茶會 Vernissage: Sunday June 19th 2016

Vernissage:
Date: Sunday June 19th
Time: 4PM – 6PM
Discussion Panel 4:30PM – 5PM
Entry: One drink minimum to support Art Charity Invisible Salon

(English Below)

我們把我們5/29號的藝術活動-ABTG IV,當天互動元素搬到行者的 [ ] 藝文沙龍來展覽,繼續傳達我們活動的任務。

已發生的ABTG IV活動資訊:
https://www.facebook.com/events/909644242466993/
已發生的ABTG IV活動資訊 For more background info on ABTG IV:
https://redroomtaipei.com/artists-bridge-the-gap-opportunity-creators/

地點: [ ] 藝文沙龍-樓下咖啡
台北市台北市大安區安東街40巷3號B1

茶會日期: 6/19
時間: 4PM – 6PM
座談:5PM – 5:30PM
入場費: 抵銷一杯飲料,支持藝文沙龍

座談話題: 用台灣的觀點看LGBTQ問題

座談演講人:
酸六
飛帆
Yu’an Huang

座談內容:
代表在媒體和公共視線的文化影響和社會的關聯
性別表達的自由
變裝皇后文化的定位

本展覽時期: 6/15 – 7/2 「 12PM – 9PM開放 」

展覽內容:
「看」照片記憶,ABTG社群塗鴉作品,衣服,特別製作的西莉亞災民真實故事漫畫藝術,20多關於災難的文章及新聞
「互動」感恩牆,寫信(之後我們會寄給德國的組織跟災民分享),茶會現場畫畫,座談。

IMG_1406Red Room International Village & Invisible Salon Art Charity presents:

Interactive aspects of our May 29th all-day live arts event, ABTG IV, have been moved to this space for an extended exhibition to continue the conversation for the mission and message.

For more background info on ABTG IV:
https://www.facebook.com/events/909644242466993/

Exhibition Location: Invisible Salon – Basement Cafe
AnDong Street Lane 40 No 3 Basement

Vernissage (Opening Gathering):
Date: Sunday June 19th
Time: 4PM – 6PM
Discussion Panel 5PM – 5:30PM
Entry: One drink minimum to support Art Charity Invisible Salon

Discussion Panel: LGBT Issues from Taiwanese Perspectives

Guests:
酸六 (Cross Gender Taiwanese Net Star)
飛帆 (Drag Queen based in Taipei)
Yu’an Huang (Artist & Curator)

Discussion Panel will cover such topics as:
– The Cultural Impact and Societal Relevance of LGBT Representation in the Public Sphere & Mass Media
– Freedom of Gender Expression
– The Role of Drag Culture

Exhibition Dates and Hours: June 15th – July 2nd 「 12PM – 9PM 」

Exhibit Content:

[EXPERIENCE] Photographic memories from event, the community art piece we created at ABTG, clothing, comic book “Breaking Barriers” we produced especially for ABTG based on real stories sent to us from Syrian Refugees, and over 20 curated news articles to learn more about the current issue.

[PARTICIPATE] Gratitude Wall, Postcard Writing Station (we will send these to the organization we are collaborating with in Germany so they can share them with the Refugees) Vernissage and interactive painting, discussion panel.

_____________________________________________

https://www.facebook.com/Art.Charity.Education/?fref=ts
已發生的ABTG IV活動資訊 For more background info on ABTG IV:
https://redroomtaipei.com/artists-bridge-the-gap-opportunity-creators/


VISUAL DIALOGUES 藝術對畫 II between people, spaces and ideas. Two artists from different cultures will be featured in a monthly art show at the Red Room International Village, opening on the first Sunday of each month.
紅房會邀請兩位分別來自西洋及東方的藝術家來展出他們的作品,讓藝術氣息繚繞在紅房國際村的樑柱之間。 在每月的第一個週日,邀請您們一同享受創意與空間的對談。

Call for entries, Writing on the Wall

VDIX-writing-on-the-wallVisual Dialogues IX @ Red Room, July 3-July 30 2016

(底下有中文)WRITING ON THE WALL
Visual Dialogue IX at Red Room
Exhibit: 7/3-7/30

CALLING FOR ARTWORK

The Month of July is about words at Red Room. Artists, poets, calligraphers, painters, and philosophers. We want to cover the walls with your words. All languages and content (prose, poetry, journal entries…) are accepted.

