Monthly Archives: January 2023

Functional Necessities 要速度，不失风度

January 25, 2023 2023年1月25日

This cyclist casquette has muave, green and black panels with matching multi-colored stitching and reflective 3M fabric lining the bottom of the brim. If you flip the the cap inside out, it’s a new and entirely reflective piece, with angular black stitching that resembles a heartbeat ECG. The piece comes from Manila’s Fortune WWD brand’s recent drop and is characteristic of their style. It’s useful, modular, has unique fabrics, and explores an explicit type of functional wear. It’s also a result of listening to their community: “We had a lot of friends asking for cycling stuff, so we wanted to cater to them,” says Isai Araneta, Fortune’s art director.

这是一款可双面佩戴的骑行帽，由淡紫、绿色和黑色镶片拼接，帽檐底部饰有多色缝线和反光 3M 织物；翻转另一面，则是全反光材质，饰以棱角分明的黑色缝线，图案像是心电图。这款帽子来自马尼拉本土品牌 Fortune WWD 推出的最新系列，出色地诠释了品牌特色——追求实用、模块化设计。品牌对服装的功能性拥有独到探索，每件服饰均采用独特面料设计。此次系列的设计参考了自骑行圈内朋友的意见，Fortune WWD 艺术总监 Isai Araneta 说：“身边很多朋友都从事骑行相关的运动，所以这次我们想满足他们的期愿。”

The whole season revolves around cycling, including a bike frame bag that’s convertible to a messenger bag, a high-visibility modular hoodie, matching shorts and more. During the pandemic lockdowns, public transit in the Philippines was either totally halted or largely restricted, and it took at least a year before it was back at full capacity. During this time cycling exploded, with bike imports doubling and 310 miles of bike lines being created in less than a year. The appeal stuck and cycling remains wildly popular. As a brand that meditates on what different work wear or military wear themes might look like from a new perspective, it just made sense for Fortune to try their hand at cycling as well.

该系列围绕自行车这项运动为主题，包括一款可变为邮差包的自行车车架包、荧光色模块化连帽衫以及同色系短裤等等。大疫情封锁期间，菲律宾的公共交通要么完全瘫痪，要么很大程度上停摆，经过一年多时间才能恢复正常运行。而在此期间，自行车运动呈爆炸式增长，在不到一年的时间里，自行车进口量翻了一番，当地还新建了500公里的自行车道。结束封锁后，这股热潮丝毫未见消退，自行车运动仍广受欢迎。作为喜欢挖掘新角度重新解构工装和军装的品牌，Fortune WWD 自然也不会错过对骑行服饰的演绎。

Fortune Wonder Works Division launched in 2019 with their factory and offices inside a residential home tucked away off the Quezon Ave throughway. It was founded by Paulo Martinez, the main designer who leads the clothing direction, Aren Pe, who takes care of production and back end stuff, and Araneta. Pe and Martinez had worked together since 2012 and previously had two streetwear brands. They talked about Fortune for years before launching. “It’s something we’ve always wanted to do, but it’s hard coming from Manila because it hasn’t really been done here,” Pe reflects. They needed to learn production and budgeting, and they didn’t even know if a market existed for it yet. Finding factories was a challenge because their clothing was too specialized and required huge minimums. “There were lots of question marks in the beginning that we had to figure out to make sure we did it right.”

Fortune WWD 工作室位于奎松大道旁的一间住宅楼内。品牌创始人包括首席设计师 Paulo Martinez、负责生产和后台运营工作的 Aren Pe 以及上述提及的艺术总监 Isai。早在 2012 年，Paulo 和 Aren 就开始合作，曾推出过两个街头服饰品牌。在正式创立 Fortune WWD 之前，他们已经有了很多关于该品牌的构想。“这是我们一直想做的事情，但在马尼拉，这种品牌并不容易，类似的设计思路从未有人尝试，”Aren 说道。为此他们做过大量调研，但依然对市场的走向模棱两可。找工厂是又一个难题，他们的服装太过小众，而工厂的起订量通常都较高，“开始会遇到很多问题，我们要想办法弄清楚，以确保不会出错。”  

