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Preface


二零一三藝術文學士畢業展—「甲乙丙丁」,由應屆畢業生籌 組,澳洲皇家墨爾本理工大學與香港藝術學院合辦,共展出50位 畢業生的陶藝、繪畫、攝影及雕塑作品。 「甲乙丙丁」乃古人記錄植物生長過程的其中幾個狀態:「破土 萌芽,草木初生,萬物炳然,成長壯實」。修畢藝術文學士課程 是成長過程的一個階段,舉辦一個展覽正好將畢業生在這階段的 狀態展示。學院如土壤,種子播於其中,藝術家的人生歷程和經 驗就是陽光和水,然後這顆種子萌芽、轉化並發展。最後無論是 開花、或結果、或凋謝,都是循環中的一些狀態而已。 透過種種歷練,加上獨特的意念,融合於不同的創作媒介之中, 包括陶藝、繪畫、攝影、雕塑,以及多媒體或裝置,畢業生們將 各種創作意念注入種子,賦予新的活力、生命和意義,形成今天 充滿自信與個人特質的藝術作品。 「甲乙丙丁」並非一個終結,而是一個開始。 二零一三年畢業展統籌委員會

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Preface

Alpha to Infinity – is the title of the 2013 Bachelor of Arts (Fine Art) Graduation Exhibition, organized by the graduates and co-presented by RMIT University and Hong Kong Art School, showcases artworks in diverse mediums created by 50 graduates majoring in Ceramics, Painting, Photography and Sculpture. The first letter of the Greek alphabet ‘Alpha’ is used as a synonym for beginning. In ‘Alpha to Infinity’, the graduates take plants as a metaphor, likening their creativity to the seed of art from which it will eventually grow into a powerful tree or blossom as the most beautiful flower. The title ‘Alpha to Infinity’ projects a beautiful scene where a seed is being planted into the soil. When there is rain, sunshine or wind, it will adapt to the environment and grow; transform; develop with green leaves and strong stems and as time goes by, we may have a lush forest as the fruitful result. Alpha is the tiny seed at the beginning, while at the end it harvests into infinity. This exhibition is not only about the harvesting of our fruitful studies, but also a showcase for our creativity and diverse artistic and aesthetic experiences in fine art including ceramics, painting, photography and sculpture, as well ascross-media installation during the three years of study. We want to share how we have raised the tiny seed from the beginning and how it has gradually blossomed in the infinite universe of sensational creativity. It sounds like a never-ending cycle, and now we are having a brand new start. Graduation Exhibition Committee 2013

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目錄

前 言 Foreword -

序 Preface 澳 洲 皇 家 墨 爾 本 理 工 大學 RMIT University

前 言 Foreword -

香 港 藝 術 學 院 Hong Kong Art School

陶藝 Ceramics 繪畫 Painting

攝影 Photography

雕塑 Sculpture

簡歷 Biography

鳴謝 Acknowledgement

展覽資料 Exhibition Details

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4 10 11 14 24 118 178 200 211 225


Contents

陶藝 Ceramics

欣欣 Yan Yan

110

陳欣欣 CHAN Yan Yan, Grace

16

楊寶兒 YEUNG Po Yi, Katie

114

呂潔蓮 LUI Kit Lin, Casandra

20

源碧君 YUEN Pik Kwan, Jenny

116

攝影 Photography

繪畫 Painting 陳啟邦 CHAN Kai Bong

26

詹佳穎 CHAN Chia Ying, Janet

120

陳瑞琦 CHAN Sui Kei, Shirky

30

陳銳敏 CHAN Yui Man, Yuman

124

陳韻縈 CHAN Wen Ying, Lydia

34

馮子聰 FUNG Tsz Chung, Alvin

128

鄭安捷 CHENG, Raymond Joseph S.

38

何展兆 HO Chin Shiu, Ramond

132

張麗蓉 CHEUNG, Lio

40

林南雅 LAM Nam Nga

136

周穎璇 CHOW, Christy

42

李思敏 LEE, MiMi

138

馮佩蓮 FUNG Pui Lin, Ula

46

梁譽聰 LEUNG Yu Chung, Dan

142

何喬忻 HO Kiu Yan, Phoebe

48

李頌韜 LI Chung Too

146

洪欣宜 HUNG Yan Yi, Angelica

50

盧曉峰 LO Hiu Fung, Gorbriel

150

姚逸洲 IU Yat Chau, Alexavier

54

文耀國 MAN Yiu Kwok, Gary

154

黎仲恒 LAI Chung Hang

58

陳啟駿 MC

158

劉曉蓉 LAU Hiu Yung

62

譚慶楷 TAM Hing Kai

162

羅子俊 LAW Chi Chun

66

曾百鏗 TSANG Pak Hang

166

李鳳珍 LI Fung Chun

70

黃晉傑 WONG Chun Kit, Terence

170

凌向汶 LING Heung Man, Doris

74

袁可殷 YUEN Ho Yan, Vanessa

174

倫芷茵 LUN Tze-Yan, Shiron

78

熊耀蘭 MA Hsiung Yaw Lan, Ruth

82

雕塑 Sculpture

馬婉婷 MA Yuen Ting, Olivia

86

陳直怡 CHAN Chik Yee, Lucy

180

馬孝笙 MAH Hau Sung, Hazel

90

陳正文 CHAN Ching Man

184

陳雪花 TAN Suat Huay, Wendy

94

陳祉縈 CHAN Tsz Ying, Grace

186

曾嬿安 TSANG Yin On

98

鄺嘉敏 KWONG Ka Man, Nancy

190

王淑霖 WONG Shuk Lam, Emily

102

林文敏 LAM Man Man, Ar Man

194

黃舜芝 WONG Shun Chi, Vanessa

106

蕭詠詩 SIU Wing Sze, Grace

196

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前言

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Foreword


前言

The final exhibition, a graduation show, is the conclusion of your undergraduate degree and a moment to reflect and celebrate. It is only the beginning, one of many beginnings in your career as an artist. Enjoy this moment and be proud of all that you have achieved.

這個期末展覽,也是畢業展覽,是你們一班畢業生的總結,也是 時候可以反思和慶祝。這是一個開始,亦是你們以藝術家為事業 的眾多機會之一。好好享受此刻,為自已所達成的感到驕傲。 藝術世界瞬息萬變,你們處於此新世紀,可遇到許多可能性。 當你們還在求學時,正是一個播下新意念、操練技術和培育個人 哲學與理念的機會。這畢業展覽正好顯示出你們學有所成。 離開學院後,與其他創意工作者投進主流,你們將會尋求無限的 可能性。正如你們的前輩和後輩,未來的每一個世代,你們必須 要以熱誠和委身,去爭取每一個機會。不論工作質量,投放你們 的想像力和智慧,做好自己的本份;不論你的貢獻如何,延續視 覺文化和藝術行為。請謹記藝術就是溝通。

每一位藝術家在他們個人的事業,皆會有機會去表現才華,展示 和帶出他們的願景。許多藝術家幸運地可以去教授藝術,把他們 所學懂的傳承給未來的藝術家。請記著你們的老師也曾對你們的 成就作出貢獻。

The art world is changing rapidly, and in this new century that stretches ahead of you there are many possibilities. Your time as undergraduates has been an opportunity to seed new ideas and to build technical and philosophical competencies. This exhibition demonstrates that you have learnt a great deal. Leaving the School and entering the stream with other creative practitioners you will find an infinite number of possibilities. Like those artists who came before you and the many who will follow you, generation upon generation into the future, you must seize each and every opportunity with enthusiasm and commitment. By engaging your imaginations and your intelligence you will play your part, however great or small, in the continuity of visual culture and artistic practice, however great or small your contribution may be. Remember that art is about communication. Each artist in their individual career has an opportunity to excel and to demonstrate and communicate their vision. Many artists are also lucky enough to have the good fortune to teach, or to give back to future artists something that they have learnt. Remember your teachers and acknowledge their contribution to your success.

從你們在學期間展現的堅毅和委身,我謹代表澳洲皇家墨爾本理 工大學,恭賀你們及你們的老師,祝福你們擁有無窮的發展, 光明的前途。

On behalf of the Art School at RMIT University, Melbourne, I congratulate you and your teachers for your determination and commitment. I wish you all every success for the future, which has infinite possibilities.

Jeremy DIGGLE 教授

Professor Jeremy DIGGLE

澳洲皇家墨爾本理工大學藝術系主任

Head of the School of Art, RMIT University, Australia

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Foreword There is tangible evidence to indicate that the art scene in Hong Kong has grown and developed substantially over the past decade. The gallery and museum infrastructure has made considerable gains during that time with many prominent international galleries and auction houses from Europe and United States setting up a base here. As such the future looks very bright. The advent of the Hong Kong International Art Fair in 2009 and the development of the West Kowloon Cultural District augur well for the arts to flourish in Hong Kong into the future. I am reminded of the comment by the French philosopher, René Descartes who in 1631 described Amsterdam, then at the height of Dutch trading prowess, as ‘an inventory of the possible’. ‘What place on earth,’ he asked, ‘could one choose where all the commodities and the curiosities one could wish for were as easy to find as in this city?’

在過去的十年間,香港藝術發展日趨成熟有目共睹。隨著眾多蜚 聲國際的藝廊及來自歐美等地的大型拍賣行亦紛紛進駐本港,本 地的藝廊及博物館配套設施亦隨而增長,香港的藝術前景看來一 片光明。自2009年第一屆香港國際藝術展登陸此地,以及近年西 九文化區的大規模發展,正預示香港藝術的發展前景向好。我記 起法國哲學家笛卡兒於1631年,曾以「凡事皆可能」(an inventory of possible)來形容當時高踞荷蘭商貿王國重要地位的阿姆斯 特丹:他說「這裡充滿無盡可能性。世上還有哪個地方能像此城 一樣,讓人找到多不勝數充滿無邊想像力之物?」 在亞洲,特別是香港,其視覺藝術領域正不斷擴展壯大,「凡事皆 可能」正好能貼切形容此一景象。香港藝術中心自1977年成立以 來,一直專注帶領推動和培育本地的藝術發展,至2000年成立香 港藝術學院,成為藝術中心的附屬機構,自此挑起教育年輕藝術家 的重任。 學院歷年假藝術中心包氏畫廊展示各屆藝術文學士畢業生的作品, 我們對此深感自豪。本年的畢業展以「甲乙丙丁」為題,展出共50 位主修繪畫、陶藝、攝影和雕塑的畢業生之作品。「甲乙丙丁」 正好標誌著同學們在過去三年密集又嚴謹的學習過程中,各自練成 別樹一格既有趣又細膩的視覺語言,並能在二十一世紀的今天, 以藝術家的身份在繽紛多變的藝術世界裡大展拳腳。 是屆畢業展不但讓畢業生們有機會在這個世界級展覽場地內展出作 品,亦讓他們在籌辦大型展覽取得寶貴的一手經驗。放眼望去, 場中的每件作品無論質素、深度和創意的活力都令人留下深刻的印 象。這再一次讓我想起笛卡兒那句鼓舞人心的名言:「凡事皆可 能」。「甲乙丙丁」的確讓人看到未來香港藝術發展那股澎拜的創 作力量和潛力。 在此我衷心祝福各位畢業生能完滿地完成此優秀的畢業展,並期望 各位在不久的將來,能為本地交化界作出貢獻。 刻下正是成為本地藝術家的美好時刻。 梁鏡威 香港藝術學院院長

There is a positive and exciting sense of this notion of an “inventory of the possible” within the growing dimension and focus towards the visual arts in Asia and, in particular, Hong Kong. The Hong Kong Arts Centre has, since it’s inception in 1977, been at the forefront of the promotion and nurturing of the arts and with the introduction of the Hong Kong Art School, a division of the Hong Kong Arts Centre in 2000, we have proudly taken on the mantle as a major contributor to the formal education of young artists. Each year the Hong Kong Art School takes great pride in showcasing the work of graduates from the BA(Fine Art) degree in the Pao Galleries at the Hong Kong Arts Centre. This year the exhibition, entitled ‘Alpha to Infinity’, represents the work of 50 graduates from the disciplines of Ceramics, Painting, Photography and Sculpture. ‘Alpha to Infinity’ is an appropriate title for this exhibition as it marks the culmination of an intensive and rigorous three year period of study. From the initial phases of the study program and throughout the educational ‘journey’, each student has established an exciting and sophisticated visual language that enables him or her to define themselves as artists within a complex world in the 21st Century. Their showcase has enabled the graduates to present their work in a world-class venue and to gain first hand experience in the organization and installation of this impressive exhibition. As I cast my eye across the quality, diversity and creative dynamic of the works included in ‘Alpha to Infinity’ I am once again reminded of René Descartes’ poignant words. ‘Alpha to Infinity’ is indeed an ‘inventory of the possible’ in terms of the creative energy and potential for the exciting future growth of the arts in Hong Kong. I congratulate each of the artists represented in this impressive exhibition on both their individual and collective success and look forward to hearing of their positive contribution to the cultural community of Hong Kong in forthcoming years. It is indeed an exciting time to be an artist in Hong Kong. Felix LEUNG Director, Hong Kong Art School a division of Hong Kong Arts Centre

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畢業生作品

Works of Graduates

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陶藝

Ceramics

學科統籌 Subject Coordinator

黃麗貞

WONG Lai Ching, Fiona


陶瓷藝術與造物過程有著密不可分的關係,今屆主修陶瓷藝術的畢 業同學,在其作品中對造物與物料轉化作出了不同層面的探討。 調節陶泥和釉藥的溶點,令物件造型與表面,在燒製過程中產生 了戲劇性的變化;以天然泥土(soil)和配製陶泥(clay)創作、讓昆蟲 與人類共同參與作品的建構,都反映出同學對媒介探索的熱忱。 他們正努力為陶瓷藝術開拓更廣闊的平台,將陶瓷由一種傳統描 述性的視覺語言,帶到更成熟的發展方向。 黃麗貞

Ceramics art is always closely related to objects making. From the graduates majoring in ceramics this year, we can see they have made various explorations on objects making and material transformations. By mixing different clay and adjusting the melting point of various glazes, the objects often result in dramatic changes on their appearance and texture during or after firing. They have shown their passions in exploring different materials when they focus on constructing their art works with natural soil and blended clay, allowing the participations and collaborations of both nature and humans. They work hard to broaden the horizon of traditional ceramics art, enhancing its descriptive visual nature; it is now becoming more mature. WONG Lai Ching, Fiona

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陳欣欣

CHAN Yan Yan, Grace yanngrace@gmail.com

在整個生長過程當中不斷地釋放出能量,能量會被充份 運送到每一個角落。而這個生長模式自我啟動後,就不 斷地運行直至整個程式完結或沒有能量為止而終結。 一個不願長大,並不想面對外在的負擔、責任的孩子, 只想一直停留在一個備受保護下的一片空間中,透過這 空間保護下可以任意地選擇對外來的接觸,亦可自我陶 醉在自我的世界裡。但事實上我是不由自主地長大的, 在整個過程是安靜並很難察覺到它有變化。 利用燒製的媒介,去捕捉整個經過時間洗禮,潛伏在圓 的生命體萌芽生長瞬間所釋放的能量,在衝破與未被衝 破間的動態。盛載著生命體的「圓」不斷默默的承受及 支撐著內部的歷練,而外物在燒制時影響著圓的形態只 是凸顯力量及時間的元素。

The growing stage is very powerful. Its energy, carried by life, can spread to every corner. When it’s turned on automatically, the whole system will carry out its mission until the energy has run out. I refuse to grow up, and to take responsibility in the real world, though I know it is inevitable. I want to stay and be protected in a space, (like within a spherical shield). Under the protection in this space, I can indulge myself and decide what I want to do and what not. In fact, I am constantly growing which I cannot control. The process is quiet. It is hardly notice able that change has actually occurred. I attempt to use the firing process to reveal a sense of energy which lies inside the spheres and to capture the moment as if the energy is about to burst out from the spheres, the moment between break and un-break. I often feel that the sphere carries another life inside of it. It always supports the life inside of it quietly. During the firing process, the shapes of the spheres are distorted. This distortion may suggest the existence of another element contained inside the spheres with Time and Energy!

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潛伏。啟動 Growing 骨瓷及炻器 Bone China & Stoneware   17.8 x 11 x 11.5cm 2012

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潛伏。啟動 Growing 骨瓷及炻器 Bone China & Stoneware  13 x 6 x 6.5cm 2012

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潛伏。啟動 Growing 骨瓷及炻器 Bone China & Stoneware 8 x 7.6 x 8cm 2012

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呂潔蓮

LUI Kit Lin, Casandra casandra.lui@gmail.com

在我作品系列中,我運用三種不同的泥,用手捏的方 法和泥產生互動,做出一個個細小不同形狀的空間, 再將它們重疊起來,在它的表面加上一層氧化物和泥 漿,令它的紋理突出表現了細部的結構,呈現出來的 效果是混亂和秩序,簡單和複雜性之間,當中包含豐 富的質感以及建築結構的空間 。 作品中所表現的結構空間 , 是否可以滿足我們的生活 方式呢 ? 而我們又怎樣去享受我們的生活模式呢 ?