Are you interested?

Let Red Room know by 6/18. 6/26 is the deadline for submissions. All media are accepted, the works must be wall ready for the installation on 7/3. The opening will be on 7/10.
We are reaching out to all of you to share your thoughts and WORDS.
Please respond with your confirmation at this link: http://goo.gl/forms/qdLUvv1BW8yQApUi1

牆壁上的墨跡 展
展覽:7/3 - 7/30
藝術的呼喚
紅房在七月的時候會慶祝文字藝術。藝術家,詩人,書法家,畫家,還有哲學家,我們想要把我們的牆壁佈滿你們的文字。歡迎任何的語言及內容(散文,詩,筆記)。
跟我們一起參與吧!

截止日期:6/26 在以下的網頁填
http://goo.gl/forms/qdLUvv1BW8yQApUi1
任何的素材都可以被接受
(只要讓我們方便掛起來的即可)
佈置日期:7/3
開幕日期:7/10

讓你的文字藝術去感染這個世界。

Email us <artist.redroom@gmail.com for details,
or send an application on this link: http://goo.gl/forms/qdLUvv1BW8yQApUi1

Download the pdf version here

5 June 2016, Visual Dialogues ABTG4

The Visual Dialogues ABTG4 Gallery will be open for viewing until the end of June.
Gallery hours are Tuesday, Wednesday, Saturday and Sunday from 3 pm to 7 pm.

Red Room cordially invites you to the Opening Reception of the an exhibition consisting of artworks by artists that participated in our Artists Bridge the Gap IV event on May 29th 2016.

[中文解說請耐心等待翻譯]

紅房畫廊六月的展覽是參與我們五月29號ABTG IV活動藝術家的聯合展。

24 artists painted live at ABTG IV, they brought 2 pieces of previous works each, which are being exhibited at the Red Room Gallery for the month of June. The artists themselves will be present at the OPENING RECEPTION, as well as major players and team members involved with ABTG IV.

Please join us in celebrating ABTG IV, and taking this wonderful opportunity to get to know the artists themselves.

當天的藝術家每個人有帶來他們之前所創作的兩樣作品,歡迎大家來看看,跟深刻的了解他們的風格,也認識一下這些很棒的藝術家們!

Event page for ABTG IV in case you missed it
五月二十九號的活動頁:
https://www.facebook.com/events/909644242466993/
– Opening Reception 展覽開幕茶會-

Date: 6/5/2016, Sunday 日,下午 3-7PM
Address: Red Room International Artists Village 紅房國際藝術村
Jianguo South Rd Section 1 No 177 建國南路一段177號
Entry: Free to all 免費入場

Snacks and refreshments will be provided. 招待飲料及點心

Hope to see you there!
星期日見!

15 May 2016 Malaysia Art Festival in Taiwan

maf red room活動主旨

馬來西亞的音樂圈依然還在發展,雖然不如台灣或是大陸來得盛行,但是還有
音樂創作人繼續走在音樂的道路上,也不斷有人在推動音樂風氣的發展。像是馬來西
亞的獨立音樂圈年度盛會《動態度音樂節》,讓更多人發現馬來西亞獨立音樂創作人
的存在。又或是近年出現的《JUST PLAY 簡單玩》巡演、《居鑾在動》等等,為了團
結唱作人、創作人、甚至是藝文工作者,在沒有掙扎利益與行銷、媒體的偏見或是強
勢的商業集團壓榨下,實踐分享藝術的舞台
音樂創作不應該是獨自躲在房間裡彈彈唱唱,而應該是站在舞台上將作品呈現
個聽眾。第二屆馬來西亞旅台藝術節將範圍縮小在詞曲創作裡,提供馬來西亞旅台留
學生一個發表音樂創作的平台,藉此也讓創作者擁有互相交流的機會。

活動主題

“Music make world unite”.
音樂分門別類多樣化,這都是因為後人或是唱片公司的系統化。
但是音樂也是一種語言,讓各地的人能透過語言來溝通,了解彼此,分享心情。
我們能為音樂感動,也為音樂瘋狂。
雖然我們在台灣留學,但是心繫大馬。我們關心馬來西亞的一切。
“零距離”代表的是我們的音樂,也代表我們的心。

Download pdf here
Event Mission

Malaysia’s music scene is developing, and though it is not yet as bustling as the Taiwanese and Chinese industries, there are many music creators following their musical paths and many others pushing the development of music evolution. For instance, Malaysia’s annual independent music event “Dongtaidu Music Festival” helps raise awareness for independent music producers from Malaysia. Or, more recently, events such as “JUST PLAY Music Tour” and “Kluang Rocking” have created a platform for singers, writers, and art practitioners to cooperate without profit pressure, media bias, or industry exploitation.

