ABOOK MAGAZINE Issue 22

Oct. 2014 ISSUE 22

ISSUE 22

監製 Super visor : 張艾嘉 營運長CEO : 林炳存 Joshua Lin 創意總監Creative Director : 尹培袞 Sean Yin 發行人Publisher : 賀錫敬 Leo Ho 總編輯Editor in Chief : 林炳存 Joshua Lin 翻譯編輯Translation Editors : 姜怡帆 Annie Chiang 姜怡如 Connie Chiang 英國特駐Overseas Editor : Linda Cooper 採訪編輯Assistant Editor : 小金 視覺主編Design Director : Alex Chang

攝影總監P h o t o g ra p h y D i re c t o r : 林炳存 Jo s h u a L i n 攝影編輯P h o t o g ra p h y E d i t o r s : 張騰元、陳冠璋、L i n d a C o o p e r、 Eliza Hua n g 後製編修 : Eliza Hua n g 造型總監St y l i n g D i re c t o r : 林夢薇 Mo n fi L i n 編輯策劃S p e c i a l P ro j e c t M a n a g e r s : 趙欣、桑科 顧問團隊C o n s u l t a n t s : 陽帆、廖鎮漢、詹仁雄、 林知佑、廖曉喬 色彩管理 : 王振昇 行政管理 : 張騰元 執行公關 : 星予公關

ABOOK 意團隊有限公司 104 台北市內湖區港墘路221巷39-1號 Tel : (02)2657-1666 Fax:(02)2657-1555 Email : abookinfo@abook.cc Website : www.abook.cc

Black is widely has become an erment. From it politically "oka implications, to Chanel's histor black dress and fashion stateme

y used. It empowts modern ay" racial o Coco rical little d its iconic ent.

黑色是所有顏 色的極致。

把所有的色彩加混一起就 黑色，要能夠從黑色表現出不同 有影像工作者最大的挑戰。

許多年前，在那個類比的年代， 學暗房洗照片的技術，如何在沖 時候，能將光影中的灰階層次， 現出來，實在很有難度，為了達 美境界，讓我浪費很多相紙及藥

B lack is King. 黑色是王者。

就是最終極色彩 同層次，是所

，我剛入行時 沖洗黑白照片 ，透過顯影表 達到我理想完 藥水錢。

黑色 是一個 迷宮。

我在暗房中尋找路徑，在純白和純黑之間，有著無 限細微的灰，細細密密相互依偎，我為了找到兩者之間 最美的組合，費盡苦心，但每次都能充滿愉悅。從那時 候，我自己就很喜歡Low Key暗調的照片，我因為這種在 陰霾中暗暗發光的視覺感受，獲得心靈上的滿足，黑色 是無限可能。 這一期ABOOK 雜誌，我選擇了「黑」來做為本期的 主題方向，也希望 Abook Studio的同事們盡情揮灑，看看 大家在黑色的遊樂場裡，能不能玩耍出什麼意外，發現 什麼驚喜。這也是ABOOK Mag 創意的精神，因為創意人 在沒有客戶、沒有商業限制的環境下完成發想、執行， 這就是天堂。本期雜誌我們沒有廣告廣編的格式要求， 讀者所看到的，就是我們發揮無限可能的結果。 黑色很自由，ABOOK 很自由。 -end

Black Is King.

Black is the extreme of all colo

together and you will get the ultima biggest challenge for all photograp layers of blackness underneath that

Many years ago, in an era before into the industry first trying to perfe veloping beautiful photos in the da you produce a black and white pho out the layers of light and shadow i ance? It’s quite a difficult task, and of time and money in that dark room

ors. Mix all colors ate blackness; the phers is to create t ultimate black.

digital, I stepped ect the skill of deark room. How do oto that can bring in the perfect bald thus I spent a lot m.

Black Is A Maze.

I was searching for a path that lied between the pure white

and pure black. It was perhaps a detailed grey that depended on the cohesiveness of white and black. I tried real hard to find that perfect cohesion, and when I did, it was always so satisfying. Since then I started to really love more low-key photos with a darker tone. I find this sort of visual pleasure, seeing a radiant light amidst a dark haze. It’s spiritually satisfying for me. Black exemplifies infinite possibilities.

In this issue of ABOOK Magazine, I chose Black as our theme.

I really wanted all my colleagues at Abook Studio to be stripped of boundaries, and to see what kind of accidental creativity can be captured in this dark playground. I think this is the spirit of ABOOK Magazine because creativity isn’t about right or wrong, nor should it be limited by commercial needs. Being allowed to explore and create without restriction is like heaven to all photographers and creative persons.

Black is freedom. At ABOOK we fly free.

-end

圖 _ Joshua Lin

陶喆 形／音／色的魔法 因為光的吸收和反射 讓我們的視網膜，感受不同的顏色。 不僅僅視覺觀看而已，更映照進我們的心靈 比起音符，顏色更加具象 比起字母，顏色更有想像力 放眼華人歌壇，陶喆是少數能將文字、音樂和色彩巧妙融於一體的 魔法高手

「頭上有橘色的加州陽光 我的口袋只有黑色的柳丁 我只有一個藍色的感覺 不要問我為什麼 外面有橘色的加州陽光 我卻躲在自己孤獨的黑洞 我只有一個小小的要求 就是請你leave me alone」 －黑色柳丁，陶喆－

David Tao The Magic of Words, Music, and Color The absorption and reflection of light Allows our eyes to see and feel different colors It’s more than a visual sensation, but a light that shines into our hearts Color can be more tangible than musical notes Color can be more imaginative than written words In Asia’s popular music industry, David Tao is one of the few who can so cohesively turn words, music, and color into a magical unison.

