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Taclob Carries Its Weight 一家贩卖理想的公司

September 4, 2018 2018年9月4日

The Philippines is at the top of many lists: It’s one of the largest producers of plastic waste in the ocean, its capital is one of the cities most severely threatened by climate change in Southeast Asia, and in 2013 it took the record—still unbroken—for the world’s longest blackout. Of course, it takes government planning and international action to address these issues, but people can always start at home by changing how they consume personally. Use less, recycle more, buy locally. It’s a motto that should be a part of everyday decisions.

One company that takes this sort of philosophy to heart is Taclob, a Mandaluyong-based backpack maker. The business employs disaster survivors and disabled individuals to create stylish, upcycled bags made from repurposed vintage clothing.


菲律宾在很多排行榜上都是名列前茅:产生了最多海洋塑料废料的国家之一首都城市是东南亚地区受到气候变化威胁最严重的城市之一。2013 年,菲律宾还发生过世界上时间最长的一次停电,这个记录仍然未被打破。当然,这些问题的解决需要政府规划和国际行动的共同努力,但人们也可以通过改变自己消费习惯,从自身做起。消耗更少,回收更多,坚持本地消费——把这几点变成日常决策的原则。

Taclob 正是以此为核心理念的一家公司。这家位于菲律宾曼达卢永(Mandaluyong)的手袋品牌雇用灾难幸存者和残疾人为员工,重新设计回收而来的废旧衣物,制作出时尚的手袋。

Taclob got its start in the southeastern city of Tacloban in the aftermath of Typhoon Haiyan in 2013. Founder Jourdan Sebastian witnessed the destruction firsthand through his involvement with Operation Airdrop, which used crowdfunding to deliver relief goods via helicopters and airplanes. He personally joined on some of those flights, and seeing the scale of devastation from above was a sobering experience. The typhoon had wiped out the entire city.

“It’s was like Transformers-type destruction,” he recalls, struggling to find words to describe what he saw.


在 2013 年台风海燕过后的东南部城市塔克洛本(Tacloban),Taclob 创立了。台风期间,创始人 Jourdan Sebastian 加入 Operation Airdrop,通过众筹利用直升机和飞机运送救灾物资,他参与了其中几次的飞行,亲眼目睹了这次台风所造成的灾难性后果。这次的台风彻底摧毁了整个城市,也警醒了 Jourdan。

“整座城市简直满目疮痍。”他回忆道,努力思索词语来形容他所目睹的灾难。

“When I went down and talked to the people, they thanked me for the goods and relief and money, but asked for help finding jobs,” Sebastian says. So he brought in a bagmaker who designed their first bag, the Compassion, and they trained local survivors to make bags and brought in equipment for them to do so.


“当我下飞机和人们交谈时,他们除了感谢我们带来的物资、救济和捐款之外,还希望我们能帮助他们找工作。”Jourdan 回忆道。为此,他找到一位手袋工匠,设计了他们的第一款手袋“Compassion”(意为怜悯、同情),同时训练当地幸存者制作手袋,为他们提供设备进行生产。

The Compassion bag was made from tarpaulin with a denim lining. “Disaster response creates a lot of garbage,” he says, explaining how he came upon the process of upcycling. “People give relief goods that are useless. One big container was full of winter clothes, wedding dresses, jeans that were too big for Filipinos. People don’t really put much thought into it, it’s like cleaning house for them. A lot of containers were just pure garbage. Since I couldn’t bring in materials because it was a broken city, I thought we should just use these materials. We went around to the survivors and were buying this stuff off them, which created added income.”


这款 Compassion 手袋采用防水布和丹宁布内衬制成。“救援活动也会带来垃圾。”Jourdan 讲述了他们开始升级回收的过程,“许多带来的救援物品都是没用的,譬如一大堆冬天的衣服、婚纱和牛仔裤,而且这些衣物的尺寸是对菲律宾人来说太大了。人们在捐助的时候未能认真思考一下,感觉他们更像是在清掉家里不需要的东西一样。很多运来的物资只是纯粹的垃圾。这已经是一座支离破碎的城市,我也没办法把物资再运进来,于是,我们就想不如就好好利用这些捐来的物料。我们找到幸存者,从他们那里买来这些物料,这样他们还能创造额外的收入。”

The facility ran for three years, until the city started to recover and their rent doubled. Sebastian was forced to shut production down, although he left behind their industrial sewing machines for the local bag makers.


工厂运行了三年,这座城市开始恢复,他们的租金涨了一倍。Jourdan 被迫关闭了工厂,但留下了工厂里的缝纫机给当地的手袋工匠使用。

He brought one of the Tacloban bag makers, Jimalyn Comandante, back to Manila, where they opened a new studio in a space owned by Sebastian’s mother-in-law. It’s a nondescript second-story loft with a big window overlooking a commercial strip full of small eateries. The entrance is in the back, which also leads to a motel-style apartment complex.

I met Comandante inside the workshop, a space filled with Taclob bags and a line of sewing machines. Before the storm hit, she worked at a factory in Tacloban making sports bags, and with her know-how, she was brought on board to train the hired survivors.  “I was homeless from the typhoon when I first met Sir Jourdan, she says.

Now she lives behind the Mandaluyong studio in Manila with her husband and daughter, and is currently the company’s sole full-time employee. “I built this around Jimalyn,” Sebastian says. “We take corporate orders too, making bags for NGOs. She trained three hearing-impaired employees who we bring on when we get big orders.”


Jourdan 带着塔克洛本的手袋工匠 Jimalyn Comandante 来到马尼拉,并在他岳母所拥有的大楼里开设了一间新工作室。那是一幢不起眼的二层阁楼,有一扇大窗户,在上面可以俯瞰楼下布满小餐馆的商业街。入口在后面,也通往一幢汽车旅馆式的公寓大楼。

我在工作室内和 Jimalyn 见面。这间工作室里面摆满了 Taclob 手袋和一排的缝纫机。在那场台风之前,她一直在塔克洛本当地一家工厂里制作运动包,因为技艺出色,她还被邀请去培训雇佣的幸存者。她说:“刚见到 Jourdan 的时候,我正因台风过境而流离失所。”

现在,她与丈夫和女儿一起住在马尼拉曼达卢永工作室后面,目前是该公司唯一的全职员工。Sebastian 说:“这个工作室是我以 Jimalyn 为核心设立的。我们也接受公司订单,为 NGO 组织制作包袋。她培训了三名听力受损的员工,收到大订单时,我们就会找他们帮忙。”

When Sebastian started the brand, he did so as a form of direct action, a way provide stability for those impacted by the storm. In its current, scaled-back capacity, it’s less a company than a philosophy. “I’m not selling bags anymore, I’m selling the system,” he says. Of course, Taclob does still sell bags—you can even order a customized bag made from your own materials—the goal now is to spread the message of upcycling.