Buildings are special things. The high population density and insufficient housing space are a current phenomenon in the world. Buildings also come in a wide variety of shapes and functions, specific uses, aesthetic reasons and different living styles. I imagine these buildings just like a “Nest” in the insert world. In this series of work, I attempt to use the three different clays to generate interaction with pitching methods and clay, making different shapes of a small space, and then it is overlapped on its surface with a layer of oxides to highlight the subtleties of surface texture and the sculptural form. I develop my sculptural shapes along the theme “Nest”. Repeated units are combined to form unique objects. Throughout my works according to certain “Repeat Rhythms from Nature”, I also attempt to explore the relation between chaos and order, simplicity and complexity…….which contains a rich texture. Whether it meet sour lifestyle? How to enjoy our lifestyle?

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巢 NEST 陶瓷 Ceramics 240x 120 x 30cm 2012

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巢 NEST 陶瓷 Ceramics 240x 120 x 30cm 2012

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巢 NEST 陶瓷 Ceramics 240x 120 x 30cm 2012

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繪畫 Painting

課程統籌 Programme Coordinator

Professor Terry BATT


當我正整理我的思緒預備為本屆 「甲乙丙丁- 藝術文學士畢業 展」的展覽目錄撰文作序時,我想起在二零一零年一月與他們邂 逅的情景。身為澳洲皇家墨爾本理工大學的副教授,我有幸可以 在密集式教學週教授,並認識到一班學生。 課程開始不久,這班學生對藝術的興趣和投入,令我留下深刻 印象。他們對學習充滿熱誠和興奮,且持之以恆。最重要的是, 我仍記得在不同的學習小組之間、在學習初期已構成的美妙關係; 結果到今天,仍可維持學院派的感覺和支持,川流不息。 正值此時,我生命中有一些轉變,隨著我從澳洲皇家墨爾本理工 大學退休,我來到香港藝術學院任教。這轉變讓我可以直接參與 教授和接觸學生,親身見證他們的成長與發展,直到他們的最後 一個學期。 在學院攻讀藝術課程好像一個旅程。學習過程複雜,因為它連繫到 客觀發現和主觀應用。這樣的關係就像雙手、頭腦和心的合而為 一。學術性及實際的技巧,加上個人的感性,成為捉摸不定的視覺 藝術內容。要達到有關學習目標,需要學生的堅持、決心、努力和 對自己的強烈信念。此藝術文學士課程充分地印證這班學生的素 質,他們的旅程更是特別豐盛。 展覽主題為《甲乙丙丁》是切合不過的,因為它簡潔地為這趟學習 過程的創意演化下了定義。從一開始,在第一年遇到猶疑的步伐, 引領到後來的成熟和世故,把整個展覽推上高潮,令觀眾留下深刻 印象。此旅程的尾聲,明確地帶出雙手、頭腦和心的合而為一。 我懇切希望是次展覽的每一位藝術家,不要當這藝術文學士課程 完結便是他們旅程的尾聲。我期望他們以藝術家身份自居,欣然 抱擁二十一世紀的藝術世界,把此刻當作享受他們的成功和反映 他們的成就。 恭喜是次《甲乙丙丁》展覽的每一位藝術家,毫無疑問,我預料各 位都能夠為本港、甚至國際間的藝術文化社會,帶來正面的貢獻。 Terry BATT 教授 高級講師 / 課程統籌 (藝術碩士 & 藝術學士)

As I assimilate my thoughts in preparation for writing this article for the BA(Fine Art) graduate catalogue I am reminded of my first encounter with this cohort of students in January 2010. Then, an Associate Professor with RMIT University I had the good fortune to teach a number of the students during the initial Intensive Teaching Week at the beginning of the course. From the outset I was particularly impressed with the keen interest and dedication of the students. They were enthusiastic and excited about learning and all that it entailed. Above all else, I well remember the wonderful bond that was initially established within the group during those formative few days, resulting in an ongoing sense of collegiality and support that has continued to flourish to this very day. Since that time there have been many changes and, following retirement from RMIT University I now teach at the Hong Kong Art School. With this change I have had the good fortune to observe their development first hand and to have once again engaged directly with many of them in a teaching capacity throughout their third year of study. Formal study in the fine arts is very much like a journey. The learning process is complex because it relates to both subjective discoveries and objective applications. The relationship between the hand, the head and the heart is central to this learning process. Academic and practical skills, aligned with personal sensibility can, however be an elusive mix in the visual art context. It requires perseverance, determination, hard work and a strong sense of belief in oneself in order to achieve the relevant learning objectives. These qualities have been abundantly evident in this group throughout the duration of the BA(Fine Art) programme and their journey has been a particularly productive one. Alpha to Infinity is an apt title for this exhibition for it succinctly defines the creative evolution of this learning process. From the initial, sometimes uncertain steps at the beginning of Year 1, leading to the maturity and sophistication that has culminated in the impressive body of work represented in this exhibition at journeys end where clearly the hand, the head and the heart have indeed come together as one. For my part I sincerely hope that each of the artists represented in this exhibition do not regard the completion of the BA(Fine Art) programme as the end of their journey. My hope is that they see it as a time to enjoy their success and reflect upon their fine achievement before taking on the mantle of artist and embracing the art world of the 21st Century with alacrity. I congratulate each of the artists represented in this exhibition, Alpha to Infinity and look forward with considerable anticipation to the positive contribution they will no doubt make to the cultural community of Hong Kong and the world beyond. Professor Terry BATT Programme Coordinator (MFA & BA (Fine Art))

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CHAN Kai Bong kaibongc@hotmail.com

對於史前人類,圖像和塑像不單是一種生活紀錄, 更是一種媒介,流露出人類對超越的力量的渴求, 而幾何圖像更時常出現其中。 時至今日,由於科學知識大力否定其他生存模式, 大多數人已經失去了超越的願景。奇怪的是,正當現 代人摒棄「迷信」,用科學方法操控生活時,同時感 受到一種強烈的無力感‧‧‧ 身為現代人的我,希望利用幾何和人體圖像的結合, 模仿古人製造圖騰的精神境界,展開一段段對超越 的幻想。

Archaeology shows that, since prehistoric periods, painting and Sculpture are not simply limited to the representation of something; it was also a means by which humans could visualize their longing for a sense of transcendence. Geometry was often prominently associated with the transcendental (e.g. Pyramids, Taichi symbol, halo etc). Since the 20th Century, scientific approaches greatly replace and exclude other ways of being. Most people have lost contact with the transcendental. On the one hand people attempt to control all aspects of their life with scientific methodologies, rejecting anything “superstitious”; on the other hand, strangely, there arises generally an increasing sense of powerlessness. In contemporary society where religions have become less dominant, I am interested in how a contemporary person may respond to geometry and derive meanings from it, especially in the context of individual freedom and power relationships. Humans usually take life for granted. But when life becomes problematic, we are made aware of certain human conditions. The negligence of the transcendental hampers our abilities to imagine the beyond and therefore possibilities to change our lives. The links between transcendence and autonomy are intricate, as thinkers such as Nietzsche have contemplated. I intend to visualize such complications in my work. Living in this contemporary time, I hope I can, through the revelations of geometry and anthropomorphic forms, imitate and re-enact the ancient humans’ approach – to imagine the transcendental. Humans usually take life for granted. But when life becomes problematic, we are made aware of certain human conditions. The negligence of the transcendental hampers our abilities to imagine the beyond and therefore possibilities to change our lives. The links between transcendence and autonomy are intricate, as thinkers such as Nietzsche have contemplated. I intend to visualize such complications in my work. Living in this contemporary time, I hope I can, through the revelations of geometry and anthropomorphic forms, imitate and re-enact the ancient humans’ approach – to imagine the transcendental. 26


幾何之聲 - 拱 Geometry Spoken - Arch 墨,宣紙,綜合素材 Ink, rice paper, mixed media 40 x 30cm 2012

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幾何之聲 - 三角 Geometry Spoken - Triangle 墨,宣紙,綜合素材 Ink, rice paper, mixed media 40 x 30cm 2012 28


幾何之聲 - 圓 Geometry Spoken - Round 墨,宣紙,綜合素材 Ink, rice paper, mixed media 40 x 30cm 2013 29


陳瑞琦

CHAN Sui Kei, Shirky www.shirkychan.com

我認為自由和局限往往只是人在腦裏的直覺。這些概 念通常來自身處的文化環境和社會期望。至於難過和 痛苦等不快的感覺,是潛藏在人的意識內,被深深地 隱藏著。這正會導致你在社會上,以及人與人之間的 溝通方面出現疏離。大眾通常傾向採用社會準則, 並試圖調整自己的行為,以滿足社會期望。於是這些 期望便順應成為一個合情合理的強制性責任。自由一 詞,是我們常常提及,更為它努力奮鬥,但我卻質疑 實際上真的可以得到真正的自由嗎? 作為一位現代女性,在現今快速發展的社會裏,我感 到某些行為準則和約束要求是處於道德高地上。在這 樣的社會制度下,通過尋找自我,從中加深了解, 更明白自身的內在界限。

Freedom and boundary, are often the perception in one’s mind. Many of these perceptions originate from our cultural and social expectations and from the specific environment where we were brought up. The uncomfortable feelings are hidden behind one’s consciousness; which might lead to a sense of alienation in one’s social relationships. People tend to adopt the social norms and try to tailor their behaviors to meet the expectation of society. This expectation becomes a sense of obligation. Freedom on the other hand, is a word we often use in a positive context. Everyone fights for the right to be “free”, but I doubt how “free” any of us really are? As a contemporary woman in an ever-changing and fast paced society, I sense that restrictions and demands of certain normative behaviors are even more significant. Through the process of finding a sense of freedom within the social system, I have come to learn more about myself, particularly the inner boundaries within me.

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疏,離 ALIENATION

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陳韻縈

CHAN Wen Ying, Lydia lydiacwy@yahoo.com.hk http://lydiachan.weebly.com

這系列的作品以夢為題材,借夢為元素,揭露出心靈 中的不可見之境。 夢雖取材自這世界,卻不受世界的各種規律所束縛; 夢雖不受規律所限,卻有它自己的運作模式。故此 系列作品沿夢中所見所感而製,以夢中馬的形象在平 面與立體間交錯變化,將這個本不存在的空間帶到 「現實」中,為了模糊現實與虛幻的界線,挑戰人清 醒之時所領會的邏輯。 夢,既是現實的反映,也是人心的寫照。從心之眼內 視己身,從睡夢中解讀世界。

This is a series of work aiming to expose the unseen mind to the world. Through the means of art works, the dream that exist deep in the unconscious mind is revealed to the conscious mind, to create a dilemma of “reality” in the existing world. Through the process of “dreaming” the conscious world (“reality”)and the dream world (“imagination” or “illusion”) are bridged, as dreams exist only in the unconscious mind, but traces can be found when one is awake. Thus, to dream is to see without the eyes, to be set free from the conscious mind and to explore a world of imagination which has its own logic that may not be rational to the physical world, but through it, our vision will be broadened, as we come to learn how to see in a different perspective. The series of works explores this concept in surreal ways through Plain surfaces and 3D objects interacting with each other. Focusing on the relationship between consciousness and unconsciousness, of those seen and unseen, the logical and the unreasonable, the real and surreal, imagination and reality, the work is inspired by memories from dream visions on the horse and sensations that are created by the dreams.

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馬 1 Horse I 油泥,木,鐵線,光 Oil clay, wood, wire, light 150 x 50 x 40cm (Installation size 250 x 400 x 250cm) 2012

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馬 2 Horse II 混合版畫:孔版畫,混合媒體 Silkscreen, mixed media 60 x 60cm (each frame) 2012 37


鄭安捷

CHENG Raymond, Joseph S. ry33366@yahoo.com

現代社會,人生越來越渺小,人對周圍一切的控制越 來越無能。在身不由已的情况下,人成為了制度, 機器、慾望的奴隸。人沒有獨立性,不能自主,全部 的人已變成一些微不足道的零件,人與人之間形成了 不能避免的隔膜。人作為大自然的一部份,是否錯誤 地了解自然本性,處處與大自然對立,錯誤地征服自 然,造成了今時今日的局面呢? In the current society that we now have, I see life as meaningless. Our sole power of determination in the midst of things around us is diminishing little by little. Human life is now a slave of the machines, human systems and human desire. Human’s self – determination is running away slowly and appearing just like a spare part of our human society. We as a part of nature may ask ourselves, are we really not misinterpreting the true fact about nature?

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一角橙 Left Alone 混合媒介 Mixed Media 6 x 7.5 x 6cm 2013

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張麗蓉 CHEUNG, Lio liocheung@gmail.com http://www.behance.net/liocheung

生活在資訊網路及科技發達的社會𥚃人們為着方便以 致日常生活的細節如交通,人際溝通漸漸省略,社區 發展變得單一,人們愛心也開始委曲,是次的作品表 達都市的文明與統一化帶給人們的迷失與空洞。 Technology liberated people from their settled existences. Thru the network, media brought us an interconnected worldwide communication. People’s relationships become a virtualized revolution. Techno culture creates the new social morphology. I attempt to investigate the relationship between the human Attitude and the society within the dimension of human consciousness. Thru my artwork I convey a new communication platform to the world.

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意象空間 l inVisible Journey 1 綜合媒材 木板 Mixed media on wood board 41 x 41 x 1cm x 3 Pictures 2013

意象空間 II inVisible Journey 2 綜合媒材 紙本 Mixed media on paper board 2013 41


我總感到幸運有這樣的一個母親。望子成龍,望女 成鳳;與我一些女性朋友相比,我似乎不是一個 「成鳳」的材料:人到三十還沒有給父母找個有 「錢途」的女婿和開枝散葉。事實上,如按照香港社會 對女性一生的理想藍本,我應該只屬於合格邊緣。但我 的「失敗」卻使我進一步去思考和探索我的身份及社會 對女性的期望。

周穎璇 CHOW, Christy christychowws@gmail.com

受到美國女性主義藝術家朱迪.芝加哥和第二次女權主義 浪潮的理論所影響,我創造了一系列題為《成鳳》的藝術 作品去探討社會對女性的期望和現實之間的矛盾,及中國 傳統價值受到全球化的沖擊而產生的社會茅盾。我透過實 驗不同的媒體和物料嘗試去揭露女性的感受和搜索我們的 身份。加上第二次女權主義浪潮的理論感使我對當代女性 對自身的看法和審美意識有了新的領悟和體會,我以自己 的身體和感受作為基礎,創作了一系列利用日本動漫模型 製作技巧,配以芭比娃娃的展示模式的作品去把女性認為 最私密的生活的一面展露人前。我希望通過強調社會的期 望和現實之間的落差,令觀眾重新思考女性在社會上的地 位和身份及一些社會所認為的常理。

I grew up in a 200 square foot flat with my family of five on the 34th floor of a government housing estate. But my mother never asked me to do anything, just to earn a better living. Compared to my girl friends, I seem not to be a dutiful daughter rewarding my parents by giving them a son-in-law with a steady income and a few grand children by the age of 30. In fact, I am regarded as someone who failed to follow the script that was drafted by society. Yet my “failure” became my interest in developing my artwork about society’s expectation towards women and women’s identity.

