Trevor Yeung 楊沛鏗 - Not everything is about you 期待的落差

Trevor Yeung’s solo exhibition Not everything is about you, sees the artist’s continuation of personifying botanic ecology and inanimate objects to articulate human emotion and relationships, he examines the way we manoeuvre through our social habitat, delving into the complexities and unspoken rules defining the way we interact. Conscious of cultural codes during his travels, Yeung reflects on the strain on interaction during the pandemic and the increased time spent with oneself. Dissecting psychological nuances of co-dependent relationships, unmet expectations, and communicative frustrations; he reveals multilayered sentiments on his observations. For Yeung, this learning curve is essential, as after all, not everything is about ourselves.

楊沛鏗的個展《期待的落差》延續藝術家將植物生態及日常 物件擬人化的創作手法，表達人類情緒與情感關係，檢視我 們在社會空間中的軌跡，並沉思人類互動中不言而喻的規則 與複雜性。在頻密的旅行過程中，楊氏常有意識地觀察不同 地方的文化法則。疫情期間，他更常反思人際間相處的壓力 與漫長的獨處。展覽中，楊氏拆解著互累關係、落空的期待 及溝通挫敗背後微妙的心理。在他看來，這些學習的過程才 是關鍵所在。畢竟，期待與現實總是有著落差的。

Pull it together《振作振作》 2022 Echinopsis pachanoi 仙人掌 7.5 x 30.5 x 11cm

Reflected Tiles《反射了的磚》 2021 Archival inkjet print, etched glass, wooden frame 收藏級噴墨打印、蝕刻玻璃、木框 43.6 x 63.6 x 3.5 cm (framed size 裝裱尺寸 )

Trapped Fish《困魚》 2021 Archival inkjet print 收藏級噴墨打印 150 x 100 cm Edition 版本：3

Forced Romantic #2《硬來的浪漫 2》 2022 Lamps, zip ties 燈、索帶 35 x 50 x 10 cm Edition 版本：3

Having gone through multiple hotel quarantines in Hong Kong since the outbreak of Covid-19, Soft Compromise (2022) is an installation comprising pillows packed between the crevice of a freestanding wall and its surrounding building structure. Crammed against cold concrete, the pillows fail to bring long-due solace and restful respite.

Covid-19 爆發以來，楊氏在香港經歷了多次酒店隔離。在作品《柔軟的妥協》（2022）中，

枕頭堆疊在一堵墻面的縫隙中及墻體周圍。擁擠地抵著冰冷的水泥墻面，柔軟的枕頭難以帶 來應得的慰藉與鬆弛的休憩。

Soft Compromise《柔軟的妥協》 2022 Feather pillows, plastic bags, pillow cases 羽絨枕頭、膠袋、枕頭套 Installation size variable 裝置尺寸不定

The toss and turning of the sleepless state extends to Sink if you don’t move, a bed with an abundance of small coral carcasses distributed beneath the mattress. Whilst anticipating a state of relaxation, the uneven surface triggers an unpleasant night for the sleeper. A metaphor for complacent relationships, Yeung questions the risks of having a false sense of security and the consequences of being too comfortable. 《不放開便沉》(2022) 進一步的表達不安的失眠狀態。藝術家在一張床墊下分布於大量的珊 瑚骨。凹凸不平的床墊導致了睡眠者輾轉反側，未能帶來預期的酣睡。楊氏質疑過於舒適與 空洞的安全感，比喻著自滿的感情關係帶來的後果。

Sink if you don’t move《不放開便沉》 2022 Mattress, coral bones, bed sheet, perfume 床墊、珊瑚骨、床單、香水 68 x 149.5 x 198 cm

"Wall of a hamster cage (Mira moon) 《倉鼠籠裏的牆》

2022 Pencil and tea on paper 145 x 367 cm

Hanging from the ceiling is Wall of a Hamster Cage (Mira Moon) (2022), a drawing produced during Yeung’s most recent 14-day quarantine. Marking the passing of diurnal time by tracing sunlight and shadow casted onto his hotel window with tea stains and pencil tracing. Comparing his living environment to a pet hamster where containment and prescribed amenities become a default mode for living, Yeung the duality of being taken care of and being kept watch of. In light of the Wall ofquestions a Hamster Cage (Mira Moon)《倉鼠籠裏的牆》 2021 recent culling of hamsters during Hong Kong’s Omicron outbreak, Yeung visualises Tea and pencil on paper 茶漬鉛筆宣紙本 the temporary and disposable companionship of these little lives and our own.

