Monthly Archives: February 2016

Lin Yu Huan

February 15, 2016 2016年2月15日

Lin Yu Huan is a Taiwan-based photographer and visual artist that currently works as an interior designer. His work tends to gravitate towards people, spaces, and light; often using natural light to accentuate a particular emotion. He has received numerous awards in photography, including first place in the 2015 Paris PX3 Award with his photo series Stay Gold along with taking honorable mention through his Beyond The Horizon and Heaven’s Gonna Happen Now series.

林俞歡是一名台灣攝影師及視覺藝術家，現職為室内設計師。他的作品始終圍繞於人、空間和光線之間，並且喜用自然光去強調特殊情感。他在攝影上曾獲多個獎項，包括荣获法國巴黎PX3金獎的作品《Stay Gold》，並凭借《Beyond The Horizon》和《Heaven’s Gonna Happen Now》系列獲得法國巴黎PX3榮譽獎。

Working primarily with film, Yu Huan says he enjoys the inherent characteristics of film that others might consider to be flaws. “I don’t need to be in constant pursuit of perfection,” says Yu Huan. “The flaws are what makes film so special to me. It’s something that digital photography can’t completely replicate. A roll of film is an archive of my memories.” We recently talked to Yu Huan about his work and what inspires him.

主要使用菲林攝影的俞歡覺得菲林本身可包容缺陷。“我不會總是追求完美”，他說，“對我來說，有缺陷才是的獨特之處，這是數碼相機無法做到的。一卷菲林就是我記憶的存檔。” 近期我們和俞歡探討了他创作灵感的来源。

Neocha: What inspires you? Do you consider Taipei to be a source of inspiration for you?

Yu Huan: The ways I find inspiration can be very casual. I’m never locked in one place and I’m constantly looking and observing new things. To me, it doesn’t matter which city I’m in, but I love exploring on a bicycle. When I worked on book cover designs, I found inspiration in bookstores, and sometimes in the works of others. I would create new ideas by incorporating elements that originated from different sources of inspiration. London is a city that I have deep feelings towards, and I have many fond memories of it. The way that London inspires me is similar to the way that Taipei inspires me.

Neocha: 你的靈感來源是什麼？台北是不是你的靈感來源之一？

Yu Huan: 尋找靈感，可以很隨意。我並不特別鎖定某個場所，而是無時無刻觀察新的東西。無論在哪個城市，我都喜歡用單車探索城市。我在做書籍封面的工作時，我會去書店找靈感，有時透過其他的工作，而創造了其他新的想法融合。倫敦是一個讓我感受很深刻的城市，我保留對這座城市的記憶，在台北將那樣的生活狀態融入且包含在我的生活裡。

Neocha: The colorless images you created for your Beyond The Horizon series almost seem like alien landscapes. What was the inspiration behind that?

Yu Huan: The Beyond The Horizon series are photographs of huge seaside rock formations that’s been weathered over time. I stroll around the northeastern area of Taiwan on the weekends, this particular time I looked down and these rocks appeared under my  feet. When I look at something through my camera lens, it’s able to transform the things that appeared quite mundane at first into something completely new. For this particular series, I found the ratio of lines on the rocks and the way they split to be really intriguing. My camera often gives me a new perspective on things. Being able to view things through a different perspective is something that helps me immensely in my design work.

Neocha: 你的黑白作品《Beyond The Horizon》看上去很像外星地貌，你可以跟我們說說這個系列嗎？

Yu Huan:《Beyond The Horizon》系列是一些在海邊經過時間風化的大石頭，我週末常常會到台灣的東北角散步，那些石頭出現在我的腳下，我低著頭看著他們，我覺得看似普通的東西，透過相機用不一樣的角度去重組視角，常常會讓我有不一樣的視野，線條分割的比例很美麗，這對我在做平面設計時有有很大的幫助。

Neocha: Can you tell us a bit about your 2015 PX3 award-winning photo series Stay Gold?

Yu Huan: Music is a necessity in my life, it’s something that’s ever-present in every facet of my life. When I’m working, reading, traveling, music has been alongside me and has experienced so much with me. Music isn’t an accessory to me, it’s an important part of my life. Because of my familiarity with the atmosphere of the shows and the mood of the music, I don’t think about what I should capture next or to go after different angles. I tend to follow my emotions and it makes me a part of the environment. So when I saw these musicians live, heard their sounds and lyrics, all the emotions that resonated within me naturally transferred onto my photographs. I was able to capture these precise moments because I understood their passion and the joy that comes with doing something you love.

Neocha: 可否說說你贏得2015法國巴黎PX3的金獎作品《Stay Gold》中所捕捉到的畫面？

Yu Huan: 音樂之於我的生活與其說是必需品，反而已經像是習慣般跟隨著我每天每個時刻的作息。創作時、閱讀時、旅行時，不知不覺累積跟著我而產生了回憶，已經不像是附屬品一樣，而是存在於生活裡。因為對現場情緒與歌曲情境的熟稔，我並不會先思考與物色該拍下什麼畫面與抓取何種角度，而是由心情帶領我融入當下的情境。所以，當聽到這些旋律與歌詞透過樂手真實呈現在我眼前，套入耳裡時我的共鳴很自然的反應在畫面上，那些帶動情緒沸騰的氣氛我是因為瞭解那種熱愛感才可以精準的捕捉下來。

Website: linyuhuan.com
Facebook: ~/travispolo
Instagram: @travis5

 

Contributor: David Yen

Images Courtesy of W.J. & Lin Yu Huan

網站: linyuhuan.com
臉書: ~/travispolo
Instagram: @travis5

 

供稿人： David Yen

圖片由W.J. & Lin Yu Huan提供

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Body Landscapes

February 12, 2016 2016年2月12日

Seung Ah Paik is a South Korean painter, who is based in both Seoul, Korea and Philadelphia, United States. In her iconic self-portrait paintings, human bodies are broken down into a set of components, observed like still lives or landscapes. In Seung Ah’s larger scale paintings, which includes the series Autolandscape and Autolandscape II, she uses large raw canvases, draped from ceiling to floor, where the viewers are confronted with epic expanses of human flesh. Inspired by oriental landscape paintings, her paintings always contain multiple perspectives, where the viewers can immerse themselves in a labyrinth of skin, nipples, heels, hands, and limbs.

백승아 한국 서울과 미국 필라델피아 양쪽에 기반을 두고 있는 한국인 화가입니다.  그녀의 상징인 자화상에서, 인체는 여전히 살아 있는 또는 지형처럼 보이는 요소들의 집합으로 분해 됩니다. Autolandscape(오토랜드스케잎)과 Autolandscape II(오토랜드스케잎 2) 연작을 포함한 승아의 대형 작품들 속에, 그녀는 천정으로부터 바닥까지 펼쳐진 대형 켄버스 천을 사용하는데, 관람객들은 이 앞에서 서사적으로 확장된 인체와 맞닥뜨리게 됩니다. 동양적 풍수화에 영감을 받은 그녀의 작품들은 언제나 다각적 관점을 포함하고 있는데, 관객들은 피부, 젖꼭지, 뒤꿈치, 손 그리고 팔 다리의 엉킨 미로 속으로 빠져 들게 됩니다.

In contrast to Seung Ah’s large canvas paintings, which show vast expanses of skin, her smaller paintings offer a more poignant and uniquely truthful depiction of her feelings toward her own body and flesh. In these smaller works, she does not shy away from the imperfections of her naked body. The face of the paintings’ subject, unidentifiable to the viewer, is always missing, simply because the painter who is also the subject can never see her own face directly.

거대한 피부의 확장을 보여 주는 승아의 대형 캔버스화와는 대조적으로, 그녀의 소품들은 그녀 자신의 몸과 육체에 대한 느낌을 신랄하고 날카로우며 독특하고 생생한 묘사로 보여 주고 있습니다. 좀 더 작은 작품에서, 그녀는 벌거벗은 자신의 몸의 불완전성을 부끄러워 하지 않습니다. 그림의 주제인, 관람객들이 식별할 수 없는 얼굴은 언제나 무언가 빠져 있는데, 자신의 얼굴이 화가 자신 또한 쉽사리 똑바로 바라 볼 수 없는 대상이기 때문입니다.

Seung Ah Paik is her own model, and all of her paintings are created from her own point of view looking down at her own body. “That’s why the right hand is always missing as that is the hand which I paint or take photographs with,” she says. To create the illusion of flesh, Seung Ah uses washes of watered-down paint, inspired by the brush painting techniques of Korea’s Joseon Dynasty, while also allowing the charcoal underdrawings in the work to remain visible.

백 승아 자신이 자신의 모델이며, 모든 그녀의 그림은 자신의 몸을 대려다 보는 자신의 관점으로부터 창조 됩니다.  “그것은 오른 손이 항상 그림을 그리거나 사진을 찍기 때문에 빠져 있는 이유 입니다,” 라고 그녀는 말합니다. 육체의 환영을 창조하기 위해, 승아는 조선 시대의 붓 질 기법에 영감을 받아 물에 희석 한 엷은 페인트를 사용하는데, 목탄 밑그림이 작품 속에 고스란히 보이도록 합니다.

A few years ago, Seung Ah temporarily took a break from painting and studied fashion design. This experience gave her new inspiration as an artist. “In fashion, people care a lot of their appearance and how to dress, but the skin is the first layer of clothes before any garment,” she observes.