Inspired and influenced by the American Feminist artist Judy Chicago and the Second Wave Feminism theory, I created a series of artworks “What Are You Expecting?” to explore the conflicts between societies’ expectation towards women and reality, and conflicts arising from the co-existence of globalizing culture and traditional Chinese values. I was fascinated by Second Wave Feminism theory, about how contemporary women see their bodies and women’s sense of aesthetics. I gained a new understanding of women and connected to them in anew way. I want to expose our feelings and search for our identity. This series of works were created based on my body and the experiences of domestic and private moments in a women’s daily life. I used Japanese manga figure making techniques to mimic the way the Barbie dolls are displayed. Through experimenting with different media and materials I am highlighting the tension that women are experiencing between societies’ expectation and reality, I encourage the audience to rethink women’s position and identity in the society. Through art, I hope to encourage the audience to question the accepted wisdom and help create a world that accepts and cherishes people the way they really are. 42


剃刀 shaver 泥,鐵絲,模型顏料,布,膠箱 Wire, clay, paint, fabric, acrylic box 30 x 15 x 10cm 2012

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衛生巾 sanitary pad 泥,鐵絲,模型顏料,布,膠箱 Wire, clay, paint, fabric, acrylic box 30 x 15 x 10cm 2012

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吸奶器 breast milk pump 泥,鐵絲,模型顏料,布,膠箱 Wire, clay, paint, fabric, acrylic box 30 x 15 x 10cm 2012

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馮佩蓮

FUNG Pui Lin, Ula honeyula@yahoo.com.hk http://ulafung.blogspot.hk

習藝初期,為找尋不同的題材,摸索物料、技法, 以非常緩慢的節奏成長;不排拒,也認為藝術創作不 應局限於一種風格。 我的創作特別重視時間、空間與人物的關係,相信這 是存在的基本要素。思考從古昔至當今的價值觀變 化、包括道德觀以及人類本質上對關係所抱持的態度 的轉變。藉著作品探討人與人之間的關係,特別著眼 於既複雜又簡單的愛情及血緣關係上。以眾多非完整 的人物形體,表現不同關係中自我身份的價值,或關 係變遷所帶來的自我扭曲。 當畫面把不同的有形物質與無形時空結合,形成非純 物質非純精神非寫實非抽象的空間,相信畫作也成了 人生存時混亂、荒謬、模糊狀態的反映。

I grew slowly when I first studied art because I explored various topics, materials, media and techniques. I believe art has no limitation. I am concerned with the relationship between time, space and people, which I believe is the basic elements of existence. I am interested to observe the transformation of the values from ancient periods to contemporary time, including morality and how people keep relationships. I would like to discuss the relationship between people, especially the love and kinship that are simple but also complicated. Using the non-complete figures, my paintings represent the value of identity and the self-distortion brought by the change of the relationship. It becomes a vague space when the tangible substance combined with the metaphysical space-time is shown in my painting. The paintings reflect the confusing, absurdity and blurred states in life.

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Little One-Eye, Two-Eyes and Three-Eyes 油彩布本 Oil on canvas 160 x 120cm 2012

Interiors 油彩布本 Oil on canvas 120 x 60cm 2012

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何喬忻

HO Kiu Yan, Phoebe pheebeeho@gmail.com

我認為我的作品是一個對自然研究的過程。在自然界 裏吸取靈感。我沈迷於圖案和牆紙。我的牆紙不只是 裝飾而已,它就像個時間囊,把一個短暫的生命困在 了一個時間。作品的元素會隨著時間而改變,它們會 慢慢地褪色,但作品的意義卻是永恆不變的。每組圖 案也是用人手拼砌,取代了大量印刷而產生的劃一複 製。這是一個屬於我的獨特花園。 此作品特別獻給我的家人和我最喜愛的Ruth.

"他們都是最迷人的園丁,豐富了我的靈魂。" ﹣Marcel Proust

I consider my work as a process of nature study. I draw inspiration from the nature in my surroundings. I have always been obsessed with patterns and wallpaper. My wallpaper is more than a decoration; it’s like a time capsule, it traps the transience of life in a certain moment. What interests me is how the components in my work will change as time goes by. The flowers fade but what’s happening within is timeless. Instead of a standardized mass printing, each pattern piece is custom made. This is a unique garden, which belongs to me. Dedicated to my parents and my favorite person, Ruth.

“They are the charming gardeners who make my soul blossom.” -Marcel Proust

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被留下的碎片 The fragments that remain Mixed Media 100 x 100cm 2013

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洪欣宜

HUNG Yan Yi, Angelica angelica_hung@hotmail.com angelica107hk@yhoo.com.hk http://angelicahung.tumblr.com http://angelicamythology.daportfolio.com 90219822 「回憶」多數是我做作品的元素。沒有過去的人是不 完整的,同時過去也不代表個人的完整;我相信缺陷 造就完整,完整造就缺陷。但人卻無力挽留著消逝了 的事與物。

‘Memory’ is one of the elements in my works. Life without past is incomplete, either past does not make your life whole; I believe that fragment makes perfect, perfect makes fragment. It is helpless to keep the things were gone. ‘Hair’ another object/symbol to express the self-existence, relationship (intimate), which contains memories and life experience. I collect my fallen hair everywhere at home to prove I was here. Hair is an extending of body, to touch things before you touch, she feels winds before you feel, climbing on the object you use, staying at the place you stayed, sometime she entwines with others hair together as you didn’t notice.

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็บ Intimacy Chinese Ink 2012

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姚逸洲

IU, Yat Chau Alexavier alexavier.iu@gmail.com

我不相信每一個藝術家都在做自己的事情。每個人, 不管是畫家、雕塑家、作家、作曲家或什麼,都是在 處理同樣的事情。角度、力道、落點的差異造就我所 認為的創意。這是從他們那獨立的情感、觀點和手法 中引申出來。就是這每一個人的主觀互相交織成一個 豐富而多樣的世界觀。 由自我存在的覺察, 到人與人之間的關係。以蘋果隱 喻社會,以漂白為人與自然之中介物,同時又含蓄地 表達了現實中的人際關係。

It, comes from the awareness of self-existence as an individual through establishing and exposing the kaleidoscopic diversity of human relationships. I don’t believe that every artist is doing their own thing. Everyone, regardless of whether they are a painter, sculptor, writer, composer or whatever, are all addressing the same thing, but from varied angles, terms and interpretation on different levels and degrees. It is where creativity comes from, not the subject but the particular emotion, point of view and means to whatever they are concerned with. A humble contribution of subjectivity emerges from each individual to form a grand objectivity.

In regards to the concept of relationships, a basket of apples demonstrate a society, for its collectivity, its rigidity, its indifference. Then the bleach came in as a human intervention which violently separated the human from nature while implicitly utter the inter-human relationship in reality. The concept of white started to emerge and was used to further investigate social classes and perception through researching the practice of the cosmetic. To avoid limiting this subject to ‘make-up’, activities such as face washing, grooming etc. are also considered relevant in this context, and the behavior of washing becomes an integral part.

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身體研究no.7 Figure Studies no.7 石墨紙本 Graphite on Paper 33 x 24cm 2009 55


格no.2 Grid no.2 紙拼貼 Paper Collage 33 x 24cm 2010 56


ć´—no.1 Wash no.1 Water color pencil on Rice paper Size Varied 2012

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黎仲恒 LAI Chung Hang

「希望」,「貪婪」和「恐懼」是三種人性本能搖擺 著我們對未來所作出的決定。在它們的影響下,我們 會改變對愛,倫理和正義道德的價值觀。今天,全球 化作為一個無國界的戰場,把我們的慾望和恐懼推至 極端,城市之間的競爭推展至社會階層的競賽。我們 的政府只顧不斷地朝著商業利益單向性發展,建立出 一個不公義的環境,鼓勵掠奪而不是平等和關懷, 市民都被「競爭性」一詞洗腦。我的作品,試圖以一 系列雙連畫,描述出這所謂歌舞昇平,繁榮穩定的城 市境況,通過一張抽象化了的城市景觀圖像和一張具 有暗示意味的具象畫作對話,去辯證現時我們的生活 方式是充斥著很多荒謬和愚蠢行為。

laifrancois66@gmail.com www.francislaichunghang.com

Hope, Greed and Fear are the three basic instincts swaying the vision of our future. We change our values in terms of love, ethics and justice right under the influence of them. Today, globalization acts as a borderless battlefield to push our desire and dread to extremes. It creates competition between cities and exerts also a race between social classes. Our SAR government recklessly develops the city in a way that is slanted to the money making business and brainwashes its people about the importance of “competitive-ness”, so eventually an unfair environment has been established that rewards those peoples who plunder rather than care. In my works, I discuss this so-called stability and prosperity in society through a series of diptyches, which creates a dialogue between an abstracted cityscape painting and an allusive figurative painting, I try to debate our way of living as full of nonsense and foolishness actually.

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沉思於遊樂園 Muse in an Amusement Park 油彩布本 Oil on Canvas Diptych, Left panel 100 x 100cm, Right panel 100 x 160cm 2013

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給會下金蛋的池塘 Pond for the Golden Egg 油彩布本 Oil on Canvas Diptych, Left panel 100 x 160cm, Right panel 100 x 120cm 2013

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玩具 Playthings 油彩布本 Oil on Canvas Diptych, Left panel 160 x 100cm, Right panel 160 x 100cm 2013

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劉曉蓉 LAU Hiu Yung

Carrie_hylau@Yahoo.com.hk

情感是基本的人類元素,在我面對親人的死亡, 情緒即時沉下去,內心恐懼傷痛像一層膜片包圍 著。哀慟引發了失眠、心不在焉、哭泣、苦思回憶, 也麻木相信自已的「慟癮」是與眾不同,不願面對 真實的社會,希望從社會人群撤退,避開有關回憶 的所有。 「慟癮」虛幻的內心模式,我以攝影記錄自己回 應的行為模式,瑟縮一角的身體形態,並繪畫了 一系列的剪影圖像,闡述「哀慟」的抽象空間, 亦仿如新的言語表達內心的「慟癮」。並配合眼 淚形態的圖案,表達苦思過程把圖像投影到以木 板製成的身體形態影子上,影子像回憶不會停 留,引發起「慟癮」了,讓它沉澱停留,認識 和了解它的平常化,不是「與眾不同」,不是唯 一。在影子木板上,配搭了墓碑的相框,表達 「慟癮」的終結,基碑相中的是一個經驗,用了 「慟癮」証實的經驗。

「生有時,死有時;裁種有時,拔除有時; 殺害有時,醫治有時;拆毀有時,建造有時; 悲傷有時,歡樂有時;哀慟有時,舞蹈有時; 同房有時,分房有時;親熱有時,冷落有時; 尋找有時,遺失有時;保存有時,捨棄有時; 撕裂有時,縫補有時;緘默有時,言談有時; 愛有時,恨有時;戰爭有時,和平有時。」 (傳道書3:2-8)這是人生中的模式,生與死、 建造與拆毀、得與失等等交替和循序漸進中 成長成熟。

Emotion is one of the basic elements of human nature. My emotion was once made downcast by the death of a close relative. I feel my heart, with panic and sorrow, surrounded by a diaphragm. Such mourning leads to insomnia and tearful weeping. It also leads to a blind belief that my special “Grief Addiction” is extraordinary – unwilling to face the realistic society, a hope to retreat from the social group and get rid of all the unforgotten memories. Photos are taken to record the behavioral mode of my response. The cringed body and the paintings of the silhouette can illustrate the abstract space of mourning, just like a new language to express the internal “Grief Addiction”. Teardrop patterns are also used to illustrate the process of deep thinking. When the teardrop patterns are reflected on the shadows of body-shaped wooden boards, the shadows, like memories, cannot remain still. So, “Grief Addiction” comes out here. Let it remain and precipitate, realize and understand its’ not unusual, not extraordinary and not unique. The wooden boards with shadows are matched with the only feeding tube, for nutrition purpose, before death and the only remaining gravestone after death.

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“a time to be born, and a time to die, a time to plant, and a time to pluck up what is planted; a time to kill, and a time to heal; a time to break down, and a time to build up; a time to weep, and a time to laugh; a time to mourn, and a time to dance; a time to throw away stones, and a time to gather stones together; a time to embrace, and a time to refrain from embracing; a time to seek, and a time to lose; a time to keep, and a time to throw away; a time to tear, and a time to sew; a time to keep silence, and a time to speak; a time to love, and a time to hate; a time for war, and a time for peace.” Ecclesiastes 3:2-8 This is life pattern. Life and death, construction and de- construction, ups and downs, All falls in such same pattern from growth to maturity.

慟癮 Grief Addiction 混合媒介 Mixed Media unlimited 2013

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羅子俊 LAW Chi Chun Anthonylaw1@yahoo.com.hk

從小我就喜歡在練習簿中,使用顏色、圖案和數字來 記錄我的所見所想。久而久之,建立了一系列隨機圖 案結構的創作模式。 不同的顏色、形狀圖案和數字在社會中不停地被使 用,因此它們構成了多樣的世界。何時何地不斷地發 生演變,沒完沒了。漸漸地,我開始覺得語言和文 字,不過是一種抽象的圖像和字符。從前,語言的發 展是由聲音>符號>文字及繪圖>語言;而我的作品正 好相反,是由文字及繪圖轉化到聲音。

在我的作品中,聲音元素一直代表意念的具體化, 而作品的形式與媒材選擇中,則將語言回歸為原初的 狀態。期望藉由簡單的聲音,觀眾與我經由作品相互 交流,代表了意念的直接傳導,並在互動的過程中自 然地留下痕跡,使個別觀者能藉此迴照自身感官,稍 稍跳脫習以常的生活經驗。 我希望通過打破傳統語言及文字的邏輯系統,把身邊 的每個人、事情、物件及聲音的故事和經歷重新交 織,展現機械、圖像及文字之間的新物種,以及未來 演化的趨勢,用另一種形式和更多人一起分享藝術。

The working process for my project involves drawing everyday in my visual diary. I have done this regularly since I was a child, using color and patterns of the day. Having established a series of patterns I string them all together, and I’ve got an arrangement of multi-colors that, through an invented visual system based on numbers, grids, colours and visual interactions I translate the random pictorial structures into artworks of personally remembered experiences ‘Color and patterns” found in my visual diary are used and consumed in society in different styles, shapes and functions. They have formed a vanishing world. Through the observation of my old visual diary, I can see beyond myself and I view those objects as a recording of my personal experiences, the movement of my hand and the process of making something tangible. It also demonstrates the traces of my creative development.

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Although there may not always be material similarities between the different projects, they are linked by recurring formal concerns and through the subject matter. I believe this to be an exciting process that suggests potential for further development. Over time I began to think of language more conceptually, as a kind of technology, and the characters as abstract images. The development of language was initiated from the sound > code > typography and drawing > language, and the people use them to describe what they can see, but in my project, it is initiated from the object > code and typography > sound. I break language and typography away from its logical systems, in order to uncover the inherent limitations of language.

日記 Diary 格仔紙及顏色筆 Graph paper and coloured pencil 16 x 21cm 2013

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重組II Reconstruction II 顏色紙 colour paper in various size 2011

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頭雲 My cloud 鋼片 Steel in various size 2011

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李鳳珍 LI Fung Chun yukibritli@gmail.com http://britneyli.weebly.com

親和遠,在每一段的關係也是一個整體。在目前所有 社會的關係上,有一定程度上的親近和偏遠關係的辯 證定義。我們會習慣在一個圈子或一個階級上活著, 但同時,卻被其他圈子排斥著,使人際關係變得概念 化。生理上,人與人的關係是近的,但心理上,卻感 覺很遠。在社會上,「人」是被邊界區分的,又或者 是自我的邊界區分。這些選擇性的和傳統的邊界, 使人們不願意透露自己的真實的自我,感到不安 全,希望打破別人的邊界,甚至揭示別人的事,而 「私隱」是被提出來來保護自己的。 然而,在每一種關係、偏好或傾向,無論在外,還是 在內裡看,也是相互影響著的,可是只有部分的表徵 會顯示出來。那麼,所謂的區分界限在那裡?私隱到 底是什麼?我在尋找一個私人空間。

There is a unity of nearness and remoteness in every human relationship. My artistic interest is about the of nearness and remoteness that is presented to some degree in all social relationships. We are attracted to some people but are repelled by others. These are forms of estrangement that are presented in interpersonal relationships and conceptualizes the stranger as one who is physically close to other people while psychologically feeling “far away”. Borders are selective and conventional, making people reluctant to reveal their true self but breaking others’ boundaries, appears to be revealed so easily. Thus privacy is presented to protect oneself in order to get rid of insecurity. However, every relationship is influenced both outwardly or inwardly by its components. A tendency toward orderliness and preference are commonly considered to be traits. However, those being ignored are also important and very influencing, so what is the definition of privacy and boundary? I am looking for a private space.

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侵.私隱 Invasion of privacy Video installation 2013

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凌向汶

LING Heung Man, Doris dorisling.ling@gmail.com

我的作品「對稱。完美」以批判的觀點對媒體以洗腦 式的手段,扭曲人們的價值觀,特別是對美的標準作 出回應。在作品中,顯示器(數碼相框)被六幅肖像 畫圍繞著,那些肖像代表普通大眾,而中央的顯示器 和它所展現的代表的媒體製造的假象。顯示器所播放 的影像是那六幅肖像畫的主角,而它所顯示的是他們 完全對稱的臉,這使他們看起來很怪異與荒謬。 從小我已很喜歡觀察人們,並一直著迷於人類的情 感。我目前的大部分作品是肖像油畫,而我從這些作 品當中探索那些焦慮,狂熱和其他極端情緒狀態。 我專注於我的題材,人與動物的扭曲,憤怒和驚訝的 表情,因為我覺得他們最能反映我們所有的人,生活 在當代社會的巨大壓力下,所產生壓迫的結果。所有 這些令人吃驚,滑稽和荒謬的圖像,如對我們的社會 作出某種藝術的註釋。

My work “ Symmetry . Perfection” takes a critical view of the media brainwashing the public to make people distort their values. In particular, the standard of beauty. my work consists of, six portrait paintings around the monitor (digital photo frame). These portrait paintings represent ordinary people and the monitor in the centre represents the media that makes the illusion. The monitor shows the perfectly symmetrical faces, and they look ridiculous. I have loved to observe people since I was a child, and have always been fascinated by human emotions. Most of my current works are portrait paintings, with which I explore states of anxiety, frenzy, and other extreme emotional states. I concentrate on distorted, angry and surprised facial expressions of people and animals, for I feel they could best reflect the result of the stresses of living under huge pressure in a contemporary society. All these outrageous, funny and absurd images, stand as a commentary of art on our society.

