All posts by Chen Yuan

Unexpected Boxes 造梦空间

April 12, 2018 2018年4月12日
A behind-the-scenes look at how Unexpected Boxes was created.

Taiwanese artist Sydney Sie is a photographer and graphic designer who creates surreal, dream-like pictures that blur the line between imagination and reality. Using pastel colors and playful illusions, her work radiates a gentle feminine energy that eases viewers into each scene. Sie approaches every project like they’re her personal playgrounds, places where she can use candy-colored backdrops, mundane props, and familiar body parts to play games of hide-and-seek with the viewers.


来自台湾的谢昕妮(Sydney Sie)是一名摄影师,也是一名平面设计师。如果说要用一个词来概括她的作品,那或许就是:如梦似幻。

她的作品经常充斥着渐变的色彩、错位的视觉效果和柔软的女性气息。平凡的人物和场景,似乎统统隐匿在纯色背景之后,相片中呈现出来的只有经过筛选的景物,宛如置身真实与虚假的边界,并将其镶嵌到一个糖果色的故事气氛中去。

An image from Unexpectable Boxes
An image from Unexpectable Boxes

From the color usage to the methodical compositions, Sie’s experience as a graphic designer shines through in her photography work. But this intermingling of cross-medium concepts doesn’t end there. Having graduated with a degree in animation, influences from her major are also evident in her work – this is perhaps most apparent in her usage of close-up shots and attention to layering. Sie believes merging concepts from all three is what allows her to tell a complete story. In her eyes, photography should be more than just documenting reality – they’re opportunities to create something completely original and never before seen.


无论从色调还是构图的角度来看,Sydney 的作品都带有平面化的风格,那是因为平面设计出身的她,在研究所时期读了动画专业,所以她常用特写镜头,构图也更分解化。但 Sydney 觉得,这样反而更接近“完整呈现”,因为对她来说,摄影不仅仅是“记录”,更是“创造”。

A behind-the-scenes look at how Unexpected Boxes was created.
A behind-the-scenes look at how Unexpected Boxes was created.
A behind-the-scenes look at how Unexpected Boxes was created.

“I like to capture the surreal moments of ordinary life,” Sie tells us. “Rather relying on the pre-existing beauty of subject matters I’m capturing, I like to create unique settings and look at things from atypical perspectives.”

Each one of Sie’s projects is a window into the varied terrains of her active imagination, and this willingness to push the limits of her creative boundaries is what has captivated viewers again and again.


“我喜欢去捕捉现实生活中的超现实时刻……我喜欢去创造一个新的空间,或是新的构图,不依赖本来就很美好的东西。”但或许这就是 Sydney Sie 作品的魔力,让人在她创造的色彩梦境中,不断流连徜徉。

An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem

Website: www.sydneysie.com
Behance: ~/sydneysie
Instagram: @sydneysie
Vimeo: ~/sydneysie

 

Contributor: Chen Yuan


网站: www.ydneysie.com
Behance: ~/sydneysie
Instagram: @sydneysie
Vimeo: ~/sydneysie

 

供稿人: Chen Yuan

The Time Goes By 你追求的是美 还是美貌

April 11, 2018 2018年4月11日

“Those wrinkles weren’t there before,” the elderly woman remarks, gesturing at one of the photos of herself. “My eyes are getting covered up by the sagging skin.”

Shot by Lean Lui, the aforementioned photo is from The Time Goes By, a series inspired by and dedicated to the photographer’s septuagenarian grandmother.

Lui recalls the incident that sparked the idea for the series. “There was one time when I did her makeup, dressed her up, and took some photos of her. Everyone who saw the photos said she looked beautiful. I thought she’d be so happy, but it made her sad. She felt like all of her friends had aged gracefully. But when she looked at herself, she felt like she hadn’t. She felt her appearances now were worlds away from the beauty of her younger days.”


“年轻的时候是没有这些皱纹的,眼睛都被下垂的皱纹遮住了。”她指着照片中的自己说。

这系列照片是 Lean Lui 送给她婆婆的专题辑《The Time Goes By》,照片的灵感也是来自于年逾古稀的婆婆。

“有一次帮她化妆打扮拍照,每个人都说我把她拍得很漂亮,我以为她会很开心,但没想到她在看到照片的时候是闷闷不乐的。”Lean 说,“婆婆说以前那些长相一般的同学跟现在也没什么分别,很耐老,相反年轻时貌美如花的自己,一老就显出了太大的反差。”

As the Chinese saying goes, time wears away youth.

Lui considers herself as someone who’s always able to say the right things, and in this instance, she wanted to tell her grandma that she’s just as beautiful as ever. But seeing as how her grandma wasn’t comparing herself to anyone else but her past self, Lui struggled to find the right words.

“If it’s something you treasured and you lost it, the people who never had it won’t be able to empathize with the pain of losing it,” Lui says. “I could sympathize with her frustrations of aging, but I also understand that the past is the past. If your eyes droop, then it droops. If your skin is loose, then it’s loose. Aging is an inevitable part of life, but I also understand how scary it can be for many, especially women.”


岁月催人老。

面对这个问题,平时能言善辩的 Lean 语塞了。Lean 没有办法说出像“别这样说啦!你现在也很漂亮啊!”这样安慰人的话,因为婆婆比较的对象不是他人,正是年轻时候的自己。

“我明白,如果你不曾拥有,就不会担心失去的痛苦……我感受到她对岁月流逝的失落与无奈。我明白有些事发生了就是发生了,眼角下垂了就是下垂了,皮肤的确不再紧致了;人类的老化是无可避免的,也明白衰老对于女性来说是多么恐怖。”

“You really won’t be beautiful if you don’t appreciate the beauty you have now,” Lui told her.

“I’m already old and wrinkly, what beauty is there to speak of?” Lui’s grandmother sulked.


“你要是不懂得欣赏自己现在的美,那可就真的不美了哦。”Lean 这么告诉婆婆。

“现在又老又皱皮的,还有什么美可言?”婆婆说,但 Lean 知道这只是婆婆的赌气话而已。

But how exactly is beauty defined? When you’re young, you may have pretty eyes, a gorgeous face, and a perfect body, but is that all beauty is?

Lui decided to share the Japanese idea of wabi-sabi with her grandmother. This philosophy embraces aging and the imperfections that come with it, believing that the true essence of beauty lies in authenticity. “If you want to look like your younger self again, that’s impossible,” Lui told her. “But what you have now is wisdom and life experience, and I believe that the unconditional love you have for our family now is the most beautiful thing about you.”


我们是如何定义“美”的呢?年轻的时候,柳叶弯眉、明眸皓齿、亭亭玉立,这些固然是美,但“美”仅仅如此吗?

Lean 选择告诉婆婆日本的侘寂美学(wabi-sabi)是什么:那些经历岁月洗礼后遗留下来的,才是最本质最真实的美。“你要是要追求年轻的肉体的话,那真的是没有的了;但是你拥有的是睿智与生命阅历,再以我的角度而言,你现在的美,是美在对家人无条件的爱与牺牲。”

In truth, beauty and age shouldn’t be seen as relative with one another. While superficial traits are universally used to gauge beauty, the intangible factors that make a person “beautiful” are often discounted. Is the wisdom and experience that come with age not more meaningful than external beauty? This quote perhaps sums it up best:

“One day, I was already old, in the entrance of a public place a man came up to me. He introduced himself and said: ‘I’ve known you for years. Everyone says you were beautiful when you were young, but I want to tell you I think you’re more beautiful now than then. Rather than your face as a young woman, I prefer your face as it is now. Ravaged.’”

–– An excerpt from Marguerite Duras’s The Lover


美,其实和年纪无关。普世价值中那狭隘定义的美丽,往往只是“美貌”,并非“美”的全貌。年岁何尝没有给过我们最丰厚的回赠呢?你看——

 

我已经老了,有一天,在一处公共场所的大厅里,有一个男人向我走来。他主动介绍自己,他对我说:“我认识你,永远记得你。那时候,你还很年轻,人人都说你美,现在,我特意来告诉你,对我来说,我觉得现在你比年轻的时候更美,那时你是年轻女人,与你那时的面貌相比,我更爱你现在备受摧残的面容。

——玛格丽特・杜拉斯《情人》

Lean Lui is currently hosting a solo exhibition in Hong Kong of a photo series based on the relationship between humans and nature. See below for details.