One of the main hurdles to the spread of upcycling he sees is a stigma towards the products since they come from old clothes: “Vintage is big in Europe, where I get a lot of orders, but not really here. Here you buy thrift clothes mainly because you’re poor.”


Jourdan 创立这个品牌后,躬亲践行,来帮助受台风影响的人们恢复稳定的生活。 然而,以工作室目前的规模来说,与其说它是一家公司,不如说它是一个实践理念。“我不再是出售手袋,而是出售这个系统。”他说。当然,Taclob 仍然会卖手袋,你甚至可以用你自己的衣物预订一款定制手袋,但工作室现在的目标是宣传升级回收利用的信息。

在 Jourdan 看来,升级回收的主要障碍之一,是人们对这些用旧衣物打造的产品持有偏见,“购买二手物品的文化在欧洲很盛行,所以我们也收到了很多来自欧洲的订单。但这里却不同。在这,只有穷人才会买二手衣物。”

Unfortunately, he says, people don’t see a link between garbage and the severe storms brought on by climate change. “They see storm damage as an outcome of corruption, poor administration, illegal logging, and a lack of flood prevention structures. And that’s true. But there’s a carbon footprint when bags are made, there’s a carbon footprint when they’re thrown away. What if we kept all our bags, all our clothes, the plastic campaign tarpaulins politicians use? We could reuse all of that.”


可惜,人们并没有看到废弃垃圾与气候变化导致风暴之间的联系。“他们认为风暴造成灾害的原因是腐败、管理不善、非法采伐以及缺乏防洪结构。”

确实,这些都是一部分的原因。但人们也应该意识到,每制作一只手袋都会留下碳足迹,当它们被丢弃时又会产生碳足迹。如果我们将旧的袋子、衣服,还有政客们用过的塑料防水油布收集起来呢?我们就重复利用所有这些东西了啊。”

Facebook: ~/taclob.ph

Contributor: Mike Steyels
Photographer: Jilson Tiu


脸书: ~/taclob.ph

供稿人: Mike Steyels
摄影师: Jilson Tiu

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A World of Monsters & Plants 抚慰人心的怪诞

August 30, 2018 2018年8月30日

In one illustration, a slime-covered shark with jet engines on its fins swims through a tangle of video game cables and old brick cell phones. In another, flowers with fanged petals wrap their stems around a pair of faded blue jeans. One more features floating ketchup and mustard bottles, Chuck Norris as a merman with hair dryers in both hands, plus an array of other surreal elements, all of which are sandwiched between two giant hamburger buns.


在一幅插画中,一只涂满粘液、鳍上装着喷气发动机的鲨鱼正游走于一堆视频游戏电缆和旧式的砖手机中;在另一幅插画里,褪色的蓝色牛仔裤上,画着露出尖牙的花朵;还有一幅,番茄酱和芥末酱的瓶子成为了主角,动作片演员查克·诺里斯(Chuck Norris)变成一条手拿吹风机的人鱼,和其它超现实元素一起,夹在两块巨大的汉堡面包之间,变成了一个巨型汉堡包。

These are the imaginings of Singaporean artist Adeline Tan. Her work—a mixture of illustration, commissioned murals, and personal painting—take on various roles and purposes. “Art is comforting, it helps me manage negative emotions,” she explains. “As a Singaporean child growing up in the ‘80s, there was a lot of pressure to perform academically. Children find ways to cope, and for me, it was drawing. My parents quickly discouraged me, of course.”


这些插画来自于新加坡艺术家 Adeline Tan 的想象世界。她的作品包括插画、委托创作的涂鸦作品和个人绘画作品等等,类型和用途都十分丰富。“艺术有抚慰人心的作用,它可以帮我控制一些负面的情绪。”她解释道,“作为一个生活在 80 年代新加坡的小孩,在学业上常常要承受很大的压力。每个小孩都有自己的排压方法,对我而言,画画就是我排压的方式。当然,我的父母很快泼我冷水了。”

What began as a creative outlet quickly grew to become her passion. She worked for years as a graphic designer, during which she struggled to find time for creating personal works. 2013, when Tan gave birth to her little boy, was a pivotal year for her. “I quit my day job to become a mother and focused more on painting and drawing as it had more flexibility than the long hours of a designer,” she says. “From there, I created a lot more personal work and self-initiated projects.”


这种最初用来排解压力的爱好很快变成为了她的热情。在担任平面设计师的多年期间,她总是想办法抽出时间创作个人作品。2013年,Adeline 生下儿子,对她来说,这是关键的一年。她说:“我辞去了全职工作,成为全职妈妈,也因此可以更专注于画画,比起当全职设计师那种长时间工作,现在我在时间上可以更加灵活。从那时起,我就创作了越来越多的个人作品和项目。”

While Tan’s output is diverse, having a child definitely had an impact on the subject matters she works with. “After my son was born, I began exploring themes like an imagined future of our natural environment, family history, and nightmares,” things that her family deals with and that her son may have to as an adult. “I’ve also taken up more children- and education-related projects. One collaborator I especially love is EYEYAH Magazine.” An example of the work she does with them is her piece on mutant E-waste, and how toxic products end up in the ocean and other places.


虽然 Adeline 的作品类型多样,但是小孩的出生肯定会对她的作品主题有所影响。“儿子出生后,我开始探索一些新的主题,譬如是构想自然环境的未来、家族历史和梦魇等等。”大多是以她的家人以及她的儿子将来成年后不得不面对的问题为主题。“我还开始创作更多与儿童和教育有关的项目。我特别喜欢和 EYEYAH Magazine 杂志合作。”他们曾合作一个关于突变电子废物,以及有毒产品污染海洋和其它地方的项目。

While she does lots of digital work, her favorite medium is painting. Often, that includes watercolors of plants with copious stems entangled in her trademark style. Tan also does a lot of mural work, something the artist began exploring a couple years ago. “I find that the difficulty faced when trying out a new format or medium or size is also exciting in the sense that I get to learn something new,” she says. “You are forced to look at the work in a different way, forced to use different brushes or tools from those you are comfortable with.”