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對稱。完美 Symmetry . Perfection 油彩布本 oil on canvas 48 x 35 x 3.5cm 2013

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對稱。完美 Symmetry . Perfection 錄像 Video 2013

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對稱。完美 Symmetry . Perfection 錄像 Video 2013

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倫芷茵

LUN Tze-Yan, Shiron Shironlun@gmail.com www.flickr.com/photos/shiron_lun

「說話」在這裡泛指文字和言辭。 圖像可以告訴我們數千字的故事,但幾句話可以將故 事的內容完全推翻。 「說話」可以治療或造成傷害,話說了出來,就覆水難 收。只有說話,才可以不著痕跡地摧毀一個人的心靈。 「舌劍」這作品是我對人的價值觀變化、記憶或遺忘 中的一種觀察。過去的劍象徵著自由和美德,它甚至 被視作為神的話語。劍在神話、文學和歷史上有著不 同的名稱,反映出擁有者有甚高的聲望。 現在人們以更自由、更快速的模式去溝通,但激烈 爭辯、惡言相向卻成為表達方式的主流。霓虹燈 「SWORDS」標誌著說話從黑暗中獲得救贖。很多時 話語是貧乏的,有時我們亦誤用了它,故此我做了這 作品作為座右銘,提出:「擇善、慎言」。

An image can tell thousands of words, but a few words can change the story completely. We live with words which hurt or heal. Once said, it can never be returned. Daggers leave traces of blood, poisons can be detected. Words, however, manage to destroy mentally without leaving clues. These paintings reveals the ever-changing connection of relationships, memory and forgetfulness. In the past, the sword signified liberty and virtue. It was even used as an emblem of the word of God. Numerous names were given to swords in mythology, literature and history reflecting the high prestige of the weapon. Nowadays, people communicate with words in a freer mode, yet at the same time argumentative manners arise. The neon sign “SWORDS” signifies the redemption from the dark. This is a motto of people’s control over their tongues — it is using fewer words, but making them the right sword.

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舌劍 SWORD • WORDS 混合媒介 Mixed Media 136 x 220 cm 2013

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預備生 Preppy the Dummy 混合媒介 Mixed Media 2012

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生還者 Survivors 塑膠彩布本 Acrylic on Canvas 90 x 200cm 2011

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熊耀蘭

MA HSIUNG Yaw Lan, Ruth ruthylhma@gmail.com

現今社會的急速發展,過度開發自然資源,樹木被 砍伐,熱帶雨林減少,大自然生態系統失衡,世界 的氣候正在暖化,已經導致嚴峻後果,不少動植物 已滅絕或正遭受滅絕的威脅,不久的將來也會危 及人類的生存。 藉著藝術創作,我希望能夠喚起人們反思與大自然的 關係;傳達尊重自然,保護自然,對自然生態負責以 及和大自然和諧共存的訊息。

Since the dawn of human civilization, mankind has pillaged nature. Humans have always tried to conquer nature, but at what cost? At some point one has to take a strong stance and completely rethink significant issues relating to ecological sustainability. Focusing on human relationship with the environment and nature, my artistic quest aims to create a sense of understanding and self awareness so as to build a harmonious relationship with nature.

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棲息地 Habitat 油彩布本 Oil on canvas 122 x 91.5cm 2012

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無題 Untitled 紙板 油畫 Oil on board 25.5cm x 20cm 2012

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無題 Untitled 木砧板 油畫 Oil on Wooden Chopping Board Irregular round shape with an approximate diameter of 38cm 2013

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馬婉婷

我的作品抱著對現代與「發展」的質疑,以及它們對 人民大自然的影響。

MA Yuen Ting, Olivia oliviayma@yahoo.com

燦爛文明化解了靈魂的真實與神秘性,令它變得迷 失、模糊。被忽視的心靈空間其實潛在著沉重的故事 和問題…面對科技不斷帶來的轉變與面貌,意識能找 到具體定向嗎?

在現今的物質時代,靈魂又有何價值? 融合繪畫、攝影和傳統中國山水的美學,作品以象徵 式的手法探索心靈與都市空間當中的矛盾。在這種矛 盾足以將靈魂從個人與環境分割出的危機下,我希望 捕捉自然與虚假、原始與現代之間反射出的失實性, 從而達到某程度的和解。

My works are suspicious towards the idolatry of modernity and “progress”, and its effect on man and nature. The authenticity and mystique of spirit becomes lost and defused amidst civilization’s breathless dazzling forces, as we are thrown into a psychic labyrinth that suspends contemplation and orientation. An attempt to acknowledge that neglected psychic space is made, for it holds the weight of latent narratives, mythologies and questions... By reaching for the skies, has the technological tried to overtake the mystical? What is the role of the spirit in today’s materialistic era? In an attempt to keep pace with the many facets of progress and change, will our consciousness become fractured in a crisis of disconnection? Through infusing drawing, painting and photography with the aesthetics of traditional Chinese landscape paintings, the project takes a lyrical and symbolic approach in exploring the ambivalences inherent in the relation of psychic space to urban space. I am interested in capturing the sense of derealization as one reverberates between different states, such as between the organic and the artificial, the primitive and the modern, in hopes of reconciling fissures within a modern civilization that has somehow estranged man from his environment, and possibly even from himself.

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都市樣本 1 Urban specimen 1 彩色相紙 Chromogenic print 30 x 90 cm 2013

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知識負荷 Burden of knowledge 綜合媒材 紙本 Mixed media on paper 60 x 100 cm 2013

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笛卡爾謎 1 Cartesian riddle 綜合媒材 紙本 Mixed media on paper 60 x 100 cm 2013

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閱讀以下文字之前 誠意希望你先觀賞作品 享受純粹的第一觀感 如果你已經有所領悟或得著 以下文字可能根本不重要

馬孝笙

一切源自執著 曾認為人與人和各種事物的關係十分脆弱

MAH Hau Sung, Hazel

Domestic Chaos (家居混沌) 一詞 靈感來自其中一個長期困擾

mahhausung@gmail.com

一個讓我感到羞恥的環境背景 一個難以擺脫的夢魘 驅使我以什麼的手法描繪怎樣的形態 決定於過去千絲萬縷的背景、因緣、認知 目前它們驅使我描繪出糾結的形象狀態 通過將千絲萬縷的過去展示出來 彷彿逐步地釋放和淡化它們的能量 同時這些經我扭曲和轉化的形象 或許是我意圖脫離現實狀態的手法

www.facebook.com/mahhausung

Before reading the following paragraphs, I suggest you enjoy the artwork without knowing the background and description, in order to enjoy the first impression. If you have already realised something, the following might not be so important to you. It all came from the past that I used to dwell on. I once thought relationships between people and matters could be fragile. The term “Domestic Chaos”, was inspired by long term emotional distress. an situation I feel ashamed of, and that I want to escape from so badly. What drives me to decide how and what to depict are the gestures and scenes of my background, the causes and conditions, and knowledge. It seems they are driving me to distort a lot. By revealing them, the power of the unpleasant seems to be released and weakened. And the way how I distort and transform could be seen as an intention to escape from the reality The mind keeps changing. Everything keeps

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作為觀者的你們 將因應你們各個不同背景和認知 產生不同的詮釋 而無須與作者原意相應相同 那是觀者的參與 作品內容形式的呈現有不同階段 因為思緒和心態無止的變動著轉變著 後期面貌的發展和構成深深受前期影響 選擇一併呈現展示是作個紀錄 要經過先前的天昏地暗 才能走出陰霾 要有過些無謂的執著 才明瞭放下擔子如釋重負之感

changing. The development of the latter stage depends on, and is deeply affected by the former stage. I decided to show artworks from different periods in order to take a record of what I have been through and how my mind and attitude have changed. You have to go through the darkness before you find the way out. You have to be once foolish to dwell on the past before you realize the lightness of letting it go.

家居混沌 - 201201-201212 Domestic Chaos - 201201-201212 油彩布本 Oil on canvas 160 x 150 cm 2012 91


家居混沌 - 20120304, 20120311, 20120417 Domestic Chaos - 20120304, 20120311, 20120417 原子筆草圖 Pen in sketchbook 尺寸可變 Various dimension 2013

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四月十九的兩個袋子和四月廿九的西鐵 Two Bags from April 19 and West Rail Line from April 29 原子筆草圖 Pen in sketchbook 尺寸可變 Various dimension 2013

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陳雪花

TAN Suat Huay, Wendy wendytanus@gmail.com www.wendytanus.com

《忽略,注意》是我創作的主題,我相信人的價值觀 取決於命運、身處的環境、成長的背景、生活的體驗 以及對事物的洞悉力和所抱的信念,而這個價值觀系 統同時反映人內心的愉悅與不快兩方面。對價值的考 量,我們通常關注的不只是事情的好與壞,而是衡量 這事情有多好或多壞。這個想法成為了我作品張力 的源頭。作品探索人面對今時今日大自然被破壞、 城巿化的蔓延及天然資源漸不足夠的各種掙扎。

今次展覽的作品,我利用小野花作為創作的主體, 讓它代表著人性不同價值的象徵。作品採用多元及多 層次的手法,揉合了東西方的繪畫概念與技巧-以相 片加繪畫、再加以數碼拼貼,並借用傳統油畫、國畫 和植物學的繪畫元素,更以中國絲綢作畫布,希望創 造出獨特、富戲劇性和令人意想不到的作品。

‘Neglect versus Attention’ forms the underlying theme of my current painting work. It is my contention that the value system inside a person is determined by a number of factors such as his/ her background, past experience, faith, beliefs, awareness, and the environment. The value system can reveal both the pleasant and unpleasant sides of human behavior. In our assessment of value, we are often understandably concerned not only with whether something is good or bad but also with how good or bad it is. Such ideas drive the existence of major tensions in my work, exploring the human struggles between the nature, unfair rampant urbanization, and the ownership of natural resources.

I select and use tiny wild flowers as the core subject in my paintings. These flowers turn out to be some symbolic representations of human values in all forms of life. My artwork mostly starts from photographs and sketches, being processed sometimes via rendering and digital collage. I then draw these final dramatic images with traditional oil paint combined with Chinese painting techniques on Chinese silk.

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自畫像-野花(假蒲公英) Self portrait - wild flower (Hypochaeris radicata) Oil on Silk 1270 x 760mm 2013

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自畫像- 野草 Self portrait-weed Oil on Silk 1000 x 740mm 2013 96


自畫像- 冬天玫瑰花 Self portrait-winter rosesOil on Silk Oil on silk 1000 x 740mm 2013 97


TSANG Yin On agnestsang.y.o@gmail.com

「保護以色列的,必不打盹,也不睡覺。」 詩篇121章4節 作為人類,我們每天必須工作和睡覺。 在日常生活中,我們面對著兩種不同的壓力。 有時候,壓力可以令人做夢;或者,我們可能 會因此患上失眠症。 有時,夢境也會影響我們的實際生活; 人們可能會受到在夢境中所出現的情境或事物影響。

http://agnestsang.weebly.com 壓力如何影響我們的夢境?我們可以在夢中意識到多 少壓迫感?

「睡眠」是意識與潛意識之間的一扇「門」。 當我們通過這扇「門」,便進入了潛意識的狀態中。 什麼是現實?什麼是假象?我們卻不能輕易區分。 本質上,睡眠是個人的和私人的經驗。在這個項目 中,睡眠不再「私有化」。經過與一系列的人進行面 談,得到他們的准許,記錄個別的睡眠模式及夢境內 容;把這些個人的經驗與其他人分享。 透過攝影及行為藝術,夢境序列的身體反應被檔案和 重新定義。 “Israel’s Protector does not get tired. He never sleeps.” Psalm 121:4 (Easy-to-Read Version) As human beings, we all have to sleep and work every day. In our daily life, we face two different kinds of stress. Sometimes, stress can create dreams, or we may suffer from insomnia. Sometimes dreams can affect our waking life and people may be influenced by what has happened in their dream. How does stress affect our dreams? How much of the oppression can we sense in our dreams?

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“Sleep” is a “gate” between the conscious and the unconscious. When we pass through this “gate”, we enter the status of unconsciousness. What is reality and what is illusion? We cannot easily distinguish. Essentially, sleep is a personal and private experience. In this project, sleep is no longer private. Through a series of interviews with a range of people, I recorded (with their consent) their individual patterns of sleep that often included dreams, in order to document their personal experience and to share it with others. The physical response to dream sequences have been documented and re-defined through the process of photography and performance art.

睡? Sleeping? 攝影 Photography 100 x 70cm x 4 pieces 2012 99


快速動眼期 2 REM 2- Rapid Eye Movement 2 錄像 Video 4:09 2012 100


厭惡 2 I HATE MYSELF 攝影 Photography 100 x 70cm 2012

101


王淑霖

WONG Shuk Lam, Emily shuklamwong@yahoo.com.hk http://wongshuklam.blogspot.hk 没有誰不為生活而忙、忘、亡;忘記了自己的心,越 走越遠,越走越快,為求達標。物欲加速人們成為當 權者的奴隸,系統愈來愈擴張而生活卻愈來愈萎縮, 我們的生活被殖民化,成為一個被金錢和權威所支配 的社會。可以慢下來嗎?反樸歸真,尋回自己的心, 細味自己的根。 模糊的身分是怎樣形成的?系統機制侵佔入我們的生 活世界當中,我們的身體和思想一直受到權威和知識 的控制。傾斜的權力使我的生存空間及公共空間縮小 了。我開始觀照自身,重新反思我對「家」、「國」 與「當權者」的觀念及情感。 不盲愛,可以嗎?愚人需要多些時間慢慢地體會、小 心地感受。欲速則不達。尋回自我,別於常規,求異 共存。 Everyone is too busy making a living in Hong Kong. We work desperately until we forget who we are and what we are living for. We are told to meet the targets and all the standards. The materialistic age speedily makes us slaves for the authority. The ‘System’ controls our mind and life style as the ‘Colonization of Life world’. Can I slow down to find my ‘self’, my natural living style and my identity? What makes the disappearance of our identity? The System is invading our ‘Lifeworld’. Authority and Knowledge control our minds and bodies. The increasing power deprives us of our freedom, our living, and public activity spaces. I started re-thinking the concept and the relationship of “home”, “country” and “authority” beyond what we were told. Do not force me to love and believe. A fool needs time to feel and experience. More haste, less speed. Living with the differences respectfully.

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愚家 home of a fool 油彩布本 Oil on canvas 160 x 240 x 5 cm 2013

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無題 Untitled 油彩及塑膠彩布本 Oil and Acrylic on canvas 50.8 x 61 x 2 cm 2012

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無題 Untitled 油彩及塑膠彩布本 Oil and Acrylic on canvas 61 x 244 x 2 cm 2012

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黃舜芝

WONG Shun Chi, Vanessa vanessa.scwong@gmail.com www.vanessa-wong.com

這是關於人與物的關係。 在我的作品中,透過結合人體器官與消費文化符號, 表達消費品與流行文化對人的深層次侵蝕。不僅是表 象,而是成為人的生存中不可分割的一部份。反映人 類慾望,消費與流行文化之間的關係。

My artworks are based on my interest in the relationship between humans and objects in a society of consumerism. My work has evolved into a reflection on human desires and consumerism in current society and is influenced by my aesthetic and pop culture. This research has led me into deep thoughts and is certainly influentially introspective. This is also the reason why my further studies on how consumerism and popular culture affect humans, commenced. Glossy glamour, disturbing violence and whimsy queerness are elements you will discover in my artworks.