 

Event: Flow by Nature
Date: March 27, 2018 ~ May 12, 2018
Opening Hours: Tuesday ~ Saturday 11:00 am ~ 7:00 pm (closed on public holidays)

Address:
5th floor, Amber Commercial Building
70-74 Morrison Hill Road
Wanchai
Hong Kong

Website~/leanlui
Instagram@leanlui

 

Contributor: Chen Yuan


Lean Lui 近期在香港 F22 Poto Space Cafe 举办个人摄影展“Flow by Nature”,欢迎前往观瞻。

 

活动: “Flow by Nature
展期: 2018年03月27日——2018年05月12日
时间: 周二至周六 
上午 11:00 至晚上 19:00 (公众假期休息)

地点:
香港
湾仔区
摩理臣山道 70-74 号
凯利商业大厦 5 楼


网站
~/leanlui
Instagram@leanlui

 

供稿人: Chen Yuan

Prey & Predator 猎物和捕食者的关系

April 10, 2018 2018年4月10日
Details of The Resistance of the Prey (2017), Oil on canvas.

For many viewers, the eyes alone are enough to induce a sense of unease.

But is it the look of desperation that’s found in the eyes of an animal facing imminent death? Or is it the look of excitement that’s found in the eyes of a predator following a successful kill?

Created by Korean artist Moon ChanpilPrey & Predator is a series of paintings that depicts predator-prey relations through unsettling portraits. On a basic level, the series revolves around predation and the artist’s personal experiences, but closer scrutiny reveals a deeper narrative – the project aims to highlight the disturbing similarities between the behavior of humans and wild animals. “Predators cannot always be predators, nor can prey always be prey,” Chanpil tells us. “All beings are predator and prey at once.”


仅仅一个眼神,就能让你被画面中的恐惧牢牢攫获。

这可能是猎物濒死前绝望的眼神,也可能是捕食者终于果腹时渴求的眼神。

这一系列《猎物和捕食者》(Prey & Predator)的作品,来自韩国的插画家 Moon Chanpil。仅仅直视这系列作品中的眼睛,就会感到一种让人恐惧的力量迎面而来。画布上狩与猎的故事,也不只是个体化的经历,更像是创作者在诠释整个人类社会乃至自然界的普遍法则。“捕食者不可能永远是捕食者,猎物也不可能永远是猎物。所有的生物都既是捕猎者,也是猎物。”Chanpil 说。

The Resistance of the Predator (2017), 90.9 X 72.7 cm, Oil on canvas.
The Resistance of the Prey (2017), 90.9 X 72.7 cm, Oil on canvas.

As a self-professed nature documentary fanatic, Chanpil’s infatuation with predator-prey relationships can be traced back to his childhood. “I loved seeing scenes of big cats hunting when I was younger; I cheered for their success,” he recalls. “But at the same time, [when I saw the prey], my mind cried out, ‘Run away! Survive!’ Although it was just television, it was sad to see a deer bitten in the neck and watch as the life disappeared from its eyes. I saw the lion’s eyes as he bit down into the deer’s neck as well, and in those eyes, I saw desire and fatigue.”

With scene like this imprinted in his mind, Chanpil began to question the nature of existence. “Why are we designed like this? Is that our world? Just a tragic existence?”


Moon Chanpil 从小就是自然纪录片的忠实粉丝。“当我还是个孩子的时候,我喜欢看着纪录片里大猫狩猎的场面,为他们狩猎的成功而欢呼。这实在很酷。但同时,另一种声音也一样在我脑海中回响——‘快跑!’‘活下去!” Chanpil 说,“虽然我和这一切隔着电视屏幕,但直面它依然一件很可悲的事。我看到狮子紧紧咬住鹿的脖子,我看到小鹿的生命气息渐渐从它的眼睛里消失;我还看到狮子眼中的欲望,看到了它竭力猎杀后的疲倦。”

所以,现在的 Chanpil 会忍不住想知道,“我们为什么生来如此?这就是我们所处的世界吗?我们就是某种悲惨的存在吗?”

Breath in the Predator (2015), 65 X 50 cm, Oil on canvas.
An animated version of Breath in the Predator
An animated version of Breath in the Prey

But of course, humans are different from lions and deer. We’re afforded the luxury of not having to be a part of the predator-prey cycle that every other living animal is fated to endure. Humans have escaped the food chain, but we’re the only exception. Other living creatures are unable to escape this vicious circle, and at the core of Chanpil’s paintings, there’s a sense of sadness that comes from this realization. He explains, “As I see the eyes of the dying deer, I feel sadness and empathy. It seems like its very purpose is to be killed and eaten. At the same time, for that lion, whose cruel fate is to kill again and again to survive, I also feel sadness and empathy. By projecting my own emotions through these animal’s lives, I’ve gained insight into the truth or secrets of human life. In my series, the events that occur between prey and predator come from my personal stories, but I think there’s a universality to them. This predator and prey dynamic may be happening within the mind of one individual, or between two individuals, or between an individual and a group, or between two groups of people.”


从某种意义上来说,或许人类和小鹿类和狮子是不同的,人类得以试着避开食物链系统中捕食者与猎物的关系,甚至人为地进行改变。Moon Chanpil 觉得,我们存活在一个“没有任何回旋余地”的世界中,自然系统很少允许像人类这样的例外发生。

现在,对我来说,最核心的情感反应是‘悲伤’——当我看到小鹿在被狮子咬伤后失去生命,我为之悲伤也为之同情。那只鹿生存的意义,或许就是为了死亡、为了被狮子捕食;而狮子则必须不断捕猎和杀戮才能得以存活,它的命运也一样残酷。” Chanpil 说,“我通过他们的生活投射我自己的情感,在这个过程中洞察人类生活的真相或秘密。在这个系列中,捕食者和被捕食者之间所发生的事,也就是发生在我身上的事。我认为这存在着普遍性。捕食者与被捕食者可能是发生在个人内部,或个人与个人之间,或个人与群体之间,或群体与群体之间的一个事件。”

Breath in the Prey (2015), 65 X 50 cm, Oil on canvas.
Hello There (2018), 72.7 X 53.0 cm, Oil on canvas. An extension of the Prey & Predator series.

Describing the creative process behind his series, Chanpil tells us, “When I approached the initial character design, I first needed to feel maximum empathy. So I drew a portrait based on my own face rather than creating a fictional character. However, in order to convey the theme of predator and prey more dramatically, I referenced the actual eyes of predator animals and prey animals, using the eyes of cattle or tigers in lieu of my own. For my predator paintings, the character’s eyes are those of the archetypal predator – the tiger.  Their mouths are rarely dry of blood, and in a way, I wanted to console them by removing that blood from their mouths. The blood-colored whale symbolizes what’s in the mind of a predator. While whales aren’t typically preys in the food chain, I’ve always thought that they have all the features of prey. They’re slow, kind, beautiful, and solitary.”


“要谈论角色的设计的话,首先,我得展现出极大的同理心。所以我根据我的脸画了一张自画像,而不仅仅创造了一个人物角色来。为了更生动地传达主题,我通过借用真实的掠食动物或猎物的眼睛来设计了人物的眼睛,我通常会大猫和牛的眼睛。比如‘捕食者’,他的眼睛是典型的食肉动物:老虎。老虎的嘴角常会凝结着干血,我想用抹去他们嘴上的血来告慰他们。而一只血红的鲸鱼,则象征着猎物的心灵。虽然鲸并不是食物链中的猎物,但我一直认为鲸具有这样的特性——缓慢、善良、美丽而孤独,满足了所有猎物的特征。”

The Encroaching Prey (2017), 90.9 X 72.7 cm, Oil on canvas.
The Encroaching Predator (2017), 90.9 X 72.7 cm, Oil on canvas.

For each painting, Chanpil taps into his own experiences and memories to convey emotions with depth and authenticity. “When I draw a predator, I like to imagine myself as the predator in the painting as I work on it. When I draw a prey, I like to imagine I’m the prey in the painting. But no matter which role I take, I always feel a sense of sadness.”

