>肆< si - #7

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issue 7

十月 柒號

肆 [

日 ]

4. October issue 7


the Arti


Keiji Ishida

石田恵嗣 Born 1975 in Chiba, Japan Education 2011- 2013 2006 - 2009 2005 - 2006 1994 - 1998

MA Painting, Royal College of Art, London BA (Hons), Fine Art, Chelsea College of Art and Design, London Foundation Course , Chelsea College of Art and Design, London BA(Hons), Law, Teikyo University, Tokyo

Group Exhibitions 2013 ArtWorks Open 2013 - ArtWorks Project Space, London (31 Aug - 22 Sep) Scoop - The Phillips Gallery, London, (21 - 23 July) Show RCA 2013 - Sackler Building, Graduate Exhibition, London, (20 - 30 June) RCA Secret - Dyson Gallery, London, (14 - 22 March) 2012 Summer Show MA Painting - Sackler Building, London, (7 - 9 July) 2011 Interim Show RCA - Darwin Building, London, (12 - 18 January) 2010 The National Open Art Competition Chichester 2010 - Chichester Festival Theatre, Chichester, (30 October - 13 November) 2009 The Sneeze Art Fair - Westbourne Studios, London, (14 - 17 December) The Chelsea College of Art &amp; Design BA Degree Show, London, (19 - 24 June) Designing C21st “Structures in Art and Architecture” - Embankment Galleries, Somerset House, London, (4 - 18 March, Performance on 4. March) Artbelowzeroº - Westbourne Studios, London, (16 - 19 February) 2008 The Twelve steps down - Shoreditch Town Hall, London, (16 - 20 January) 2007 Play Contra - Nolias Gallery, London, (3 - 8 May) Awards 2012 Lucy Halford Bursary 2008 The Brenda Landon Pye Portrait Prize - Shortlisted Finalist 2007 The Brenda Landon Pye Portrait Prize - Winner

1975 年生於日本千葉市。 教育經歷 2011 - 2013 2006 - 2009 2005 - 2006 1994 - 1998

畢業於倫敦皇家藝術學院繪畫系,獲碩士學位 畢業於倫敦切爾西藝術與設計學院純藝術系,獲學士學位 於倫敦切爾西藝術與設計學院預科結業 畢業于東京帝京大學法律系,獲學士學位

組展 2013 ArtWorks Open 2013 – ArtWorks Project 空間,倫敦(8 月 31 - 9 月 22) Scoop – 菲力浦斯畫廊,倫敦(7 月 21 - 23) RCA Secret – Dyson 畫廊,倫敦(3 月 14 - 22) 2012 夏季聯展,皇家藝術學院,倫敦(7 月 7 - 9) 2011 中段展,皇家藝術學院,倫敦(1 月 12 - 18) 2010 奇賈斯特國家開放藝術比賽, 奇賈斯特劇院,英國 (10 月 30 - 11 月 13) 2009 Sneeze 藝術展覽會- Westbourne 工作室,倫敦(12 月 14 - 17) 切爾西藝術與設計學院學士畢業展,倫敦(6 月 19 - 24) 設計 21 世紀“藝術與建築中的構建”- Embankment 畫廊,倫敦(3 月 4 - 18) Artbelowzeroº - Westbourne 工作室,倫敦(2 月 16 - 19) 2008 The Twelve Steps down - Shoreditch 鎮禮堂,倫敦(1 月 16 - 20) 2007 Play Contra - Nolias 畫廊,倫敦(5 月 3 - 8) 獲獎經歷 2012 Lucy Halford 獎學金 2008 Brenda Landon Pye 肖像畫獎-入圍獎 2007 Brenda Landon Pye 肖像畫獎-一等獎

Untitled . 2012 Oil on canvas, knit-frame and other materials Installation Image left; King pot . oil on canvas . 172 x 124cm Image right; Four . oil on canvas . 172 x 124cm

