All posts by Chen Yuan

The Adventures of an Odd Duck 铁皮怪鸭

June 12, 2018 2018年6月12日

《飞克船长》系列：摘星计划

Beijing-based illustrator Tiepi Guaiya (meaning “An Odd, Iron-clad Duck” in English) is an artist whose love for sci-fi and adventure shines through in his work. Each stand-alone frame is an immersive story that pulls viewers deep into the scene. With surreal details peppered throughout his work, his drawings invite viewers to journey into the depths of his active imagination. Summing up his own art, he describes it as consisting of “space, aliens, monsters, wild animals, skateboards, bicycles, pimped-out rides, fashion, sexual desire, local Beijing culture, and everything else that seems cool.”

来自北京的插画师铁皮怪鸭，画中充满着探索的气息与科幻的意味，每一幅画都像在讲述一个故事，具有引人入胜的魅力。铁皮怪鸭的插画融入了很多幻想的元素，把一些天马行空的想法变成了现实，“比如说太空宇宙、外星人、怪兽、野兽、街头滑板、自行车、改装汽车、服饰潮流、欲望性感和北京文化，以及一切很酷的想法”。

《飞克船长》系列：等你很久了

《飞克船长》系列：飞克船长谜一样的笑容

《飞克船长》系列：飞克船长在土星玩玩具

《飞克船长》系列：当飞克船长变成老船长依然可以把你迷倒

《飞克船长》系列：飞克船长在复古迪厅

《飞克船长》系列：船长的实验室她们都说船长认真研究的样子非常英俊眉毛一挑世界地动山摇

《飞克船长》系列：飞克船长航海计划

《飞克船长》系列：摘星计划

《飞克船长》系列：北海公园营救计划

《科学怪青年》系列：北京飞碟

《科学怪青年》系列：驾驭自己的梦想

《科学怪青年》系列：发现外星人

Weibo: ~/铁皮怪鸭

Contributor: Chen Yuan

微博: ~/铁皮怪鸭

供稿人: Chen Yuan

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A Thousand Paper Cranes 千纸鹤少女

June 11, 2018 2018年6月11日

Can you pinpoint the exact moment when you became an adult?

Painter Kaori Watanabe says, for her, it was “when Japanese ginger first tasted good.”

Born in 1984 in Shizuoka, Watanabe is a graduate of the Kyoto Saga University of Arts. She creates elegant paintings of young women with flowing hair and porcelain skin in traditional Japanese kimonos. While beautiful, the body language and demeanors of Watanabe’s characters give glimpses of doubt, a silent internal struggle. But what are these characters struggling against? What are their aspirations?

哪一刻，你觉得你长大了？

“当我觉得日本姜变得好吃了。”渡边佳织（Kaori Watanabe）说。

渡边佳织于 1984 年出生于日本静冈，毕业于京都嵯峨艺术大学。她画中的少女让人印象深刻。在形象上，长发、和服、富士山、白白净净的脸庞，就像是从谷崎润一郎的《细雪》中走出来“雪子”；然而在肢体语言和面部表情上，那些沉默和倔强显得暧昧而充满意味——女孩们想要挣脱——挣脱什么？飞向什么？

When Watanabe was still a child in the 1980s and 1990s, Japan experienced severe economic turmoil.

But this period of strife led to two pivotal cultural shifts in the country.

First, it led Japanese women to begin joining the workforce en masse, furthering the cause of feminism. In 1985, the government enacted the “Gender Equality Employment Act” to protect women from gender discrimination in the workplace.

Second, it ushered in the “Golden Age” of Japanese pop culture, as people lost hope in the economy and urgently sought emotional solace and entertainment.

20 世纪八九十年代，也就是渡边佳织的少女时期，日本经历了严重的经济动荡。

但经济滑铁卢刺激了两件事情。

一件事是更多的女性主动或被动地涌入社会寻求工作，日本女性主义在那个时期得以高度发展。1985 年，日本颁布了《男女雇佣均等法》，为女性在就业中遇到的性别歧视提供法律保护。

另一件事就是促使日本流行文化行业进入“黄金期”。人们对经济不抱希望，急需在情感上得到抚慰和娱乐。

With the rise of feminism and growth of the entertainment industry, a new wave of strong female characters—both real and fictional—would emerge as iconic figures in Japanese pop culture.

As a teenager Watanabe fell in love with art and punk rock.“The three things that defined my youth were MTV, the singer Jun Togawa, and the painter Kajiwara Hisako,” she says. “After we got MTV, I became obsessed with it. I spent all my free time glued to the set. Jun Togawa was a singer in the 80s — she was totally punk. Kajiwara Hisako was a painter from Osaka who worked in a traditional Japanese style, and I was really into her work. I loved punk rock, but back then I couldn’t find anyone who wanted to form a band, so I wrote poems to express my emotions. Even today I still include small poems on some of my paintings.”

这两个方面综合起来，越来越多富有不同个性的女性偶像成为渡边佳织一代的“青春记忆”。

在渡边佳织的青少年时期，就爱上了朋克和艺术。“要说我青春期的三个关键词，就是 MTV、户川纯、梶原緋佐子。自从我们家装上 MTV 以后，我就迷上了它，一有空就看；户川纯是 80 年代很火的一个朋克风格的创作女歌手；梶原緋佐子是我很喜欢的以日本传统风格为主的京都女画家。我很喜欢朋克乐，但那时我找不到和我一起组乐队的朋友，所以我就通过写诗来表达我的情感。现在我仍然会在一些画上写诗。”

In Watanabe’s female figures, traditional symbolic forms and a rebellious, unconstrained spirit appear side by side, in a state of constant struggle. Some of her typical paintings feature Japan’s traditional “thousand paper cranes,” which give the work a sense of restlessness and anxiety—as though the cranes were the young women’s souls, flying away one after the other in their beauty and their fragility.

渡边佳织笔下的少女形象中，传统的外形符号似乎在和叛逆不羁的灵魂无休止地斗争、共处。在她的几张典型风格的作品中，日本传统文化里的“千纸鹤”元素反而为画面注入了灵动和不安的气息——仿佛是少女的灵魂，美丽、脆弱、飞翔、如影随形。

While the thousand paper cranes that populate her work are deliberate, Watanabe is unable to explain their precise meaning. “At times, I suppose they’re symbolic of certain emotions. Or maybe they’re a nod to the spirits in Japanese folk tales that can take on people’s souls, as in the novel Onmyōji: the cranes would be either shikigami, which are spirits, or shikifuda, which are paper puppets that house spirits.” By including these inanimate yet mysterious elements in her figure paintings, she blurs the lines between fiction and reality, between the ancient and the contemporary.

The friction between surface cuteness and inner rebelliousness reflects the experience of growing up as a woman in Japan. “I don’t hope for complete gender equality, but in the current situation I can still strive to live a happier and freer life,” says Watanabe. Feminist voices are making themselves heard more loudly than ever, but gender inequality is still very much present, and young women grow up in struggle and compromise. They’re expected to carry on a tradition, but the thousand paper cranes still cry out.

画上这些千纸鹤，渡边佳织当然是有用意的，却说不清明确的理由——“它象征着某种情感，亦或像是那种日本民间神话中可以摄人心魂的神灵，就像是《阴阳师》中阴阳师所役使的灵体 Shikigami，或是一种寄居在纸制人偶中的叫做 Shikifuda 的灵体。”渡边佳织将这些看起来没有生命却极具神秘感的元素融入她的人物绘画中，现实与虚构、古代与当下的界限就这样被打破了。

这种表面的乖巧与内心的反叛之间的矛盾，充斥在日本女性的成长经验中。渡边佳织说：“我可能并不寄希望于男女能完全平等，但我可以在这种情况下努力活得自由和快乐。”哪怕在当下，呼吁女性权利的声音越来越高，但不平等依然存在。少女在挣扎与妥协中成长——传统遗留在她们身上，千纸鹤却不停地鸣。

“The moment Japanese ginger first tasted good—that’s when I knew I’d grown up,” Watanabe says.