몇 년 전, 승아는 잠시 그림 작업을 쉬고 패션을 공부했습니다. 이 경험은 그녀에게 예술가로서의 새로운 영감을 제공 했습니다. 그녀는 “패션에서, 사람들은 그들의 모습과 어떻게 입을 것인지에 많은 관심을 기울이지만, 피부는 그 어떤 겉 옷 보다도 그들의 맨 밑 바탕의 옷이다,” 라고 보았습니다.

Seung Ah says she used to be a very body-conscious person. “I always thought my hands are too big for a girl. You know, in Korea, young women or men care about what they look like the most,” she tells us. As she is exposed to her own body on a daily basis, this intimate relationship has naturally made her own body the most interesting subject of her art. When she started to paint it, she started to change the way she saw it. “Now I love my body as it is,” she admits.

승아는 줄곧 몸에 집착하는 사람이었다고 말했습니다. “저는 항상 제 손이 다른 소녀들에 비해 너무 크다고 생각했습니다. 한국에서 젊은 여성이나 남성들은 자신이 어떻게 보여지는 지에 지대한 관심을 가지고 있습니다,” 라고 그녀는 말합니다. 일상에 기반한 그녀 자신의 몸을 노출 함으로써, 이 자연스러운 관계는 자연스럽게 그녀 자신의 몸을 자신의 흥미로운 예술의 주제로 만들었습니다. 그녀가 이것을 그리기 시작 했을 때, 그녀는 이것을 바라보는 방법을 바꾸었습니다. “이제 저는 있는 그대로의 제 몸을 사랑합니다,” 라고 그녀는 시인합니다.

Tumblr: seungahpaik.tumblr.com

 

Contributor & Photographer: Shanshan Chen

Tumblr: seungahpaik.tumblr.com

 

기고자 겸 사진 작가: Shanshan Chen

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The Dancing Photographer

February 11, 2016 2016年2月11日

Photographer Youngho Kang’s series “99 Variations” reveals more about the artist than initially meets the eye. The South Korea-based photographer’s collection of images reveal highly choreographed and at times outlandish self portraits. While there is a high degree of costumery and production involved with each image, when taken as a whole, the series reveals Youngho’s multifaceted character. “I feel that within me there are a lot of oxymoronic beings,” Youngho shares. “As long as I let the oxymoronic beings interact with me, I do find a harmony that, when harnessed correctly, grants me an enormous amount of imagination.”

사진 작가 강영호의 시리즈 “99의 각 개체”는 시각을 만족 시키기보다는 예술에 관한 것이다. 한국에 기반을 둔 이 사진 작가의 이미지 컬렉션들은 고도로 안배 되었고 가끔은 기이한 자화상을 제시하고 있다. 한편 고급 의상과 각각의 이미지가 있는 제품이 포함되고, 전체적으로 볼 때, 그 시리즈는 영호의 다양한 얼굴 캐릭터 보여 준다.“제 안에 많은 모순된 것들이 존재하고 있는 것을 느낍니다,” 라고 영호는 말한다.“이 모순된 것들을 제 안에서 상호 작용하게 할 때, 저는 그들의 조화를 발견하고, 그들이 정확하게 동력화 될 때, 저에게 엄청난 상상력을 제공합니다”

At university, Youngho studied French literature. He never had any formal photography training or classes. But while he was there, the girl he was dating – knowing Youngho was artistically inclined – asked him to take her headshot. He agreed, and went about the photoshoot in his own unique way. “During each one of the shoots we used to play good music and dance,” he recalls. “Eventually it felt like a dance performance.” Youngho and his college sweetheart broke up, but the creative exercises they went through together launched what is now Youngho’s career. A fashion company saw his portfolio and contacted him for work, and he approached their assignment as he had his first: “with the music, dance-like movements and the story-telling,” he recalls. Soon, jobs were coming Youngho’s way with more frequency, and after getting a number of assignments under his belt, he began to truly see himself as a professional artist. He also earned himself a nickname in the industry – “The Dancing Photographer.”

대학에서, 영호는 프랑스 문학을 전공하였다. 그는 어떠한 공식적인 사진에 관한 훈련이나 수업을 들은 적이 없다. 그가 파리에 있는 동안, 그가 사귀고 있던 한 여성이 – 영호에게 예술적 성향이 있는 것을 알아보고 – 그에게 자신의 해드샷을 찍도록 했다. 그는 동의했으며, 그만의 독특한 방식으로 사진 촬영을 했다. “각 샷마다 저희는 멋진 음악을 틀고 춤을 추곤 하였습니다” 라고 그는 회상한다.“마침내 이것은 댄스 퍼포먼스와 같이 되었습니다”영호와 다정한 동료는 헤어졌지만, 그들이 함께 나누었던 창의적인 경험은 지금의 영호의 케리어의 시작이 되었다. 한 패션 회사에서 영호의 포트폴리오를 보고 그에게 함께 작업하기 위해 연락 했다. 그리고 그는 처음에 그랬던 것과 같이 그들이 요청한 작업에 접근했다: “음악과, 춤 동작 같은 – 움직임 그리고 스토리 텔링,” 그는 이렇게 회상 한다. 곧, 작업은 더욱 자주 영호의 방식으로 다가 왔고, 많은 조력자들이 그의 주도 하에 들어 왔을 때, 그는 전문적인 예술가로서의 자신을 정직하게 바라보기 시작 했다. 그는 또한 이 분야에서 별명을 얻게 되었다. – “춤 추는 사진 작가.”

After ten years as a working photographer, Youngho began to desire creative expression that went beyond his paid work. “I started digging deeper into what I felt was performance photography,” he shares. “With my camera serving as an endoscope, I peered into myself, deeper and deeper over time, and ‘99 Variations’ came into existence.” The series features Youngho in a wide multitude of poses, costumes, and expressions, either alone or with additional artists, and always with the camera visible. He explains that the point of the series is to express himself, and that is done best “if I am the one in front of the camera as well as behind it.” To accomplish this, he shoots all his images into a mirror.

열년 후 활동하는 사진 작가로서, 영호는 댓가를 받는 작업을 뛰어 넘는 창의적인 경험을 목 말라 하게 되었다.“저는 행위 예술 사진 작가로서 제가 느꼈던 것을 더욱 깊이 파고들기 시작 했습니다,” 라고 그는 말한다.“내시경처럼 작용해 주는 나의 카메라로, 저는 제 자신을 시간이 흐를 수록 깊이 더 깊이 들여다 보게 되었고 ‘99의 각 개체’는 실존이 되었습니다.”이 시리즈는 다양한 자세, 의상 그리고 인상, 혼자 또는 조력자들과, 그리고 항상 카메라가 보이는 것이 특징이다. 그는 이 시리즈의 핵심은 그 자신을 표현하는 것이며, “나 자신이 카메라 뒤에 또는 앞에 있을 때” 최상으로 이루어졌습다.” 라고 설명한다. 이것을 성취하기 위해, 그는 거울 속에 있는 자신의 모든 이미지를 촬영 했다.

“I would liken my work to dreams,” Youngho says. “In dreams things are happening in the brain rather subconsciously and only when one is awake again does one try to seek for some reasoning/logic behind it.” Similarly, Youngho envisions his images in his mind, and then assembles those visions, alongside a team, into a physical image. Some photos take him weeks to create, assembling materials needed for costumes and props. However, Youngho’s post-production work is far less complicated. He does not use Photoshop to alter his images, relying solely on his camera to tell his stories. Youngho places such importance on his camera that he feels it cannot be left out of any frame. Together – the costumes, props, and camera – work alongside Youngho to tell his stories. In many ways, the process is just as much the art as the finished product. As Youngho puts it, “I want to be able to look at myself and control the camera, which means that I am the photographer, model, and performer.”

“저는 나의 작업을 꿈 꾸는 것처럼 하곤 했습니다,” 라고 영호는 말한다.“꿈 속에서 모든 것은 뇌 속에서 차라리 무의식적으로 일어나며, 오직 다시 깨어 날 때, 나는 그 뒤에 숨어 있는 약간의 이성/논리를 찾으려 합니다.”비슷하게, 영호는 그의 마음 속에 있는 그의 이미지를 상상하고, 그런 다음 이 이미지들을 팀과 함께 천천히 물리적 이미지로 조합 합니다. 몇몇 사진은 창작을 위해, 필요한 의상과 소품 재료들을 조합하는데 몇 주가 걸리기도 합니다. 하지만, 영호의 후기 – 창작 작품은 훨씬 덜 복잡합니다. 그는 그의 이미지를 바꾸기 위하여 보정을 사용하지 않고, 그의 카메라가 그의 이야기를 하도록 전적으로 의지 한다. 영호는 자신의 카메라에 이런 중요성을 두어, 그는 카메라가 어떤 영상도 놓칠 수 없다는 것을 느낍니다. 의상, 소품 그리고 카메라는 – 영호와 함께 그의 이야기를 하기 위해 – 함께 작업한다. 많은 방법 안에, 그 과정은 완성 된 작품으로써의 예술이다. 영호는 이렇게 말한다, “나는 나 자신을 들여다보고 카메라를 조정할 수 있기를 원합니다, 그것은 제 자신이 사진 작가이며, 모델이고 공연자 임을 의미합니다.”

In an age when taking one’s own picture is commonplace and “selfies” appear on social networks everywhere, Youngho notes a difference in his own self-reflections: “A ‘selfie’ is for stating a fact or to present some form of information, while ‘99 Variations’ it is about a deep tolerance; I seriously gaze into myself to uncover not yet tangible qualities.” When considering this body of work, Youngho hopes viewers might be so introspective. “I wish for the audience to regard themselves as mirrors while facing any of my works,” he says, adding that they “might even feel that the camera is photographing them.” The experience, he hopes, will give the audience a connection to the images on a personal level and a connection to Youngho himself.

