April 3rd, 2013
Unconsciousness.
Today we speak to Lavender Chang, a Singapore based photographer and artist from Taiwan.
Yanda: Tell us about yourself and what you do.
Lavender: I am a Taiwanese girl who stays in Singapore. I am pretty open-minded, and have high curiosity. When faced with an opportunity of a new experience, I usually tend to do it first before considering its consequence. This is because to me, process is more important than its outcome. I love photography- it makes my heart beat faster when I am able to visualize the concepts in my mind.
My works reflect my perception toward the world around me. My focus is to convey sincere works from the bottom of my heart, and hopefully evoke empathy through my works. Photography is a medium that helps me reach out to more people because it transcends language.
How would you describe your life in one sentence?
Keeping life optimistic and balanced.
What do you do first when you get up in the morning?
I recall what I dreamt last night and my tasks for the day.
What daily routines you cannot do without?
Teeth-brushing.
Do you believe in work life balance?
I believe in work life balance when there is no financial pressure.
What’s your definition of happiness?
To achieve what I want to achieve, and to be able to cherish what I cherish.
What are the things that keep you sane?
My conscience and my positive personality.
What makes you guilty?
I tried not to do wrong things, so I seldom feel guilty. Even if I do, I will try to find solutions to pull me out of the situation, so I will not feel depress for too long.
Say.. are you doing what you love now?
Yes, not everything, but yes.
Do you think working without restrictions can be the hardest thing to do?
If I have a clear idea of what I want to achieve, working without restrictions is not the hardest thing to do.
How do you set your benchmarks then?
My benchmark is clear when a certain idea or project in my mind drives me in expectation for its completion.
Do you get annoyed or upset with yourself (or depressed) if you don’t get what you want?
I used to, especially when I had an idea in my mind, but struggled in its visualization. I would get frustrated at myself. Now I will write down my thoughts, and leave it aside, the visualization part will just come naturally. However if it is not related to my work, such as something out of my control, I will only get upset. I will try to talk myself out of it, and stay positive.
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Posted in Conversations, Photography, Singapore
March 31st, 2013
Illustrations for Levi’s for BBH Singapore.
Illustrations for Listerine for JWT Singapore.
Today we speak to Sokkuan, a Singapore based illustrator.
Yanda: Tell us about yourself and what you do.
Sokkuan: I’m Sokkuan Tye and I’m a freelance illustrator. I started my career as a graphic designer in a design firm and later on an art director in an advertising agency. I feel uneasy if someone watches me while I’m working. I hope I can be better at verbal communication and able to play one kind of musical instrument, especially piano. Or drum. Or guitar. Or ukulele (I tried once but I stopped halfway through the lessons, hopefully I’ll pick it up again one day, haha)
For any readers unfamiliar with your art, how would you describe it?
My commercial illustrations consist of many different styles — some are full of intricate details, some are simple but precise. However, based on feed backs from people who know me, they can tell that those work are created by Sokkuan despite being presented in a variety of illustration styles.
For my personal projects like “Sophie Black” and “Sadako’s Unfashionable Fashion Diary – Not Really About Fashion”, you’ll find paradoxes of sinister vs. vibrant, indifference vs. devotion, resistance vs. fragility, mischief vs. solemnness. But there’s exception too — if you look at my embroidered work “Kuih-Muih”, it’s absolutely happy, colourful and wholesome.
What are you having the most fun at right now?
Since the end of 2011, I’ve been working on my personal project called “Sadako’s Unfashionable Fashion Diary – Not Really About Fashion”. This “diary” is inspired by Sadako, the ghost in the classic Japanese horror movie called The Ring. One day, while I was having a shower, I recalled my fear towards her and realised that she has actually left a profound impact on me even after so many years since watching the movie. To conquer this fear, I had this idea of becoming her. I started a series of visual diaries documenting her thoughts, attitudes and activities, hoping to inject different facets into this ghostly character and alter that stereotypical image that people have about her. Eventually I realised that she serves as a very good platform for me to have different creative experiments across different disciplines. I’ve made a series of masks and designed some stockings (with a pleasant outcome of the designs being picked up and produced by a Japanese stockings label). This project continues with more excitement — the latest being a 4-way collaboration between photography, flower arrangement, hair styling and fashion styling to create a visual documentary of Sadako’s secret garden. Hopefully there will be more collaborations in the near future. I would say this project is more than just fun to me. The relationship between me and Sadako whom I’ve re-created is symbiotic — she evolves through me and I express my thoughts through her. In a way, this project is therapeutic to me.
Why did you choose graphic design/advertising/illustration as your profession?
The reason is rather simple — it started with a box of 24 colour pencils which was given to me when I was in primary school. I was fascinated by the spectrum of colours and I imagined working with colours would be a happy thing to do. Later on, during my secondary school days, I was obsessed with drawing crystal-like eyes in my text books during classes and I thought I was quite good at it so I was very much convinced that I should pursue an art-related career.
What has been your best art experience so far?