“Similar to real life, I like to express emotions with moderation in my work, so the emotions I paint aren’t that extreme. The characters aren’t loudly crying or yelling out in fury. But if the viewers are seeing strong emotions in my work, I believe it’s because they’re reacting to the character’s inner feelings. As I’ve previously said, it’s all rooted in a sense of melancholy – this is a sadness that no being in this world can escape from or get rid of. Aside from this sadness itself, I wanted to express my own feelings of fear that came from this realization. […] Prey & Predator is the world through my eyes. I want to show people the true essence of our world, but not necessarily the visible parts of it.”


在这一系列中,Chanpil 在画布上展现出的思想和情绪相当真实,真实到他无需设计,画布上所展现的内容本身,就已是他全部的思想和情绪。“当我画捕食者的时候,我会想象我是一个捕食者,是捕食者在作画,我就是它;同样地,我画猎物时就会假想自己是猎物本身。而两种角色的表情都很悲伤。”

“就像我自己在现实世界里一样,我更喜欢适度的情绪表达,而不是在工作中将之爆发。所以作品中人物的面部表情并不极端,他们不会大声号哭。但是,如果画中的情感被传递给你为某种极端的感受,我想那是因为你对角色的内在情感作出反应。正如我前面提到的,这种感觉是悲伤。这个世界上没有人能够从这种悲伤中逃离或解脱。‘我们无法动弹。’——我也想借此表达我的恐惧。” Chanpil 说。

“《猎物和捕食者》是我看到的真实世界。我想要透过这个系列去讲述世界的本质,而不是表面上的可见世界。”

A Predator (2014), 53 X 46 cm, Oil on canvas.
A Prey (2014), 41 X 32cm, Oil on canvas.

Behance: ~/moon_on
Instagram: @moonchanpil

 

Contributor: Chen Yuan


Behance: ~/moon_on
Instagram: @moonchanpil

 

供稿人: Chen Yuan

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Black Holes and Strange Worlds 颅内星球避难所

April 5, 2018 2018年4月5日

Despite a gravitational force strong enough to swallow light, black holes don’t actually destroy everything inside them. According to the late Stephen Hawking, black holes aren’t as “black” as we think. Matter or energy pulled beyond the event horizon might still find a way out, or even emerge in another universe. 

This may be true enough of real black holes, at least in one scientist’s theory. But the black holes imagined by Korean illustrator Sangho Bang are very different. For him, they’re an otherworldly refuge.


黑洞,其实并非是所有物质的黑终结之地。尽管黑洞的引力巨大,能把任何物质包括光线都吸入其中,但史蒂夫霍金用他伟大的一生向我们提出了这样的见解:黑洞没有我们想象的那么。任何进入黑洞的事物最终还是会找到出口,或者跑出黑洞外,又或者跑进了另一个宇宙。

那是一个科学家头顶上的星空,和他对黑洞的理解。而对于来自韩国的插画艺术家 Sangho Bang 来说,他心中畅想的黑洞,更像是一处宇宙避难所。

Bang draws outlandish creatures prowling across psychedelic terrains dotted with gaping craters and lumpy bulges. “My work is mainly about building a world of other planets, depicting their landscapes and inhabitants, and giving them artistic expression,” he explains. “On the planets I create, everything is extremely primitive: creation, disintegration, and copulation.”


在 Sangho 创造的星球上,你会看到无数形态怪谲的生物,像是变异的多囊细胞核,充斥在鲜艳颜色迷幻孔洞世界。“我的作品主题主要是建立行星世界,描述景观,并通过艺术媒介表现出来,” Sangho 说,“在我创造的星球上,创造、爆炸和交配,一切都是非常原始的。”

For Bang, black holes are portals to an unknown world. “When I peer into those holes, I can see other worlds inside,” he says. “And the worlds in those holes have holes of their own. This chain of interlinked black holes means we can never know the exact scale and location of these worlds.”


而黑洞是通道,连接的是另一个未知的世界。“当我往这些洞里看进去时,我可以看到里面出现了其他的世界,也看到了其他世界里一样的洞。这种黑洞一层层的连锁循环,阻止了我们猜测世界大小尺寸或具体位置的可能,” Sangho 说。

Bang’s worlds are refuges, a sanctuary for his own real-life emotions. Like emotions, these worlds are constantly in flux: the organisms and spaces on the planets he creates can be microscopically small or larger than the sun; the entire planet might appear as an animal’s head or a plant leaf. There’s no order or logic, and nothing has to respect or resemble the world as it actually is.

“Whether we’re stepping into an invisible space or a vast, boundless universe, our imagination lets us enter the black hole and probe even its furthest reaches.”


这里也是 Sangho 作为自己现实和感受的避难所。在这个星球上,空间和生物体可以像细胞一样小,也可以比太阳还大;星球的形状也千变万化,可能是动物的头颅,可能是细胞或植物。一切都不必参考和遵循既有的存在,也没有秩序和概念。

“我们可以进入一个看不见的空间,或进入一个巨大深邃的宇宙。我们通过想象,进入到黑洞内部,甚至可以看到它最深处的部分,去一探究竟。”

Website: www.bangsangho.com
Behance: ~/bangsangho
Instagram: @bang.sang

 

Contributor: Chen Yuan


网址: www.bangsangho.com
Behance: ~/bangsangho
Instagram: @bang.sang

 

供稿人: Chen Yuan

Redefining Femininity & Sexuality 性爱 算不算一剂短期特效药?

April 3, 2018 2018年4月3日
Butt Sausage

Drawing the most feminine parts of the female body as a series of dishes – isn’t that a bit over the top? Trying to fully express women’s desire for sexuality and even its symbolic form, through the tip of a pen – isn’t that a bit audacious?

Claudia Chanhoi, a Hong Kong-born and U.S.-based artist, says most of her creations feature women’s body parts but aren’t only about women’s sexual desire. They also represent the artist herself, a modern straight woman.

But what do these illustrations aim to communicate?


如果要你说,把女性最具特色的身体部位当成一道道菜品,画成画,是不是有点太堂而皇之?如果要你说,把女性对性的渴求甚至象征形象也统统诉诸笔尖,是不是太过于胆大妄为

现居美国的艺术家 Claudia Chanhoi,她大多数作品创作的对象就都是女性的身体部位,但它们实际上不仅仅女性性欲的代表,也是身为现代女性异性恋的艺术家本人的象征。

那么,这些图像具体想表达些什么呢?


 

Non-reproductive Sex

 

Sex, a veiled and silenced word, traditionally connotes privacy, shame, even filth. But just because it’s silenced, does that mean it doesn’t exist?


不是为了生育的性

 

性,这似乎是一个看不见也说不出口的词,在传统历史中,它囊括了私密、羞耻,甚至“肮脏”的概念。但不被说出口,就代表它不存在了吗?

Feeling Detached From The Body
Coconut Summer

Chanhoi was raised in Hong Kong by devout Catholic parents. As a child, she attended a very traditional all-girls Catholic school where she was taught that female sexuality should be passive and vulnerable. “Women couldn’t really express sexual desire – doing so would be shameful and wrong,” she recalls. Back then, it didn’t even occur to her that sex could come before marriage or should happen outside of procreation. In her mind, sex was only for reproduction.

“Honestly, at the time, I didn’t really think much about it, since I was still too young to understand what sexuality and sex actually meant,” Chanhoi says. “Once I got a bit older and entered puberty, people around me started making comments about my appearance. […] It seemed like it was a woman’s job to be sexually appealing, and to uphold all those standards of beauty.”


Claudia 小时候在香港长大, 父母是传统的天主教徒,她小时候就读的学校,更是一所非常传统的私立女子天主教学校。小时候的她,被教导为“女性的性行为应该是被动的、易受伤的”;“女性不能真正表达自己的性欲,否则它会显得可耻”。甚至,对那时候的 Claudia 来说,性行为在结婚怀孕前,是一件“永远不会去做”的事情。性,仿佛永远只能为生育服务。

“老实说,当时我并没有太多的想法,因为我还太年轻,不了解性欲和性的真正含义。等我长大了一点,到了青春期之后,我发现女性的身体被广泛当成是性对象,我周围的人也开始对我的外表发表评论,并且觉得女性需要努力保持性吸引力,坚持所有这些美丽的标准。”

Vag 03

Looking back now, she says, “I was confused, and I always felt I wasn’t good enough to meet society’s expectations of how women should look or how they should behave.”