我一直對講故事很有興趣,也被日本的民間傳說所影 響。創造一個故事相當於從某個事件中截取出一部分 來。當講述者開始說話時這個故事浮現出來,他的力 量就在於,在他開口的瞬間,這個故事已經成形了。 當我創造圖像時,我也是一個講述者。我希望我的圖 像也是開始一段故事的話語。 對我來說,畫畫就像是從想像的短故事中製造定格劇 照。我被兒童書中的插畫所吸引——這些流動的畫面 是如何隨著情節被轉譯成靜止圖像的;這些圖像是怎 樣被具體地描繪出的?在我最近兩年的作品中,我從 我收集的物件中延伸創作,去建立一種新的語言。它 們之間是互補的,像是歌曲中歌詞與旋律的結合,通 過一種直觀的抽象元素去傳遞內容。這也正像是講故 事的感覺。在特定的音調中,故事被述說著,營造了 特殊的氣氛。 民間傳說中的人物和動物對我們講述著種種故事。我 喜歡和它們美妙而陌生的邂逅交織在一起,創造真實 的感覺,且它們之間是相互聯繫的。我通過創作使故 事變得真實。

Mating . 2012 Pastel, charcoal, fabric and thread on paper Diptych 114.3 x 83.8cm, 114.3 x 83.8cm

I am continuously interested in storytelling and influenced by Japanese folk tales. Making a story is clipping off a part of an occurrence. A story springs up when the narrator starts speaking. The power of the narrator is that everything has happened once the narrator says it. I am a narrator when I make images; I want my image to be a sentence, which begins a story. Making images for me is manufacturing stills from imagined short stories. I am intrigued by illustrations in childrenâ&amp;#x20AC;&amp;#x2122;s books; how the moving image is translated into stills under the plot and how the image is materialized by depicting. In the latest body of my works from 2012 to 2013, I deploy my images with collected objects for my art to make a new vocabulary. They are complementary to each other like a lyric is married to a melody in a song, to deliver the content with an intuitive abstract element. This also conveys the sense of storytelling. A story is told in a particular pitch and tone to make a specific atmosphere. Folkloric characters and animals speak to humans in folk tales. My interest is engaged with these wonderfully strange encounters that are then made physically real, and are all connected to one another. This is where fiction becomes a constructed reality through the working practice in the studio.

Interv 肆:在你的圖像或裝置中出現的那些似乎不相關聯的事物,你是怎麼安排 它們的呢?

石田:我可以想像在我的作品與觀眾之間是存在一些奇怪的不一致感。 這些看起來不相干的事物在我的思考以及我創作的方式中其實息息相關。 我想工作室中的實驗是一個永不會結束的運動。有了想法之後將它實現, 然後再從觀看它們時產生新的問題。在我回應這些問題時,我又會得到新 的想法——這就像一個與自己的不間斷的談話。 正是這一個反復試驗的過程創造了一系列反應。我雖然不能控制它,但是 從單色到多色,抽象到具象,甚至繪畫到裝置之間的轉換實驗中,我不曾 猶豫。

舉個例子,在右邊這件裝置作品中,我怎樣考慮這個圖像的背景。 我對將 百科全書中的插圖放在空白背景中這個方式產生了興趣,於是我把這些剪 下來的圖畫掛在白牆上。 書中的這些插畫出現在空白頁面上是因為要起到 圖解教學的作用,而一張繪畫作品的背景應該維護一個圖像的整體連貫性。 我想要看看插畫的不同處境,從它們的語境與格式中打亂。在我最近的素 描中,我仍然對背景想了很多。我的圖像的背景與一個故事的背景走得越 來越近了,它解釋了地點、時間與狀態。



view x Keiji Ishida

Encyclopedia . 2012 Oil on board, umbrella and other materials Installation Summer show MA Painting, 2012

Encyclopedia . 2012 Oil on board, switch and other materials Installation Summer show MA Painting, 2012


There are some seemly unrelated things appear on your images/installations,

how do you arrange their order?


I can imagine there is a strange incongruence between elements of

my works for viewers. These seemingly unrelated things are related through my concerns and the way in which I work. I think the studio practice is an endless activity; having ideas and embodying them and then having new questions from seeing them. I get new ideas as I respond to those questions - it is like an ongoing conversation with myself. It is a process of â&amp;#x20AC;&amp;#x2DC;trial and errorâ&amp;#x20AC;&amp;#x2122; creating chain of reactions. It is something I cannot control but I do not hesitate to shift my practice from monotone to multicoloured, from abstract to figurative or even from painting to installation.

