RAW Magazine 04 by Random Art Workshop

RA W

04 Fal l/Winter 2012

MAGAZINE

Photo provided by Sean Lee Davies

The RAW Magazine TEAM Joyce Yung

Derek Ting

Joyce founded Random Art Workshop in 2009 to expand upon her passion for photography, art and to build a community of like-minded individuals that can come together to share their creative insights. The past several years has seen her involve her career in professional photography and championing everyday arts. With an affinity for discovering new avenues to give the rest of Hong Kong their dose of the unexpected and imaginative, RAW Magazine is her brainchild. She finds inspiration in traveling, loves the water, and is particularly fond of all things spiral.

Co-founder of Random Art Workshop, Derek has always been an ardent supporter of the arts. He caught the acting bug while studying in New York and subsequently, his interests have led him into the art of acting and further producing for CNN and other well received short-films. With a Producer’s role for a feature film under his belt, Derek continues to tirelessly pursue his passions. He enjoys quick witted conversations and running. He hopes RAW will help others find their callings.

Beverly Cheng

Matina Cheung

Art has always played big a role in Beverly’s life (ever since grade school when she discovered that art making could get her out of team sports). After a bachelor’s in art history, she was an editor for various lifestyle magazines before breaking out as a freelance editor and writer and spearheading various creative projects—from PR campaigns for new restaurants to collaborating on cookbooks.

Matina is RAW’s resident design and graphics wizard. Responsible for RAW Magazine’s innovative and distinct aesthetic identity, she celebrates her passion for design along with art mediums such as photography and sculpture. An up and coming visual artist, Matina’s art examines the concept of intimacy and perception. She is also a yoga afficcionado with an intense love for aliens and gremlins.

Contributing Writers: Leanne Mirandilla

Renee Wong Greenwood

Writer and editor by trade, Leanne is a Hong Kong native and arts and culture enthusiast. She enjoys reading, drinking coffee and finding new and interesting things to do in the city. Follow her on Twitter at @lemirandilla.

“Renee Wong Greenwood is a Hong Kong-based freelance writer who loves everything that this exciting city has to offer—the energetic vibe, the crazy pace, the juxtaposition of the old and new, the East and the West—and writing all about it.”

Claire Johnson Claire is a professional dancer and teacher as well as a keen writer. She enjoys all aspects relating to the arts and is also a fashion blogger for AnyWearStyle.com. 3

Foreword My partner, Derek, and I started the concept of Random Art Workshop when we got past the hustle and bustle of Hong Kong and past its hard outer shell. Many people come here to make their money and leave, but we see things a little differently and feel that Hong Kong deserves more permanence, especially in the field of art. We also felt that being an accountant, lawyer, and banker does not preclude you from being an artist, nor make you any less creative. We started RAW to plant a seed that would grow into a community where people could learn about art and an outlet for their creativity, without the confines or limits that society places on us. RAW Magazine is a natural progression of this emerging community. In our Fall/Winter 2012 issue, we spotlight artists use fashion as a creative outlet, whether itâ&#x20AC;&#x2122;s wearable artist Movanna Chan or fashion photography Sean Lee Davies. We are greatly influenced by the fashion around us. Fashion is so much more than the big brands around us and there are plenty of up and coming, home grown designers that are showing off their wares. In this issue, youâ&#x20AC;&#x2122;ll find we look at designers who have created brands that are unique and true to their own style and artistic vision and photographers who are able to interpret and capture the essence of various style through their camera lens.

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SPOTLIGHT

TANG KWoK HIN multimedia artist

His most recent series of works—exhibited at ART HK 2012 and again at Amelia Johnson Contemporary this past September— is a collection of 18 collages and two videos centered around Nancy, the fictitious younger sister that Tang never knew. “My mother terminated a pregnancy over twenty years ago because of the one-child policy introduced by the Chinese government in the late 1970s,” explains Tang in his artist’s statement. “I imagine that [she] left to study overseas and [has] yet to return. [She was] born with a quiet nature and [has] become slightly eccentric.” He combined images hearkening to what the media commonly presents as the “ideal family” with images iconic to Hong Kong, as well as images found via Google. “I keep using Google as a tool to do collage,” Tang comments. “When I type different keywords into Google Search, we normally see the same image in the same region. This is a standardized mode to frame everyone.” Tang commonly appropriates and re-contextualizes images in his collages, giving them a new perspective and meaning. Some of Tang’s other past projects include making landscapes out of wine labels and a fictional “Google Worldview” composed of found online images. Besides his artistic work, Tang also curates and writes. “To me, curating a show, writing, and making art are quite similar in some ways,” he says. “I prefer grouping all these as a whole [as] creation in life. They are same to me and it’s complicated to split them off.”

Local artist Tang Kwok-hin—who walked away with the first prize at the Hong Kong Contemporary Art Biennial Awards in 2009—often appropriates images from print and digital media in order to create his collages.

Tang explains that, like most artists, he needs to balance the commercial and the experimental in his works. “I regard myself as a watermelon that needs to be cut into pieces. I need a commercial side to sustain myself as a full-time artist. Another part is thoroughly done for experiments or pure fine arts.”

