All posts by david

Firefly Studio

March 16, 2016 2016年3月16日

We live in an era of instant gratification and mass production, where large retail conglomerates and corporations like IKEA and Walmart have secured themselves as an essential part of all our lives. Every household is a perfect example: living rooms and bedrooms alike are filled with generic factory-produced furniture and accessories. While undeniably convenient and low-cost, these products lack a sense of craftsmanship and personality. However, there still exists places that offers products with more human ingenuity.


在講求即時滿足感和大規模生產的時代,像宜家和沃爾瑪這樣的大型零售集團已成為我們生活中不可或缺的一部分。幾乎每一個家庭都是一個完美的例子,客廳和臥室都裝滿了工廠量產的傢俱及配件。雖然不可否認它們的便捷低廉,但這些產品卻缺少工藝和個性。儘管如此, 對於那些尋求更具創意和人文因素的產品的人們來說,仍有處可去。

Firefly Studio is one of those places. Tucked away in Taipei’s Da’an district, it’s a boutique that only sells customized lights. The small storefront has a horizontal window facing the street that displays a few of the more recent creations. At the same time, a warm inviting glow seeps from the ornate wooden door, beckoning passersby into the store. Upon entering, visitors will most likely find the owner hunched over his desk, engrossed with one of his new creations, tinkering away.


火金姑工作室就是其中的一個地方。它隱藏在臺北的大安區,是一家只銷售定製燈具的精品店。小店臨街的橫窗裏展示了楊先生最近的一些創作。同時,一簇溫馨誘人的光芒從華麗的木門溢出, 好似在招呼路人進店。進入店內,映入眼簾的很可能是楊先生伏案桌前正全神貫注擺弄著他新作的一幕。

The owner is the affable and down-to-earth Yang Kun Jin, a man who’s endlessly fascinated by lights and all things light-related. All of the lights being sold in the shop have been personally customized by him. Mr. Yang has created an extensive collection of ingeniously unorthodox lights through his meticulous approach of reconstructing discarded components, which he combines with an ever-growing collection of unexpected objects. His large stockpile of unusual curios ranges from vintage microscopes to camera tripods. Even various musical instruments like saxophones and trumpets can be spotted around the shop.


老闆是和藹又務實的楊錕金,他深深著迷於燈具以及一切與其相關的事物。店裡每一盞售出的燈都由他親手定制。通過精湛細緻的技藝將廢棄組件重新利用,他一手打造了大量獨特精巧的燈具,並將它們與他不斷收藏的怪物件們結合。他囤積的怪物件品類繁多,從古老的顯微鏡,到相機三腳架,一應俱全;甚至還有各種樂器,你可能發現店裏某個角落裡就有一把薩克斯管。

The inspiration for the name, Firefly Studio, is evident straight away. Countless lights, scattered throughout, illuminates the store in a soothing amber glow, like fireflies in the night. Chandeliers, lamps, pendant lights, and a multitude of other types of eccentric light fixtures fills out the space. Some dangle overhead, others occupy vacant spots on tabletops, and more are strewn about the room in what can be best described as organized chaos; the seemingly random arrangement feels exquisitely deliberate at the same time.


火金姑工作室,這個極具靈感的店名是非常顯而易見的。無數盞燈,通明透亮,整間店也隨之散發著琥珀色光芒,猶如黑夜中的螢火蟲。枝型吊燈,檯燈,垂吊燈和大量其他古怪類型的燈具裝置塞滿了整個空間。一些懸於頭頂,其他的佔據了桌面的空缺,更多的則零亂四散於屋內各處,但再定睛一看,所謂零亂又顯得別有一番精心打理的感覺。

Mr Yang’s creations have garnered praise from all over the globe, tourists and locals alike regularly visit the store. Many customers from abroad that visit the boutique will often end up purchasing something and have it shipped back home. But browsing through the shop, it is all too easy to forget that you are in a store. There are no price tags on any of the items and no pushy up-selling salesmen. The atmosphere in the space is closer to that of an intimate art gallery rather than a typical store, offering consumers a much-needed refreshing change of pace. This place is definitely one worth checking out the next time you’re in Taipei.