Perhaps that’s when she started asking questions about gender inequality and women’s roles. “Even though I was taught that women shouldn’t display their sexuality, from my own experience, I’d say society uses female bodies as sex objects. Women have never really had full ownership or control over their bodies.”


回看那时候,Claudia 说:“我感到很困惑,总是觉得自己不够好,没办法满足社会对女性应有的期望。”

那或许正是 Claudia 开始质疑女性的社会角色和性别不平等问题的时刻——“从我所经历的情况来看,社会一直在使用女性身体作为性对象。对我而言,女性似乎从未真正掌握过自己的身体。”


Sex Tablets?

 

In 2013, in her last year at the London College of Communication, Chanhoi started a final project titled The Sexual Objectification of Women. Three years later, still fascinated by feminism and what it means to be a woman in modern society, she picked the project back up with the addition of new illustrations. “Most of my work is created purely from my own experiences. I see this as a visual journal, a message to share, a joke,” she says. “Of course, these illustrations go far beyond the original topic.”


性爱药丸?

 

2013 年,Claudia 在伦敦大学传播学院开启了她的最后一个学生时代的项目女人物化的性The Sexual Objectification of Women)。出于对女权主义的好奇,对“在现代社会做女人是种什么样的感受”好奇,Claudia 在 2016 年重启了这个项目,“我的大部分作品都是纯粹基于我的经验而创作的。我觉得这是我的视觉杂志,亦是可供分享的一条信息、一个笑话,当然这也完全超过了我最初选定的主题。”

Bad Medicine

The subjects of Chanhoi’s drawings are often based on more than everyday objects. “Once, while recovering from the flu, I had to take different drugs every day. Staring at those pills, I suddenly began to wonder: if loneliness is a sort of illness, might casual sex be a short-term treatment? That’s how I created ‘Bad Medicine: Sex Tablets.’”


Claudia 作画的对象,不外乎是大家每天在生活中都能看到的东西。 “有一次我从流感中恢复过来,每天都必须服用不同的药片。 盯着这些药片,我立即质疑自己,‘如果孤独是一种病的话,那么性爱算不算短期特效药?’ 这就是我创造一剂坏药—性爱药丸的原因。”

Isolation Room
Body 01
Loneliness is An Infectious Disease

For Chanhoi, art is her best means of connecting with people and telling stories. She believes that the message or concept behind the image is crucial. In a world where everything moves quickly, people can always forget a beautiful image. For a work to be really memorable and irreplaceable, it has to say something meaningful. “I hope people can relate to my art and understand the thinking behind it, and not just see it as a bunch of images with nipples and genitals,” she adds.


Claudia 觉得,在画面背后所蕴涵的信息或概念是至关重要的。在这个快节奏的世界中,人们往往会很快就忘记美丽的图像,但真正能够让人铭记且无法替代的作品,是那些言之有物的作品。对 Claudia 来说,作品就是她与人沟通和讲故事的最佳交流工具。

“我希望人们会在我的艺术作品中感到关联性,并理解背后的概念,而不把我的作品当作乳头和生殖器的图像。”


 

Shifting Power Dynamics

 

Chanhoi began to see her project as a potential platform for expression and a way of better understanding herself and her own sexuality. She was struck by how celebrities like Rihanna and Beyoncé, as strong, independent women, used their sex appeal to celebrate feminine sexuality and proclaim their power over men. This insight upended Chanhoi’s whole concept of sexual power, a shift she found liberating and fascinating.


“性力量”的易位

 

在这个个人项目创作中,Claudia 把它作为一个可供表达的平台,来更好地理解自己和自己的性欲。在这个过程中,Claudia 意识到像蕾哈娜、碧昂丝这样的名人,作为强大的独立女性,她们利用女人的性吸引力来彰显女性的“性力量”(sexual power),展现女性对男性的性权力或掌控力。从这个角度来看,Claudia 发现“性力量”的观点竟整个转变了,这个转变显得非常自由且迷人。

To Love Your Body To Love Somebody
Plum Double

“Generally speaking, I think women have more sexual power than men, even though I’m a heterosexual woman,” says Chanhoi. “For such a long time throughout history, women’s bodies have been sexualized and taken away from them. Now women can be as sexual as we like, and can freely express our desires, without being called out or rejected.”

Chanhoi enjoys being a woman in today’s society, but she recognizes it’s not easy. Women are often unfairly put into different boxes: attractive or ugly, single or taken, married or unmarried. “You can even be called a prude and a slut at the same time, depending on who’s doing the judging. I can’t sum up how society sees women because there are too many rules women are asked to follow. Even women treat other women very harshly,” she adds. “What I can say is that modern women are more empowered to have a voice than ever before, and that voice will always be heard.”


“一般说来,尽管我是一名异性恋女性,但我认为女性比男性拥有更多的性权力……在人类历史上,女人的身体在很长一段时间里都已经被‘性欲化’了,而且被剥夺于自身之外。 我想我们女性可以像任何人一样享受性生活,并且可以随心所欲地表达自己的欲望,而不会被社会声讨且反对。”

Claudia 很喜欢在现代社会中做女人的角色,但做女人并不容易。女人往往会被不公平地划分成不同的类别:有吸引力或没有吸引力、单身或有对象、未婚或已婚……“你甚至可以同时被称为修女荡妇,仅凭人们评判角度的不同。我恐怕无法总结我们的社会如何看待女性,因为有太多的规则要求女性来遵守,甚至女人也会对女人自己非常苛刻。我可以说的是,现代女性比以往任何时候都更有能力发出声音,而且将一直被大众听到。”

Drive Through 02
Sexy Back 01
Fantasy Room
Lips 01
I Feel Strong To Be Served

Website: www.claudiachanhoi.com
Instagram@brainxeyes

 

Contributor: Chen Yuan


网站: www.claudiachanhoi.com
Instagram: @brainxeyes

 

供稿人: Chen Yuan

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Reaching New Heights w/ Zhou Yusi 上帝视角的俯瞰

March 26, 2018 2018年3月26日

Based in Shenzhen, Zhou Yusi (or better known by his Instagram handle @ucchow) is a Chinese photographer who finds himself captivated by the rapid development of modern cities. His photography, comprised of awe-inspiring aerial perspectives and geometric structures, captures the chaotic beauty of China and surrounding regions. “I like cities where the new and the old clash together,” Zhou shares. “Hong Kong, Shanghai, and Shenzhen are great examples of this.”


来自深圳的摄影师周于斯(@ucchow),是个善于捕捉“上帝视角”的摄影博主。他的作品聚焦于城市建筑的主题,通过城市风光和建筑结构等拍摄,展现既有摩天大楼之现代,又有市井生活之怀旧的城市,比如香港、上海和深圳。这些城市高速发展的魄力与美,像谜一样吸引着他,也指引着他,一次次从高空俯瞰。

Zhou confesses that he didn’t plan on being a photographer in the beginning. Originally, he went to school to be a software developer, and at the time, he couldn’t even afford a proper DSLR. After graduating and buying his first real camera, he began shooting events and live performances, which, admittedly, weren’t especially creatively stimulating. However, as time went on, his interest in photography continued to grow.

The willingness to keep an open mind has been one of the most important factors in Zhou’s creative journey. Keeping an open mind has helped Zhou tremendously in not only his photography; it’s benefited him in nearly all aspects of life and has given him a refreshing perspective on his unconventional journey to success. “For regular people, they might look back and wish they could’ve seen the bigger picture beforehand or have a clear plan for the future. Not me though,” he tells us. “I revisited my university recently, and even though it’s been four or five years since I graduated and the world has changed so much, the school was the same as it ever was. It’s still out of touch with the real world, and in an environment like that, it’s easy to feel complacent and difficult to think outside of the box. If I had the chance [to give advice to my past self], I wouldn’t tell myself to change a thing.”