Tang Kwok-hin remembers drawing on the walls at home from when he was age 3; his career as an artist kicked off when he completed his bachelor’s and master’s degrees in fine arts at the Chinese University of Hong Kong in 2008. Since then, he has worked extensively with Amelia Johnson Contemporary and has shown his work at Art HK 2011 and 2012, taking over the Mandarin Oriental’s elegant Clipper Lounge with his mixed-media artwork in 2012. “I have never thought of doing any other thing except being an artist,” Tang says. “Perhaps I find a personal way to lead a different life in that.”

www.tangkwokhin.blogspot.com

Written by Leanne Mirandilla 6

SPOTLIGHT

CARRIE CHAN

fashion designer prints and ever popular tattoo tights are often seen on bloggers and in style magazines. “I’m inspired by a mixture of traditional art forms in both Western and Oriental culture. At the same time, I’m a total pop culture junkie. I create an old meets new, East meets West clash [in my work].” With a keen eye for prints and illustrations, it’s here Carrie’s work really stands out. She starts by creating collages to scope out her idea, before transferring these onto a mannequin to see how the lines and shapes work with the human body. Further fine tuning is needed after the initial draping; refining the pattern, experimentation with colour and proportioning before finally reaching the production stage.

After graduating in journalism, Carrie went on to work at the South China Morning Post while studying and joining Fashion’s Collective. It was there that she began to realise her passion and would even go on to win awards at Hong Kong Fashion Week. A subsequent scholarship to the University of Westminster to study a master’s in fashion design paved the way to Carrie’s career change. It was in the UK that Carrie really began to explore different textile techniques, working in Alexander McQueen’s print section before moving on to assist British designer Boudicca for almost two years. Following her relocation back to Hong Kong, Carrie began to focus on her own label and develop her first range of signature legwear. Carrie’s designs involve unique fabrics created in-house incorporating distinctive patterns and techniques. Her signature origami

Carrie isn’t averse to obstacles as a young designer and is focusing on carving a niche in the retail market. She hopes that more trendsetters will start developing a desire for her products and she remains constantly looking to create and evolve her designs ahead of her competitors. Her new range of legwear is an example of just that—by taking the already popular graphic print leggings and combining them with origami print and darker lines, the tights are designed to shape the wearer’s legs and make them appear slimmer. When looking forward to the future, Carrie has clear aspirations, “I would like to take the label to a trade show in Paris and in turn, develop a larger international audience.” Also in the pipeline is a potential collaboration with a handbag designer, which will combine Carrie’s unique fabric prints with leather in order to create one-of-a-kind accessories. RI by Carrie legwear is available at Heaven Please, 2B, Po Foo Building, No.1 Foo Ming St., Causeway Bay; RI by Carrie clothing is available at Amelie Street, Flat M, 1/F, Po Ming Building, 2-6 Foo Ming St., Causeway Bay www.ribycarrie.wix.com/ri

Written by Claire Johnson

SPOTLIGHT

CONNIE LO

jewellery designer Jewellery design followed, although it was a completely selftaught, it came easily to Connie because of her foundation as a fashion designer. “I was never particularly good at the drawing part; it’s the concept and realisation of a product that really excites me. The endless possibilities and seeing each piece develop from start to finish is what I really enjoy about jewellery production.” The pieces at Nutcase do make a statement, with bold, eye-catching styles that combine both the profane and beautiful. Each season Connie devises her collection around a ‘muse character’, such as her previous sea-themed collection which was inspired by a mermaid. Her current season is inspired by two witch sisters. Connie is, however, acutely aware of her lack of training in and the potential setbacks this could cause her. “Sometimes my lack of experience makes it difficult to realise my ideas to their fullest potential, [it’s] definitely a hurdle I need to jump over to take Nutcase to the next level.” That said, Connie is very in touch when it comes to the jewellery industry. She focused on fine tuning her designs for three years before starting her label. She clearly sees the importance of good marketing and an efficient sales platform for her design—sometimes, simply having beautiful designs is just not enough. To assure quality, every piece of handmade jewellery passing Connie’s close inspection before reaching the customer.

A self-confessed accessories addict, Connie Lo is paving the way in bold and brave jewellery design with her own label <Nutcase>. The term ‘nutcase’ means crazy, and this has become the underlying theme and philosophy of the label’s pieces, from the neon spike earrings to its metal and gem bedazzled necklaces. In a city like Hong Kong where we are all driven a little ‘crazy’, these accessories provide an outlet to stand out from the crowd with this bold jewelry collection.

Nutcase’s customer base spans quite an interesting demographic, covering both male and female with online sales across much of Europe, Asia and the U.S. Connie doesn’t have a set target customer, but just wants people to have fun with her jewellery. “I challenge everyone, particularly the understated Hong Kongers to go ahead and stand out—why not?”

Connie’s inspiration to work in the fashion industry came at an early age. After moving to the UK at the age of 10, her eyes were opened to a more creative, expressive fashion style. “Even as a nerdy teenager, it fascinated me how something as silent as clothing could make such a huge impact on others, be it in first impressions or as a tool to communicate,” she says. Connie went on to study a bachelor’s in Fashion Design at the University of Leeds before relocating back to her hometown, Hong Kong, to work as a commercial fashion designer.

Nutcase is available at Amelie Street, Flat M, 1/F, Po Ming Building, 2-6 Foo Ming St., Causeway Bay. www.nutcasefashion.etsy.com.