To me, a good art experience is one that touches my heart, inspires me and fuels my desire to create. I love going to museums and art shows around the world. But it’s hard to name the best simply because they can’t be compared based on standardised criteria. From the works by the masters to even just watching an art student mimicking a classical painting on the ground in winter, or a musician playing rhythms and melodies with kitchen utensils or garage tools on the street, they are all amazing and I couldn’t hide the smile on my face. Come to think of it, maybe they are not the ones I saw in museums or galleries (yes those work are definitely epic), but those that happen randomly on the streets or in nature.
Which is your favourite then?
A man playing saxophone in the subway.
An art student mimicking a classical painting with pastel charcoal on a street.
A group of young baskets performing a capella in front of a museum.
A long stretch of wild flowers with different shades of purple dancing in the wind along the bank of a river.
A flock of seagulls executing the art of fishing with precised aeronautical twists and turns in strong wind behind the boat which I boarded in the south part of the world.
Where do you get your inspiration from?
Ah… ummm… it’s hard to point out where as inspiration comes in various forms and in different ways. To sum it up, I have to put it in a cliche way, I get inspiration from life. :-/
Did you receive any formal training?
Yes, Visual Communication.
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Posted in Conversations, Illustration, Singapore
March 29th, 2013
Watercolors on Paper, 2009
Today we speak to Tara Marynowsky, a Sydney based artist.
Yanda: Tell us about yourself and what you do.
Tara Marynowsky. I’m a Sydney based artist. I work with watercolour paints most of the time.
For any readers unfamiliar with your art, how would you describe it?
I make artwork that features haunting characters, shapes and narratives.
What daily routines you cannot do without?
Going on Youtube and coffee.
Which is your favourite piece of work?
Today I like ‘Spies With Eyes’.
Why do you choose to use water based inks as opposed to other mediums?
Watercolour has always been there for me. I started using watercolours when I was about 11 years old and it’s been a stable medium for me ever since. I had a big break from them for around 5 years but when I got back into them it was a perfect fit and so enjoyable.
Where do you get your inspiration from? Seems like I can see a lot of carnival, circus elements.
My work originates from my research of history, folklore, folk art and past fashions. Lots of strange characters have emerged, some do seem to look as though they have just run away with a circus. I am also interested in theatrical scenes and costumes so these elements often emerge in my work.
Your work seems whimsical yet is ghastly at the same time.
Yes I guess so, I love things that have a dark side to them but are also incredibly beautiful. The first time I went to big galleries like the Louvre I was totally amazed at how frightening a lot of the big lavish paintings were but also so beautiful.
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Posted in Conversations, Illustration
February 17th, 2013
Book for Sandwich Fall/Winter 2012, 2013
Branding and Collaterals for Amsterdam Museum, 2013
Today we speak to Yew Kee, founder, creative director and designer of Matte, a brand communications boutique based in Netherlands.
Yanda: Tell us about yourself and what you do.
Yew Kee: My name is Yew Kee and I’m a Singaporean based in Amsterdam, the Netherlands. I run a small and intimate design boutique in the city center specializing in retail and brand communication.
What do you do first when you get up in the morning?
Turn on the radio/Youtube and check my e-mails.
What daily routines you cannot do without?
Going on Youtube and blending vegetable and fruit shakes in the morning.
For readers that might be unfamiliar with your design, how would you describe it?
Intuitive, concise, communicative, relevant and crafted with a touch of willfulness
What are you having the most fun at right now?
Looking at people running in the rain
Why did you choose design as your profession?
I didn’t choose design. Design chose me. I know I’m a designer since I was maybe 10. I was creating silly newsletters in primary school for my classmates. I didn’t know I was already a writer, editor, designer and publisher. Something told me I’m gonna be a designer and I know exactly where I should study after finishing my national service. I am very grateful for that ‘something’. Maybe it’s called ‘intuition’. I followed that till today.
When did you actually left off to Amsterdam? Was it tough setting up your own shop there not knowing much people and resources?
I left for the the Netherlands in April 2001 to the Hague for a full time job at 2D3D. I officially started my own shop after leaving the company and freelanced around in Amsterdam for a few years. I owe it to many good people for giving me very precious opportunities and the ABN-Amro bank for providing me a loan to start my own dream factory. The toughest part was to convince the Dutch government to accept me in the country as an entrepreneur. I’m grateful for the many recommendation letters from all my clients especially from the Theo Thijssen Museum and my immigration lawyer for all the help and support.
What has been your best design experience so far?
Working on “Nieuwe Wonderland” with my friend Meike Ziegler on her dream project to create a pilot social interactive cafe with lots of creative, artistic and surreal impulses.
We worked with the most amazing and creative people making a great experience out of a tight self-funded budget and the result was unbelievable.
My personal self expressive work in the project was about memories. I had a quote from ‘Alice in Wonderland’ stenciled in baby powder on the carpet at the location. The quote disintegrated as the visitors walked over it. I think everything fades in time. Nothing remains in the end even for memories. I also had many scents I collected in a room filled with coffee beans on the floor. Scents evokes different memories for different people. I wanted to create very different responses from people who used them.