也许很难想象到,周于斯也是个“半路出家”的摄影师。他在大学时期学习的是软件工程,也就是俗称的“码农”。转行的契机源于毕业后,他终于有钱买了单反。随之才得以常常在音乐现场拍摄乐手们的演出,由此渐渐踏入摄影这个领域。

回望大学时代,周于斯的感慨显得有些特别:“一般人可能会对过去说,做事情要有眼界、格局之类的。然而现实是,前段时间我回去学校,发现虽然自己毕业已经四五年,外面的社会天翻地覆,学校仍是那个象牙塔,它什么都没变。其实在那种安逸环境中,是很难有大的格局和视野的。也许(我会对曾经的自己说)就继续虚度光阴吧。”的确,无论是摄影、工作还是社会生活,只有走上更宽的道路,登上更高的台阶,才能拥有更广的视野。

Following the purchase of his first drone, Zhou fell in love with taking photos from above. He says piloting a drone makes him feel like a “satellite, drifting idly above and watching the world beneath.” But with his drone, he does more than simply observe. Zhou likens the role of a drone photographer to that of a film director; much like a director, he has the control to frame specific scenes as he sees fit and present a narrative in line with his vision. While the drone is a great tool in his arsenal, what’s even more important than the tool is the creative output that can be achieved with it. It’s this understanding that motivates Zhou to continuously push himself and reach for new creative heights.


而真正意义上上帝视角的形成,是后来的事情。周于斯接触到了无人机拍摄,他笑称自己观看世界的视角,如今已渐渐变成了习惯从卫星地图去看周围生活的地方,因为那样可让他像电影导演一样,去掌控这个城市的画面。所谓会当凌绝顶,一览众山小”——或许吸引周于斯的,也正是这种凌空一切的观感。

“For me, exploration means finding new perspectives, even in parts of the city I’m familiar with,” Zhou shares of his creative philosophies. “It’s not just about hitting rooftops and shooting the same things aimlessly. It’s about discovering the beauty of a street I might’ve pass by countless times before or seeing an apartment or office building in a new light. By presenting unique perspectives of these familiar places, I want people to go, ‘Wow! I can’t believe this is what my neighborhood looks like.'”


探索,意味着在我们生活着的平凡城市,发现不一样的角度。它不只是在楼顶一模一样的位置拍下相同的风景,而是在每个平凡的街道,每天生活的公寓或者写字楼,通过探索发现特别的角度,让大家觉得,原来我们家附近还有这么一个地方!”

Zhou has now fully dedicated himself to both videography and photography but expresses a newfound preference in the former. “Photo editing is much faster. It can take only an hour or so. When it comes to video, it could take up to a day or much more. With the amount of time these two mediums take up, it’s hard to keep going if I wasn’t passionate. But the biggest difference between the two is that videos are much more elaborate. While you need to pay attention to many of the same things you have to watch out for in photography, you also need to consider the plot, storytelling cadence, transitions, sound design, and much more.”

Looking towards the future, Zhou expresses hopes of creating more travel-related video content. But regardless of medium, an earnest enthusiasm to share his adventures and showcase the beauty of our modern metropolises lives on in his work.


现在的周于斯用心经营着自媒体,对外输出着自己拍摄的图像和视频。他曾说:修图只需一小时,而剪视频要花上整整一天时间。如果不是热爱,很难坚持下来。两者比较,其实周于斯更倾向于视频创作。“最大的区别在于,照片是静止的,视频是动态的。除了照片所拥有的一切要求以外,视频还要具备情节、运镜、节奏、音乐等,可以说是更高维度的创作。”周于斯希望,未来能投入更多时间在旅行和影像上面,用宏观视角拍摄和纪录时,也就更能用心去体会各个城市的气质与魄力。

Instagram: @ucchow
Weibo: ~/UC大人

 

Contributor: Chen Yuan


Instagram: @ucchow
微博: ~/UC大人

 

供稿人: Chen Yuan

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Four Characters 四字画语

March 15, 2018 2018年3月15日

Mostly comprised of four characters, idioms, or chengyu, are one of the most beloved methods of expression in China. The appeal of chengyu lies in their power to convey complex and wordy ideas in a concise manner. But being that many of these phrases originated from ancient Chinese literature, they can, at times, be difficult to make sense of without an understanding of their original context. Luckily, the more convoluted expressions have all but faded from the colloquial lexicon in modern-day China, while many of the easier-to-understand idioms are still widely used.

Today, the internet has become a breeding ground for linguistic creativity. Chinese netizens have begun cleverly crafting their own four-character phrases that follow the formula for traditional idioms. One such phrase birthed by the internet is rén jiān bù chāi (人艰不拆), which translates to “life is already hard enough as is, just cut me some slack.” It’s most often used in a jestful manner. Another quirky internet expression that’s made the rounds in recent times is kōu jiǎo dà hàn (抠脚大汉), which is equivalent to “catfishing” in American slang, but it’s tailored to specifically refer to a man pretending to be a woman.

Similarly, many emojis and stickers used in Chinese messaging apps have followed this trend. Images accompanied by four or five-character phrases are commonplace; they’re used to add humor or alter the expression’s original meaning. While much of these are basically Chinese memes, they serve as a testament to the linguistic versatility and nuanced possibilities of the Chinese language. Designer and recent college graduate Xia Ruolan found herself intrigued by the evolution of these expressions, and in wanting to help explain their meanings to a Western audience, she created Four Chars, an illustration project that translates and simplifies some of the more commonly seen four-character Chinese phrases.


如今我们已经很少会在日常对话中用到寓意艰深的成语,有些艰涩难懂的文言文,也随之渐渐淡出人们的视野。但其实随着互联网时代的到来,人们对使用俗语、成语的热情却并没有消退。无论多么纷繁复杂的内容,都可以用四字来概括,甚至年轻一代人还会自创四字短语。从“人艰不拆”到“抠脚大汉”,表情包文化的迅猛发展,也让四字短语的视觉表达成为了展示汉语魅力的契机。

刚从卡内基梅隆大学的产品设计系毕业不久的设计师夏若兰,就创作了这样的“四字画语”,试图用插画的形式来解释四个小小汉字的万千含义。

In the early days of Four Chars, Xia mainly used the project as a way of setting aside personal time for herself after work, a way to unwind from her stressful days. Xia recalls the many trials and tribulations that she experienced within the first year of her career: She underwent four different boss changes, switched departments three times, and even had to relocate to another country. But aside from helping her cope from the stresses of work, and perhaps more importantly, the project was a way for Xia, who’s spent much of her life abroad, to reconcile with her cultural roots.

“It may seem like being independent and living in a new country is a liberating experience,” she tells us. “But the truth of the matter is, it felt like I was running into dead ends everywhere.”

Being that Xia’s mother tongue is Chinese, Xia often found herself unable to fully articulate certain ideas in English. Out of these frustrations, she gained a newfound appreciation for the depth and versatility of the Chinese language. Xia wanted a way to share the beautiful subtleties and complexities of her native language with the world but needed to figure out an easily accessible approach. Noting the vast amounts of four-character expressions that exist nowadays, Xia came up with the idea to use illustration to offer easy-to-understand explanations for these common Chinese phrases, and thus, Four Chars was born.


最初创作“四字画语”的原因,有一部分正是源于夏若兰“在异国他乡独自生活,出于平复心态、提升自己的需要”而为之。夏若兰说,工作还没满一年,她就换了四个老板,调了三次组,在两个不同国家工作。“一个人在一个陌生的国度生活,好像有无限的自由,但也却处处是边界。”

作为一个中文母语者,夏若兰说,她不时会面临有货倒不出的困窘。有些略带俗气的双关词语,让夏若兰一再感受到汉语词汇的广博且充满弹性(雅俗共赏)的内涵。这也让她产生了某种使命感,要让汉语的丰富含义更加平民化地传播。加之夏若兰发现 Instagram 汉语学习专题与插画专题相交叉的一个市场空白,每四个汉字都可能是一个触发点,画面的创作空间非常广阔。“四字画语”就此诞生了。

From fine art to movies and video games, Xia’s inspiration comes from a variety of different sources. “One time, I was cooking something with Sriracha. I was just staring at the bottle of red sauce, and the idiom rè huǒ cháo tiān (热火朝天) popped up in my head mind. At the same time, an image of René Magritte’s surrealist paintings surfaced in my mind. Combining the two, I came up with the idea to draw a bunch of Sriracha rockets flying into the sky as a way of presenting the idiom.”