Written by Claire Johnson 14

SPOTLIGHT

CARMAN CHAN

photographer & blogger Met Your Style. She runs the blog together with photographer and designer Ken Wu—the two photograph fashion bloggers wearing their own ensembles in casual settings, whether at home or roaming their neighborhood. The result is a site that has been cited as a source of fashion inspiration by such powerhouses as Vogue Paris and Glamour. “It was the beginning of my photography career and I wanted to build my portfolio and produce test shoots,” explains Chan. “Usually you have to find a hair stylist, makeup artist, wardrobe stylist and model, and it’s hard to find a good team.” Chan ended up photographing a fashion blogger whose style she admired, and the project took off from there. The pair plan to include artists, designers and other creative types from cities all over the U.S. and Asia—particularly more locations in South East Asia like Hong Kong and Taiwan. The natural settings and poses of How I Met Your Style echo Chan’s distinctively natural and organic photographic style. “I try to use natural light whenever possible. How I Met Your Style is 98 percent film. With digital, unless it’s specifically requested by the client, if the direction is up to me there’s very little postprocessing. I’m not going to add lens flare and post, or adjust the color too much. If I want to add color, I add gels to the light. Any post-processing that I do is to make it look closer to film. I just like that aesthetic, color and contrast.”

Photographer Carmen Chan currently works between Los Angeles and Hong Kong, making stops throughout Asia and the U.S. along the way. Though a fashion photographer, her style is softer and more natural than most, winning her clients from Lane Crawford to fashion brand Rag & Bone.

One client Chan has worked with recently is Mata Hari, where she shot a lookbook for their handbags. Another notable experience with a client that Chan mentions was a shoot with Colonial Goods, who were then doing a collaboration with local brand G.O.D. “They created T-shirts manufactured by Lee Gong Man, a really old knitting factory. I got to go into the factory and photograph the machinery and the process.”

Born in Las Vegas and raised in Hong Kong, Carmen Chan originally dreamt of being a TV or film producer after an eclectic education in communication at the University of Nevada, Las Vegas. After three years in the business in L.A., though, she discovered a love of photography and decided to switch careers. Like any aspiring photographer, Chan was first presented with the challenge of building a solid portfolio, which actually ended up leading to her personal fashion photography project, How I

www.carmen-chan.com

Written by Leanne Mirandilla 18

SPOTLIGHT

INSIGHT

FASHION F Sustainability is quickly picking up momentum in the fashion industry. Almost everyone in the fashion world is getting in on the act from high-end designers to your high street stores. Surprisingly, even Hong Kong, our city of extravagance and excess is producing some very promising up-and-coming ecoconscious designers. We talk to some of these designers about their designs, as well as Christina Dean, CEO and founder of Redress—a non-profit that is promoting sustainable fashion in Hong Kong and China—to get the lowdown on what’s happening in the Hong Kong eco fashion world.

to be sold on Paltrow’s lifestyle and e-commerce website, Goop. Although only available in the U.S., they are apparently selling out fast. Not to be outdone by the designers and celebs, even high street department stores like Marks & Spencer are jumping on the bandwagon. Recently launched is the store’s first garment made from second-hand clothing donated by customers in the UK called the “Shwop” coat—a limited edition double-breasted pea coat for women which reportedly costs less than half of the price of a coat made from pure virgin wool. M&S launched its campaign of “shwopping” back in April this year where customers leave an old item of clothing each time they buy something new with the aim of collecting as many pieces as they sell. The donated clothing is then passed onto Oxfam; shipped to Italy, where it is reduced to fibre form, cleaned and made into new fabric before being sold on to M&S suppliers. The retailer believes this to be a huge step towards creating a sustainable future for fashion.

The movement itself is not new—the idea of sustainable fashion has, in fact, been around since the early 90s but it has come a long way from its days of hemp ponchos, bamboo shoes and other miscellaneous odd-looking garments. Sustainable fashion is now a global phenomenon and a part of the growing design philosophy where a product is created and produced with the least environmental and social impact (and this includes carbon footprints), but which are all still stylish and wearable. What’s more, sustainable fashion is no longer the exclusive domain of a handful of alternative designers, these days it’s the established haute couture designers as well as high street fashion retailers that are re-introducing eco-conscious ways to their creations, whether it’s through the use of environmentally friendly materials or via socially responsible methods.

And just to show the world that the fashion industry is serious about sustainability, eco-friendly fashion weeks are popping up all over: Portland Fashion Week, which has featured sustainable designers and apparel since 2005, has also attracted international press for its efforts to sustainably produce a fashion week that showcases 100 percent eco-friendly designs; Ecoluxe London runs a non-profit organization that promotes and supports ecological and sustainable luxury fashion a bi-annual exhibition during London Fashion Week showcasing work of eco fashion brands from around the world. There’s also the Copenhagen Fashion Summit, and according to the Summit’s organizers, this is the world’s largest and most important conference on sustainability in the fashion industry. This biennial event gathers more than 1,000 key industry stakeholders to identify new opportunities and forward-looking solutions for the global fashion industry to

From the likes of Stella McCartney, where 20 to 30 percent of her collection is said to contain some sort of eco or sustainable element, whether it’s an organic fabric or a natural dye; to Gwyneth Paltrow, actress-lifestyle guru-food expert and now fashion designer, who has teamed up with British ethical label Chinti and Parker to create limited-edition cashmere sweaters which feature Chinti and Parker’s signature buttoned shoulders, contrast-colour pockets and statement-making elbow patches

FORWARD tackle the growing challenges facing the planet.

sustainable fashion design competitions, seminars, exhibitions, by conducting research and certifications, explains Dean, “We have to work with the whole fashion supply chain. Every single player in the fashion supply chain creates environmental degradation, whether you’re the cotton farmer, the textile producer, the garment manufacturer, the designer, the retailer or the end consumer.”

