All posts by whit

@chingkaichingkai

December 6, 2016 2016年12月6日

Chia Ching Kai, better known as CK, is the photographer behind the lifestyle Instagram profile @chingkaichingkai. His work comprises of a soothing outlook into his everyday life, thoughtfully captured and often coupled with thought-provoking captions. His photography style is candid, yet clean – every image is chromatically consistent, despite differing in subject and location. Neocha recently caught up with CK whilst he was passing through Shanghai, and he shared with us his top five tips for photography.

摄影师Chia Ching Kai（也就是大名鼎鼎的CK）就是Instagram致力于展示生活方式的账号@chingkaichingkai的幕后之手。他的作品用舒缓的镜头记录他的日常生活，精巧地捕捉下瞬间，然后常常配以哲理性的标题。他的摄影风格简明又静雅。近日，Neocha在他途径上海的时候有幸与之碰面，他大方地与我们分享了他摄影中的五大秘诀。

 1.  Lighting is chief.

The soft exposure and even tones that appear across CK’s feed are by no means a pure coincidence – every image is composed of natural light and calculated timing. When traveling, he often rises before first light to get to his first destination, ensuring that he can reap the most from the day’s sunlight. “Whilst I was in Japan, I noticed that shoji and the translucent paper used on them, was almost like a natural defuser. I try to replicate the same effect when I’m taking photos at home now. The result is a very pleasant, soft light.”

 1.  打光永远最重要

CK餐桌上的照片的曝光和色调绝不是一种纯粹的巧合——每张作品里都融合了自然光线和精准的时间。在旅行中，他总是在第一缕阳光照在首站目的地前就起来，确保可以充分享用一天的阳光。“我在日本的时候，注意到日式拉门上的透明剪纸，那就像一个天然的滤镜。现在当我在家里摄影时也试着复刻那种效果，结果得到的柔光也非常棒。

2.  Shoot what turns you on, what yields your heart.

Whilst this is not the most technical of photography tips, CK believes this to be a fundamental philosophy that results in the most personal and satisfying type of creations. For the majority of the year, CK is based in Singapore and works with local theatre production companies as an art director. Instagram is a space where he can create his own images without constraint. His personal work is a stark contrast to what he creates for his clients. The space remains as his own stomping ground, filled with what he likes to shoot: homemade meals, snapshots of his travels and remnants of his ever-changing Singapore.

2.  拍来到你身边的，以及你内心的渴望

这不能说是最标准技术的摄影技巧，但是CK认为这是摄影中的一大基本哲学，能让人收获个人特别满意的作品。CK一年大多时间在新加坡，担任一家当地剧院制作公司的艺术总监。Instagram给予他无拘无束创造自己喜欢作品的自由空间——他的个人作品与他为客户创作的作品有着截然不同的风格。Instagram成为了他个人化的落脚点，充满了他所喜欢的摄影内容——一日三餐，旅行点滴，以及在日新月异的新加坡中那些被人遗忘的角落。

3.  Use tools effectively

It surprises a lot of people when they discover that CK isn’t slinging a top-of-the-range camera. In fact, his set up is extremely lean; he shoots solely with his iPhone, allowing him to stay light and portable wherever he goes. This is particularly important when he’s hiking and moving between cities with nothing but a carry-on backpack. He favours the camera app from Moment as it allows him to shoot in TIFF. He finishes off his edits in Snapseed to achieve the natural, polished look.

3.  有效使用工具

让不少人感到意外的是CK使用的并非高端相机。实际上，他的装备非常之精简——就只是他的iPhone手机，便于他随时随地携带，然后轻松上阵。这对于常常徒步旅行、只背包穿梭于城市之间的他来说非常重要。他最爱Moment出的的摄像APP，因为那可以拍出TIFF格式的照片，能够让他在Snapseed上进行编辑，以达到他喜欢的自然、优美的视觉效果。

4.  Don’t just rely on filters to make magic for your images.

Whilst filters can sometimes add some interesting dynamics to an image, it shouldn’t be what defines your images. Focus on creating a good image, rather than hoping for a miracle by slapping a filter on something sub-par.

4. 不要过分依赖滤镜的魔力

虽然滤镜有时可以为图像增添一些动态之趣，但它不应该成为你图像效果的决定性因素。重点在于如何创作一张优质的图像，而非寄托于后期廉价的过滤和美化使作品化腐朽为神奇。

5.  Shoot beyond what you see; shoot a story behind the subject, even if it is made up by yourself for inspiration.

“I woke up extra early to explore the lanes leading to the Bund, the very place I once gave up photographing because of prevailing circumstances. I needed to get past that attitude of ‘Oh, this isn’t working so I am not gonna try to make it work’, because even though this is Instagram, it is also reflective of my tenacity (or lack of) as an artist.” Inspiration comes and goes, you don’t always wake up ready to shoot and you don’t always feel like creating – that is more than alright.

5.  不仅拍摄你所看到的，去拍摄主体背后的故事。即使那是你为了灵感而编造的！

“我一早就醒来，就是为了去探究那通往海滩的阡陌小道，那是我曾因受限于当时环境而不得不放弃的摄影之地。我需要摒弃那种态度：呀，这看上去没用，所以我也不会把它变得有用。因为即使是Instagram也会折射出我作为一个艺术家的固执（或者我所缺乏的一种东西）。”灵感稍纵即逝，你不会一直保持早起去摄影，你也不会总有想创作的欲望——这其实都相当正常。

Bonus

Surround yourself with good, inspiring creatives. When asked how an apprentice can improve, a master sheep shearer once replied: ”Shear alongside the best shearer in town.”

福利

沉浸于美好和充满灵感创作氛围中。一个剪羊毛的大师被问及如何让学徒进步时的回答：“秘诀就是坐在镇上最好的匠人身边一起剪。”

Website: chingkai.co
Instagram: @chingkaichingkai

 

Contributor: Whitney Ng

网站: chingkai.co
Instagram: @chingkaichingkai

 

供稿人: Whitney Ng

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Gods of the Underworld

December 2, 2016 2016年12月2日

 

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Polish-born and Seoul-based videographer, Au Matt is a multi-disciplinary creative whose work is bolstered by a myriad of cultural influences, a meticulous thought process and an appetite for breaking the rules. Matt’s newest short film, “Gods of the Underworld” was shot guerrilla style, “completely without permission” over 25 hours, in an old Taiwanese neighbourhood that Matt once called home.

폴란드 출생에 서울에 기반을 두고 있는 비디오 예술가 ‘오 매트’(Au Matt)는 다양한 장르에서 창작 활동을 하는 예술가이다. 그의 작품은 무수히 많은 문화 영향, 꼼꼼한 생각 과정, 규칙 파괴 욕망으로 가득 차 있다. 매트의 새 단편 영화 ‘지하 세계의 신들’(Gods of the Underworld)은 게릴라 스타일로 찍은 것으로 매트가 고향이라고 부르기도 하는 대만 구시가지에서 25시간 동안 찍은 것이다.

Taiwan was the first place in Asia where Matt settled in after leaving Europe. Before long, he began to split his time between Taipei, Tokyo and Seoul. Matt currently juggles a multitude of projects and businesses across Asia, including his menswear label, Piri Res and MOTHER magazine.

대만은 매트가 유럽을 떠난 후 처음 정착했던 아시아 도시다. 얼마 후 매트는 타이페이, 도쿄, 서울을 옮겨가며 살기 시작 했다. 현재 매트는 아시아 전역에서 자신의 남성복 브랜드인 피리레스 (Piri Res)를 비롯하여 최근에는 잡지 ‘마더’(MOTHER)다양한 프로젝트와 사업들을 벌이고 있다.

The most recent issue of MOTHER magazine carries the theme of “LIBERATION”, and every story was shot at a location that is unavailable to the general public, including Matt’s photo series which features fashion by Issey Miyake and Korean model, Sang Woo Kim. The backdrop of this editorial was Turner Contemporary, a gallery in Margate, United Kingdom which is largely off limits to all commercial photographers. He flips through each page of his editorial with the lightest touch, “This paper, it’s one of my favourites. I have a fetish with paper – here, touch this, feel how delicate is this… It’s a pharmaceutical paper and was trademarked to a company, but we got enough of it to print a 1000 copies of this magazine.”

잡지 ‘마더’ 최신 호에는 ‘해방’(LIBERATION)이라는 테마를 가지고 일반 대중이 가지 못하는 곳에서 찍은 이야기들이 실려 있다. ‘이세이 미야케’ 브랜드를 한국 모델 김상우가 입고 찍은 매트의 사진 작품들도 이 이야기들 중 하나다. 이 기사의 배경은 영국 ‘마게이트’(Margate)에 있는 갤러리 ‘터너 컨템포라리’(Turner Contemporary)로 이곳은 상업적인 사진 작가들은 접근 불가능한 곳이다. 매트는 잡지 페이지를 가볍게 넘기면서 “나는 종이에 대한 집착이 있는데 이 종이는 내가 제일 좋아하는 종이다. 한 번 만져 보라. 정말 섬세하다. 원래 제약회사에서 쓰는 종이인데 내가 진짜 훔쳤다. 그 회사가 등록 상표를 가지고 있는 종이지만, 우리 잡지 1,000부를 찍을 수 있는 만큼 훔쳤다”라고 말했다.

Matt often refers to himself as the “son” of MOTHER. He says that he wants to create a “high art” magazine, emphasising that there is so much thought and rationale that goes behind every page. Along with MOTHER’s founder, Kate Friend, the duo run a very lean operation; they do not accept submissions and provide their contributors with extensive photography briefs and mood boards. “It’s very militant, but we wanted to create something more permanent, something that you open in ten years and it’s still relevant. There are so many magazines that die so quickly and you just dispose of them after a year to make space for other things. In ten years, I want MOTHER to be worth more than what you pay for it now.”