The factory they worked with on their previous brands, which specialized in bespoke selvedge denim, helped guide them and had a lot of vintage equipment like Union Special sewing machines. When it closed at the beginning of the pandemic, Fortune took over and kept most of the sewers on board. “They’ve been working in the field for a decade, so we’ve learned a lot from them,” Arenata says. “We develop ideas directly with them. A lot of our ideas wouldn’t have been possible without their guidance”

“We always worked along the lines of making the impossible, possible,” she says of their driving inspiration. They strive to invent new ways of wearing clothes and how to make them more useful. The best example of this is probably their clothing that can be worn backwards and forward. The “no front no back” pieces began as an experiment, just an attempt to see how far they could push things. Martinez, who doesn’t like to work in the office, was out at a park and noticed a bench that everyone used differently and decided to apply the concept to clothing.

他们从之前品牌合作过的丹宁工厂那里听取建议。疫情爆发后，工厂关闭，Fortune WWD 接管了工厂，包括当中许多老式设备，比如 Union Special 品牌的缝纫机，并留下工厂原配的许多缝纫工。Isai 说：“工人们从事缝纫领域十多年，我们从他们身上学到了很多东西。我们偶尔还会和工人们一起讨论开发和设计。如果没有他们的指导，品牌的很多想法都不可能实现。”

谈到品牌的创作灵感时，Isai 聊道：“我们往往希望可以把大众难以想象到的两种功能性结合在一起。”这些年，他们一直努力开发新的衣着方式，旨在提升服装的功能性，最明显的例子便是他们的许多衣服都可以两面穿，或是一衣多用。这种 “无正反面之分”（no front no back）的想法最初源于他们打破常规的一次尝试。Paulo 不喜欢坐办公室，有次在公园，他注意到每个人都会以不同的方式来使用公园长椅，并决定将这个概念应用于服装。

“The design challenge is part of the appeal, especially for Paulo,” Areneta says, referring to Fortune’s modular, reversible, and NFNB pieces. “We’re highlighting the technical skill of design but it’s still normal streetwear to us. He wants to invent new things and showed us that clothing can be something new entirely.” 

Often, an idea is inspired by a fabric they find. Fortune comes across something that looks good or has a story—like it’s not available anymore—and they’ll design clothing around it. Their waffle pieces, which use a fabric resembling a honeycomb, are some of their most popular items and were designed around the fabric. “We hoarded quite a bit of it because it’s not widely used, and then we were like, ‘OK, what do we do with it?’ Now it’s a signature look for the brand,” Pe says. (They also design pieces and seek out fabrics that fit the theme as well.)

“设计本身的挑战就是其魅力之一，特别是对 Paulo来说。”Isai 谈到，“虽然我们强调服装的机能性，但对我们来说，这仍然是普通的街头服饰，同时需要兼备新鲜元素。”

与此同时，面料也为品牌注入灵感。当团队发现一些看起来不错或是有故事的面料（比如已经停产、或是用于特定服饰的面料），就会围绕这种面料燃起兴趣。他们用华夫格面料打造的服装是品牌最受欢迎的作品之一，并围绕这一面料设计了一系列作品。“当时仓库囤了很多这种面料，如今已很少有人在用。现在，这种面料已经成为我们品牌的标志元素之一，”Aren说道。

Sometimes, Fortune will buy the last roll and then try to figure out how to use it most efficiently. This is where their patchwork styling comes from. But they treat all of their fabrics this way, using all of their scraps to avoid waste. “We don’t consider ourselves a sustainable brand but make clothing that won’t be easily thrown away. We make things of quality because we want it to last,” Pe says. The multiple functions of their pieces also means a wearer gets extended use out of each item. “We want people to use our clothes regularly, so if they’re really useful and people can use them in different ways, you get more wear and value out of them,” adds Araneta.