So that’s the story on the global front, but what’s happening in our own backyard? Is Hong Kong doing its bit to contribute to a more eco-conscious way to produce and consume fashion? What is available out there for those of us who are ready to be more socially responsible with our purchases? Firstly, a few statistics about the clothing industry in this part of the world: according to a study done by the Hong Kong Environmental Protection Department in 2010, on average, a mindboggling 234 tonnes of textiles were discarded into Hong Kong landfills on a daily basis; in China 17 to 20 percent of industrial water pollution comes from textile dyeing and treatment, as a result, 72 toxic chemicals in China’s water originate solely from textile dyeing and of these, 30 cannot be removed; and finally, from a study done by BSR, a non-profit organization promoting social responsibility in business, on Water Management in China’s Apparel and Textile Factories claims that the textile industry is one of the largest polluting sectors in China.

On the educational side, Redress is targeting two main groups: the consumers and the designers. On consumers, Dean says, “Although we often focus so much on the industry, there are studies that have found that more than half of the environmental impact of a garment is created by the consumer. This is because consumers over wash and over dry and discard their clothing inappropriately. We consume approximately 60 percent more clothes today than we did 10 years ago. This means that many consumers are basically on the search for lowprice clothes with which to stuff their wardrobes and they don’t consider the ‘true’ price for their purchases. The ‘true’ price is a horrible environmental and social bill that millions of people have to suffer. Because of this, we need to educate consumers.” To do this, Redress regularly organizes public exhibitions, clothing drives and workshops to educate and raise awareness of the consumers. For designers, Redress has, for two years running, been organizing the EcoChic Design Award as a way to inspire and challenge local fashion designers to combine style with sustainability. According to Dean, 80 percent of the environmental impact of a product is determined by the designer and in Asia there is a lack of sustainable fashion education for designers, adds Dean, “One way to do this is via a competition that draws in emerging fashion design talent and brings them on an educational and competitive journey that ultimately helps to change the pattern of fashion.” Not only does the winner get bragging rights

INSIGHT

Faced with such shocking statistics former dental surgeon and journalist, Dr. Christina Dean was jolted into action and started Redress in Hong Kong, a Hong Kong based NGO with a mission to promote environmental sustainability in Asia’s fashion industry. As the founder and CEO of Redress, Dean recognized the severity of the damage that we are doing in the textile industry alone “We have a very serious issue on our hands in Hong Kong, because of our proximity to China. China is the world’s largest clothing and textile exporter that is responsible for approximately 30 percent of the world’s garments and 40 percent of the world’s textiles. It’s because we are so close to this incredible fashion machine that our position in Hong Kong and our work at Redress is so important,” states Dean. Redress’ goal is therefore, to reduce waste in Asia’s fashion industry by organizing educational

INSIGHT

available. Hong Kong fashion designer, Johanna Ho, who recently collaborated with British artist and print designer Leanne Claxton to launch their joint collection called HO:CLAXTON. The collection uses zero wastage pattern cutting techniques for each design, in which each garment has no leftover fabric wastage, cohering to Ho’s belief for her overall design concepts—to create and produce responsibly. There is also Mutt Museum, a label started by designer, Janko Lam (who happens to be last year’s winner of the EcoChic Design award), has a unique collection of elegant cheong sams made out of recycled fabric and denim which breathes new life into a classic shape, but also makes the traditional dresses suitable for daily wear.

to being EcoChic Design Award winner, he or she will be sent to the UK to experience a cultural exchange to soak up UK’s pioneering sustainable fashion scene. The trip serves to expand the designer’s creativity and understanding of innovation in sustainable fashion and the winner also gets an opportunity to work with popular fashion label Esprit, to design and create an eco chic collection using innovative recycled textiles, created by recycling Esprit’s own textile manufacturing waste. Once the collection launches for retail, the designer’s name, design concept and quote will be promoted via Esprit’s press release and be promoted via Esprit and Redress’ social media channels.

Accessories-wise, there are a few ingenious and stylish designers out there, though two of note are: Annalisa Ryle of Bez & Oho and Handsome Co.’s Billy Potts (who is actually a qualified solicitor before becoming a designer). Whilst both Ryle’s and Potts’ collection are primarily focused on bags, their design looks could not be more different: Ryle’s collection of bespoke bags, totes and messenger bags and accessories are fun, colourful and at times, flirtatious and whimsical while Potts’ designs are more metropolitan, sleek and modern.

One such lucky and inspired designer is this year’s winner, Wister Tsang, whose edgy yet sophisticated collection for the competition focused on using pre-loved denim as his main material. On top of being a durable material, denim never goes out of style, and also, as Tsang further explains, “Everyone has jeans and the cost of this material as a second hand commodity is low. My collection’s focus is on collage and simplicity. For the details, I turned the jeans inside out and used the lining as a distinctive feature of the collection.” And since winning the Award earlier this year, Tsang has been working with Esprit on their Recycled Collection, which is said to debut in the Spring/Summer Collection 2013.

But what is interesting is both designers’ choice of materials. For Ryle, she uses rice bags and excess fabrics from factories, “The rice bags are collected and bought from restaurants and shops and individuals. The fabrics are purchased from local hawkers selling off the factory over production and also from locally established material shops. All of our hardware is also from companies started in Hong Kong.” Potts’, however, uses a material that is very familiar to us all and yet it’s not something we would think of that can be up-cycled—taxi seat

In the meantime, where can eco-conscious but fashion-savvy Hong Kongers turn to for some sustainable fashion? Admittedly, we are not exactly inundated with choices, but there are options

upholstery. Sounds rather dull, but the end result is surprisingly smart and urbane, says Potts, “I like taking elements, which are perceived to be mundane and elevating them. Most of these elements are regarded as mundane because they are ubiquitous and have become invisible to us. Our designs appear simple in form and construction. The reasons for this are practical as well as aesthetic. I’m looking to reduce wastage in production and make the manufacturing process as efficient as possible while reducing, where possible, additional materials.”

industry back and preventing innovation. Too many people are fixed on, for example, the higher cost of organic cotton and they repeatedly cite this as an over-arching obstacle to achieving sustainability in the fashion industry.” In spite of this, it is comforting to know that organizations like Redress all over the world are standing firm in their conviction and are pushing forward with research, educating, raising awareness within the industry as well as the consumer and while the number of eco conscious designers and clothing retailers are on the rise, it is ultimately the consumers who need to demand a more sustainable business model from the fashion industry because after all, as Dean puts it simply, “Money talks and it’s consumers who drive the fashion industry, what they buy is vital to how the industry shapes up.”