요즘 시대에 자기 자신의 사진을 찍는 다는 것은 흔한 일이며 “셀카 사진”은 모든 소셜 네트워크에 나타지만, 영호는 그 자신의 반영에 차이가 있음을 알리고 있다: “하나의 ‘셀카 사진’은 사실을 말하거나 정보의 어떤 형식을 제시하기 위한 것이지만, 한편 ‘99의 각 개체’ 는 깊은 관용에 관한 것입니다; 만질 수 없는 특질을 드러내기 위해 나 자신을 진지하게 응시합니다.”이 작품들을 숙고하며, 영호는 관람자들이 자기를 성찰하게 되기를 바라고 있다.“저는 관람자들이 제 작품을 바라 보는 동안 자신들을 거울로 여기기를 바랍니다,” 라고 말하며, 덧붙여 그들이 “그 카메라가 자신들을 촬영하고 있다고 느낄 것,” 이라고 말한다. 그는, 그 경험이 관람자들에게 개인적 수준의 이미지와의 연결과 영호 자신과의 연결을 제공하기를 희망하고 있다.

This story is part of a content partnership and media exchange between Neocha and VSCO®. To see more of VSCO’s Asia content on Neocha, click here.

이 이야기는 Neocha와 VSCO®의 콘텐츠 파트너쉽과 미디어 교환의 일환입니다. Neocha에서 VSCO’s 아시아 콘텐츠에 대해 더 많은 것을 보시려면, 여기를 클릭하세요.

Media Partner: VSCO®

 

Photographer: Youngho Kang
Images & Text Courtesy of VSCO Grid®

미디어 파트너: VSCO®

 

사진 작가: 강 영호
VSCO Grid®의 이미지 & 텍스트 제공

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Storytelling Through Photos

February 10, 2016 2016年2月10日

Taiwanese-American artist, Patrick Tsai, uses non-traditional photography and narrative techniques that he learned from filmmaking to tell stories of his life. His personal anecdotes include pursuing young love in China and fulfilling dreams in the post-earthquake Japan. The motivation behind crafting his stories is a simple one: he wants to connect with people all over the globe and share with them his perspective of the world.

美籍臺裔藝術家Patrick Tsai運用非傳統攝影和電影敘事，講述他生活中的故事。無論是在中國追求真愛，還是在震後的日本追尋夢想，Patrick的最終目的都是一樣的：與他人溝通，和他們分享自己觀察世界的角度。

Patrick’s previous work includes his photo diary My Little Dead Dick (2006-2007), Talking Barnacles (2011-2012), and the work-in-progress Barnacle Island. His photo book Modern Times (2007) was included in The Chinese Photobook exhibition, that was curated by London-based Dutch photographer team WassinkLundgren and American photographer Martin Parr. Recently, we spoke with Patrick about his projects, his works in process, and his life as an artist.

 

Patrick以前的作品包括影像日誌《My Little Dead Dick》（2006-2007）, 《Talking Barnacles》 （2011-2012）, 和正在進行中的 《Barnacle Island》。他的攝影書《摩登時代》（2007）入選美國攝影家Martin Parr和旅英荷籍攝影團隊WassinkLundgren策劃的“中國攝影書”巡回展。我們最近采訪了Patrick，聊了他以往和現在的作品，以及作為藝術家的生活狀態。

Neocha: What was the journey towards finding your own style like?

Patrick: I’ve always been interested in stories. When I was young, I had dreams of being a filmmaker. I grew up in a small town. My sister introduced me to all these foreign films, such as movies by Wong Kar Wai. I first went to school for filmmaking, but making a movie can take at least a year and it involves a lot of manpower as well as money. After university, I moved to Taiwan. Moving to a foreign country made me feel like it was easier to take photos, so I shifted my focus to photography.

It took me a while to establish photographic style. My first real project was My Little Dead Dick. That’s actually photography, but my ex-girlfriend Madi Ju and I used a narrative structure. We had a beginning, when we first met; then our story, where we quit our jobs; and one year later, a break-up. We carefully edited all the photographs to tell a story. That’s the first time I realized that I could combine my narrative and photography together to make a project stronger.

Neocha: 你是如果找尋到自己的風格的？

Patrick: 我一直很喜歡講故事，小的時候想拍電影。我在一個小鎮裏長大，通過姐姐我接觸到很多外國電影，比如王家衛的電影。我上過電影學院，但是拍電影至少要拍一年，需要很多人力和資金。我离开大學後搬到臺灣，因為在國外，拍照片變得相對容易。所以從那時起我開始拍照。

找尋到自己的風格花了我蠻長時間。我第一個真正的作品是《My Little Dead Dick》。我和前女友Mandi Ju運用的是正式意義上的攝影，但我們還用了敘事手法：我們倆的故事從我們相遇開始，接著我們辭職，一年之後我們分手。我們很仔細地編輯照片來講故事。這是我第一次認識到原來我可以結合敘事和攝影，讓一個故事更精彩。

Neocha: How would you describe the kind of work that you’re creating now?

Patrick: For the past few years, I have primarily been interested in writing, so my photography is not so much traditional photography any more. I seriously consider the text to be equally important as the pictures now. I’m most interested in stories and narratives. Most of my projects have a narrative even if it is based on real life. Either way, I’m a photographer-artist, or an artist-photographer. I guess that I’m also a storyteller.

Neocha: 你怎麽形容你的作品？

Patrick: 過去幾年，我主要對寫作有興趣，所以我的攝影作品不再是傳統意義上的攝影了。我真心認為文字和圖片一樣重要。我對故事、敘事感興趣，即使我的作品大多源於真實生活。你可以說我是攝影藝術家，或是藝術攝影家。另外，我還是個說故事的人。

Neocha: What’s do you consider to be your biggest accomplishment so far?

Patrick: Talking Barnacles. It’s just because I posted every day for 365 days. I had to take lots of photos every single day. I never knew I could write before. I figured out a way that could work, that’s actually fun. It’s more like challenging yourself. When you were young, you had a simple dream like, “I want a book published”, “I want my work in a foreign exhibition.” But these are the kinds of things that stick with you.

I quoted Haruki Murakami in Talking Barnacles – he’s a major influence for me, probably the biggest influence. He wrote something that said it doesn’t really matter about the awards, what critics say, or how many books you release – it’s about challenging yourself every day, and in doing so, you are able to go higher and higher.

For that project, I pushed myself to the limit. When I was done, I was completely exhausted. I couldn’t do anything for two years. Everything in my thirty year long life, all my experience are in that project. It took me another two years before I felt I had something more to write about.

Neocha: 創作至今，你最大的成就是什麽？

Patrick: 我最好的作品是《Talking Barnacles》，因為一年365天我天天在網上更新，每天我都要拍很多照片。以前我不知道自己還能寫作。我發現我這麽做（寫作加攝影）能行，還挺好玩兒的。這是對我自己的挑戰。人年輕的時候夢想很簡單，比如“我想出書”或者“我想自己的作品在國外展出”，但是真正伴隨你的還是這類經歷。

我在《Talking Barnacles》裏引用了村上春樹的話 – 他對我的影響很大，可能對我起到最大的影響 – 他寫了類似的話：獎項、批評、出版過多少書都不重要，最要的是你每天都自我挑戰。你每天自我挑戰就會不斷提高，讓你的進步更持久。

《Talking Barnacles》這個作品我做到了極致，做完之後精疲力盡，接下來的兩年我沒有辦法再創作。我30年來的生活經歷全部包括在這個作品裏了，一直到兩年後我才覺得再次有東西可寫。

Neocha: Can you tell us a little about your current ongoing project?

Patrick: I have three photo diary projects, it’s like a trilogy that spans over ten years. About one year ago I moved from Tokyo to this island called Shodoshima. My new project, Barnacle Island is about life after I moved to this island.

Neocha: 能否談談你當下的作品？

Patrick: 我有三個影像日誌，是跨度十年的三部曲。一年前我從東京搬到小豆島，《Barnacle Island》記錄了我在島上的生活。

Neocha: Using the format of daily entries, how are you able to differentiate your work from bloggers?

Patrick: Photography for me, of course, is very important. But editing is also very, very important – even more important than taking pictures. I was very strict about everything in Talking Barnacles. If I had one picture here that’s very nice, and the next photo was also very beautiful, but the colors didn’t match or if they were too similar, I would just take it out and choose another more complementary photo. I want all the photos for the entire project to complement one another.

I am actually not a great photographer. I cannot take a wonderful, perfect photo. There are lots of photographers that take one picture and go, “this is an amazing picture, this is perfect.” I’m not interested in that. The story is a tool that makes the photographs much more meaningful. I guess that’s another reason My Little Dead Dick became so popular.

I start my projects by just going and doing it one day at all time, but I will already have an idea for the whole thing. I can see where the project will go in my head, being able to take a step back and seeing the bigger picture is a great thing. But I can only do that with my art, I cannot do that with my life.