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Entity 002 油彩布本 Watercolor on paper 29 x 20 cm 2012

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Entity 003 水彩紙本 Watercolor on paper 29 x 20 cm 2012

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Entity 005 水彩紙本 Watercolor on paper 29 x 20 cm 2012

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欣欣

嬌小精緻,也可以力量宏大。我的生活充滿形形式式 的區別。

Yan Yan

見所未見;知所未知

www.yanyan.hk

由於人類視覺的有限性—「眼界」之短淺,我們往往 會根據事物的外觀作出判斷。當看到的和自己內心所 認知的東西產生碰撞的時候,就是所見;反之則是未 見。「未見」是一個想像空間,「他者」之「所見」 可能成為「我」之「未見」,反之亦然。在「所見」 與「未見」之間發生著變化,就轉出了不同的意境、 不同的心緒。

yan@yanyan.hk limyan@gmail.com

正因為對於「未見」的假設與猜想,才能建立多元 的文化交流,在時間而言,「未見」是一種現在的 表述方式,是一個屬於「當下」的想像空間。每一 個時代都有自己在現實世界中「未見」的過去與將 來。「未見」的將來,要沿著時間的推移才能成為 「眼見之實」。有如「所望之事的實底,未見之事 的確據」。

Petite and delicate, yet strong and dignified My life is full of differences and likenesses

「見所未見」是一個開放的思考空間,是視覺先行 的思考、是彼此的交流,以更具持續性和延展性並 且可轉化的想像力和思維達成的一種創意對話。

SEEN the UNSEEN ; KNOWN the UNKNOWN Our sensory organs are limited by the narrow confines of human perception. It is not uncommon for people to judge things according to their appearance. It is easily seen in our milieu, is unseen in others, and vice versa. In order to pursue the unseen, we are obliged to communicate. Furthermore, the notions of the unseen provide instant space for imagination. Neither the past nor the future present themselves in reality, and so each one is bound by their own set of the unseen. The Unseen has wide appeal, embracing and belonging to each of us. Creation provides a space for reflection, visually led thinking, practice and reading. It is about what we know and about the unknown; it is about our belief, the rationale of incredulity, and the assurance of hope.

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見·所未見 Seen the Unseen 照片 Photography 60 x 45cm 2012 111


觸·不到 Out of Reach 裝置藝術 Installation 2012

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113


楊寶兒

YEUNG Po Yi, Katie katiedreamer@gmail.com http://katieyeungd.tumblr.com 人可以透過很多途徑或媒體–影像,味道,象徵物, 圖片等,以自身的認知和文化背景,構成對情色的聯 想。利用帶有性暗示隱喻的影像,透過不同媒介的轉 換,探索媒介的性質,營造出聯想的空間,令觀眾再 次思考具有象徵意義的影像的不確定性。

My artwork is about the brain (imagination/thoughts) as the most erotic organ in our body. To clarify, I speak of the very ultimate concept of the mind: our mind has the most seductive thoughts that will eventually lead us into transforming the concept into a sensual, sexual and visual imagery that triggers our psychological awareness of sensuality. With the association of photography, collage, paint and video, I combined traditional abstract painting techniques with digital photography, re-presenting ordinary objects as a metaphor in the duality of sensual desire. I explore how painting and photography can blend to provoke responses from the viewers to re-examine their ideas about desire.

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Bubblegum‌I can chew it all night long Video (color, sound) 3 mins 2013

flower deconstruction Video (color, sound) 2:30 mins 2013 115


源碧君

YUEN Pik Kwan, Jenny yuenpikkwan@gmail.com 繪畫給我一種很珍貴的人性的感覺。科技的進步與社 交媒體的發展,將人與人之間的關係變形。這個以科 技主導的社會,製造出一種模糊的狀態。 在 The production of space (1974) 一書中,Henry Lefebvre追尋精神與真實空間的和解,而我企圖運用 繪畫及電子工具去尋找物體中富想像的卻又分離的空 間,並嘗試在作品中表現出在邏輯上令人困惑的, 但在畫面上流露出可想像的空間。用以提醒我們科技 和媒體如何影響我們對空間的觀念與體驗。

I am passionate about painting with media like pastel, oil and watercolours. Painting gives me a sense of humanity that I treasure. To me, the paint is the better “language” to express and to communicate with others. After years of language and linguistic studies, I note both the importance of language for communication as well as its limitations. With all the digital innovations and social media, the relationship between people is under great transformation. I would like to question this technology driven society and reflect particularly on the “blur” zone where boundaries between the physical environment and the digital world fuse.

In The Production of Space (1974), Henry Lefebvre searches for are conciliation between mental space and real space. My intention is to explore the negative space in vision, and thus to create a sense of imaginary and detached spaces of an object within a physical space by the use of painting and digital means. The attempt is thus to create a logically confusing, but at the same time imaginary space projected within the pictorial, so as to remind people how our notion and experience of space is much influenced by the media and technology.

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繪畫的地方 Places of painting Digital print on paper 120 x 42cm 2013

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攝影

Photography

學科統籌 Subject Coordinator

黎健強博士

Dr. LAI Kin Keung, Edwin


Broaden the scope of art learning through specialization

既專修又兼收 -- 攝影 香港藝術學院與澳洲皇家墨爾本大學合辦的藝術文學士學位課 程,是本地罕有提供專科主修的大專藝術教育模式。對於既強調 理論又重視技術的當代攝影來說,專科主修的好處實在非常明 顯:無論在講授和實習上,專科主修所能夠達到的深度與訓練, 都是沒有主修的課程難以比擬的。 此外,我們的學員在鑽研他們專科主修的課目的同時,也需要學 習其他各門藝術的基本概念和技巧,以及相當程度的藝術歷史與 專業知識。在這種既講專門又要廣泛涉獵的教育模式之中,學員 既可以在他們專科主修的課目打下紮實的基礎,同時也能參考其 他課目的美學,於是不會固步自封,反之每每有跨越個別媒體的 界限而進行多元化的藝術製作。 今年專科主修攝影的畢業學員共有十五位,由於人數較多,更好 證明了上述教育模式的優點:有些學員選擇專心於攝影,有些則 朝向於混合媒體的藝術方式。最重要的是,經過三年來專注而又 兼收的課程,他們依照著各自的性格與喜好,都逐漸建立起了個 人的興趣與風格,足以在這個轉折左右顧盼,並為下一個階段開 展腳步。 今年畢業的攝影學員部份已經有了在香港以至外地的展覽經驗, 有些還獲得了公開比賽的獎項。對此教師們都感到欣喜,也深信 其他同學只要繼續努力,都必定能夠達到自己的目標。我想起一 個嘲笑藝術家的笑話了:一位畢業數年的藝術學員請算命先生指 點迷津,算命先生占卜一輪之後說:「閣下事業的頭五年,生活 恐怕不會很如意哦!」年輕人聽了也不失望,就問道:「這麼說 來,五年後的運程就會好轉了吧?」算命先生答曰:「不是的, 但閣下已經開始習慣了。」 其實,名利與地位都只是副產品,得固可喜,未得也無所謂。 我們在探索過程之中學會謙卑、領悟到藝術既廣博又精深的人 生,才是最大的收穫。我願以此與各位共勉。 黎健強博士 高級講師 / 學科統籌 (攝影)

Co-presented by the Hong Kong Art School and the RMIT University, the Bachelor of Arts (Fine Art) programme is the only programme to provide local tertiary education in fine arts. Contemporary photography focuses on both theories and technical skills. Students benefit a lot from having major studies either on theoretical or practical aspect: the in-depth vision and intense training are unique and specific. On top of their major studies, students are also required to pick up the basic concept and technical skills of art making from other areas, together with art history courses and professional practice. Under such learning structure, students can build up a solid foundation in their major studies with the support of aesthetic nutrition absorbed from other area, they will not be restricting themselves with borders and this lead them to crossed-media art creation. This year we are having 15 graduates majoring in Photography. Some of them focus on pure photography development; some of them try hard to bring mixed medium elements into their photographic creation; that is the fruitful result of this specific kind of learning process. Most important of all, after these three years of art learning, they have found their own subjects of interest and have built up their personal style based on their characters and preferences. This strengthened the graduates to take their next step in the journey of art. Some of our graduates have already gained exhibition experience in Hong Kong and overseas, some have even been awarded in different art competitions. We are pleased about this and we believe our students will achieve their goals with their passions in art. This reminds me of an in-joke about artists. After graduating from the art school for a couple of years, an artist went to see a fortune teller for advices. The fortune teller told the artist that life would be hard for him in the first five years of his career. This did not disappoint the artist at all, and he asked, “So afterwards I will become better?” The fortune teller then said to him, “Not at all, only which you will be getting used to it.” Fame and vanity are not the goal of pursuing art, we enjoy them when they come to us, but it is never disappointing to live without them. Through the journey of exploration, we learn to be humble, and we broaden our lives in art. These are my words of encouragement for you to share. Dr. LAI Kin Keung, Edwin Senior Lecturer / Subject Coordinator (Photography)

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詹佳穎

CHAN Chia Ying, Janet cyc_janet@yahoo.com.tw 這些年來我周遊於香港,加拿大,和台灣。因此,我常思考國際 化的時代,帶給了人們什麼新身份。移民,海外工作,留學生, 跨國婚姻這些多元的社會現象,始得我們的身分不在受限於地 方,和空間。因此,我常思考當我離開我出生的地方越遠越久, 我還能毫無異議的是其中一份子嗎? 在各地我所居住過的地方我與其它位的暫居者相遇,我們來自世 界不同處,但是同樣身為暫居者,我們在乎自己的根源,但是也 接受生活中不斷的變化。 我想暫居者的身分對我們來說是生活亦是生命。

Over the years, travelling around Hong Kong, Canada and Taiwan makes me think about what kind of new identity has brought to us by the new era of globalization. Immigration, working abroad, foreign study and transnational marriages allow us no longer to be restricted by geographic location and space. Thus, I always ponder whether I can still keep my identity just like the people from my hometown after I left the place where I was born for such a long time. I met with other sojourners in the cities that I stayed. We came from different part of the world, but we share one thing in common, the identity as sojourner. We care about our roots and the places where we come from, but we accept the constant changes in our lives. To me, the definition of identity is both life and livelihood.

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加拿大之暫居者 Sojourner in Canada Digital Photography 31.2 x 59.4cm 2012

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香港之暫居者 1 Sojourner in Hong Kong 1 Digital Photography 31.2 x 59.4cm 2012

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香港之暫居者 2 Sojourner in Hong Kong 2 Digital Photography 31.2 x 59.4cm 2012

123


陳銳敏

CHAN Yui Man, Yuman worm28sd24@hotmail.com

Smart phone and social networking sites has totally changed our daily life. Most people narrowed their vision, memories and worldview down to the small screen of a smart phone, according to a marketing research company – Nielsen, while 44% of all smartphone users were found to visit a social network site, 58% of those who downloaded apps visited Facebook alone. Moreover, the famous social networking site – Facebook, has becomes a platform for attention seeking. The effect of uploading an image becomes an indicator of how ‘high-profile’ you are as a user, instead of focusing on the appreciation of images, and it is a way to make money through “Like” or “Share”. I have created a metaphor for attention seeking, by using a huge frame and comparing it with a small screen to represent a narrow vision. I want to reflect on image appreciation in the new technology.

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生活日常 #1 Daily Life #1 攝影,數碼打印 Photography, Digital print on photo papers 76.2 x 59.6 cm 2012

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生活日常 #2 Daily Life #2 攝影,數碼打印 Photography, Digital print on photo papers 76.2 x 59.6 cm 2012

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生活日常 #5 Daily Life #5 攝影,數碼打印 Photography, Digital print on photo papers 76.2 x 59.6 cm 2012

127


馮子聰

FUNG Tsz Chung, Alvin atcfung@gmail.com www.alvinfung.com

清拆中的大厦,人已去,樓已空,一些曾經被保存的物件,最後 被遺留在這被棄之地。 曾被收藏保存的物件都是一個回憶、一個故事、或一段關係的象 徵,保存者都珍惜它所盛載的故事。 這些物件最終未能相隨物主,因不同的原因給遺在空樓,彷彿成 了一堆垃圾吧。不,它們是置於塚內的遺物,仍散發著一個回 憶、一段歷史、或一段關係。

A building was being demolished, the residents had already vacated their flats. Yet, some of their personal objects were left behind in the abandoned place. Each piece of object signified a memory, a story, or a relationship the owners once shared. They were valuable to the owners because they were memorable. However in the end, some of the memorable objects were abandoned due to whatever reasons and became a pile of trash. No matter what the fate of the abandoned is, they are like the relics that evidence ones’ memories, stories, or relationships.

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Retain the Abandoned 投射影像 Projected Image 250 x 166 cm 2012

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Retain the Abandoned 混合媒體、裝置、攝影 Mixed Media, installation, Photography 21 x 29.7cm 2012 130


Retain the Abandoned 混合媒體、裝置、攝影 Mixed Media, installation, Photography 200 x 100 x 70cm 2012

131


何展兆

HO Chin Shiu, Ramond ramondrichard@me.com www.ramondrichard.com

冬之旅 別了 多少甜蜜夢境, 多少深情詩句, 多少共渡的日子, 不管是歡樂還是痛苦。 在這靜寂的夜晚,我走到它身邊。 這裡 蛙不會號, 蝴蝶不會飛, 蜜蜂不會工作, 檐蛇不會躲起來。

外面寒風呼嘯著,刮過我的臉頰, 我彷彿還聽得見它瑟瑟低語: 來找尋安寧,我的朋友, 回到這裡吧,你就會找到安息。 冬之旅 ,是一輯用靜物攝影表達死亡的作品。

Winterreise Before the doorway is a well A Linden-tree stands there Many times I’ve sought its shade A place of rest and pleasant dreams

所有的照片是在一個荒廢的屋裏拍攝,據說有些 動物知道自己的日子不多了,就會選擇孤獨地在 一個寧靜的地方等待那天的到來。

When dreaming there I carved Some words of love upon the bark Both joy and sorrow Drew me to that shady spot

曾經聽人講過,死亡是孤獨的,是永恆的寧靜。 原來這是真的。

But today I must wander Through this blackest night In darkness I passed this tree But couldn’t bear to look I heard the branches rustle As if they spoke to me Come to me my old friend Find peace with me

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Cruel winds were blowing Coldly cutting my face My hat was blown behind me I quickly sped on my way I’m now many miles distant From that dear old Linden-tree But I still hear it whisper “Come – find peace with me.”

Winterreise is a work of Still Life Photography reinterpreting the transformation of Death All photos were taken in an abandoned house in Hong Kong.

冬之旅 Winterreise 攝影 Digital Photography 102 x 135cm 2012 133


冬之旅 Winterreise 攝影 Digital Photography 102 x 135cm 2012 134


冬之旅 Winterreise 攝影 Digital Photography 102 x 135cm 2012

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林南雅 LAM Nam Nga lamhidy@hotmail.com

[此錄像作品是個視力及道德測試。觀眾可用1'29"時 間看錄像的第一部分,再以1'04"看第二部分,此時會 出現一個殘像。此測試必須要以集中注意力來完成。] 「有甚麼值得相信?」這是很簡單的問題。凡所見的、 已証實的都可信。然而,在這滿天資訊的時代,欺詐攝 影卻無處不在。 「欺詐攝影」(Fauxtography)指通過各種手段偽造的新聞 圖片,普遍用作引導觀眾達至某種思考方向的或操縱觀 眾情緒。 (「Fauxtography」 源於法國,是新的組合造 字, 「faux」意思是 「假」 而 「-tography」 是 「攝影 (photography)」 的半字)。

這個詞最初是用來描述由路透社攝影記者阿德南,哈吉在2006年黎巴 嫩戰爭期間的篡改照片,後來廣義為表任何不誠實或偽造的新聞照片。 「Fauxtography」一詞始源於2006年一位路透社記者的新聞圖片,實在是 一件很出奇的事。創作偽新聞圖片最聞名的國家應該是中國。從中國政府 如何控制89六四事件的報道、掩飾甚至欺騙自己的市民可見一斑。活在資 訊年代,每天面對著千千萬萬的資訊,有時真的不願尋求真相。盲目相信 新聞亦不足為奇。因為「新聞就是新聞」,理應是報道事實,並可以照片 及錄影片段所証實的。我們如此容易相信被告知的,試想想年輕一代如每 天去吸收虛假的新聞及歷史,我們未來的城市會變成怎樣?香港人去年打 了漂亮的一仗,使推行國民教育的期限無限期擱置。推行此科目的目的很 簡單ㄧ洗腦!然而,硬仗必陸續有來!且看看你的殘像可維持多久。甚或, 殘像會出現嗎? [This video work is an optical and moral assessment. The viewer may spend 1’29” to watch the first part of the video then use 1’04” to watch the second part. An afterimage will appear in this stage. This can also be achieved by closing his/her eyes and tilting their head up. This assessment should be completed with concentration.] ‘What to believed?’ This is an easy question to answer. We can believe what we see, what is proved. However, in the information era, fauxtography is everywhere. Fauxtography means fraudulent photography. News images that have been faked by various means, generally to promote an ideological agenda or to manipulate the emotions of the viewer. (Derived from a combination of the French term faux meaning ‘false,’ and ‘-tography,’ the second half of the word ‘photography.’) The word was first used to describe the doctoring of photographs by Reuters photographer Adnan Hajj during the Lebanon War of 2006, and has since been generalized to mean any dishonest or faked news photo.