运气好的话，Fortune WWD 团队能买到极为稀缺的面料，这时候，他们通常会绞尽脑汁去思考如何将其利用最大化。而这也是他们拼接风格的根基。品牌以这种方式来利用手头的所有原料，杜绝浪费。

“我们不认为自己是一个倡导可持续发展的品牌，但我们也不想生产一些轻易就被丢弃的服装。我们希望制造高质量的衣服，是你衣柜里可以穿很久的衣服。”Aren 说道。当品牌主打的多功能设计逐渐显现，意味着能为穿戴者提供更为丰富的使用场景，“通过实用的功能设计，服装能带来的远比人们想象的更多。方便与实用会自然而然地注入进我们的生活，”Isai 补充道。

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Instagram: @fortunewwd

 

Contributor: Mike Steyels
Chinese Translation: Olivia Li

喜欢我们的故事？欢迎关注我们 Neocha 的微博与微信。

 

Instagram: @fortunewwd

 

供稿人: Mike Steyels
英译中: Olivia Li

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Unorthodox Means 设计无止境

January 18, 2023 2023年1月18日

Tran Hien drops his bags on the ground and gets right to work on a big creative campaign. Days before, the 23-year-old designer had graduated college and moved out of his family’s home in Saigon to go to Hanoi and work with the Antiantiart collective. Although he graduated from one of the top schools in Vietnam, he was studying chemical and food engineering, not design. In fact, he’s only been creating graphic design for a year, having taught himself during the pandemic on the side while he studied. And now, here he is, working with one of Vietnam’s top creative teams, leaving engineering behind him for an entirely new path in life. 

Tran Hien 放下行李，便马不停蹄地投入到大型创意广告工作中。几天前，这位 23 岁的设计师刚从大学毕业，离开他西贡的家搬到河内，加入 Antiantiart 设计团队工作。此前，他就读于化学与食品工程专业，但毕业后他并未选择本行，而是转投设计行业。事实上，从他接触平面设计开始，也不过只有一年时间。疫情期间，他一边完成学业，一边自学平面设计。如今，他已是越南顶级创意团队成员，踏上一条全新的人生旅途。

When in-person classes were canceled last year and Hien was doing most of his school work online, he decided to try out design since he was online all day anyway and bored with engineering. “I didn’t know what I wanted to do exactly, but I knew I wanted to create something beautiful; something cool and crazy,” he says. 

He got into design through a vlogging hobby. To make his uploads more appealing, he needed better looking thumbnails. After learning the design basics to create them, he stuck with design and moved on from vlogs. About half a year ago he started to combine analog techniques to his work with some advice from other artists online who would trade techniques with him. These designs caught the attention of Antiantiart founder Phương Vũ, who reached out to him and asked for help on a lookbook for their Nirvana streetwear brand. Once Hien graduated, he was brought on full-time.

去年，线下授课被取消，Tran 的大部分课程都转到网上。枯燥的工程学课程之余，他打算尝试一下设计，“我并不知道自己到底想做什么，但我想做一些好看的作品，一些很酷和疯狂的设计。”

最早引起他对设计兴趣的其实是视频。为了让自己的视频作品在流媒体上获得更好的点击率，他决定亲自制作好看的平面头图。紧接着，他深入学习平面设计，在视频创作的基础上不断拓展。大约半年前，他开始在作品中融入模拟技术元素，与同行和前辈进行交流，获得了不少建议。他的作品很快在网络引起了 Antiantiart 创始人 Phương Vũ 的注意，后者联系了他，并邀请他为街头服饰品牌 Nirvana 创作产品型录。毕业后，Tran 以全职身份加入该团队。

His learning curve had always been steep, and he challenged himself to learn a new technique every day, usually through YouTube tutorials, because he knew that he had to make up for the lost time to compete with the other Viet designers with years of experience ahead of him. Now, there’s even more to learn. In the office, situated above the new Nirvana shop, he works alongside six other designers, but he’s never worked on a team before. So he’s learning workflow while simultaneously learning animation and 3D design—all while producing new work with the team.