For example, I was considering the background of an image when I made my work for the summer installation (left). I hung cut-out-drawings on the white wall. I was interested in illustrations from encyclopedias that are composed on blank backgrounds. The illustrations appear on the blank backgrounds for an academic purposes whilst paintingâ&amp;#x20AC;&amp;#x2122;s background supports the total coherency for an image. I wanted to see the illustrations in different situations, dislocated from their context and format. And in my recent charcoal drawing, I still think a lot about the background. The background of my image became closer to the background of a story; it explains the location, the time and the situation.

肆:你曾經學得是法律,你覺得法律嚴密的邏輯性在你的藝術創作 中產生了怎樣的作用?

石田:我覺得法律與我的藝術實踐並沒有太多的關係。然而,法 律曾經是我的一個重要經歷,我在一間日本公司工作了七年,最後使 得我開始學習藝術。當我像一個業務人士那樣工作時我感到了某種空 虛,我覺得有時我的作品會反射出這種感覺。

SI : Your background was Law, what do you think the strict logicality of Law works in your artistic practices? ISHIDA: I

don’t think of there being much of connection between law and my practice. However, it was an important experience that I worked at a Japanese company for seven years as in the end it led me to start studying art. I felt a kind of emptiness while working as a businessman and my works sometimes ironically reflect upon that feeling.

Untitled . 2012 Installation Image; ABC . oil on canvas . 140 x 250cm

肆:日本民俗是怎樣在你的作品中表現的?譬如這件“無題”作品? 石田:這件作品其實和日本民間故事或故事都沒有關係。它只是一個 對收集物件的編排的結果。不過,這件作品與我最近的素描之間是有一 些細微的聯繫。 這是我在創作的時候沒有伴隨繪畫的一個實驗。是一種能幫助我理解什 麼是我真正喜歡的東西的類似延展活動。當我在考慮“畫什麼”的時候, 我在思考繪畫以外,什麼對於我來說是重要的。我想從我的繪畫練習中 退一步回來,再去重新聚焦。 我讓自己盡可能的保持不帶任何特殊目的的自然狀態。我開始定期到跳 蚤市場去逛逛,在那裏,你可以同時發現垃圾和珍寶。我開始收集哪些 吸引我的物品。這也給了我一個機會去調查我自己的喜好審美和對色彩 與形狀的傾向。我將這些容器組成了一幅類似極簡主義抽象繪畫,我選 擇了它的顏色和水平的視角,不過對我來說更重要的是消解它們原來的 功能,再將它們依照我的用法去重新安置,就像我在我的繪畫中編排圖 像一樣。 在我編排這些物件的時候,我也在深入地挖掘我的記憶,因此重獲了童 年興奮的感覺,對日本民間故事和 7、80 年代的電視節目的興趣。

Untitled . 2012 Plastic container 16 x 38 x 22cm

SIďź&amp;#x161; How does Japanese folk express in your works? For example, the works in the front page, quoted &#39;Untitled&#39;?


The work comes neither from Japanese folktales or

narratives at its core. It was really an outcome of handling collected objects. However, there is the invisible link between this work and my recent charcoal drawings. This was something I did without painting as a kind of exercise. It was a kind of stretching activity that helped me understand what I really like. I was considering â&amp;#x20AC;&amp;#x2DC;what to paintâ&amp;#x20AC;&amp;#x2122; through the question of what is important to me outside of painting. I wanted to step back from my painting practice for a moment to re-focus. I let myself be as natural as possible without any specific intentions. I started regularly visiting Car-boot-sales where you can find both trash and treasure. I began to collect objects that attract me. It gave me the opportunity to investigate my own aesthetic with the tendency of colour and shapes. I composed the containers like a minimal abstract painting, using selected colours with horizontal lines in this work, but more import for me was the practice of ignoring the original function and relocate things to my use through my process, as I do with images in my paintings. While handling the collected objects, I was digging deep into my memories and thereby gaining re-access to my childhood excitement and interest in Japanese folktales and Japanese TV programmes from the 70s and 80s.