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It is surprising that the word ‘fauxtography’ was just created in 2006 and it was because of a Reuters photographer. The most famous country of creating fauxtography should be China. The 4th June 1989 event is a good example of how Chinese government controlled the news reports to hide and even lie to her citizens. Some Chinese were told that the Chinese government successfully stopped a RIOT and saved China from being seized by the mobs. Living in the information era, we have access to thousands, millions and billions of information everyday so we may get tired of searching for the truth. There is no doubt that people are more likely to believe what is told in the news. It is because ‘news is news’, it should be something that has truly happened and it can be proven by the photographs and videos. We may easily believe what we are told. Guess what will happen if the youngsters learn and read the fake news and history everyday, what our future city will be…? Hongkongers had a beautiful fight last year. The deadline for the schools to start teaching the Moral and National Education was revoked. The purpose of promoting this subject is clearly shown, Brainwashing. But, undoubtedly, there are going to be more to come. Let’s see how long will your afterimages last for. Or, will they even appear?

紅了之後 (視力及道德測試) After Red (Optical and Moral Assessment) 錄像 Video 2:33 2012

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李思敏 LEE, MiMi

mimileefineart@gmail.com mi2lee9@hotmail.com mimileefineart@wix.com/mml

The brain sometimes feels like drunkard’s liquor…. Through my work I am investigating Hong Kong nightlife, and in doing so, I attempt to think about a sense of exile and reconstruct my reality of Hong Kong people. My intention is to undermine that Hong Kong people trap their lives within the glass bottle and continues to devour in “lakes of wine and forests of meat”. “Hallucinations City, we were dreaming(Series)” is a composite installation of melting various glasses that people drank in pubs or in the street and mixing them with photographs of several works that engage cultural, physical and spiritual healing. These images combine contemporary figures or urban nightlife with colorful lighting and twists with the alcoholic effect. Together, the photos and bottles represent the kind of multi-national city that attempts to express happiness, craziness as well as loneliness within our city.

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幻覺都市(系列),當我們在睡夢中 (1) Hallucinations City (Series) we were dreaming(1) 混合媒體 mixed media 297 x 420 mm 2013

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幻覺都市(系列),當我們在睡夢中 (2) Hallucinations City (Series) we were dreaming(2) 混合媒體 mixed media 297 x 420 mm 2013

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梁譽聰

LEUNG Yu Chung, Dan

「閃」,人從門中,代表著我個人與這城市的關 係和感受。 「閃」一字本身已有拍攝的意義。它代表照相機 被按下那一刻,透過閃燈所發出的光。而這光線 照耀的景物,彷彿賦予了一種獨特的價值。在這 輯作品中,被照耀的是這門中的小人物。

danleung_chung@hotmail.com

在這個高樓林立的城市中,四方八面也是集亂無

http://www.danartphotography.com

章,密密麻麻的建築物。從視覺上,密集交錯的 建築物象徵了複雜的社會環境。在這裡,不同的 聲音此起彼落,前進或後退、堅持或妥協、創新 或傳統。這些問題,這些聲音,每天也在耳邊喧 鬧著,既找不到答案,也找不到目標。

Blitz The structure of the word “Blitz” (「閃」) in Chinese, shows a character (「人」) standing in the middle of the door (「門」). It represents the relationship and feelings between the city and me.

找不到目標的人,會被社會淹沒自我,更對自 已的身份產生疑問,迷惘。要抒發這些不安 感,有人選擇畫畫,看電影,消費等等,而我 的方法則是攝影。我們常常以「証件照」了 解一個人的身份。燈光一閃,除了賦予這位小 人物的身份外,更代表他從喧鬧的城市中走出 來,尋找自我的方法。

The Chinese word of “Blitz” contains the meaning of photographic. It represents the flashlight, which comes out from the camera when you press the camera button at the specific moment. And the scene that was flashed by the light seems to endow a unique value. In this artwork, the target that I would like to flash is the tiny character that stands in the middle of the door. (「閃」)

Skyscrapers and high buildings are erected, dense and messy in the surrounding city. For a visual preview, the dense buildings represent the complicated society. In this society, different kinds of voices struggle, rising here and subsiding there, forward or backward, insistent or compromised, innovative or traditional. These contradictions and noises racket around us every day. Therefore, we are confused in finding the answer to our goals. However, people who cannot find their goal will get lost. Their minds and souls will be flooded by the society. They will feel very confused and question their self-identity. In order to get a sense of security, some people will choose the way of drawing, watching movies, consuming etc. For me, I will choose photography. We identify a person through the identity portrait. In this work, the flashlight erects an identity to the “tiny character”. It represents he/ she escaping from the noisy city and finding his/ her own way.

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閃 Blitz 彩色噴墨打印 Colour Inkjet Print 86 x 107cm 2013

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閃 Blitz 彩色噴墨打印 Colour Inkjet Print 86 x 107cm 2013

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閃 Blitz 彩色噴墨打印 Colour Inkjet Print 86 x 107cm 2013

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李頌韜 LI Chung Too david.too@gmail.com

對極限運動員來說,極限運動的場地就好像一個競技場,運動員 不斷把自己的力量和體能提升,他們的成果是經過無數次的練 習,失敗甚至受傷而得出來的,可以這樣堅持而一次又一次挑戰 自己的極限。

The Skatepark is like a Colosseum to skaters and skaters continue to strengthen their body, in order to do difficult moves and keep on challenging themselves to push their limits, through numerous practices, training and injury. To me, they are Warriors!

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戰士 The Warriors 數碼打印 Digital Print 110 x 177cm 2012

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盧曉峰

LO Hiu Fung, Gorbriel gorbriel@gmail.com

近年發展商在新區的建設都是向最大利益做考量,將地方規劃成 一座座以商場為主的社區環境。建築的設計和環境的規劃都使區 內的人方便逗留消費,方便商場作管理。 這種規劃帶來一幅幅的牆,默默地改變了人的行為把人和社區間 開,把階級劃分起來,對自身以外的將之排他。如果建築代表了 社會主流的意識,這牆是否反映著我們的今天心態?

In Recent years, new districts in Hong Kong were developed with large numbers of shopping malls, which were designed to combine transport, shopping and living into one big centre in order to make the biggest profits. This kind of city planning encourages the people to consume and stay in the shopping mall. Under this planning, walls were built, people become separated from the community, and the wall has divided the people and the community, changing our behaviors silently. If the building is representing the social consciousness, are the walls reflecting our today mentality?

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轟…… The wall 數碼打印 Inkjet print 60 x 120cm 2012

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轟…… The wall 數碼打印 Inkjet print 60 x 120cm 2012

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轟…… The wall 數碼打印 Inkjet print 60 x 120cm 2012

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文耀國

MAN Yiu Kwok, Gary mail@garymanwork.com www.garymanwork.com

「浮光」 美麗的影像如浮光掠影,令人目眩的影像華麗但不真實,吸引卻 不實在。現代消費主義泛濫,商業機構鋪天蓋地的宣傳有如天花 亂墜,無處不在,影響城市人對生活產生奇怪的價值觀。在美麗 影像的背後所帶來的是真實的美好還是不實在的泡影?甚至會否 是包著糖衣的毒藥!而城市人對生活的態度究竟是識飲識食或是 如吸毒者一樣沈醉在暫借的浮華中不能自拔?糖衣的甜美使大家 都迷失了……

The SIREN is a mythological creature, which lives in the sea. They use their beautiful exterior and attractive singing to confuse the voyager. Today, Sirens are still among us. They are not only in the sea but also in the sky and the land. They use their beautiful appearance and sweet voice to lure people. Like a voyager, we get lost. Different kinds of publicity, sham imaging and exaggerated packaging entice us unconsciously to make unnecessary purchases. Just like a giant monster performing hypnosis on us. But, who created this monster? Who feeds this monster? Where is this monster actually?

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浮光 SIRENS 光柵印刷 Lenticular Print 45 x 30cm 2012 155


浮光 SIRENS 光柵印刷 Lenticular Print 45 x 30cm 2012 156


浮光 SIRENS 光柵印刷 Lenticular Print 45 x 30cm 2012 157


陳 MC

駿

mc@mcxhelio.com http://www.mcxhelio.com 852-97420646

「滿空」 米奇的指揮棒在甜美的虛空中揮動,無休止的渴望凝結成一串 串的光芒,伴著美妙的音符,幻化為一座座的蜃樓。在這奇幻 的旅程中,連夢亦可量化寬鬆,那怕只是鏡花水月,片刻歡悅, 誰捨得放手。 肥皂泡在鐘響的一刻幻滅,瞬間萬籟俱寂。借來的快感總有歸 期,夢醒的無奈與空虛揮之不去,不完美的才是生命,南柯一夢 後的失落才是永恆 。

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「滿 空」Full and Emptiness 8 Archival inkjet print 111 x 111cm 2012

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「滿 空」Full and Emptiness 7 Archival inkjet print 111 x 111cm 2012

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「滿 空」Full and Emptiness 3 Archival inkjet print 111 x 111cm 2012

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譚慶楷 TAM Hing Kai hktamfineart@gmail.com hktamfineart.com

在第二次世界大戰爆發前的30年代期間,英軍曾在香港各處建立 總數超過130個的堡壘、炮台、碉堡等。這些軍事建築物曾飽受 戰爭摧殘或及英軍60年代後撤回軍營而所棄置。它們是用高強度 鋼筋及混凝土所建成,並有着「巨石」特性的結構以保護戰鬥人 員及其裝備。這些軍事遺跡亦是古舊的紀念碑,但這紀念碑沒有 銘文,取而代之的卻是在建築物上受戰火遺留下來的傷痕,受破 壞後所暴露出來的建築結構,以及在建築物裂縫上生長出來的植 物,並人類其後的多種介入等歷史留下來的記號。 我選擇使用200發7.62mm軍用機槍子彈箱作為針孔相機,為這些 香港的軍事遺跡及軍人墳場作拍攝。

There are over 130 fortress, batteries and bunkers that were built around Hong Kong in the 1930s, before the beginning of the 2nd World War. Those military structures were being destroyed/damaged during the combat or abandoned after the 60s. They were built with high intensity cement, enhanced reinforcement bars and stones to form a monolithic structure, in order to protect the soldiers and war apparatus inside. The ruins of the military structures are not the same as other monuments with inscriptions, not just because of their configuration and building materials, but because they carry with them marks made in warfare or combat, as well as the intervention of human activities and the weathering of nature after the end of the war. They are the sign of that moment in history. I took this series of photographs of Hong Kong military ruins and cemeteries, with a pinhole camera that was made by a 200 carts 7.62mm machine gun ammo box.

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巨石 01 The Monoliths No. 01 噴墨打印 Inkjet print 162 x 41cm 2010

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巨石 02 The Monoliths No. 02 噴墨打印 Inkjet print 162 x 41cm 2010

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巨石 03 The Monoliths No. 03 噴墨打印 Inkjet print 41 x 162cm 2012

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曾百鏗

TSANG Pak Hang phtsang16@gmail.com

個人興趣略嫌過於廣泛,但凡能夠展現創意的東西皆感雀躍並嘗 試認識一下,坊間常稱此輩為「火麒麟」,卻從不以此為恥, 亦不怕進而被指幼稚或不入流。暫時對於建立個人作品風格不感 興趣,亦無力而為之。

A master of none carries a ‘too-wide-range’ of interest all around creativity and just always can’t stop starting the engine like a long tail advocate but never feels ashamed or scared of this character even being regarded as “naive” and “behind the times” most of the time. Neither available nor eligible to establish a personal style at the moment.

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消失中的影像 Appearance of disappearance 數碼圖像 Digital Photograph 46.9 x 62.6 cm 2012

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侵犯了 Violated 數碼圖像 Digital Photograph 46.9 x 62.6 cm 2012

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暴風雨後 After a storm 數碼圖像 Digital Photograph 46.9 x 62.6 cm 2011

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éťƒć™‰ĺ‚‘

WONG Chun Kit, Terence terenceckw@gmail.com

We live modestly and humbly while learning to be content with life. We strip away the unnecessary things and live in the moment. This experience opened my eyes to realize how ephemeral life is, and what is essential in between. I have learned to appreciate the simple things, as it is without it being decorated.

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Untrammeled (A Series of Slit Scan Photography) Slit Scan Photography 100 x 70cm 2012

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Real & Reality 2 Photography 70 x 46.5cm 2011

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Untrammeled 2 (A Series of Slit Scan Photography) Slit Scan Video 100 inches Video Projection 2012

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č˘ ĺ?ŻćŽˇ

YUEN Ho Yan, Vanessa vyhyhk@yahoo.com.hk I Sit and Think by J. R. R. Tolkien I sit beside the fire and think of all that I have seen, of meadow-flowers and butterflies in summers that have been; Of yellow leaves and gossamer in autumns that there were, with morning mist and silver sun and wind upon my hair. I sit beside the fire and think of how the world will be when winter comes without a spring that I shall never see.

For still there are so many things that I have never seen: in every wood in every spring there is a different green. I sit beside the fire and think of people long ago, and people who will see a world that I shall never know. But all the while I sit and think of times there were before, I listen for returning feet And voices at the door

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椅子#22 Chair #22 攝影,數碼打印 Photography, Digital print on photo papers 50 x 34.4 cm 2012 175


椅子#23 Chair #23 攝影,數碼打印 Photography, Digital print on photo papers 34.4 x 50 cm 2012

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椅子#28 Chair #28 攝影,數碼打印 Photography, Digital print on photo papers 50 x 34.4 cm 2012

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雕塑

Sculpture

學科統籌 Subject Coordinator

林嵐

LAM Laam, Jaffa


One Question, Many Answers “Can I study sculpture if I’ve never studied in art?” “Can I just make something without explaining the concept of it?” “Do you understand what I’m talking about? As we are talking in different language systems.” “Should I talk about my private life in my work?” “How can I make my work if I have an allergy to dust?” “Can I make something only for me, not for others?” Have you found the answers to these questions in the past three years?

一個問題,多個答案 「如果我從未讀過藝術,可以修讀雕塑嗎?」 「我可以做一些東西而無需解釋它的概念嗎?」 「你明白我在說什麼嗎?我們正在說不同的語言。」 「我可以談談我的私人生活和工作嗎?」 「如果我對塵埃敏感,我可以製造我的作品嗎?」 「我可以為自己,不為別人而製造我的作品嗎?」 你們在過去三年找到這些問題的答案嗎? 我仍記得你們曾經問過的問題,我卻忘記了我如何解答。 我不能夠解釋所有事情。我希望你們在過去的三年得到多過一個 答案。 生命苦短,當你們有一個問題時,要抓緊機會去尋求答案。 生命苦短,將來你們還有更多要問的問題。 藝術可以是你衣櫃內一件時髦配件,可以隨時掉棄;也可以是你 身體上一個紋身圖騰,數年後也會褪色。你的記憶卻永遠留痕。 從來沒有肯定的答案,來回答為何、如何、什麼 … 在未來的三年、三十年、或以後,繼續尋找你們自己。若我們再 遇,不要稱呼我做老師,叫我的名字 Jaffa,不要問我原因。

I still remember what you’ve asked, but I forgot what I’ve said. I wasn’t able to explain everything. I wish you had got more than one answer in the last three years. Life is too short; grab the chance for an answer whenever you have a lesson. Life is too long; there are much more questions to be asked in the future. Art could just be a fashion accessory in your wardrobe, which might be thrown away anytime; or like a small tattoo marked on your body, which nonetheless might fade some years later. Whatever is imprinted on your memories is the only thing left. There is no confirmable answer to explain why, how, and what… Keep looking for yourself in the coming three years, in the coming thirty years, and so on. Call me Jaffa rather than Teacher next time when we meet again, and don’t ask me why. Enjoy your life. LAM Laam, Jaffa Senior Lecturer / Subject Coordinator (Sculpture)

好好享受你們的生活。 林嵐 高級講師 / 學科統籌 (雕塑)

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陳直怡

CHAN Chik Yee, Lucy chanlucy@live.com http://www.lucy-chan.com

This work is the final product of a three year art adventure. It is the journey of a person who had been besieged by fears, confusions and defense mechanisms. She lost herself in the complexity and contradiction of thinking and living ethically. Her real thoughts are drowned in the grey sea between right and wrong. She disconnected the emotional feelings of her five senses and tore apart the over whelming numbness created by the same routine every day. These years, she has started looking for who is she, whats inside her mind and where her sensations are. She is exploring and learning as if reborn, and she is recreating and recombining by observing the sensory issues and unique way of thinking that stems from her autistic students. She is trying to connect her situations to the behaviors of autism to create her own aids to heal and comfort her own anxiety. Sometimes, she wishes she were the only person in the world, so that she could fulfill her sensory needs without anyone interfering. Sometimes, she wishes she were autistic, so that she could stay away from all the rules of the society and ignore all the necessary communications surrounded through social contact. What if she were autistic, would she wrap and bury herself into lots of blankets to get a hugging sensation when she feels stress? What if she were autistic, would she simply cover her ears and use her own voice to mask the sound around her when she has heard enough?