他对学习的热情一向很高，经常翻看油管视频教程，挑战每天学习一项新的设计技巧。他深知，想要与其他拥有多年经验的设计师竞争，他必须弥补失去的时间。除此之外，他要学的东西还有很多。他以前从未与团队协作，而现在，他要和其他六位设计师一同进行创作。因而，他要一边熟悉工作流程，一边学习动画和 3D 设计，同时为团队输出作品。

Hien’s aesthetic is punk rock, full of ripped edges, stains and rough textures. The colors he uses are vibrant but restrained, limited to just a couple per piece so that they jump out of the frame, and they often bleed together in interesting and unique ways. “I print out the digital images and add texture with water or chemicals like acetone, and I cut and paste it to show layers,” he says, adding that his mixed-media style is a little over half digital. “You have to combine a lot of stuff to make it interesting.”

Tran 的美学偏朋克风，拥有撕裂边缘、斑点印痕和粗糙、原始的质感，配色则在热烈与内敛之间周旋，每幅作品通常以两种颜色为主要配色，同时以有趣和独特的方式进行混合，他说道：“我会先打印出图片，然后用水或丙酮等化学物质添加纹理效果，然后再回到电脑上，打造出丰富的层次感，”他认为当代观众对视觉越来越挑剔，因此，“你必须结合丰富的元素，才能呈现出有趣的画面。”

For Antiantiart’s latest campaign, Hien took his graphic style and animated it with a stop-motion technique. He created about 200 frames so that the images would move, vibrate, and bounce across the screen in combination with all the other elements that the team created. It equaled about 20 frames per second, while he was used to creating just a few or even one image at a time when working on his own projects previously. The sheer amount of work he’s had to produce is a very new experience. “It’s a lot of pressure. I have to update my skills on a daily basis because of all the different projects,” he says. “But the team helps me a lot, and they offer really useful advice. I watch them work and combine what I see with my own flow and style.”

在 Antiantiart 的最新接手的广告设计中，Tran 利用定格动画技术，将他的平面设计风格动画化，他一共制作了大约 200 帧，结合团队创作的其他元素，以在屏幕上实现移动、振动和弹跳的效果。最终的作品相当于每秒大约 20 帧，而他以前的个人项目通常每次只需要创作寥寥几张平面图而已。如此庞大的工作量对他来说也是一种全新的尝试。“压力很大。因为要同时应付各种不同的项目，我几乎每天都要更新自己的技能，”他说道，“但团队给了我很多帮助，也会给我一些非常有用的建议。我会观察他们如何工作，然后将我所看到的与自己的流程和风格相结合。”

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Instagram: @t.hien014

 

Contributor: Mike Steyels
Chinese Translation: Olivia Li

喜欢我们的故事？欢迎关注我们 Neocha 的微博与微信。

 

Instagram: @t.hien014

 

供稿人: Mike Steyels
英译中: Olivia Li

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Deep Baby Sleep Realm 汤圆殿下的助眠频率

January 11, 2023 2023年1月11日

Right after receiving this brand new album of Li Daiguo, I played the first song and felt like there’s a beam of light blooming over my head. A soft fire was being pulled when the wind was blowing in my heart.

Although Li Daiguo got a start of classical music from a child, by learning cello and piano, and had learned erhu and pipa in adolescence, but afterwards he came into contact with more regional music, like Finnish folk music, Karnatic music of South India and the mbira in Zimbabwe. The instruments he has played are also hard to count out. He usually uses them to jam, especially pipa, cello, guzheng, bawu and piano. He prefers the vibration of acoustic instruments. Several years earlier, Li Daiguo remolded the prepared piano to make it almost become a synthesizer. The mechanical resonance of acoustic instruments is strong, long and detailed. It’s so sensitive to the dynamics that it has been able to have daydreams inside. 