Untitled . 2013 Fabric, thread and other materials Installation next page: Untitled . 2012 Fabric and plastic container Dimensions variables; one left

shown is 16 x 40 x 33cm

肆:不熟悉日本文化的觀眾怎樣去觀看你的作品呢? 石田:我對於他們可能有何種反應感到很興奮。作為一個外國人的我在倫敦生活了八年,我

也一直持續地感覺到了外國人與本地人之間的距離。我希望觀眾能從這些我已非常熟悉的東西 中找到一些新鮮的元素。我很肯定在我小的時候很單純無意識地喜歡著安徒生的童話,那時我 也對丹麥文化一無所知。


How to see your works if one lack of the knowledge of Japanese culture?


I am excited by what possibilities this might have. I have lived in London as a foreigner for the past eight years and constantly feel the gap between foreigners and natives all time. I hope that the viewer finds some fresh elements from things I am familiar with. I am sure that I innocently enjoyed the foreign stories of Hans Christian Andersen in my childhood without knowing anything about Danish culture.

肆:你認為用語言去講述故事與用圖像講故事之間的不同是什麼? 石田:用圖像講故事的好處在“一幅畫裏有一千種解釋的可能”或“一張圖畫值得說

上一千個字”這兩句話中可見一斑。從另一方面來說,在語言中,事件是按照時間順序 被講述的,而“時間”在一個圖像中基本上可以說是一個定格。在這個定格中,“時間”、 “地點”、“人物”、“什麼(事)”、“為什麼(發生)”以及“怎麼樣”這些問題, 尤其是“為什麼”,很難被描述清楚。 所以一張定格的圖像很容易變得十分神秘。 我想這就是用語言與用圖像講述故事之間的不同。有很多事情圖像可以表現而語言不能, 反之亦然。譬如,語言可以說“這個藍色很紅”,但我是畫不出來的。不管怎麼說,我 喜歡它們兩者,當它們的秉性被十分巧妙地玩味的時候。 同時 , 我覺得圖像與文字之間轉譯的困難性也是圖像的一個好處。

SI: What do you think the differences between using language to narrate and using images? ISHIDA:

The benefits of the image can be expressed in terms of the idea of a “thousand interpretative possibilities in a picture” or “a picture is worth a thousand words”. On the other hand, the narrative presentation of events in language is produced by the time sequence whereas time in an image is basically freeze framed. It is hard to depict in the components of the“fiveWs and one-H” especially “why”. An image that is freeze framed easily becomes mysterious. This is the difference between language and an image I think. There are many things that an image can do that language cannot and vice versa. Language can say “this blue is red”, but that I cannot paint. Anyway I like both language and image to be well played with its nature within that structure. And on the top of it, I think the difficulty of the translatability between the pictures to the word is also a benefit of image.

Shops . 2013 Charcoal and pigment on paper 97 x 83.8cm

肆:如果說對於文字的運用是作家的修辭手法,你覺得筆刷的痕跡,顏料的流 淌和你畫面中那整體質樸拙嫩的感覺也是你的修辭手法嗎?


部分。當我用畫具作畫的時候我總是過於興奮了。這有時候使我在創作的過程中 跑偏了。我需要將自己保持在一條謹慎的“畫什麼”和“怎麼畫”之間的路線上。 有時如果我因畫材過於興奮,我會迷失掉我的主題。但如果在開始之前我完全計 畫好我的主題並且知道所有畫的細節,我會丟失作畫的衝動。在我的創作過程中, 我需要這種始料未及的新鮮感。我想這個過程與寫作也是十分相像的——你剛剛 寫下的文字引導你寫下接下來的文字。

SI: If we commit the methods of using words is a writer&#39;s rhetoric, do you see the traces of your brush, the flow of your pigment and the clumsy feeling of the whole picture in your paintings a rhetoric to you? ISHIDA:

Using a brush is the most fun part of painting, but at the same time it is a difficult part of making as well for me. I am always too excited to use the painting medium when I paint. And it sometimes made me run off from the truck of making. I need to keep myself on the tight line between what to paint and how to paint. If I am too excited by the painting medium, I lose my subject. But if I plan my subject completely and know everything of what to paint and how to paint before I start, I lose the excitement to make. I need the unexpected freshness in my process. The process is similar to that of writing; the words you have just written down lead you to write the word that follows.

肆: 材料和想法,哪個先來? 石田:我在前面也談到過,一般是先有想法,但在創作的過程中,

我不得不在想法與視覺之中作出斡旋,而視覺總是拒絕初衷。然後 我開始在它倆中尋找更有趣的平衡。我需要這整個建構的過程。


What comes first, the materials or the ideas?