It is good to know that there are sustainable and totally wearable alternatives available and in theory, it makes perfect sense to be more eco conscious, so why isn’t eco fashion gaining a more prominent spot in the market place? According to Dean, there are two underlying factors standing in the way of the sustainable fashion industry, “On the consumer front, the issue is low price and over-consumption. Like other industries, such as food, the price of various goods has dropped over the last few decades owing to globalization. As a result, consumers now view fashion as ‘fast-fashion’. On the designer front, there are a few challenges. One might be the fear that sustainable fashion design costs more. It is long cited that sustainability in the fashion industry costs more. This is something that is really holding the

Written by Renee Wong Greenwood

INSIGHT

Movan

na Chen

Photo provided by Movana Chen

STUDIO VISIT

Movana Chen first started out studying fashion design in university—now, she creates wearable art using thin strips of paper, often from deconstructed books given to her by friends. From journeying to Sicily to retrieve a book for a new piece to orchestrating group knitting sessions filled with hundreds of people, Movana brings people together with her work. We visit Movana in her Shek Kip Mei studio where she tells us about her work and approach amidst clicks of her knitting needles.

Photo provided by Movana Chen Written by Leanne Mirandilla Photography by Matina Cheung, Selected Images provided by Movana Chen

RAW: How did you start making wearable art out of knitted paper? Movana Chen: I thought about using all the collections in my bookshelf—all my magazines and art books, so 139 books. I tried to study the relationship between [myself and] each book. I started the project, “Traveling into Your Bookshelf ”. I invite people to donate one book from their bookshelf; all these materials are from my friends’ bookshelves around the world, in different languages. This one is in Korean, called “One Day.” I read the English version and also watched the movie and tried to understand what memories or story my friend wanted to share with me. Then I use their material to create my artwork. This is another one of the books I read—the inside is gone and has become artwork, but I kept the cover. The way I read is like knitting. I keep a record and try to invite my friends to write something [on the book] to share with me. RAW: You said the books are from friends arou nd the world—do you visit them in their home cou ntries when you get their books?

MC: I traveled to different countries. From 2009 I traveled to London, Milan, Korea, Michigan, Philadelphia, Sicily, Paris. It depends on where the friend comes from. They invite me to “travel into their bookshelf ”. I stay in their home and get to know a culture outside of Hong Kong. Like in Sicily, a small village, I just try to learn from [the people there.] I live in an unknown city and travel with my big suitcase and my artwork and meet new people. It’s interesting. RAW: How does that get expressed in your artwork? MC: Every time I meet different people from every country—not just the people who invite me [into their homes], but strangers I meet in the street or in restaurants—I connect different people’s lives together. Now most of them became friends because of my project. I link them together—and not just via Facebook. You can touch the artwork that’s very close to the person [who provided the book for it], then meet them and talk to them. So my artwork connects people together more closely. I started another project—I invited friends to bring one book from their bookshelf and then teach them to

knit the book [into an art piece]. It will be about 400 people knitting together to make a big artwork next year. Each person will knit one book. RAW: Do you come from an artistic family? MC: One of [my family members] is a performance artist in London, and another is a fashion designer in London. But my parent are businesspeople. I’ve invited most of my family to knit together also. My sister’s husband, my grandmum. RAW: Are there any special techniques you use to knit the paper? MC: Actually it’s similar [to regular knitting], but it’s a little bit complicated to knit the paper layer by layer. It’s like meditation—I knit all the time and always repeat. Like one row is 186 stitches, and each line takes about half an hour. RAW: How long does it take to finish one piece? MC: For this one [gestures to piece she’s currently knitting], it’s going to be on a canvas like a painting, 150 centimeters by 150 centimeters. It will take about two and a half months; knitting five hours per day, at least.

MC: [I wore] “The Body Container.” [A long, funnel-like piece that covered Chen’s head and came down to her feet.] I tried to wear it and perform it in different cities. This one [indicates picture] was in Hong Kong, in Central. I collaborated with Shanghai Tang. I wore it around the store. It covered my whole body, and the material used was from Shanghai Tang’s catalogs. [The performance] was about fashion culture and how to interact with local people in Hong Kong. I also performed it in the [Hong Kong] Art Fair. It’s very different if you perform in the street. In Hong Kong, people are busy so they will just keep their distance. They don’t come to look at you or ask you any questions. But in the art fair, people were very different because they knew it was art. So even kids asked their mums, “What is she doing? Should we try to help her out? She’s locked in there.” I also went to London and Paris and wore the body container made with different materials, like travel maps. RAW: What are some of the reactions you’ve gotten when performing on the street? MC: Some people were scared or shocked. In Korea it was different. Two

STUDIO VISIT

RAW: Have you ever tried wearing any of your art pieces?