虽然她创作了大量的数码作品,但她最喜欢的媒介依然是绘画。水彩绘画的花卉与相互缠绕的花茎是她的标志性元素。除此之外,从几年前起,她开始探索创作壁画作品。她说:“我发现,在尝试新的形式、媒介或创作不同大小尺寸的作品时,我会遇到的困难,同时也会感到兴奋,因为这意味着我可以学到新的东西。我必须要以不同的方式看待这项工作,抛掉过去用习惯的工具,去尝试不同的画刷或工具。”

The most recent mural she worked on was a collaboration with 32 other artists. Organized by artist Skl0, their work was printed on a replica of the HBD government subsidized housing blocks that the majority of Singaporeans live in. Tan’s work included a three-story unit consisting of a monster floral pattern on the outside wall, with a yeti-like couple dancing inside the windows. She also worked with artist Tiffany Lovage to create a life-sized mural of a tiger in X-ray view, leaping among tiger lilies, with the stripes on its body formed by a pattern of mutant tiger orchids.


最近,她与其他 32 位艺术家合作创作一个壁画项目。这个项目由艺术家 Skl0 策划,他们在大多数新加坡人所居住的组屋(HDB,政府补贴的住宅区)的复制品上创作壁画。Adeline 的作品包括一个三层楼的单元,她在外墙上画了一个怪物花卉图案,又画了一对像大脚野人(Yeti)一样的情侣在窗户里跳舞的情景;她还与艺术家 Tiffany Lovage 画了一只X射线图的老虎。这只与原物一样大小小的老虎正从虎百合花丛中一跃而出,身上的条纹也突变成老虎兰花。

Her characteristically dense and comical works, with multiple objects thickly entangled with one another, lend themselves to a variety of outlets. But no matter how her work is presented—whether it be a stamp collection, an animated GIF, the painted fabric of a pair of pants and sneakers, or a children’s illustration—Tan’s style always feels like a perfect fit. 


密集而有趣的画面,繁复的物体彼此纠缠在一起,这是她作品的标志性风格,这样的插画适合制作成各种各样的创意作品。无论是邮票、视频投影 GIF、裤子和运动鞋上的彩绘,还是儿童插画,Adeline 的作品总会让人有一种亲切感。

Website: www.mightyellow.com
Instagram: @yell0w

 

Contributor: Mike Steyels


网站: www.mightyellow.com
Instagram: @yell0w

 

供稿人: Mike Steyels

Sounds from the Far East 来自远东的声音

August 29, 2018 2018年8月29日

Japan’s seminal electronic music label, Far East Recordings, is finally getting its due—almost two decades after producing some of Japan’s most infectious deep house and jungle tracks of the late 80s and 90s.

Far East Recordings founder Soichi Terada and his fellow pioneering producer, Shinichiro Yokota, made tracks that destroyed dance floors in obscure corners of the house music world. Yet even in their native Japan, Far East Recordings seldom garnered the appreciation that its impressive discography commanded.


日本的开创性电子音乐唱片公司 Far East Recordings 曾经制作了日本 80 年代末和 90 年代最热门的 House 和 Jungle 音乐。二十年后的今天,他们的成就才最终获得应得的肯定。

Far East Recordings 的创始人 Soichi Terada 和著名制作人横田信一郎(Shinichiro Yokota)合力制作的曲目曾经震撼了 House 音乐这个不起眼的角落;然而,即使在他们的家乡日本,Far East Recordings 唱片公司的出色音乐制作却一直未被获得恰当的赏识。

Yet thanks to a compilation released in 2015 by the Netherlands-based label, Rush Hour Records—aptly titled Sounds from the Far East— the prime selections of Far East’s discography are sending crowds of partygoers into sweat-ensconced frenzies on dance floors and under festival tents the world over.

Neocha contributor Bejan Siavoshy sat down with one-half of Far East’s driving force—Soichi Terada—in Tokyo to discuss, among other things, his early influences, Far East’s inception, and what it is like to be a touring musician years after the music you’re being celebrated for was made.

Listen to our audio interview with Terada in full here.


转机出现在 2015 年荷兰厂牌 Rush Hour Records 推出的一张选辑。这张选辑恰如其分地命名为《Sounds from the Far East》(《来自远东的声音》),当中所挑选的曲目再一次点燃世界各地派对动物在舞池和音乐节中被汗水笼罩的狂热。

Neocha 供稿人 Bejan Siavoshy 与 Far East Recordings 创始人之一 Soichi Terada 在东京见面,一起坐下来聊了聊关于他们的早期影响、Far East Recording 的成立,以及他们创作的音乐在多年后终于得以巡演的感受。

点击此处,可以收听音频访谈。

Website: fareastrecording.com
Facebook: ~/SoichiTeradaMusic

 

Contributor, Interviewer, & Photographer: Bejan Siavoshy


网站: fareastrecording.com
脸书: ~/SoichiTeradaMusic

 

供稿人、采访人与摄影师: Bejan Siavoshy

Quiet Moments in Osaka 那天在日本的那个僻静角落

August 28, 2018 2018年8月28日

One cannot help but feel a hush of serenity when looking at the work of Krys Authier, who takes photographs of quiet corners in Japan. Authier is originally from Montreal and has lived in Osaka for four years, documenting her daily life in snapshots she takes on film.

Better known on social media as Mocsow, Authier has gained a sizable following on Instagram since moving to Japan. “This country always has so much to offer. There’s an infinite number of places to explore, and there’s always something to see, do, and most importantly, shoot.”


一种淡然的、平和宁静的感觉,从看到 Krys Authier 作品的那一刻起,就油然而生——来自蒙特利尔的她,拍下了在日本各处的安静角落。殊不知,Authier 如今已经在大阪生活了四年了,她用胶卷快照不断记录着自己的日常生活。

在社交媒体上,她更为人熟知的是名字是Mocsow,移居日本后的她在 Instagram 上慢慢积累了大量的粉丝。“日本是一个惊喜不断的国度,这里有数不清的地方值得去探索,总有一些东西可以去看、去做,更重要的是,有很多值得拍摄的事物。”

Her Instagram is filled with close-ups of traditional Japanese architecture, details of shrines, and nature at its finest—the shore at dusk or bright cherry blossoms in full bloom. “I always have the same questions in mind while taking photos: am I doing any of these scenes or subjects justice? Why do I want to shoot these things that are usually overlooked?”