要说灵感的发源,艺术家的作品、电影游戏的画面,都会成为夏若兰的启发点,“有一次我用 Sriracha 辣酱(中国好像买不到,但在海外很火的中国特色辣酱)做晚饭,看着红红的瓶身,就想到了热火朝天那个词。脑海中又有超现实主义艺术家雷内马格里特(René Magritte)的经典画作,于是就画出了一大堆辣酱瓶子因为自身太辣变成了火箭往天上飞的场景。”

Xia acknowledges that conceptualizing and executing the illustrations aren’t the toughest steps of the creative process. The most challenging part lies in the fact that there are lots of four-character phrases that simply cannot be explained in a sentence or two. “In most cases, I have to simplify the full meaning; if the dictionary doesn’t explain the literal meaning or breakdown underlying connotations of the phrase, I also have to figure out how to add it in. My boyfriend will often help out too and fix up my ‘Chinglish.’” Xia says, grinning. “But when I’m trying to translate these idioms, it’s not just about their meaning. The most important thing is to explain why its an interesting phrase.”

One of the quirkier phrases Xia covers in the series is “děng dēng děng dēng (等灯等灯),” a four-character onomatopoeia that references Intel’s iconic jingle. The first and third character, děng (等), means wait. The second and fourth character, dēng (灯), means light. Her illustrations present a literal interpretation of the phrase with characters holding traffic lights. This expression is most often used as playful banter between friends and simply means “wait” or “hold on a minute.”

Another phrase Xia enjoyed working on was wèi ài gǔ zhǎng (为爱鼓掌), which is a double entendre. Its literal meaning is “clap in the name of love,” but in Chinese, the onomatopoeia for clapping – “pa, pa, pa” (啪啪啪) –  is associated with the sounds of intercourse (or specifically, the sound of skin slapping against skin). The expression is essentially used as a euphemism for talking about sex. Taking into consideration of the fact that many people might not understand the dual meaning of the phrase, she decided to approach the illustration and definition in a literal manner. Another point she took into consideration is that if she were to present the true meaning through illustration, it’d most likely result in a raunchy image that could be censored by Instagram. Xia tells us, “It was fun to look at the comment section for this post,” she says. “Many people who’re aware of the true meaning were cracking jokes with other double entendres.”


但往往最难的不是设计本身,而是那些无法用三言两语去解释的字词。“大多数情况是,自己把词典提供的释义进行略微的改动;如果词典没有提供引申义和字面义的,自己也需要补上。有时候在美国的男友也会帮忙改语法,以及改掉我比较 Chinglish 的部分。”夏若兰说,“在解释这些词的时候,不仅要解释字面义,还要解释为什么这个词是有趣的。”

比如源自于英特尔广告声音等灯等灯,在形象化描绘了等待红绿灯的场景后,也需要融入声音的通感。又比如为爱鼓掌,一语双关。直接解释的话,鼓掌其实就是啪啪啪的声响,但夏若兰担心这么解释反会加深非汉语用户的理解难度;可要是直接诠释啪啪啪本意,则肯定要涉及到露骨画面,会被网络筛查。所以夏若兰在这时就用了更通俗易懂的方法去描述性爱。“有趣的是,这个词的评论区冒出不少人,他们用了相似的语言风格表露了他们作为老司机的一面。”

Having never been formally trained in art, Xia says this project is actually her first-ever attempt at dabbling with illustration. “While Four Chars has helped me a lot personally, it’s actually my first time ever doing something like this. It’s helped me with managing my stress, but in a way, it’s pretty much just escapism. […] I do feel a sense of elation and relief whenever I’m working on the project. It feels different from doing something just to kill time. There also aren’t any extreme ‘eureka’ moments nor do I experience creative stagnation; the project lets me channel my creativity in a pretty consistent way. I also get to experiment with new styles or aesthetics every day.”

Recalling what life was like before she began the project, Xia estimates that 90% of her time was spent figuring out how to be more effective, how to work faster, and how to get results. Being locked into this mentality led her to feel restless and irritable all the time. “So, as someone who’s always looked within for answers, I began asking myself how I could get out of this slump. I guess I hoped I could use the remaining 10% of my time to come up with an answer, and it turns out, Four Chars was the result of that – this project gave me a chance to work on something that didn’t necessarily need an end goal. It was time that I can use for my personal enjoyment and to better myself creatively. In a way, I’m grateful. If I didn’t face the hardships that I did, then I wouldn’t have come up with Four Chars. Its helped me find motivation in all aspects of my life.”


其实作为一个没有机会进行“艺术科班培训”的画手,夏若兰说,这是她第一次以插画师的身份来做项目。“当然,四字画语给我带来的收益并不是十全十美的。它作为一个精神后花园,很大程度上会让我脱离对物理世界的体会(也会让我产生幻觉)……创作四字画语带给我一种上升着的快感,和消磨时间的快感不同,它并不存在一个‘高潮与高潮消退的阶段。每一天都可以尝试新的画风。”

因为之前受到种种压力的影响,夏若兰每天可能会有 90% 的时间在让自己加速、高效、出成果,需要做到“充实”。但这种充实却建立在浮躁本身的泡沫之上。“于是,习惯于独立思考的我立即开始向内心求助,祈求着那个 10% 的我的援助。‘四字画语’就是那个 10% 的时间,它给了我一个‘沉浸做一件事不求目的’的时间段,是一个享受匠人精神的时间段。如果没有之前的转折,就没有四字画语的初心。它像是一个自我鞭策的存在。”

Website: ruolan.design
Instagram
: @four_chars

 

Contributor: Chen Yuan


网站: ruolan.design
Instagram: @four_chars

 

供稿人: Chen Yuan

Capturing Intimacy with No. 223 “私”的定义

March 12, 2018 2018年3月12日

Beijing-based photographer No. 223 documents the people and relationships in the world around him through a lens of intimacy. His work, self-described as “free, spontaneous, unconventional, and unreasonable,” offers viewers a deeply personal look into his views on sexuality, the human body, and life in general.

While best known for his photography, No. 223 is also an avid author and independent publisher. Despite his versatility in mediums, his overall creative aspirations are one in the same. He tells us, “Sex is an essential part of life, so I try to depict as such in my works. It’s just like eating, sleeping, going out, and socializing. I just choose to record it objectively, not for the purpose of voyeurism or exposing secrets. I like the human body, so naturally, that means a lot of my works will be related to the human form.”


编号223的相片中呈递的人和事,仿佛随处充满着亲密的体温。这正如他对自己作品的定义:自由、即兴、放荡、悬疑——契合了私摄影的概念,也契合了人们对私生活的好奇心。

编号223是来自北京的摄影艺术家、作家和独立出版人。他说:“于我的作品中,性是一个人成长必然的存在,等同于吃饭睡觉逛街聚会,我只是用一个客观的心态把它们记录下来,不为了窥探也不为了发掘什么私密。我喜欢身体,这决定了我会拍很多跟身体有关的作品。”

For personal projects, No. 223 often enlists friends as models. He’s found this approach to produce a much more organic and collaborative dynamic that allows everyone to be themselves. “The subjects in my photographs are often chosen subconsciously,” he shares of his intuitive approach. “For example, the first time that I meet somebody, I might have a strong desire to take their photo. On the other hand, when it comes to friends who I’ve known for a long time, I may not want to just casually take their photo. The action of photography comes instinctively. Some of my subjects will think that I’ve captured a sexier or more carefree version of their normal selves, while others will think that I made them look like a mess without proper styling, but to me, I feel like I’m just showing them in a natural state.”