Music creation should not just be a mere hobby hidden away in a bedroom, but fully manifested as an on-stage performance sharing work with an audience. The 2nd annual Malaysia Art Festival in Taiwan will – through the platform of song and lyric writing – provide a platform for Malaysian exchange students in Taiwan to create and interact.

Event Theme

“Music make world unite”.

Music has been split into different categories and genres all because of the systemization implemented by outsiders and record labels.

But music is also a language that allow people everywhere to communicate, to understand each other, and to share their feelings.
We can be moved by music, and we can be driven to a frenzy by music.

Although we are studying in Taiwan, but our hearts are tied to Malaysia. We care deeply for Malaysia and everything about it.

“Zero distance” represents our music, but also our hearts.

msaitartfestival@gmail.com
Website: http://msait95.wix.com/msait#!blank/kkfgr
Facebook: www.facebook.com/MSAIT3243MAFT/timeline

Meet the Artist: Ale Bara

Born in Guatemala, Ale Bara, a self-described nomad with “itchy feet”, has lived and created art in countries across Europe and North America, and chose to come to Taiwan after leaving Kenya. Formally trained in industrial design, Bara paints not for financial success, but because she likes it. Since her childhood, she has filled sketchbooks with comics and today she paints not only to communicate to the world but also to escape to another one. One she hopes will make her audience smile, just as the people who crossed her path have.

Her first foray into creating art outside of her sketchbooks happened in 2004 when Under Dusken, a Norwegian magazine, hired her to create comic accompaniments for their articles. Today, many of her pieces depict funny characters she’s adapted from real life and depicted in a whimsical, colorful way.

Two attendees pause to take in a view of Bara's artwork at the opening night of Visual Dialogues 3.

Two attendees pause to take in a view of Bara’s artwork at the opening night of Visual Dialogues 3.

Since then Bara has exhibited her art the world over, her itchy feet leading her to discover new techniques, people and lifestyles in each new place which she has integrated. Often her illustrations reflect something idiosyncratic about the country she resides, the comic exhibited at the Red Room depicting a foreign character trying stinky tofu and navigating Taiwan’s motorcycle filled traffic is one example of this.

Bara's umbrellas hung festively across the Red Room's ceiling

Bara’s umbrellas hung festively across the Red Room’s ceiling

The umbrellas that continue to adorn the Red Room are another example of her creative incorporation. Initially created for the Chinese New Year, put together these umbrellas create a giant goat which cares for everyone from its vantage point in the heavens.  Perhaps most inspiring to her about Taiwan is the dedication to artisanship and handcrafts. “Everything in Taiwan is so well done,” she said. “I would love for my work to be like that.” Since coming to Taiwan she has increasingly experimented with different materials from rice baskets to bamboo to giant canvases.

In the interview below, Bara speaks a little bit more about her personal art style and how she became involved with the Red Room.

Bara pictured with several attendees at the opening night of Visual Dialogues 3

Bara pictured with several attendees at the opening night of Visual Dialogues 3

    You developed this world full of these characters that are inspired by the people you see in everyday life. How has your style evolved over the years?

    Well I have moved a lot, so I think it depends on the people who have crossed my path. They make my style different.
    I started doing the noses on the characters I have now when I was in Kenya, because I just saw big noses everywhere. The bald heads also are influenced by Kenya because a lot of people shaved their heads there.
    [Every time I travel I see] the people, the features, the color– everything is different– so I think I just start grabbing things from every culture. [I look at] the way people are, the way people dress and react and I think that’s what changes my style, just traveling.

    Do you think switching from digital to a hand drawn method has made you think more carefully about what you choose to include? 