매트는 자신을 ‘마더’ 잡지의 ‘아들’이라고 말하곤 한다. 그는 이 잡지 매 페이지마다 정말 많은 생각과 이유가 담겨있다고 강조하면서 자신은 ‘높은 수준의 예술’ 잡지를 만들고 싶다고 말한다. ‘마더’ 잡지 공 창업자인 케이트 프렌드 (Kate Friend)와 매트는 아주 절제된 운영을 하고 있다. 그들은 기사 제출을 일체 받지 않는 대신, 기고자로 선정된 사람들에게는 아주 많은 양의 사진 설명과 무드 보드(mood board)를 제공한다. 그는 “너무 공격적인 잡지 제작이기는 하지만, 우리는 뭔가 영원한 것, 10년 후에 다시 봐도 같은 느낌이 오는 잡지를 만들고 싶습니다. 수많은 잡지들이 있지만 너무 빨리 죽어 버려, 1년이 지나서 보관할 공간이 부족하면 미련없이 버리게 됩니다. 저는 ‘마더’ 잡지가 10년 후에는 지금 지불한 잡지 가격보다 훨씬 그 가치가 높아지기를 바랍니다.”라고 말한다.

Beyond creating for MOTHER, Matt says videography is his favourite medium. He enjoys videos that bridge art with activism and real issues, citing Metahaven’s “Black Transparency” as one of his favourites. For “Gods of the Underworld”, Matt draws inspiration from the Guanjing Shou (官將首), ceremonial body guards who protect the Taoist gods once they leave the temple. Many of Taiwan’s temples are run by the local mafia; a religious front allows for easy money laundering as the temples are tax exempt and operate on cash donations. The annual Guangjing Shou ritual wards off bad spirits by individuals who adorn frightening make up and imposing costumes. Many of the performers are actually debt collectors, bouncers or body guards in everyday life.

마더 잡지 편집 외에도 매트는 비디오 예술을 자신이 가장 선호하는 매체라고 하였다. 매트는 예술, 행동주의, 현실 문제를 연결하는 비디오를 좋아한다고 강조하며 ‘메타헤이븐’(Metahaven)의 ‘검은 투명성’(Black Transparency)을 예로 들었다. ‘지하 세계의 신들’(Gods of the Underworld)은 매트가 대만 ‘관징쇼우’(官將首)에서 영감을 받은 것이다. ‘관징쇼우’란 도교의 신들이 사찰을 떠나 여행할 때 이들을 보호하는 전통 경호원을 의미한다. 대만 사찰의 대부분은 지역 마피아들이 운영하고 있다. 종교 시설은 세금을 안내고 현금 기부금으로 운영되므로 돈세탁이 가능하기 때문이다. 매년 ‘관징쇼우’ 의식을 할 때면 무서운 형상의 메이크업을 하고 요란한 복장을 한 사람들이 나쁜 영들을 쫓는데, 그런 역할을 하는 사람 대부분은 부채 수금업자, 클럽 출입 통제 기도, 경호원들이다.

Next up, Matt will be returning to Korea to begin working on his next short film, currently titled “Lifting for Jesus”. His inspiration stems from a muscular statue of Jesus that was erected in Yeongcheon, Gyeongsangbuk-do, South Korea. His vision includes Korean bodybuilders and flying drones, all shot within a tight 24 hour shooting schedule. “I think that the artist is a genius. I like art that is bigger than whoever made it and it’s even better when it’s unintentional. It’s nicer when the ego is actually smaller than the art piece.” As the interview came to a close, I couldn’t help but remark to Matt that he was a very talented person. Fittingly so, he smiled and replied, “Thank you, but it’s not talent, its just hard work.”

매트는 서울에 돌아와 다음 단편 영화 ‘예수를 위해 올라가기’(Lifting for Jesus)를 찍을 예정이다. 이 영화는 한국 경상북도 영천에 있는 근육질 예수상에서 영향을 받은 것이다. 한국 보디빌더들과 하늘을 나르는 드론들을 24시간 동안 찍는 것이 이 영화에 대한 매트의 비전이다. 매트는 “저는 예수상 작가가 천재라고 생각합니다. 저는 작가 자신보다 크기가 더 큰 작품을 좋아합니다. 작가가 처음 의도가 큰 작품이 아니었다면 더 좋죠. 자아의 크기가 작품의 크기 보다 작은 것을 좋아합니다”라고 말했다. 인터뷰를 마치면서 나는 매트보고 참 재능 있는 사람이라고 말하지 않을 수 없었다. 매트는 그답게 웃으면서 “감사합니다만, 그건 재능이 아니고 노력일 뿐입니다”라고 말했다.

Website: aumatt.com
Instagram: @aumatt

 

Contributor: Whitney Ng

웹사이트: aumatt.com
Instagram: @aumatt

 

기부자: Whitney Ng

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Building ListCup

November 29, 2016 2016年11月29日

I have been an almost daily patron at my local coffee shop since I moved to China. The baristas know my order by heart and intuitively begin to make my coffee from the moment I step through the door. There is always a short lull in between the post-lunch rush and the early evening stream of office workers who round out their day with one final cup. Recently, during this period of downtime, was when I noticed Jimmy Wong poised against the café counter, chatting with the barista.

自我到了中国后，我几乎每天都光顾我家附近的一个咖啡厅，那里的咖啡师对我熟悉得好像只要我一进店，他们就会知道我想点什么，并开始给我制作咖啡。咖啡店在忙碌的午餐后和上班族下班后，有一段短暂的空闲时间。最近，在这闲暇的午后，我注意到Jimmy Wong正倚着咖啡台和咖啡师交谈。

Courtesy of ELLE Men HK

Before returning to his native city of Hong Kong and founding ListCup, Jimmy did the hard yards at the crème de la crème of Beijing tech companies, working as brand designer for Tencent and brand manager for Sina. It was during this time when he befriended a Beijing-based coffee shop owner and began to develop his palette for specialty coffee. He soon discovered that many patrons often have misgivings about their daily cuppa and even the most experienced of baristas can be underrated or misunderstood. With each passing year, his appreciation for the art of coffee making and passion for sharing industry knowledge continually grew.

在回到故乡香港创立ListCup之前，Jimmy是北京工作的科技精英，曾任腾讯的品牌设计师和新浪的品牌经理。也就是在那段时间，他与一个北京咖啡厅的老板成为了好朋友，也开启了他在专业咖啡领域的探索。他很快意识到不少顾客对于自己每天喝的咖啡都并不太了解，很多经验丰富的咖啡大师也会被人低估或者误解。日积月累后，他对咖啡制作艺术的认识日益丰富，对咖啡行业的热情也愈发浓厚，并越来越想与他人分享这方面的知识。

In 2015, Jimmy turned down a promotion to become Sina’s brand director and decided to carve his own path by combining his experience in design with his interest in coffee. Upon returning to his hometown, ListCup was born — a coffee sharing platform that seeks to connect coffee lovers from all walks of life, from everyday drinkers, to baristas, to independent coffee shops. Jimmy also hoped that by creating this app, he could help to cultivate appreciation for the coffee industry as a whole.

2015年，Jimmy放弃了成为新浪品牌总监的晋升机会，决心把自己在设计上的经验和对咖啡的兴趣相结合，开创自己的品牌。回到家乡后，他创立了咖啡分享平台——ListCup，旨在汇集各行各业的咖啡爱好者，无论是平日里普通的咖啡消费者，咖啡师或者是独立的咖啡厅，都是ListCup的目标人群。Jimmy还希望通过创建APP以培养大众对整个咖啡行业的喜欢与欣赏。

The ListCup app offers varying functions that are dependent upon what role the user plays in the world of coffee. Unlike other coffee review apps, the main focus of ListCup is to build a community setting that allows all users to record their personal coffee journey on an open platform. In addition to uploading coffee photos, users can also share “coffee notes” which can be customised and include information on coffee regions, bean types, flavour, acidity, roasting method and processing techniques.

ListCup这个APP能够根据用户在整个咖啡产业中的角色定位而提供不同类型的服务功能。不同于其他的咖啡评价APP，ListCup通过在开放平台上记录用户的个人咖啡经历，从而构建一个社区般的环境。除了能够上传咖啡美图，用户还能分享可独家定制的“咖啡笔录”（coffee notes），其包括咖啡产地、咖啡豆类型、口味、酸度、烘焙和制作方式等信息。

Coffee Lover

ListCup offers everyday coffee fanatics the opportunity to explore the best coffee shops around the world and connect with experienced baristas at the touch of a finger. After visiting a café, users can share their thoughts with other coffee lovers and provide direct feedback to baristas and the café itself through using the coffee notes function.

咖啡爱好者

ListCup能让咖啡迷们在全世界范围内搜索最好的咖啡厅，并在弹指之间联通经验丰富的咖啡师。走访了实体咖啡厅后，用户能够在“咖啡笔录”的功能中与其他咖啡爱好者分享直观感受，向咖啡师和咖啡厅的直接反馈。

Baristas

ListCup allows each barista to show off their own individual flare by sharing their own coffee knowledge with users, as well as recording their preferred beans and brewing methods. They may also use the app to study the brewing methods of other baristas and keep track of their own consistency by exploring the coffee notes shared by their customers.

咖啡师

在ListCup里，咖啡师能与用户分享咖啡知识，记录他们所偏爱的咖啡豆以及制作方式，从而展示作为一个优秀咖啡师的独家优势。咖啡师们还能通过这款APP向其他同行取经和学习咖啡调制，并同时追踪顾客在“咖啡笔录”上对自己的评价。

Coffee Shops

ListCup allows cafés to be listed in a coffee-only directory. Cafés also have the ability to update their menu or introduce any news directly onto the app so that customers can be continuously kept in the loop about any new happenings. The “On the House” function also allows coffee shops to gift users with a free cup of coffee upon their next visit.

咖啡厅

ListCup 为咖啡厅专门设置了个单独的区域。在APP上，每个咖啡厅能够自主更新其菜单，直接推出最新介绍或消息，因此顾客能够第一时间掌握咖啡厅的最新消息。“店家请客”功能（On the House）是为用户谋取的一个福利，让实地到访的顾客获得免费咖啡一杯。

Courtesy of ELLE Men HK

It turns out that I had caught Jimmy in the middle of a long promotional trip – he had been on the road, travelling to the best cafés in Guangzhou, Beijing, Shanghai, Kyoto, Seoul and Taipei, in order to share the ListCup story in person. It’s always refreshing to see a newly minted entrepreneur take the leap away from the nine-to-five humdrum, and even more so, to see the leader of a young company adopt such a humble no-job-too-small mentality. As someone who plans entire travel itineraries around visiting decorated speciality cafés, I feel that ListCup is just the indexing tool that I have been searching for.