在她的 Instagram 上,你能看到各种传统日本建筑的特写和神社的细节,还有最美丽的自然景观——暮晓的河堤或盛开的粉樱。“拍摄的时候,我总是会想一个问题:我能充分表现出这些场景的面貌吗?为什么我要拍这些经常被人们所忽视的事物呢?”

Authier’s photographs are never cluttered or busy. She focuses on small details and picks out just a few main elements to capture in the frame. Followers enjoy her muted, unsaturated colors and her carefully angled shots, which offer a small window onto the world around her. “There’s one photo I took of an elderly man fishing,” she recalls. “He’s sitting on a stack of tetrapods, and all you can really see is his back and the horizon, but the scene exudes a sense of peace. These are the kinds of scenes that I enjoy shooting the most.”


在 Krys 的镜头中,你不会看到过于热闹或复杂的画面,她喜欢将镜头聚焦于细节,从中捕捉至为重要的元素。淡雅的不饱和色调,和她精心设计的角度镜头,开启了一扇小窗口,令人得以一窥她四周的世界。“我曾经拍过一张老人垂钓的照片,”她回忆道,“当时他坐在一堆四脚防波石上,基本上你只能看到的他的背影和地平线,但整个场面却散发出一种宁静的感觉。这是我最喜欢拍摄的场景。”

Asked why she doesn’t shoot digitally, she cites the affordability and accessibility of analog cameras. “If you’re interested in shooting film, you can pick up an old fifteen-dollar Minolta SLR, or even shoot with a disposable camera, and you’ll end up with some pretty amazing results. A good DSLR, on the other hand, doesn’t come cheap,” she explains.


当被问及为什么不用数码相机拍摄时,她说主要原因在于胶卷相机低廉的价格。“如果你喜欢胶卷摄影,你哪怕是买一台 15 美元的美能达单反相机,或是用一次性相机拍摄,你都可以得到非常不错的照片效果。但是,一台比较好的数码单反相机价格可就不便宜了。”她解释道。

She first learned how to use a manual camera and develop film in a college. “While it was a fun and addictive process, I didn’t actually stick with shooting 35mm once the course ended,” Authier says. Her passion for analog was rekindled after she moved to Osaka and discovered Japan’s film community. “There are a lot of great used camera shops all over the country. And there are a lot of talented and inspiring film photographers, as well as some pretty impressive camera nerds.”


大学的时候,她第一次学会用手动相机和冲洗胶卷。“虽然用 35mm 相机拍摄很有趣,甚至可以说令人上瘾,但在课程结束后,我当时就没有继续用胶卷相机拍摄了。”Krys 说。直到她搬到大阪,发现了日本人对胶卷拍摄的热衷后,才重新点燃她对胶卷拍摄的热情。“日本全国各地都有很多很棒的相机商店,有很多才华横溢、充满启发的胶卷摄影师,还有一些非常令人印象深刻的相机发烧友。”

Authier offers simple advice to those looking to hone their skills: “Get out there and shoot as much as you can, as often as you can!” Constant practice and experimentation are key. “Try carrying a film camera and a few rolls of film with you at all times,” she adds. “And don’t wait too long to get your film developed. Those results will ultimately inspire you to keep shooting more.”


对于有志于胶卷拍摄的人,Krys 分享了她的建议:“多走出去拍摄,尽可能多地拍,越多越好!”不断的练习和试验是关键。她补充道:“随时随地都带着胶片机和几卷胶卷。而且不要等太久才去冲胶卷,因为看到冲洗出来的照片能给你动力去继续拍更多照片。”

Recently Authier has been making prints of her photos on traditional Japanese washi paper. “Getting the tones right can be frustrating, but it’s always a very fulfilling experience,” she says. “I use a thick washi paper made of mulberry and hemp fibers. It’s nice to the touch and gives the photographs a soft, dated quality.”

“I’ve actually just released a new set of 35mm prints shot entirely on expired Kodak Ektachrome color-positive film,” she goes on. “It’s called Stay Positive, and it’s now up on my shop.”

Her prints are available for purchase here.


最近,Krys 在尝试用传统日本和纸(washi)来印制照片。她说:“要调出正确的色调不容易,这个过程挺让人挫败的,但也是非常有成就感的体验。我用的是由桑椹和大麻纤维制成的厚质和纸。这种和纸的触感很好,能给照片带来一种柔和、复古的感觉。”

她说:“事实上,我最近刚刚推出了一系列的胶卷照片作品,全部都是我用过期的柯达 Ektachrome彩色正片拍摄的。这个系列名为《Stay Positive》(《保持乐观》),现在已经在我的个人商店上发售。”

点击此处,即可购买 Krys Authier 的作品。

Instagram: @mocsow

 

Contributor: Megan Cattel


Instagram: @mocsow

 

供稿人: Megan Cattel

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Bawal Clan, Outlaws by Nature 这是被禁止的喔!

August 22, 2018 2018年8月22日
Left to right / 从左到右: Rjay Ty, Funkatalyst, OJ River, Ankhten Brown, Yung Bawal, DZ SVG

After a brief, torrential downpour, the sun has come out in force and a few members of Bawal Clan linger in a convenience store parking lot in Metro Manila. They’re waiting for some friends to join them for a skateboarding session before the release party later tonight for their debut album, Paid in Bawal. The clan is a rap group, but they embrace the breadth of their city’s sprawling creative scene, actively recruiting members from overlapping subcultures, including visual artists and skaters who don’t make music. Of the 13 or so members on the roster, eight are rappers and five make beats.


一场短暂的倾盆大雨过后,热辣辣的太阳再次出现。在马尼拉一个停车场里,Bawal Clan 乐队的几位成员正在等朋友。在今晚的专辑发布派对之前,他们要先和朋友玩一下滑板。Bawal Clan 是一支说唱团体,他们对这座城市里的各种创意文化都张开手臂欢迎,甚至还会从各种亚文化圈中招募乐队成员,包括并不做音乐的视觉艺术家和滑板玩家。在目前团队的十几名成员中,有 8 名说唱歌手和 5 名 beatmaker(节奏师)。现在,他们推出了团队的首张专辑《Paid in Bawal》

Listen to select tracks from Bawal Clan below / 点击即可试听 Bawal Clan 的几首歌曲

The convenience store we’re standing in front of is in Poblacion, a red-light district that’s the latest destination for creatives and night owls. Streetwalkers proposition passersby and dealers offer fake Viagra just outside the city’s liveliest bars. Tonight the party’s at Boogie, a new venue opened by the owners of the forward-looking clubs Black Market, 20:20, and B-Side. It’s a smaller space, covered in graffiti by a local artist named Chase and plastered with classic photos of old-school markers and 1990s-era rap albums.