子彈 飛

如果面對自身不理解或沒有立場 去批評的事情我們就不去閒話家 常的話，那麼世界上哪來那麼多 的對立？我們製造對立，記錄並 消費其中的矛盾。我們將這些 細小的摩擦放大，雕刻出各種藝 術：一首歌、一則新聞、一齣羅 密歐與茱麗葉。說穿了，每個人 都用自以為是的同理心在誤解著 別人。

我們可以將某個憂愁的人

部電影，並稱其為悲劇。

可以將某個快樂的人拍成

影，但我們至少需要安插

他的快樂整到無比憂愁的

能稱之喜劇。我們聽著失

歌，心有戚戚焉地覺得自

樣。我們看著一個只想當

黑道臥底，也不知道哪來

比心就覺得他的心情我也

甚至記得上一個插我隊的

子買了哪個牌子的香菸，

行

得上一個提醒我買一送一

長什麼樣子。黑色儘管苦 好過白色的索然無味。

白色代表純潔，所以沒有

對錯之間，錯造就了藝術。

它玩，怕把它弄髒。

黑色可以代表很多事，所

字_ Nella

個人都要摸一把，看看到 麼。

距 離

在我做音樂的日子裡，遇

的一次打槍是20秒。前奏

個和弦出來對方就說我音

了，第一句歌詞才剛噴出

字的時候對方就把我的檔

了。對方是個有著爽朗笑

人，精實的身材握著把吉

果你覺得我要寫一篇絕地

攻，述說若干年後我如何

的努力讓對方刮目相看那

這一刻我是一個 最快樂的人

人拍成一

了。此後我再也沒有弄懂過有關

。我們也

和弦的任何知識，三度五度什麼

成一部電

的我通通不知道。白鍵按下去聽

插一名被

起來怪怪的時候就往隔壁的黑鍵

張懸為快樂下過一個定義：你看

的人，才

按按看，一試八年。白安說過：

見你想看見的，你將它發生。如

失戀的

我只想在乎我在乎的，不想裝作

果我是上帝，這句話我一定要收

自己也一

熱情負責任。如果我賠的總大於

進聖經裡。在作音樂的日子裡，

當好人的

所得，也許我付不起再認真。而

我學會了接受讓別人看見不完

來的將心

我本身之於所謂樂理大概就是類

全。你無法擁有林嘉綺的高挑時

也懂。我

似這樣的感覺吧。

尚又想要郭書瑤的嬌小可愛，但

的中年男

，卻不記

一的店員

苦澀，卻

你無法阻止客戶做這樣的要求。

黑色，伸手不見五指。儘 管出口僅一步之遙，也望 不到半點心安。

我仍然常常看著子彈在槍膛裡炸 出一片煙花，螺旋式灌入我的腦 門。眼前一黑，這首又掰了。管 你什麼創作理念，歌詞意境。這

去年在某個音樂工作室的尾牙又

是斯巴達～然後啪一脚就踹到黑

遇到了當初的快槍俠。由於當初

洞裡去了。但也只有這些掉入陰

大部分是靠E-MAIL與對方工作

暗深谷，已成冰冷屍體的歌曲，

所以每

室的窗口聯絡，現場我誰都不認

才是黑色的。無法討好任何人，

到底是什

識。只有他，化成灰我也認得。

僅僅只是為了帶給我在被子彈擊

「我沒有做過線上藝人耶」、

中前的片刻快樂而存在的旋律。

「謝謝，但是我沒有印名片耶」

只有在我眼中是西施，任誰看都

遇過最快

大概是我那天說最多次的兩句

覺得是恐龍的，像老婆一般的關

奏的第一

話。對方是當天主秀的樂手之

係。這些歌曲裡面，我選了一首

音符押錯

一，聽了兩首，確實當年有資格

做成這次搭配黑色這個主題的歌

出來幾個

定我至死。即使至今日，他如果

曲。是一首之前不僅被廠商打

檔案關掉

突然跳出來說我和弦押錯了我也

槍，連想找身邊的朋友合作都石

笑容的

無法回嘴，只是多年後的現在才

沉大海的至冏之經典。大家可以

吉他。如

意識到兩人之間的實力差距。我

聽聽看，裡面有和弦嗎？如果沒

地大反

與他在男廁前對過一次眼，對方

有的話答應我要聽完前奏喔。

何用自己

顯然不知道我哪位，我也就沒上

那你就錯

前攀談，畢竟小便不要忍。

有人要陪

-end

John Wusah 是一名美國出生的華僑演員，同時也是相當厲

害的舞者與武術家，並最近被IMDB譽為「未滿四十歲的

好萊屋亞洲演員中最搶眼的前40名」之一。在前往紐約追 尋他的舞蹈事業之前曾短暫的定居在台灣幾年的時間，移

居美國之後的他也曾在迪士尼“Shake It Up”以及知名歌唱 選秀節目 “The Voice” 的舞台上嶄露頭角。

John 的成功看似來得全憑運氣，然而在訪問

中他告訴我們他追夢的過程並不總是一帆 風順。機會只會降臨在作足準備並不斷追求 精進的人身上。三年前一次在洛杉磯的試鏡 中，John被一家新的經濟公司看上並馬上要求

與他簽約。自此之後John參與了電視劇 “Mor-

tal Kombat: Legacy” 以及 “Perfect on Paper” 的

演出，後者目前仍在Hallmark電視台播出。這

J

次 ABOOK相當榮幸能夠近距離訪問剛剛回台

的John

關於他在好萊屋的種種奇遇。整個電

影業是否能在他的努力之下多少改變一些對

亞洲演員的刻板印象呢？

ohn Wusah

John Wusah is an American born Taiwanese dancer, actor, and martial artist who was recently named by IMDB as one of the “Top 40 Asian Actors Under 40 to Watch Out for in Hollywood”.

John spent a few years in Taiwan as a dancer and choreographer before moving to LA to pursue his dancing career, and has since then performed on Disney’s “Shake It Up”, as well as the singing show “The Voice”.

John’s acting career came subsequently and may seem to many as a lucky and smooth ride.

However he tells us that it wasn’t all smooth sailing; opportunity really does come to those who are ready and to those who work hard everyday to perfect their craft. During one of his first auditions in LA three years ago, John was seen by a new agency that immediately wanted to sign him. Since then John’s acting career has taken off with roles in the TV series “Mortal Kombat: Legacy”, and the TV film “Perfect on Paper” which is now playing on the Hallmark Channel.

John was recently back in Taiwan and ABOOK had the pleasure of sitting down with him to talk about life working in Hollywood and how (through his own efforts) he is changing the ways Asians are cast in Western film.