后来我发现Jimmy正在进行一个长途宣传之旅，一路上走访最好的咖啡厅，从京都，首尔，台北，广州，北京到上海，为了亲自与人分享他的APP——ListCup，至今仍在路上。看到这样富有创新、主动跳出朝九晚五人生的年轻创业者总是让人感到眼前一亮，而更让人欣喜的是，这样一个年轻公司的领导者，保持了一种谦逊的态度，秉承着“行行出状元”的心态。作为一个计划以精致专业咖啡店串联旅游路线的人来说，我发现这个APP就是我一直在寻找的最佳咖啡指南。

ListCup is already available for iOS users and the team is currently crowdfunding on Kickstarter in the hopes of releasing an Android version of the app in 2017.

现在ListCup 已经在iOS上推出，目前团队为了能在2017年推出Android的版本，正在Kickstarter 进行众筹。

Facebook:~/listcup
Instagram: @listcup
Weibo: ~/listcup

 

Contributor & Photographer: Whitney Ng
Additional Images Courtesy of ELLE Men HK

脸书: ~/listcup
Instagram: @listcup
微博: ~/listcup

 

供稿人與攝影師: Whitney Ng
附加图片由ELLE Men HK提供

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Read, Play, Paint, Discover

November 14, 2016 2016年11月14日

Hangzhou has long been a must-go location for both tourists in and out of China, with millions of visitors flocking to the capital of the Zhejiang Province to catch a glimpse of its idyllic natural surrounds. The city is steeped with a rich history, which has inspired art and poetry for centuries, before evolving into the bustling modern civilisation that it is today. In the hotspot of Hangzhou’s Binjiang District lies the Wheat Youth Arts Hotel, a minimalistic hotel that seeks to entice and entertain every contemporary traveller.

杭州一直就是旅游胜地，每年有成千上万的人来到这座浙江的省会城市，一览自然田园风光。杭州这座历史悠久的城市，在成为今天现代文明的城市前，孕育了众多各朝各代的艺术与诗歌。在杭州滨江区的商圈里坐落着麦尖青年艺术酒店，一家极简风格，目标服务年轻旅行者的酒店。

The Wheat Arts Youth Hotel is the brainchild of Shanghai-based design company X+Living, who previously designed the stunning Hangzhou and Yangzhou branches of Zhongshuge bookstore. The design team responsible for bringing this project to life is comprised of Chen Fan, Dan Chen, Feng Wu, Xiao Zhang and Ren Lijiao. The philosophy of X+Living is to create value with design – the company was adamant about creating a space that was both a visual spectacle, as well as a warm and inviting place for guests to rest their heads. This endeavour to strike a natural balance between good design and comfort is apparent from the moment visitors enter through the lobby door.

麦尖青年酒店是上海唯想建筑设计的作品，唯想之前设计了精美绝伦的杭州和扬州的钟书阁书店，由范晨，陈丹，吴锋，张笑和任丽娇协调设计。唯想建筑的理念是用设计创造价值，公司的基石是创造新颖的空间，同时又为客人提供温馨和友好的环境。希望客人在踏进酒店时，就能感受到设计和舒适中的平衡。

In true boutique hotel style, the entrance to the hotel is blink-and-you’ll-miss-it subtle and nestled on the seventh floor of a shopping mall. The words mai jian, meaning the tip of a stalk of wheat in Chinese, appear on a clean white wall at the entrance, a preface to the warm and inviting lobby. Much like Hangzhou itself, the lobby features nuances of both traditional and modern Chinese culture. Art, music and literature are vital themes throughout the hotel’s design and is a big part of the hotel’s overall creative energy. The walls are lined with endless bookshelves that hug the corners of the lobby and contrast against a three-dimensional world map, which is comprised of many traditional Chinese checker pieces.

酒店具有的精品酒店风格，不起眼的入口，需要从商场七楼内部进入。 来到门前，小巧简白的酒店门口简单写着“麦尖”两字，引领你进入温馨的酒店大堂。就像杭州这座城市一样，大堂内体现着传统和现代的中国元素。设计师用日常人们热爱的音乐、绘画与读书来装扮整个酒店的氛围。

En route towards each hotel room, guests can also discover amusing tidbits that line the corridors of the hotel. A preview of the amenities that await in each room have been arranged into a stylised display that hangs at the end of the lobby. Chinese checker pieces also make a colourful reappearance, along with a series of bright and playful paintings. Every floor features numerous bookshelves and a piano that guests are encouraged to play to their heart’s content.

在前往房间的路上，客人能够发现走廊里布满着有趣的涂鸦。更有部分空间用彩色跳棋来装饰天花，像彩虹糖般甜蜜。设计师用跳棋来比喻每个人，所以在一面墙上用跳棋装点了一幅世界地图，寓 意欢迎世界各地朋友来此一聚，并用跳棋来代表酒店的服务人员，所以设计师原创出 跳棋一样的凳子，让人们可以坐在上面，像是一种服务的意识。 每一层都有很多藏书，还有一架钢琴供客人弹奏。

Each hotel room is equipped with Scandinavian-style furnishings that offer both comfort and functionality to every guest. The TV is hidden behind a sliding canvas that features a thematic splash of colour and a bold greeting that is unique to each room. An easel is placed next to every window, in the hopes that guests can get creative during their stay. For weary explorers, unwinding with a book from the hotel’s cozy coffee shop before taking a long soak in a bathtub is the perfect way to end a long day.

酒店里每件房间都为客人准备了功能性和舒适性俱佳的北欧风家具。电视隐藏在可滑动的画作后，大胆的笔触和色彩给每件房间带来独特的特点。每个窗边都放有一个画架，希望每一位客人都能在酒店留下他们自己的创作。疲劳的旅客在酒店舒适的咖啡厅看看书，然后在浴室泡个澡，完美地结束漫长的一天。

Wheat Youth Arts Hotel aims to honour Hangzhou’s long-standing affinity with art and culture, whilst providing travellers with a truly unique accommodation option. Every aspect of the hotel, from the attentive staff, to the hotel’s bright, open spaces and seemingly infinite book collection beckons guests to enjoy this contemporary artistic playground.

麦尖青年艺术酒店向杭州悠久的历史文化致敬，也为旅客带来了独一无二的居住体验。在酒店的方方面面，从细心的工作人员到明亮开放的酒店空间，以及丰富的藏书，都在期盼客人能够尽情享受这座充满艺术气息的空间。

Address:
No.9, Taian Road 7F (Xinguang Center)
Hangzhou, Bingjiang District
People’s Republic of China

Tel:
+86 0571-28000999

 

Contributor: Whitney Ng
Photographer: Shao Feng
Images Courtesy of X+Living

地址:
中国
杭州市滨江区
泰安路9号 7楼（星光中心）

电话:
+86 0571-28000999

 

供稿人: Whitney Ng
摄影师: 邵峰
图片由唯想国际提供

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From Paris to Seoul

November 10, 2016 2016年11月10日

In the eyes of Sandra Meynier Kang, the journey to success is an uncharted one and your best allies are a few simple traits: humility, resilience and a firm grasp on your core values. The French-born designer has been based in Seoul, South Korea since 2010. After graduating from Parisian fashion institute Atelier Chardon Savard in 2008, Sandra went from peddling French leather jackets to being known as a trailblazer of sustainable fashion through her label SMK (named after her initials) in her adoptive city.

산드라 메니예 강의 관점에서 보면 성공으로의 여정은 겸손함, 오뚝이 정신, 그리고 자신의 핵심 가치를 굳게 잡는 것과 같은 몇 가지 간단한 덕목만을 가지고 불확실한 세계로 뛰어드는 것이었다. 프랑스 태생의 디자이너인 산드라 강은 2010년부터 한국 서울을 기반으로 활동하고 있다. 2008 년 파리 패션 연구소 아뜰리에 샤르동 사바(Atelier Chardon Savard )를 졸업한 산드라는 무명의 프랑스 가죽 재킷 행상에서 이제는 그녀의 제2의 고향이 된 도시에서 자신의 레이블인 SMK(그녀의 이니셜의 이름을 따서 명명)를 통해 명실상부한 패션 선구자로서의 입지를 굳건히 다지고 있다.

Sandra describes her breakthrough as unconventional. Upon graduation, she worked a series of odd jobs before fully transitioning into the fashion industry. The ethics and tenacity that she brings to SMK were built on the invaluable lessons she acquired from being a waitress; moving in sync with your surroundings, managing customers and always appearing presentable were experiences she kept in mind while launching her brand. Sandra’s career in Seoul began as the designer and overseas marketing manager for French label SU75 PARIS. Subsequently, she was also brought on board by Korean labels PLAC and CRES. E DIM. to manage their overseas marketing.

산드라는 자신의 성공 비결에 대해 틀에 얽매이지 않는 것이라고 표현한다. 졸업 후, 패션 산업으로 완전히 돌아서기까지 그녀는 자신의 전공과는 관련 없는 일련의 직업에 몸담아 왔다. 그녀가 SMK에 도입한 윤리의식과 끈기는 그녀의 웨이트리스 경험에서 얻어진 귀중한 교훈에서 기인한다. 자신을 주변 환경과 동화시키고, 고객을 관리하며 항상 자신을 표현할 준비가 되어 있는 것. 이것이야말로 그녀가 자신의 브랜드를 시작하면서 스스로 마음에 다짐한 것이었다. 서울에서의 산드라의 경력은 프랑스 레이블 SU75 파리의 디자이너와 해외 마케팅 매니저로부터 시작되었다. 이후, 그녀는 또한 한국 브랜드인 플랙(PLAC)와 크레스 에딤(CRES. E DIM)에 스카우트되어 해외 마케팅을 담당하게 되었다.

Her work as a designer was thrust into the spotlight after entering Top Designer, a Korean fashion designer contest hosted by local retail giant Doota. With each new job, Sandra was plunged head first into challenging territory, and her persistent acquisition of new skills paved the way for the launch of YESIMFRENCH, her first label. This collection of basic items laid the foundation for SMK, which officially launched in 2014 and debuted Sandra’s collection of sustainable womenswear.

