttlecock Feathers

This high contrast profile of Malaysian Dato’ Lee Chong Wei, a World No. 1 professional badminton player, was put together with 1,800 shuttlecock feathers to celebrate his face off with Chinese player Lin Dan at the World Championships in Guangzhou.


拿督李宗伟,材料: 羽毛球的羽毛

为了描绘马来西亚的世界头号羽毛球选手李宗伟,Red用1800条羽毛球上的羽毛,拼贴出一幅高对比度的肖像作品,以纪念李宗伟和林丹在广州世界锦标赛上的对决。

Jay Chou – Coffee and Coffee Cups

Red’s portrait of Taiwanese pop megastar Jay Chou is one of her more symbolic works. “This project was inspired by the opening and closing lines in Jay Chou’s song ‘Secret.’ The opening line is about lifting a coffee cup from a saucer and the last line of the song is about autumn leaves and fragmented pieces.” She used hundreds of imperfect individual coffee stains to form Jay Chou’s portrait, likening them to the falling autumn leaves mentioned in “Secret.” The portrait took 12 hours to complete – Red said that coffee is one of her more temperamental mediums to date, as it was challenging to achieve the perfect consistency and required it to be applied in layers.


周杰伦,材料:咖啡和咖啡杯

Red为台湾流行巨星周杰伦创作的画像是她最著名的作品之一。“这个作品的灵感来自于周杰伦的歌曲《不能说的秘密》开头和结尾的歌词。歌曲开头是‘冷咖啡离开了杯垫’,而最后有关秋叶和碎片的歌词是‘飘落后才发现这幸福的碎片,要我怎么捡?’。“她用数百个形态各异的咖啡渍,描绘出周杰伦的画像,而咖啡渍代表了《不能说的秘密》中提到的秋天的落叶。这幅作品用了12个小时才完成。Red 说,咖啡是她目前使用过的创作媒介中最变幻无常的一种。因为很难获得完美的一致性,她往往需要反复多层印绘才能达到效果。

她用数百个形态各异的咖啡渍,描绘出周杰伦的画像,而咖啡渍代表了《不能说的秘密》中提到的秋天的落叶。这幅肖像作品用了12个小时才完成。Red 说,咖啡是她目前使用过的创作媒介中最变化无常的一种。因为很难获得完美的一致性,她往往需要反复多层印绘才能达到效果。

 

Aung San Suu Kyi – White Carnations and Red Food Dye

“I didn’t sleep the whole night thinking of how to capture Aung San Suu Kyi’s great aura, dedication, strength, determination, compassion, intelligence, courage, poise, and gracefulness in a portrait. I wanted a portrait that not only captured her political eminence but also her beauty and love for her father, and his for her.” Red experimented with flowers and food dye for an entire month before creating her portrait of the Burmese Nobel Prize winner.

 


昂山素季(Aung San Suu Kyi),材料: 白色康乃馨和红色食品染料

“创作这幅作品时,我一整夜没有睡觉,一直在思考,怎样才能在一幅肖像作品中,捕捉住昂山素季的非凡光环——她的奉献精神、坚强、坚定、慈悲、智慧、勇气、风度和优雅的气质。我希望这幅肖像作品不仅能体现她的政治地位,同时展现出她的美丽,以及她与父亲之间的爱。”Red先用鲜花和食物染料反复实验了整整一个月,才开始为缅甸诺贝尔奖得主昂山素季创作这幅肖像作品。

The Merlion – Disposable Bamboo Chopsticks and Fire

The crown jewel of Facebook’s Singapore-based office is giant wall mural consisting of 15,000 disposable chopsticks, which were layered and torched to reveal the country’s national icon overlooking some of Singapore’s most recognizable sights.


鱼尾狮,材料: 一次性竹筷和火

这幅用15000支一次性竹筷拼贴的巨型作品,被固定在Facebook的新加坡总部办公室的墙上。通过分层排列,用火焚烧上色,Red描绘了新加坡的著名标志和最知名的景点。

Teh Tarik Man – Tea Bags

Touted as a quintessential Malaysian everyday hero, the teh tarik man is a namesake of Red’s Southeast Asian upbringing. Teh Tarik means “pulled tea” in Malay and is a traditional beverage that is comprised of sweet and frothy milk tea. Over ten shades of brown and 20,000 tea bags were used – in the end, this homage to her homeland weighed a whopping 200 kilograms.


《拉茶人》,材料:茶包

拉茶人被视为代表马来西亚特色文化的“民间英雄”,同时也代表着Red的东南亚文化背景。“Teh Tarik“是马来语“拉茶”的意思,是当地一种传统奶茶饮料。这幅致敬她的家乡的作品一共使用了20000个茶包,形成 10多种深浅不一的棕色色调,重达200公斤。

Jackie Chan – Disposable Bamboo Chopsticks

To commemorate Hollywood legend Jackie Chan’s 60th birthday, Red collected 64,000 disposable chopsticks from around Zhejiang and in Beijing to create his portrait. The chopsticks were grouped together with string and placed in sequence along a metal frame, alongside 60 bamboo chopsticks holders that were intricately filled with skewers to form the Chinese word long, which is Jackie’s first name in Mandarin Chinese.


《成龙》,材料: 一次性竹筷

为了纪念传奇影星成龙的60岁生日,Red 在浙江和北京两地收集了64000支一次性筷子,创造了这一幅肖像作品。她用细绳将筷子捆在一起,在一个金属架上排列出成龙的肖像,又在旁边排列了60个竹制筷子架,里面装满了长竹签,组成成龙名字中的“龙”字。

Many of Red’s portraits have received international acclaim and widespread media attention, allowing her to put a spotlight on Asia-based figures through her art. Her works are influenced by both her Malaysian upbringing and her current surroundings. Her time in Shanghai even helped to shape her unique style by opening up her world to a plethora of readily available raw materials. Most recently, Red has created series of #flowerbombing collage style portraits, which celebrate an admirable group of women in arts and entertainment, including the likes of Kiko Mizuhara, Liu Wen, Michelle Obama, Emma Watson and Alicia Keys.


Red 的肖像作品备受国际赞誉,吸引了广泛的媒体关注,让她得以通过自己的艺术,致敬亚洲地区的著名人物。在马来西亚成长的经历和如今在上海的生活,都对她的作品产生了重要的影响,也正是在上海生活的期间,她形成了自己的独特风格,因为这里有大量的现成材料。最近,Red创作了#flowerbombing系列的拼贴风格肖像作品,致敬在艺术和娱乐行业有着杰出成就的女性,其中包括水原希子、刘雯、 Michelle Obama、Emma Watson和 Alicia Keys。

Website: redhongyi.com
Facebook: ~/redhongyi
Instagram: @redhongyi

 

Contributor: Whitney Ng
Images Courtesy of Red Hong Yi


网站: redhongyi.com
脸书: ~/redhongyi
Instagram: @redhongyi

 

Contributor: Whitney Ng
图片由Red Hong Yi提供