This relates to previous answer. I would say the idea first, but in the process of making, I have to negotiate between the idea and the visual, and the visual always rejects the first idea. And then I begin looking for a more interesting balance between the visual and the idea. I need this build up process.

肆:“壺”的形象經常在你的作品中出現,有什麼特別含義嗎? 石田:我對壺的形狀著迷。對我來說,它們十分可靠和友好。 SI:

The &#39;pot&#39; often appears in your works, is there any specific meaning to you?

ISHIDA: I am addicted to the shapes of pots. They are

safe and friendly to me.

Nightwalk . 2013 Charcoal and pigment on paper 97 x 83.8cm

Uncle . 2013 Charcoal and pigment on paper 114.3 x 83.8cm

肆:你的裝置中包含了很多元素,譬如布、壺、盒子等。你將它們看作形成你的 故事的氛圍還是它們就是你故事的主角? 石田:堆積的收集物品和布料成為我的材料。我採取這種觸感和顏色的運用代

替用繪畫這種材質是為了得到一個對元素的抽象感覺。這個過程反映了我對兒童 書上用色大膽、別致的插畫色彩的興趣。這對講述故事中營造的聲調和色調都起 著十分重要的作用。


Your installations are composed of many elements, such as the fabrics, the pots and boxes etc, do you define that they form the atmosphere of your story or they are exactly the main characters in your story?

ISHIDA: An accumulation of collected objects and fabrics have become my materials. I take the impressions of tactility and colours in order to achieve the abstraction of an element instead of using a painting medium. This process reflects my interest in the bold and distinctive palette of illustrations in children’s books. This has an important role in the telling of the story creating the pitch and tone.

肆:你能談談作品中對明快顏色的運用嗎? 石田:我想要把我的顏色畫的更明快一點。我開始仔細地看那些在兒童書上印

的圖所遵循的慣例——那為了孩子的眼睛所創造的自由的形體和大膽的用色。 我記得當八年前我剛開始學習繪畫的時候,我對德國印象主義繪畫那些用色有著很 深的印象。在我自己要開始動筆練習的時候我總是把顏料調得過多以致我的調色盤 變得很渾濁。我想現在我對於明快色彩的喜好實際上是對當時的一種反作用。

除了被兒童書所影響,我對色彩的運用也被從 1970 年就開始放映的日本電視劇《超 級戰隊》所影響。劇中的英雄們在得到一個特異功能時就會穿著帶有色彩編碼的制 服。我覺得這十分好玩。直到現在,每個星期日這個電視劇都仍然在日本電視頻道 中播出。


Can you talk about the bright colour usage in your works?


I want to make my colours brighter. I started by closely looking at the printing culture of children’s books - that bold shape and colour made for children’s eyes. I remember that I was impressed by the use of colour in the paintings of the German expressionism when I started studying painting eight years ago. While I was myself devoted to painting practice I mixed colours too much and my palette became muddy. My fascination for bright colours is a reaction to that. My use of colour is therefore influenced not only by children’s books, but also influenced by the Japanese TV series ‘super sentai series’ that runs from the 1970s. The heroes wear colour-coded uniforms when they gain a superpower. I think it is funny. This TV series remains on Japanese TV programming for Sunday mornings.

Rainy . 2013 Charcoal and pigment on paper 97 x 83.8cm

(Left) Nightwalk . 2013 Charcoal, pigment, paper, polystyrene and fabric 97 x 83.8 x 20cm (Middle) Shops . 2013 Charcoal, pigment, paper, polystyrene and fabric 97 x 83.8 x 30cm (Right) Yellow pocket . 2013 Fabric, thread and wood 140 x 130cm Show RCA 2013, 2013

肆: 在你的畢業作品中(左圖),你給你的三件作品取了不同的名字,它們 是各自獨立的還是成一個系列的呢?它們之間有什麼樣的關係? 石田 :

它們是獨立的圖像,但也可以是成系列的,這是我的初衷。我喜歡作 家們把同樣的主角或故事發生在同樣的城市,作為一個關聯寫在他們不同的作品 中。我也喜歡在我的圖像中做同樣的事。

SI: In your graduation show, you named the three works different names, are they independent or serial? What&#39;s the inner relationship between each work?