關於在好萊塢演戲，當 初是如何遇到這樣的機 會的？你在美國出生， 之後來到台灣又輾轉回 到洛杉磯。是什麼造成 了這幾次遷移，而這幾 次遷居又對你的演藝之 路有何影響？ 好萊塢的演出機會並非從天 而降，我幾乎是拿命去拼才 得以跟上其他好萊塢演員的 天份。他們才華刺激我想讓 自己精益求精的決心，因為

的人物分庭抗禮。我不顧一

遠走在你的前面，這讓我

切的捨去了所有去追尋我的

學會了謙虛。能夠協助像

夢想，心意已決後自己從未

Chuck Maldonado這樣的頂

回首。

尖舞蹈老師讓我感到無比榮 幸，他被譽為好萊屋的頂尖

你原本是為了舞蹈來到 洛杉磯，當時的你甚至 有機會與頂尖的編舞老 師 Chuck Maldonado 一 起 合 作 歌 壇 新 星 Ariana Grande 的作 品。就舞蹈來說，美國 的舞蹈環境與台灣有何 不同？

在內心深處我知道我也有同 樣的潛力。我帶著夢想來到

我一直覺得自己的舞蹈底子

洛杉磯，不打算讓任何人阻

算不錯，直到我見識到洛

礙我前進。我確實在紐約出

杉磯那些舞者的強度，我的

生，大學畢業後回到台灣學

天那差距真是天南地北。我

習中文，並意外地踏進了演

誠惶誠恐盯著那些人跳舞，

藝圈。我旋即意識到這是我

我不確定自己是否跟他們在

真正想要賴以為生的職業，

同一個層級。我還記得那時

自此之後我決定要前往該

自己每週上滿20小時的舞蹈

領域競爭最激烈的好萊屋。

課，只是為了嘗試跟上其他

如果我想要成為該領域的頂

的專業舞者。不管你贏過了

尖，我必須能夠與所有頂尖

多少人，總會有另一群人遠

編舞老師之一絕非浪得虛 名。而當我們的舞蹈讓甜美 的 Ariana Grande 露出驚艷 的表情時我覺得一切都值得 了。

你身為一名演員，又包 辦了舞蹈與武術，請問 何者在你心中占有最重 要的地位呢？為什麼？ 我全都喜歡。我的武術生涯 從小就開始了，而舞蹈也 是。這些是我的一部分， 我會一直鑽研到老都不會放 棄。到時候我就是個舞技 高超的老伯伯了哈哈！表演 是我心所嚮往，我對它的熱 愛讓我從來沒有把它當工作 看待過。對我來說，演戲就 像氧氣一樣，我無法一天不 觸碰演技。每天我都心懷感

激能夠作自己熱愛的事情。 而上述三件事情在我生命中 有同樣的重量，那些是我 從內而外表現出來不同的 三種形式。如果沒有這些東 西構成現在眼前這個自我， 我都猜不到自己會是個怎麼 樣的人。

身上。我必須比任何人都在 乎，當我做到這一點時，很 多重擔就這樣從我肩膀上消 失。我能夠站在今天的高度 是因為我接受我過去數不清 的失敗。我不再讓這些事情 帶給我任何負面能量去阻止 我成功。

身為一名華僑，並且在 好萊塢的環境下，除了 種族方面的偏見，你曾 面對過最嚴重的關卡是 什麼?

你心目中有崇拜的華人 演員偶像嗎? 崇拜的原因 是?

我認為身為一名華僑在好萊 屋，我必須面對的最大的瓶 頸就是自己。好萊屋是一個 打槍滿天飛的地方，我被 否決的次數遠多於我被認 同的次數。我失敗了無數次 以至於自己變成了自己最大 的敵人。我認為我根本不夠 格，但是後來我發現我必須 強迫自己化身為自己最大的 支持者。這是我的事業，如 果我自己不相信自己可以勝 任，別人才不會花功夫在我

無庸置疑是李小龍。身為一 名演員，他以華人的身份讓 整個西方文化倒抽了一口 氣。他讓我們能夠與其他人 種平起平坐，他讓我們的人 種忽然變得性感了起來。我 記得小時候看著他的電影的 時會對自己說「這我也辦得 到」他是我直至今日最崇拜 的偶像之一，他將我們黃種 人扶上了世界舞台。

身為一個好萊塢戲劇圈 的新人，有沒有什麼有 趣的故事可以跟我們

分享? 最好笑的一次是某天在工作 場合巧遇 Will Smith 。那個 地方超暗而視線所及之處 又被餅乾與水瓶擋住，我 走上前去拍了對方的肩膀問 說要去哪裡登記？他看了 看四周，指了一個方向說 「呃...去那邊登記」然後又 繼續往桌上放食物。我走了 幾步發現事情好像不太對。 我在心裡對自己說「剛剛那 是Will Smith嗎?」然後又突然 想到「我剛剛是不是還很沒 禮貌的從他肩膀拍下去問路 阿？」想到這邊我立馬跑回 去道歉「Smith先生我感到超 抱歉我沒有看到是你，不然 我就不會這樣拍您的肩膀」 對方笑笑說「沒關係啦， 只是我希望你可以叫我 Will 而 不 要 叫 我 Smith 先 生 」 我 跟他握了手並從他口中獲得 了許多關於進入好萊塢影視 產業的建議。這是我人生中 最精彩的一天之一。他真的 是親切又好相處，並讓我了 解到他何以成為好萊屋一線

大明星。

短短三年的好萊塢生 涯，某些人肯定視你的 成功為「運氣好」。造 成你事業蒸蒸日上真正 最主要的因素是什麼? 驅使自己，用無畏的信念不 斷驅使自己。最重要的就是 比任何人都更相信自己。不 看好我的人我看多了，說我 在作夢，不夠會演，不夠好 看什麼的，反正走著瞧。我 的家人是我成功的另一個最 重要的因素，對於他們能夠 認同並支持我的各種選擇我 感到非常窩心。我每天都打 從心底謝謝他們。

你在不久前剛經歷了一 場大車禍，謝天謝地你 還好好的，但是你用人 生的轉捩點來形容這次 車禍，為什麼? 謝謝關心！我恢復的很好， 應該再一兩個月就完全康復

了。在我躺醫院的三週裡面 我有很多時間思考自己的 人生。我了解到了什麼事在 人生中是真正重要的，事實 上這場可怕的車禍提醒了我 當初來洛杉磯的目的。這場 車禍給了我活下去的目的， 我知道自己就該在好萊屋。 而促成這些成就並不歸功於 我自己，我的家人、我的朋 友、甚至是台灣的民眾，是 我身邊的每個人對我的影響 雕塑出了如今的這個我。

你也嘗試過跨領域去寫 作並製作電影。這是怎 麼開始的? 剛開始演戲的時候我因為得 不到自己想要的角色而無比 躁鬱。我希望亞洲人演出來 不只是外國人眼中以為的 那樣。為什麼亞洲人不能性 感、不能浪漫、不能陰暗、 不能神秘? 所以我開始嘗試 自己刻劃出心目中想演的角 色。如果好萊屋不打算讓我 演出那樣的角色，那麼我會

寫出自己的腳本，用自己的 電影去演活心目中的角色。

你自編自導自演的新 片 “ColorLines” 已經 在好萊屋的中國戲院上 演了，跟我們說說這部 片。 ColorLines 述說一名被黑人 家庭領養的亞洲小孩，飽受 身處在一個沒有其他亞洲人 的都會社區中受到的磨難。 男孩長大後因為感覺到自己 的格格不入而最終捨棄了自 己的家人。但是偏偏卻必須 面對自己的過去與恐懼，回 到家裡去參加養母的忌日。 這故事有某部分也參考自我 的童年。

跟我們說說你接下來的 計畫 我有一些片子在進行中，雖 然都還沒個影子啦哈哈。我

希望所有的台灣朋友能支 持我。雖然我是個華僑， 但是我很努力想讓華人邁 入國際!你們可以上我臉書 www.facebook.com/jwusah 按讚看看我在好萊屋都發 生了哪些好玩的事情!謝謝 你們每個人!