디자이너로서 그녀의 경력은 한국의 거대 소매업의 본산인 두타(Doota)에서 주최한 한국 패션 디자이너 콘테스트, 탑 디자이너에 출연한 이후부터 시작되었다. 새로운 직업을 시작할 때마다 산드라는 새로운 기술을 끈질기게 배워 나가는 자세로 도전적인 영역에 머리부터 들이밀었고 이는 자신의 첫번째 레이블인 YESIMFRENCH의 런칭에 이르기까지 기초가 되었다. 이 베이식 아이템 컬렉션은 2014년 런칭한 산드라의 지속 가능한 여성 의류 데뷔 브랜드인 SMK의 토대를 마련하게 되었다.

SMK represents force, vitality and femininity – the label is centred around creating quality pieces that afford their wearers a sense of casual elegance and all-day comfort. Sandra proudly sources her materials from local Korean manufacturers, knowing the people who are bringing her designs to life is one of the most important production pillars that uphold her label. Each SMK piece is made with sustainable textiles, such as their eco-friendly cotton that is produced in Korea and certified by the Global Organic Textile Standard.

SMK는 힘, 활력과 여성스러움을 상징한다 – 이 브랜드는 소비자에게 캐주얼한 우아함과 온종일 입어도 편안함을 동시에 제공하는 제품들이 주류를 이룬다. 산드라는 원단과 재료를 한국 업체들로 부터 공급받는다고 자랑스럽게 말한다. 왜냐하면, 그녀는 자신의 디자인에 생명을 불어넣을 줄 아는 사람들이야말로 그녀의 브랜드 가치를 지탱하는 생산의 가장 중요한 축이라는 사실을 잘 알고 있기 때문이다. 모든 SMK 브랜드의 상품들은 한국에서 생산되고 국제 유기농 직물 제품 기준에 의하여 인증된 친환경 면과 내구성이 좋은 섬유로 만들어진다.

The sustainability theme is continuously reinforced throughout each of SMK’s seasonal collections. No new materials were purchased to create the 2016 Spring/Summer collection. Instead, stock fabrics were recomposed and repurposed, enforcing a “zero waste” approach. This also marked SMK’s foray into menswear, where they collaborated with Seoul-based French actor and model, Fabien Yoon, who helped in creating this unique collection.

지속 가능성이라는 테마는 SMK의 시즌 컬렉션을 통해 계속하여 강조되고 있다. 2016 년 봄/여름 컬렉션에서는 원단을 새로 구입하지 않았다. 대신, 재고 직물을 재구성하고 용도 변경하여 “낭비 제로”의 접근 방식을 취했다. 또한, SMK는 서울에서 활동하는 프랑스 배우 겸 모델인 파비앙 윤(Fabien Yoon)과 협력하여 남성복 시작에도 진출하였다. 파비앙은 이 독창적인 컬렉션을 만드는데 큰 도움을 주었다.

Sandra’s upcoming Spring/Summer line for 2017 follows suit, with animal friendly pieces made in collaboration with THANK YOU STUDIO. The local studio is famous for photographing animals, and these animal portraits were used as patterns for SMK’s new Speciesism Free collection. Five percent of the profits made from the collection will be donated to CARE, a Korea-based animal rights organization. Despite beginning her career in leather, Sandra has become increasingly aware of the ethical cost that comes with creating fashion – fur and leather will never appear under the SMK label.

산드라는 다가오는 2017년 봄/여름 라인으로 THANKYOUSTUDIO와 콜라보를 통해서 동물 친화적인 슈트 컬렉션을 계획하고 있다. 이 한국 스튜디오는 동물 사진으로 유명한데, 이러한 동물 사진들을 SMK의 새로운 Speciesism Free 컬렉션에 문양으로 사용하였다. SMK의 이윤의 5%는 한국 기반의 동물 보호 단체 CARE에 기부된다. 가죽 제품으로 자신의 경력을 시작하였음에도 불구하고 산드라는 패션의 창조에 수반되는 윤리적 비용에 대하여 갈수록 더 많이 자각하고 있다 – 앞으로도 SMK 제품 중에서는 모피나 가죽 제품은 전혀 찾아볼 수 없을 것이다.

Having just participated in the On Time show, a fashion exhibition in Shanghai, Sandra shared that she intends to continuously work with local Korean suppliers to ensure that each upcoming collection upholds the brand values of transparent production and animal protection. For Sandra, fashion design has transcended beyond a life calling and into a platform in which she can truly do good and inspire others. As South Korea and the rest of the world continue to catch on to transparent and eco-friendly labels, SMK seeks to seamlessly merge the urban lifestyle with quality, sustainable fashion.

최근 상하이에서 개최된 패션 전시회인 On Time show에 참여한 산드라는 자신의 의도를 지속적으로 한국의 지역 생산 업자에게 홍보하여 앞으로 진행될 컬렉션 투명한 생산과 동물 보호라는 브랜드 가치를 유지시키는 것이라는 사실을 확실히 하고 있다. 산드라에게 패션 디자인이란 삶의 소명의식을 초월하여 자신의 선한 의지를 실현하고 다른 사람들에게 진정으로 자신의 영감을 전할 할 수 있는 플랫폼을 의미한다. 한국을 비롯한 전 세계가 투명하고 친환경적인 브랜드를 선호하는 경향에 따라 SMK 역시 고급스럽고도 지속적인 패션과 도시적인 라이프 스타일을 자연스럽게 병합하고 있다.

Website: sandrameynierkang.com
Facebook: ~/sandrameynier.kang
Instagram: @sandrameynierkang

 

Contributor: Whitney Ng

웹사이트: sandrameynierkang.com
Facebook: ~/sandrameynier.kang
Instagram: @sandrameynierkang

 

기부자: Whitney Ng

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Little Bean Roasters

November 9, 2016 2016年11月9日

Present-day Shanghai is at the forefront of China’s booming coffee industry, as consumers become increasingly aware of specialty coffee and gradually move beyond mainstream beverage chains. Today, the city swells with independent cafés and homegrown roasters, big and small, all vying to create a social refuge and the perfect cup for local patrons. Tucked away behind the imposing facade of Shanghai’s Science and Technology Museum, lies a string of restaurants and cafés that line the walkway along the Zhangjiabang River.

当下，走在上海街头，随处可见的专业咖啡厅让人们日益意识到，这个城市的咖啡产业已经逐步走出了连锁店的主流发展阶段，在咖啡产业蓬勃发展的中国，无疑走前列。大大小小规模不一的独立咖啡厅和烘焙店林立于上海，百花齐放，共同为当地顾客提供一方都市静谧空间，享受一杯美味咖啡。沿着张家浜河走廊，隐于恢弘的上海科技馆旁有一条布满餐馆和咖啡馆的小街，充满了生活气息。

Little Bean Roasters is an intriguing double storey structure, painted entirely in black and surrounded by minimalistic alfresco seating. The café’s interiors are composed of clean lines, featuring a clear juxtaposition between industrial charm and minimal chic. These design characteristics are synonymous with the architects who brought Little Bean to life, the Australia-based DesignOffice, who are also responsible for the design of Melbourne brunch powerhouse Higher Ground and Small Batch Roasting Co’s café, Filter. The unique adaptation of the building gave Little Bean the physical capacity to become Shanghai’s first all-inclusive café, bakery, coffee school and roastery.

Little Bean Roasters拥有黑色的色彩基调和极简风格的露天座椅，是一家颇为有趣的双层空间咖啡厅。整个店面的内部设计充满了干净利落的线条，将现代工业的魅力和简洁别致的时尚完美融合，呈现出独一无二的清新气质。这些设计特点均来自为咖啡厅带来生命力的顶尖设计团队。位于澳大利亚的设计公司DesignOffice还负责了墨尔本的早午餐店Higher Ground以及当地烘焙商Small Batch Roasting的咖啡厅Filter的设计。在建筑空间上得天独厚的优势，让Little Bean足以打造上海首家集咖啡、面包、以及咖啡与烘焙学习于一体的场所。

The ground floor comprises of the café, complete with their vintage Probat coffee roasters, which provide an authentic backsplash to the Little Bean coffee bar. The display cases are filled to the brim with fresh daily baked goods and roasted coffee beans perch on built-in displays. The dining space is open and thoughtfully comprised of intimate crevices, sunlit tables and a round standing bar table.

一楼的咖啡厅摆放着Probat复古咖啡烘豆机，为Little Bean的咖啡吧提供了原汁原味的咖啡氛围。陈列台上每日都弥漫着新鲜的烘焙香和在搅拌于烘豆机中的咖啡豆。开放式的用餐区有一个圆形的台桌，配搭上阳光透过玻璃可洒落的小桌子，并以精心设计的区域划分线营造出空间私密感。

There are two stairways that lead up to the office space and coffee school, where bright, clean natural light streams through the entire space. Of the upstairs coffee school, there are two main focal points, which are the two circular apertures that allow visitors to look directly into the café below. The two floors are subtly connected by the large mirrors that are suspended over each opening.

咖啡厅中有两架楼梯可通往二楼的办公区和咖啡教学区。楼上宽敞明亮，干净的自然光能够照亮整个空间。楼上除了开设咖啡培训，还有两个值得注意的设计细节：一是有两个打通的圆口嵌入两层之间，让二楼的顾客能够直接看到底楼的咖啡厅；另外，这里还特别安装了大型的镜子，悬挂于开口之上，形成两层奇妙连接的视觉效果。

Beyond the space itself, every little detail under the Little Bean brand has been paid considerable attention. Packaging for their retail beans are colour coded according to how they are best enjoyed; a blue label for filter coffee and a gray label for espresso. Filter coffee is expertly made and served in Tim Wendelboe cups. The shape of each cup is moulded specifically to enhance the taste of coffee it holds; the “Splitt” is wide mouthed, designed to house coffees that carry fruity, floral and acidic notes, whilst the cone-shaped “Tulipan” brings out the earthy aromas from El Salvadorian, Brazilian and Indian coffee beans.