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Sensory Aid - Hug Pouch Sleeping bag, inflated bed, plastic tube, pump 8 x 66 x 138cm 2012

Sensory Aid - Zone Out Device Noise reduction earmuff, stethoscope, White splinting material 12 x 38 x 18cm 2012 181


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陳正文

CHAN Ching man man810@gmail.com

我對槍械和武器非常有興趣,我喜歡改變不同武器的外型和用途 來製造自相矛盾的狀態。 I am interested in guns and weapons. My works are mainly about changing the form and usage of different offensive weapons to create a paradoxical state.

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Sound of death Wood And Copper 91.4 x 15 x 33cm 2012

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陳祉縈

CHAN Tsz Ying, Grace myteasachetstudio.weebly.com chagenkonami@gmail.com

人類社會高度文明,令獸人崇尚物質生活並逐漸融入人類的社會 之中生活、工作。如今已經幾代過去了,社會看似天下太平, 卻開始出現破壞社會安寧的怪物──「影獸」。主角熊貓女遭受 影獸的攻擊,後來被謎之組織的特工拯救,由此展開了這個故事 的序幕。

Yearning for a materialistic life, the Therianthropes worked hard and have successfully blended with the human community and share the flourishing society. After several generations of peaceful and harmonic life, “shadow beast” suddenly appears and do evil. Heroine “Panda girl” was attacked by one of those creatures but was saved by an agent, and that’s how this story begins.

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《影獸之誕》設定集 The Birth of Shadow Beast”progress book 印刷書刊 Publish 18.2 x 25.7cm 2013 187


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189


鄺嘉敏

治療櫃是一個專給自己治療心靈及只屬於自己的 空間。自小我便能夠看見靈體或是鬼怪的存在, 而令我一直很怕自己一個在一個地方,不論在 外、家,甚至在自己的房間也缺乏安全感,感覺 「他們」是無處不在盯著自己。

KWONG Ka Man, Nancy nancy_1127@hotmail.com

治療櫃是一個密閉空間,它是由一個在我房間用了很 久的衣櫃改造出來,只可容納我自己一人,完成後照 樣地放在房間裡。每當感覺到不安、恐懼的時候,它 可以充當著我的避難所,躲進去做我日常的活動,如 上網、看書等等, 從而得到被隔離的安全感 。

Personally, I do not like subjects related to memorizations and facts. Thus, during my high school years I became more enthusiastic in basically anything related to arts, either it be painting or sculptures. In 2009, I participated in Hong Kong Youth Cultural and Arts Competitions in poster design competition and grabbed the champion. This prize as a kind of recognition triggered my passion deeper into the arts. During these 3 years in HKAS, I have learnt and accomplished many artworks and most of them have meanings that are very close to me. My goal is relatively simple, that is, of developing an artwork which give the audiences via the very first impression, the thought of mine. I like to create art that symbolizes my inner self and do what art can do while other forms of languages are not able to. As I am majoring in sculpture, I have been using metals, and also tried using clay to produce my artwork. Honestly, I am one who lacks love and warmth. Currently, the art project that I am working on is talking about a kind of obstacle or so called barrier that locks myself up in a safe and a small place because I can see “supernatural vision” that earthlings cannot. In this project, I have chosen a closet as my artwork, simply because to me a room is unsafe and bigger than a typical closet. Through this project, it is not only an artwork but self therapy as well. Besides that, this closet ought to fit only me and no one else. The reason being is because most of the time I am in my bedroom and whenever I start to have those symptoms again, I will go inside the closet. Basically, the difference is just shifting my daily activities like browsing through the internet, playing my mobile phones, etc., in my bedroom into the closet, which can tell me that everything is going to be safe and sound.

190


治療櫃 Therapy Board 夾木板和超細纖維布料 Wood and Microfiber Fabric 125 x 156 x 60cm 2012

191


喜有時,悲有時 Ups and Downs 銅 Bronze 20 x 13 x 5.5cm 2011

192


化石士兵 Rocky Soldiers 長法包 Baquettes 12 x 6 x 6cm 2011

193


林文敏

LAM Man Man, Ar Man felicitylam617@hotmail.com www.facebook.com/lmm0617

有一天上繪畫課時,老師講述一些名畫,當老師介紹到 <The Creation of Adam> 時,我彷彿就站在那畫裡面,親眼見證 著上帝要賜予亞當生命的一刻,所以我取此畫的意念作為我創 作的元素。再加上當時鬧得熱哄哄的新聞—同性婚姻合法化, 我就嚐試將兩個題材都加到我的作品內。 從個人的角度出發,此畫帶點同性戀的信息,但它其實卻描繪 著人類被神賜予身心靈的偉大一刻,很極端的兩個處境........ 最後我將之套入我的感情生活,用上我自己的手和我女朋友的 手以非常個人的方法去演繹 <The Creation of Adam>。

One day during my painting course, our tutor show us some famous paintings. And one of them was ‘The creation of adam’. At the time when I saw this painting I found that, it was just like standing between God and Adam. Being the witness to Adam’s life giving moment. That’s why I picked this painting as a part of my work. Also at that time the news of same-sex marriage was very hot, then I tried to mix these two elements together as my main concept. From a personal point of view, ‘The creation of Adam’ has a homosexual signal for me. But at the same time it was depicting a great moment. So I used this concept to represent my emotional life. I used my hand and my girlfriend’s hand to reinterpret ‘The creation of Adam’.

194


重生 reborn wood & plaster 244 x 244 x 122cm 2013

195


蕭詠詩

SIU Wing Sze, Grace

My work explores the possibility of using different kind of materials. I am also interested in the relationship between the surroundings and myself. Meanwhile, through the experience of illness in my body, it is for sure evidence of existing relationships between myself and my surroundings. And that kind of experience records my own habit and behavior.

196


Lucid Dream Plastic apron, Micropore 164 x 130 x 50 cm 2012

197


Vacant Space Plastic apron, Micropore 850 x 170 x 170 cm 2013 198


199


200


蝪⊥風

201

Biography


簡歷

Biography

陶藝 Ceramics

繪畫 Painting

陳欣欣 CHAN Yan Yan, Grace

陳 邦 CHAN Kai Bong

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

澳洲皇家墨爾本理工大學

澳洲皇家墨爾本理工大學

RMIT University

RMIT University

展覽 Exhibition 2003 Paintographa - Joint Graduation Show

展覽 Exhibition 2013 Fotanian Open Studios 2013

Pao Galleries, Hong Kong Arts Centre, Hong Kong

2012 Fotanian Open Studios 2012

2002 Well

2012 Out of Reach

The Art School learning Centre

JCCAC, Hong Kong

Hong Kong

陳瑞琦 CHAN Sui Kei, Shirky

陳韻縈 CHAN Wen Ying, Lydia

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

澳洲皇家墨爾本理工大學

澳洲皇家墨爾本理工大學

RMIT University

RMIT University

展覽 Exhibition 2012 石硤尾藝村四年來回展

2009 藝術高級文憑 Higher Diploma in Fine Art

2011 Objects Dialogues White Tube Gallery, Hong Kong Arts Centre

週末有細藝 JCCAC , Hong Kong

2010 “Open Academy 2010 Exhibition” The Ambassadors of Design, Hong Kong

獎狀 Award 2012 Finalist, Hong Kong Contemporary Art Awards The Hong Kong Museum of Art,

Galleries, Hong Kong

2001 Animation - Joint Graduation Show Pao Galleries, Hong Kong Arts Centre, Hong Kong

呂潔蓮 LUI Kit Lin, Casandra 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

JCCAC, Hong Kong

澳洲皇家墨爾本理工大學

香港藝術學院 Hong Kong Art School

RMIT University

202


展覽 Exhibition 2012 Take Art Home – Hong Kong Art School Art Fair 12

2008 鄭安捷.作品展 Works by Cheng Raymond Joseph S.

Hong Kong Arts Centre, Hong Kong

藝術家 Les Artistes Café & Gallery, 香港Hong Kong

2009 Hong Kong Art School Graduation Showcase 2009 Hong Kong Art School, Hong Kong

鄭安捷 CHENG, Raymond Joseph S. 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學

2007 石林畫苑二十周年作品展 Shek Lam Studio 20th Anniversary Exhibition 香港文化中心行政大樓四樓展覽館 Hong Kong Cultural Centre

展覽 Exhibition 2012 Loi Wui Zin 四年來回展 JCCAC, Hong Kong

馮佩蓮 FUNG Pui Lin, Ula 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學

2006 香港素描學會第一届美術作品展 Hong Kong Drawing Association 1st Exhibition 香港文化中心行政大樓四樓展覽館 Hong Kong Cultural Centre

RMIT University

2008 素描及繪畫文憑 Diploma in Drawing and Painting(Merit) 香港中文大學專業進修學院

RMIT University

School of continuing studies the

展覽 Exhibition 2012 香港美術研究會三十周年會員作 品聯展 Hong Kong Art Researching Association 30th Anniversary Exhibition

周穎璇 CHOW, Christy

香港中環大會堂低座二樓展覽廳

澳洲皇家墨爾本理工大學

Hong Kong City Hall Low Block

RMIT University

Chinese University of Hong Kong

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

展覽 Exhibition 2013 香港藝術學院校友作品展2013THE INNER POWER THE INNER POWER – Hong Kong Art School Alumni Exhibition 2013 香港藝術學院藝廊

2nd floor, Hong Kong

2005 文學士 Bachelor of Arts

The Gallery of Hong Kong Art School Hong Kong Arts Centre, Hong Kong

香港大學 The University of Hong Kong

203


簡歷

Biography

2009 Graduation Exhibition of Diploma in Drawing and Painting Hong Kong Central Library

2008 Joint School Art Exhibition with CCC Kung Lee College

洪欣宜 HUNG Yan Yi, Angelica

姚逸洲 IU Yat Chau, Alexavier

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

澳洲皇家墨爾本理工大學

澳洲皇家墨爾本理工大學

RMIT University

RMIT University

2009 藝術文憑 Diploma of Fine Arts (Painting)

2009 藝術文憑 Diploma in Fine Arts

香港藝術學院 Hong Kong Art School

香港藝術學院 Hong Kong Art School

展覽 Exhibition 2011 零碎地擺【ling sui dei bai】

展覽 Exhibition 2012 “Undefined Functional Cubes@ Market Forces: Response – Summer Pop-up Art Market”,

Hong Kong Central Library

獎狀 Award 2012 Ms. Poon Sau Kuen Best Progress Award

何喬忻 HO Kiu Yan, Phoebe 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學

Sence 99 Central, Hong Kong

2009 「相約香江」中國書畫交流展 (Traditional Chinese Painting Exchange Exhibition) City Hall, Hong Kong

香港藝術學院 Hong Kong Art School

2011 “Still Life” White Tube Gallery,

RMIT University

2010 媒體藝術高級文憑 Higher Diploma in Media Arts

Osage Gallery, Hong Kong

Hong Kong Arts Centre, Hong Kong

2009 Graduation showcase of Diploma of Fine Arts

“Object Dialogue”

Pao Haung Sue Ing Campus,

Hong Kong Arts Centre, Hong Kong

White Tube Gallery,

Hong Kong Art School, Hong Kong

2010 “Rendezvous”

2008 視覺藝術基礎文憑 Foundation Diploma in Visual Arts

Les Artistes Cafe, Hong Kong

香港藝術學院 Hong Kong Art School

204


黎仲恒 LAI Chung Hang

劉曉蓉 LAU Hiu Yung

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

學歷 Education 2007 藝術文憑課程 Diploma in Fine Arts

澳洲皇家墨爾本理工大學

香港藝術學院 Hong Kong Art School

RMIT University

1993 素描及繪畫證書課程 Certificate Course in Drawing and Painting 中文大學校外進修學院 School of Continuing Studies, The Chinese University of Hong Kong

展覽 Exhibition 1996 繪畫展 – 花生畫會(聯展) Joint Painting Exhibition – Peanut Club 香港藝術中心, 包氏畫廊 Pao Galleries, Hong Kong Arts Centre

1994 中文大學校外進修學院第六屆素 描及繪畫證書課程結業作品展 (聯展) Joint Graduation Exhibition – Certificate Course In Drawing And Painting 1992 – 1993 (School of Continuing Studies, CUHK)

獎狀 Award 2009 第五屆全球華文部落格大獎----藝 術文化部落格初審入圍 2006 1st runner-up of logo design competition Organized by Hong Kong Arts Centre

展覽 Exhibition 2012 Out of Reach

& Hong Kong Council for Academic Accreditation

Green Space, JCCAC, Hong Kong

2009 與大師對話–新課題創作社 5 週年油畫展

訪問 Interview 2008 Lazy Man loves designInterview with Anthony Law by Dookaz Spotlight

香港中環大會堂

李鳳珍 LI Fung Chun

羅子俊 LAW Chi Chun 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學 RMIT University

展覽 Exhibition 2011 “Object Dialogue”,

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學 RMIT University

展覽 Exhibition 2012 畫意悠悠、咫尺千里 Hong Kong City Hall, Hong Kong

White Tube Gallery,

香港藝術中心包氏畫廊

Undefined Functional Cubes@ Market

Pao Galleries, Hong Kong Arts Centre,

Forces: Response – Pop-up Art Market

Hong Kong

Osage Gallery, Hong Kong

Hong Kong Arts Centre

205


簡歷

Biography

Object Dialogue White Tube Gallery,

2007 拓藝坊 Topart.com

2005 最後召集 Emergency Call

Hong Kong Arts Centre, Hong Kong

牛棚藝術村

City Hall, Hong Kong

Artist Commune, Cattle Depot Artist

Kwun Tong Artist’s Studio Opening exhibition

Village, Hong Kong

Hong Kong

2005 拓藝坊 (五週年聯展) Topart.com (Fifth Anniversary Exhibition)

凌向汶 LING Heung Man, Doris 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學 RMIT University

Exhibition Gallery, Hong Kong Cultural

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

Centre, Hong Kong

澳洲皇家墨爾本理工大學

香港文化中心

RMIT University

2003 拓藝坊 Topart.com 香港視覺藝術中心 Exhibition Gallery, Hong Kong Visual Arts Centre, Hong Kong

2001 西方繪畫證書課程 Certificate Program in Drawing & Painting 香港中文大學專業進修學院 School of Continuing and Professional Studies, CUHK Hong Kong

展覽 Exhibition 2010 拓藝坊 (十週年聯展)Topart.com (Tenth Anniversary Exhibition) 香港中文大學專業進修學院 School of Continuing and Professional Studies, CUHK Hong Kong

熊耀蘭 MA Hsiung Yaw Lan, Ruth

倫芷茵 LUN Tze-Yan, Shiron 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

馬婉婷 MA Yuen Ting, Olivia 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學 RMIT University

澳洲皇家墨爾本理工大學

2008 臨床心理學社會科學碩士 Masters of Social Science

RMIT University

香港大學

展覽 Exhibition 2012 石硤尾藝術村四年來回展 Loi Wui Zin JCACC, Hong Kong

206

University of Hong Kong

展覽 Exhibition 2005 第20屆夏利豪基金會藝術比賽 入圍展覽 Philippe Charriol Art Foundation 20th Anniversary Semi-Finalist Exhibition


馬孝笙 MAH Hau Sung, Hazel 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學 RMIT University

展覽 Exhibition 靜觀 Stay tuned 獎狀 Award 2007 EPSON色彩圖像大賽 評審委員獎 EPSON Color Imaging Contest Judges’ Award

陳雪花 TAN Suat Huay, Wendy 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學 RMIT University

2011 Objects Dialogues White Tube gallery Hong Kong Art School, Hong Kong

獎狀 Award 2013 44th Annual Smoky Hill Art Exhibition (Cash award) Hays Arts Council Hays, Kansas USA

2010 Chair (outstanding award) The Ambassadors of Design Open Academy, Hong Kong

曾 安 TSANG Yin On

Design Competition 香港市政局 The Urban Council of Hong Kong

王淑霖 WONG Shuk Lam, Emily 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) RMIT University

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學 RMIT University

展覽 Exhibition 2012 石硤尾藝術村四年來回展 Loi Wui Zin 賽馬會創意藝術中心

Unit Gallery, JCCAC, Hong Kong

2010 藝海芳華 Blossoming of Art (H.G.S.S.-50th Anniversary)

Unit Gallery, JCCAC, Hong Kong

中秋綵燈設計比賽 Mid- Autumn Lantern

澳洲皇家墨爾本理工大學

2008 Neglect . Attention (Solo Exhibition)

展覽 Exhibition 2012 Neglect . Attention

獎狀 Award 1995 成績優異 Outstanding Achievement

JCCAC, Hong Kong

香港中央圖書館展覽館 Hong Kong Central LibraryExhibition Gallery, Hong Kong 207

展覽 Exhibition 2013 香港藝術學院校友作品展2013THE INNER POWER THE INNER POWER – Hong Kong Art School Alumni Exhibition 2013 香港藝術學院藝廊 The Gallery of Hong Kong Art School, Hong Kong Arts Centre, Hong Kong