拍攝空檔我們都一直交換 彼此拍的影片看哈哈。 我很高興有機會可以跟他 合作。

你最近也受邀演出了 Peruchazhi 這部影片 並與寶萊塢巨星 Mohanlal 共同演出。 感覺如何?跟好萊屋的 電影模式有何不同?

創造自己的作品，我們需 要被看見!我們之所以在外 國人眼中的形象這麼扭曲 主要是因為西方文化是如 此解讀並詮釋我們。如果 我們能拿出一些作品讓他 們看見我們的其他面向， 他們會慢慢了解到我們不 只是他們偏見裡的那樣。 我之所以會嘗試自己製作 電影正是因為我希望西方 文化可以接受亞洲人也可 以演愛情片主角、片裡的 體育健將、劇情中的幽默 大師。我們潛力很夠，獨 欠曝光。我們需要讓人們 看見我們的能力。世道已 經在變了，亞洲已經慢慢 踏進好萊屋的門檻。所以

與Mohanlal合作是一次很 棒的經驗，一直到第二天 拍攝之前我根本不知道他 是誰。他很好親近又一直 在我身邊開玩笑，我不懂 大家為何都用敬語稱呼 他。直到我上網搜尋他的 名字才赫然發現他是印度 的超級影星。我又驚又 喜，因為他是那麼好相 處。同時他跟我一樣都是 舞蹈與武術好手，所以在

可以給所有想要進軍好 萊塢的亞洲人一些建議 嗎?

讓我們一起努力提升到更 高的境界吧!

-end

How did the Hollywood opportunity come about? You were born in the States, came back to Taiwan, and then moved to LA. What led to these transitions and how did it lead you towards the path of acting?

from there I decided to challenge

remember taking up to 20 hours

to make it where the competition

whole year just trying to catch up

myself by moving to Hollywood

is the fiercest. If I wanted to be the best, then I’d want to be able to

compete with the best. I dropped

everything to chase my dreams and I haven’t looked back since!

made me want to be better, because

You moved to LA originally to dance and had the opportunity to work with top choreographer Chuck Maldonado and rising star Ariana Grande. How’s dancing in the States different than in Taiwan?

same potential as well. I came to

Oh man, dancing in the states can-

anybody stop me from chasing

are on a whole other level here. I

York, came back to Taiwan after

wasn’t until I moved to LA did I

into the entertainment industry here

were! I was shocked and intimi-

ly made me realize that this was

dance, because I wasn’t sure if I

Good question. The Hollywood opportunity never just came about. It was something that I worked very

very hard on; I studied and trained

my butt off trying to catch up to the amazingly talented people in Hol-

lywood. They are so good that they

of dance classes every week for a

to the professional dancers in LA.

It truly humbled me, and made me realize that no matter how good

you think you are there is always someone out there that is better.

Your learning never stops... Being able to assist Chuck Maldonado

is one of the best experiences I’ve had the privilege of undergoing.

There is a reason why he is one of Hollywood’s top choreographers,

and Ariana Grande is a sweet heart, I had so much fun dancing for

her. Her surprised expression was everything.

LA with a dream, and didn’t let

not even compare to Taiwan. They

after it. And yes, I was born in New

always thought I was good, but it

college to learn Chinese. And fell

realize how great everybody ELSE

From dancing, to acting, to martial arts, you do it all!

Which would you say has the most important place in your heart and why?

in Taiwan by accident. But it quick-

dated at first watching all of them

I love them all. I started martial arts

what I wanted to do for a living and

could compete at their level. I still

me, dancing as well. I’m going to

deep down inside I knew I had the

at a very young age. It’s a part of

be dancing until I’m old and grey.

I’ll be that grandpa that can still

there”, and continued to put food

overcome?

I love it so much that I don’t see it

realized it was him, and thought

The biggest hurdle as an Asian

bust a move! Acting is my passion; as a job. It’s almost like air to me.

I can’t go a day without expressing

myself artistically. I wake up everyday feeling thankful that I get to be

able to do what I love. All three are equally important to me because they are all a form of expression for my heart. I don’t know what

kind of person I would be if I didn’t have those passions in my life.

Any interesting stories as a new actor in Hollywood?

on the table. I took three steps and to myself, “Oh no, was that Will

Smith...?” and “Oh my god, did I

just tap Will Smith on the shoulder like he was nobody?” I ran back immediately and apologized. I

said, “Oh my god Mr. Smith, I am so sorry... I didn’t realize it was

you, had I known I wouldn’t have tapped you on the shoulder like

that.” He just started laughing and said, “Nah man it’s cool, but I’d

rather you call me Will then Mr.

Smith though.” He shook my hand and I was able to talk to him and get some advice about the Hol-

The funniest was definitely the time

lywood industry. It was one of the

him in the most hilarious situa-

day. He was just so down to earth

I didn’t even recognize him at first

was an A-list movie star.

I couldn’t tell who I was talking

As an Asian American in Hollywood, aside from the obvious racial stereotypes, what would you say has been the biggest hurdle you’ve had to

I worked with Will Smith, I met

best experiences of my life to this

tion. But what was funny was that

and friendly, he showed me why he

because the room was so dark and to because he was putting bottled

water and snacks on the Kraft services table. I just walked up to him and tapped him on the shoulders

and went “Hey, where can I check in?” He looked around, pointed

and said, “Oh, ummm check over

American in Hollywood truthfully

was myself. The Hollywood industry is an industry of “No’s”. I’ve

had more producers and directors tell me “no”, then they have told

me “yes”. I failed so many times

when I first got here that I became

my worst enemy. I thought I wasn’t

good enough, but I realized later on that I HAD to become my biggest supporter. If I didn’t have faith in myself, no one else will because this is my career. Nobody else

will care more about it than me.

Once I did that, a huge weight was lifted off my shoulders. I’m able

to be where I am today because I

accepted my many failures. I didn’t let them keep me down and deter me from succeeding.

Which Asian actor, if any, do You look up to and why?