楊先生的作品为他赢得來自全球各地的讚賞。遊客和當地人一樣,都經常光顾他的商店。許多來自國外的客人到訪這家精品店之後,總能發現心儀之物並把它們運送回家。當你瀏覽這家商店,你會非常容易忘記你正在商店裏。沒有價格標籤和過分熱情的推銷員,這裡的感覺更像是一處私人的藝術畫廊,為典型購物體驗帶來一絲新鮮。如果下次再來臺北,一定要來光臨。

Facebook: ~/FireflyStudio

 

Contributor & Photographer: David Yen


臉書: ~/火金姑工作室

 

供稿人與攝影師: David Yen

Taichung Rainbow Village

March 2, 2016 2016年3月2日

After the end of the Chinese Civil War in 1949, the KMT retreated to Taiwan. At that time, they began constructing housing for the soldiers of the ROC Armed Forces as well as their family members. These communities, known as military dependent villages, were built with limited funds and residents had no ownership rights since the property was on government-owned land. These villages were widespread all throughout Taiwan, but over the years, have deteriorated into slum-like conditions.


1949年中國國共內戰結束後,國民黨由大陸撤退至台灣。為了給一同撤退的部隊軍人及其眷屬安排住房,政府開始建造眷村。這些叫做眷村的社區,是限資建立在政府所有的土地上,不擁有個人產權。眷村迅速在台灣本土四處散播開,但隨著時間的推移,這些村落也漸漸淪為了貧民窟的代名詞。

In Taichung, there’s a place known as Rainbow Village. The now wildly popular tourist attraction was once a military dependent village, decrepit and run-down. Huang Yongfu, a resident since the early days of this village, is the man behind this transformation. He has single-handedly painted the walls, doors, and even roads throughout the area with a dizzying array of vibrant colors, which has garnered him the fitting nickname of Rainbow Grandpa.


在台中,有一個被譽為彩虹眷村的地方。這個現今遠近馳名的旅遊勝地便是一個曾經衰敗的眷村。作為眷村里早期居民之一的黃永阜,即是見證此地盛衰之人,亦是將此地重整旗鼓之人。他憑藉一己之力,將鮮豔炫目的色彩,搬上這裡的一幕幕牆、一扇扇門,甚至一條條街。於是,他“彩虹爺爺”的美譽便由此而來。

In this modern era of skyscrapers and high rises, many military dependent villages, including this one, are viewed as nothing more than nuisances, with the potential to be turned into lucrative property. Similar to the fate of so many other military housing complexes from this era, this one was also poised for demolition. But through his artwork, Rainbow Grandpa has managed to preserve not only his beloved village, but also his nostalgic memories and a piece of early Taiwanese culture. The scheduled demolition was delayed, and was eventually called off, as thousands of signed petitions flooded into the mayor’s office. In 2014, the village officially became the “Rainbow Village Art Park” which includes Huang Yongfu’s residence as well as six other households.


在這個崇尚摩天大廈的摩登時代,包括彩虹眷村在內的許多眷村,討人嫌惡,成了地產開發商眼裡的搖錢樹。跟當今許多眷村的悲慘命運一樣,彩虹眷村也曾出現在舊屋拆遷的黑名單上。但因為彩虹爺爺用藝術對眷村的重新演繹,他得以保留的不僅有最心愛的故里,也有他的舊時記憶和一絲台灣古早文化。隨著成千上萬的民眾請願書湧入市長辦公室,原定的拆遷計劃被予以推遲,並最終取消,彩虹村倖免於難。 2014年,包含黃永阜住所和其他六間房屋的“彩虹眷村藝術公園”正式公示​​於眾,洗盡鉛華,迎來了遇經劫難後真正的“彩虹”。

As an ex-soldier with no formal art training, Huang Yongfu reveals his only sources of inspirations are extracted from his everyday life, as well as newspapers that he reads on a daily basis. Using pension money, he started purchasing art supplies and began the daunting task of painting the village back in 2008. His colorful work involves imaginary characters, friendly animals, and a myriad of abstract designs. He has also inscribed numerous uplifting messages intended for visitors such as Ping An Bai Fu, meaning peace and best of luck.