Neocha: 你和一般的博客作者有什麽不一樣？

Patrick: 攝影對於我來說，拍攝很重要，但編輯非常重要。編輯比拍攝本身更重要。我對待《Talking Barnacles》的方方面面都很嚴格。如果我拍了一張照片很不錯，第二天又有一張很棒的照片，但如果兩張照片顏色不匹配，或者太接近，我就會換一張照片，這樣兩張照片就會互補。整個項目的全部照片相輔相成，形成一個整體。

我拍照其實不是太好，沒法拍一張完美無暇的照片。有很多攝影師拍了一張照片，會說，“這張照片拍得太棒了，太完美了”，但我對這方面不是很感興趣。講故事的手法讓攝影更加有意義，我想這大概就是為什麽《My Little Dead Dick》那麽受歡迎的原因。

我的作品是靠一天天的更新積累，但我已經有個大概的想法，在我腦中下一步怎麽走已經很清楚。對於我的藝術，我可以這麽做，但對人生，我做不到這麽規劃。

Neocha: Do you feel you are between two cultures? How does it feel to tell your very personal stories to the whole world?

Patrick: I don’t always feel that I belong to America. When I moved to Taiwan, I didn’t feel I belonged to Taiwan. I always feel like an outsider – I guess that’s what my work is about and how I became an artist.

In Talking Barnacles, that was the very first time I felt like I was at home. Talking Barnacles is about when I live in Japan after the earthquake, following my dream to become a photographer, like a serious photographer. The earthquake was a very big thing, but I decided to focus on my neighborhood. I photographed and wrote everything about my neighborhood. I started to photograph everything that I really appreciated, so that is why it was the first time that I didn’t feel like an outsider. I was doing the best work of my life at that time.

Another big thing is that the more you talked about yourself, the more people can relate. It’s a very interesting thing. It’s about me but it’s not really about me. When I talked about my life or when I was confused, other people can read about all that stuff. People tend to have similar experiences; so the more personally you talk about yourself, the more people can relate to it.

Neocha: 你覺得自己夾隙在兩種文化之間嗎？和全世界講自己的故事，感覺如何？

Patrick: 我從不覺得自己屬於美國。我搬到臺灣之後，也不覺得自己屬於臺灣。我總覺得自己是個局外人，也許這就是我的作品的主題：我成為藝術家的過程。

《Talking Barnacles》時期，我第一次覺得自己有個家。這個作品是關於我在震後日本的生活，追求夢想成為真正的攝影師。地震是很嚴重的事，但我決定關註鄰裏街坊，因為這是我個人在震後的發現。我開始拍攝我所珍愛的人、物，因為我第一覺得自己不再是局外人。那時，我完成了我至今最好的作品。

另外，很重要的就是，你談自己談得越多，其他人越能有共鳴，這就很有趣。我在談我，但又不是在談我，因為我在講述自己生活、描述自己的疑惑的時候，別人讀到我寫的這些東西，他們有相同的經驗，所以你講得越個人，別人越容易共鳴。

Neocha: How do you juggle between being an artist and making money?

Patrick: I already came to terms that my work will not make money, and I am fine with that. The reason why I do what I do was never for money in the first place, but to convey something to other people.

I have always felt like an outsider, so art is my way to bridge the gap and connect with people, to share with them how I see the world. If I can get them to see and understand, and hopefully be moved by that then I am satisfied.

Neocha: 面對藝術創作和經濟收入的沖突，你掙紮過嗎？

Patrick: 我已經很清楚自己的作品是掙不到錢的，我也不覺得有什麽，因為我做這些作品的原本也不是為了掙錢。我是為了向他人傳達一些東西。

我總覺得自己是局外人，所以藝術是我和他人溝通的方式，藝術能連接我和他人。這樣，我能和他們分享我看世界的角度。如果他們能夠看到並能理解我的作品，如果還能有一點感動，我就滿足了。

Website: hellopatpat.com

 

Contributor: Shanshan Chen
Images Courtesy of Patrick Tsai & Madi Ju

網站: hellopatpat.com

 

供稿人: Shanshan Chen
图片由Patrick Tsai & Madi Ju提供

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YU Square

February 9, 2016 2016年2月9日

Yu Wanru, also known as Ringo Yu, is a knitwear and accessories designer from Taichung, Taiwan. She graduated from London’s Central Saint Martins College of Art and Design in 2011, and currently embodies the dual role of designer and maker. Ringo is the founder of YU Square, a Taiwan-based independent design brand that specializes in making a variety of knitted apparel, from socks to hats. Her creations can be characterized as vibrant and colorful, utilizing bold patterns to add a playful touch to any wardrobe.

Ringo Yu，中文名余宛儒，是位台中的針織品設計師。2011從中央聖馬丁畢業後，Ringo秉承Designer Maker即設計兼生產者概念，开始以个人品牌YU Square之名設計並製作針織作品。不管是帽子也好，襪子也罷，她作品裡大量重複的圖形、拼貼和歡快跳躍的豐富色彩讓人心生愉悅，也給著裝搭配帶來更活潑的元素。

Studying fashion design, Ringo discovered an affinity for textile and patterns early on in her studies. This realization led her to move to London where she believed she could further explore the possibilities of fashion. She continued her education in the textile design program at Saint Martins College where she was introduced to knitting, and that quickly became a newfound love. “I enjoy knitting a lot,” she says. “A single thread or different combinations of threads is able to create endless possibilities of patterns and designs. Nothing trumps the sense of achievement I feel when I knit.”

在服裝設計的短暫學習中，Ringo發現了她對布料、印花的喜愛，並決定前往倫敦探索自己的世界。而後聖馬丁的織品系的手織、針織終於讓她體驗到仿若沙漠中找到綠洲般的喜悅。“我太享受織東西這件事了，織法的可能性無窮無盡，能用一條或數條彩色的線創造出如此多的花樣和圖案，這種神奇的過程和成就感沒什麼事情能比的上。”她描述道。

After graduation and around the time of the European financial crisis, Ringo began working in the luxury brand industry. Her job left her stressed and uninspired, but that period of dissatisfaction had one plus: it culminated in the birth of her own brand, YU Square. Initially, she only sewed after work as a method of stress relief. But after showing some of her designs online, she found praise from netizens and the orders began pouring in. Ringo decided to quit her job in order to focus on her own brand and diversify her product line. She moved back to Taiwan a year later and started mass producing socks as well as two smaller collections. All the remaining products continue to be handmade by herself.

作為非歐盟國家的人，Ringo也曾一度頂著英國政策和歐洲金融風暴的影響進入高奢品牌工作。她個人品牌YU Square就是誕生在這時期高強度工作和創作滿足感缺失的疲憊狀態中。本只是在工作之餘用針織機做點個人喜歡的物品舒緩壓力，卻未想到設計在網路上大受歡迎，訂單也隨之漸增，於是Ringo便索性辭職專心給個人品牌擴充設計和產品。一年後，她回到台灣，開始嘗試量產襪子和兩個小型服裝系列，其他東西則仍維持設計師自己手工製作。

Inspired by life, architecture, travel, color, and happiness. Ringo has released four knitwear design collections in total.

Field Trip was the first collection that was released through the YU Square line. “At the time, I was a design assistant in a stressful, fast-paced industry. So I started knitting in my free time as a way to find myself. It was like a personal field trip for me to escape the unhappiness of my daily routine,” she explains of the collection name.

When the summer comes, I want to go to Cornwall was her second collection. “Cornwall is a peninsula in the Southwest part of England,” she says. “It consists of a bunch of little towns, and not too many people live there. It was one of my favorite places to visit during my time off in the six years I spent living and working in London. After moving back to Taiwan, I thought that I would never have the chance to go there again. I went through my old travel photos with a heavy heart, and decided to make a collection in order to commemorate that charming place.”

以生活、旅行、建築為靈感，以色彩、愉悅、溫度為關鍵詞， 從《Field Trip》开始，到新進發佈的Ronda，YU Square已經擁有四個設計系列。關於它們，Ringo是這麼和我们说的:

第一個系列《Field Trip》，“這個系列是第一次以YU Square的名義發表的作品。當時身為一個高壓產業下累壞了的設計助理，我想在閒暇時間織一些有意思的衣服，把‘自己’找回來，這個系列便是我在無趣生活中給自己的一趟虛擬小旅行。”

第二個系列《When the summer comes，I want to go to Cornwall》，“Cornwall 康瓦爾郡位於英國西南方的半島，地廣人稀，由很多個各色小鎮所組成，是我在倫敦待的六年多之間，放長假時最喜歡去也最常去的地方。搬回台灣後總覺得可能再也沒機會回去了，抱著有點遺憾的心情翻著以前旅行的照片，就決定用我自己的方式做一個系列來紀念這個可愛的要命的地方。”

Her third collection was The Gherkin, and it was inspired by her love of architecture. “I saw a really beautiful image on Pinterest of the Gherkin building in London,” she recalls. “For the life of me, I couldn’t figure out which angle they took the picture from. So on a day off, I decided to actually go to the building and figure it out for myself. I’ll never forget the moment that I finally found the right angle and pressed down on the camera shutter. After that, I started to form a habit where I would collect interesting photographs of architecture from the internet or at the library. Architecture is something that I could explore for the rest of my life, and creating things based on architectural themes will never get old for me!”

Her fourth collection, Ronda, is also another collection inspired by her memories of travel. “Ronda is a city in the south of Spain that’s built on the side of a cliff,” she says. “The population is small, but the place is extraordinary. There are valleys, huge bridges, endless green plains, ancient bullrings, and winding alleyways. The celebrations for Semana Santa Holy Week also take place there. The architecture in Barcelona and Madrid is amazing, but Ronda left a much deeper impression on me.”