Check out the site and tell me what you think.
http://www.nieuwwonderland.nl/
That’s nice. I used to have a project whereby we have to stain the backdrop of a canvas for a photoshoot ourselves. We had a lot of fun experiencing coffee spa in the end cause we have to stain it using our hands and feet with warm coffee. Don’t you enjoy or prefer working off from a computer instead sometimes?
I work a lot off the computer too. Working in the retail and lifestyle industry means that I am always on the lookout for interesting trend signals, locations, packaging, scents and experiences. We can easily work and communicate anywhere on any device through the cloud but the future is also very analogue. I think the sense of smell, taste and touch has yet to be fully explored. Also, we still appreciate a real handshake, kiss or hug offline.
Which is your favorite piece of work you have done?
Not being politically correct: I have no favorite piece of work as they are all very special to me whether it’s big or small.
Any most memorable one then? Doesn’t have to be the work. It could be behind-the-scenes, meetings or the screw ups.
It must be winning the pitch for the brand identity for Amsterdam Museum. We were the ‘wild card’ in the pitch and we are responsible for the logo, visual communication strategy and materials. The other agencies chosen were some of my dutch design heroes who are veterans in the cultural design sector. We were chosen for our retail and lifestyle background instead. Being able to contribute back to the Dutch society which has been very kind to me in this way is still very surreal for me.
You must have been thrilled and honoured cause museum seems to be one of everyone’s dream job to work on with. Any others genre you would love to work for?
Yes, it’s an honour to create an identity of a museum. At the moment, I would very much like to work with high fashion houses such as Prada, Comme des Garçons, Dries van Noten and Hussein Chalayan. It’ll be a dream come true to work with them on their event communication, catwalk experience, perfume packaging and promotions.
Where do you get your inspiration from?
Mainly from talking to people. Hearing their stories and accents… Finding out about their cultures, daily rituals and passions fascinates and inspires me a lot. Also, staring at blue skies helps…
What influences contribute to your work?
Mainly my clients’ input. The more they can articulate their marketing and communication message clearly the more obvious the solution becomes. We can then able to creatively express them visually or experientially.
Do you think your own cultural academic education is important?
Yes. It gave me a firm foundation and own cultural point of view to judge design or an expression.
How do you keep educating yourself then?
By ‘uneducating’ myself. Having more industry experience can be a hazard as I have tried many things and know what will very likely work or not. Working with less experienced designers challenges me to see every project in a less ‘formulaic’ way.
How do you set your benchmarks?
My benchmark for a good communication project has to be end-user effectiveness, client satisfaction, the ‘magical’ expression of the message and personal creative fulfillment. I set them up by listening closely to my clients communication objectives and my company’s mission to be honest, contemporary, creative and relevant.
How do you think it is to your work or dealing with people in a place outside your birth country.
It’s a great experience so far. I had a very open mind when dealing with people outside my own culture. Being respectful and sharing cultural differences is always a good way to break the ice.
Do you think personal work is important?
I think it’s good for exploring new expressions. I’m not sure if it is important.
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Posted in Conversations, Graphic, Singapore
February 13th, 2013
Identity and Branding for Nine, 2012
Website for Nine, 2012
Today we speak to Jonathan Yuen, founder, creative director and designer of Roots, an interdisciplinary graphic design studio based in Singapore.
Yanda: Tell us about yourself and what you do.
Jonathan: My name is Jonathan Yuen, and I’m a graphic designer based in Singapore. I run my own design studio called Roots, an interdisciplinary graphic design studio that work on a diverse range of design projects, across boundary of media with clients, big and small.
What do you do first when you get up in the morning?
Made a few slices of toast, brew a cup of tea, check emails and settled in for the day.
What daily routines you cannot do without?
Tick off to-do list.
How would you describe your work in three words?
Conceptual, craft, ‘Jonathan Yuen’. (haha, people always say “eh, that work, very you leh”, so I guess, that’s a apt description of my work)
When did you first get involved in the design?
When I first discovered there’s such thing as ‘typography’, back in high-school. It stirred a deep seated interest inside me to find out more about it,
and subsequently, about graphic design.
If you have a chance to own someone’s work and wish it was yours, what would it be and why?
Romek Marber’s grid. It’s so beautiful, so simple, it’s timeless. 50 years from now, it will still be revered and used in one way or another.
Who do you dream to design for?
The Olympics.
What’s your definition of happiness?
Moments I quietly spent on being grateful of what I have.
What makes you guilty?
Reply emails late.
How do you set your benchmarks?
To do what I should do, and what others have not.
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Posted in Conversations, Graphic, Singapore
January 31st, 2013
Browsing Copy Catalog, 2012
Packaging for Milk & Me, 2012
Today we speak to Roy Poh of Beautiful, a design studio from Singapore.
Yanda: Introduce yourself.
Roy: My name is Roy and I’m the creative director of A Beautiful Design, a small design studio set-up on April Fool’s Day in 2008. Before I was at Kinetic for 8 years running the design and advertising department together with Pann Lim.