他们正在一家便利店前聊天。酒吧关门后,他们就会来到这里继续喝酒。这里是当地的红灯区Poblacion,但也已成为了创意文化和夜生活的中心。站街女不断挑逗着过往的男人,小贩兜售着假伟哥,而旁边就是几家马尼拉最热闹的俱乐部,Boogie。今晚的专辑发布派对正在这里举办。

新开的 Boogie 是由马尼拉的 Black Market、20:20 和 B-Side 等最前卫的俱乐部老板共同创办的。这家新俱乐部的空间不大,里面有许多由当地艺术家 Chase 创作的涂鸦作品,贴满了各种 old-school markers 的经典照片标志,以及上世纪 90 年代时期的说唱专辑。

Left to right / 从左到右: Ankhten Brown, Babarn, Solo Pogi

Ankhten Brown, a Filipino-Jamaican member of the Bawal Clan who grew up between New York and Manila, skates around the parking lot. He jumps onto an aircon box and tries to stall on a window ledge, much to the annoyance of the employees watching from the steps. “You gotta be creative as a skater here, because there’s just no space. Make use of every little thing possible,” he explains with a wide grin on his tattooed face. 


Bawal Clan 中的菲律宾裔牙买加成员 Ankhten Brown,从小在纽约和马尼拉两地长大,他在停车场四周玩滑板,跳上空调盒,又试图在窗台上练习 Stall 的动作,这很大程度上惹来停车场工作人员的不满,他们一直徘徊在台阶上,紧盯着我们。“在这里,要玩滑板就得发挥创意,因为根本没有空间给你滑。所以,你要去充分利用每一件小物件。” 他解释道,有着刺青的脸上露出大大的笑容。

 

无法观看?前往优酷

Once it’s clear none of the other members of the group will show up this early, they give up on the lazy skate session and drift over to a Japanese-inspired food stall hidden down a nearby side street. Apparently the staff are friends of theirs, and the new album can be heard blaring from the kitchen. The team order some shots of lambanog, a strong local spirit, and before downing them everyone yells, “Bawal!”


当他们发现其他的成员都不会这么早出现后,他们就结束了短暂的滑板练习,去到附近巷子里一间充满日本风格的小食摊位。显然,员工是他们的朋友,因为他们的新专辑正在厨房大声地播放着。他们点了几杯菲律宾椰酒(Lambanog),这是当地的一种烈酒。所有人一起喊道: “Bawal!”,然后将酒一饮而尽。

Left to right / 从左到右: Solo Pogi, Babarn RJ Moscardon

Nearly the entire crew is Filipino, but many of them have spent a long time in the US. They gravitated to each other a few years ago, while they were each working on their own projects, and eventually they decided to form a group. Their name started out as an inside joke: the word bawal means “taboo,” and they’d often call out the phrase yung bawal—“that’s forbidden”—when hanging out together. Then their main beatmaker, playing on the “Young” prefix that rappers often add to their names, adopted Yung Bawal as his moniker. When they formally became a collective two years ago, they chose Bawal Clan to make the casual breaking of taboos their ethos.


而这个 “Bawal” 的意思,是“禁忌”。这其实是源于他们的一个内部笑话——在一起玩的时候,他们会经常大声喊 “Yung bawal!”(意为“这是被禁止的喔!”)。虽然团体里几乎所有成员都是菲律宾人,但很多人其实都曾在美国生活过很长一段时间。过去几年里,他们开始互相合作,越走越近,最终决定组成一支说唱团体。随后,团体的主要 beatmaker 将说唱歌手很喜欢拿来做名字前缀的 “Young”,变成了自己的名字 “Yung Bawal”。两年前,团队正式成立,他们选择了 Bawal Clan 这个名字,旨在将“打破禁忌”作为他们的理念。

 

无法观看?前往优酷

Even now, two years on, the crew still inserts “bawal” references whenever possible, and every time, it boosts their energy up a notch. “People like our music because we say whatever we want to say,” says MNL$ (pronounced Manila Money), one of the crew’s rappers who grew up in California and had a successful music career in Korea before moving here. “We’re all really rebellious. We stand by our individuality.”


即使是几年后的今天,他们依然会在音乐中尽可能引用 “Bawal”,每一次,它都能提升团队的士气。“人们喜欢我们的音乐,因为我们在音乐中可以畅所欲言。” MNL$(读作 “Manila Money”)说道。他自小在加州长大,搬到这里之前还曾在韩国有着成功的音乐事业。“我们都很叛逆,坚守自己的个性。”

Funkatalyst, Yung Bawal

By now we’re standing in front of the Boogie, waiting for the party to start. Someone blasts the album from a parked truck, offering a taste of the music that will be played later that night. The tracks range from angry and abrasive mosh pit music to sleek, thoughtful expressions of love to classic boom bap. On the Street Fighter-inspired “Yoga Flame,” cartoony bleeps are paired with a “Shabba“-type hook that works as playful club music. The gothic trap of “GTFO” is grounded by distorted bass and chamber music keys and even features a verse in Spanish by Ankhten. “My mom is Spanish-Filipina, but I also picked up a lot of Spanish in New York,” he explains. Despite the variety of moods the tracks capture, it’s a solidly rap and R&B album.

 


现在,我们正站在 Boogie 前,等待派对开始。旁边一辆停着的卡车里大声播放着他们的专辑,预告着当天晚上要推出的音乐。专辑里的音乐有愤怒、粗放的 Mosh pit 音乐,也有表达爱情的流畅曲调和经典 Boom bap。以《街头霸王》游戏为灵感创作的《Yoga Flame》用游戏中的哔哔声声效,搭配 Shabba 式俱乐部音乐风格的副歌。哥特式风格的 trap《GTFO》在扭曲的低音和室内乐(chamber music)之上,加入了 Ankhten 的一段西班牙语说唱。“我妈妈是西班牙裔菲律宾人,但我后来在纽约的时候也学了不少西班牙语。” 他解释说。专辑里所传递出的情绪十分丰富,但它确实是一张不折不扣的说唱和 R&B 专辑。

With the diversity of their members and styles, it’s hard to pin down what Bawal Clan is about entirely. On one track someone will be rapping about violence, and another artist will be talking about burning sage to ward off negative energy. With such a large roster, they cover a lot of ground. Occasionally, seven rappers will make it onto one track, but the average is more like five or six per song.