    Well I think digital work is much easier. Everything is possible. So with painting by hand you have to know how to do a lot of stuff so it takes a while for you to get there. I’m trying to paint by hand, but I don’t have technique, so it’s just lots of color and very, very simple. I hope someday I will develop a technique.
    At the beginning I did think more carefully because when I draw in my sketchbooks I really like them really neat. I started drawing with pencil and erasing and drawing and erasing. Then I thought, well, mistakes can be a beautiful thing, so now I only draw with pen. If I make a mistake I try to think of how to fix it and how to make it part of my piece.
    Now it doesn’t really make me think more, it makes my piece become something different than what I thought at the beginning.

    I noticed on your website that you did an exhibition and the materials were rescued from the recycling bin. What motivated you to do that and how do you feel using those materials, rather than something purchased for the store, changed your art or improved it?

    I think it’s because I’m all about recycling and not spending money if I don’t have to. When I was living in New York I started seeing all these things that people threw out. In New York they just put it on the sidewalk so someone else can take it. You would just be walking and find amazing things that you could paint on.
    It has worked very well and I think it looks really nice. It gives live to something that for someone was dead before.

    What is your favorite thing that you resurrected or transformed? Is there anything that stands out?

    I have painted so many things. I didn’t find it in the street, but I found some bamboo spoons that I really like. So I think I like painting on bamboo—the texture is really cool and the color of the bamboo is really nice.

    A rice basket is one example of the "unusual" material Bara likes to use for her art

    A rice basket is one example of the “unusual” material Bara likes to use for her art

    How did you start developing your characters in 2004?

    When you are an illustrator you have to start developing a style because they hire you based on your style, but I do have different styles like you can see in the exhibition.
    Like the zodiac collection, I had never drawn animals before. I didn’t quite like the result, but that’s what turned out. I just keep experimenting and seeing what I can do.

    How do you deal with and move from art which your unsatisfied? What was your response to the zodiac collection?

    I have the ability to move on quickly and to just let go. It didn’t turn out how I wanted “okay, let’s exhibit and see what people think of it”. Some people liked it even though I didn’t; they bought most of the collection.
    I just put it out and some people like it and some people don’t. You must find a home for whatever you have.

    You mentioned there are moments when you don’t like the end result, but are there moments where you’re uncertain throughout the process but love the results?

    Yeah, most of the time. I think I have a problem because I don’t like doing the same things.
    Everything I do is just an experiment. When I started trying to sell my art some people told me “you know you should just do this style and stick to it because that’s what people like”, but that doesn’t really make me happy. Sometimes you like red and sometimes you like blue, so why always stick with red just to satisfy people?
    Now I don’t care about people that much, unless it’s a commission.  Sometimes it’s really hard to do commissions because sometimes you just don’t want to draw, or you just see something that inspires you and you want to draw exactly that.

    Are there ever moments during a commission where you feel you’ve discovered a part of you that you wouldn’t have otherwise discovered because you were forced to think in another way?

    Sometimes, but very few times, like right now I have a commission with zodiac animals.  I really didn’t want to do them because I didn’t really like the other ones so I really cracked my head and thought about it and sketched. The [end] result was awesome! I really liked it.

    Ultimately the clients have to trust me. I always tell them I have to do my own stuff. I’ve lost clients because they’ve told me to do something else and I’ve refused. I refuse to do something I’m not passionate about.

    What do you hope your art communicates? Does it change with each piece of art you complete or is there a general feeling you hope to evoke in people?

    I just paint because it makes me feel really good. When I’m angry or sad, I paint and everything just goes away. For me, drawing has been an escape from this kind of weird world; that’s why I draw.  That’s the way I communicate. I’m very introverted, so I can make a drawing for you if you want me to say something.
    I describe my art as funny and quirky. I just want to make people smile when they see because they make me smile. That’s it . Very simple.

    How were you approached for Visual Dialogues?

    I’m always willing to participate and give a hand, so Red Room always calls me to see if I’m free to do stuff and I’m always free to do stuff.
    Originally, I wasn’t going to take part in Visual Dialogues because I thought I didn’t have something to share. Then Charles wrote me and asked me to participate. He said I’d be perfect for the last one. It’s mutual participation. They call me and I’m eager to just be there and paint.

    How do you think the Red Room community has affected your art at all? Has being  in the community beyond painting changed anything for you?