作為一名沒受過任何專業藝術訓練的退役軍人來說,黃永阜的創作靈感均來源於其日常生活和從報紙上閱讀而來的信息。從2008年開始,他便用自己的養老金購買藝術材料,開始進行創作。他多彩的作品畫面裡有著天馬行空的角色,有友好可愛的動物,有抽象設計的美人魚等等。他也常常題寫一些吉祥語給參觀者們,例如“平安百福”等。

There is also a controversial, sociopolitical side to this story. Some argue that the artwork is no different from illegal graffiti, and many residents could’ve received a substantial amount of government compensation from the demolition. In addition to that, they would also be relocated into modern and better-equipped housing. In 2011, a neighbor, highly disgruntled by the number of loud tourists and the amount of trash that they would leave behind, voiced his discontent by spray painting Lao Bu Xiu in black over some of the artwork. This scathing message was intended for Mr. Huang, telling him behave more appropriately for his age.


這個故事也有爭議性、社政性的一面。有些人認為,這些作品與非法塗鴉無異,並且那些當地村民原本可以從中獲取數目可觀的拆遷費。同時,眷村村民也可以搬遷到更好的現代公寓。 2011年,彩虹眷村一村民,不堪忍受吵雜的遊客以及他們身後留下的垃圾,而在部分作品上噴上“老不修”三字以示不滿。這些尖銳字眼直指黃永阜先生,意在告誡他應為老而尊。

Regardless, this cultural and near-psychedelic visual experience continues to draw in countless visitors from around Taiwan as well as around the world every year. But besides tourists, the village also attracts other interesting characters. From a selfie-snapping, guitar-toting, tie-dyed Iron Man that plays renditions of popular Chinese songs to a nomadic barista selling hand drip artisanal coffee, the village seems to have a magnetic pull on creative individuals.


無論如何,這種獨到的文化和近乎迷幻的視覺盛宴每年都在不斷地吸著來自台灣本土以及世界各地的遊客源源湧入。除了遊客,彩虹眷村也吸引了許多有趣的創意人。從愛好自拍的七彩鋼鐵俠背著吉他演唱中文流行歌曲,到四處走動的咖啡館師販售手工滴壺咖啡,眷村似乎具備著吸引各類創意人的魔力。

Huang Yongfu, now 94-years-old, still lives in the same house he’s been living in for the last 38 years. And despite having already preserved the village by securing its place as a cultural landwork, he still continues to tirelessly paint the village day after day. During most afternoons, Rainbow Grandpa can be found around the village, happily conversing with visitors.


現年94歲的黃永阜,依然居住在這個他已經住了38年的房子裡。儘管通過將眷村加強塑造成一個文化性地標使其得以保留,但他還是在十年如一日地繼續創作。若你有機會參觀,或許你會發現彩虹爺爺正在平日暖陽里的午後與到訪者在眷村之中某處愉快攀談。

Address:
No.56, Chun’an Road
Nantun District
Taichung, Taiwan

 

Website1949rainbow.com.tw
Facebook~/1949rainbow

 

Contributor & Photographer: David Yen


地址
台灣 台中市
春安路56巷

 

網站1949rainbow.com.tw
臉書~/1949rainbow

 

供稿人與攝影師: David Yen

The Sounds of The Horde

February 18, 2016 2016年2月18日

The Horde is a Shanghai-based band that creates what can only be best described as epic folk music. The group consists of five members: Ho Tom The Conqueror, Fierce Franco, George Goliath, Nick Nasty, and Johnny 2.0. During their live shows, Tom is on the very front of the battlefield conquering with his guitar, while Franco is fiercely plucking away a monstrous tune on the mandolin. Meanwhile, Nick is on the keyboard, getting unreasonably nasty with it. Then there’s George, a towering goliath of a man, asserting complete dominance on the harmonica. On the other side of that sits Johnny, who is seemingly robotic with his rhythmic precision on the cajón. Their sound, while resembling Americana folk rock, is actually a genre-defying acoustic onslaught that blends together different unlikely styles.