除了空间设计，Little Bean里的每一处小细节都经过精心处理。零售咖啡豆的包装袋根据饮用的最佳方式有不同的颜色区分，蓝色标签表示适合过滤式咖啡，而灰色标签代表最好用于意大利浓缩咖啡。专业冲泡下的过滤式咖啡需要搭配Tim Wendelboe杯，每一个Tim Wendelboe杯都经过专门的铸造以提升杯中咖啡的口感。广口咖啡杯“Splitt”适用于带有水果、花卉和酸味的咖啡，让香气四溢，而收口的咖啡杯“Tulipan”则能保持来自萨尔瓦多、巴西和印度等地咖啡豆的馥郁浓香。

The white coffee at Little Bean receives equal care; they are also one of the few cafés in Shanghai that can sling an authentic flat white. The perfect flat white is a viscous carrier that champions the espresso and is characterised by a thin layer of velvety microfoam. The flat white at Little Bean pays true homage to this classic Australian coffee and is even aptly served in an Acme & Co coffee cup.

Little Bean的白咖啡也是精心制作。在上海，只有为数不多的咖啡馆中能够享受纯正flat white (奥白)。一杯完美的flat white由最好的意大利浓咖啡缀以一层轻薄细腻的奶泡。Little Bean的flat white传承了澳式咖啡的精髓，再配上最搭的Acme & Co咖啡杯， 致敬经典。

It has been a year since Little Bean have opened their doors and they have been thoroughly rewarded for their wholesome approach to premium specialty coffee. Their coffee school holds regular classes that span anywhere from an afternoon to a few days, and their customer base for both dine in and online retail continue to grow by the day. With a new year fast approaching, Little Bean hope to bring their holistic approach to coffee across the river to Puxi punters in 2017.

Little Bean已经开门营业一年，以其高端专业的咖啡调配和完善的设备广受赞誉。他们的咖啡课程安排也相当灵活，从一个下午到几天，让客户有更多的选择余地。客户还能选择外卖，线上的销售也在日渐发展。随着新一年的临近，Little Bean有望在2017年将其咖啡链全方位扩散过河，为浦西顾客带来新的选择。

Website: littlebeanroasters.com
Instagram: @littlebeanroasters

 

Address:
Jinyan Road 235-237
Pudong New Area, Shanghai
People’s Republic of China

Hours:
Daily, 8am ~ 8pm

 

Contributor: Whitney Ng

网站: littlebeanroasters.com
Instagram: @littlebeanroasters

 

地址：
中国
上海市浦东新区
锦延路235-237号

营业时间:
周一至周日, 早上8点至晚上8点

 

供稿人: Whitney Ng

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Moments in Motion

November 3, 2016 2016年11月3日

The creations of Han Chenxu often leave an observer wondering if they have chanced upon a series of hyperrealistic paintings or surreal photographs. Chenxu describes himself as simply an ordinary person who works at an ordinary job, but with an innate liking for photography. “Initially, I was aimless and experimented with a simple camera. I remember my first camera was the Olympus μ [mju:]300 DIGITAL. As time went on, I gradually began to learn my way around the camera. Soon, it seemed like photography had simplified before my very eyes and the repetitive process filled me with a sense of urgency to create outside of the box.”

韩晨旭的作品经常让观者疑惑，他们看到的是超写实的绘画还是超现实的摄影作品。韩晨旭讲他就是一个干着普通工作的普通人，但是天生就热爱摄影。他说：“记得我第一台相机是奥林巴斯μ(mju)300，那时候只是握着相机漫无目的到处拍。随着拍摄量的积累，感觉自己的拍摄过程渐渐显得单调又反复，叫我意识到是时候做一些改变和新的尝试了。”

Before Chenxu began to observe Chinese-style paintings, he felt that he was not particularly driven to broaden his senses or ideals. With a genuine lack of overall direction, his creative journey was filled with detours as he attempted to hone his artistic vision. Serendipitously, Chenxu stumbled across a WeChat article that detailed differing photography styles of various countries from across the world, including Japan, America and Russia. But he found that there was no distinctive Chinese style of photography. There were no clear influences or representatives. Even with the emergence of photography greats such as Lang Jingshan or new wave photographer Sun Jun, he still felt that when it came to photography, there wasn’t a true pioneer of an aesthetic that could be considered Chinese.

在韩晨旭开始研究中国画前，他一直处于摸索的状态。那时候也没什么条件和意识去搜索有关这方面的代表人物及作品，让他走了很多弯路。他无意间看到有篇微信公众号的文章提到摄影风格的划分，这包括了日系、美系、俄系，但他发现中国的摄影却没有一个代表；纵然前有郎静山这样的大师级人物，现有孙郡这样的青年开拓者，但真正形成一个大范围影响的却少之又少。

Stylistically, Chenxu states that Chinese paintings carry a heavy contrast with a characteristic emphasis on using negative space. “Artists manage emptiness with intention, adhering the same care and attention that they would give to the focal subject. If one were to paint a school of fish swimming through cascading water, the fish might be painted in black and the water would simply be blank negative space. This makes it so that the placement of each subject becomes of utmost importance, in order to ensure that the observer can feel the moment in motion,” he says. “Negative space is essential. It’s the subtle implications that lie in the words unspoken. It’s about looking beyond the surface. It’s supposed to be freely interpreted and carry an infinite number of meanings.”

绘画风格上，韩晨旭说国画讲究计白当黑，强调运用空白。“对留白经营很用心，把其当成画的部分，费等同的心思去考虑。例如画游鱼戏水时，鱼身是黑，水便是白。布置鱼群成了关键，讲究位置合适，让旁观者感受到环绕鱼身的流水，引起对水的联想。这样的留白绝非可有可无，更是言外之言、物外之趣，意味无穷。”

Despite having no theoretical knowledge of photography, Chenxu had always believed that painting and photography were inextricably linked, with both mediums utilising a two-dimensional plane to create art in a three-dimensional space. “I began to wonder how I could play with shapes and create a photo that would represent my subject’s true colours. More often than not, my photographs become a reflection of my thoughts – they wholly influence how I capture and edit my photographs.”

尽管韩晨旭没有理论性的摄影知识的，他一直认为绘画与摄影有着千丝万缕的关系，都是以二维方式展现三维空间的艺术。“我开始思考该如何让一张照片展现出国画那般的气韵生动、应物象形，又该如何让照片里的主体随类赋彩。很多的时候只是凭自己的直觉去拍摄和处理。”

“I find that I draw a lot of inspiration from this traditional painting style, especially when I‘m photographing subjects like lotus flowers. I take everything into account, from composition to shutter speed, to ensure that I achieve a hazy mood, which allows my photographs to appear dream-like and understated. Contemporary image post processing adds another dimension, allowing my photographs to become as multidimensional as a traditional Chinese painting, fluid yet cohesive.” Chenxu cites that the empty spaces within each of his photographs pay homage to the nuances of Chinese paintings and he’s still constantly looking for ways to create more images that he can be proud of.

“当我在拍摄像荷花为主题的作品时，借鉴了国画中的表现手法。从开始构图、拿捏快门速度实现照片的简洁和朦胧，到借助现在数码暗房的处理，力求画面开合争让，有开有合。”  韩晨旭照片中较大面积的留白就是为了营造这一画面效果，竭尽创造满意的摄影作 。

Website: epson890.lofter.com

 

Contributor: Whitney Ng

网站: epson890.lofter.com

 

供稿人: Whitney Ng

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Day in the Life of a Pastry Chef

October 28, 2016 2016年10月28日

Chef Chang gently raps on the divider between the pass and the prep kitchen – the persistent sound of a rolling pin beating against cold pastry, comes to a sudden stop, followed by a series of nervous giggles. “There are a lot of people out here, please try to keep it down…” It’s mid-afternoon and a team of young pastry chefs are rushing through the prep of the day’s desserts. A warm gleam of sunshine has filled the room at Pâte, lighting the way for curious punters to peep into the newly opened patisserie. Whilst Pâte may be the latest addition to Shanghai’s growing number of patisseries, owner and head pastry chef Ting Ting Chang is certainly no industry greenhorn. After earning her colours at Le Cordon Bleu in Paris, Ting Ting went on to work in France and Taiwan before becoming head pastry chef at Farine, a powerhouse in Shanghai’s local pastry scene. After three years at Farine, she decided to carve her own path by opening Pâte Patisserie in the heart of Shanghai’s Xintiandi.

张主厨轻柔地敲打了一下过道和厨房间的窗口，擀面杖持续敲打着冷面团的声音突然停止，伴随着一系紧张的笑声。“外面的很多人，请你们小声一点啦。。。” 正午时分，一群年轻的甜品师正努力着准备当天的甜点。温暖且微弱的阳光把Pâte充满，让好奇的行人想要偷瞄一下这个新开的法式甜品店。尽管Pâte是众多甜点店最新的一员，店主和甜品师张婷婷却不是初入此行。在巴黎的Le Cordon Bleu大放异彩后，成为当地知名店Farine的主甜品师前，张婷婷一直在法国和台湾工作。在Farine工作三年后，她毅然决然地决定在上海中心的新天地开设Pâte甜品店。

Ting Ting’s attention to detail is present in every corner of the patisserie, from the pops of green in the fresh-cut foliage to the carefully chosen ceramics that hold each of her freshly baked cakes and pastries. The diverse selection available at Pâte ranges from French classics such as canelés, madelines and croissants, to contemporary pastries that boast crowd-pleasing flavours such as matcha and salted caramel. And behind the glorious display cabinets lies the in-house pastry kitchen, where the Pâte team meticulously creates every delicious morsel. Everything is lovingly made on site from scratch, every day. Ting Ting recently opened the door to her kitchen, giving Neocha a glimpse into the life of a pastry chef and taking us through her typical daily routine.

张婷婷对细节的追求展现在这家法式甜点店的每个角落。从一个个新鲜植物中的葱葱绿叶，到用来装她新鲜烘焙蛋糕点心的瓷器，也是精心挑选的。Pâte可供顾客选择的有经典法式甜点，像是Canelés，Madeline’s 和牛角面包，也有饱受赞赏的现代甜点，像是抹茶和咸味焦糖。在精美的展示柜后面坐落着制作甜品的厨房，在这里Pâte的团队细致地制作着每道美味的甜点。所以的甜品每一天都是从头到尾现场制作。张婷婷打开她的厨门，给Neocha一窥她作为一名甜品师的生活。

7am~8am

My body clock automatically wakes me up at seven. My morning routine is simple: I wash up, eat, and check on my cat. One of the perks of being a pastry chef is that we begin our daily commute a little earlier than the rest of the world. I can avoid squeezing into the metro like a packed sardine during peak hour. The commute gives me time to go over processes and ideas in my head, mentally preparing for the work day ahead.