367 x 145 cm

《倉鼠籠裡的墻》（2022）是楊氏創作於近期十四日隔離時的繪畫。 這幅懸置的畫作以茶漬及鉛筆為材料，標記日光及陰影在日間經過酒 店窗戶的軌跡。楊氏將酒店的生活環境比作封閉的倉鼠籠，並藉此質 疑「被照顧」與「被監控」的雙重性。鑒於香港近日Omicron爆發期 間對寵物倉鼠的大批撲殺，楊氏視覺化了它們的陪伴的短暫與可棄。

Planter Shadow《植盆影子》 2022 Soil extract, coral powder, tea, xuan paper 土壤、珊瑚粉及茶漬宣紙布本 11.3 x 11.5 x 4 cm

Recycled Plinth (Elm)《回收底座 (榆木)》 2022 Used Furniture 舊傢俬 52.2 x 82 x 28.8 cm

Dead Mr. Cuddles (Grey)《已死的擁抱先生》 2022 Pachira, straps 發財樹、建築帶 Installation size variable 裝置尺寸不定

Floating Pelican《漂浮塘鵝》 2020 Archival inkjet print 收藏級噴墨打印 41.2 x 61.4 x 4 cm (framed size 裝裱尺寸 ) Edition 版本：3

The sadism of binding pervades to torment in Bottom line challenger, an Arabian Balsam tree possessing properties of shedding bark. Placing a set of forceps by the tree, he triggers the audience's compulsions to peel its skin, testing limits of the plant’s silent tolerance and our temptations to dominate and control. Yeung positions these living species in perverse conditions of being bound and pricked, yet their Promethean vigour a testament to the stoicism of being despite almost unbearable suffering. 繩索捆綁所引發受虐氣質亦貫穿在《底線挑戰者》中：在一株樹皮會剝離脫落的阿 拉伯香脂樹邊，楊氏放置了一組醫用鑷子，挑引著觀眾剝除樹皮的慾望，他測試著 植物默默承受痛苦的極限，亦檢驗著我們面對支配與控制權的耐力。楊氏將擁有生 命的物種置於被束縛、被傷害的艱難處境，然而在難以承受的苦痛之下，它們呈現 的堅韌充盈著普羅米修斯式的生命力。

Bottom Line Challenger (Commiphora gileadensis)《底線挑戰者》 2022 Commiphora gileadensis, forceps 阿勃參植物、手術鉗 Installation size variable 裝置尺寸不定

Recycled Plinth (Dark Walnut)《回收底座 （黑胡桃）》 2022 Used Furniture, spirit levels 舊傢俬、水平儀 63.5 x 115 x 50 cm

Mr. Cuddles (double falling)《一起墮落的擁抱先生》 2022 Pachiras, straps 發財樹、建築帶 Installation size variable 裝置尺寸不定

Whilst these sitters take their minds on a wander, Yeung’s botanical works endure physical restraint and psychological pressure. Mr Cuddles (double falling) (2022) features two Pachira trees dangling from the ceiling.

Commonly known as the money tree, Yeung often depicts these braided species strapped aggressively into uncomfortable positions, their captivity mimicking their own twisted nature. Hanging an inch away from the ground, the trees appear to have finally gained footing, only revealed at a closer glance that they are fated to rely and submit to the ruthless harness of construction straps. 在公園看更們精神遨遊的同時，楊氏的植物創作則承受著現實的約束與精神的壓力。 《一起墮落的擁抱先生》（2022）呈現兩柱被懸掛的發財樹。楊氏強勢地將這些樹幹 呈編織狀的植物以彆扭的姿態懸掛於繩索上，以被捆綁的姿態回應樹木自身的纏繞樣 貌。距離地面僅一尺之遙，樹木在遠看之下仿佛已然落地，只有近距離觀察，方可發 覺它們仍舊受制於建築繩索的駕馭。

Three Pelicans《三隻塘鵝》 2021 Archival inkjet print 收藏級噴墨打印 120 x 80 cm Edition 版本：3

Garden Sitter (Sharjah)《公園看更(沙迦)》 2022 Archival inkjet print, engraved acrylic, wooden frame 收藏級噴墨打印、壓克力雕刻、木框 153.5 x 103.5 x 3.5 cm

Turning our gazes beyond confined spaces, Yeung’s photographs capture aqueous and avian critters whose worlds are bound by fathomless waters and skies. Three Pelicans (2021) depict birds in single-file cleaning their feathers in a self-absorbed manner, whilst Trapped Fish (2021) portrays a lost koi in an overgrown pond, unable to foresee its predicament. As they fulfil their minuscule narratives in a colossal universe, we’re reminded that life goes on.

A man in a thobe takes a break in Dubai’s hazy metropolis, whilst a woman gazes downslope in a forest clearing at dusk, titled Garden Sitter (Sharjah) (2022) and Garden Sitter (Paris) (2022) respectively, these pensive individuals have no recourse to futurity, no immediacy to take action, only solitary relationships to partake.