第三個系列《The Gherkin》，“我對建築的熱情是從大學時期開始的 – 當時在 Pinterest 上無意看見了一張非常美，被標記“the Gherkin“的照片震撼到（那棟大樓從外觀看根本沒有一個角度是長那個樣子），找了天假日就實地去晃了一圈試圖找出拍攝者的角度到底在哪裡。找到的那瞬間，按下快門的喜悅我這輩子都不會忘記。自此之後我開始習慣性上網和去圖書館收集世界各地特殊建築物的圖片，想在有生之年一一去探訪。這類建築相關的主題我可以一直做下去！”

第四個系列《Ronda》，“這也是個關於旅行記憶的系列 – Ronda 隆達位於西班牙南方，是一座建築在懸崖邊的城市，人口不多，地形很特殊，在這邊看的到山谷、巨橋、一望無際的綠色平原、古老的鬥牛場、錯綜複雜的巷弄和 Semana Santa 聖週遊行。除了高第的建築太有趣以外，巴賽隆納和馬德里我都覺得不及隆達讓人記憶深刻。”

Seeing her full collection and understanding her design inspirations paints a clear picture of Ringo’s sense of style and personality. “I rarely wear outfits with just a single color,” she grins. “I don’t even really have any clothes without patterns. Even if my outfit is simple, I’ll at least wear some colorful socks. Wearing color makes me happy, and the YU Square label is just a projection of what I love. I also like to collect toys (especially robots), metal boxes of different sizes, postcards, and postage stamps.” She surprisingly revealed that during the process of designing and knitting, she enjoys things that might seem like the polar opposites of the type of creations she makes. For example, she likes to put on crime dramas, editorial programs, metalcore, or industrial metal music.

到這裏，不難猜出Ringo本人的穿衣風格或者個性。“我很少穿單一色系的服裝，幾乎沒有無圖案的衣服，就算衣服很素也一定要配一雙彩色襪子，把顏色穿在身上讓我心情愉快。YU Square 其實就是我喜愛的風格的投射。”她說，“我也喜歡收集玩具（尤其是機器人）和各種不同大小的鐵盒、明信片和郵票。”但是一個有趣的事實是，在設計和織東西的時候，她會搭配犯罪片、社論節目，還有metalcore金屬核、Industrial metal工業金屬這類的音樂，完全與她作品給人的印象大相逕庭。

Ringo is the type of person who works alone, which is sometimes a challenge for the designer-maker. The highly seasonal nature of knitwear means that Ringo is frantically busy around fall and winter, but her love of the hands-on process of knitting keeps her motivated to continue. She says, “The feeling of handmade goods can never be completely replaced by machine manufactured stuff.” She hopes that she will still be able to handcraft all of her knitwear in the future, with the small exception of socks. Presently, she’s nearing the completion of a knitwear necklace collection. Once she has her own studio, she plans on making knitted body pillows, chair cushions, and other handmade furniture items. In the future, she hopes to turn the studio into an open studio where she can showcase her work as well as the delicate process behind the knitting process.

Ringo就是這樣“自己一個人工作”的。而這也是她作為設計師兼生產者最大的挑戰。針織品的高季節性讓她在秋冬季忙得不可開交，但是，對織布和雙手創造出東西的過程的熱愛讓她依舊堅持自己的工作方式。她認為“手製東西的感覺是機器製造不能取代的”，現在除了襪子以外的其他商品她還是希望能自行製作。目前，她有一個針織項鍊系列趨近完成。新進有了自己獨立工作空間後，Ringo將嘗試織一些抱枕、椅墊之類的居家用品，也期待將工作室漸漸轉成open studio，也可以展示商品背後的製作過程。

Website: yusquare.com
Facebook: ~/yusquare.knitwear
Instagram: @yusquareknitwear
Weibo: @YuSquareKnitwear

 

Contributor: Banny Wang
Images Courtesy of Ringo Yu

網站: yusquare.com
臉書: ~/yusquare.knitwear
Instagram: @yusquareknitwear
微博: @YuSquareKnitwear

 

供稿人: Banny Wang
圖片由Ringo Yu提供

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The Work of Yumiko Matsui

February 8, 2016 2016年2月8日

Yumiko Matsui is a Japanese artist that creates intricate miniature worlds out of paper. She was originally a painter, but that changed after she made a visit to her aunt’s house in 2006. Yumiko was greatly inspired by the paper dollhouses that her aunt was building with her husband at the time. Since then, Yumiko has been completely fascinated with using paper to create miniature three-dimensional cities and objects.

松井由美子さんは、紙で複雑なミニチュアの世界を作る日本人芸術家です。松井さんは元は画家でしたが、2006年に叔母の家を訪れてから変わりました。松井さんは、その頃叔母が叔父と共に作っていた紙のおもちゃの家からかなりの影響を受けたのです。それ以来、松井さんは紙で3次元のミニチュアの都市や物体を作ることにすっかり魅了されました。

Creating these elaborate city replicas requires a lot of prior planning. She revealed that a considerable amount of time is invested in doing research before the actual production process begins. Once the cutting, folding, and gluing begins, it will still require many more months to fully complete. Her large city replicas can take up to six months to make.

こうした精巧な都市のレプリカを作成するには、事前にかなり計画を立てる必要があります。松井さんは、実際の作成プロセスを開始する前にリサーチに多くの時間が費やされることを明かしました。切り、折り、接着の作業が始まっても、完成するまでさらに何か月もかかります。都市の大きなレプリカは、作成に長くて6か月かかることもあります。

Her first paper creation was of Osaka, her hometown. Despite it being her first piece of work using paper as the medium, it still consists of mind-boggling details. She took her time and carefully reconstructed every single tiny shop, restaurants, and cafes, in order to replicate their real-life counterpart as closely as possible. To date, she has also reconstructed the Tokyo that she remembers from her youth, as well as recreating a replica of Coney Island before it was devastated by Hurricane Sandy in 2012. She has also produced several surreal locations that previously only existed in the depths of her imagination.

松井さんが初めて紙で作成した作品は、出身都市である大阪でした。これが紙を媒体にした初めての作品であったのですが、気が遠くなるほど細かく作られています。実物の都市にできる限り近いレプリカにするために、時間をかけて非常に小さな店舗の一軒一軒、レストランやカフェを注意深く再現しました。これまでの松井さんの作品には、幼い頃に見た東京の再現や、2012年にハリケーン・サンディに破壊される前のコニー・アイランドのレプリカの再作成もあります。また、松井さんの想像の世界の深くにのみ存在した超現実的な場所を作った作品も数点あります。

Yumiko is currently working on a paper portrait series of her favorite celebrities. She plans on publishing that series solely through social media upon completion. Her motivation in making these paper dioramas is rather simple – she loves to see the smiles on people’s faces when they experience her creations and she firmly believes in the power of spreading joy.

松井さんは、現在は好きな有名人の紙の肖像シリーズを作成中です。このシリーズは、完成後にソーシャルメディアのみで公開することにしています。松井さんがこうした紙のジオラマを作る動機は、割と簡単なことです。見る人達が作品を体験する時の笑顔を見ることが大好きで、喜びが広がる力を強く信じているのです。

Website: incomatsui.com

 

Contributor: David Yen
Images Courtesy of Gustavo Rocha, Jeff Goldberg, Akihiro Sakai & Junko Kitano

ウェブサイト: incomatsui.com

 

寄稿者：David Yen
Images Courtesy of Gustavo Rocha, Jeff Goldberg, Akihiro Sakai & Junko Kitano

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The Three Wise Monkeys

February 6, 2016 2016年2月6日

The Chinese zodiac is a repeating cycle of twelve years, with each year being represented by a different animal. These twelve animals were chosen due to their relevance and cultural importance in China. 2016 is the Year of the Monkey, and people born under this zodiac sign are considered to be cunning and intelligent.

To celebrate the Year of the Monkey, Neocha collaborated with internationally renowned artist James Jean (whose Zugzwang series we previously featured) to create a special edition Beats by Dr. Dre “Year of the Monkey” Solo2 wireless headphones. The collaboration brought to life the traditional story of The Three Wise Monkeys who “see no evil, hear no evil, speak no evil.” The headphones presents the three wise monkeys hidden in an abstract design to show how they would exist in a modern context. The three monkeys are no longer unknowing; they can see it all, hear it all, and say it all in an instant. They are awakened, empowered, and curious.

This project was part of a campaign developed by our creative agency. You can learn more about the campaign here.

中国年以生肖来计每年会有不同的代表动物，十二年循环一次。这十二个生肖动物是因其关联性和在中国文化中的重要性而被精心挑选出来的。2016年是猴年，凡是在猴年出生的人通常都比较灵活聪明。

为了庆祝猴年到来，Neocha与国际知名艺术家James Jean（其Zugzwang系列早先已由我们报道过）携手重塑谚语故事中“三不猴”的“非礼勿视,非礼勿听,非礼勿言”，打造Beats by Dr. Dre猴年特别版Solo 2无线耳机。这款耳机将三只猴子藏匿在抽象的设计中，以此诠释它们在现代语境中的存在。这三只猴子不再被蒙蔽，它们看尽一切，耳闻四方，即刻倾诉。它们更加觉醒，更具力量，也满心好奇。

该项目是本机构为该品牌创作的广告系列中的一部分，想了解该系列广告的更多详情，请点击这里。

A preliminary sketch of the Beats headphones. In this version, the monkeys are still clearly visible and not yet camouflaged in the torrential white flames. / 一幅Beats耳机初期设计稿。在这个版本中，猴子仍是清晰可见而未有隐匿于弥漫的白色烈焰间。

The Five Elements: Metal, Wood, Water, Fire, and Earth all play huge roles in Chinese astrology. Besides this year being the Year of the Monkey, 2016 is also a Fire Phase. James managed to draw inspiration from the concept of fire as well as the rebirthing energy of flames for this collaborative project. This is evident on the headset as the three wise monkeys are shrouded by a flowing torrent of white-hot flames. The Mandala, a sacred Buddhist symbol representing the universe, was also another source of inspiration during the design process. Mandalas consists of an outer ring of fire, which James feels like the headphones are representative of. Beyond the ring of fire is chaos, external elements that this outer ring of fire keeps out. In the center of the Mandala is pure wisdom, a core of enlightenment, which is represented by the mind of the wearer.