STUDIO VISIT

years ago, I performed there with a Korean guy with [the piece connecting the two of us from our heads]. Us two had to walk together. We couldn’t walk too fast or too slow. [The piece] was about North Korea and South Korea. We performed in the street and a kid tried to touch and pull the piece. Some people in the subway pushed me away and I fell down. They got very angry. And some people got very excited. In Paris people always came to ask many questions. In London it was totally different, also. It’s a mixed culture in London—there are many travelers there. It was also similar to Hong Kong— the people were not aware of what I was doing there, or they didn’t care. Maybe because there are many street performers in London.

35 to 40 people, but more are coming. The ages range from five to 90. They’re all from different backgrounds and cultures. At least 200 [overall] are students—it’s part of their education program. Not art students—just secondary school students. It’s very interesting when [the participants] don’t know each other. Sometimes we have 10 to 20 people sitting together and knitting, and when we sit together we talk. They talk about their stories and everyone becomes friends.

RAW: Have other people ever worn your works?

RAW: Is there any environ mentalist aspect to your work?

MC: In some exhibitions, I invited the audience or visitors to wear and experience the material. They can touch, wear, and even make it. I teach people to knit now in my “Knitting Conversations” project. Once or twice a month, we meet in different locations in Hong Kong or overseas and knit together. Now there’s only

MC: For paper, the first impression of people is that it’s about recycling and how you help the environment. But my message is not about recycling. People try to give me their magazines from their home—they want to throw it away—they bring them and put them outside of my studio. But I don’t need them—I don’t

RAW: Any interesting reactions when others tried to wear or make a piece? MC: They said, “can I buy it?” Some kept it in their house, some were collectors.

Photo provided by Movana Chen

STUDIO VISIT

need anything you throw away or that’s not meaningful to you. My artworks are about your culture, your life, your love, everything—not about something you don’t want. Some people hate the books [they gave me]. Some books have a special meaning, like “The Neverending Story”, a children’s book. The person who gave it to me—when she was unwell, she would just sleep on the bed for a long time. The book was with her so she would read it. Some friends give me books that inspired them. One of the participants in one of my projects—he’s 77 or so—the book he wanted to share was purchased by his friend. And some of them share stories with me that are secret; only between me and the person. RAW: How does your art relate to fashion? MC: In the very beginning, it related to fashion because I studied fashion in London before. But after I started collecting materials—not just from book-

shelves or recycling from the street—it was different, I took it to the next step. The material was more important. I asked my friends to choose one of their favorite books from their bookshelves, so it’s more about communication and how I share the memories of different people and connect their lives together. RAW: Do you have any favorite artists, artists that inspire you? MC: Not really [inspirations], but an artist I like is Japanese artist Yayoi Kusama. I really like her work—the way she does it is also like meditation. She repeated the dots [one of her signature art styles] since very early [on in her career], and now she keeps doing it. You can see how in love she is with art and how she shares with people of different ages. Everyone loves her work; it makes people happy. RAW: Are you interested in any other art forms?

MC: I studied painting and drawing. When I was a kid I was interested in painting, also. I just found out about this [interest] not long ago—just one week ago. I wrote diaries when I was a kid. I tried to use my diaries for my art project. I read them again and read one that was from a long time ago, from the 80s, and found out I knew how to draw and paint at that time. When I had my first major project, it was knitting. And then, after that, I had more projects. People from different countries invited me to have exhibitions. They were more interested in this work, so since 2005 it’s been nonstop. Every day, I’m knitting. www.movanachen.com

STUDIO VISIT

Photo provided by Movana Chen

11:00-13:30

08:00 17:30

18:00 21:00 18:00 20:00

08:00 Location: Hotel Orientale, Palermo, Sicily Having breakfast in the living room and admiring the ceiling painting.

14:30 Location: Palermo, Sicily Getting on the bus, which will take about two and a half hours, to Cianciana—it’s so exciting! Should be the right bus? The bus driver doesn’t speak English.

14:30

17:00 Location: Cianciana, Sicily Wow! I’ve arrived in Cianciana. The bus just stopped along the main street. Here in Cianciana, all the old houses stand alone on a hill and appears as if it’s a painting 17:00 Location: Cianciana, Sicily Looking for Elizabeth’s studio on my map and dragging my big suitcase on the pebble path down a hill.

17:00 17:00

17:30 Location: Studio Sicilia, Cianciana, Sicily How nice, this is Elizabeth’s studio where I’m going to stay for my two-week “travelling bookshelf ” project. Oh no! I have to carry this heavy luggage, which weighs 23kg, up a flight of stairs. 18:00 Location: Studio Sicilia, Cianciana, Sicily A very unique simple door with no lock. I got a message from Elizabeth from Beijing—there’s no electricity tonight and the supermarket will be closed at 8pm during the Easter Holidays. Oh no, I have to hurry out to buy candles and food! 18:00 Location: Studio Sicilia, Cianciana, Sicily Bought these sweet biscuits. 20:00 Location: Studio Sicilia, Cianciana, Sicily How is it possible that the first night I arrive in Cianciana, there’s no electricity in the studio and there’s noone to fix it because of the holidays? I’ll have to stay a few nights in the dark. 21:00 Location: Studio Sicilia, Cianciana, Sicily Knitting in the dark. Photo provided by Movana Chen

STUDIO VISIT - DAY IN THE LIFE OF ...

11:00 - 13:30 Location: Hotel Orientale, Palermo, Sicily Sitting with the owner of the hotel, a nice fanily, and knitting in the reception area. I share with them my “travelling bookshelf ” project. Next, I’m headed to Cianciana.