The Horde是一支上海乐队,他们所创作的音乐大概用史诗民谣来形容最合适不过。该乐队成员五名,分别为Ho Tom The Conqueror、Fierce Franco、George Goliath、Nick Nasty和Johnny 2.0。表演时,Tom带着他的吉它激战于舞台最前阵;Franco的曼陀林在他的疯狂弹拨下,声声震耳;与此同时,Nick在一边对着键盘下狠手;当然,还有巨汉George雄霸着口琴;在整个阵列令一侧,坐着Johnny,在箱鼓上精准地打着节拍,俨然机器人一般。他们的音乐,类似美式民谣摇滚,但事实上是将各种想不到的风格融合在一起,可谓自成一派。

These five joined forces through a series of fortunate encounters. Tom, Nick, and George were previously co-workers. Through their mutual interest in music, they ended up hanging out frequently and eventually started jamming together. Franco later came along in 2010 and met them at Anar in Shanghai, where the three were already playing regular gigs on Monday nights. Convinced that the trio absolutely needed a mandolin in the mix, he soon joined the team. Johnny, a regular at the bar they played at, later joined the group after revealing his finesse on the cajón.


这五个人的组合也是各种机缘巧合。Tom、Nick和George是曾经的同事,对音乐的共同热爱让他们时常聚一起,也最终让他们开始一起玩音乐。2010年,这三人已经固定每周一晚上在上海的Anar演出。Franco就是在这个时候的Anar认识了他们三个。被三人组对曼陀林的绝对需求说服后,Franco迅速加入了他们。Johnny,是三人组表演所在酒吧的常客,在展露了他在箱鼓演奏上的娴熟之后,也于随后加入了乐队。

Shanghai – or China in general, is an unlikely place to hear Americana-style folk music. The band never never really planned to bring the folk sound to Shanghai. But serendipitously, these five musicians had a similar mindset to create, and with their different musical influences – ranging from bluegrass, to Afrobeat, and even psychedelic rock. It all came together to culminate into their epic folk sound.


上海,乃至整个中国,都罕见美式民谣。这个乐队也并不曾特意要将民谣带入上海。可无巧不成书,这五个人在音乐创作上有着相似的理念,加之受到不同音乐的影响——从蓝草音乐,到魂克,到迷幻摇滚,他们的史诗民谣风格就这么形成了。

The band tells us that producing Consider Yourselves Conquered, the group’s first album, was an excruciating process. Although they had all played many live shows together, the recording studio proved to be a completely different environment and this resulted in a lot of wasted time. The album starts with “Shanghai Train”, which uses an ambient soundscape sampled from field recordings by Nick Nasty. The same track quickly and unexpectedly dives into a poem about Shanghai. The remaining songs on the record are all quite different from one another: from fast-paced jams like “The North”, to the blues-inspired sounds of “Shakespeare’s Coat”. The short five-track EP is as acoustically diverse as it is entertaining.


他们告诉我们,第一张专辑《Consider Yourselves Conquered》的创作极为艰辛。尽管他们在现场表演上已轻车熟路,但是录音室却完全是另一回事,这导致他们不得不花费大量时间于其间摸索。单曲《Shanghai Train》是整张专辑的开场,采用Nick Nasty在现场录音时采样的环境音,音轨迅速、意外一转,呈现出一个关于上海的激昂诗篇。专辑中其余的单曲也各自风格迥异。从快节奏的《The North》,到受蓝调启迪的《Shakespeare’s Coat》,这张仅由五首曲子组成的EP十分具有娱乐性。


The band reveal that, ever since the release of Consider Yourselves Conquered, it has been a roller-coaster ride filled with many ups and downs. A wide variety of issues plagued the band and delayed the album release: from studio dramas, to personal issues, and changing priorities. Overcoming every hurdle that came their way – as conquerors often do, they released their newest album Fahuazhen earlier this year. A 12-track album that includes “Space Wars”, a genre-transcending track that manages to draw influences from a variety of musical styles. The whole album then concludes with a song, which is sung completely in Chinese and was inspired by a pingtan performance that Tom saw in Zhejiang. In this quirky ballad, he sings about a Chinese family’s disapproval of a relationship due to a number of money-related reasons, like not having a house, a car, or a Shanghai hukou.