金、木、水、火、土五元素在中国的八字五行中也是极其重要的，而2016从生肖年上计为猴年，五行上则属性为火。Jame将此作为灵感以重生之焰的插画元素融入整个设计中，因此耳机上清晰可见三只智猴被笼罩在白色炙热的行云迷焰中。此次耳机外壳设计也融入了神圣的佛教意象曼荼罗来表达人类思想中的宇宙。James觉得这款耳机就象征着曼荼罗，它以外环圈住这团烈焰。烈焰之外是混沌世界，超越烈焰外环的其它元素被隔绝。曼荼罗的中心是纯洁的智慧、启迪的核心，它也象征着思想的携带者。

Four sketches that were produced early in the design phase where James initially considered the possibility of other color ways. / 设计阶段的四个草图中，James最初也考虑了其它配色的可能性。

James’ preliminary sketches reveal other color ways that were considered. Ultimately though, he decided on a neutral colors, and used a matte gray and white palette. He prefers the minimal design and clean colors as they give a sense of pureness and better represent a fresh start to a new year.

James Jean的初期草图展示了前期考虑过的其它配色方式，最终他选择了中性色调，以亚光灰和白色作为最终的设计基调。他表示自己不想用过于繁复的设计，倾向以干净的色调来象征即将来临的新年，一场焕然一新的开始。

 

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As part of the campaign, James also produced a limited edition artprint which he will release later this year. This artwork was created solely on the iPad Pro with an Apple Pencil. James revealed that this was the first time that he has completed a piece of work with a digital stylus. For the finishing touches, he processed it using Photoshop and VSCO filters. As much as he enjoys analog approaches to creating his art, he feels digital software has become a convenient tool for modern artists. He views a digital stylus the same as a traditional paintbrush – they are just tools to create. While tools are important, James stresses that the “creative idea and vision are the most important.”

作为猴年广告的一部分，James也为Apple品牌创作了另一个限量版设计，计划将于今年晚些时候发布。而这次的设计稿完全是他靠一支触控笔在iPad Pro上独立完成，他说这是他第一次用触控笔完成一幅画作。当插画完成后，他将其导入VSCO和Photoshop进行最后润色。同样喜欢传统方式作画的他认为比起传统笔刷，使用数码软件作画已经日益成为当代艺术家更为便捷的创作方式，他打趣说尽管他无法从草图阶段就开始使用数码作画，但至少他还是能用它进行创作的。最后他强调绘画工具对于艺术家来说并不是最重要的，“概念和想象力才是最重要的部分。”

Website: jamesjean.com
Instagram: @jamesjeanart

 

Contributor: David Yen

网站: jamesjean.com
Instagram: @jamesjeanart

 

供稿人：David Yen

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AKA Sam Alive

February 5, 2016 2016年2月5日

Fan Wei Sheng is a 28-year-old Taiwanese photographer that’s more commonly known under the moniker SamAlive. He currently resides in NYC and works as a freelance photographer, having moved there in 2013 from Taiwan. In the last few years, he has amassed over 270,000 followers on Instagram not to mention his popularity on other photo sharing platforms like Flickr and Tumblr. He has also collaborated with numerous brands and companies, ranging from AT&T to Nike, as well as having been featured in publications such as Vogue and designboom.

樊為聖，28岁，攝影師，來自台湾。不過他更經常以SamAlive這個名字出現在大家的視線里。2013年從台灣搬到美國後，Sam便以自由攝影師身份居住在紐約。近年來，不計Flickr、Tumblr等，活躍於攝影社交平台上的他，單在Instagram上積聚的粉絲就已累计超过270,000。從AT&T到Nike，他也曾與諸多品牌和公司合作過；同時，他的作品也被刊登於Vogue, designboom等一眾刊物上。

For Sam, it all started in college where he was studying graphic design at first. His friend lent him a film camera for a darkroom class and he soon became fascinated by the ability of being able to capture everything that was in front of him. His love for photography just snowballed from there.

對Sam來講，這一切均始於他大學時期的平面設計學習。為了上暗房課，他向朋友借了一台膠片相機，之後便深深著迷於用它去捕捉眼前一切事物。從此，他對攝影的熱愛便一發不可收拾。

Sam’s ever growing collection of work showcases a well-balanced mix of stunning portraits, awe-inspiring landscapes, slices of urban life, and more. Despite his very versatile style, Sam confesses nowadays he tends to prefer shooting portraits and landscapes over anything else. But the difficulty of revealing the subtleness of a person’s personality through a single frame has cemented portrait photography as his all-time favorite style. Through the masterful use of light and composition, his portraits manages to capture the complexity of human emotion.

Sam日益增長的作品集有著完美的類別平衡、出色的人物肖像、絕美的風光作品，以及都市生活的點點滴滴。儘管風格多元，他還是更喜歡人像和風景攝影。一直以來，他都最愛人像攝影，並且十分享受於通過簡單一張照片來表現人物性格微妙之處所帶來的挑戰感。在對光影和構圖的應用自如間，他的肖像作品成功地對人物情感的複雜性進行定格。

Later this month, Sam will be hosting a photo exhibition called Adventures in Taipei. It will be held from February 14th to 29th and is open to the public. The exhibit will showcase a collection of his cityscape and landscape photos that embodies the spirit of adventure. It will take viewers into the hectic hustle of New York City before whisking them away into the breathtaking wilderness of the U.S. Northwest. Neocha recently had the chance to speak with Sam about being a creative and all the challenges he’s had to face along the way.

Sam將於本月在台北舉辦名為《Adventures》的攝影展，其對公眾開放時間為2月14日至2月29日。此次展覽將展示他的一組表現歷險精神的城市風光和風景攝影系列，該系列將帶領觀者先一睹紐約的繁華喧囂，再領略美國西北部令人窒息的曠野美景。近期我們和Sam探討了他作為創意人一路所面對的挑戰。

Neocha: When did you get into photography? Can you tell us a bit about your beginnings as a photographer and the journey leading up to the success you’ve had so far?

SamAlive: I first became interested in photography during college when I took a photography course. At the time, I just thought it was neat being able to capture what I see into still frames. I had no goals or any plans on developing a career out of photography, I just wanted to shoot, but soon I started picking up cases for paid work. At the time though, it felt really discouraging because it just felt like every photographer had better equipment, more connections, and more clients than me. My family had their doubts on whether I should really pursue this as a career. To be honest, I even had a strong sense of doubt in myself. I pushed on though. I kept shooting and creating, and slowly but surely, people started noticing my work. That led to me picking up more and more commissioned work. Now I feel extremely fortunate to be where I am today. 

Neocha: 你是什​​麼時候開始對攝影感興趣的？可不可以稍微分享一下你剛踏進這個愛好的時候的一些難關？

SamAlive: 大學時期因為攝影課開始拿起相機拍照，起初只覺得很有趣能夠把眼前所有的東西捕捉成為影像。但是起初並沒有什麼特定的目標，只是隨意的拍，直到開始想成為攝影師接案，但是在人人都有高階相機的情況下，自己的人脈也不如別人，不僅家裡懷疑，連我自已也開始懷疑自己，有沒有辦法讓攝影成為維持生計的工作，但在一直不斷的拍攝，慢慢開始有廠商看到，也陸續開始接到一些商業接案，覺得自己一路上都蠻幸運的。

Neocha: When you were first just gaining an interest in photography before the whole Instagram craze, who were your biggest influences?

SamAlive: I think I started taking photography seriously in 2009. That was the same year I started using Flickr, and I would browse the work of international photographers like Nirrimi, 13thwitness, and Daido Moriyama, just to name a few. They definitely left an impact on me. Some photographers I enjoy their written work as well. I’m interested in hearing their story, and I try to understand their thought process. Photography is more than a job to me – it’s a lifestyle choice.

Neocha: 是在還沒有Instagram之前，你剛開始拍照的時候你對誰或誰的作品對你的影響力最大？

SamAlive: 真正開始認真拍照，我想是從2009年開始，那時開始使用Flickrㄆㄧ，常常瀏覽一些國外的作品並且受到影響，例如 Nirrimi, 13thwitness, Daido Moriyama等等，有的則是已經記不住名字。有些攝影師我喜歡閱讀他們文字書，喜歡去了解他們的故事以及想法，攝影不單單是一個工作，應該是生活自我的一部分，這也是我自己不斷在努力的部分。

Neocha: How would you assess the current state of photography as a profession in Taiwan?

SamAlive: To be honest, the more recent years of my photography career I haven’t been in Taiwan so it is hard for me to assess the current state of it. Based on my previous experiences though, I feel like the market for photography is too small in Taiwan. It’s always the same firms hiring and the same photographers shooting; the competitiveness is way more intense. There’s definitely more restrictions on freedom of creativity for photographers as well. Especially now where everyone has access to high-end cameras, photographers are less respected, people feel like all we do is press a button. I feel like this lack of respect isn’t only towards photographers, but also extends to designers, and artists in general in Taiwan.