What do you do first when you get up in the morning?
Take a dump while checking mails on my phone.
What daily routines you cannot do without?
Read emails. Watching at least 1 movie (online). Go through books or the internet to find something nice to satisfy my daily creative hunger.
How would you describe your work in three words?
Not too shabby.
When did you first get involved in the design?
When I was in primary school. I used to scribble logos, create typefaces and draw characters all over my desk. Then I used the montage to design my school t-shirt but it was rejected by my teacher. I thought the idea was quite nice. Still do. Also at the age of about 9 or 10, I was cutting out magazines (which belongs to my elder brother) from The Rolling Stones and The Face. I wasn’t sure why then but I just like to collect these ‘nice’ design pieces like logos and advertisements and stuck them in my jotter-book.
How do you approach design now then?
I dislike things that are regimental and I never follow a fixed system. That was the reason I wanted to be a prefect. And I was for the whole of my secondary school days. I don’t have to ‘line-up’ and attend assemblies, I can go recess earlier than everyone else, I can come late and my fellow prefects at the gate would let me in. And also I hated army, the most uncreative place anyone can imagine (something that I shall not elaborate). Which is why I like design, it is free, it has no rules and it’s alive. My designs don’t follow any thing or any philosophy. As long as I’m happy doing it and the recipients are happy. My designs are also conceptual but not complicated. Something that is easily understandable and not abstract. I always treat work as something fun, that way, you’ll like what you’re doing.
If you have a chance to own someone’s work and wish it was yours, what would it be and why?
I always wish for 2 things. Playing music and doing awesome illustrations (both I can’t do well). I really like to paint like Mark Ryden. His work is serious yet whimsical, happy yet sad, colourful yet dark. If I can draw like him, I’ll get all the girls… heh heh heh!
Who do you dream to design for?
No one. I like doing design for myself, my own projects. Because I am my worst client.
Do you think personal work and collaboration is important?
I believe in sharing. Collaboration allows that. It also allows the project to be on a bigger scale. Collaborators will have their own friends and followers thus the project will be more wide-spread. Personal projects can sometimes keep designers sane. Designers like to create, and not many clients out there allow us to do exactly what we want to do.
What do you see a change in the clients of now and the then of ten years ago.
My first paid design job was to create posters, directional signages and pin-buttons for Sentosa’s Cable Car when I was still in school. That was in 1993. I got the job when someone had to take leave and they needed a visualiser (that was what designers were also called). I was paid $60 a day and the client was very happy with my work because they were not designers and they believed in what I did (even though I wasn’t so sure then). Now many clients are also ‘designers’, they tell you exactly what they want because they think they’ve the knowledge. Selling your ideas to clients are now are more difficult.
Do you think design can really save the world?
Indirectly yes.
What’s your definition of happiness?
Managing my own time… I can go for a swim when I feel like it. Have lunch with my children everyday, watch a movie in the afternoon…I control my own time and I am quite proud of that. I guess when you run your own show, you create your own happiness.
What makes you guilty?
Doing 2 projects at the same time and a particular font is ideal for both.
How do you set your benchmarks?
I guess through experience, you know what is a good piece of work when you see it. It’s usually a feeling. So I’ll not stop a project until I have this feeling. And if I have more time to re-look at a piece of work, I’ll remove elements rather than add things. So sometimes a short deadline is better for me, if not the client will have nothing to see in the end! I don’t like to dread things too long because when I approach a project, usually my attention paid to it is 100%. To go back to an unfinished work, sometimes I might loose a bit of thoughts here and there.
Honest, Contributed Poster for Plus Minus Ten, 2012
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Posted in Conversations, Graphic, Singapore
January 22nd, 2013
Branding and Identity for Lucha Loco, 2012
Today we speak to Edwin Tan of Bravo Company, Singapore.
Yanda: Introduce yourself.
Edwin: I run a design studio call Bravo Company. We create brands for new businesses.
What do you do first when you get up in the morning?
I read my news in the loo. Then I feed my hamster and 2 tortoises. After that I play with my cat for a while before setting off to the work.
What daily routines you cannot do without?
The morning dump. Without it I’ll be grumpy the whole day.
How would you describe your work in three words?
Simple. Direct. Obvious.
When did you first get involved in the design?
The only subject I was interested in in school was arts & craft. I’ve always been I intrigued by music CDs packaging of the bands I listened to when I was young. When I found out graphic design is a profession, I immediately knew that was what I am going to do.
If you have a chance to own someone’s work and wish it was yours, what would it be and why?
The promo design for the play BOTE (Beginning of the End) by Asylum. So much love.
Who do you dream to design for?
My dream job is to brand a professional football team or a new airline.
What’s your definition of happiness?
The carefree feeling you get when you know your day has been productive.
What makes you guilty?
Being unproductive.
How do you set your benchmarks?
I set my benchmarks by the places I want to see my works in. At first it was to get certain design websites to feature our work, then it became certain magazines and books. We’ve accomplished most of these and we thought the next natural progression would be awards recognition. We were really happy when we got a bronze gong at CCA this year. Now for the international awards! However, being brand designers, what’s more important is that our design answers the client’s brief. If your design wins awards but doesn’t work for the client’s business, it is still bad design.