因有着多元化的成员与曲风,很难简单地来定义 Bawal Clan。在同一首歌中,有人在说唱关于暴力的问题,有人则可能会在谈论燃烧鼠尾草来抵御负能量。有了这样风格多元的成员,他们的音乐自然能够涵盖更丰富的内容。偶尔,7 位说唱成员会一起来创作一首音乐,但更多时候,可能一首歌只是由其中 5、6 名说唱成员完成。

Rjay Ty

Bawal Clan’s members come from a variety of creative backgrounds, some with careers outside of music. DZ SVG (pronounced “Dizzy Savage”) is a screen actor who’s bounced back and forth between Manila and Las Vegas for half of his life. A few of the members have even spent years living in Europe. “I think our international outlook gives us an advantage,” says DZ. There’s also Lex Luthoor, who’s Nigerian and grew up in Spain before moving to the Philippines in high school. “We consider Alex just as Filipino as everyone else in the crew,” MNL$ chimes in. “My boys have my back,” agrees Lex, who speaks fluent Tagalog. While Filipinos themselves can be very diverse, there aren’t many white or black people in the country so they stand out, and Lex has faced a lot of discrimination. “But these guys are like my family,” he says without pause. “I wouldn’t want to be anywhere else.”


Bawal Clan 的成员来自不同的创意背景,其中一些成员甚至做着与音乐无关的职业。DZ SVG(发音为 “Dizzy Savage”)是一位演员,大部分时间,他就生活在马尼拉和拉斯维加斯两地。另外还有一些成员在欧洲生活了几年时间。DZ 说:“我们的国际视野是我们的优势。”成员中还有尼日利亚裔的 Lex Luthoor,他自小在西班牙长大,高中时候才移民到菲律宾。“在我们眼中,Alex 和我们所有人一样,都是菲律宾人。” MNL$说道。

“这些家伙像都是我坚实的后盾。” Lex 操着一口流利的菲律宾语说道。虽然菲律宾本身就是一个多元的国家,但在这里,你不会看到太多白人或黑人,所以他们在人群中格外引人注目,Lex 在生活中也遇到过诸多歧视。“但这些家伙就像我的家人一样。我只想跟他们待在一起。”

Left to right / 从左到右: Funkatalyst, MNL$, DZ SVG, Yung Bawal
Left to right / 从左到右: MNL$, DZ SVG, Yung Bawal, OJ RIver, Ankhten Brown, Funkatalyst, Rjay Ty

Their different views jostle side-by-side within their verses. Whatever comes to mind, if they like it, they go for it. They don’t let anyone tell them what to do. One word they regularly use to describe themselves and their story—in addition to “bawal”—is “organic.” It’s how they came together as a team, how they create music, how they learn. It’s about going with the flow and seizing opportunities as they come. They don’t just rhyme in freestyle, they freestyle their lives. They’ll get to where they’re going however they see fit. Just don’t stand in their way.


他们的不同想法往往在说唱中一起出现。不管想到什么,只要他们喜欢,就直接做了。他们不让任何人告诉他们该怎么做。除了 “Bawal”,他们经常用来描述自己和团队故事的词是 “Organic”(自然的、有机的)。这是他们团队最初成立的方式,也是他们创作音乐、学习的方式。顺其自然,在机会出现时抓紧机会。他们既在音乐中 freestyle,也让自己的生活 freestyle。无论是哪里,只要感觉合适,他们就会去那里,没有人能阻挡他们。

Facebook: ~/BawalClan
Instagram: @bawalclan

 

Contributor: Mike Steyels
Photographer: Iya Forbes


脸书: ~/BawalClan
Instagram: @bawalclan

 

供稿人: Mike Steyels
摄影师: Iya Forbes

Concrete Stories 世界尽头,爬楼相会

August 13, 2018 2018年8月13日

When you hear the phrase rooftop photography, what usually comes to mind are epic cityscapes captured from dizzying vantages or images of daredevils hanging off of precarious ledges. But for Romain Jacquet-Lagrèze, a French photographer based in Hong Kong whose series The Blue Moment we’ve featured before, “rooftopping” means something else entirely.

Shot from a birds-eye perspective, Jacquet-Lagrèze’s latest series, Concrete Stories, is a bracing departure from the cliché aerial photos of Hong Kong. Rather than the city’s architecture, he focuses on the human element. From a man adjusting satellite antennas to girls playing jump rope, each image is a charming glimpse at life on the rooftops of Hong Kong. Alone, each image in the series works as a vignette of quiet moments amid the chaos of the city, while together they form a larger narrative around the adaptive spirit of humans in this fast-changing urban environment.


提到爬楼摄影,人们想到的通常是那些从高空拍摄的壮观城市画面,或是冒着生命危险跃上悬崖突岩拍摄的照片。但对于来自法国的香港摄影师 Romain Jacquet-Lagrèze 来说,爬楼摄影完全是另一回事。

我们曾经介绍过他的The Blue Moment系列作品。在最新作品《Concrete Stories》(《混凝土故事》)中,Jacquet-Lagrèze 同样以鸟瞰的角度来看香港,却没有遵从一贯以来的高空摄影风格,反而呈现了一组令人耳目一新的作品。城市的密集建筑不再是摄影的主角,而是更专注在 “人” 的身上——从调整卫星天线的男人,到玩跳绳的女孩,每张照片都是香港屋顶生活的迷人一瞥,在这座城市的喧闹混乱中,定格住安静的一刻。每张照片都是独立的画面,却又彼此共同编织出更宏观的叙述,讲述着在香港这座快速变化的城市中,人们那种努力适应生活的精神。

Sun-dried
Young Reporter
Job Done
Morning Fix
Toddler on Bike
Concrete Canyon
Pushing Up
Altitude Nap
Bonsai Master
Collecting Laundry
Badminton Lesson
Life in Grey and Pink
Carjacking

Website: romainjl.com
Instagram: @romainjacquetlagreze

 

Contributor: David Yen


网站: romainjl.com
Instagram: @romainjacquetlagreze

 

供稿人: David Yen

The Boys of Sangkhla Buri 那些纵身跳入水中的少年

August 9, 2018 2018年8月9日

Sangkhla Buri, a small town in the western Thai province of Kanchanaburi, has recently become a popular destination for local and foreign tourists. Its iconic Uttamanusorn Bridge lays claim to being the longest wooden bridge in Thailand, and it draws crowds for the groups of young boys who take turns diving into the water below.