ISHIDA:They are independent images, but can also be serialized and

that is what I intended. I like authors of novels using the same character or same city that link between his or her different works. I’m fascinated to do this with my images.

肆:你的裝置總是被命名“無題“,你希望怎樣將作品中的敍事性傳遞給觀眾? 石田:當我為作品取名“無題”時,我給觀眾留下了一個開放的解讀。我


SI :You named your installation &#39;Untitled&#39;, how do you want the narrative within be hinted to the viewers?


shida ich When I leave the title as untitled, I leave the meaning of my work open to the viewer. I am wary of to being the clever artist who plays with ideas too much in his art work.

Untitled . 2012 Fabric, metal and other materials Installation

Inhabitant . 2012 Umbrella, plastic container and other materials Installation

肆: 你作品中的形象表現的在某種詭異和親切之間,你怎麼看待這個效果?是你想要


石田:在我孩提時期,這個世界每天都是新鮮的。總是像一場冒險一般,面對這個世 界我不帶有任何偏見。我喜歡走在不知名的街道上的感覺。這種感覺不能形容但又很確定。 這是一個我最能獲得感動的地方。在我創作我的圖像的時候,我不停地畫直到我觸到了那 個點。 SI: Your characters present themselves somewhere between uncanny and darling, do you see this in your work and is it something you set out to evoke in the viewer? ISHIDA: The world was fresh everyday when I was a child. It was always an adventure to me, facing the world without any prejudice. I liked the feeling of walking down unknown streets. The taste of that feeling was indescribable but certain. It is an area where I feel the most sympathy. I keep drawing until I reach that point when I produce my images.

肆:石田你覺得講故事的邏輯性在你的作品中是否重要? 石田:是的,我對在圖像中講述故事著迷。我總是試著在我的圖像和我喜歡的故事之間 作比較,哪怕看起來不可能去比較同等程度或層面的圖像和文字。


Do you find the logic of storytelling is important or not in your works?


Yes, I am fascinated by the idea of storytelling through images. I always try and compare my images with novels I like, even though if it is seemingly impossible to compare images with language in at same level or dimension.

肆:有什麼藝術家影響了你? 石田:有數不盡的繪畫大師們影響過我,所以我只說一位日本當代小說家——川上

弘美。她在我對敍事性的偏好上有著巨大的影響。在她的作品中,日本民間故事和鬼怪 傳說與現代社會結合地非常恰到好處。


Is there any artists affect your practice?


There are countless respectable painting masters who have affected my work, so that I wil only mention one Japanese contemporary novelist Hiromi Kawakami who has greatly inspired my narrative tendency. The elements of Japanese folktales and ghost stories are amazingly brought into the modern world in her works.

肆:你將會怎樣發展你的作品? 石田:我在思考如何從我的日常塗鴉中創作繪畫。我要再次回到我的繪畫中。繪畫是

一個非常強有力的材質,與塗鴉是那麼的不同。我得想想怎麼去繪畫,這對我來說是另 一場奮鬥,也需要時間。我也對在我的作品中運用日本文化十分熱衷。我想看看除卻那 些本來的語境會變成什麼樣。可能會成為我的行為藝術,而我的繪畫會參與進這場行為 中。


How would you like your work to develop?


I am going to consider how to produce paintings from my drawings. I am going to go back and struggle with the paint again. Painting is so strong a medium and so different from drawing. I have to think about how to paint. It is another battle for me and need time. And I am also interested in using Japanese culture in my art work. I would like to see how it works without its original context. It might become my performance. And my paintings will take part in that performance.

[Chinese translated by Wendi Xie]

关于 &gt; 肆 SI&lt; 隶属 &gt; 草乙載萬殊 &lt;zoewanshu.net 之微杂志,介绍活动于欧洲的亚洲青年艺术家。 About SI micro conceptual magazine, part of Zoe(zoewanshu.net) introducing young Asian artists who are based in Europe

編輯 / editor Minqi Sun Wendi Xie Tianming Zheng

孫 敏祺 謝 文蒂(中英翻譯) 鄭 田明

封面 / front cover &lt;untitled&gt; Installation Keiji Ishida

雜誌工作室聯繫 / contact zoewanshu.net zoe.wanshu@gmail.com

SI 4. Oktober 2013 No.7


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