这些身体呈现着自然、放松或紧张的模样,它们都来自编号223身边的朋友,因此在拍摄的时候,双方通常都不会有心坎和隔阂。“我拍摄对象的选择,往往由我潜意识的审美来决定,比如我看到某个人的第一眼,我可能就很想给Ta拍照;有的可能认识很久的朋友,我也没有轻易拿起相机拍摄Ta,这是我个人潜在的行为激发……有的人觉得我挖掘了Ta更性感、更放纵的状态,有的人觉得我拍摄的Ta太垮了,没有造型,其实我觉得是更自然的状态。”这一切,是由背后那个摄影师个人潜在的行为激发,一切都源于主观的“私”。

Being that No. 223’s photography is so closely interlinked with his own life and interpersonal relationships, there are certain topics that he’s continuously inspired by and hopes to further explore in his work going forward. “What moves me the most is observing people as they slowly change over time,” No. 223 tells us. “Their skin, their gaze, their hair, the wrinkles around their eyes, their body, and so on. I wish I had the chance to capture these changes that I notice every time I see them.”


既然是参杂着私人的感受,那么必然也会有想要一拍再拍的时刻,编号233说,“最让我心动的是一个人在岁月在时间的慢慢前进中所产生的细微的变化,Ta的发肤、眼神、头发、眼角、体型等等发生的变化,我想要每一次见面的时候都可以拍摄Ta的这些成长的变化。”

For No. 223, his creative objectives aren’t just about the superficial documentation of personal moments. The intimate nature of his work reflects his ambitions of understanding the notion of self. His photography is both passive observation and a form of self-expression. “Many of my works are about my personal journey and the things I’ve encountered in my daily life. My works that concern sexuality and the human form fall into the latter category, but it’s not that I’m focusing on sex or the human body, but rather, I see my work as being related to life and growth. Sex just happens to be a part of that.”

Ultimately, No. 223’s creativity is driven by a personal desire to better understand his own role in this world as well as the ever-changing relationship between humans and society.


私摄影远不止亲密的镜头表达。所谓的,更是一种“我”对外界的看法和表达。其实我个人作品更多的关注在自身的成长和日常所见,而身体内容的摄影是归属在这些日常里面的,并非主要拍性和身体。我的作品里面有日常有成长,有人有物,自然也会有性……编号223的作品,也正是通过自己的镜头,在试图一次次阐述自我、他人和社会之间的关系。

Website:  linzhipeng223.com
Instagram@finger223


Contributor: Chen Yuan

Image Courtesy of No.223


网站linzhipeng223.com
Instagram@finger223


供稿人: Chen Yuan

图片由编号223提供

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School Bullying 我们都曾亲身经历过的校园暴力

March 6, 2018 2018年3月6日

Bullying is an issue that affects individuals all over the world, whether it be physical, verbal, or emotional. It’s an imbalance of power where the strong leverages their physical strength or popularity to inflict harm on their peers. In recent times, school bullying has been a topic that’s attracted much discussion worldwide. However, despite media scrutiny and growing awareness on the full extent of the issue, bullying culture is something that remains tolerated in today’s society – bystanders are often apathetic and victims commonly choose to stay quiet.

Lean Lui, a 19-year-old photographer from Hong Kong, aims to cast a spotlight on the severity of the issue via her School Bullying photo series. “Being bullied in school is something that can happen to anyone,” she shares. “The subjects in my photos are meant to simply be symbolic. The bullies and victims could be you, maybe me, or anyone else.”


校园霸凌,指的是在校园环境里发生于学生间的侮辱和欺凌,拥有“恃强凌弱”的特性,常会导致语言和肢体上的冲突,如今已成为全球范围内舆论关注的公共话题。但即使霸凌现象逐渐步入了社会和媒体的视野,很多真正面临霸凌的人仍会以沉默相对,旁观、纵容或忍受这样的霸凌行为。

19 岁的女摄影师 Lean Lui 来自香港,她的摄影系列《校园霸凌》(School Bullying),正是想通过镜头展露这个尖锐的问题。“校园欺凌会发生在任何人身上。无论是霸凌者或者是被害者。照片中的女生可能是你、可能是我、也可以是任何人。她们只是一个喻体。”Lean 说。


The Blindfolded

 

Depicting empty classrooms and drab campus hallways, Lui’s photo series carries a sense of melancholy that’s amplified through her use of dark, subdued colors. Amidst the somber scenes, girls in school uniforms and eyes covered by white blindfolds populate the frames. Lui categorizes these blindfolded characters into two categories: passive bystanders and accomplices to the bullying.


蒙上眼睛的人

 

这个系列的相片色调非常阴沉晦涩,空无一人的教室、破旧的学校楼道,而照片里这些穿着制服的女学生,无一例外都用白布蒙上了眼睛。Lean 把她们的角色设定为两种帮凶,第一种是旁观者;第二种是同流合污者。

As such, the blindfolds are symbolic of two different concepts.

“First, it represents self-deception. Some bystanders act like just because they don’t see it, they’re unaware of what’s happening. They might even see themselves as being kindhearted since they’re not directly participating in the bullying. But in reality, their cowardice and selfishness equally perpetuate the bullying culture.”

“Secondly, many bullying accomplices simply want to conform and fit in with peers. They’re not interested in seeing the bigger picture, so they act with a mob mentality and target the outnumbered few. They often realize that they’re an accessory to the bullying, but are equally blinded by their weakness and cowardice, and will side with those in power. Being that eyes are windows to the soul, depicting them with blindfolds is meant to represent that these accomplices are nothing more than soulless creatures who are following the herd.”


所以 Lean 在作品中用纱布蒙上她们的眼睛,也代表着两重含义。

“第一,自欺欺人。有些人(旁观者)装做看不到,就当作自己不知道了,就当作自己还是很善良的,当作自己没有参与欺凌。但事实是,他们的懦弱与自私促成了校园欺凌。”

“第二,很多帮凶只是人云亦云地听从谣言,为了朋辈的认同、合群,完全没有用自己的眼睛去看清事情的真相,就随‘主流’去向‘少数’施暴;而且,很多时候‘他们’知道自己是帮凶,但被懦弱跟虚弱蒙蔽了双眼,还是会走到同党较多的一方,持强凌弱。因为眼睛是灵魂之窗,用纱布蒙上了他们的眼睛,想比喻出施暴者是一堆没有灵魂的羊群。”


“Your Past & Memories Are the Bedrocks of Life”

 

Currently a college sophomore, Lui admits to having been a victim herself in the past. The young photographer has experienced feelings of humiliation from emotional abuse first hand.

Lean shares, “Many people say my work carries a feeling of hopelessness and loneliness. I recognize that a lot of the themes I explore are more emotional in nature, and the way I express these emotions tend to be more abstract or reliant on symbolism. I suppose my preferred approach is in itself shaped by my past. Even though many of my past memories aren’t exactly happy ones, they’ve ultimately been beneficial to me. One phrase that a past teacher said to me especially resonates with me now. ‘Your past and memories are the bedrocks of life.’”


“过去和回忆都是养分”

 

很难想象,镜头背后的 Lean 才是刚刚读大二的女生,她也曾是个“受害者”,也经历过这样晦涩而羞辱的时期。

“很多人说我的作品总是有些苍凉、敏感跟孤独的感觉,我也留意到自己多数的题材都是比较情绪化的;而表达手法方面也会比较抽象,较多暗喻,这些都应该就是我的过去的那段经历塑造出来的吧。” Lean 说。“那段回忆虽然不快,但最后对我的影响暂时看起来也挺好。我很喜欢老师对我说过的一句话:‘过去跟回忆都是养分。’

One thing is clear, the issue of bullying isn’t as cut and dry as it might appear on the surface. It’s not only important for Lui to raise further attention to the issue of bullying, she seeks to understand the motivations behind it. She questions, “Is it just human nature?”

“People want to feel superior; this is probably the primary motivation of bullies. They feel accomplished and superior when they’re exerting control on their victims. Those who are accomplices to the bullying is an example of people being herd animals. Whether consciously or subconsciously, they’re aware that if they’re not participating in the bullying, then it could be them next. So there’s no reason to not join in.”


但显然,这一切暴力霸凌的现象,都并非表面上看到的这么简单。深思校园霸凌的诱因,Lean 有些不安地讲出她的答案:“可以说是‘人性’吗?”