    Yeah, actually, I had to paint on a big canvas for Artists Break the Mold and Artists Break the Flood.
    I’d only painted on small things because they take less time and I’m impatient. I thought final piece on the big canvas was awesome. I really like how my characters looked.  Even though I’d done murals, it was  different on the canvas.
    I think that’s how Red Room has helped. They’ve kind of encouraged me to paint on a big scale. The pieces in Visual Dialouges, the big ones, I wouldn’t have decided to do before because I had never experienced it. I experienced it with Red Room.

    [At the Red Room] artists are experiencing mural paintings, big canvas paintings, and other sort of mediums.  Red Room is giving them the opportunity to do that which is just pretty cool.

13 March 2016, Rebuilding Nepal Auction Event 募款拍賣會/展覽會日期與時間

image01Petals of Compassion and Red Room present
Rebuilding Nepal Auction Event 募款拍賣會/展覽會日期與時間
Sunday, March 13 at 1:00 PM – 5:00 PM

Join us to raise money to build Eco Friendly Homes in Nepal!

The Exhibition and Fundraising Event will be an awe inspiring moment when you can connect with yourself and with people all over the world. On display will be Arts, Crafts and Poetry from many countries near and far; all in collaboration to rebuild Eco Friendly Homes for the people of Nepal. This amazing event will be held at The Red Room. You will see the compassion that is held within your own heart and be amazed at the magnitude of those who want to help.

請一同加入我們的展演募款活動。在活動中,您將能感受到重新與自我及全世界連結的莊嚴時刻。現場還會有來自遠近不同國家的藝術工藝及詩歌展演活動。你將能感受自身所蘊含的慈悲力量並驚訝於與會成員們所貢獻出的巨大能量。

There will also be a Sound Healing Concert lead by Nepalese born Deep Deoja. Deep Deoja is the founder of Bishwa Seva Foundation and Deep Sound Meditation. He supports over 50 orphans in Panouti, Nepal while offering healing benefits to members of the San Diego County in California. His Sound Healing Meditation Group is the largest in America. He also performs at the Deepak Chopra Center on a regular basis. He is coming to Taiwan to give gratitude for those who are helping to rebuild Nepal.

尼泊爾出生的Deep Deoja亦會於活動期間舉辦聲音治療音樂會。Deep Deoja是Bishwa Seva基金會及深音冥想協會的發起人。他長期支助尼泊爾Panouti區域的50名孤兒,並為加洲聖地牙哥的會員們提供療癒福報。他是全美最大的聲音治療組織負責人,同時也在Deepak Chopra中心作定期的演出。這次他將特別來到台灣,給予發願協助尼泊爾的人士們感恩福報。

There will be a Silent Auction, Live Auction, Live Music, Raffle, Delicious Food and Deep Sound Concert! You don’t want to miss out!

全天的活動內容將包含靜默義賣、現場義賣、現場音樂演出、抽獎活動、可口的尼泊爾食物以及深音治療音樂會!
千萬別錯過!

Suggestion Donation upon Entrance:
$200 nt (this will get you 2 raffle tickets)
入場建議捐助金額: NT$200 (含兩張抽獎券)
Time: 1:00-5:00
時間: 1:00-5:00

1:00- 4:00
Auction Event
1:00-4:00 義賣活動

4:00-5:00
Deep Sound Healing Concert with Deep Deoja
Deep Deoja 深音治療音樂會

Location 地點: : Red Room
Address and directions: No. 177, Sec. 1, Jianguo S. Rd (Intersection of Jianguo S. Rd. and Jinan Rd.)
台北市大安區建國南路一段177號(濟南路與建國南路交叉口)

The entrance is located on the intersection of Jianguo S. Rd. and Jinan Rd. (TAF side entrance). After passing the gate, keep marching forward and you’ll see a white building to your left called Library. Make your way to the second floor via the outer staircase on the side.
Travelling by Taxi: No. 177, Sec.1, Jianguo S. Rd (Intersection of Jianguo S. Rd. and Jinan Rd.)
Travel by MRT[Zhongxiao Xinsheng Station Exit 6]
Walk straight along XinSheng S. Road , then turn left on Jinan Road Sec.2 , continue down and you’ll spot the entrance!

搭乘捷運走
[忠孝新生六號出口]
沿著新生南路走,到濟南路口左轉,直走到底就會找到我們!