 

Listen to select tracks below:

刚收到李带菓（Li Daiguo）这张新专辑的时候，打开第一首曲子，仿佛，我头顶绽开一束明亮。是一团文火，在心里吹起了风，被牵引着。

李带菓虽自幼从西方古典音乐入门，学习大提琴、钢琴，少年时又习得二胡、琵琶，但到后来接触了更多的地域性音乐，像芬兰民间音乐、南印度卡纳迪克音乐、津巴布韦的安比拉琴。他玩儿过的器乐也是不胜枚举，常常拿它们来即兴，尤其是琵琶、大提琴、古筝、巴乌和钢琴。他偏爱原声器乐的振动，早在前几年，李带菓就用预制钢琴加料的方法，几乎让它变成一个合成器，原声机械的共鸣很大且细节冗长而丰富，对每个力度又很敏感，已经可以在里面做切片的白日梦。

 

点击即可试听 :

Pilgrimage To The Realm Of Deep Baby Sleep, cover art 《汤圆殿下的助眠频率》专辑封面
Pilgrimage To The Realm Of Deep Baby Sleep, album cover 《汤圆殿下的助眠频率》唱片封面

But this time, Li Daiguo simply lets you put down yourself, putting you to sleep.

His new album was named sincerely and directly, pilgrimage to the realm of deep baby sleep, which is called the frequency that help his highness glutinous rice balls in Chinese. His highness glutinous rice balls is his baby. As a wish that a father gives to his baby, we simply borrow the halo to look back upon the blank of childhood.

而这次，李带菓索性让你踏踏实实的安放下自己，催你入眠。

他的新专辑名字就取的真诚直接，叫做 “Pilgrimage To The Realm Of Deep Baby Sleep”，中文翻译为《汤圆殿下的助眠频率》。“汤圆殿下”是他的小孩，作为父亲给到孩子的期许，我们便也借着这抹光环回溯下幼年的留白。

Li Daiguo and his child 李带菓和他的孩子
Li Daiguo and his child 李带菓和他的孩子
Li Daiguo‘s baby 李带菓的孩子

In the second song, i heard shake and daze hidden in the notes, and the soft fire before climbed up to the tip of the candle. Go to the third song, although it’s unable to measure the temperature of the song, it was heard like cooling down, humidity rising, fogging, things flickering, it finally came to your hand but teased you for half a day. Look at the title of the song, it was called “stop pretending your eyelids aren’t heavy.” When it came to the fourth song, it suddenly became flat again, like waiting for you in the distance.

And then the fifth, the shining star floating up, the clouds fluttering away, the reflection of the pool below, somebody treading water, how rich the gradation is!

Juts in this way, keep listening. Sometimes there were singing bowls joining in.

Listen to the next few songs, it already felt like sometimes i drill into the wave of a note, talking to myself, sometimes walked a long way alone. But till the end, everything only turned into a few minute bubbles.

在专辑的第二首里，我听到音符里面藏着抖动、恍惚，先前的那团文火燃到了蜡烛尖儿上。到第三首，曲子本身虽无法丈量温度，但听觉上能感觉降温了，空间湿度上升，起雾，见东西也是忽隐忽现的，它终于到你手边了，也还是逗你半日。一看曲名，叫《不要假装不困》（Stop Pretending Your Eyelids Aren’t Heavy）。

到第四首，又豁然平坦起来，彷佛在远处等着你。接着第五首，有浮起闪亮星星，又有云飘过。底下有水潭子的倒影。有谁在踩水。空间层次丰富。

就这样，继续听着。时有钵的共振加入。

听到后几首，已然觉着自己时而钻入一个音的波，跟自己对话，时而独行漫漫长路，而到最后，不过都化作了一些小气泡。可能也都是汤圆殿下梦里的小气泡。或者如第七首说的，“睡眠是另一个毛茸茸的子宫。”

I look out of the window, night like the dark sea, distant windows shining like some floating ships. When ill, there are always different visions. Some wet and endless sour ooze out of the joint gap, like fogging. Fogging exactly, Li Daiguo said this album was fog, too. I listened slowly again. See, you’re allowed to spread your body inside peacefully, rippling away slowly, like tearing off a space without any reason, to breathe. 