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Posted in Conversations, Singapore
December 23rd, 2012
Branding and Identity for Hans Tan, 2012
Today we speak to Yong from Somewhere Else, Singapore.
Yanda: Introduce yourself.
Yong: Hi, I’m Yong and I run a tiny studio called Somewhere Else based in Singapore.
What do you do first when you get up in the morning?
These days, I have a tea and some light readings at a coffeshop near my office before heading into the office everyday.
What daily routines you cannot do without?
Because of my gastric problem, I have to eat on time which is about 12 sharp for lunch and before 7 for dinner; failing to do so leads to quite a fair bit of pain.
What do you wear for work?
If I don’t have any client meetings, I’m usually in shorts because the weather has just been too hot for dressing up. Otherwise, you might find me in a shirt-tie get up.
How would you describe your work in three words?
Not Trying Enough
When did you first get involved in the design?
My first encounter was with MUJI when I was 12. I first got involved when I was 14. My friend’s brother happened to be going to design school and he taught me a bit of Photoshop.
How do you approach design now then?
With a lot of fear and anxiety, it’s very difficult for us to decide on which solution/direction to take with every project.
Do you think design is for everyone?
Design is definitely for everyone but everyone appreciates and understands design at very different levels.
If you have a chance to own someone’s work and wish it was yours, what would it be and why?
Off the top of my head would of course be Theseus’s entire output of WERK & Pedderzines, I’m always amazed by how he pushes the print medium. Amongst many other things, it’d be nice to own a famous architect’s building or something in that category.
There are more and more studios sprouting out. While the pioneers have pathed ways for the younger generation, how has that helped us and what do you think the future of the creative scene would be?
I think the pioneers have really forged a very clear path for us; before it used to be a dense jungle with many obstacles but today we’re like cruising through on the shoulders of giants. They’ve changed the design landscape of Singapore and partly due to that, the public has begun to become more sensitive to design as well.
Currently, the community is really small and everyone in the industry is friendly with each other; I do hope to see it expand further to include designers from other disciplines. I think the future will be very exciting (provided the economy continues being robust).
Misomber Nuan LookBook, 2012
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Posted in Conversations, Singapore
October 5th, 2012
Swimmer, 2009
Today we speak to Kazumasa Teshigawara, a designer and artist from Tokyo, Japan.
Yanda: Tell me something about you?
Kazumasa Teshigawara: My name is Kazumasa Teshigawara. I work under the label “qubibi”.
What do you do first when you get up in the morning?
I say “hi” to my son.
What daily routines you cannot do without?
To make some free time to spend outside, like taking a walk. But there are days when I can’t.
How would you describe your life in one sentence?
“Unsure.”
Has it been fulfilling so far?
No. But I don’t feel unfulfilled either.
Do you start it (QUBIBI) alone? What does it mean?
Yes. In Japanese it is 首美 or “beautiful neck.” Translated into alphabets it would be written as “kubibi,” but I chose to use “q” instead of “k” since the letter looks like it is comprised of a head and a neck. “q” also looks better typographically.
Where have you worked before starting QUBIBI?
I worked as a web designer.
How would you define your work?
To create something related to screen media.
What has been your proudest work?
The “hello world” project.
Tell me more about it (your hello world project) and swimmer?
hello world
The theme of this work is the “border” between various things. It starts with a pothole – the relationship between the flesh and a hole. What is the element that lets us recognize a hole as a “hole”? What if we took that element and stretched it to infinity? This concept isn’t limited to physical “space”; we can recognize borders between many things including time, intention, life and death. By changing the scope of vision, these borders become less clear, turning into a fuzzy gradation and swallowing each other.
“hello world” is an ongoing project, and I’ve made many works that are related to this project. All of them are programs that generate animations in realtime. The programs are continuously playing with the “borders” which are created by tweaking the contrasts. The final visuals appear to have an underlying rule, and yet it also looks chaotic at the same time. To be honest, I can’t completely control them. Nobody knows how they will turn out.
Swimmer, http://scr.sc/products/swimmer/
This work takes the concept of “sleep” for both people and for computers. FYI, you can find so many people sleeping in public here in Japan.
Day Dream. 2011
Hello World. Journey Through Inner Self. 2012
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Posted in Conversations
September 5th, 2012
I Love U So Mutt, 2012
Today we speak to Adeline who has an imaginary friend and his name is Yellow .
Yanda: Tell me something about you?
Adeline: I have an imaginary friend, his name is Yellow.
What do you do first when you get up in the morning?
I put on my glasses.
What daily routines you cannot do without?
Walking my dog in the morning, also a coffee after that is neccesary…
What’s your definition of happiness?
When Yellow is happy, I am also happy.
What are the things that keep you sane?
Stories of random acts of kindness or courage.
How has working for others and yourself shaped you so far?
I have discovered that there is always something to learn from anyone, if your mind is open.