Sangkhla Buri 是位于泰国西部省份北碧府的一个小镇,最近,这里成为了一个吸引众多当地和外国游客的热门旅游目的地。这里有一座著名的地标 Uttamanusorn 大桥,据说是泰国最长的木桥,成群结队的年轻男孩为此而来,进行着跳水表演。

Divers are between eight and fifteen, and they typically work the bridge in small groups. One boy might beckon tourists, while another performs the actual dives. They don’t explicitly ask for money, but there’s an unspoken expectation that some baht will change hands. Tourists snap pictures of the dive, and sometimes even ask the boys to jump over and over again until they get a perfect shot.


这些跳水的男孩年龄大都落在 8 岁到 15 岁之间,他们通常是以团体形式一起工作。一名男孩负责招来游客,另一名男孩则负责跳水。他们不会明确地向游客要钱,但却怀抱着心照不宣的期望,希望游客多少能留下一点小费。游客们在一旁拍下男孩跳水的照片,有时候甚至会要求男孩一遍又一遍地跳水,直到他们拍到满意的照片为止。

Ye Te Su is a 13-year-old who spends his weekends making money as a diver. He’s been performing on the bridge since he was 10, having learned from his older friends. Despite a lack of professional training or safety equipment, Ye has fortunately never suffered any injuries diving.


13岁的 Ye Te Su 会在周末专门表演跳水来挣钱。他从10岁就开始在桥上表演,跟着年长一些的朋友学习跳水。尽管缺乏专业训练或安全设备,幸运的是,他从来没有受过伤。

Ye lives with his grandmother and his five siblings in a simple wooden house with a sheet metal roof. It offers minimal protection from the elements, and since it’s not officially registered, it lacks proper plumbing. Water for cooking and drinking has to be fetched every few days from a nearby fountain alongside the river.

Ye’s grandmother works full-time, so he often has to take care of his siblings after school. His parents work in the city and send what money they can every month, but it’s not much. Faced with these harsh realities, Ye sets aside part of the money he makes on weekends to help feed his family.


现在,Ye Te Su 和奶奶、五个兄弟姐妹一起住在一间简陃的木屋里,房顶只是一块简单的金属板。这间木屋只能为他们提供最基本的庇护,并且因为房子没有被正式地登记,屋里也没有安装必要的管路系统。每隔几天,他们就必须到附近的河边喷泉去取做饭和喝水用的水。

他的父母进了城里工作,每个月都尽量给他们寄钱回来。他的祖母也在全职工作,所以 Ye 放学后经常要负责照顾他的弟弟妹妹。面对这些严酷的现实,他周末所努力挣来的钱,一部分也要用来养活他的家人。

Popular as the diving is, local authorities are strongly opposed to it. They point out that the activity is dangerous, and that paying the young divers encourages them to drop out of school to earn money. Besides, they argue, it’s wrong to use children as a tourist attraction. Signs on the bridge warn people not to give them money.

But for Ye, it’s not so simple. He still goes to class in a school nearby, but weekend diving is an important source of income. There are others like him, young boys facing adult pressures. And as long as the tourists keep coming to Sangkhla Buri, the divers will continue to weigh the risks, and continue to take the leap.


尽量这样的跳水表演很受欢迎,但地方当局对此强烈反对。他们认为这项活动不仅危险,还是在鼓励年轻跳水员辍学赚钱。况且,利用儿童作为观光目的也不太妥当。因此他们在桥上放了一个标志,警告人们不要付钱给这些男孩。

但对 Ye 来说,事情并没有那么简单。他现在正在一所当地学校上课,周末跳水表演那点微薄的收入成为了他家里一项重要的收入来源。而他的情况并非个案,就像许多其他年轻男孩同样面临到这样的困境。但是,只要还有络绎不绝的游客来到 Sangkhla Buri,这些跳水表演员就会继续冒着风险,纵身跃入河中。

Contributor & Photographer: Will Wiangchai


供稿人与摄影师: Will Wiangchai

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City Fragments 明日世界

August 7, 2018 2018年8月7日

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

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


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

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

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

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


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

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

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

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


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

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

Websiteminjoonhong.com

 

Contributor: Juliet Fang


网站minjoonhong.com

 

供稿人: Juliet Fang

Bitchy Fashion by Hao Lingyu 我的怪异跟你一样普通

August 6, 2018 2018年8月6日
Common People

“L’s designs all look bitchy.”

I quickly put away my phone when I see my friend’s message. In front of me sits Hao Lingyu, a recent graduate of Donghua University who has red hair and a knack for designing bitchy clothing. In her bedroom, she keeps a shy hedgehog as a pet, along with a collection of cute stuffed animals and shojo manga.

“When I was little, I actually wanted to be a comic artist, but I eventually realized I couldn’t quite cut it,” she confides.

Coming from a family of architects, she likes to approach things from a holistic angle. That’s how she chose fashion design: she wasn’t entirely following her dreams or hobbies. In fact, she’s also curious about what her life would be like if she’d listened to her mother and chosen engineering.


“ L 的东西看上去婊婊的。”

看完这条朋友的评价,我放下手机继续跟眼前的郝凌宇本人闲聊,这个顶着一头红发、作品婊婊的服装设计师今年才刚从东华大学毕业。她的房间里有一只非常内向的刺猬,还充满了各种可爱的动物布偶和梦幻的少女漫画,“其实我小时候有想要当一个漫画家,后来发现自己的水平好像没法出道。”

建筑家庭出身的她,喜欢综合一切因素去考虑问题,就像她选择服装设计,并不完全出于梦想啊、爱好啊之类的理由。事实上,她同样好奇如果当时听妈妈的话选择工科,现在的自己会是怎么样。

Sketches for Temporary Templates
Sketches for Common People

The emerging designer incorporates all sorts of different elements into her works. “In my life, I’m bombarded with information, and when I make something I often throw a bunch of random things together,” she says. “By the time I’ve reorganized them, sometimes the designs don’t even look like they’re mine.”

Her three new collections, Temporary TemplateCommon People, and Artificial God, touch on issues from religion and fertility rites to everyday life to thangkas made from human skin. Within these wildly divergent themes, her design details are equally varied. Artificial God, for example, shows her thoughts about traditional Tibetan Buddhist culture, but she opted to present the collection in the form of a virtual game.