For many young women, growing up is like ginger: tangy, tart, spicy, sweet. For children, the flavor is too complex, worlds away from the straightforward sweetness of candy.

But one day you suddenly find you appreciate this complexity and can take satisfaction in the multilayered bounty life offers. Maybe that’s the moment when you grow up.

“当我觉得日本姜变得好吃了，就是我觉得自己长大了的那一刻。”

少女的成长就好像吃姜，生脆、酸甜、辛辣。对于小孩子来说，口感太复杂了，远不如一颗糖甜得那么简单喜悦。

但是有一天，你忽然发现自己能接受这复杂，从这生命赋予的丰富层次中找到自己的满足——大概这就是长大成人的那一刻。

Instagram: @watanabe_kaori_

Contributor: Cheng Li

Instagram: @watanabe_kaori_

供稿人: Cheng Li

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Bodylines 生长纹

June 11, 2018 2018年6月11日

Did you ever notice that everyone has stretch marks?

Misshapen patches of skin in zigzag patterns, stretch marks are luckily often hidden away on out-of-sight locations on the body. Many people try to cover them up or even try laser removal. Small blemishes are never easy to put up with.

But everyone is flawed.

Intrigued by the physical imperfections that dot the human physique, Taiwanese photographer Chang Yu Hsuan created Bodylines.

生长留下的斑纹，你有没有注意过？

它歪歪扭扭，盘踞在身体隐秘而不为人知的地方。很多人对它的存在遮遮掩掩，更有甚者会选择激光祛疤。身体的小小瑕疵，总是让人难堪。

但，你不是唯一。

来自台湾的摄影师张毓軒，开启了一个摄影系列《Bodylines》，即“生长纹”之意。

For Chang, Bodylines is a way to turn people’s attention to women’s intellect and capabilities, not on how they measure up to a standard of beauty.

“Are stretch marks only ugly because other people say they are? Or are they truly ugly?” Chang wonders. “I was bothered by mine when I was younger and wanted laser removal. But I didn’t have the money, and once I was older, I’d gotten used to them, so I didn’t worry about them. I hope I can bring my own experience of acceptance to women who are struggling. The idea is to help people rethink stretch marks by ‘decorating’ them.”

Chang 开始这个系列的创作，是想借此让更多人将焦点放在女性的思考方式和能力上，而非“外貌完美达标”。

“‘生长纹’这个东西到底是别人跟你说不好看才不好看的吗？还是它真的本身不好看？以前我小时候也曾经难过到想要激光镭射掉，因为没钱也办不到就作罢，长大以后因为习惯它的存在也没感觉了。我希望我能将我的内化经历，带给现在也正在挣扎的女性，有点类似用某种装饰它的方式去诠释生长纹。”

Chang started shooting because she wanted people to try to be open and honest.

Finding models wasn’t exactly hard, but it wasn’t easy, either. Only likeminded people are willing to sit for this kind of shoot.

Maybe most people have their heads filled with ad models with flawless posture and skin, and demand the impossible of themselves on camera, hoping they’ll look equally perfect.

But the truth is quite different. Growing up isn’t like that.

因为想要大家试着“当个说实话的人”，所以 Chang 就开拍了。

去找这些照片中的模特，说难不难，却也并不容易。因为，“同温层以外的人，是没办法接受这样的拍摄。”

或许大多数人，都还忘不掉广告里的模特那“全方位无死角”的身姿和肌肤，所以对上镜的自己有着种种苛求，以期它也一样要完美无暇。

但“真相”却并非如此，成长，也不是这么回事儿。

“Take the young girl next door. She doesn’t need to work, and each day she just goes to and from school. Her only worry is getting a pimple before a big date—that’s a big deal. You can’t compare people’s pain. All I can do is find a method I believe in to get people to be more relaxed about their imperfections,” Chang says.

“就好像隔壁的邻居妹妹，她不用赚钱，每天就是上课放学……唯一的难受就是明天要约会，脸上长了大痘痘，那是多难过的事。痛苦是不能比较的，我只能用我相信的方式，去让大家对于自己的不完美再更放松一点。”Chang 说。

Growing up is never a totally smooth process. But just like stretch marks, our path zigzags upward, and on this journey we slowly get a clear vision of our imperfections, embracing and accepting them.

“The point of the project isn’t to shame women who want to be pretty. It’s to tell each and every woman facing an inner struggle, you’re not beautiful just because other people (especially men) say you are. If one day I’m sitting and talking to you and notice you have a double chin, does that mean you’re not beautiful? That’s sort of what I’m getting at,” Chang says. “Even though it’s a bit trite, having photographed so many women, my conclusion, my experience, is that women’s strength lies in confidence, poise, freedom from envy, and a belief in themselves.”

是的，回首成长的过程，好像从来不是十全十美。但也许正如这系列的名称“生长纹”一样，成长的纹路蜿蜒向上，而我们就在这个旅途中，渐渐认清了自己的不完美，又再度与它拥抱、与它和解。

“我做的这个计划，不是要为想变漂亮的女性贴上标签，而是要告诉每一个自我挣扎的女性，你的美丽不是因为别人（尤其是男性）说了什么你才美丽，如果有一天我坐在椅子上跟你聊天，看到了你的双下巴，那你就是不美丽的吗？有点类似这样的意思，虽然这样很八股，但拍摄了这么多女人，我的结论，一路的感受，还是相信，有自信的女人，从容、不嫉妒、相信自己，那才是真正的女力。”

Website: changyuhsuan.com
Facebook: ~/threela
Instagram: @je9_3

供稿人: Chen Yuan

网站: changyuhsuan.com
脸书: ~/threela
Instagram: @je9_3

供稿人: Chen Yuan

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The Taste Reminds Me of You 一定要画出来才好玩

June 6, 2018 2018年6月6日

猪排三明治 / Pork cutlet sandwich

“My name is Ye Zhijun, I’m in my 20s, I’m a virgo, and I love photography, drawing, and food.”

Endearing and direct, just like her drawings, Ye Zhijun’s description of herself can’t help but bring a smile to your face. Ye’s works rarely strike a gloomy or grumbling note, because most of the time the people in her drawings are too busy happily stuffing their faces.

That’s the unique charm of Ye’s words and images: you feel like you’ve known her all your life.

“我是叶纸君，90 后处女座，最大的爱好是拍照画画和吃东西。”

这样坦白却可爱的自我介绍，和她的画一样，看起来让人不禁莞尔一笑。她的作品很少有那种“悲天悯人”“我见尤怜”的感觉，因为画中的人，大抵都在眉开眼笑地吃吃吃。

是的，这就是叶纸君从文字、从画面传达过来的个人魅力，让人倍感亲近。

肉夹馍 / Roujiamo, or Chinese hamburger

烤肉 / Grilled meat

When Ye graduated from University of the Arts London, she felt lost: “I was drawing every day, but I didn’t know what I was going to do with my life.”

Back then she’d often go out to eat at little hole-in-the-wall restaurants. No matter how perplexed or lonely she felt, when seated in front of something delicious, “for a few moments my entire body felt cured. So I thought, why not put all these dishes into my drawings?”