Sean Lee

e Davies

Photo provided by Sean Lee Davies

STUDIO VISIT

An intrepid filmmaker, photographer and writer, Sean Lee Davies has ventured to far-flung corners of the globe to document moments that are rarely captured. From the steppes of Mongolia to the technicolour flurry of a traditional festival in India, Sean’s photos are snapshots into worlds that few have the privilege of experiencing first hand. Leaving behind a plush job as the editorial director of Asia Tatler—a role which enabled him to gallivant to Cannes for the annual film festival and interview A-listers such as Leonardo DiCaprio and Marc Jacobs—was hard, especially in the throes of the financial crisis in 2008. But, four years on, Sean is producing various television shows for Asian cable networks, and has also shifted his focus to cast a spotlight on social social causes, such as his 2010 documentary Cancer & The City, which profiled the life of a terminal cancer patient in Hong Kong for National Geographic. He is also the founder of C CHANGE—an annual expedition climbing to the peak of Kilimanjaro in order to raise awareness for climate change. We catch up with Sean on the set of a fashion shoot to find out more about this globe-trotter’s continued devotion to the craft of photography and the moving image.

Written by Beverly Cheng Photography by Joyce Yung, Matina Cheung Selected Images provided by Sean Lee Davies

RAW: You are a photographer and a fil m-maker, what do you like most from each mediu m and how do they differ creatively for you? Sean Davies: What I like about photography is that it’s a very personal and spontaneous artform. Most of the time it’s just me and my camera. Even on large commercial shoots that involve a big set and a crew, the final outcome depends largely on the relationship I build between myself and the model or sitter. Making films, by necessity, is a far more complicated craft and involves a lot more people so there is far greater risk of failure or deviation from the original plan. As a result, you lose the spontaneity that photography confers but in the process you gain the sensory power of sound and music. Film for me is life writ large, a grand opera of the senses, whereas a great photograph should fill your mind with music. RAW: You have worked on a large

range of subject matter in your photography, what is your most memorable moment? SD: I get most excited about being in the wildernesses and amongst remote populations, far away from city lights; places that few others will have the chance to see in their lifetimes. I’ve had the privilege of visiting the steppes of Mongolia to watch Kazaks hunting with their eagles, climbing to the peak of Kilimanjaro, or camping on the banks of the Zambezi river all because of photography and I’m thankful for that. RAW: What inspires you? SD: I’m a museum and gallery junkie and whenever I have the chance I’ll visit a museum or gallery to get inspiration, especially when I’m in London, New York or Paris. But the internet has to be the greatest source of inspiration these days. Whether it’s a quirky story on Facebook, a beautiful photograph on Filckr or a repin on Pinterest; there is so much amaz-

ing content out there now that it’s just a question of being able to find some great references and create something new. RAW: What was the biggest risk you’ve ever taken? SD: Career wise? I left a pretty cushy job as director of editorial and photography of Edipresse Asia, a pan Asian publishing company, to form my own production company. That was pretty hard given the circumstances, as it was right after the big crash of 2008.

new photographer these days is the internet and digital photography itself. It’s not particularly hard being a photographer because of digital, but it’s become increasingly more difficult to make a living as a photographer when you start out. Digital photography has been an amazing evolution in photography, but the flip side is that it has killed the industry as there are just so many photographers and amazing photographs in the marketplace and people are willing to do things very cheaply just to get a foot in the door.

RAW: What are some of the major road blocks while you were starting out in your creative career?

RAW: You just came back from New York Fashion Week, can you describe your work and experience there.

SD: Hong Kong can be a very commercially-driven place and pursuing the arts is not really considered a career path. For a long time I had to have, in effect, two jobs one as a magazine editor and one as a staff photographer. The benefit of this was that I was exposed to a wide variety of photography jobs, from fashion to still-life to sports photography. Unfortunately the biggest roadblock to a

SD: NYC fashion week is always a lot of fun and the after parties this year were particularly memorable. Just about everyone and their dog is a street blogger and photographer and it’s a bit of a media scrum. You arrive at a show and get photographed by some bloggers who think you might be someone important, while all the bloggers are photographing each other, and then the press photog-

Photo provided by Sean Lee Davies

Photo provided by Sean Lee Davies 39

STUDIO VISIT

Photo provided by Sean Lee Davies

STUDIO VISIT

Photo provided by Sean Lee Davies

Take Five:

Fun facts raphers are photographing the bloggers photographing the celebs and guests! I’ve been going for years as an editor, but this year I was there for a few brands, such as J. Crew and photographing all the shows and behind the scenes for different publications, such as Modern Weekly. RAW: Tel l us more about your docu mentary fil m Cancer & The City? SD: I wrote, directed and produced a film about young people living with cancer in Hong Kong for Nat Geo [National Geographic]. It focuses on the touching story of a young woman struggling to live her life with all the odds stacked up against her. It was hard to film both emotionally and logistically because everything was dependent on her health. During the filming, her health deteriorated rapidly and the production was postponed for four months. I learnt a great deal about the human spirit from meeting thes cancer patients who show tremendous courage in the face of adversity—it was a

very rewarding experience. RAW: I noticed that you are very at ease during a shoot despite there being a lot of prep work. What are the secrets to getting “the” shot for each setting? SD: Accepting that what you plan never turns out the way you planned it. Taking the time to work out the shot. www.seanleedavies.com

about Sean Lee Davies 1. What’s your favorite clothing item? My camera vest, which I pack up to 10kg of gear so I can get onto a flight without paying extra weight fees! 2. You seem to be a very active person, what are your other hobbies? Music is my other great passion – piano and guitar. 3. What’s your favorite color? Blue, all the shades of blue. 4. What is your favorite camera lens? Nikon 105mm f/2. 5. What do you like to shoot for fu n?