It would have to be Bruce Lee. As an actor he made Asian men rel-

evant; he made western culture take a step back and say, “Wow”. Bruce

Lee made us “men”. He made us

couldn’t have done it without their

watching his films, and saying to

day from the bottom of my heart.

sexy. I remember as a young boy myself, “I can do that too.” He is

one of my biggest idols to this day, and I thank him for putting Asian men on the world stage.

In the short three years of your Hollywood career, you would be considered by some very “lucky”. What to you has been the most important factor towards your rising success?

moral support. I thank them every-

You were recently in a bad car accident, and thank goodness you are okay, but you told us that it was actually a turning point for you in your career. Why’s that?

into writing and producing your own films. How did that all begin?

I was frustrated when I first started

acting, because I wasn’t getting the roles that I wanted. I wanted Asian men to be more than what Hol-

lywood stereotyped us to be. Why can’t we be sexy, romantic, dark,

and mysterious? So I just sat down one day and started to write roles

that I wanted to play. If Hollywood

Thank you so much for thinking

wasn’t going to cast me in those

should be back to my old self in a

write and produce those roles for

about me! I’m healing great and

roles that I wanted to play, I’ll just

month or two. I had a lot of time

myself.

Drive... Drive, conviction and

bedridden in the hospital for 3

more than anybody else in the

was important, the fact I survived

factor. I’ve had plenty of people

me as to why I’m in LA. It gave me

and that I’m chasing a pipe dream.

that I’m meant to be in Hollywood.

not pretty enough, but I just looked

own, my artistry represents every-

Your new film “ColorLines” which you wrote, produced, and acted in was screened at the historical Mann’s Chinese Theatre; tell us about the film.

My family is also another great fac-

to even the people of Taiwan.

me and support my career choice. I

You’ve ventured

to think about my life when I was

fearlessness. To believe in myself

weeks. It made me realize what

world has been the most important

a near fatal car accident reaffirmed

say to me that I’ll never make it,

a purpose to be alive. I now know

That I wasn’t good enough, or I’m

That my success is not just my

back at them and said, “watch me.”

one, from my friends, to my family,

tor, I’m blessed that they believe in

ColorLines was my first short film that I wrote, produced, and starred

in. It’s a story of an Asian boy that

movie stars. It was a pleasant sur-

us to be. If we put out great content

shines light on the trials and tribula-

He too is an accomplished martial

then they will slowly realize that we

was adopted into a Black family. It

tions that he went through being the

only Asian in an urban neighborhood.

The boy abandons his family after

he grows up because he felt discon-

nected. But has to face his fears and past as he goes back home to attend

his adopted mother’s funeral. It was

loosely based on my own childhood experiences

You recently also starred in the film “Peruchazhi” with major Bollywood star Mohanlal. How was that experience?

Any differences on a Bollywood set compared to Hollywood?

prise; he was just so fun to work with. artist and dancer like myself. So we would always trade videos to watch

between takes. He’s an amazing person, and I’m glad I was able to work with him.

Tell us about your upcoming projects?

culture to accept the fact that we can

be the romantic leads, the sportsmen, and the funny person. It’s all about

exposure. We have so much potential.

We just need to show people what

we are truly capable of. The tides are

would love for all of my Taiwanese

and elevate ourselves, and our people

Hollywood. So let’s keep on pushing

friends to support my career. I might

to the next level!

but I want to elevate our people in

-end

be an ABC (American Born Chinese), the international community! You can check me out at www.facebook.com/ jwusah and press LIKE to see what fun things I do in Hollywood!

Create your own content; we need

and typed in his name did I find out

stereotyped in Hollywood is because

“sir”, and I didn’t get why because he

films is because I want Western

now, but it’s still hush-hush. But I

was so nice and kept joking around

who he was until the second day of

why I write and produce my own

changing; Asians are coming up in

filming. Everyone kept calling him

some experience, I didn’t even know

can be so much more. A big reason

I have a few films in the works right

Any advice for Asians trying to make it in Hollywood?

Working with Mohanlal was an awe-

and show people another side of us

with me. It wasn’t until I went home

exposure! The reason why we are

that he was one of India’s biggest

that’s what western culture exposed

The Canadian Film In

couver and in Toronto. Many

duction center for film and tel

thriving, but also very compet

in Vancouver, working on mus

Asian and Western. As a Cana

on numerous international pro video for Korean singing duo portfolio includes various TV 彩妝師

Bora Bak

許多電影經常於溫哥華

省被評為北美的第三大電影

非常競爭的。Bora Bak 是位

電影中都能看見她的身影。

能力為她在溫哥華的競爭環

dong」和「趙容弼 Cho Yong

還包括許多的電視劇及恐怖

PHOTO PROVIDED BY BORA BAK

ndustry is often referred to as Hollywood North because many feature films are filmed in Vanpeople probably do not know that British Columbia has been ranked as the third largest pro-

levision in North America, after LA and New York, and thus opportunities in the industry are

titive. Bora Bak is an up and coming makeup artist who is being called up for tons of projects

sic videos, editorials, and feature films. Perhaps it is because she has the best of both worlds;

adian born Korean, her bilingual abilities has opened up doors for her in Vancouver, working

ojects that are now coming to the West Coast on location. Bora recently worked on the music Akdong, K-pop sensation Cho Yong Pil, and an editorial shoot for Men’s Health China. Her

series as well the horror film “The Possession”.

華及多倫多拍攝, 因此加拿大電影工業也被稱為北美的好萊塢。許多人可能不知道, 卑詩

影及電視劇的生產地, 前兩名則是洛杉磯及紐約。同時, 在這欣欣向榮的行業中, 機會是

位逐漸嶄露頭角的專業彩妝師, 常受邀於各式的工作場合中, 如音樂錄影帶, 時尚雜誌, 和

。這可能也是因為她同時擁有亞洲人及西方人的身分優勢。身為一位加拿大韓裔，雙語

環境中打開一扇大門並參與許多國際企劃。Bora近期更參與K-pop 歌手「樂童音樂家 Ak-

g Pil」的音樂錄影帶拍攝和中國「男士健康 Men’s Health」雜誌的拍攝。她的代表作品

怖電影「聚魔櫃」。

PHOTO PROVIDED BY BORA BAK

PHOTO PROVIDED BY BORA BAK

請問你在哪裡接受訓 練? 可以多介紹一些 關於你的專業背景嗎?

同時也為化妝品零售商工

同彩妝技術的彩妝師是很困

作,也常常飛到紐約,洛杉磯

難的.

和韓國參加國際彩妝大賽。 不久後,我開始教學及接觸

請問你最印象深刻的 工作經驗?