三年前从伦敦艺术大学毕业后，叶纸君觉得很迷茫，在那段不长不短的时间里，“虽然每天都在画画，但不知道未来的人生会怎么样。”

当时，她经常会独自去很多小店吃东西，却意外地发现，无论再多迷惘和孤独，当面对美食的那一刻，“整个人就瞬间被治愈了，心想着那不如把这些美好的食物画出来吧。”

泡菜炒饭 / Kimchi fried rice

咖啡店 / Coffee shop

法式蛋糕 / French pastries

“The first thing I drew was a super simple but extraordinarily delicious bowl of noodles with scallion oil,” she says. “You put the chopped scallions on the strained noodles, add a bit of sugar and light soy sauce, then pour the hot oil on top. You can hear the noodles sizzle, and then the fragrance of scallion fills the entire kitchen. You mix it all together and take a big bite. It simply fills your heart with joy.”

Since then, eating and drawing have become the two main parts of her day. “Drawing accounts for 60%, eating accounts for 35%. But when I draw, most of the subject matter is still food related.”

After toiling away for an entire year, in 2016 Ye published her first comic book, It’s Not Fun Until It’s Drawn: London.

“动手画的第一道菜是超级简单却又十分美味的葱油面。小葱切末，放在沥干的面条上，撒入生抽和白糖，热油浇在面条上，此刻你会听到滋滋滋的声音，再过一会儿，整个厨房都弥漫着葱油的香味。搅拌均匀，大吃上一口，简直是心满意足。”

自此之后，吃与画，成为她日常的绝大部分。“画画占60%，吃吃吃占35%，不过画画中大部分的主题还是跟吃相关了。”

一年多后，叶纸君出版了自己的第一本绘本《一定要画出来才好玩：伦敦》。

第四话《居酒屋》

From rice bowls to roujiamo (a Chinese hamburger), from French pastries to Oreos, from snacks to hors-d’oeuvre to main courses, Ye’s drawn it all—and of course, she’s probably eaten it, too.

Asked why she’s so obsessed with food, Ye gives a serious answer: “Food does more than just fill your belly—it can also comfort your soul,” she says. “Behind every dish there’s a story. There may always be something even tastier than what you’re eating, but the people and ingredients that made that dish can never be replaced. They linger in our hearts and are hard to forget.”

从肉夹馍到煲仔饭，从奥利奥到法式蛋糕，各种或传统或新奇的零食、小吃和主食，叶纸君都画——当然，也可能是都爱吃。

要问为什么对吃如此执念，叶纸君的回答很正经：“美食不仅仅可以填饱肚子，更能抚慰人心。每一道菜的背后其实都蕴藏着一个故事，菜的味道或许能随时被更好吃的东西代替，但所关联的人与事，是无法取代的。它能够久久留存在我们心里，难以割舍与忘记。”

浪味仙 / Lonely God snack puffs

栗子饭 / Chestnut rice

In fact, Ye’s favorite dish, fried Chinese bread, is something she loves because it’s filled with love. “That was the first thing Chef made for me,” she says.

Chef is her boyfriend, and as his nickname suggests, he’s the one who does the cooking. “I remember once when driving back to Beijing with Chef I said I’d never met anyone who was so good to me. I’d never felt such kindness. Chef laughed and said, ‘I love you, that’s why I like to cook for you.’ That simple sentence utterly moved me. Every day I say, ‘I’m so happy I met you.'” Sweeter words are hard to imagine.

殊不知最让她喜欢的一道菜，“煎馒头片”，也正因为其承载了满满爱意。“因为这是大厨给我做的第一道菜。”叶纸君说。

大厨是她的男友，也充当着日常主厨的角色。“记得和大厨开车回北京的高速上，我说从来没有遇到过一个人对我这么好，第一次体会到这样的温暖。大厨笑着说，因为我爱你啊，这些饭菜都是我愿意为你做的。大厨简单的一句话，却让我感动到不行。每天都在感叹，遇见你真是太好了。”言辞之间，尽是甜蜜。

奥利奥 / Oreos

Ye says that the pudgy girl in the drawings is “one side of me.” Everyone has something to share, and the girl in the drawing is her window for sending the world faith, hope, and love.

“What I want to tell people is, not everything you experience in life can be perfect. But whether something is good or bad is up to you to decide. I hope everyone who sees my drawings can live without fear, and enjoy the people and things they encounter in life.”

In other words, “eat, drink, and be merry.”

画里那个肉嘟嘟的女生，叶纸君说那“算是我的一部分”，因为每个人都有想表达美好的意愿，而画中的女生，就是她输送爱、希望与信仰给这个世界的窗口。

“我想告诉大家的是，人生中遇到的所有事情不可能是完美的，但好与不好的处决权在自己的手中。希望看到叶纸君漫画的朋友，无畏结果，都可以尽可能地享受生命里遇到的人与事。”

毕竟，那句诗怎么说的，“弃捐勿复道，努力加餐饭”。

Douban: ~/leaf0831
Weibo: ~/leafstyle

Contributor: Chen Yuan

豆瓣: ~/叶纸君
微博: ~/叶纸君

供稿人: Chen Yuan

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The Old 日本街头的老人

May 28, 2018 2018年5月28日

According to the most recent statistics, as of October 2017, 27.7% of Japan’s population, or around 35 million people, are 65 or older. While Japan’s rapidly aging population has long been an issue for the country, the numbers are still shocking.

Born in Manchester, England, photographer Lee Chapman has lived in Japan for over two decades. His photo series The Old turns his lens onto Japan’s aging society. They still stagger along on traffic-clogged thoroughfares and eke out a living in alleyway shops.

最新统计显示，截至 2017 年 10 月，日本 65 岁以上老年人口为 3515.2 万人，占总人口的 27.7%。虽说对日本老龄化社会所面临的诸般问题早有耳闻，但真正看到数据时，却依然显得触目惊心。

出生于英国曼彻斯特的摄影师 Lee Chapman，已经在日本生活了二十多个年头，他的这个摄影系列《The Old》，正把镜头聚焦于在日本生活的垂垂老者──车水马龙的大路上，他们依然蹒跚地走着；沿街的小店里，他们依然勉力维持着生计。

“I was initially fascinated by Tokyo’s older areas and districts,” Chapman says. “These neighborhoods often have large elderly populations, so a series of photos featuring them just gradually built up.”

Almost none of the individuals featured in this series were deliberately chosen – most were just chance encounters. “They are mostly all people I spotted on the street, in bars, or in restaurants,” he says. “People that to me at least are interesting, and people whose faces, or the situation I photographed them in, seemed to tell a story.”

“我是先为东京较古老的城区所吸引，而这些地方往往聚集着大量的老年人口，因此一系列以他们为特色的照片才逐渐建立起来。” Chapman 说。

所以镜头里的老人们绝大多数都是 Lee Chapman 在街上随机遇到的，而并非经过层层挑选的拍摄对象，“他们基本上都是我在街上、酒吧或餐厅看到的人。他们是对我而言至少有意思的人。他们的脸上，或者我拍下他们的那刻情景里，似乎都在讲述一个故事。”

One particular photograph that’s engraved in Chapman’s memory is his shot of a silver-haired woman rolling up metal shutters.

“I initially saw only her hands and feet, and then as her face appeared, I quickly got the shot,” he says with a grin. “But the main reason it’s one of my favorites is that when she saw me standing there, she immediately – and rather forcefully – commandeered me into helping her . . . After opening it, she invited me inside to chat with her.”