You poke your head out and look around the outside world. Everyone is always seeking medical advice all around, closing themselves off. The capital is good at selling fetter, making you feel the square brick always lack of a corner. At that time, music sells soft melting bone. When necessary right now, we may as well try to message our minds softly. Medicine and music are originally homology, in traditional Chinese character, “music” is only missing some “grass”, comparing with ”medicine”. Music is always a medicine that not only good but also not bitter. When mind gets clear and bright, body would be more comfortable naturally. Choosing the right frequency at the right time is generating resonance with life.

我扭头看向夜的窗外，像是在暗的海上，远处的窗户星星点点又像是另一些浮船。虚弱的时候，总有不同的幻像。关节缝隙里渗出一些酸，潮湿的，延绵不尽的，像是起雾了。起雾了，李带果说，这张专辑也是雾，我又再缓缓听，你瞧，你可以被允许在里面平静的铺开身体，慢慢的荡漾开去，仿佛平白无故的撕开一个空间，得以喘息。

你探出脑袋张望下外面的世界。大家总是在四处寻医问药、各自为茧，资本擅长贩卖紧箍咒，让你觉着四方积木永远缺只角。彼时的音乐贩卖化骨绵，在这种必要时候，我们不妨试试轻柔的按摩自己的心神，音、药本同源，繁体字里“樂”比“藥”仅少了些草。乐，从来是剂良药，良药也不苦口，心神明澈了，身体自然要好过许多。在合适的时候选择合适的频率，是与生命体本身产生共振。

This hypnotic album of Li Daiguo builds many accesses and fragments with possibility in the note space, by different tone of piano. It’s allowed to empty yourself or fill it with imagination. Every note has its unique shape and texture that you can assemble them freely. Probably ever time you listen, you could find a different side, and every side would be a circle, pulling you feel yourself deeply. Even if facing a wall, you can go to a long journey. Between breaths, the journey is completed. Like sleeping.

It has deep strain. You feel like you are not the object of being told any more, which brings you some comfort temporarily. With no beginning, with no end, the presentation of meaning is not important any more. “snuggling” is a state of mind.

The album Pilgrimage To The Realm Of Deep Baby Sleep is currently only available on overseas platforms as Apple Music and Spotify. Domestic streaming media has not yet been officially released. Support the physical vinyl records please click the link.

李带菓的这张助眠专辑，借由钢琴给到的不同音色，在音的空间里搭建了很多通道和可能性的片段，你可以置空，也可以往里面填想象，都充分被允许。每个音节都是不同的形状、质感，你都能自由组装。应该你每一次听，都会找到不同的面向，而所有会面都是圆，牵引你深入自己的全息。即便面壁时，亦能远行。一呼一吸间，归去来兮。如同睡眠。

ta 有着很深的张力。你感觉自己并不是被讲述的对象，这带来了一时的宽慰。没有开端，没有结束，意义的表象不再重要。“依偎”是一种精神状态。所以，来“睡”这张专辑。

专辑《汤圆殿下的助眠频率》（Pilgrimage To The Realm Of Deep Baby Sleep）目前仅在海外平台 Apple Music 和 Spotify上架，国内流媒体尚未正式发行，支持实体黑胶唱片，请戳购买链接。

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Instagram: @Li Daiguo

 

Contributor: Chan Qu
English Translation: Zou Zhuoheng
Images in courtesy of Li Daiguo

喜欢我们的故事？欢迎关注我们 Neocha 的微博与微信。

 

Instagram: @Li Daiguo

 

供稿人: Chan Qu
中译英: Zou Zhuoheng
图片由李带菓本人提供

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Unraveling the Enigma 天地万物

January 4, 2023 2023年1月4日

There’s more to the universe than what we can see and touch, and our senses can’t understand the vastness of space and time. Napanant Rangsrithummakhun revels in these unknowns. The Thai artist seeks to give form to these mysteries with paintings that blur the lines between the here and now, between life and death. “Our knowledge and education are not enough to understand the things our senses can’t define,” he says. “We can’t touch love or hate, but our bodies and souls give them shape. They’re definitely real. What else could take shape from our bodies?”