Neocha: 你對現在台灣的攝影行業有什麼看法？

SamAlive: 後期因為不在台灣，所以我對真正的生態環境不是很了解。但是就以前的經驗來說，我會覺得因為台灣市場太小，攝影師以及廠商就是特定幾間，所以競爭也會比較激烈，在創作上也可能會較受限制。尤其高階相機的普及化也讓攝影師較不受尊重，認為按一張快門就只是家常便飯，我覺得不只是攝影，在設計、藝術領域也是。

Neocha: What culminated in your decision to move to New York rather than continue staying in Taiwan to pursue photography?

SamAlive: I’m a very spontaneous person, so I really didn’t give it much thought before I just packed my bags and went for it. I guess I was all about the notion of chasing after your dreams while still young. I decided on New York just because it was a place I’ve always wanted to photograph. I wanted to break the routines of daily life, and shoot in a brand new environment, that’s really all there is to it. I’m lucky enough now to be able to stay stateside and do what I love.

Neocha: 你還住在台灣的時候已經累積了很多經驗跟培養了很多客戶，你為什麼會決定搬去美國而不留在台灣繼續發展？

SamAlive: 我是個做事情很衝動的人，所以當初並沒有多想那麼多就選擇來到這裡了，以前聽過不少故事都是在勵志人在年輕時有夢就要去勇於實現，所以我在當初就只是純粹想拍照，想去不一樣的環境待著，就只是這樣而已。現在很慶幸有這個機會留在美國做自己想做的事。

Neocha: In this day and age, when everyone has access to a smartphone or an entry-level DSLR, and is able to publish their work instantly to a huge international audience at the click of a button through numerous social networks. What would you say you do differently to set yourself apart from the countless numbers of photographers nowadays?

SamAlive: Actually, this is something I’ve thought about a lot. In my opinion, it’s a great thing – the more work that is out there, the more you see, and the more you learn. It’s all a learning process to me. In the end, it all still largely depends on hands-on experience to be able to find your own artistic voice. I just used to shoot literally everything, I really didn’t know what I wanted to capture, but the more I experimented and shot, I started to figure out the direction I wanted to head in and developed my own style along the way. Nowadays, I feel like inspirations comes from every corner of my daily life, photography is a big part of my daily routine. I don’t think I will ever stop taking photos, and I feel like my desire to continue improving and creating is insatiable.

Neocha: 現在大家都各各擁有一台相機或者擁有高素質攝影功能的智慧手機。加上網路跟各式各樣的社交平台，每個人都可以立刻分享他們的作品給一個很廣的觀眾。你覺得你是靠什麼方式讓自己和自己的作品與眾不同？

SamAlive: 的確，這個問題我在以前也思考過，但是我個人認為，看得越多吸收得越多，最終也是要靠著不斷的拍攝經驗，才能找到自己的方向。以前的我什麼類型都拍，我自己也不知道到底想拍什麼，但是久而久之拍得越多，我就漸漸知道我想要的是什麼，也找到的自己的風格。靈感能夠從生活周遭的各個角落去找，攝影就是生活的一部份，而且我永遠不會停止拍照，創作慾望一直都是源源不斷。

Website: samalive.co
Facebook: ~/samalivephotography
Flickr: ~/designedwithsam
Instagram: @samalive


Contributor: David Yen

網站: samalive.co
臉書: ~/samalivephotography
Flickr: ~/designedwithsam
Instagram: @samalive


供稿人: David Yen

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iAcrophobia 以审美为基础的改装汽车

February 4, 2016 2016年2月4日

 

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iAcro is a premiere tuner car meet-up and automotive lifestyle organization based in China. It was launched by a group of local car enthusiasts passionate about the culture of car modifications and the aesthetic qualities of altered vehicles. Their name is short for acrophobia, or the fear of heights, and it refers to the lowrider style in which a car’s center of gravity is modified to sit low to the ground. iAcro began organizing car meet-ups in 2010, and has since then became a household name among tuner car lovers in China. Read more below in our interview with a few of these car lovers.

iAcro是一个由中国顶尖姿态汽车玩家（以审美为基础的改装汽车玩家）发起的汽车潮流文化组织。其名字来源于它超低姿态的改装风格，顾名思义为iAcrophobia（恐高症）。自2010年来经过不同种类的线下聚会，iAcro已经成为极致改装品质的代名词，影响波及国内五十万汽车改装文化爱好者。以下有我们对其中一些改车发烧友的采访

Neocha: How did you get into car tuning? What does this lifestyle mean to you?

Ku Dang Lao Ye: I’ve loved cars ever since I was a little kid. Even then, I could tell you the name and model of every single car on the street. Around 2005 or 2006, I started getting into car tuning. It was a way to bring out the beauty of my car, and to customize it to be exactly the way I wanted. The things that I’ll do everyday are eat, sleep, drive, and modify my car. Car tuning is huge part of my life. Compared to my first meet-up, It’s become a lot clearer what I’m doing now. In the beginning, I just thought that it was cool for everybody to come together and talk about our mutual hobby. But now it’s becoming more about developing and advancing the tuner car culture in China.

 

Neocha: 改装车这件事对你来说是什么样的一种存在？你为什么会想到做这件事？

裤裆姥爷：从小我就喜欢车，就叫得出街上所有汽车的型号。2005-2006年我开始玩改装车。改装，可以让我的车变成我希望它变成的样子，诠释出它一步步变成那个最美样子的过程。我每天吃饭、睡觉、玩车、改车，它已经成为我生命中的一部分。从我第一次做改装车聚会到现在，所有的事情都还历历在目。我的初衷只是希望大家一起玩车，交流一些车的事。结果做成现在这个样儿了，我就想通过自己的努力推动一下中国自己的汽车文化。

Lao Jia: It doesn’t matter if it’s a paint job or a small detail. Every aspect of the car needs to be perfect in order for it to be considered a true tuner car. Growing up, I loved cars. My father used to sell clothes, so he would always be traveling around the country on business. He would bring me some Matchbox toy cars whenever he returned home, and loved to sit there, lining them up in different formations and playing with them.

贾戊辰：无论是漆面也好，缝隙也好，一定要达到一个完美的级别，才称得上是改装车。我从小就喜欢汽车。那个时候我父亲从南方往北方倒腾服装，还会给我买很多火柴盒汽车，然后我在家就像阅兵一样坐那儿玩它们。

Xiao Feng: When I was a kid, I was too scared to ride a motorbike, even riding a bicycle was hard for me. One day, I had the opportunity to learn how to drive from an older brother, and I found it to be a lot of fun. After I joined up with iAcro, my car hobby became my profession, which was really cool. Before I used to make money by making music, now I make money by making cars.

郭小峰：小时候摩托车都不敢骑，自行车都骑不明白。一次机会跟一哥哥学开车，突然发现还挺好玩的。后来加入了这个团队。当一个人把自己的爱好变成自己的事业，也是最好的事。之前是音乐，现在是汽车。

Big L: I first got into the tuner car culture around 2008. I was attracted to the cool designs of these modified cars, and I thought that I could really get into this. The last ten minutes before they implemented a new policy to limit the number of cars in Beijing, I bought what was my dream car at the time, a VW Golf. Even before I took that car for routine maintenance, I was already at the modification shop.

王新磊：08年的时候接触改装车，觉得汽车这个很冰冷的工业设计，我能拿出特别多的热情去研究它。我在北京实行指标政策的最后十分钟，买了一辆最接近我那个时候dream car的Golf。首保还没过我就去了改装店。

Neocha: What kinds of difficulties have you come across while organizing iAcro?

Ku Dang Lao Ye: The biggest difficulties we’ve had have come from government bureaucracy. It’s not like we’re doing a bad thing. Our cars are modified to sit low to the ground as an aesthetic choice, they’re inherently against the idea of illegal drag racing, and they also embody a kind of environmental consciousness. I hope that we’ll at least attract the attention of the government, if not their support. Of course, we want to avoid any kind of negative attention. It’s my wish that the government will eventually pass some kind of positive legislation regarding tuner cars, just like they have in place in other countries.

Neocha: iAcro这件事难么？

裤裆姥爷： 我觉得更多的难处是来自政府层面。我们并不是在做一些不利的事情。你看到我们的车改得非常低，都在积极倡导一些像禁止飙车、绿色改装的概念。所以我希望能得到一些政府的关注，哪怕只是关注。当然不是我们聚集很多人的警惕关注。当然我有一个私心，就是希望改装车合法化，像国外那样，给改装车一个立法。

Neocha: What would you say to people who might have a negative understanding of tuner car culture?

Lao Jia: I like sleek and powerful designs. So I hope that more and more people will be attracted to these cool designs and take an interest in our culture, then we can educate them about it in the right way. Modifying cars isn’t a dangerous thing, in fact you could say that modifying cars makes them even safer!

Neocha: 很多人对改装车这个事有误解而避而远之，这也是你们极力想要改变的东西吧？

贾戊辰：我喜欢强有力的设计，希望用这些设计把不了解改装车的人带入到这个里面，慢慢用正确的方式引导他们。改装车不是一个危险的东西。甚至可以说，我改完车以后，它的安全系数都会比原厂还要好！

Ku Dang Lao Ye: Many young people see that what we’re doing is positive and support us, but mainstream society can’t understand how what we’re doing is different from illegal street racing. They think that people who like cars are just spoiled second generation rich kids. What they don’t realize is that the standard, mass produced car models are designed that way to minimize cost. They won’t let you have better brakes or wider tires because that would be too expensive for the company. But maybe we want better brakes, alternatives that makes our car safer, and better performance. China is so big, and there’s so many people, it’s way too hard to hold everybody to the same standard. We’re just a group of people who love cars, and we’re waiting for the day that our culture is better understood by society. That’s what we’re working towards. We’ll persevere!