Love and Compassion are necessities not luxuries. Without them humanity cannot survive. –Dalai Lama

「愛與慈悲乃生活基本非奢侈享受。
沒有了愛,人性將無以存續。」
-達賴喇嘛

14 February 2016, Visual Dialogues 藝術對畫 V

OPENING RECEPTION 開幕酒會 Valentine’s Day, February 14 2016 3:00 pm ~ 7:00 pm

Please join these two artists for their Visual Dialogue
邀您進人以下兩位藝術家的視覺對畫
Colour of Mind 心靈原色
by efei shih & joel

TWO ARTISTS
EAST AND WEST
MIXING STYLES
MIXING COLOURS
PROVING LIFE
IS THE JOURNEY
NOT A DESTINATION

東方
西方
兩位藝術家
混合了風格與色彩
訴說著
人生不是為了走向終點
而是活在每個當下

Free Entry for all.

Visual Dialogues 藝術對畫
between people, spaces and ideas
Two artists from different cultures with be featured in a monthly art show at the Red Room International Village, opening on the first Sunday of each month.
紅房會邀請兩位分別來自西洋及東方的藝術家來展出他們的作品,讓藝術氣息繚繞在紅房國際村的樑柱之間。
在每月的第一個週日,邀請您們一同享受創意與空間的對談。

GALLERY HOURS
February 14 – March 5, 2016
Tuesdays, Thursdays, Saturdays, Sundays 3pm-7pm
TAF LIBRARY 2F No. 177, Sec.1, Jianguo S. Rd, Taipei
空軍總部「圖書館」2樓 台北市大安區建國南路一段177號

Conversations with Artists: Alex Houghton

You said you were a third culture kid, growing up in Taiwan, Hong Kong and Australia. Why did you grow up in so many different countries? How would you say that shaped you?

My father is an Engineer and a specialist in trains. Hong Kong MTR to Taiwan High Speed Rail were some of his projects, so we travelled with the job. It became the normal, new school, new friends, new languages every few years. Everywhere we went there was a time for exploring and learning the culture, and then there was a time to make it home. It really opened my eyes to cultural perspectives, traditions and every day life. I feel like the  Koi becoming the Dragon, it was a journey that each place left an influence on me.

So your website says you developed a love of photography when you needed resources to design with. Would you say it evolved from there?

I originally picked up my camera in high school and played with film. I always enjoyed the hands on aspect of it and the meticulous process of developing to printing. When I was eighteen had a lot of time to play with a Sony Cyber Shot 3.2 mega pixel camera and I loved it. I would take my photos and make patterns, brushes and play with blending images. Without realizing it, photoshop became my muse. I went to Kenya and a Doctor gave me his DSLR and say try this. I went nuts and my eyes opened up and realized this was the next level. It was ,and still is, an ongoing process of creating, playing, blending and simplifying.  I have chosen to pursue photography and graphic design as my career for 8 years now and the neat thing is, that the photography has taken me far beyond what I expected. It is like a key that has opened many doors and opportunities I never expected.

Part of Alex Houghton's 'Reflected' series

Part of Alex Houghton’s ‘Reflected’ series

I’ve noticed you’re original fascination with blending images and transforming them is highlighted in your mini-series, Reflected. Would you care to talk a little bit about the inspiration behind the series?  

I love temples and I always felt I couldn’t appreciate the detail of the roofs. I started playing with my zoom lens and trying to capture the detail. I would try find stairs, passage ways, what ever I could do to get higher. I went home and started playing and it struck me that if I reflected my creations on themselves the details were more clear to the viewer. I started playing with the patterns, the colors, the symmetry. Next thing I know it is one of my favorite things to do.

How did the artistic process differ there? Does what you’ve done in the mini-series reflect a satisfaction in a different process or is it simply an extension of what you find interesting about photography?

For me the Reflected Series went back to my Graphic Design Roots. My photography has gone thru phases of heavy editing to simple editing. Reflected allowed me to push the boundary that people became fascinated rather than old conversation of too much or too little photoshop. It’s a different state of mind when I go out to capture stuff for reflected, I search for something that stands out, analyze it, imagine it and then photograph it and edit it.

How has your love of photography changed?

My love of photography is apart of who I am. Every day I am playing with photos, taking photos, researching locations, reading about techniques and having fun with it. It hasn’t changed, it has become more intense and in every aspect of my daily life.