“首先,人追求优越感,这是主欺凌者的心态,欺凌者在向弱势的一方施暴时会感受到一种优越感、成功感。其次,人是群体动物,这是帮凶的心态,对于那堆帮凶来说,害怕自己如果不合群跟著一起去欺负特定对象的话,自己也会被欺负,而且也觉得没理由不做大家都做的事。”

Those who are unfortunate enough to fall prey to bullies are generally individuals who are less conforming. Reasons for bullying could be something as simple as that the victim is less outspoken, more introverted, or even because they’re performing better academically.

Lui hypothesizes, “People like to push away the things they don’t understand, no matter what kind of cultural backgrounds they come from. When they don’t accept something, they’ll find ways to exclude them or hurt them. Bullying seems to occur more often in middle school or high school when the kids are still immature and don’t quite understand the full consequences of their actions.”


而那些不幸成为受害者的无辜对象,往往或多或少都有些与众不同。少言寡语、特立独行,甚至过于出众,都会成为被霸凌的理由。

Lean 认为,“人本质上喜欢排挤跟自己不一样的东西,无论在什么文化背景下,都会有‘主流’与‘少数’的存在。在包容度不足时,看到跟自己不一样的人就会选择去作出排挤或是伤害的行动。而校园欺凌较常发生在小、中学,那时候孩子们的思想通常较为不成熟,也不懂如何去控制自己的行为。”


Rebirth

 

As she grew older, Lui began to see both sides of the story, gaining a better understanding of both the bullies and the bullied. Her past experiences made her want to understand the psychology of humans. This is the ‘bedrock’ that she spoke of, learning from her experiences and wielding that knowledge in her creative works as a testament to her own personal growth. This series is a way for Lui to share her outlook and experiences with the issue, and in doing so, Lui hopes to invoke a sense of empathy in the viewers, and in turn, help them shed their own blindfolds.

“If people even feel the least bit uncomfortable when looking at the series, then I hope they can see how these similar feelings are amplified a thousandfold for the bullied. But bullies are human too – they have feelings and experience sadness. So I hope that the next time they’re about to bully someone, they can pause, consider the motivations behind their actions, and imagine how they themselves would feel if they were the victim.”


“重生”的力量

 

在漫长的成长过程中,Lean 渐渐学会了同那个曾被欺凌的自己和解,然后又一步步走向对社会、对人性更深层的理解。这是她所说的“养分”,亦是她成长和蜕变的见证。Lean 试图通过自己的摄影作品,以期在某种程度上唤起施暴者的同理心,剥下“蒙在他们眼前的纱布”。

“如果他们在看到这辑作品时,心里有感到一丝不安或者压抑的话,希望他们知道,被他们施暴的人,体验到的负面感受是他们看到作品时的千万倍;被他们欺负的人也跟他们一样,是个活生生的人,也是有感受的、也是会感到伤心难过的。希望他们下次再想欺负别人的时候,能考虑一下‘为什么’要这样做?如果今天自己是受害者的话,会有什么感受?”

Another goal of the series is for it to act as a voice for bullied individuals. “You’re not wrong. They’re just uninformed. You’re not alone. This is something that happens to many others all over the world. It is what it is. Even if you’re rejected by your peers because you’re different, you still don’t need to feel like you need to conform. That would be a shame. I think that being different is a good thing. You shouldn’t forgive them, but you also don’t need to harbor hatred, because when you feel angry, then they’ve won. It would be foolish to let them win. You can reexamine the situation from a different perspective and understand there’s value in learning from the experience.

Lui continues, “One of my teachers also told me something that really resonated with me: ‘I’m scared of you being different from others, but I’m even more terrified of you wanting to conform.’ This is the same message that I want to share with everyone.”


另外一个作用,Lean 想给予被害者一个出口跟勇气。“‘你’没有错,只是‘他们’还没长大;‘你’也不孤独,这件事情在世界各地都很常见,不用把这件事看得太重。因为与众不同而被孤立的话,不要想着将自己同化,那样太可惜了。而且,我觉得‘特别’是一件好事情呢。‘你’应该不会原谅他们,但是你也不要去憎恨他们了,因为生气就等于自己服毒却等别人死亡一样,很傻;可以尝试换个思维方式,从经验中获取或者学习一些东西,那样才有价值。”

Lean 传递出来的态度温柔而坚定:“老师曾对我说:‘我害怕你跟别人不同,但我更加害怕你跟别人太相同’。我也想将这句话转送给大家。”

Website: ~/leanlui
Instagram@leanlui

 

Contributor: Chen Yuan


网站: ~/LeanLui
Instagram@leanlui

 

供稿人: Chen Yuan

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Geometric Thinking with Liam Lee 书法和几何的关系

February 26, 2018 2018年2月26日

In celebration of Chinese New Year, Beijing-based graphic designer Liam Lee recently released a poster comprised of the Chinese characters fu (福), lu (禄), shou (寿), and xi (禧). The significance of these four characters comes from their appearance on spring couplets and their widespread usage as an auspicious greeting for family and friends during New Year celebrations. Lee deconstructs the familiar blessing into individual characters and restructures them into separate phrases to expand on their meaning. Fu, forms fu hai (福海), which means a world of happiness; shou forms the phrase shou shan (寿山), which is a blessing for longevity; xi forms xi qi (喜气), which means jubilant delight; and lu forms the phrase feng lu (丰禄), which wishes for good fortune and wealth. As a call out to his own Mongolian ancestry, Lee also included a Mongolian translation alongside each Chinese phrase.


这一组汉字设计海报,来自蒙古族的图形设计师李岩松(Liam Lee),图中呈现的是“福、禄、寿、禧”四个汉字,寓意着对美好生活的期盼和祝福,而李岩松从新的角度出发,使用新的设计技法,做了一次不同的尝试——将 4 个单字组词为“福海、寿山、喜气、丰禄”,同时加入了蒙古文字释义。这种独特的平面构成 + 数学几何造字的方法,是李岩松步入设计之途的十余年里逐渐形成的个人风格。

Being a veteran designer who’s worked in graphic design for over a decade, this latest project is an impressive showcase of how his unique compositional style and eye for geometry has developed over the years. While graphic design is his bread and butter nowadays, prior to his official foray into the field, he worked alongside Yue Xin in 2001, a trailblazer in the world of Chinese type design. “I was also exposed to the works of Nod Young around that time, so it’s safe to say these two have greatly influenced all of my design work, and for that, I’m immensely grateful to both of them,” he says with a warm smile. “Even though many of my designs are heavily influenced by calligraphy, I actually don’t come from a background in the discipline. I’m first and foremost a graphic designer, but I enjoy and feel inspired by calligraphy of all forms. When I work, I often find myself referencing the stroke order, pen movements, and composition of old Chinese calligraphy.”


对汉字图形设计的热衷,源于 2001 年,李岩松当时与设计前辈岳昕老师共事,正式接触了字体,“之后(我)偶然看到前辈 Nod Young  闹老师的设计作品,受到很大启发,借此向两位老师致敬。”李岩松笑说,“虽然作品常以‘字形’示人,但我不是一个字体设计师,而是个图形设计师。我也没有专门练过书法。只要是写得好看的书法,我都喜欢。我创作的时候会参考书法的运笔、连笔、动势、构图。”

As the result of his diverse influences and an ongoing passion for a wide variety of calligraphy, Lee’s designs rarely stick to one uniform aesthetic. He unabashedly extracts concepts and techniques from graphic design and wields them as building blocks for his calligraphy-inspired works. “I especially like to design in grids – any shape or density,” Lee explains of his methods. “I work and think in geometric shapes but I like to try and conceal specific patterns in my end design. I like to keep it interesting by experimenting and seeing what I can come up with.”


因此,李岩松的设计并不仅仅拘泥于同一种格式,此后也一直在尝试用平面构成的技法结构汉字,将汉字视作若干几何图形单元像积木一样拼插组合。“我特别喜欢在网格里做设计,各种形状的网格,我可以把网格做的非常密集,我觉得在网格里用一种几何化的规律做设计然后再将规律隐藏起来,这是一件非常有趣的事。”

Behance: ~/LiamSoso

 

Contributor: Chen Yuan


Behance: ~/LiamSoso

 

供稿人: Chen Yuan

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