最让 Lee Chapman 感到动容的一张照片故事，是这个拉卷帘门的老婆婆。

“这是我很满意的一张照片。她站在卷帘门背后，起初我只看到她的手和脚，当卷帘门缓缓上升，她的脸最终出现的时候，我当即按下了快门。” Chapman 说，“但我最喜欢这张照片的主要原因之一，是她看到我站在那里，她立即，甚至是不容分说地，请我帮她拉开卷帘。然后老婆婆还邀请我进屋聊聊天。”

She ended up becoming just about the only person in the series Chapman would spend time with. Chatting with her, he learned that this was her former store, but as age began taking its toll, she closed down the shop and converted it into a living space.

“It was a very interesting half an hour or so that I wouldn’t have had without taking that photograph,” he says. “It’s also even more poignant now as I’ve never seen the shutters raised since, let alone seen the lady herself.”

这次经历几乎算是 Chapman 在拍摄这一系列中唯一与之“共度时光”的老人了。聊天里，Chapman 得知照片里拍的是老婆婆从前开的小店，但因为她年事已高，疲于经营，现在这里只算是她的住所，早已不作商铺。

“如果我没有拍这张照片的话，我们就不会共度非常有趣的半个多小时。可惜的是，现在我再也没撞见过这样拉卷帘的瞬间，也没有再见过这位婆婆了。”

With the sheer amount of elderly citizens in modern Japan, many have voiced concern for their well-being. Must they live the rest of their lives alone? What are the realities of their living situations?

“The lady who I talked with was living by herself and was clearly very lonely,” Chapman notes. “Her kids didn’t live nearby, and she couldn’t get out much, a situation that, given Japan’s aging population, is sadly only going to get more common.”

但是街上随处可见的老人，让人不得不对日本的高龄化现象萌生隐忧。照片中的老人们，难道一直离群索居、独自生活吗？他们真正的生活境遇又是如何呢？

“就我之前提到的那位拉卷帘门的老太太来看，她一个人生活，显然很孤独。她的孩子不住在附近，她也无法独自出门。” Chapman 说，“鉴于日本人口老龄化的情况，很遗憾这样的事只会变得更加普遍。”

In the middle of the fast-paced city, the old get by at their own inevitably slower rhythm. Leading slow lifestyles, the aging population of Japan can struggle to find belonging in the rapidly developing metropolis. Chapman says that this series has helped him come to terms with the impermanent nature of the world around him.

He tells us, “These areas I often shoot in are changing at an alarming rate and fascinating old buildings are being demolished everywhere. Of course, it’s not just the buildings that are disappearing, but also the people who once inhabited them. This element also makes my work seem more pressing, and in some small way, more important,” he says.

在快速发展的城市夹缝中，老人们用自己缓慢而不得已的节奏生存着。因此拍摄这个系列，让 Chapman 更加意识到了周围世界的无常性。

“我经常拍摄的这些区域正在以惊人的速度发生变化，各处迷人的古老建筑正在被拆除。当然，这不仅仅是建筑物正在消失，还有曾经在其中居住的人。这也让我的摄影工作看起来更加紧迫，而且在某种程度上，显得更为重要。”

Website: leechapman.photos
Instagram: @tokyotimes_lee

Contributor: Chen Yuan

网站: leechapman.photos
Instagram: @tokyotimes_lee

供稿人: Chen Yuan

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Twinkle Twinkle Little Circle 当我患上“失心疯”

May 24, 2018 2018年5月24日

From A Planet of Seas & Mountains / 《山海星球》系列

“I wish everything in this world were round,” writes Yayi in a project statement.

Yayi is a Shanghai-based artist who spends her days designing, doodling, and searching for inspiration in the trivial details of life. Her unique style is characterized by minimal colors, collage elements, and perhaps most distinct of all, an assortment of circles. But why circles?

“I just like it,” Yayi shrugs. “I’ve always thought circles were such a mysterious shape. They’re soft yet plump. They can be energetic or they can be lethargic.”

“希望这个世界上的一切都是圆圆的”，是 Yayi 给某个系列写介绍时说的。目前生活工作于上海的她，日常画画、做设计，采集生活里能够感动自己的细枝末节，画着圆圆圈圈，配上简单的颜色和一些拼贴元素，就形成了她独特的风格。

但真要为“圆”找出个所以然来的话，Yayi 却说，其实只是因为喜欢这个形态罢了。“一直觉得圆是个微妙的形态，是柔软的、饱满的，有时活泼有时慵懒的感觉。”

From Twinkle, Twinkle series /《Twinkle, Twinkle》系列

From A Planet of Mountains & Seas / 《山海星球》系列

Yayi describes her process of drawing circles within the confines of a rectangular frame as “daydreaming within a sequestered universe of my own.”

In Passing By, a series of short animated clips, she presents everyday scenes (with circles, of course) from three different perspectives: as a lover of idle walks, as a lover of parks, as a lover of stories. The series is intimate yet playful, inspired by her observations of strolling around the city. From a lone trashcan in an empty shopping plaza to a flashing traffic sign lighting up the darkness of night, Yayi reimagines mundane settings as delightful works of art.

在一方方的小世界里画圆，Yayi 形容是“时不时在自己臆想的‘断层世界’里做着‘清醒梦’”。

以“遛弯儿爱好者”、“公园爱好者”和“小故事爱好者”的身份来分类的《路过》系列，Yayi 放上了一些脑回路的场景画面，非常随意，也相当个人化。在生活里看到的某一个场景和画面的延展，比如凌晨商场里的垃圾桶，夏日深夜空旷马路边被交通警示灯反射过的禁止通行路牌，等等。这些过去的画面，被 Yayi 捕捉在记忆里，又重新翻出来构图创作。

From the Passing By series / 《路过》系列

For times when Yayi wants to create but isn’t feeling particularly creative, collage is her go-to medium. “It’s just me piecing together scattered visuals to try and jolt my brain into coming up with new ideas. That’s why I titled one of my collage series Losing My Mind.”

而在想创作又没有想法的时候，Yayi 会玩拼贴。她的回答很温柔得可爱：“算是通过把零碎的画面重组来刺激自己有些新的想法。所以我把我拼贴的系列叫做‘失心疯’。”

From A Planet of Mountains & Seas / 《山海星球》系列

In her collage works, the elements Yayi selects reveal a fascination with films about space. “I suppose there really are quite a lot of movies about space that I’ve loved over the years,” she says, “from A Trip to the Moon (1902), to the Soviet-era Solaris (1972), to the more recent Coherence (2013).”

She also cites a love for the work of installation artists Olafur Eliasson and Cai Guoqiang. “I recently watched a documentary about Cai Guoqiang’s Sky Ladder. His ongoing Project for Extraterrestrials series is also quite interesting; in it, he plays with the idea of space exploration but through the innocence of a young boy. All of his works are extremely impressive.”

殊不知，拼贴的素材或灵感来源，背后都会或多或少地融入她沉迷的星球和宇宙的元素。“从 1902 年的《月球旅行纪》，到后来苏联的《飞向太空》……再到近几年的《彗星来的那一夜》。关于宇宙和星球题材的电影，仔细想想我喜欢的还真的挺多的。”

她毫不掩饰她对当代装置艺术家 Olafur Eliasson 的钟爱，还有蔡国强。“最近看的纪录片有蔡国强的《天梯》。他用男孩天真的一面去表达对外星世界的探索，做的一系列‘为外星人做的计划’行为和装置艺术都是让人印象非常深刻的作品。”

From A Planet of Mountains & Seas / 《山海星球》系列

From Twinkle, Twinkle series /《Twinkle, Twinkle》系列

Her delicate recollections and observations of life, along with her love and longing for outer space, gives Yayi’s circles an ingenious romance.