我曾經住在韓國,當時的我

許多目錄,商業拍攝和電影

純粹為了好玩而決定要參加

的工作。我也非常喜歡參與

彩妝課程。我從小就非常著

雜誌和音樂錄影帶的工作,

我曾經參與一部加拿大的

迷於化妝品而且也一直想要

尤其是亞洲作品。能觀察與

獨立電影「心靈風暴」的

學習更多的知識,所以我決

習慣不同的做法是件非常有

工作。這是我最剛開始接

定參加 MBC 美容學院為期

趣的事情。

觸的電影之一,也是我認識 我現在的好朋友 Jacqueline

六個月的課程,還得到許多 樂趣! 我一直期待更進一步 也對於老師們所教授的一切

在西岸工作的感覺如 何? 有任何限制嗎?

Nguyen 的地方。我還記得

當時大家都是一群熱情的新 人。我們無時無刻都在學習

都很有興趣,我熱愛學習新 的技術和不同的彩妝產品。

北美有許多工會和相關法

而工作變的很好玩。因為當

很快的,我知道這對我來說

規,與亞洲比較來說的確比

時預算並不充裕,無法負擔

並不只是興趣而已,而是讓

較有條理但在某方面也有較

起讓外地的嘉賓住飯店, 所

我完全專注並想要成為一位

多限制。

以製片決定讓大家一起居住 在一個房子裡,也因為這樣

專業彩妝師。當我回到溫哥 華之後,我決定要學習關於 彩妝的不同層面來擴展我的 技術。因此我加入溫哥華電 影學校,畢業後也繼續在那

你同時擁有時尚彩妝 和特殊效果彩妝技術, 請問對你來說這兩類 型的關鍵差異是什麼?

裡工作。 所有方面,從工具到如何運 剛開始,我為獨立電影工作,

用和維持,甚至氣氛也不 同。能找到一位同時擁有不

大家馬上都就變成好朋友, 工作變的很輕鬆很愉快。

過去你有很多機會接 觸國際案子，請問你 對於最近興起的韓流 或越來越多亞洲面孔 出現在娛樂界和時尚

圈有什麼看法嗎?

最喜愛的產品或品 牌? 原因是?

我認為近期仍會快速成長, 這讓我很開心。越來越多

毫無疑問是 “Sappho Cos-

加拿大人會關注亞洲的明

metics” (溫哥華有機化妝

星和歌手並喜歡看許多K-

品牌)。她們不但沒加任

pop MV 和連續劇。我覺得

何化學成分,更在全世界進

這很棒啊!

行許多很棒的慈善工作。 粉底不但非常好聞,還很容

與外國人和亞洲模特 兒合作時是否有什麼 不同? 是否需要不同 的彩妝技術?

易上妝,而持久度很好。 每個讓我用這些產品畫過 的合作對象都愛上這品 牌。最主要我覺得它是有 機的！

是的,不同的臉孔會需要不 同的技術,重點是不可以 「過於誇張」。畫亞洲臉 孔時，要特別注意輪廓或 眼睛的部分。

如何區分一位優秀和 平凡的彩妝師?

如果你只能選擇一種 顏色(和其同色系)來 使用,你會選擇什麼 顏色? 為什麼? 紅色, 粉紅和珊瑚色, 我喜 歡這些豐富和鮮明的色彩, 尤其是用在綠色的眼影,

保持謙虛,不管你的經驗有

更會創造出深色和煙燻感,

多少和成就有多高,要記

非常漂亮.

得, 你永遠在學習。 -end

Where did you get your training?Tell us a bit about your professional background?

I was living in Korea at the time and decided that I wanted to take a makeup course for fun. I was obsessed with cosmetics since a young age and wanted to learn more, so I took a 6-month course at MBC Beauty Academy and I had so much fun! I looked forward to going and I was so interested in everything my teachers had to say, I loved learning new techniques and about different makeup products. Shortly after I knew that this would no longer be just a hobby, it would completely consume me and I was going to be a makeup artist. I came back to Vancouver and decided to further my education and broaden my skills by learning absolutely every aspect of makeup. I went to Vancouver Film School and began working after graduating.

I first started by working on independent films as well as working for cosmetic retailers and travelled to New York, LA and Korea for international makeup trade shows.

Soon after I began teaching and working more on catalogue and commercial shoots, as well as feature films. I also love to work on editorials and music videos, especially when the production is from Asia. It’s always interesting to watch things done differently and see what they are accustomed to.

What’s it like working in the West Coast? Any limitations?

North America has unions and bylaws, compared to Asia it’s much more regulated and limited in some ways.

You do fashion makeup and special effects makeup as well. What to you are the key differences

between the two genres?

Everything. From the kit, to application and maintenance; even atmosphere. A makeup artist who can do both equally well can be hard to find.

Most memorable project you’ve worked on?

A Canadian independent I worked on called “Hit n’ Strum”. This was one of the first films I had ever worked on and where I met my now dear friend Jacqueline Nguyen who was producing it at the time. I remember how new and enthusiastic everyone was. We had so much fun and were always learning. The budget wasn’t big enough for the guests out of town to stay at a hotel, so they all stayed at this house and we all hung out there after work and bonded in a short amount of time.

As a Canadianborn Korean now

working on major international shoots, how do you see the K-pop phenomenon or the increasing exposure of Asians in both the entertainment and fashion industry?

What to you distinguishes a great makeup artist from a mediocre one?

I see it growing rapidly in the near future, and it puts a smile on my face. So many North Americans are following Asian celebrities and musicians and watching more and more music videos and dramas. It’s great!

Favorite products or brands? Why?

Does working with Caucasian models differ at all from Asian models? Are different techniques required?

Yes, the different features require different techniques and its important not to “over do-it” when applying on Asians, especially with contouring or the eyes.

Being humble, no matter where you’ve gone and what you’ve done. Remembering that you are always learning.

Sappho Cosmetics hands down. This line is free of anything synthetic and does amazing charity work around the world, the foundations smell amazing, melt into the skin, and the longevity is phenomenal. Everyone I apply it on loves it and appreciates the fact that it’s organic.

If you had to only pick one color (and its shades) to work with, which color would it be and why?

Red, pinks and corals, I love

how rich and vibrant they are and if used on green eyes, dark and smokey. Beautiful.