早上7点至8点

因为生理时钟自动起床，简单洗漱之后吃一顿简便的早餐，把猫猫打理好就准备出门。当然，甜点师的通勤时间比较早，不用在地铁中被挤成沙丁鱼。通勤时整理一下工作的思路和想法。

8am~10am

Mise en place dictates my morning – it’s always a race against the clock. Primary tasks include rolling out croissants and baking off crusts, puffs, and pastries. All of this prep is our foundation. Only when it’s done can we start to decorate, fill and present each of our pastries. After everything is complete, we start loading up the display cabinets, ready to welcome our first customers.

早上8点至10点

准备一系列的出餐工作，一般早上的工作都是在跟时间赛跑的。烤制塔皮，泡芙与各种小茶点，醒发羊角等待烘烤。当所有甜点的基底都准备好时就可以用各种口味的馅料装饰了。所有的工作完成之后就准备展示柜的陈列，将最新鲜的产品呈现给客人了。

10am~noon

As soon as all the pastries are out, the pastry team can take a little breather. This is a momentary lull in our day when we start cleaning down the kitchen, checking the inventory and planning the prep work for the afternoon. It’s also a time where we can relax a little and throw around some new ideas.

早上10点至中午

出餐完成之后员工们能小小放松一下然后开始做一次清洁整理活动。最后检查所有的馅料，原料是否足够，与确认下午的准备工作内容或是彼此交换一些新的想法。

noon~1pm

Lunch break. We’ll usually venture on outside to grab something light and close by to eat. I like to make the most out of this spare hour to enjoy some fresh air and a leisurely walk.

中午至下午1点

这是午餐休息时间，通常大家会选择到附近吃点轻食，散散步悠闲的渡过这一小时时光。

1pm~5pm

The bulk of our prep work happens in the afternoon. Each dessert demands at least five different processes; the steps are usually complex, requiring us to work cleanly and methodically. Between kneading dough and shaping pastry shells, we also juggle the making of fruit preserves, fillings and a variety of decorations. We always keep one eye on the display cabinet, ready to replenish any desserts that have sold out throughout the day.

下午1点至5点

下午多半是做许许多多的准备工作。每一道甜点都需要经过至少5个不同步骤组成，因为甜点准备也是相当复杂的工作。混合各种面团，把塔皮捏制成形，处理各种的水果加工，制作各种馅料与装饰的配件。另外，随时观察补充门店甜品的短缺也是工作内容之一。

5pm onwards

A long day’s work draws to a close and it is finally time to wander home, relax and feed yourself a well-deserved meal. Sometimes, I’ll even head out with a selection of the day’s pastries in hand, ready to share them with a few lucky friends.

下午5点以后

结束一整天的工作回到家好好放松，给自己做一顿晚餐。当然有时候也会外带一些自己制作的甜点与好友分享。

Address:
462 Hefei Road (Soho Fuxing Plaza Room #E107)
Huangpu District, Shanghai
People’s Republic of China

Hours:
Monday~Thursday, 9am~9pm
Friday~Sunday, 10am~10pm

 

Contributor & Photographer: Whitney Ng

地址:
中国
上海市黄浦区
合肥路462号（SOHO复兴广场E07单元）

营业时间:
周一至周四, 早上9点至晚上9点
周五至周日, 早上10点至晚上10点

 

供稿人与摄影师: Whitney Ng

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Chifumi Tattowiermeister

October 18, 2016 2016年10月18日

Upon his arrival in Cambodia, Chifumi Tättowiermeister discovered a developing contemporary street art scene in the capital of Phnom Penh. In the last four years, he has become a willing pied piper for young budding Cambodian street artists. Whilst there are no specific laws specifying that street art is illegal in Cambodia, murals are often whitewashed and painted over, even if artists had previously attained permission from the local city hall.

បន្ទាប់ពីគាត់បានមកដល់ប្រទេសកម្ពុជា លោក Chifumi Tättowiermeister បានរកឃើញទីតាំងសិល្បៈតាមដងវិថីបែបសហសម័យដែលកំពុងមានការអភិវឌ្ឍនៅក្នុងរាជធានីភ្នំពេញ។ កាលពីបួនឆ្នាំមុន គាត់បានក្លាយជាអ្នកដឹកនាំដែលប្រកបដោយឆន្ទៈសម្រាប់វិចិត្រករគំនូរតាមដងវិថីវ័យក្មេងដែលពោរពេញដោយទេពកោសល្យនៅក្នុងប្រទេសកម្ពុជា។ ទោះបីជាពុំមានច្បាប់ច្បាស់លាស់ណាមួយដែលបញ្ជាក់ថាសិល្បៈតាមដងវិថី គឺជាអំពើខុសច្បាប់នៅក្នុងប្រទេសកម្ពុជាក៏ដោយ ក៏គំនូរនៅលើជញ្ជាំងតែងតែត្រូវបានគេលុបដោយទឹកថ្នាំពណ៌ ស និងលាបថ្នាំជញ្ជាំង ទោះបីជាវិចិត្រករធ្លាប់ទទួលបានការអនុញ្ញាតិពីសាលាក្រុងក្នុងមូលដ្ឋានពីមុនមកក៏ដោយ។

In recent years, local government bodies have become more receptive to street art, especially if they’re promoting traditional Khmer culture or positive social messages. With this in mind, Chifumi draws inspiration from the local Cambodian society for his eye-catching murals that boldly celebrate the colours and culture of his new found home. Neocha caught up with Chifumi recently to learn more about his current projects and his involvement in this year’s Cambodia Urban Art Festival.

អង្គភាពរបស់រដ្ឋាភិបាលក្នុងមូលដ្ឋានកាន់តែអាចទទួលយកបាននូវសិល្បៈតាមដងវិថីនេះ ហើយ ប្រសិនបើពួកគេធ្វើការលើកតម្កើងវប្បធម៌ប្រពៃណីខ្មែរ ឬសារវិជ្ជមាននៅក្នុងសង្គម។ ដោយប្រកាន់ខ្ជាប់នូវទស្សនៈបែបនេះនៅក្នុងចិត្ត Chifumi បានទាញយកការបំផុសគំនិតពីសង្គមកម្ពុជានៅក្នុងមូលដ្ឋានសម្រាប់ការគួររូបលើជញ្ជាំងដែលគួរឲ្យទាក់ទាញភ្នែករបស់គាត់ ដែលកត់សម្គាល់យ៉ាងច្បាស់លាស់នូវពណ៌ និងវប្បធម៌នៃផ្ទះថ្មីដែលគាត់បានទៅដល់។ Neocha បានទៅជួបជាមួយ Chifumi នាពេលថ្មីៗនេះដើម្បីធ្វើការរៀនសូត្របន្ថែមអំពីគម្រោងបច្ចុប្បន្នរបស់គាត់ និងការចូលរួមរបស់គាត់នៅក្នុងទិវាសិល្បៈខាងក្រៅនៃប្រទេសកម្ពុជានៅក្នុងឆ្នាំនេះ។

Neocha: What is the creative process behind your amazing murals?

Chifumi: Whenever I’m out looking for a wall to do my next mural, I pay attention to every detail. For me, the social and cultural background of the city in which I’m painting in is just as important as the architectural space itself. I always create a sketch before I actually start painting; it is always as if the local context of each city feeds into my work. Living in Southeast Asia allows me to incorporate local mythology and culture as graphic elements in my work. I’m always on the road, so I usually have water-based acrylic paint with my own brushes and rolls handy – it’s not always possible to find good quality graffiti spray cans where I am.

Neocha: តើអ្វីគឺជាដំណើរការប្រកបដោយភាពច្នៃប្រឌិតដែលនៅពីក្រោយរូបគំនូរលើជញ្ជាំងដ៏អស្ចារ្យរបស់លោក?

Chifumi: នៅគ្រប់ពេលដែលខ្ញុំចេញទៅខាងក្រៅដើម្បីស្វែងរកជញ្ជាំងណាមួយដើម្បីគូររូបគំនូរលើជញ្ជាំងបន្ទាប់ទៀតរបស់ខ្ញុំ ខ្ញុំតែងតែយកចិត្តទុកដាក់លើគ្រប់ចំណុចលម្អិតទាំងអស់។ សម្រាប់ខ្ញុំ សាវតារផ្នែកសង្គម និងវប្បធម៌របស់ទីក្រុងដែលខ្ញុំកំពុងតែធ្វើការគូររូបគឺមានសារៈសំខាន់ដូចគ្នាទៅនឹងផ្ទៃលំហផ្នែកស្ថាបត្យកម្មរបស់ទីក្រុងនោះផងដែរ។ ខ្ញុំតែងតែធ្វើការព្រាងរូបគំនូរមួយមុនពេលដែលខ្ញុំចាប់ផ្តើមធ្វើការគូររូបគំនូរពិតប្រាកដ គឺហាក់បីដូចជាបរិបទក្នុងមូលដ្ឋានរបស់ទីក្រុងនីមួយៗត្រូវបានរួមបញ្ចូលទៅក្នុងការងាររបស់ខ្ញុំ។ ការរស់នៅអាស៊ីអាគ្នេយ៍បានធ្វើឲ្យខ្ញុំអាចរួមបញ្ចូលទេវកថា-វិទ្យា និងវប្បធម៌ក្នុងមូលដ្ឋានជាក្រាហ្វិកចូលទៅក្នុងការងាររបស់ខ្ញុំ។ ខ្ញុំតែងតែនៅតាមដងវិថី ដូច្នេះជាធម្មតាខ្ញុំមានទឹកថ្នាំពណ៌ដែលមានសារធាតុអាគ្រីលីកដែលផ្អែកលើកម្រិតទឹករួមជាមួយច្រាសផ្ទាល់ខ្លួនរបស់ខ្ញុំ និងលាបថ្នាំដោយការរុញដោយដៃ – ខ្ញុំមិនមែនតែងតែអាចរកបានកំប៉ុងបាញ់ទឹកថ្នាំរូបគំនូរលើជញ្ជាំងដែលមានគុណភាពល្អនៅកន្លែងដែលខ្ញុំរស់នៅនោះទេ។

Neocha: What brought you to Cambodia? What drew you to the art scene here?