Do you think working without restrictions or working for yourself can be the hardest thing to do?
Yes. Yellow would not allow that – if i have free time, I am only allowed to work for him (and he is full of restrictions).
Any heroes? What do you admire about them?
I like David Shrigley, and I can’t find the words to describe what I admire about him. That’s how awesome he is.
Private Joker of Full Metal Jacket. 2012
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Posted in Conversations, Singapore
August 29th, 2012
Everything You Ever Wanted Is Right Here. 2012
Today we speak to Dawn Ng to find out what she thinks and her new work which has never failed to be imaginative and playful.
Yanda: What do you do first when you get up in the morning?
Dawn: Brush my teeth.
What daily routines you cannot do without?
Funny enough, none.
What’s your definition of happiness?
Honesty.
What are the things that keep you sane?
I actively avoid them. I think the things that make you sane have a way of making you dull.
How do you deal with expectation and hope then?
Whose – mine or other people’s? I’m completely devoted to the former and to be honest I can’t care less about the latter.
How has knowing to appreciate art and design affect the way you live?
It makes me a keen observer.
How has working for others and yourself shaped you so far?
Working for others trains me to listen, working for myself trains me to shut it all off.
Do you think working without restrictions or working for yourself can be the hardest thing to do?
It takes discipline.
Walter. 2010
Your work has shown a different medium each time. How do you keep educating yourself?
By being relentlessly curious.
Any heroes? What do you admire about them?
They are all mad-hatters. I love madness in people. It is the only true liberating and empowering force in this world.
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Posted in Conversations, Singapore
November 25th, 2011
The Famous One from Lucas, 2011
On the 18th of October 2011, Third Floor-Hermès celebrated the opening of Christine Ay Tjoe latest site specific installation, The Famous One From Lucas # 1. We speak to the artist, whose work has always intrigued and delighted us.
One of the few female artists in Indonesia, Christine Ay Tjoe’s artistic explorations has ranged from paintings and drawings, to print-making and sculptures, to even photography and installations. A much loved art figure in her community, she has exhibited internationally and is respected in the art world beyond her own regional shores. Her appeal lies not just within her vast bodies of works, but within her own personality as an artist. Known to be reserved and introverted, a quiet emotional depth can be observed within each of her artworks— a constant dialogue of struggle and exploration that truly connects with its viewers.
By her meticulous hands, the art space of Hermes’ iconic Liat Towers location was transformed into a cocoon shaped environment. Soft fabric sculptures made out of goose-feathers and tulle fabrics wrapped around the walls as visitors were led into a haunting space of discovery. Stirring and intriguing, Ay Tjoe’s installation left a lingering scent of hope and entrapment, and many questions to the deeper thoughts of the artist. We were lucky enough to find out more.
Who are you and what interests you / your work?
Christine Ay Tjoe: I’m an artist based in Bandung and Yogyakarta Indonesia. I’m interested in the universal human experience and explore these conceptual dialogues in my artwork.
Was an art ‘career’ something you stumbled upon, or something you’ve always wanted to do?
I had always been creatively inclined even as a child, for me to pursue art had always been natural.
You started your artistic journey drawing and painting— more graphic art. You’ve since moved on to textile and sculptures. How did that come about?
My creations are either triggered and/or shaped by my conceptual investigations of my physical and metaphysical environments. As an artist, one also searches for the best way to present these concepts therefore I use different materials (textiles, paint, charcoal, etching, installation) and methods (drawing, painting, sculpture) which results in interesting, unconventional work such as my recent installation, “The Famous One from Lucas #1” at Third-Floor Hermès.
Symmetrical Sanctuary. 2010
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Posted in Art, Conversations
September 27th, 2010
Today we (ALLBOYSCLUB) will be talking to Felix Ng, art director and founder of design by silnt and Anonymous about who he is, what he does, what he thinks and what he will be doing.
ALLBOYSCLUB: Hello Felix, how was last night?
Felix: Terrible. I slept at 4am.
ALLBOYSCLUB: Do you think that might have created an impact on what you do today?
Felix: Yeah, it did. I like working in the morning. Really early, like 5am. I get most of my work done between 5 – 11am, and I spend the rest of the day on our projects under Anonymous. so sleeping late the night before means I wake up later the next day, which kinda pushes the entire day’s schedule back.
ALLBOYSCLUB: Now tell us. Who are you?
Felix: I’m just like any average person you would see on the streets. I’m 28 years old, 1.8m tall, weigh about 70 kilos and long-sighted. I wanted to be a writer (journalist specifically) when i was younger, but accidentally stumbled into a career in design.
ALLBOYSCLUB: Accidentally?
Felix: It’s a long story.
Gist of it > kicked out of school, got called back into school, school gave me design work to do so I would stop working while studying, didn’t know anything about design but had to learn, graduated, got a commission to design a music video, had to register a business account in order to get paid, fortunately got more work after that project, and it’s been 6 years.
ALLBOYSCLUB: How do you think it will be like if you have done the total opposite of what you are doing today?