密閉的空間之外， 無邊際的海水與天空中的生物亦是楊氏攝影中的主體。《三隻塘鵝》 （2021）中，站成一列的雀鳥自顧自地清潔羽毛；《困魚》》（2021）中，一條落單的金 魚徘徊在水草叢生的池塘裡，無法預視身處的困境。在無垠的宇宙中，這些微小的生命譜寫 著自身的微小敘事，提示著我們生活終將繼續。名為《公園看更（沙迦）》（2022）與《公 園看更（巴黎）》（2022）的攝影作品分別呈現一個身著白袍、休憩於杜拜沙塵朦朧的都市 空間中的男性，以及一個坐在森林草原的女性在日暮黃昏中凝視著下坡。圖像中沉思的個體 沒有對未來的答案、對即時行動的需求，他們只有對孤寂關係的參與。

Forced Romantic #1《硬來的浪漫 1》 2022 Lamps, zip ties 燈、索帶 90 x 60 x 30 cm Edition 版本：3

Lunatics Murmur《瘋子的呢喃》 2022 Containers, water, aquarium equipment (set of 6) 水族箱、水、水族用品 (一組六件) Installation size variable 裝置尺寸不定 Edition 版本：3

Whilst exploiting the deceptively passive silence of plants, Yeung utilises sounds of aquarium systems to project communicative turbulence. Around the periphery of the exhibition space is Lunatics murmur, a set of six containers filled with water, producing rhythmic noise frequencies of air bubbles through an air pump. These reverberations are likened to incomprehensible utterances of unfamiliar languages, merely white noise to the artist’s ears. 剝削著植物充滿欺騙性的被動與沉默時，楊氏亦藉助水族箱內的聲音投射溝通中的顛簸。位 於展覽外圍的《瘋子的呢喃》（2022）是六個盛滿水的水族箱，在氣泵的作用下吐著氣泡， 發出著有節奏的噪聲。這些聲音猶如陌生語言的呢喃，成為藝術家耳中的白噪音。

Garden Sitter (Paris)《公園看更(巴黎)》 2022 Archival inkjet print, 收藏級噴墨打印 60 x 40 cm Edition 版本：3

Music Box 1 (You will get used to it)《音樂盒1 (你終會習慣)》 2015 Fish tank, water, filter 魚缸、水、過濾器 30 x 35 x 35 cm

Inability to understand strangers and the breakdown of signification systems permeate in Music Box 1 (You will get used

to it), a water filter choking in discomfort near the water surface of a filled tank as it struggles to cycle water through its body. As we assimilate to the background noise, we become desensitised to the array of communicative signals. This liminal space between comprehending failure and function, expands beyond language barriers into our social structures. 《音樂盒1 (你終會習慣)》同樣回應著與陌生人的溝通困難以及象征系統的崩 壞。作品中，一個濾水器吮吸著水族箱裡的水面，艱難地把水量循環於自己的 體內。當我們慢慢適應機器的噪音時，我們亦無法感知它們的溝通信號。於 是，崩壞與運行之間的阈限空間超越語言的隔閡，滲入我們的社會結構。

Underground Lilies《地下百合》 2022 Archival inkjet print 收藏級噴墨打印 30 x 20 cm Edition 版本：20

Yeung participated in the shortlist exhibition for the Future Generation Art Prize 2021 presented by PinchukArtCentre in Kyiv, Ukraine. In solidarity with Ukrainian resistance against Russian invasion, Yeung has produced a limited edition of 20 for Underground Lilies, a photograph taken at an underground flower shop in Kyiv during the artist’s last visit to the city. As the citizens of Kyiv find refuge from air raids in bunkers and subterranean tunnels, Underground Lilies serve as a metaphor for Ukrainian resilience and determination for liberty and survival. All proceeds will be donated to Support Hospitals in Ukraine which provides medical aid and equipment to Ukrainian hospitals.

2021年，楊沛鏗參與了烏克蘭基輔市Pinchuk藝術中心「未來世代藝術獎2021」的入圍展覽。為 支持烏克蘭人民抵抗俄羅斯入侵，楊氏創作了一組限量20版的作品《地下百合》，呈現藝術家最 近一次拜訪基輔時所拍攝的一間地鐵花店。在地下碉堡與通道內，基輔市民躲避著空襲，《地下 百合》象征著烏克蘭人的抵抗精神，以及他們堅持自由與生存的決心。作品所有銷售所得將贈予

Support Hospitals in Ukraine，為烏克蘭醫院提供醫療及器械援助。

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