她的作品涵盖的元素丰富多样,“我的生活常会接收大量信息,做东西时似乎经常把一些有的没的东西揉和在一起,重组过后,有时候甚至会觉得这些作品不像是我的。”

最新的三个系列《Temporary Template》、《Common People》、《Artificial God》分别讲述了宗教与生殖崇拜、普通人以及人皮唐卡三个命题,南辕北辙的主题里同样包含着形色各异的细节,比如《Artificial God》的概念来自藏传佛教文化, 但她却选择以虚拟游戏的视角去呈现这个系列。

Artifical God

In both their use of materials and their final appearance, Hao’s designs are very much in step with subculture trends. But she insists she’s drawn to these ideas naturally and doesn’t make a point of trying to stand out. In fact, what she’s become aware of, not only in her own designs but also in the current environment, is how ordinary she is.

“Kids today all think they’re special,” she says. “I wish everyone would wake up.”


无论是对材料的运用还是最终的视觉呈现,这些作品似乎都正中了当下的亚文化风潮。但 L 认为自己只是自然而然的选择这些命题,而非刻意地去表现特立独行。相反地,结合当下环境她从自己的作品中意识到更多的是自己的普通,“现在小孩都觉得自己特殊,希望大家醒醒。”

Common People
Common People
Common People
Common People
Temporary Template
Temporary Template
Temporary Template
Temporary Template

Contributor: Shou Xing
Photographers: Kimon Liang & Crown Wang


供稿人: Shou Xing
摄影师: Kimon Liang & Crown Wang

Painting with MS Paint 你还在“画图”吗?

August 1, 2018 2018年8月1日

Many people’s first experience with a digital creative tool was with MS Paint. The iconic program—pre-installed on every computer running a Windows operating system—was simple, lightweight, and perhaps most important of all, free. Today, with the prevalence of Photoshop, Illustrator, and the other multitudes of feature-packed graphics software, MS Paint has become a relic of the past. But in 2017, Microsoft’s decision to no longer support future development of MS Paint was, quite surprisingly, met with widespread outrage. Does the dated software truly have any value beyond nostalgia? Lin Xingyu, an 18-year-old illustrator from Guangzhou, China, believes it does.


许多人第一次接触数码创作工具时,用的是绘图软件──画图(Microsoft Paint)。这个具代表性的程序预先被安装在每部使用微软操作系统的电脑里,简单、无足轻重,最重要的是免费。随着 Photoshop、Illustrator 和许多其他搭载各式功能的绘图软件变得普遍,画图软件已成为昨日黄花。然而,当微软于 2017 年决定不再支援开发画图,却意外地引起众怒。这个过时的软件真的有怀旧以外的价值?来自广州 18 岁的插画家 Lin Xingyu 确信如此。

Lin masterfully wields MS Paint as his medium of choice, creating tranquil illustrations that showcase the beautiful mundanities of his daily life. While he began playing around with the program when he was 11 years old, only five years later, at the age of 16, did he begin to see the program as a tool for creating art. “I watched some painting tutorials online, but I didn’t have any actual paint,” he recalls. “So I just followed along in MS Paint instead.”


Lin Xingyu 熟练地使用画图软件当他的创作媒介,画出带有平静氛围的插画,展示美好平凡的日常生活。Xingyu 11 岁就开始玩画图软件,但一直要到五年后,他 16 岁时,他才开始将画图软件看作创作工具。“我在网络上看过一些绘画教学,但是我那时没有真正的绘画颜料。” 他回忆道,“所以我就用画图软件替代。”

While other modern image-editing software offers more flexibility and functionality, the challenge of creating beautiful effects using the simple tools of MS Paint is a large part of the allure for Lin. This affinity for simplicity also lives at the core of his art.

“Small things like sunlight catching dust particles or refracting from a scratched glass window used to mesmerize me,” he says. “As I started drawing more, I started taking note of all these little things I found beautiful and looked for them in different places. Once you start looking, you can find a lot of beauty everywhere. I feel like these ordinary scenes have a special kind of beauty that a lot of people can relate to.”


虽然其他的图像编辑软件具有更多弹性和功能,但利用画图这类简单的工具创造出美丽的效果,对 Lin Xingyu 来说更有吸引力。这种单纯的喜爱是他的创作核心。

“在阳光下看微尘翻飞,或者透过满是刮痕的玻璃折射出来,这类小事很令我着迷。” Lin Xingyu 说,“当我画得越多,我就开始四处寻找那些令我觉得很美的小事,然后记下来。日常生活场景有种特殊美感,会让许多人觉得有共鸣。一旦你开始观察,天地之间都是美。”

Lin’s illustrations focus on ephemerality, or rather a desire to preserve fleeting moments of beauty. One commonality across his illustrations is that they tend to show the twilight hours between sunset and night. Using shades of oranges and purples, he depicts this daily moment of beauty with stunning vibrancy. In other works, the receding sunlight is depicted more subtly, indicated only by a tinge of pink on the horizon or by skyscrapers slowly lighting up in anticipation of the coming night.


Lin Xingyu 的插画着重在无常的事物,或是试图留住转瞬即逝的美。他的插画作品有个共通点,经常展现日落和夜晚之间的薄暮。他用鲜艳的橘色、紫色系描绘日常之美。在他其他的作品里,他仅用的粉色调来妆点地平线,或让摩天大楼在夜幕降临时慢慢点亮,以此来更巧妙地描绘出渐隐的日色。

“The end of the day is when people feel the best. It’s the time when we’re coming home from work or school, or already at home, making dinner for the night,” he explains. “I want to recreate these stress-free feelings in my illustrations and share them with people.”

Perhaps that’s what makes his works so charming, almost meditative: beyond their outward beauty, they’re a reminder that human experience is about more than the stresses of daily life. It’s worth taking a moment to stop and appreciate the beauty of the world around us.


“人们在白天结束的时候,感觉最好。大家从工作岗位或学校返家,或者已经在家做着晚饭。” 他解释道,“我想在插画里重现这种舒适无压力的感觉,然后分享给大家。”

他作品如此迷人,几乎让人开始沉思:或许在其呈现的外在美之外,它更是一种提醒,告诉人们生活不只是充满压力的日常。找个时间停下脚步,去欣赏周遭世界之美,何乐而不为呢。

Instagram: @cro.ss.ing
Tumblr: elevatedcross-ing.tumblr.com

 

Contributor: David Yen


Instagram: @cro.ss.ing
Tumblr: elevatedcross-ing.tumblr.com

 

供稿人: David Yen