Depending on the viewer, Yayi’s circles can take on different meanings. Some could see them as symbolic of deeper ideas. Others may just enjoy them simply as circles. Less than a bridge between artist and viewer, for Yayi, art is “an outlet for my own emotions, and hopefully something that resonates with the viewer’s emotions.”

对生活细腻的感知与记忆，对宇宙星球的喜爱与憧憬，让 Yayi 的圆形作品显得玲珑且浪漫。

这些圆，可以被赋予形形色色的含义，也可以干干净净地理解为圆本身。要说 Yayi 所想要搭建的那座桥梁，不过是“我自己的情绪出口，同样也希望大家解读出自己的情绪。”

From A Planet of Mountains & Seas / 《山海星球》系列

Website: yayifsoso.com
Douban: ~/yayi_ifsoso

Contributor: Chen Yuan

网站: yayifsoso.com
豆瓣: ~/yayi_ifsoso

供稿人: Chen Yuan

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Hidden Glory 躲起来的“辉煌”

May 18, 2018 2018年5月18日

Edited with VSCO X Preset AL1 / VSCO X 滤镜 AL1 处理

In collaboration with VSCO, we recently explored Shanghai’s Jinhuanghuang secondhand market, one of the last of its kind in the city, to find out what makes it so special. All of the images in this story were edited with the powerful presets and tools that come with VSCO X. Click here to start your free, seven-day trial.

I thought I’d prepared myself, but when I finally found the Jinhuanghuang General Wholesale Market, I was still taken aback.

Jinhuanghuang is tucked away between West Gaoke Road and the elevated highway of South Pudong Road. Even with GPS guidance, the cab driver had trouble finding it. In retrospect, the difficulty of even locating the market’s entrance foreshadowed its labyrinthian interior, where a mishmash of shops hawking old appliances, antiques, and secondhand clothing stretched out everywhere you looked. The people, however, you could count on one hand.

I’d been to the market more than once, back when it was still on Dingxi Road. Yet its new incarnation left me a bit shocked: everything had changed.

尽管此前已经做好了心理准备，但在我终于找到“金煌煌综合批发零售市场”的时候，内心还是震惊的。

整个市场，坐落在浦东南路高架与高科西路中间极其不起眼的一个位置，甚至哪怕依照着导航指示，司机师傅都仍走过了一条岔路。可以说，这里由外至内都有如迷宫，旧家电、老古董、二手服饰，一溜烟地铺陈开去，但视野范围内的人，却屈指可数。

纵然对以前“安西二手服装市场”有所了解的我，也不禁一愣：它变样了。

The “Hidden” Market

Sprawling across two floors, Jinhuanghuang is the successor to two different secondhand markets that no longer exist: one on Yuntai Road in Pudong, on the east side of the river, and one on Dingxi Road in Changning district. It offers all kinds of secondhand wares, but it’s still mainly a destination for the vintage apparel trade, as its alternate English name – “Golden Glory Textile Market” – makes clear.

Oddly, since the market isn’t small, the shops are packed tightly together. The cramped feel, along with a lack of ventilation and daylight, gives the place the damp, musty smell of flea markets everywhere. Still, the shop owners say they’re grateful for the space.

“躲起来”的市场

如今的“金煌煌”有两层楼，由以前浦东新区云台路和长宁区安西路两地的二手市场集合而成。虽说试图平衡各种类的二手货物，但仍主要是二手服装交易市场（这个市场的替代英文名称甚至被称为“金色纺织市场”）。

这里空间虽然不小，却和所有二手交易市场一样，到处充斥着一股陈年的、潮湿而晦涩的味道。这或是因为店面之间的空间都过于逼仄，久不通风采光所致。但即便如此，这里的店家对能找到此地也颇为“感激”。

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Edited with VSCO X Preset KU8 / VSCO X 滤镜 KU8 处理

On the day I visited, I ran into several shop owners who had relocated from the old markets. Still as enthusiastic ever, each one without exception called out to the people passing by: “Come on in and take a look!” When I told them I used to be a regular at the old location, they opened up even more.

“This place is a bit out of the way, but it’s huge,” one shop owner told me in Shanghainese. “It’s actually been over a year since we moved from Dingxi Road.”

“That long?” I gasped. “I only recently heard about this place from a friend of a friend, and I decided to make a special trip out here today.”

我到访的那日，遇上不少从前从旧市场迁址而来的老板和老板娘，但凡有顾客路过的时候，他们无一例外，都会热心又腼腆地和人打招呼：“进来看看！”当得知我是以往的熟客时，谈话便显得更顺畅。

“这块虽然偏，但地方还算蛮大。阿拉从定西路搬到这里一年都有了喔！”听这位店老板的口音，是纯粹的上海人。

“噶长辰光！阿拉才听到消息，今天还是听朋友的朋友介绍的，特特为为跑过来！”

Edited with VSCO X Preset FP8 / VSCO X 滤镜 FP8 处理

Reportedly closed for fire safety concerns, the market on Dingxi Road was slated for demolition. The plans kept getting delayed, until one day, without warning, it finally did get demolished, and within a few weeks, no trace of the market remained.

“They tore it down so fast. They cleared everyone out in no time at all, and in the last few days, we were selling at fire-sale prices because we had to leave behind what we couldn’t sell,” the shop owner recalled, voice tinged with regret or sadness.

从前的安西市场，据说是因为消防原因不过关，早说要拆，却迟迟不见动工。到了真的拆迁时，几乎进行得悄无声息，不过几周，市场早已不见了踪影。

“那时候拆得太快，没几天工夫就都清场了。最后那些时候的价格实在是‘放血’甩卖，因为卖不掉的也都不会带走了。”老板说着，言语里竟听不出是遗憾还是感叹。

Edited with VSCO X Preset FP8 / VSCO X 滤镜 FP8 处理

“This new spot is pretty hard to find,” I said to the shopkeeper. “If one of my friends hadn’t been here before, I would’ve had no idea where to go.”

He laughed. “Yeah. When I first moved in, the whole market was a ghost town. No one came here.”

Even after I found the entrance, I got lost again amid the sprawl of shops. Only after wandering around in circles for a while did I finally stumble across a stairwell next to a stall. Above the dimly lit stairs, looking like a long-lost friend, a sign read “An’xi Fashion Market.”

But now, after a year, patrons of the old market have begun returning, and business has picked up. “Still, it doesn’t compare to what it was like before,” the shopkeeper sighed.

“这个地方实在难寻，要不是有熟人带路，根本不晓得哪能走。”我感叹道。

因为在找到市场大门之后，我又迷失在偌大的市场里面，几经兜转，才摸索着找到某个摊位边的楼梯口，昏暗的台阶上贴着“安西服饰楼”，才算重会了“故地老友”。

老板一笑，说：“是的咯，刚搬到这里来，整个市场简直是空荡得吓人，完全没人的。”

好在现在由于熟客的回流，生意比开始要稍好一些。“但跟以前是没法比的。”老板又半带感慨地说了一句。

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Edited with VSCO X Preset AV8 / VSCO X 滤镜 AV8 处理

Less is More

Maybe because I saw so little foot traffic, the clothing selection seemed especially broad. Mountains of second-clothing from overseas sat waiting to be ironed and put up for sale.

Wholesale secondhand markets like this used to be quite large and do a brisk business. Bundles and bundles of clothes would arrive and get sent off again within a few days.

“In the old days, when the market was still on Dingxi Road, it was a madhouse! People would show up just after 9:00 in the morning, and on the busiest days we wouldn’t close till after 11:00,” recalled Xiao Chen, another shop owner. “Back then my son was just a little boy, and now he’s 29!”