-end

Black is hope. It color of the unive our never-ending understand it. Bl are believed to b doorway to a par dimension and pe answer to how or

is the erse and g urge to lack holes be the rallel erhaps an r why we

IN A DAR K M I N D S ET

Photographer ELIZA HUANG Wardrobe Stylist PATTY HU Hair Stylist ASA LIEN Makeup Artist SAMANTHA CHEN, ALVIN TSAI Model TAMARA K. @ FASHION MODEL MANAGEMENT Special Thanks TUAN TUAN / MSYAMING LUXURY FASHION GROUP, GIUSEPPE ZANOTTI, MERCI

NECKLACE & BRACELET STYLIST’S OWN SHOES GIUSEPPE ZANOTTI

EARRINGS & BRACELET STYLIST’S OWN SHOES GIUSEPPE ZANOTTI

EARRINGS & BRACELET STYLIST’S OWN SHOES JIMMY CHOO

SHOES GIUSEPPE ZANOTT

SHOES GIUSEPPE ZANOTTI SUNGLASS MERCI

VEIL MERCI

Photography JESSIE HO Styling MONFI LIN Make Up & Hair MONFI LIN Model EVA

ATTITUDE TOUR, IN DANCE, IN THE DARK

A BLACK ROOM

A black story in a black room

Photography KUAN Hair ODYE @ E LAN HAIR CONCEPT Makeup HUNGYI LU Style XIWI. CHANG Model NINA @ ISIS MODEL AGENCY Special Thanks, Clothing from TUANTUAN

DOU IN PARAL Photography JOSHUA LIN Hair MONFI LIN Makeup MAKO CHOU Special Thanks, Clothing from TUANTUAN

UBLED. LLEL TIME

Black is darkness It is the absence of color To some extent it’s inside us all Affecting our feelings and mind But how do we take this absence and fill it with life Invert our black into white And create inside us a glimpse of light To lead us, an everlasting guide

COLOR

DANCE

Photography A YUAN CHANG Styling HALU HUANG Assistant EDDI SHI Hair KAI HUANG(ARDOR SALON) Make Up HALU HUANG Model 郝偉廷 Special Thanks BOB JIAN Special Thanks, Clothing from TUANTUAN

BLACK AND WHITE IS NOT LITERAL THIS LOGIC IS KIND OF NEW AND MAYBE A BIT WRONG TO USE COLOR TO REPRESENT BLACK AND TO REPRESENT WHITE

TO USE RED TO STAND FOR WHITE TO USE INDIGO TO EXPRESS BLACK TO USE THE ENTIRE COLOR SCHEME TO INTERPRET THE VALUE AND MEANING BETWEEN TWO COLOR EXTREMES

PERHAPS TO OFFER A TEMPORARY RELEASE FROM BLACK AND WHITE CONSTRAINTS A DARK HOLD, A BRIGHT FREEDOM

COLOR DANCE COLORLESS BLACK AND WHITE

A DARK H O L D , A B

BRI GHT F R E E D O M

Black is ver notations fo ty, sadness, it s relations the manipu is the ab and the ab hides, w light. Wha uncove

rsatile. From its conor darkness, insecuriand the unknown, to s to photography and ulation of light. Black bsorption of all color bsence of light. Black while white brings to at black covers, white ers. But without black

廖偉宏 的黑色 能量 Mason Liao’s Positive Black Energy

全方位藝術家廖偉 素材，生活中任何 雕塑就即興雕塑， 他，作品大部分都 愛的氣氛。對於黑 也賦予了他不同的

An all-round artist, Mason Liao’ nor set way of doing things. Peo his canvas. Mason is very much time. If he feels like sculpture the various art techniques, there rea

Every artist can be said to be wa often expected from audiences w brushes and strokes of a painting

However, rather than “saying” s positive energy that can affect au No matter if he’s feeling dark, or the negative. To turn sadness int his interpretation of it is a positi

偉宏的作品，創作來源毫不拘謹，沒有固定的 何微小的人、事、物都是他創作的材料，想玩 ，喜歡圖畫就隨心圖畫，不只專攻一項技能的 都傳遞著正面能量，並讓觀眾們感染歡樂、可 黑色這個給人較為負面的顏色，廖偉宏藝術家 的定義及構思。

’s inspiration comes from the world around him. To him, there’s no fixed medium, ople, things, and emotions are his materials, and everything and anything can be the artist that is consumed and directed by the way he feels at a particular point in en he sculpts. If he feels like drawing then he draws. With multiple talents in ally are no boundaries for him.

anting to “say” something through their work, or perhaps a deeper meaning is who look to learn or understand something far more complex than, for example, the g.

something through his art, the key objective for Mason has always been to convey a udiences in a happy way. He wants to bring about joy and smiles to people’s faces. r sad, or alone, the important task for Mason is to always find the positive within to happiness and to find hope in hopelessness. To Mason, black is multi-faceted and ive one.

雜誌主題為黑色， 使廖偉宏有不一樣的 想法。 一般人給予黑的定義大部分是恐懼跟害怕的，大都是負面的印象。但對廖偉宏而言黑色的 定義有些不同，顏色可以代表有心理學的層面，例如：把一個房間的牆、天花板都漆成黑 色住在裡面一個月，或是漆成淡淡的粉紅色的感覺以及大紅色的感覺都會有所不同，當然 測心理指數就會有不一樣的答案，可能是憂鬱、亢奮、幸福等等。 而黑色對廖偉宏來說很奇怪，感覺不是憂鬱悲傷，也不是黑暗恐懼，反而藏著許多不同的 能量。舉例來說，金礦剛拿到時就是個黑炭，掏金掏過後就是顆昂貴的金塊。因為觀念和 所在位置的不同，看待事情的結果也會不同，很多東西換個角度就能轉成正面的能量，所 以遇到黑的時候，大部分的人可能會有所懼怕糾結。可是廖偉宏卻認為黑色是最穩定的顏 色，且有無限的可能。 白色黑色相聚在一起看似極端，卻是最能發揮、創造的。就像是廖偉宏的作品中，底色白 色但卻在隨便一個地方點上了一點黑色，問每個人看到什麼？所有人的回答都看到黑點， 雖然這幅圖不能表達畫的風采也不是表達出畫的筆法，可是廖偉宏卻一直把這幅畫掛在窗 口。白色代表每個人的優點，但通常我們只看到黑色也就是一個人的缺點，我們都是看到 別人的缺點而加以放大，而大部分忽略的都是優點，所以廖偉宏以這幅畫來提醒自己，多 欣賞別人的優點。

What Black Means to Mason Liao Many people associate black with fear and it often has a negative connotation. However to Mason, there are many definitions to the word black. Black in color psychology can effect one’s mood. For example, if

you lived in a dark black room for a month, versus if you lived in a pink room for a month, it would effect your mood differently. The former would probably make you feel depressed while the latter would prob-

ably make you feel cheery and happy. The color associations with mood goes on and is often used in many personality tests as well.

Black to Mason however, is strangely not associated with anything depressing, nor is it darkness or fear.