 Some people say that art changes the way we see things. How did photography begin changing how you see things?

Playing with perspective, lying on my back in temples, leaning over boats to get the most reflection from the water surface– I love textures, everyday life and the details of makes your local neighbourhood feel so home like. My hope would be that people look at my photos and then go back to there home and see opportunities all round them to photograph. I can’t say it has changed what I see cause a lot of my work was just the way I see it naturally.

temple alex

 Why did you choose to feature Taiwan in your first book?

Taiwan is the longest place I have lived combination of 13 years. This is where I learnt everything, made some of the best friendships, kicked off my working career, fell in love, studied and become who I am today. I wanted to celebrate this beautiful country and show people the diversity of what Taiwan has to offer. I want people not to think of a concrete jungle but rather a wild, intriguing, cultural rich island of treasures. Taiwan to me is the Venice of Asia, I try to explore as much as possible and I feel I am still scratching the surface of possibilities.

 I noticed you had different categories: People, animals, mountains, water etc. All in pinyin. How did those categories come about? Why did you choose to write everything in pinyin?

I got organised and laid out all my photos and I saw themes pop out at me, either by colour scheme, lines, and textures and grouped them. By doing that it made the images stronger as a collection to compare and emphasize.

Like my website name is a play on English and Chinese, I wanted my albums to be a play on words.

What do you enjoy shooting most?

Taiwan temples. The detail, history, colours, craftsmanship, the community and peoples all coming for their own reasons. When I enter a temple I imagine how every piece was hand made and put together. The significance of symbols and meanings, the richness of preserving the temple culture and the dedication from the people who maintain it.

What was/is the most challenging part of photography? What advice would you give someone interested in photography?

The challenging part is keeping organised and not ending up with hundreds of photos never edited and sorted. I have tried to slow myself down as we can all go trigger happy especially with digital. The world wants to see photos. so the challenge is getting them  off your computer as a nice background in the hands of people to see your work.

Photography is you stopping to capture a moment in time that stood out to you. There are always photos we wish we took, photos that make us want to know how they did that. No matter what celebrate in your own creativity, don’t analyse but rather appreciate. Whatever cameras you have take it out with you. Document what you like, create a memory and have a photo to reflect on it. Art is about expressing yourself so don’t get discouraged; show the world your point of view!

Red Roomers browse through Houghton's prints and peruse his book at the opening of Red Room's third Visual Dialogues

Red Roomers browse through Houghton’s prints and peruse his book at the opening of Red Room’s third Visual Dialogues

RR-TMIT 271015

One of Alex’s photos that have become an iconic visual for Red Room.

When did you first get involved with the Red Room? Why did you choose the Red Room to exhibit your work?

I first came to Red Room 6 years ago when they first opened. I came down with my camera and photographed the layout. 6 years later, 2 of my photos have been used constantly.

Roma  [Mehta] has always been a huge role of support for me. She has encouraged me to show the world my photography. She helped me get published in the Centered magazine my “Sausage Man” photo. That encouragement and friend network/support within the Red Room wanted me to do my exhibit with Red Room.

What is it about the Red Room you feel is special?

The Red Room is a space to be creative without borders; it is a place to explore ideas, collaborations, and network with such a chill vibe. Since returning to Taiwan, I just love what Red Room has become and the development over the last 6 years. This is something special that is very unique.

How would you like to see Red Room transform and grow?

I feel Red Room is such a creative hub as long as the people are behind it, we can take it anywhere. It is a place of no boundaries and constant exploration for creativity. I would love to see Red Room get an established long term base so they can set up and invest in it for the long term. I want to see Red Room keep its personal touch while becoming a part of the creative movement growing in Taiwan.

How would you like to see your photography grow? Do you have any goals for your future? Any places you’d like to capture?

I would love to see my photography in collaboration with tourism. It is a dream that my photos could represent someone’s first impression of where they are going. I am going to India for the first time in 2016 and that’s mind blowing for me and can’t wait. There are too many places I want to go to be honest. I lived in Taiwan for twelve years and I feel I haven’t scratched the surface still! I think rather than saying one place, I’ll go anywhere camera in hand. Sometimes the picture you find is a plane ride away or just round the corner.

By Leah List