STUDIO VISIT

Macro insect life!

STUDIO VISIT - DAY IN THE LIFE OF ...

02 03

06 08

01 Sean is pretty happy with the shot. This isn’t a staged shot, he really is this happy and jovial on set. 02 Sean becomes the model on a motorcycle. 03 Setting up for the second shot on the motorcycle. Sean’s providing direction for the model. 04 Double checking the shots with the producer and stylist. 05 Another change in setting, Sean is working out the angles with producer Mike Davies.

06 Just a few touch-ups before the models are photo ready. 07 Getting click-happy, Sean tests out various shots before getting the perfect frame. 08 The balancing act: Sean coaches the model through an action shot balancing on top of a motorcycle. 09 Reviewing the final selected photos before the group changes to another setting. 45

STUDIO VISIT - DAY IN THE LIFE OF ...

Behind the scenes with Sean Lee Davies at a men’s magazine fashion photo shoot in Sheu ng Wan.

STUDIO VISIT - DAY IN THE LIFE OF ...

The Universe is My Mind 宇宙是吾心

RAW: What motivates you to continue in the field? Angelika Li: Passion. It is my core motivation.

Gallerist Angelika Li shares how passion has motivated her to pursue a career in art—an interest passed down from her parents. Her interest in art grew during her teenage years and would later lead her to a bachelor’s in art history and architecture in the UK and a master’s in cultural management from Hong Kong. While she has worked both in the UK and in the U.S., Angelika returned to Hong Kong where she’s now the manager of Hanart TZ Gallery—one of Hong Kong’s most celebrated art galleries that focus on Chinese art.

Written by Beverly Cheng Images from Angelika Li

RAW: What is your definition of art? AL: Art can be both enlightening and deceptive, it depends on which side you are looking at it from. RAW: If you had to pick a favourite era, movement in art or specific artist what wou ld it be? AL: There are so many, I can’t pick just one. There are so many works of art that have increased my hunger for knowledge in art, they include the spiritual paintings at Lascaux dated back around 16,000-14,000 B.C.; the “Jockey of Artemision”, a Hellenistic bronze equestrian monument at National Archaeological Museum, Athens dated to c.140 BC - 200 B.C., that captured the excitement and vitality of a horserace and the rider’s passion on his face is more than lifelike; from Italy I was so intrigued by the humour of Giulio Romano who broke the classical rules in architecture, for instance in the Palazzo del Te he built in the 16th Century in Mantova; Hong Kong artist Irene Chou’s bold and powerful structural strokes in Impact series in 1980s to her “The Universe Is My Mind” series got me into a trance...I should stop here otherwise it will develop into an endless list! RAW: What was the first piece of art you’ve ever purchased (or have an eye on, if you haven’t purchased anything yet)? Why did you make the purchase? AL: It’s Wan Qingli’s “The Frog in the Shallow Well” [pictured]. Not only do I admire’s Dr. Wan’s calligraphy and Ink painting, what I love the most is his humour.

RAW: What’s your advice for col lectors? AL: I think it’s an enjoyable process to do homework and discuss with other collectors and gallerists about the artists and the works on your mind. Buying art is like a treasure hunt. By placing bets on young potential artists’ work, it’s like training and testing your level taste and [artistic] eye and knowledge. RAW: How do you predict what’s coming up next? What are the latest trends in art col lecting? AL: I look into the depth of meaning of an artist’s work and consider how his or her work would influence and contribute to the future development in the history of art. I have developed a particular interest in Chinese contemporary ink art. It’s interesting to see how the medium of ink within the context of international contemporary art, contemporary Chinese art, and the tradition of Chinese ink painting itself evolve. RAW: Is Chinese Contemporary art dead? What’s left? AL: There is a vast number of artists from Hong Kong who deserve more academic discussion and recognition on an international level, especially the Hong Kong masters whose work are way too undervalued given their contribution to and status in the local and international art scenes. RAW: What is the most important part of your job? AL: To make more people involved and engaged in art.

Wan Qingli, “The Frog in the Shallow Well” 47

ART SAVVY

The Universe is My Mind 宇宙是吾心

BINOCULARS

Davina Stephens Written by Beverly Cheng Images from Davina Stephens

Bali is often thought to be a paradise destination—a place where the soft sway of palm trees, sun-drenched beaches and a rich, vibrant culture have inspired the curiosity of travelers from all corners of the world. From batik prints to teak woodcut sculptures, Balinese arts and crafts have long been popular beyond the reaches of this small tropical island. Artist Davina Stephens has devoted the past 30 years to capturing what truly makes her homeland unique. Although she left Bali as a teenager for India and Australia, she always knew that she would return. Davina often reflects back on a time before the tourist buses clogged the streets and mega resorts invaded the coastline; a time a time when, as a young girl, she would bike down the dirt roads she would bike down the dirt roads and dodge falling coconuts with her Balinese classmates. In her art, she juxtaposes iconic Balinese symbols of sea, sand and surf and mythical underwater creatures with images of Hindu gods, temples and mundane modern items. Davina’s style has transformed over the years, too, from surrealist and dreamy compositions awash with soft pastels, to monochromatic erotic nudes, stark woodcuts and multi-layered mixed media canvases. Her work has been exhibited in Bali, across Asia and has reached as far as France and Australia. With each exhibition abroad, Davina transmits her vision of Bali—a land of mythical beauty and where she is proud to call her home. www.davinastephens.com 48

A heroes Paradise

Archipelago

BINOCULARS

Upacara Pekelem

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