TOP TO BOTTOM, from (“9#, Sk8 and Toy-kyo“)
© Joji Shinamoto
Street culture graces the portfolio of Japanese photographer, Joji Shimamoto, as he traverses between New York City and Tokyo. Born and raised in Japan, he has since relocated to the Big Apple as a freelance photographer. Recently featured in Japan’s Photographica magazine and studio voice, this young photographer’s future looks bright.
Visit his portfolio to see more. A collection is also available here.
TOP TO BOTTOM, from (“November“)
© Gloria Chung
I know it’s only the end of January but Gloria Chung’s November series made me think a little about how time flies. Turn one round on the spot you’re standing on and you would be saying goodbye to 2010 already.
This year has been pretty packed and awesome so far (hence the lack of posts). I’m sad to see this month almost over. Sometimes, life moves too quickly for us to truly enjoy every single moment.
Gloria is currently based in NYC and shoots freelance. Hop over to her website to see her other works.
TOP TO BOTTOM, from (“Qi Lihe“)
© Stephen Kelly, 2009
Stephen JB Kelly documented the lives of ethnic Muslim minorities living in Lanzhou, a city in China’s north west. The government’s treatment of the Uighurs have dominated the news in recent months. Stephen’s series comes at a right time, shedding light onto a world previously ignored by the outside world.
From his statement:
Qi Lihe is home to thousands of Muslim migrant families who have left their homeland within the Linxia Hui autonomous prefecture and arrived into the city searching for job opportunities and ultimately, a better life. For hundreds of years the Hui and Dongxiang Muslim minorities have farmed the arid land surrounding their ancestral villages. In recent years though, desertification has forced this once workable landscape to begin a dramatic change, impelling many modern day farmers and their families to seek a better existence in Lanzhou.
The work is a documentation of culture, modernization, oppression and environmental destruction all rolled into one. This is a story that has been repeated too many times in our short history. Once again, we’re reminded of the things we leave behind in the name of progress.
Visit his online portfolio to see the rest of the series.
TOP, © Zephyrance Lou
Simple Style is an indie blog that aims to encourage and inspire the creative class. Edited by Qing Zhou and Weimar Yao from Shanghai and Guangdong respectively, it’s an excellent launchpad into the design/art/photography/music world found in China and beyond. Well, the only drawback is that it’s written in mandarin but good work translates all languages! I think I may just start collaborating with them to port some of the amazing finds over here.
Oh and they wrote an excellent post about me recently and I’m returning the favor. (A beautifully written introduction, if I may add.) :)
The Art Incubator Residency Program is a professional development opportunity for Singaporean artists below 35. It will offer two local residencies and one overseas residency in 2010. Residents will be given a studio space, assigned a mentor and develop new work. They will pay you a stipend of S$1000 for sustenance and S$3000 for materials and production. It’s a community-based project that will emphasize interaction with other artists, curators and writers. If you’re eligible, please apply here.
TOP TO MIDDLE, from (“Tokyo Suburbia“)
© Takashi Homma, 1998
BOTTOM, from (“New Waves“)
© Takashi Homma, 2003
Takashi Homma captures the dark ominous side of Tokyo in the late nineties in his series ‘Tokyo Suburbia’. Japan was at the cusp of an economic doldrum, where an asset bubble caused many subsequent years of recession. It was this darkness that swallowed the dreams of many individuals, where the young grew up disconnected from society.
With a detached eye, Takashi recorded the suburban houses that residents left behind on weekends and the youths roaming the streets. The empty streets and houses become a reflection of the people it housed. The future of the nation posing with an air of nonchalance and defiance. More than a decade later, how has this changed?
More about the photographer here.
TOP TO BOTTOM, from (“swallow“)
© Dayoung Kang, 2009
Dayoung Kang’s swallow series depicts the anonymity and lack of identity in modern society. Faceless characters inhabit the images; unable to communicate with others in the society. The hidden wounds we carry haunt us, yet we continue to swallow the pain. Visit her website here.
This will be the last in the feature on Chung-ang University. I hoped you enjoyed it.
Siyeon Park’s series reminds one of August Sander’s portraits of the People of the 20th Century, a typological look at school-going girls in Korea. The girls bear an eerie resemblance to each other, blank stares fixated on their faces.
Su-yeon Choi: Who cries all the time over everything
Ji-in Kim: Who hates to wear school uniform
Na-hee un: Who doesn’t know what to do in the future
TOP TO BOTTOM, from (“colorless“)
© Siyeon Park, 2009
From her statement:
When I was young, I couldn’t even have a meal with my family…so I ate at my mother’s car all the time on the way to the academy. I didn’t know that what am I doing here and why should I do this for 19 years. I just did because everyone was doing the same thing…I was like a robot in a factory. This story is not only mine but of all Korean students.
While it contains elements of teenage angst and feelings of being lost in the world, I’m sure it could easily be applied to most people out there. How many of us know our ultimate destination? We’re all just groping around blindly in this world and most times, we have to fit into the mould that society imposes on us.
Kwon Ji hyun: I’m so sorry. I’m just, just photographing in the messed up world.
Judith Gehring: My sentence was paid for by an innocent dove, whose beauty was distorted so that I would enjoy freedom!
Damian Pieniazek: I am too ambitious, that’s why I don’t have enough time for my family.
TOP TO BOTTOM, from (“The Guilty“)
© Kwon Ji-hyun, 2009
Kwon Ji hyun won the Best Portfolio award at the Bratislava Month of Photography. Her series, The Guilty, engaged the topic of social consciousness and responsibility. Through the series, she tried to reconcile the guilt of being an artist while the rest of the world continues in persistent suffering.
Lei Jianyou
TOP TO BOTTOM, from (“??/Looking Afar“)
© Lei Jianyou
Lei is a young photographer from Zhejiang, China. A self-taught photographer with a short history behind him, his works carry a certain heaviness. He infuses elements of melancholy romanticism in his pictures of abandoned objects, often resulting in works that are both beautiful and painful to look at.
This series was produced during a winter period when he traveled to the north of China. The coldness of the weather, coupled with longing for a lost love and the warmth of friends resulted in this set of images. He projected his feelings onto a dejected landscape, as a form of mediation between a conflicted inner landscape and the serene world outside.
For more of his works, visit his portfolio here (in Chinese only, links are on the right of the images).