Chifumi: Four years ago, I started a project for a French media platform that documented my journey from India to Australia and I continuously made art along the way. Unfortunately, before its completion, the project came to an abrupt end whilst I was traveling through Southeast Asia. I have been living in Cambodia ever since – it was a difficult time, but I still have so many great memories about my arrival in Phnom Penh. There was no real prominent street art scene and only a few street artists around when I arrived. So, I worked hard. I tried really hard to bring something cool and artistic to this city. Looking back now, it was a really great feeling.

Neocha: តើអ្វីដែលជម្រុញរូបលោកឲ្យមកកាន់ប្រទេសកម្ពុជា? តើអ្វីទាក់ទាញលោកឲ្យមានចំណាប់អារម្មណ៍មកលើឆាកសិល្បៈនៅទីនេះ?

Chifumi: កាលពីបួនឆ្នាំមុន ខ្ញុំបានចាប់ផ្តើមគម្រោងមួយសម្រាប់វេទិកាប្រព័ន្ធផ្សព្វផ្សាយរបស់ប្រទេសបារាំងដែលបានចងក្រងឯកសារអំពីការធ្វើដំណើររបស់ខ្ញុំពីប្រទេសឥណ្ឌាទៅកាន់ប្រទេសអូស្រ្តាលី ខ្ញុំបានបង្កើតសិល្បៈជាបន្តបន្ទាប់នៅក្នុងអំឡុងពេលនៃការធ្វើដំណើររបស់ខ្ញុំ។ ជាអកុសល មុនពេលដែលគម្រោងត្រូវបានបញ្ចប់យ៉ាងពេញលេញ គម្រោងនេះត្រូវបានបញ្ចប់ភ្លាមៗខណៈពេលដែលខ្ញុំកំពុងធ្វើដំណើរឆ្លងកាត់អាស៊ីអាគ្នេយ៍។ ខ្ញុំបានរស់នៅក្នុងប្រទេសកម្ពុជាចាប់តាំងពីពេលនោះមក – វាគឺជាពេលវេលាដ៏លំបាកមួយ ប៉ុន្តែខ្ញុំនៅតែមានការចងចាំដ៏អស្ចារ្យជាច្រើនអំពីការមកដល់ទីក្រុងភ្នំពេញ។វាពុំមានទីតាំងសិល្បៈតាមដងវិថីដែលគួរឲ្យចាប់អារម្មណ៍យ៉ាងពិតប្រាកដនោះទេ និងមានវិចិត្រកររូបគំនូរតាមដងវិថីតែពីរឬបីនាក់ប៉ុណ្ណោះនៅពេលដែលខ្ញុំបានមកដល់នោះ។ ដូច្នេះ ខ្ញុំបានធ្វើការខិតខំប្រឹងប្រែងយ៉ាងខ្លាំង ខ្ញុំបានព្យាយាមយ៉ាងខ្លាំងក្នុងការនាំយកអ្វីដែលមានភាពស៊ីវិល័យ និងមានលក្ខណៈសិល្បៈមកកាន់ទីក្រុងនេះ។ រំឮកឡើងវិញនៅពេលនេះ វាពិតជាអារម្មណ៍ដ៏អស្ចារ្យមួយ។

Neocha: You are the artistic director for the Cambodia Urban Art Festival 2016. What was it like to bring 14 artists together to showcase their work across Phnom Penh?

Chifumi: After residing in Phnom Penh for the last few years, I was determined to unify the graffiti and street art scene here, and I thought that the best way to do it would be to create a fun event that gave Cambodian youths a rich insight into this artistic culture. So, I decided to bring local artists and international painters together; the festival included artists of ten different nationalities and we hoped they would bring some fresh colours into Phnom Penh. It was so important for us to reference the local culture and context in these projects; once all of the murals were done, we organised a tour across the city with 50 free tuk-tuks. We even had a few local hip-hop artists performing at some of the venues; I’m elated that this project happened and I truly think that the Cambodian youth were really able to gain something from it.

Neocha: លោកគឺជាប្រធានផ្នែកសិល្បៈសម្រាប់ទិវាសិល្បៈខាងក្រៅនៃប្រទេសកម្ពុជា ឆ្នាំ 2016 –តើវាមានលក្ខណៈយ៉ាងដូចម្តេចដែរក្នុងការប្រមូលផ្តុំវិចិត្រករចំនួន 14 រូបឲ្យមកជួបជុំគ្នាដើម្បីធ្វើបទបង្ហាញអំពីការងាររបស់ពួកគេនៅទូទាំងទីក្រុងភ្នំពេញ?

Chifumi: បន្ទាប់ពីបានស្នាក់នៅក្នុងទីក្រុងភ្នំពេញបានពីរបីឆ្នាំ ខ្ញុំបានសម្រេចចិត្តធ្វើការបង្រួបបង្រួមការគូររូបគំនូរនៅលើជញ្ជាំង និងឆាកសិល្បៈតាមដងវិថីនៅទីនេះ ហើយខ្ញុំគិតថា វិធីសាស្រ្តដែលល្អបំផុតសម្រាប់ការធ្វើការបង្រួបបង្រួមនេះ អាចជាការបង្កើតព្រឹត្តិការណ៍កំសាន្តដែលផ្តល់ជូនយុវជនកម្ពុជានូវការយល់ដឹងយ៉ាងច្បាស់អំពីវប្បធម៌សិល្បៈនេះ។ ដូច្នេះ ខ្ញុំបានសម្រេចចិត្តនាំយកវិចិត្រករនៅក្នុងមូលដ្ឋាន និងអ្នកគូររូបអន្តរជាតិឲ្យមកធ្វើការជាមួយគ្នា។ ទិវានេះបានរួមបញ្ចូលវិចិត្រករដែលមានសញ្ជាតិខុសៗគ្នាជាង 10 ដើម្បីពាំនាំមកនូវពណ៌ស្រស់ស្រាយមួយចំនួនមកកាន់ទីក្រុងភ្នំពេញ។ ការយោងដល់វប្បធម៌ក្នុងមូលដ្ឋាន និងបរិបទក្នុងគម្រោងទាំងនេះក៏មានសារៈសំខាន់ចំពោះយើងផងដែរ។ បន្ទាប់ពីយើងគូររូបគំនូរលើជញ្ជាំងទាំងអស់រួចរាល់ហើយ យើងបានរៀបចំការធ្វើដំណើរជុំវិញទីក្រុងដោយការធ្វើដំណើរតាមរ៉ឺម៉កកង់បីចំនួន 50 ដោយឥតគិតថ្លៃ។ យើងក៏មានសិល្បករហ៊ីបហប់(hip-hop) មួយចំនួនតូចដែលធ្វើការសម្តែងនៅទីកន្លែងមួយចំនួនផងដែរ។ ខ្ញុំមានក្តីរំភើបរីករាយដែលគម្រោងនេះបានកើតឡើង ហើយខ្ញុំពិតជាគិតថា យុវជនកម្ពុជាពិតជាអាចទទួលបានចំណេះដឹងមួយចំនួនពីគម្រោងនេះ។

Neocha: What are some of the other upcoming projects that you have around Asia?

Chifumi: Recently, I attended the PRASAD Festival in Nepal. I actually painted a giant mural in Kathmandu before the 2015 earthquake, so I felt compelled to return and share some colours with the local people. I feel like the street art scene in Nepal is much like Cambodia, as in it’s very young. But I see a lot of opportunities and hope in these artists who are working hard to develop their own style and energy. My next few projects will be situated in Pakistan, India, Indonesia and Malaysia, but I’ll also continuously working from Phnom Penh – Asia keeps artists very busy sometimes! 

Neocha: តើមានគម្រោងអ្វីផ្សេងទៀតដែលលោកនឹងធ្វើឡើងនៅជុំវិញទ្វីបអាស៊ីនាពេលខាងមុខ?

Chifumi; នាពេលថ្មីៗនេះ ខ្ញុំបានចូលរួមទិវា PRASAD នៅប្រទេសនេប៉ាល់ – ជាក់ស្តែង ខ្ញុំបានគូររូបគំនូរលើជញ្ជាំងដ៏ធំមួយនៅ Kathmandu មុនពេលមានការរញ្ជូយដីនៅក្នុងឆ្នាំ 2015 ដូច្នេះខ្ញុំមានអារម្មណ៍ថា ខ្ញុំត្រូវបានគេបង្ខំឲ្យត្រឡប់ទៅទីនោះវិញដើម្បីចែករំលែកពណ៌មួយចំនួនជាមួយប្រជាជនក្នុងមូលដ្ឋាន។ ខ្ញុំមានអារម្មណ៍ថា ឆាកសិល្បៈតាមដងវិថីនៅប្រទេសនេប៉ាល់ គឺដូចគ្នានឹងឆាកសិល្បៈតាមដងវិថីនៅប្រទេសកម្ពុជាខ្លាំងណាស់ គឺនៅក្មេងខ្ចីខ្លាំងណាស់ – ប៉ុន្តែខ្ញុំមើលឃើញឱកាសជាច្រើន និងមានក្តីសង្ឃឹមយ៉ាងខ្លាំងចំពោះវិចិត្រករទាំងនេះដែលកំពុងខិតខំប្រឹងប្រែងអភិវឌ្ឍរចនាបថផ្ទាល់ខ្លួន និងថាមពលរបស់ពួកគេ។ គម្រោងមួយចំនួនតូចបន្ទាប់ទៀតរបស់ខ្ញុំនឹងធ្វើឡើងនៅប្រទេសប៉ាគីស្ថាន ប្រទេសឥណ្ឌា ប្រទេសឥណ្ឌូនេស៊ី និងប្រទេសម៉ាឡេស៊ី ព្រមទាំងការធ្វើការងារជាបន្តបន្ទាប់នៅទីក្រុងភ្នំពេញ។ នៅពេលខ្លះ ទ្វីបអាស៊ីធ្វើឲ្យវិចិត្រករទាំងឡាយមានភាពមមាញឹកខ្លាំងណាស់!

Neocha: Where do you hope that your art can take you in the future?