据乐队披露,自专辑《Consider Yourselves Conquered》以来,他们一路的经历跌宕起伏,犹如过山车。工作室抓马、个人问题、轻重缓急的改变,无一不困扰着乐队,导致这张专辑发行的一再延误。正如征服者们通常所为,他们也一路披荆斩棘,并于今年早前发行了最新专辑《法华镇》。专辑由12首歌曲组成,其中包括 《Space Wars》,一首不同音乐风格影响下跨越流派的产物。专辑以一首完全中文的曲目收尾,其灵感来源于Tom在浙江时观看的一场评弹演出。这首神奇的民谣讲述了一段由于在物质方面没房没车没钱没户口而导致不被中国家庭认可的恋爱故事。


Listen to The Horde’s latest album Fahuazhen below:

The Horde – Blossoms of the East
The Horde – Living on the Run
The Horde – Dark Eyes
The Horde – Peripheral Thought
The Horde – Spring Roll
The Horde – Take A Step Back
The Horde – Prodigal Sons
The Horde – Town
The Horde – Valentina Zhou
The Horde – A Moment in the Moment
The Horde – Space Wars
The Horde – Babamama


以下曲目来自The Horde的最新专辑《 法华镇》,欢迎试听:

The Horde – Blossoms of the East
The Horde – Living on the Run
The Horde – Dark Eyes
The Horde – Peripheral Thought
The Horde – Spring Roll
The Horde – Take A Step Back
The Horde – Prodigal Sons
The Horde – Town
The Horde – Valentina Zhou
The Horde – A Moment in the Moment
The Horde – Space Wars
The Horde – 我不知道为什么你的爸爸妈妈不喜欢我的爸爸妈妈

Unfortunately, following the release of this album, The Horde has announced an indefinite hiatus due to core members moving from Shanghai. Tom says that he wishes more people would continue making music in Shanghai, about Shanghai. Although the future is uncertain, they have hinted at the possibility of bringing back The Horde further down the road, but it will most likely consist of different members. So until that day comes… consider yourselves conquered!


遗憾的是,这张专辑发布之后,随着核心成员搬离上海,The Horde也宣布了无限期解散。Tom表示他希望在上海有更多人继续创作关于上海的音乐。尽管未来难料,他们暗示了The Horde回归的可能性,当然届时很可能是由新面孔组成。在那之前,consider yourselves conquered!

Website: thehorde.bandcamp.com
Facebook~/thehordeband

 

Contributor: David Yen
Images Courtesy of The Horde & Rachel Gouk


网站: thehorde.bandcamp.com
脸书~/thehordeband

 

供稿人: David Yen
图片由The Horde & Rachel Gouk提供

Let Her Petals Go

February 18, 2016 2016年2月18日

Shadow Chen is an illustrator and graphic designer from Ningbo. She shares an equal passion for almost every form of visual art including traditional painting, digital art, and mixed media.


Shadow Chen是来自宁波的插画师、平面设计师,同时她对几乎所有视觉艺术形式都有着相等的热情,例如传统绘画、数码艺术和综合材料。Shadow的灵感来自她周遭事物、人和音乐。

Shadow’s inspiration comes from her surroundings, people and music and her style is distinctive – full of colors, often in liquid, psychedelic forms and sprinkled with Chinese traditional twists.


Shadow的灵感来自她周遭事物、人和音乐。她的风格是如此独特,富含色彩,多以液体、迷幻形式呈现,又捎带着那么一点中国传统的转折。

 

Trained as a product designer, Shadow has worked on projects ranging from magazine covers and apparel designs to wooden furniture designs.


受训为产品设计师,Shadow的工作项目却由杂志封面和服装设计泛及木质家具设计。

 

  • Size: 38 cm x 59.5 cm (15″ x 23.5″)
  • Limited-edition of 100, exclusive to Neocha Shop
  • Certificate of Authenticity with artists’ personalized seal
  • Printed on Epson Matte Fine Art Paper

  • 尺寸: 38 cm x 59.5 cm (15″ x 23.5”)
  • 限量版数100,由EDGE商店独家贩售。
  • 带防伪证书以及艺术家本人封印
  • 印制纸张为爱普生磨砂精细艺术纸

/**/


Shadow Chen的《Let Her Petals Go》

¥550

立刻购买

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 HuanMusic 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。

Websitelinyuhuan.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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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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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

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FlickrTumblr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.


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214日至229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。

NeochaWhen 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?

SamAliveI 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?

SamAliveTo 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?

SamAliveI’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

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!

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Contributor: Gerhan
V
ideographers: Gerhan, Leon Yan
Photographers: Banny Wang, Gerhan


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

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