麻雀虽小，五脏俱全

或许是因为人少，显得这里的服装货物尤其多。无数漂洋过海而来的各国二手服装，在这里堆积如山，等待熨烫出售。

曾经有很长一段时间，二手服饰批发的市场很大，“走货”速度也很快，衣服一捆捆地来，不日又一捆捆地被批走。

“最早的时候，市场还在老定西路靠近愚园路的地方。那时候是真忙，每天早上九点多就有人来了，最热闹的时候要到晚上十一点才好关门。”老板娘小陈与我说道，“那时我的儿子才只有几岁，现在已经 29 了！”

Edited with VSCO X Preset A10 / VSCO X 滤镜 A10 处理

Edited with VSCO X Preset KU8 / VSCO X 滤镜 KU8 处理

Edited with VSCO X Preset A10 / VSCO X 滤镜 A10 处理

“Sounds like you’re a veteran!” I grinned.

“Not at all,” she laughed. “The real veterans have all retired. I’m one of the younger ones.”

As we made small talk, I rummaged through her clothing, looking for potential additions to my wardrobe.

Each shop arranges clothes in its own way, mostly because the shop owners all choose their clothing differently. Some shops lay the items out right in front, with clearly marked prices ranging from a few dozen to a few hundred renminbi. Some are more selective, and some specialize in outerwear, intimate wear, or secondhand items from international brands. Sometimes you even find things by Gucci, Louis Vuitton, or Dolce & Gabbana, sold at a fraction of the original price.

“那你算是这里的老牌啦！”我说。

“哪有，以前老的那批人都不做啦！我们还算是年轻的喽。”她笑着说。

我和老板娘一搭没一搭地聊着天，一边随手翻着这里的衣物，试图找到合眼缘的一些。

这里的衣物分类方式与众不同，主要也是因为各家店主们的选衣定位不同。有很多店铺的衣服直接铺陈在外面，几十块到几百块不等，明码标价；有些店铺则精挑细选，或是专卖外套、内搭，或是主营国际大牌的二手老款，很多诸如 Gucci、LV、Dolce & Gabbana 等国际品牌，也会在此露脸，并且以低于市场价好几倍的价格抛售。

Edited with VSCO X Preset AL3 / AL3 VSCO X 滤镜处理

Edited with VSCO X Preset C7 / VSCO X 滤镜 C7 处理

Edited with VSCO X Preset A10 / VSCO X 滤镜 A10 处理

Xiao Chen says there used to be even more kinds of shops, with some that specialized in leather accessories and clothing. Many of the most famous vintage or buyer shops in town still source items from Jinhuanghuang. “My customers range from older folks out for a deal to merchandisers who come to buy in bulk,” she explained.

When a regular shows up, Xiao Chen brings out the latest items, often still bunched out and wrinkled in large bags. As a favor she lets them comb through the clothing before it even makes it onto the shelves.

老板娘小陈告诉我，以前市场里的衣服种类更多，还有专门卖皮衣皮鞋皮包的。那些知名的复古买手店，也有不少是从这里进货，“我这里常来一些中老年的客户，也有固定的大客户，一次进好多咯。”

这些大客户倘若来，老板娘们会拿出很多刚进的、没来得及整理挂烫的衣服，直接装在袋子里，熟客来的时候优先让他们挑选，权当送个人情。

Edited with VSCO X Preset AV8 / VSCO X 滤镜 AV8 处理

A Hundred Different Styles

In Shanghai, where it can feel as though things get more expensive by the day, the market’s down-home prices are a rarity.

That’s why fashionistas from nearby universities come here to shop: the deals are good and the styles are quirky, with plenty of clothes to choose from. But perhaps an even bigger draw are the shop owners themselves, especially the women, who all have their own unique style and are happy share a few fashion tips.

一件衣服的一百种搭配方式

对于上海日益攀升的物价，这里的衣物价格拥有与之完全不符的亲切。

所以周边大学里的热衷服装搭配与设计的学生也会选择来此地消费，一来便宜量多，二来风格迥异，可供选择的余地也多，再有，就是这里的店主，尤其是老板娘们，对穿衣打扮也有着自己独到的眼光，能说出不少门道。

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That’s especially true of the shop owner Li Zi.

Her shop was one of the main reasons I came, and she certainly lived up to her reputation.

Dressed in a colorful sweater, she excitedly offered fashion advice as I browsed her racks of clothes.

“He’s tall and skinny. I think he’ll look better with loose, baggier clothes,” she told another customer before turning to me. “Those dress pants are a bit flamboyant, but if you pair them with a solid-colored top, I guarantee they’ll look amazing.”

尤其是这家老板娘，俐子。

这家店我是慕名而来，未曾想真的收获颇丰。

“他人高，又瘦，要穿宽大一点的衣裤，显得更好看。”
“你别看这西裤格子颜色花，但配素一点的上衣，上身绝对好看。”
……

老板娘俐子热情地拉着我，分享着她的穿搭心得。

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“You’ve got a real eye for fashion. Do you ever help your kids pick out what to wear?” I asked.

“My son used to look down on these clothes because they were secondhand. But now that he’s got a job and has learned a thing or two, he’s slowly taking an interest. Now he says, ‘Mom, this brand’s too expensive! My boss wears clothes that cost only a few thousand, and what I have on costs ten times as much,” she laughed.

Here, if you’ve got a keen fashion sense, you can create an eye-catching look with seemingly ordinary vintage wear. You don’t need a lot of money to put together an outfit, just patience and personal taste. After a day spent scavenging the market, while some visitors might come away empty-handed, others might walk out with armfuls of loot.

“阿姨眼光这么好，个么（那么）会给儿子女儿打扮伐？”

“以前我儿子他不肯穿，嫌弃是二手的。但现在工作了以后，‘识货’了，慢慢接受起来。但他现在倒要跟我说，‘妈妈这个牌子的衣服太贵了喔！我老板才穿几千块一件的（品牌衣服），我倒要穿上万的！’”

俐子阿姨爽朗地笑着，她身上的衣服也是一件设计独特的针织衫，款式十分雅致。

在这里，独到的眼光往往能让简单的搭配异常出彩，点亮不少看似平凡的旧衣；在这里，选搭衣服的时候，甚至也并不是依靠消费能力，而要考验各人的品味与耐心——四处兜转了半天，有些人很可能一无所获，有些却能满载而归。

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“GOLDEN GLORY TEXTILE MARKET”

For all the warmth the shop owners show, they’re noticeably on their guard. Each time I asked, “Ayi, do you have a business card?” the answer was a resounding “no.”

This is because of the legal gray zone these shops operate in. On the one hand, they want more people to know about the market, so they’ll get more customers and do more business. But they’re even more worried that too much exposure might hasten the market’s closure. “It’s only a matter of time before this place is demolished, too,” they told me.

“GOLDEN GLORY TEXTILE MARKET”

连问几家店铺的老板娘：“阿姨名片有伐？”得到的回答却都是“没有”，热络地招揽之余，那些防备的神色也显得格外突出。

介于这里的灰色属性，店家们往往带着一种极其矛盾的心理，一方面他们当然希望知晓这里的人越来越多，好带来更多客流量跟生意；但另一方面，更让他们不安的是，这种过度曝光不知道会在什么地方加速推动市场的再一次消亡，“这里迟早也是要拆的。”

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As the last of the daylight receded, and I slowly made my way outside, I turn back to take one final look at the market. The neon red sign seems to be using its last remaining strength to illuminate the words “Golden Glory Textile Market.” But once I crossed the hectic traffic of West Gaoke Road, an overpass blocked the market from view. And just like that, it was gone.