 

裤裆姥爷：在我们和年轻人的圈子里，大家觉得我们做的还挺好的。但是在老百姓的眼里，改装车就等于飙车，玩车的就是富二代。他们看到的是量产车为了控制成本，不会给你用很大的刹车或者很宽的轮胎。但是我们可能需要更好的制动效果，为了更高的安全。毕竟中国这么大，人这么多，难以统一这些标准和法规。其实我们只是一群爱车的人。我们只能等，等到出太阳那天。大家坚持住！

Website: iacrophobia.net
Facebook: ~/iacrophobia
Instagram: @iacrophobia
Weibo: ~/iacrophobiachina

 

 

Contributor: Gerhan
Videographers: Gerhan, Leon Yan
Photographers: Banny Wang, Gerhan

网站：iacrophobia.net
脸书：~/iacrophobia
Instagram: @iacrophobia
微博：~/iacrophobiachina

 

 

供稿人: Gerhan
视频摄影: Gerhan, Leon Yan
图片摄影: Banny Wang, Gerhan

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Monkeys of Guangzhou

February 3, 2016 2016年2月3日

Recently last month, Chimelong Safari Park in Guangzhou, China documented the more than thirty types of monkeys that reside at their animal park. The stunning studio portraits, all photographed against a clean, white backdrop, show in detail the beauty and breathtaking variety of the many primates that the park care for.

就在上个月，中国广州的长隆野生动物世界对其园内超过30个不同品种的猴子进行了记录。这些令人叹为观止的棚内肖像，全部以纯白色为背景，于其细节中可见园区灵长目动物的美和惊人的多样性。

Chimelong Safari Park’s collection of primates is currently China’s largest. Their Primate Kingdom includes spider monkeys, marmosets, orangutans, macaques, tamarins, baboons, and much more. For the arrival of the Year of the Monkey, the park has specially opened a new Monkey Park, which also boosts a new 10,000 square meter jungle, and plans many activities to celebrate the monkey.

长隆野生动物世界有着中国最多的灵长目动物种类。他们的灵长目动物王国里包括蜘蛛猴、狨猴、猩猩、猕猴、绢猴、狒狒等不止。为了迎接猴年到来，公园特此设立了一个金猴公园，内增一万平方米的丛林，并为猴子们设有各式活动。

Billed as the world’s largest animal theme park, Chimelong Safari Park is home to over 20,000 kinds of rare animals, and the park itself covers more than 1,333,340 square meters. Just in time for the upcoming Year of the Monkey, these portraits of primates reveal to us the vital spirit and beautiful diversity of our distant cousins.

长隆野生动物世界，这间号称全球最大的动物主题公园，是两万多种珍稀动物的家园，而公园本身占地超过1,333,340平方米。正好赶上猴年新年的到来，这些灵长目动物的肖像展示了人类远亲的多元化，呈现出勃勃生机。

The photographer, Wu Xin (also known as “Stone”), was coincidentally also born in the Year of the Monkey and loves monkeys. He has worked as a commercial photographer in the advertising industry in China for more than twenty years, and enjoys shooting animals and food photography most. In this series of portraits, he and the Chimelong Safari Park team have focused on capturing the expressions of the monkeys, allowing the viewer to peer into their souls.

摄影师吴忻，人称“石头”，正巧生于猴年，并热爱猴子。吴忻在中国从事商业、广告摄影已有20余载，最喜欢拍摄动物和美食。在这个肖像系列中，摄影师和长隆野生动物世界团队着重于捕捉猴子们的表情，以便读者一窥它们的灵魂。

For Wu Xin, shooting this series of monkey portraits was a new and interesting experience. He says, “I have never come into such close contact with so many completely different types of monkeys, let alone have the opportunity to shoot their portraits. They all came in so many different shapes and sizes, and had such different personalities.” When asked what the difference was between shooting monkeys and humans, he says that it is actually much easier for him to shoot the portraits of animals. He believes that animals have a simpler heart and soul, which makes it easier for him as a photographer to capture.

对于吴忻来说，拍摄这个猴子肖像系列是个新奇有趣的体验。他说：“我以前从没接触过这么多不同种类的猴子，更别说拍摄它们的肖像了。这些猴子有各种不同外貌、不同体型，性格上也千差万别。”问及拍摄猴子和人物肖像之间的区别时，他说事实上拍摄动物肖像要简单得多。他认为，动物们更单纯的内心让他更容易将其用摄影捕捉。

Which isn’t to say that shooting the portraits of monkeys didn’t also have its own challenges. Since some monkeys are fidgety and like to move around very fast, at times he could only capture what he could at a fast shutter speed of only a few hundredth of a second. Once when shooting a lemur, the monkey jumped directly onto his shoulder, before turning around and obediently returning to its original shooting position. Of all animals, the photographer has always felt closest to the monkey – they are after all our closest relatives in the animal kingdom. He says, “The feeling I get from monkeys is that they are lively, adorable, and very smart creatures. It only stands to reason that the Year of the Monkey will be a lively and exciting year.”

这并不意味着拍摄猴子们的肖像就不存在着挑战。有些猴子坐不住，四处穿梭，有时候他只能用快达几百份之一秒的快门速度尽量捕捉。有一次拍摄狐猴，狐猴直接一跃而上他的肩膀，说时迟那时快，猴子又乖乖回到了它原先所在的拍摄位置。在所有动物中，这位摄影师一直对猴子感觉最为亲近——毕竟在动物王国里它们与我们人类血缘关系最近。他说：“猴子给我的感觉就是活泼、可爱、机敏，所以猴年也一样是有活力和朝气的一年。”

The monkey has enjoyed a significant role in Chinese culture for over 2,000 years. The Monkey King Sun Wukong, for example, is the main character from the 16th century Chinese classical novel, Journey to the West. One of the most beloved characters from Chinese literature, Sun Wukong has supernatural powers that he acquired from Taoist practices. He can run extremely fast, transform into another animals, cast spells, and can travel over 34,000 miles in just one somersault.

猴子在中国文化中扮演特殊角色已超过两千年。中国16世纪的经典名著《西游记》中的主角美猴王孙悟空是为一例。作为中国文学中最受喜爱的角色之一，孙悟空有着从道教中修炼出的超能力。他疾如闪电，能七十二变，他法术过人，一个筋斗便可翻到十万八千里开外。

Monkeys have even influenced ancient Chinese martial arts. Monkey Kung Fu is a form of martial arts that incorporates the movements of monkeys and apes into some of its techniques. One variation of Monkey Kung Fu was developed near the end of the Qing dynasty in Northern China, when a legendary fighter named Kou Si studied the movements and mannerisms of monkeys, combining them with his own Di Tang style of fighting. He later called the style Da Sheng Men in honor of the Monkey King Sun Wukong.

猴子甚至影响了古代中国的武术。猴拳是一种出招技巧中吸收了猿猴动作的武术招式。猴拳始于清朝末年的中国北方，彼时寇四研习猴子的习性和动作，并将其与他自己的地躺拳融合。随后，他将这种拳式命名为“大圣门”，以此向猴王孙悟空致敬。

The monkey also is the ninth of twelve animals in the Chinese zodiac, and people who are born under this sign are characterized by and known for their playfulness, mischievousness, and intellectual curiosity. Monkeys are also believed to be fond of practical jokes, and are quick-witted and sociable creatures. However, some of their negative traits include being stubborn, manipulative, and deceptive; they are believed also to have a tendency to be pranksters and opportunists.

猴子在中国十二生肖中位排第九，属猴人被认为是精力充沛，活泼好动，生性好奇。猴子被认为是调皮捣蛋、机智敏捷、喜好群居的物种。然而它们也一些负面特点，包括性情顽固、玩弄心机、轻浮难测。它们也被认为恶作剧者和投机主义者。

Chinese Lunar New Year, which is based on the Chinese lunar calendar and not on the Gregorian calendar, starts this year on February 8. Also known as the Spring Festival, which is its direct translation from its Chinese name “春节”, celebrations traditionally start from the evening preceding the first day, and will last until the Lantern Festival. Chinese New Year is a major holiday for the Chinese and is an important occasion for Chinese families to come together for their annual reunion dinner. Families also traditionally use this time to clean the house, to sweep away ill fortune, and to make way for incoming good luck from the upcoming new year.

中国农历新年，也叫春节，是基于中国农历而非公历。今年的农历新年从2月8号开始。春节通常从农历新年第一天的前一晚开始庆祝，直至元宵节。中国农历新年是华人的重大节日，是华人家庭进行一年一度团聚围炉的重要时刻。传统上，华人家庭也会借此时机进行年终大扫除，称为“扫尘”或“掸尘”，是以辞旧迎新！

We at Neocha would like to take this opportunity to wish all of our readers a very happy Year of the Monkey. May your new year be full of prosperity and good luck!

Neocha借机在此祝福我们的广大读者猴年快乐，新的一年里吉祥如意！

Website: int.chimelong.com

 

Contributors: Leon Yan, David Yen
Photographer: Wu Xin
Images Courtesy of Chimelong Safari Park

网站: int.chimelong.com

 

供稿人: Leon Yan, David Yen
摄影师: 吴忻
图片由长隆野生动物世界提供

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