簡歷

Biography

黃舜芝 WONG Shun Chi, Vanessa

欣欣 Yan Yan

楊寶兒 YEUNG Po Yi, Katie

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

澳洲皇家墨爾本理工大學

澳洲皇家墨爾本理工大學

澳洲皇家墨爾本理工大學

RMIT University

RMIT University

RMIT University

2004 商業設計文憑 Diploma, Commercial Design

2007 藝術文憑 Diploma in Fine Arts

展覽 Exhibition 2013 Apperception

香港正形設計學校 Hong Kong Ching Ying Institute of Visual Art

展覽 Exhibition 2013 Apperception The Gallery of Hong Kong Art School, Hong Kong Arts Centre, Hong Kong

2012 Loi Wui Zin JCCAC, Hong Kong

香港藝術學院 Hong Kong Art School

展覽 Exhibition 2012 觸不到 Out of Reach 賽馬會創意藝術中心 JCCAC, Hong Kong

2008 雜架攤-香港藝術學院畢業展2008 Flea Market - Hong Kong Art School Graduation Exhibition 2008 香港藝術中心包氏畫廊 Pao Galleries, Hong Kong Arts Centre, Hong Kong

2011 District - with You and Me Festival Walk

獎狀 Award 2011 Youth Painting

2012 生命頌歌 插圖 A Song of Praise (Illustrator) 香港宣教會出版 The Board of Management of The

Competition Hong Kong Society of

Chinese Permanent Cemeteries, Hong

Illustrators (since) 2010

Kong

2006 Pictures tell the Story The New Issue Art Group of Hong Kong, Hong Kong 208

The Gallery of Hong Kong Art School, Hong Kong Arts Centre, Hong Kong

獎狀 Award 2006 Editor’s Choice College Herald , New Zealand


攝影 Photography 詹佳穎 CHAN Chia Ying, Janet 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學 RMIT University

展覽 Exhibition 2009 Hong Kong Art School Graduation Showcase 2009 Hong Kong Art School

陳銳敏 CHAN Yui Man, Yuman 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學 RMIT University

馮子聰 FUNG Tsz Chung, Alvin 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

2002 Art & Design Foundation Studies

2011 黑白分明攝影展 Chiaroscuro New Photography

OCAD University, Toronto

JCCAC, Hong Kong

展覽 Exhibition 2012 跨越:2012年度三影堂攝影獎 作品展 2012 Three Shadows Photography Award Exhibition

平遙國際攝影展2011 Pingyao International Photography Festival

北京三影堂攝影藝術中心 Three Shadows Photography Art Centre, Beijing

獎狀 Award 2012 Rado Star Prize Switzerland 10 Best Works Biel/Bienne Festival of Photography

Ping Yao, China

林南雅 LAM Nam Nga 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學 RMIT University

Biel/Bienne

何展兆 HO Chin Shiu, Ramond 展覽 Exhibition 2012 後直香港當代攝影展 Post-Straight Photography 香港文化博物館

李思敏 LEE, MiMi 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學 RMIT University

Hong Kong Heritage Museum

牙籤樓-個人展覽 Stick Houses Solo exhibition

澳洲皇家墨爾本理工大學

百呎公園 @100 ft² Park 2012,

RMIT University

香港 Hong Kong

Up and Go New Photography Upper Station Art Gallery, Hong Kong 209


簡歷

Biography

梁譽聰 LEUNG Yu Chung, Dan

李頌韜 LI Chung Too

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

澳洲皇家墨爾本理工大學

澳洲皇家墨爾本理工大學

RMIT University

RMIT University

2008 多媒體設計與科技高級文憑 Higher Diploma in Media Design and Technology 香港理工大學 The Hong Kong Polytechnic University

展覽 Exhibition 2013 閃 ﹣青年攝影創作系列(四) Blitz – New Light IV 光影作坊 Lumenvisum, 香港 Hong Kong

2011 發聲 ﹣香港年青攝影藝術 新秀前展 Spring Song ﹣Preview of Emerging Artists in Hong Kong 香港攝影文化協會 Hong Kong Photographic Culture Association, Hong Kong

盧曉峰 LO Hiu Fung, Gorbriel 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

2011 發聲 “Spring Song” 香港攝影節 Hong Kong Photo Festival Hong Kong

2007 渣打書節 Standard Chartered Book Festival 香港 Hong Kong

獎狀 Award 2013 Sponsorship for Summer Study Program (2013) to School of Visual Arts, New York Hong Kong Arts Centre, Hong Kong

澳洲皇家墨爾本理工大學 RMIT University

2009 應用藝術高級文憑(傳意設計) Higher Diploma in Applied Art (Graphic Communication) 香港藝術學院 Hong Kong Art School

展覽 Exhibition 2012 生物圖譜 Atlas of Being Hong Kong Art School Gallery, Hong Kong

文耀國 MAN Yiu Kwok, Gary 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學 RMIT University

展覽 Exhibition 2012 Up and Go : New Photography II Upper Station, Hong Kong

210


2011 黑白分明 - 新生代攝影展 Chiaroscuro New Photography 香港賽馬會創意藝術中心 JCCAC, Hong Kong

2011 中國平遙國際攝影大展 Pingyao International Photography Festival 2011 Ping Yao, China

陳 駿 MC

譚慶楷 TAM Hing Kai

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

澳洲皇家墨爾本理工大學

澳洲皇家墨爾本理工大學

RMIT University

RMIT University

展覽 Exhibition 2014 Hasselblad Masters Award

展覽 Exhibition 2012 「後直」當代香港攝影展 “Post Straight” Contemporary Hong Kong Photography

2011 入選香港圖像藝術節2011 新一代 ! - 國際大學生交流展 Selected in “XinYiDai” ‐ An International University Students Exchange Exhibition Hong Kong Graphic Art Fiesta

Finalist

Sha Tin Town Hall

2012 WYNG Master Award

2012 中國平遙國際攝影大展 Pingyao International Photo

Finalist

Festival 2012, Ping Yao, China

獎狀 Award 2013 Three Shadows Photography Award

2011 黑白分明–新生代攝影展 Chiaroscuro – New Photography Exhibition 2011,

Three Shadows Photography

香港 Hong Kong

Hong Kong

獎狀 Award 2011 Ms. Poon Sau Kuen Sponsorship 潘秀娟女士獎學金

2013 Three Shadows Photography Award

香港文化博物館 Hong Kong Heritage Museum, Hong Kong

Finalist

Art Centre, Beijing

2012 WYNG Master Award, Finalist

211


簡歷

Biography 雕塑 Sculpture

獎狀 Award 2013 Switch當代錄像藝術2013年 (第5屆)入圍作品 Finalist of Switch Contemporary Video Art 2013 (5th annual) Competition

獎狀 Award 2011 “The Best of the Show” winner for the category of sequential images Hong Kong Graphic Art Fiesta 2011, HKADC.

陳直怡 CHAN Chik Yee, Lucy 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

愛爾蘭蒂珀雷里郡

澳洲皇家墨爾本理工大學

County Tipperary, Ireland

RMIT University

VKUNST 法蘭克福 (第5屆) – 媒體及錄像藝術展入圍作品 Finalist of VKUNST Frankfurt V Media and Video Art Exhibition, Frankfurt

曾百鏗 TSANG Pak Hang 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

袁可殷 YUEN Ho Yan, Vanessa 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學 RMIT University

獎狀 Award 2012 Finalist of the 2nd Annual IPA Street Photography Asia Contest

澳洲皇家墨爾本理工大學

陳正文 CHAN Ching Man 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學 RMIT University

展覽 Exhibition 2012 We sculpt Art One Gallery, Hong Kong

RMIT University

Hawkerama Art Exhibition Street Design Unit, Hong Kong

黃晉傑 WONG Chun Kit, Terence

Pop-up art market Osage Gallery Hong Kong

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

2011 Love the Future art and poetry exhibition

澳洲皇家墨爾本理工大學

Art Citizens, Hong Kong

RMIT University

212


鄺嘉敏 KWONG Ka Man, Nancy

蕭詠詩 SIU Wing Sze, Grace

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

澳洲皇家墨爾本理工大學

澳洲皇家墨爾本理工大學

RMIT University

RMIT University

學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art)

展覽 Exhibition 2012 CATHAY CAMERA CLUB ANNUAL GALLERY

2010 Higher Diploma in Fine Art

澳洲皇家墨爾本理工大學

Hong Kong Cultural Centre, Hong Kong

2004 工商設計文憑 Commercial Graphic Design Diploma

2010 Joint Exhibition HK+GZWalking to Canton X Canton Canton JCCAC Galleries, Hong Kong

陳祉縈 CHAN Tsz Ying, Grace

RMIT University

展覽 Exhibition 2013 《二次燃燒宣言♥2 — 動漫遊二 次創作聯展》 Secondary Combustion – ACG Re-creation 2009 Hong Kong Art School Graduation Showcase 2009 Hong Kong Art School, Hong Kong

獎狀 Award 2009 Hong Kong Youth Cultural and Arts Competitions The Hong Kong Youth Slogan & Poster Design Competition Champion

林文敏 LAM Man Man, Ar Man 學歷 Education 2013 藝術文學士 Bachelor of Arts (Fine Art) 澳洲皇家墨爾本理工大學 RMIT University

2010 Associate Degree in Multimedia Design The Hong Kong Polytechnic University

213

香港藝術學院 Hong Kong Art School

大一藝術設計學院 First Institute of Arts & Design, Hong Kong

展覽 Exhibition 2009 香港藝術學院畢業創作展 2009 Hong Kong Art School Graduation showcase 2009 香港藝術學院 Hong Kong Art School, Hong Kong


214


鳴謝

Acknowledgement

215


鳴謝

Acknowledgement

Professor BATT, Terry

劉紹增 LAU Siu Tsang, Benny

唐納天 ABBAS, Nadim

劉天明 LAU Tin Ming

陳軒明 CHAN Hin Ming, Arthur

羅森堡 LAW Sum Po, Jamsen

陳思光 CHAN See Kwong, Ray

梁志和 LEUNG Chi Wo

陳偉邦 CHAN Wai Bong, Clement

梁冠明 LEUNG Koon Ming, Jakie

陳惠蓮 CHEN Hui Lien, Denise

梁文豪 LEUNG Man Ho, Steven

CHAN Kei Man, Eva

盧文謙 LO Man Him, Virginia

陳翹康 CHAN Kiu Hong, Joe

陸浩燊 LUK Ho Sun, Spencer

鄭怡敏 CHENG Yee Man

馬琼珠 MA King Chu, Ivy

張康生 CHEUNG Hong Sun, Enoch

蘇慶強 SO Hing Keung

張煒詩 CHEUNG Wai Sze, Rachel

蘇秀儀 SO Sau Yi, Gretchen

張慧婷 CHEUNG Wai Ting, Stephanie

孫樹坤 SUEN Shu Kwan, Leon

程展緯 CHING Ching Wai, Luke

譚偉平 TAM Wai Ping. Lukas

程思賢 CHING Sze Yin, Cicy

曾翠珊 TSANG Tsui Shan, Jessey

蔡仞姿 CHOI Yan Chi

謝明莊 TSE Ming Chong

COSTADIMAS, Evangelo

尹麗娟 WAN Lai Kuen, Annie

FIGUEIRINHAS PAIVA, Joao Vasco

WONG Adrian, Anthony

馮浩然 FUNG Ho Yin

黃啟裕 WONG Kai yu, Blues

GUTHRIE, Andrew Simpson

黃覺新 WONG Kwok Sun, Sunny

香建峰 HEUNG Kin Fung, Alex

黃麗貞 WONG Lai Ching, Fiona

何鎮宇 HO Chun Yu, Jerry

翁秀梅 YUNG Sau Mui

何藹恩 HO Oi Yan, Carol 何遠良 HO Yuen Leung

香港藝術學院職員

姜志名 KEUNG Chi Ming, Jimmy

Hong Kong Art School Staff

高天恩 KO Tin Yan, Celia

課程行政

谷敏超 KU Mun Chiu, Christopher

Academic Programme Administration Team

黎健強博士 Dr. LAI Kin Keung, Edwin

傳訊及發展

林志光 LAM Chi Kwong

Communication & Development Team

劉建華 LAU Kin Wah, Jaspar

院務

林嵐 LAM Laam, Jaffa

School Administration Team

劉學成 LAU Hok Shing

216


Professor DIGGLE, Jeremy

Dr. VALE Michael

Head of School of Art

VAN RIEMSDYK Fran

Associate Professor WHITE, Kevin

WOODWARD Laura

Deputy Head International Development

ZIKA Joel

Dr. BARBERIS Irene BARBIERI Liliana

特別鳴謝 Special Thanks:

Dr. BISH Garry

何兆基博士 Dr. HO Siu Kee

BlLLAN John

黄國才博士 Dr. WONG Kwok Choi, Kacey

BronekKozka CLEARY Sally COAD Kris CREEK Greg CRIPPS Peter D’COSTA Rhett DANKO Aleksander DYER Jayne Dr. EDWARDS Phil Dr. ERREY Sophia ESKDALE Carolyn GEURTS Kelly Ann GORE Don Professor GRIERSON Elizabeth Dr. HULBERT Shane LAWLER Kim MONCRIEFF Gregory MURPHY Fiona NEALE Jeph NEOH Stephanie PANTAZOPOULOS Nikos SANDERS Chris Dr. SHARP Kristen SLEE Simone SYLVESTER Darren

217


鳴謝

Acknowledgement

二零一三年畢業展統籌委員會 Graduation Exhibition Committee 2013:

陳直怡 CHAN Chik Yee, Lucy 陳啟駿 CHAN Kai Chun, MC 陳韻縈 CHAN Wen Ying, Lydia 陳欣欣 CHAN Yan Yan, Grace 張麗蓉 CHEUNG Lai Sung, Lio 馮子聰 FUNG Tsz Chung, Alvin 黎仲恒 LAI Chung Hang, Francis 李思敏 LEE, MiMi 梁譽聰 LEUNG Yu Chung, Dan 凌向汶 LING Heung Man, Doris 盧曉峰 LO Hiu Fung, Gorbriel 熊耀蘭 MA Yaw Lan Hsiung, Ruth 馬孝笙 MAH Hau Sung, Hazel 文耀國 MAN Yiu Kwok, Gary 蕭詠詩 SIU Wing Sze, Grace 譚慶楷 TAM Hing Kai 黃舜芝 WONG Shun Chi, Vanessa 楊寶兒 YEUNG Po Yi, Katie 源碧君 YUEN Pik Kwan, Jenny

218


合辦機構 Co-presented by:

219


甲級贊助 Premium Sponsors:

With compliments of

220


甲級贊助 Premium Sponsors:

‘La La La Hong Kong Limited is a Hong Kong food and wine importer and wholesaler, who aims to bring quality products to Hong Kong and Macau. One of the most popular Sangria cocktail series became the tasting token championship of Wine & Dine Festival 2011 which held by Hong Kong Tourism board, Sangria series had also won “The most gorgeous party wine award 2012” presented by Hong Kong wedding magazine.’

221


甲級贊助 Premium Sponsors:

223


鳴謝

Acknowledgement

贊助 Sponsors:

餐飲贊助 Catering Sponsors:

花飾贊助 Florist Sponsor:

媒體贊助 Media Sponsor:

224


展覽資料

Exhibition Details

甲乙丙丁

Alpha to Infinity 二零一三藝術文學士畢業展 Bachelor of Arts (Fine Art) Graduation Exhibition 2013

七月 Jul

開幕

Opening :

七月 Jul 星期五 Fri

18:00 - 20:00

6-28

藝術家分享 Artist talk :

10:00 - 20:00

七月 Jul

香港灣仔港灣道二號香港藝術中心三樓*實驗畫廊 及四至五樓包氏畫廊 3/F, *Experimental Gallery & 4 - 5/F,  Pao Galleries, Hong Kong Arts Centre, 2 Harbour Road, Wanchai, Hong Kong *實驗畫廊開放時間 Opening hours of Experimental Gallery:

10:00 - 18:00

若壽臣劇院進行演出,開放時間將會稍作更改 Opening hours may change according to Shouson Theatre’s performance schedules of the day

5

14

星期日 Sun

15:00 - 17:00 査詢 Enquiry

Email: gradshow.rmithk2013@gmail.com Website: http://gradshowrmithk2013.wix.com/ alpha-to-infinity Facebook: 甲乙丙丁 Alpha to Infinity 藝術導賞敬請預約 Please make prior appointment for guided tour

225


筆記

Note

226


"Alpha to Infinity"  

BAFA2013@RMIT.HKAS Catalog

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