Chifumi: I feel that every painting I do is more for myself than for the sake of being remembered. Each mural is a personal challenge that I have to surpass. For contemporary street artists now, the lifestyle is intense. You are always invited to travel and put your mark onto many new places. All of my travels change and influence my artworks, allowing me to put different shapes and colours into play. With every new culture that I immerse myself into, it always gives me the energy to create more. I hope that my art will continue to take me on the road again and again in the future, and I also hope that my art will stay free in public spaces and won’t be locked into the cage of a gallery or museum space.

Neocha: តើអ្នកសង្ឃឹមថា សិល្បៈរបស់អ្នកនឹងនាំអ្នកទៅកាន់ទីណានៅពេលអនាគត?

Chifumi: ខ្ញុំមានអារម្មណ៍ថា គ្រប់រូបគំនូរដែលខ្ញុំគូរ គឺខ្ញុំគូរវាឡើងសម្រាប់ខ្លួនខ្ញុំច្រើនជាងសម្រាប់ការចងចាំរបស់អ្នកទាំងអស់គ្នា – រូបគំនូរលើជញ្ជាំងនីមួយៗ គឺជាការប្រកួតប្រជែងផ្ទាល់ខ្លួនដែលខ្ញុំត្រូវតែធ្វើឲ្យកាន់តែល្អឡើង។ សម្រាប់វិចិត្រកររូបគំនូរតាមដងវិថីបែបសហសម័យនាពេលបច្ចុប្បន្ន ពួកគេមានការផ្តោតយ៉ាងខ្លាំងទៅលើរចនាបថនៃជីវិត – អ្នកតែងតែត្រូវបានគេអញ្ជើញឲ្យធ្វើដំណើរ និងធ្វើការកត់សម្គាល់ទីកន្លែងថ្មីៗជាច្រើន។ រាល់ការធ្វើដំណើររបស់ខ្ញុំបានផ្លាស់ប្តូរ និងបានជះឥទ្ធិពលដល់កិច្ចការសិល្បៈរបស់ខ្ញុំ ដែលធ្វើឲ្យខ្ញុំអាចបង្កើតទ្រង់ទ្រាយខុសៗគ្នា និងដាក់ពណ៌ខុសៗគ្នានៅក្នុងសកម្មភាពនានា។ ជាមួយនឹងវប្បធម៌ថ្មីៗដែលខ្ញុំបានចុះទៅសិក្សាដោយផ្ទាល់ វាតែងតែធ្វើឲ្យខ្ញុំមានថាមពលក្នុងការបង្កើតអ្វីៗថ្មីៗបន្ថែមទៀត។ ខ្ញុំសង្ឃឹមថា សិល្បៈរបស់ខ្ញុំនឹងបន្តធ្វើឲ្យខ្ញុំអាចស្ថិតនៅតាមដងវិថីម្តងហើយម្តងទៀតនៅពេលអនាគត ហើយខ្ញុំក៏សង្ឃឹមផងដែរថា សិល្បៈរបស់ខ្ញុំនឹងស្ថិតនៅយ៉ាងមានសេរីភាពនៅទីតាំងសាធារណៈ និងមិនត្រូវបានចាក់សោរទុកនៅក្នុងទ្រុងនៃវិចិត្រសាល ឬទីតាំងណាមួយនៃសារមន្ទីរឡើយ។

Website: chifumi.fr
Facebook: ~/chifumistreetart

 

Contributor: Whitney Ng
Images Courtesy of Chifumi Tättowiermeister

Website: chifumi.fr
Facebook: ~/chifumistreetart

 

អ្នកជំនួយ: Whitney Ng
មានការអនុញ្ញាតពី រូបថត: Chifumi Tättowiermeister

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Fly with Me

October 11, 2016 2016年10月11日

 

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Singapore-based artist Joelle Enver brings her loveable characters to life with a distinctive candy-like colour palette paired with whimsical rhymes. Each piece is effortlessly quirky; a true extension of Jo’s infectious personality. Under the online pseudonym, Rufflemyhair, she’s been delighting the masses with her illustrations since her days studying digital animation at Nanyang Technological University.

新加坡艺术家Joelle Enver以独树一帜的糖果色加上天马行空的调调，为其作品中可爱人物形象赋予了生命力。受到Jo本人鬼马般性格影响，她每一件作品都呈现出一种自然而然的古灵精怪。还在南洋理工大学修读数字动画专业时，她就以化名Rufflemyhair，通过轻松搞笑的插画虏获大批网民的喜爱。

“To me, my art is about storytelling and the evocation of emotion. If something could resonate with my deepest self, my core… then I would want to create it and hopefully convey that same feeling to other people,” Jo says.

“对我来说，我的艺术就是一种讲故事和情感召唤的表达。如果一旦有什么东西能泛起我内心深处、核心价值的共鸣，我就特别想去创建它，并希望将同样的感觉传达给他人。”

“Growing up, I spent almost all my time doodling and drawing. It hardly mattered what or where – it just came naturally to me.” Jo’s pursuit of a career in art almost did not happen. She was on the way to pursuing more stable professional fields, such as economics and geography. In Singapore’s academically driven society, the young artist never thought that her hobby could become a viable career until a friend approached her with a pamphlet from Nanyang Technology University. “In large, commanding letters, the pamphlet read: ART, DESIGN & MEDIA FACULTY. I just went, ‘this is it’.”

“在成长过程中，我几乎整天都在涂鸦或者绘画。画什么或者在哪里画都不重要，绘画对我来说就是一种非常自然的状态。”之前在职业规划上，Jo选择的是更为稳定的领域，如经济和地理之类，而非艺术。在学术氛围浓厚的新加坡社会，这个年轻的艺术家从不敢奢望她的爱好能够成为有稳定收入的职业，直到一个朋友带给她一个南洋理工大学的小册子。“册子上工整庄严的大字写着：艺术设计和媒体系。我就去读了，就这样。“

When Jo’s final year in NTU came around, she was tasked with creating an original short film. Her creative process was riddled with constructive critiques from her professors, who tore into nearly every aspect of the film. “When you invest your whole heart into your work, such scathing critiques definitely hurt. You’re brutally forced to wonder what you are doing in this field in the first place.” Her mentor, Professor Hannes Rall became a beacon of support throughout this entire process; his encouragement allowed her to condense the criticism into the tools that she needed to map her way through to a finished product. “Filter through the criticism, but stick to what I felt was right. Bit by bit, my magic world took its form. My characters came to life.”

Jo在南洋理工大学的最后一年里，老师布置了拍摄一个原创短片的任务。她的创意策划备受其教授挑剔，虽然这些批评都非常具有建设性，但几乎质疑她影片的每个层面。“当你全身心投入你的作品，这样严厉的批评无疑会让你感受伤心。你被无情地逼迫着去思考你到底是为什么来做这个事。”她的导师Hannes Rall教授，成了她这整个创作过程中的支撑灯塔——他的鼓励，促使她把批评变成鞭策自己完成最终作品的力量。“我一面汲取批评，但同时也坚持自己的感觉。我所构建出的魔法世界逐步成型，作品中的人物也开始立体丰满，富有生命力。”

In 2015, Jo’s short film Fly With Me won the top gong for Best Animation at Singapore’s 5th Short Film Awards. Her submission was motivated by the purest of intentions – to bring joy and laughter into the lives of her audience. After a rigorous production process, she was rewarded with a win that saw Fly With Me screened in over 15 countries. “It’s an exhilarating feeling, knowing that not only did my film bring a moment of light and happiness into the lives of viewers, but that experts in the field also thought that it was worthy to win Best Animation. It profoundly cemented my desire to be an artist, to give people something to take home with them, be it a small laugh or warmth in their hearts.”

2015年，Jo的短片飞《与我共飞》赢得了新加坡第五届短片奖的最佳动画奖。这个作品遵从心底最单纯的创作意图——给观众带来欢声笑语。经过了痛苦的制作后，她终于得到的喜人回报，带着自己的作品《与我共飞》在超过十五个国家的屏幕上亮相。“知道我的短片不仅能为观众带来一时的轻松和欢乐，而且还受到评委青睐，荣获最佳动画奖，这真的是太让人激动开心了。这也加深了我立志成为艺术家的愿望——人们散场归家后，仍能带点什么回去，或许是一个微笑，或者是一阵暖流。”

Singapore’s creative scene has made a progressive movement in recent years, as locals slowly begin to shake off the shackles imposed by a largely conservative society. Whilst Jo’s personal work is light-hearted and often doesn’t toe the line on controversy, she sees so much importance in the development of the local arts scene and encourages openness.

近年来，随着当地人们逐步摆脱充满保守风气的社会的枷锁，新加坡的创新氛围日益浓厚。尽管Jo的个人作品主题轻松，往往不参与争议性话题，但她看到了当地艺术氛围蓬勃发展的极大重要性，并倡导着开放性。

“Singapore has, for the longest time, been criticised for its rigidity and lack of creativity. The country is often fixated on minimising controversy, but I think we’re is trying very hard to step out of our boundaries. With major events like Singapore Night Festival (of Arts and Culture) gaining massive popularity, I would say that we’re definitely heading in the right direction.”

她表示：“新加坡在很长一段时期，都被诟病为古板僵化与创新疲软。目前，国家经常最大程度减小争议，但我想，我们还需要更加努力才能走出藩篱。随着大型文化艺术盛会正取得大众喜爱和关注，如新加坡仲夏夜空艺术节，我相信我们正朝着正确的方向前进。”

Currently, Jo is working on the sequel to her award winning short film, aptly titled Come Home With Me, which will feature a slightly different style and tone to the original Fly With Me. She remains focused on her journey as an artist, embodying the purest form of love and passion for creation.

目前，Jo正在筹划其获奖短片作品的续集，名为《Come Home With Me》。这个续集作品在风格和基调上与第一部《Fly With Me》都有所不同。她依旧专注于探索作为一个艺术家的漫漫长路，在创作中展示爱与热情的最纯粹表现方式。

“I feel incredibly lucky, and I can’t imagine doing anything else. I hope I will be remembered for just that: my passion and love for my craft, and how I wanted to use that to tell people stories.”

“我感到自己非常地幸运，我简直不能想象我从事其他工作将会是什么样子。对自己技艺的激情与热爱，以及借其与人们分享故事的愿望，我希望自己可以仅以此为人所记。”

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Contributor: Whitney Ng

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Instagram: @rufflemyhair

 

供稿人: Whitney Ng

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