Felix: It would have been great. I’d probably have completed much more if I had slept earlier and woke earlier.
ALLBOYSCLUB: Isn’t that what most working in the creative industry experience? Never having enough time for anything.
Felix: I think it applies with any occupation, that time is a luxury. Possibly more so, in our industry, because what we do is extremely emotional and psychological. when we have an idea, and we put ourselves into developing it (for eg: writing a novel). we are in a big way, putting ourselves out there for an audience to judge us. So we are willing to spend more time and effort into it.
ALLBOYSCLUB: Does Time play a big role when it comes to how a project is executed?
Felix: Yes. too much or too little time is equally bad.
ALLBOYSCLUB: What is Time to you?
Felix: A horizontal line between A and Z. (A being birth, Z being death)
ALLBOYSCLUB: What do you think will happen if you take Time away from being one of the factor in the process of a project?
Felix: Nothing would happen.
ALLBOYSCLUB: By “nothing would happen.” Are you referring to the disruption of the project, or the entire project even happening at all?
Felix: Imagine a project without restrictions, a blank cheque and no deadline. It sounds like something most of us would be excited about, but i think ideas happen only when there are boundaries. Without a deadline, there isn’t a motivation to develop a schedule of what when has to be completed – in order to finish the project.
ALLBOYSCLUB: Do you think Time is a factor controlled by an individual/group engaging in a certain activity or the activity engaging a certain individual/group?
Felix: Yes. In the case of a commercial transaction – the client or customer. In self-initiated projects, the deadline is set by yourself.
ALLBOYSCLUB: If there is a period in our timeline that you can transport to the present, what would it be?
Felix: The 1960 – 70s. A time when people took things seriously. They got high seriously, dressed seriously, danced seriously, made music, designed, created art, took friends seriously. (and on and on and on…) Most importantly, things were done well because people gave a shit.
ALLBOYSCLUB: How did you think the process of cultural evolution moved from then till now?
Felix: Technology. It made things faster. Gaining information, corresponding with one another, spread news, etc. What happened was we begin to expect things to be faster, and at little or no cost.
ALLBOYSCLUB: Taking Objects/Information for granted?
Felix: Both.
ALLBOYSCLUB: More = less? The diluting of The Order of Things with the progressive introduction of new Objects/Information?
Felix: Actually more is still more. Instead of more, we should focus on better. Why make another t-shirt, tote bag, magazine, blog, artwork, etc if it’s not going to be better than something that is already existing. 90% of new things created are made with the intent of ‘having a voice’. Creation is a step up from consumption, but creation for the sake of having a voice is a poor excuse.
ALLBOYSCLUB: Ok, More things made = Less meaning = More junks. Hahahaha! Isn’t that what people in the 1960s – 70s are doing? Having a voice? Trying to push and have an extension of their ego on the society then?
Felix: Yes, but the accumulation of that means we’ve produced more than we can consume, or even need to consume.
ALLBOYSCLUB: Technological advancement really changes the way we make things. It is faster and more cost efficient. But aren’t we supposed to embrace it and work within our-self to not take it for granted? From earlier, you mention Anonymous. What exactly is Anonymous about?
Felix: Anonymous makes things for people who make things. We focus on creating content for the creative industry.
ALLBOYSCLUB: What are some of these ‘things’ Anonymous been making?
Felix: A Design Film Festival 2010, which launched in Singapore and Berlin. We’ll be traveling it to kaohsiung, taipei, bangkok this year and the newly appointed world design capital, helsinki in 2011. http://www.designfilmfestival.com
Help Save Paper for Antalis paper, which gathered 12 individuals to create objects out of paper. http://lets.helpsavepaper.com
Dual City Sessions (2007 – 2009)
Collaboration between Singapore and Japan, that has featured over 50 designers and artists. The exhibitions has travelled to Berlin, Shanghai, Tokyo, Kuala Lumpur and Singapore. http://www.dualcitysessions.com (site update soon)
ALLBOYSCLUB: Tell us about this latest project ‘Crafty’ born from Anonymous. How and why did you give life to ‘Crafty’.
Felix: After 6 years as a designer, I found myself in a situation where we were constantly making more, instead of making better things. This frustration led us to think about what exactly happened and how we might be able to play a part in changing it. In a place, where the costs of doing things become higher and higher, but the value of what we do gets lower. We have to do more just to make the same. (but not necessarily better) When we do more, we spread ourselves thinner and thinner. And the truth is, we begin to cave in. We stop fighting to do great work, because we have to spend more time, effort and energy to convince our clients (and ourselves) that this is something worth striving for.
ALLBOYSCLUB: That sounds like the natural progression for most creative agencies as far as we know. (Laugh)
Felix: It is and I am guilty of it too. In 2009, we had the most financially successful year we started. We got several accounts that were quite profitable but it was also the unhappiest year we had. So this year, we’ve been trying very hard to not go down that road again.
ALLBOYSCLUB: Have you had any experience with a creative agency that was able to strike a balance and hold on to that integrity?
Felix: Too many to name.