天色渐晚，我慢慢踱出市场，回身一看，那块红色的招牌好像用它仅剩的一点微不足道的力气追赶着印着“ GOLDEN GLORY TEXTILE MARKET ”，但一穿过车流不息的高科西路，一切都被巨大的天桥挡住，什么也看不到了。

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Begin your free VSCO X trial today for access to the complete VSCO preset library, newest editing tools, and inspiring educational content.

今天就开启你的 VSCO X 免费试用，获取整套 VSCO 滤镜库、最新修图工具和教程内容吧。

Contributor: Chen Yuan, Shou Xing
Photographer: Chan Qu

供稿人: Chen Yuan, Shou Xing
摄影师: Chan Qu

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The Language of Glass 一半是海水，一半是火焰

May 17, 2018 2018年5月17日

无法观看？前往优酷

At 600 – 1000˚ C it slowly melts, forming a flame-red liquid – watery yet ablaze. Cooling down, it solidifies into a transparent substance. This wondrous material is none other than glass.

Pulling the iron rod from the furnace, Beijing-based glass artist Du Meng blows into one end to begin shaping the wad of molten glass on the other. The luminous orange of the liquid glass is captivating, hypnotic even, tempting you to draw closer to its deadly heat.

它一半是海水，一半是火焰；它只能在 600 – 1000 ℃ 的高温下慢慢融化，化作一滩火色的水，再一点点降温，凝结成冰的形状。它就是玻璃。

来自北京的玻璃艺术家杜蒙，在我们的镜头前支起一根吹管，把一团流动的火焰吹了起来。热烈的橙色引诱着你目不转睛地看着它，也引诱着你一步步向危险靠近。

At the Central Academy of Fine Arts in Beijing, Du Meng studied graphic design, a field she felt had “limitless potential.” But as time went on, doubts began to fester. To an artist who yearned to work with her hands, graphic design seemed a little too fast, a little too hectic.

After graduation, she watched a live glassblowing performance on her first visit to the US. This became a eureka moment for her. “It was all because of that exhibition. It changed the way I looked at glass,” she recalls. “It opened my eyes to how this material could be used for artistic expression.”

在中央美院念本科的时候，杜蒙学的是平面设计。这个看似“前途无量”的专业，却让杜蒙一次次感到疑惑──的确，对一个热衷亲手塑造艺术品的艺术家来说，这有些太快了，也有些太多了。

毕业那年，在去美国首次接触到了玻璃的艺术表演形式之后，杜蒙心动了：“就是因为那次展览改变了我对玻璃的看法，让我觉得原来它也是可以有艺术表现的这么个方向的。”

But picking up glassblowing is no easy feat for a complete novice. “It’s scorching hot, and it’s easy to get hurt,” she says. “When I first started, I got blisters up and down my arms.” Back then Du Meng felt torn. Working with hot glass at temperatures well over 1000˚ C is like dancing on the edge of a knife: it’s fraught with danger and utterly exhilarating.

Glass is a unique material – it requires an artist’s undivided attention and coordination. “The way that light refracts and shines through glass to fill a room is a special feeling. It makes you feel like this material is alive, that it breathes and has memories of its own. I think this is what moves me the most.”

而初初接触玻璃所带给杜蒙的感受，着实说不上容易──“又热又烫又容易受伤 ”，“开始用炉子吹制的时候，满手臂都是烫出的泡”。那时候的杜蒙，不是没有过抵触。与动辄上千度的热玻璃共事，那就像在刀刃上跳舞一般，充满危险，又精彩万分。

由于材质的特殊性，玻璃要求创作者无时不刻的全神贯注，也要求动作与心意的紧密联结。“它折射的光线，和光线透过玻璃洒落在整个空间当中的那种感受，你会觉得这种材料是活着的，它会呼吸，而且它有记忆。我觉得这一点是非常非常打动我的。”杜蒙说。

Du Meng describes herself as someone who “uses glass to tell stories.” She sees glass as a medium that’s helped her share anecdotes about the people in her life and her own personal experiences. And she thinks glassblowing isn’t so different from actual storytelling—they’re both always works in progress that can develop in limitless directions. And they can both slip out of your hands if you’re not careful.

杜蒙喜欢称自己为“一个用玻璃讲故事的人”，一来是因为玻璃的确是讲述她与身边人的故事的媒介，二来，是因为用玻璃创作的确与写故事无异──它永远在“现在进行时”，既拥有无穷发展的可能，也随时面临着功亏一篑的挑战。

图片由上海玻璃博物馆提供 / Image Courtesy of Shanghai Museum of Glass

“When working with other materials, you’ll think about what you want to make first even though it might not be a definitive idea. When I’m creating with glass, all of this is happening at the same time. I’m making adjustments as the work is being created,” she explains. “Every piece of work I make is like an individual character with their own stories, and when they’re all together, a new story begins to emerge.”

“在你用其他材质做作品之前，你就会先想到要做什么，并不是会有一个大体的方向，但是我在创作的时候，所有的都是同时发生的，就是一边做一边去调整。”杜蒙说，“所有的作品，都仿佛是一个一个故事中的角色，但把它们互相组在一起，又会产生一个新的故事。”

But over time, Du Meng’s relationship with the medium began to change.

In the beginning, her works had a very personal style, and were a means for her to “better understand herself and her relationship with her art.” Fast forward to today, Du Meng now believes a successful piece of glass art should be the result of fully understanding the story you wish to tell. As a result, her work now attempts to explore the complex relationship between humans, physical spaces, nature, other living organisms, and our changing world.

These are the new world perspectives she’s acquired from glass. “Working with glass, I gained a newfound attitude for life, and it changed my way of thinking. This is especially with the case with glassblowing – this type of art something that can instantly reveal an artist’s temperament. And the road to learn glassblowing is filled with uncertainties and challenges. If your artwork breaks, how do you react, how do you face your failure? Having worked for a while, I feel like I’m a much stronger person. It’s helped me become calmer and more composed,” she smiles.

慢慢地，杜蒙与玻璃之间的关系变了。

一开始，杜蒙的作品充满个人化风格，在“梳理清楚自己和自己在创作之间的这种关系”；而如今的杜蒙觉得，真正成功的玻璃艺术品，诞生于“把它整个的故事情节梳理清楚的时候”，随之也会更多地“去探讨人、空间，然后以及自然，以及生物、我们周围的各种各样的变化、隔阂，这之间的错综的关系”。

这是玻璃给她带来的全新的角度。从前亦步亦趋的那种危险关系，变成了某种财富：“我觉得其实在跟玻璃工作的过程当中，学到了很多思考的方式和对生活的态度。特别是做吹制，一秒就能看出人的性格的……然后，就是你在学这个吹玻璃的这个过程当中，你会经历很多很多状况，未知的元素特别多。那你如果东西破了，你要怎么样去反应，要怎么样去面对你的失败？我觉得工作时间久了好像心里也变得坚强了一些，特别从容吧。”杜蒙笑着说。

Du Meng’s limited-edition sculptures Shimmer No. 1 and Shimmer No. 2 are now available in the Neocha Shop.