Black to Mason conceals different types of energy. For example, when a miner discovers a piece of black

coal, it may look like nothing special, but once he chisels away at it, he may discover that expensive gold deposits are hidden within. Different people look at things differently because they have different beliefs or life experiences. Many things, if you look at it from a different angle, can have very different results.

Bad can be good and good can be bad. Many people may be fearful of black, but to Mason he believes that black is the most stable color there is; black to him embodies infinite possibilities.

White and black may seem like color extremes, but it is actually the most versatile. Just like Mason’s work, where he places a single fly (looks like a black dot from far away) on a white canvas. He asks everyone

what they see in the picture, and everybody points out a black dot. This piece of work to Mason isn’t any-

thing magnificent but it does point out a common human flaw. The white canvas symbolizes a person’s positive attributes, and the black dot stands for his/her negative attributes. Most people only see the flaw and

magnifies it, rather than seeing all the positive things that’s around it. To Mason, this piece is so important to him that he hangs it right in the front of his workshop, to remind himself, to always appreciate one’s positive rather than their negative.

靈感像是藝術家寶藏一樣，有時快有時慢， 但對廖偉宏來說並不是想抓就抓的到，而是 生活給你的瞬間感動

在沒有靈感的時候，廖偉宏就會四處走走看看, 觀察生活中美麗細小 的事物，而靈感來時就像習武之人，被打通了任督二脈，不需要很長 的時間就能創作出自己滿意的作品，就像是攝影需要的是一個畫面、 色彩、角度連成的感動。 任何顏料、素材甚至是一個呼吸都能成為作品的創作來源。吃飯時任 何國家的料理都能讓人接受，那為什麼在創作時，卻只能用單一的方 式、模式去創作呢？像是小朋友，你要他玩一樣的玩具時，他卻能利 用自己的想像力讓同一個玩具有不同的玩法，沒有受限於玩具本身的 限制。創作也是如此不需要局限於某方面，畢卡索曾說：「要是沒有 童心，就不配當個藝術家。」這句話一直在心中成為廖偉宏創作時的 目標，和小孩一樣將同樣的東西賦予它新的生命。 做任何作品時都以快樂方式面對，如果心情不悅時會停下手邊的動 作，把不愉快的事情全部寫下來，去做能讓自己覺得快樂的事情。 就好比在攝影棚裡拍攝的過程，攝影師心情不好或是Model身體不舒 服，任何一點不愉快，拍出來的作品感覺就缺少了些什麼，連自己都 不會感動的作品要如何感動觀眾？像周杰倫之所以受到大家的喜愛， 就是因為他的創作讓大家產生了共鳴，而攝影師用二分之一秒的快門 拍出美好的構圖，就好像是一個工匠跟一個室內設計師的差別。

2014 展覽展覽作品，捐贈給社

團法人台灣防止虐待動物協會

Inspiration is like an artists’ treasure. It never comes when you are looking, but rather it is found in an instant, when life presents you with an amazing, emotional moment.

When Mason is faced with artist’s block, he often finds himself wandering the

streets and observing all the little things in life. These little things are like acu-

puncture needles that set loose all the tense veins in his body, and gets his blood

flowing again. He compares it to photographers, and their need for a specific shot, certain lighting, and a certain angle to create an amazing captured moment.

For Mason, any color and any type of material, can become inspiration for a

piece of work. When we eat we can usually accept different ethnic cuisines. Then

why do we limit ourselves to a certain type of creation, when we are innately able to accept and do different things? Just like how children use their imagination to

find millions of different ways to play with the same toy, art to Mason is the same thing. Art should not be restricted in any way or bound to any specific technique.

Picasso once said, “every child is an artist; the problem is how to remain an artist once we grow up”. To Mason, this couldn’t be more true.

Mason usually refuses to work when he is feeling upset or frustrated. Just like how a photographer’s bad mood can affect the performance of the model (or the entire atmosphere of the photo shoot), the artist’s mood can very much affect the type of work he produces. To Mason, when he is feeling down or depressed, he is unable to produce anything positive. He feels that if his work can’t inspire himself, then how would it inspire anyone else? Jay Chou is so admired by everyone because

his songs resonate with audiences; photographers use half a second to press the

shutter at the right moment to capture the perfect picture. Every craftsman has to perfect their craft in their own way. To Mason, that is the important difference between an amateur and a master.

這一幅雪茄畫，已經賣出，廖偉宏因為很喜歡再拿回 來工作室展。這幅畫有兩邊不同的感受，簡單來說就 是一幅動態的作品合成的。圖畫中是用兩顆眼睛來詮 釋不同的感受，一隻眼睛是準備要抽雪茄的部份，另 外一隻眼睛是抽完雪茄，發現原來這支雪茄這麼棒。 因為廖偉宏本身有在抽雪茄，靈感一來，他在短短的 幾分鐘就立刻畫出來這幅作品。 廖偉宏說，因為之前有一個十五分鐘的演講，可以利 用一些時間，一邊跟別人對話的時候一邊將其對話內 容、感受用一幅畫呈現出來，之後就決定再把它變成 立體的雕塑。而雕塑給他一個簡單著註解，「雕」是 減法、「塑」是加法，這樣加加減減就是個雕塑，以 立體跟雕塑做結合。 This cigar piece has already been sold, but Mason loved

it so much that he asked for it back for a while to display in his workshop. This piece has two separate elements to

it. The two eyes are meant to explain two different moods.

It portrays the before and after sensations of smoking

a cigar. Mason is a fan of cigars and so the inspiration came quickly for him.

This sculpture is of Mason’s late grandmother who was interestingly one of the first founding member’s of Tzu

Chi. The inspiration came to him during a fifteen minute

presentation he had to do. To sculpt in Chinese means to chisel and to mold. To him this addition and subtraction

of materials depicts the fundamental essence of sculpture perfectly.

LIFE： 看見生活 經典人生攝影展

2014年夏天，聯合報系主辦的「LIFE：看見生活-經典人生攝 影展」，取得時代公司(Time Inc.)的授權，精選《生活》雜誌 (LIFE Magazine)的經典照片，透過重要名人、歷史事件、生命 百態的人生寫真，領略從古至今生活中的各種樣貌，進而對自 己的生活有所省思，勇敢地實踐夢想。

「LIFE：看見生活-經典人生攝影展」，以「看見生活」做為 策展宗旨，從《生活》雜誌190名專屬攝影師的900萬張作品 中，嚴選出經典照片。展區劃分為「People」、「Moments」、 「It’s life」、「Our life」4大單元，包含134幅經典作品、20本 原版雜誌、7段珍貴的歷史影片及台灣徵件比賽的入選作品、 有趣的體感互動裝置，讓民眾一起回顧這些由LIFE攝影師所記 錄下的人生故事。

FROM R

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