ALLBOYSCLUB: So where does Crafty fit into all these?
Felix: Crafty isn’t a celebration of creativity. It’s about making things well.
ALLBOYSCLUB: Are we gonna get our hands dirty at Crafty? What can we expect to see?
Felix: I have no idea! (laughs) We’ll see. 
ALLBOYSCLUB: How about locally in Singapore? Do you see anyone pushing for making better rather than making more?
Felix: Yes. The 14 speakers for the conference. There are another 20 individuals who we hope will be interested in what we’re doing with Crafty. Hopefully we’ll get to see them in the following editions.
ALLBOYSCLUB: Sounds exciting. We wonder who will make the list. Is there anything else you want to say to the people who are coming and the people who are not coming?
Felix: To those coming: Thank you for the support!
To those not coming this year: We’ll just have to work harder to convince you for future editions.
ALLBOYSCLUB: Thanks Felix.
Felix: Thanks guys.
- Brought to you by AllBoysClub
Posted in Conversations, Singapore
April 25th, 2010
With Dawn Ng‘s Walter photo exhibition and installation project around the corner, we speak to the person behind everything with some quick questionsto find out what we want to know about her for ourselves.
Read more…
Posted in Conversations, Singapore
April 8th, 2008
Can’t really find any information off the net and I only know they are from Spain so I sent them a couple of questions off email!
http://www.txellmiras.eu/
http://www.iqons.com/txell+miras
http://arunwayaday.com/2008/03/txell-miras-fallwinter-2008-2009-barcelona/
http://blog.styleserver.de/2008/02/12/txell-miras/
http://en.flip-zone.com/fashion/ready-to-wear/independant-designers/txell-miras
YANDA: Just some straightforward and simple questions first – What is your name and where are you from? And who/what is Txell Miras?
TXELL MIRAS: My name is Txell Miras, the same as the brand. It is a Catalan woman name and a Spanish surname. We work in Barcelona and we are two people, me, the designer, and Ivan who manages all communication, commercial and administration stuff.
Describe your current collection.
It is called “Le grand déjà vu”. It talks about the fashion seasons system from a critic point of view. It is a collection that follows my own style. In my first collections I started designing deconstructing but now I’m more in a kind of new construction. I like to play will patterns and volumes. I’m interested in experiment with shapes over the human body.
How and when did you first begin making clothing?
I came into fashion after my art studies. At the University I was really taken by figure drawing and conceptual art. In fashion I found a way to play with both. I started working for Neil Barrett in 2003 after he has been the creative director of my Milan’s school. Some months later I started my own label to develop my own ideas. Now I’m working on for Neil Barrett five days a month while I continue my own brand.
Do you have your special moment in your career so far?
My first show possibly was the most special moment I can remember.
Do you have your favourite piece? And why?
Not especially. I usually love skirts because they let you play with shapes and volumes but in my last collections I’m more in jackets and trousers. I give a lot of importance to the silhouettes and the details.
What influenced your designs? Who? Or What? How has your birthplace influence you too?
My designs are influenced by a lot of things, most of them out of fashion: movies, art, literature, music. Names as Duchamp, Dreyer, Bergman, Boltansky, Kafka, Gombrowicz, Wong Kar Wai among others. My birthplace is also important but I don’t think that I have a Spanish style.
Do you have your own philosophy?
First of all, I need creative freedom. My work is personal so I cannot think in the market.
Where and how do you get your inspirations?
Hard working. It happens normally in my studio but ideas can come to you everywhere but always after thinking very much about it.
What kind of person do you imagine wearing your clothing?
I think most of them are people who are interested in design, all kinds of design. They value the piece, not only the way it fits to them or the label. I usually say that I think that I wear minds more than bodies.
Do you wear your own clothes then?
Yes, I always wear my own clothes. I also have some jeans and basics from other brands but I usually wear my own ones.
Who would you wish to design their wardrobe for?
PJ Harvey, for example.
Any particular favourite label or fashion designer?
I admire the work of Rick Owens, Rai Kawakubo, Ann Demeulemeester, Bruno Pieters, Vivienne Westwood, Helmut Lang, Margiela…
If you are not doing fashion what will you be doing?
I don’t really know but will be something creative and personal. I also paint and draw and I’ve written two short film scripts. Now on I’ll do only one collection once a year and I will have more time to get involved in other kind of projects.
And what are your favourite possession(s) that you have now?
My books and films.
Talent or hardwork? Which do you think will make it?
Both are very important but maybe I would say hardwork because a mid talent with a lot of work can obtain very good ideas. I think that a talented person that doesn’t work can have good ideas but if he doesn’t develop them working hard they would be always mediocre ideas.
What will you do if you have a million dollar?
Buy a house, open a shop and continue working with my own rhythm.
What are your plans in two years time then? And what can we expect to see from you in the future?
Develop our shop on-line. I would like to find good showrooms in Paris and in Tokyo.
Lastly, what can make you happy?
A dinner with friends with good food and good wine. That doesn’t mean expensive.
- Interview by Yanda
Posted in Conversations, Fashion