宇宙不只是人们所能看见和触摸到的世界，时空的浩瀚远远超出了我们感官的认知和理解。泰国艺术家 Napanant Rangsrithummakhun 沉迷于探索这些未知领域，试图用绘画来模糊时空与生死的界限，将这奥秘具象化。“人类现存的知识和教育储备不足以去理解我们感官无法定义的事物，”他说道，“我们不能触摸爱或恨，但可以透过身体和灵魂使其具象化，它们是真实的存在。那么单从我们的身体角度出发，能将哪些模糊的概念具像化呢？”

Rangsrithummakhun was born and raised in Bangkok. He used to paint pop art up until a few years ago, when he found himself all alone in a new home listening to an audiobook about how life and death are part of the same storyline. Fascinated by the concept, he started exploring the themes on a deeper level, reading books and watching movies with a similar philosophy. This included research on the Egyptians, which would become the foundation of his current style.

Napanant 在曼谷出生长大，此前一直从事波普风格绘画，直到几年前的一天，他独自一人在家收听有声读物，其中探讨了生与死的部分，引起了他对这个概念的着迷，并决定深入探索。他翻阅相关书籍，观看此类概念的影片，其中包括对埃及人的研究，也由此奠定了他当前作品风格的基础。

His work now draws on Egyptian theology and art. He contrasts deep, dusky blues with regal golds on canvas in layers of sleek and smooth paint that float on rough textures, with shelves of consciousness and content. Faces and bodies are stacked on top of each other like pages from a book, overlapping at the eye or mouth and cut into jagged edges that resemble cliffs over expansive skies. One area of the painting may be crisp as a clear day, while another is bathed in Martian-red hues or blurred in a semi-opaque fashion. Heads float weightlessly and eyes are cut out to expose the world beyond. Other characters’ eyes bulge with their skin restricting tightly as if they were embalmed.

创作中，Napanant 借鉴古埃及神学和艺术风格，将深沉的暗蓝色与尊贵的金色调和在一起，形成飘逸、神秘的色域，漂浮于粗糙纹理之上，如同层层模糊、抽象的意识。人的面孔与躯体，则如同薄纱一般堆叠在一起，变幻莫测的透视法又为作品增添不少神秘。画面上阴阳对照，或披上火红色调，或如氤氲弥漫，模糊不清。失重的头颅漂浮空中、镂空的眼球好似迷离。这样的处理方式，让人体看起来不再像是人体，而是浩瀚天空下的自然奇观或是古老的建筑物。

Rangsrithummakhun is captivated by Egyptian frescoes and hieroglyph reliefs. The way they discuss the afterlife and lay down a path for our current life, all within elegant but simplified artwork. The fact that they were so advanced in such an ancient time. He sees it as mysterious and insightful at the same time.

Napanant 对埃及壁画和象形文字浮雕很感兴趣。这些简洁而优雅的艺术品，浓缩了古代文明对来世的讨论，尝试启示现今人类的生活方式。在他看来，那个古老时代虽很遥远，但人们却拥有先进的思想，既神秘又很有见地。

While his work was never intended to be Thai in theme or style, Rangsrithummakhun feels it really is somehow. “I can’t really explain why though,” he says. When it comes to Buddhism, there is some clear overlap. “In Buddhism, our life is only an illusion. We’re stuck in the present time, unable to return to the past or move forward into the future until we complete certain tasks. We’re all connected by karma.”

Napanant 从未刻意追求作品中的泰式风格，但他认为也无法避免一些潜移默化的影响。仔细观看他的作品，不难发现一些与佛教文化重叠的印记，他说道：“佛教认为，我们的生活只是一种幻觉。我们被困在当下，无法回到过去或前进到未来，除非我们这辈子只是完成一些轮回往复的任务，所有人都陷在这轮回之中。”

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Instagram: @glertae

 

Contributor: Mike Steyels
Chinese Translation: Olivia Li

喜欢我们的故事？欢迎关注我们 Neocha 的微博与微信。

 

Instagram: @glertae

 

供稿人: Mike Steyels
英译中: Olivia Li

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