目前杜蒙的玻璃塑像《微光》系列（一号和二号）已经在 Neocha Shop 上线。

Shimmer No. 1 / Photographer: Gao Yu《微光》之一 / 摄影师: 高宇

Shimmer No. 2 / Photographer: Gao Yu《微光》之二 / 摄影师: 高宇

Photographer: Gao Yu摄影师: 高宇

Website: www.mengduwork.com
Instagram: @moe_mengdu

Contributor: Chen Yuan
Videographers: Yang Bingying, Damien Louise
Photographer: David Yen

网站: www.mengduwork.com
Instagram: @moe_mengdu

供稿人: Chen Yuan
视频摄影师: Yang Bingying, Damien Louise
图片摄影师: David Yen

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Made the Paper 当纸张变成墨水

May 3, 2018 2018年5月3日

“Paper is my creative instrument of choice,” says Filipino visual artist John Ed De Vera. “It’s a tactile medium, and it’s flat, but you can make it multidimensional.” His body of work, comprised of portraits of celebrities and political figures, all depict their real-life counterparts with uncanny accuracy.

“纸，作为媒介是可触的。虽然平坦无奇，但你也可以让它变得立体。”John Ed De Vera 说。这位来自菲律宾马尼拉的艺术家，他的作品，从著名演员到国家元首，无不涉猎，无不传神。“纸，已经变成了我的墨水。”

A few years back, a typography craze swept over the Filipino creative scene. But during this time, rather than following the trends, De Vera sought to create something original. Combining his passion for illustration and paper art, he looked to reimagine the dimensional possibilities of the two mediums. “I remember doing a mixture of illustration and typography design on Create Your Future, and it gained a lot of traction when I posted it online,” he recalls. “At the time, I just wanted to test for myself if I can ‘illustrate’ something purely out of paper.”

几年前，菲律宾当地的工艺美术界对字体排版产生了浓厚兴趣，而 John Ed 则想要寻求突破，他选择把注意力转移到插图上，对纸张的热爱，让他重新思考它在维度上的呈现。“我记得做了一个混合的插图和文字与我的作品‘创造你的未来’，当我在网上发布后，收集到了很多关注。我想测试一下我是否能用纯粹的纸来‘描绘’一些画面。”

De Vera considers David Bowie’s passing as the event that truly led him to create paper-cut portraits. “He was someone who moved me, so I was compelled to create a tribute portrait of him,” he explains. “But now, when someone makes the headlines or if the news somehow affects me, I’ll make a paper-cut portrait of that person. That’s how #madethepapers was born. […] But I feel like I can draw inspiration from anywhere as long as it’s something that touches or inspires me.”

John Ed 的剪纸肖像真正开始的时刻，是那时大卫･鲍伊的死讯传遍全球的时候。“我当时感触颇深，也因此创造了他的剪纸肖像。以至于现在，但凡有人登上头条新闻，如果消息在某种程度上影响了我，我也会给那个人做剪纸肖像。这就是为什么 #madethepapers 系列诞生的原因……作品的人物角色，我可以从任何地方汲取灵感，只要它感动或激励到我的话。”

For every project, De Vera begins with a preliminary sketch. Once complete, he’ll begin planning the colors, layering, and other miscellaneous details. Only once all the framework is laid out will he begin cutting and piecing together the actual portrait. “I like using 270 gsm paper, which can be bought almost anywhere. Through folding and layering, the work will start taking dimensions.” De Vera explains, “But perhaps, the most fascinating aspect of paper as a medium goes beyond its inherent qualities. To me, it’s a vehicle that allows people to enjoy art as something tangible and interactive.”

John Ed 会在开始剪纸前会把它们画下来。当对图片呈现满意的时候，John Ed 就会计划的纸张的层次和颜色，敲定图纸的细节，然后把画像转移到实际的纸上，“我会折叠一些图层，以添加一个小的维度。我使用 270 gsm 和以上厚度的纸张，它们几乎随时随地都可以买到。”John Ed 说，“也许，除了纸张本身的质量，最吸引人的地方，正是经由人手把这种可触的实质之感传递出来。”

Website: johned.co
Instagram: @battery_full

Contributor: Chen Yuan

网站: johned.co
Instagram: @battery_full

供稿人: Chen Yuan

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Dualities 无声的对话

April 20, 2018 2018年4月20日

Room 2 (2016) 66 x 110 cm

When your eyes have come to expect dazzlingly bright works of art, it’s a surprise when you find yourself staring so long at the color black.

These layers of black are not silent, but neither are they deafening.

Rather, it’s like a dialogue without words.

在看过无数眩目的艺术作品之后，你毫无防备，竟对着一页的黑色看了这么久。

这样层叠的黑，并非静默，也绝无喧嚣。

那更像是一种无声的对话。

Wood Block 10.1 (2017) 90 x 120 cm

Wood Block 10.3 (2017) 90 x 120 cm

Born in Russia, raised in Ukraine, and currently based in Beijing, Alëna Olasyuk is the artist behind these achromatic works, all of which were created using traditional Chinese ink.

Using carved wood in lieu of standard canvases, Olasyuk’s Wood Blocks series is a work of patience and diligence. Anyone can touch the works, anyone can feel their imprint on their own body. Bodily impressions and visual perception overlap: the painting is no longer a painting, the wood is no longer wood. They encourage the viewer to interact with the work. It’s a dialogue between humans and art.

Alëna Olasyuk 在俄罗斯出生，在乌克兰长大，如今长居北京。我们所看到的黑，正是她用所钟情的中国墨水一笔笔画的。

这个系列叫做《Wood Blocks》（《木格》），Alëna 在已镂刻的木雕上耐心地描绘和涂色，最终形成了我们现在所见到的作品。每个人都可以触摸它，每个人也都能在自己身体上留下作品的印记。身体的感知和视觉的观感交叠，画不再是画，木也不再是木。它鼓励着观者与作品进行交互，这是人与作品的对话。

Wood Block 10.2 (2017) 90 x 120 cm

In traditional Chinese art, black and white symbolize the relationship between all things. They’re two extremes that achieve harmony in contrast and movement.

A closer look shows that Olasyuk’s works are more than simply blanketed in pure black ink. Viewed from the front, the entire frame appears to be engulfed in a murky obsidian, with only faint lines visible, but when the same work is observed from a different angle, threads of silver, glimmering colors, and a new world of texture emerge. Darkness reveals itself as light. These perspectives open up an entirely new reality, and as viewers contemplate them, the meaning of dualism becomes clear.

It’s a dialogue between the self and its inner essence.

在中国艺术中，黑白两色反映的是事物之间的关系，它们是两个极端，在对比和运动中两相制约，以达到和谐。

但其实细看，Alëna 作品中的黑也并不是全黑。直面画布的时候，你会看到条条延展开去的黑色细线；然而，换个角度，你会将看到一个充满着银丝、明亮的颜色和纹理的新世界。玄黑，转而显现为光明。这样的视角开启了全新的现实，使人们在理解这些作品的同时，体悟到了“二元论”。

这是自身与内在的对话。

Duality 1 (2016) 56 x 76 cm

Duality 2 (2016) 56 x 76 cm

But how to achieve balance in this dualistic world?

Olasyuk’s series Duality presents the idea of a natural balance. In fact, duality itself is part of balance. It’s part of the purpose and very notion of life. But if one doesn’t accept this dual nature, the natural balance can’t exist. Complexity and concision, chaos and balance, movement and stasis, transience and infinity – these are the subjects Olasyuk is eternally exploring in her works.

It’s the perpetual dialogue between humanity and the universe.

那么，如何在这个世界的二元性下保持平衡呢？

Alëna Olasyuk 的作品系列《二元性》代表了自然平衡的思想。其实，二元性本身就是平衡的一部分，是生活的目标和理念的一部分。但是如果不接受事物的两重性，这种平衡就不可能存在。复杂与简约、混沌与平衡、运动与静止、短暂与无限——这些是 Alëna 在她的作品中永恒探索的主题。

这也是人与天地世界的亘古对话。