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“艺术创作是我生活中非常重要的部分。相对于静止，我更喜欢流动的状态。我喜欢运用多种媒介，灵活的表达我的想法和实践。不同的形状和颜色的组合，创造了一种好似在看万花筒一般的感受和情绪。”这些错综复杂的抽象图案刺绣作品来自现居加拿大的日本艺术家岩崎崇（Takashi Iwasaki）。

“Art making is an essential part of my life. I like being in a fluid state more than in a static state. I prefer to be able to work with more than one medium and I like to be flexible in my thoughts and practice. Shapes and colors in my paintings and drawings evoke figurative qualities which embrace a kaleidoscope of emotions.” Admiring the intricate hand embroidered abstract designs of Winnipeg-based artist, Takashi Iwasaki.

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Yoko Ono poster, 1997-98

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牛津现代艺术博物馆（Modern Art Oxford）为了庆祝其在2015年的50周年生日，提前展开了名为”50:50″计划——由艺术家组合Simon & Tom Bloor从其近50年来的展览档案中精选50张海报，每一张海报都堪称经典，亦是对当代艺术史的一次回顾和致敬。

Modern Art Oxford is beginning its 50th birthday celebrations early (it is 50 in 2015), with a website containing a collection of 50 posters from its exhibition archive, chosen by artists Simon & Tom Bloor.

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布宜诺斯艾利斯艺术家Jazmín Berakha以针线为画笔，在时间的酝酿下，利用传统的刺绣工艺勾勒出如绘画一般细致、立体且惟妙惟肖的作品。在世界快速更迭中，她甘愿做一个慢慢做活的手艺人。

Buenos Aires based artist Jazmín Berakha drawing with thread, building images that foreground the textiles of our lives with literal fibers.  Luscious and colorful, her inviting images are also dizzy with clashing hues and tangles of pattern.

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从2008年开始，气球艺术家Addi Somekh和摄影师Charlie Eckert前往34个国家拍摄了多达1万张戴着气球帽子的肖像。作为一名对富裕阶层收费高达150美金每小时的艺术家来说，他却不吝将自己的技能教授给一些处于弱势地位的妇女和儿童，他希望通过自己作品传达快乐，这份快乐是不分贫富贵贱的。Addi Somekh 1972年出生于好莱坞，19岁的时候，当他发现制作扭气球可以让大家开心，而且不用看老板脸色也可以赚钱，于是毅然选择了以此为业。

Since 2008 balloon artist Addi Somekh and photographer Charlie Eckert have traveled to 34 countries and shot over 10,000 photographs of people wearing balloon hats. After focusing more on balloon twisting than homework in college Somekh began working professionally as a balloon artist, charging wealthy executives up to $150 an hour to make elaborate balloon hats. He also donated the same skill to shelters for battered women and their children where he realized something: both groups, the rich and the poor, were laughing and enjoying his work in the same way.

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Mitsuru Katsumoto 1961年出生于日本滋贺县，现居东京。关于她的资料不多，从作品来看，她似乎试图将“绿色”贯穿在她的每次创作乃至生活的每个狭小缝隙之中，很可爱也很特别。用一点小心思小喜好，装扮一下趋同的世界和物件，生活也随之焕发了新的生气。（摄影：Bunsei Matsuura）

Mitsuru Katsumoto born in 1961 in Shiga Prefecture, now lives in Tokyo. Katsumoto had a first exhibition in 1995, titled Secret Garden, which was only an introduction to a secretive world of eye-catching detail and anachronistic furniture. (Photographs by Bunsei Matsuura)

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春去秋来，花随花逝，人为花伤，身生敬畏的自然轮回中诉说着生命的传奇。室町、镰仓时代的佛具，与枯莲，朽杉，樒，随着川濑敏郎（Kawase Toshiro）的花艺浮现在上田义彦（Yoshihiko Ueda）的影像里。

311东日本大地震刚过不久，花道人川濑敏郎与摄影家上田义彦便合作完成了名为“抚慰”的摄影作品，为每个逝者的亡灵，平抚心境而祈祷。灰色系的蓝色，浮现老成腐朽的印象，上田却赋予深邃复杂的表情，绝望与希望，诞生和死亡，同时渗透出的震撼压倒性的力量。自然因生命而美，为生命而衰。花叶枯萎后还土而逝，孕育新的生命，盛极而衰的源泉，是生命绽放的顶点。50天前的夏，6个月前的春，10年前的秋，春夏秋冬的轮回是一个生命的旅程。 看到这样的作品，是深感事态的无常，自然的无情，人类的无力。万物皆有灵，而与之相通的是我们需要平抚的心。

川濑敏郎，1948年出生于京都，自幼师从最古老的“池坊”花道，日本大学艺术学部毕业后，前往巴黎大学留学，回国后不拘泥于流派，回到花道的原点，从事表现“日本肖像”的自由创作。上田义彦，1957年出生于兵库，活跃于时尚摄影到广告摄影，电视广告的拍摄等多领域，同时进行着自己的作品创作，代表作有以描写自己家族的“at Home”，缅甸僧院的“YUME”等。（撰文_will）

After the Great East Japan Earthquake on March 11th, 2011, our fundamental ideas on nature, life, morality and art expression have been forced to alter their definition to recover/rebirth. This collaboration between Toshiro Kawase (Flower Artist) and Yoshihiko Ueda (Photographer) was carried out soon after that day as their wish for the recovery and peace.

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Jackson Pollock

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当置身于美术馆里，你自然会忘记画作只是创意过程的最终产物，在绘画的整个过程中，除了需要创意灵感外，物理和逻辑的步骤/细节亦是不可缺少的。画家们的日常生活究竟是怎样的？带着这个问题，布鲁克林艺术家Joe Fig用了将近十年的时间探访了24位当代画家（如Jackson Pollock、 Willem de Kooning、Gregory Amenoff、Ross Bleckner、Chuck Close、Will Cotton等），多维度的探索他们的创作生活，并将研究更多的落实在物质世界中。他将画家的工作室/工作台复制成了一个个微缩雕塑，并结合一系列访谈，诸如每天的创作生活是怎样的，如何打理工作室，如何摆放画具等，来探究藏匿于画作背后的，画家们的真实生活与创作动机。

Inside an art gallery, it is easy to forget that the paintings there are the end products of a process involving not only creative inspiration, but also plenty of physical and logistical details. It is these “cruder,” more mundane aspects of a painter’s daily routine that motivated Brooklyn artist Joe Fig to embark almost ten years ago on a highly unorthodox, multilayered exploration of the working life of the professional artist. Determined to ground his research in the physical world, Fig began constructing a series of diorama-like miniature reproductions of the studios of modern art’s most legendary painters, such as Jackson Pollock and Willem de Kooning. A desire for firsthand references led Fig to approach contemporary artists for access to their studios. Armed with a camera and a self-made “Artist’s Questionnaire,” Fig began a journey through the workspaces of some of today’s most exciting contemporary artists.

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