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Sculptures . Ceramics . Archive A Chan Ping Tim Retrospective


藝術薰陶 Artistic Inspirations

初執教鞭 A Young Educator

前言 Foreword

九龍塘景觀粉彩畫 A pastel landscape drawing of Kowloon Tong 祖母畫像 A portrait of granny 木雕 Carved wooden objects 何漆園老師 Ho Chat Yuen

塘尾道官立小學 Tong Mei Road Government Primary School 伊利沙伯中學 Queen Elizabeth School

CONTENTS

英國留學 Studying in the UK 咖啡具 A coffee set 造型 Form

陶藝發展 Ceramic Endeavours

美術教育 Art Education

遊學歐洲 Trips around Europe

目 錄

8 10 12 14 18 20 22 24 26 28

筲箕灣官立中學美術展覽會 Shau Kei Wan Government Secondary School Art Exhibitions

32

母與子 Mother and Son

40

首次個人雕塑展覽 The First Solo Sculptural Exhibition

42

九龍華仁書院金禧校慶美術展覽 Golden Jubilee Art Exhibition at Wah Yan College, Kowloonn

44

柱 Column

46

四重奏 Quartet

48

葛量洪教育學院陶藝教學 Ceramic education at Grantham College of Education

52

厚過一吋就爆 The one-inch limit

54

香港陶瓷藝術室 Hong Kong Ceramic Arts Studio

「香港陶藝教育之父」 The father of Hong Kong ceramic education

藝教兩全 An Artist-Teacher

4

器皿 Wares 太空 Space

「今日香港陶藝」 、 「香港藝術一九九七」 “Hong Kong Pottery Today” and “Hong Kong Art 1997” 舞 Dance

大事紀 Chronicle 後記 Afterword

55 56 60 62 64 66 70 72


藝術薰陶 Artistic Inspirations

初執教鞭 A Young Educator

前言 Foreword

九龍塘景觀粉彩畫 A pastel landscape drawing of Kowloon Tong 祖母畫像 A portrait of granny 木雕 Carved wooden objects 何漆園老師 Ho Chat Yuen

塘尾道官立小學 Tong Mei Road Government Primary School 伊利沙伯中學 Queen Elizabeth School

CONTENTS

英國留學 Studying in the UK 咖啡具 A coffee set 造型 Form

陶藝發展 Ceramic Endeavours

美術教育 Art Education

遊學歐洲 Trips around Europe

目 錄

8 10 12 14 18 20 22 24 26 28

筲箕灣官立中學美術展覽會 Shau Kei Wan Government Secondary School Art Exhibitions

32

母與子 Mother and Son

40

首次個人雕塑展覽 The First Solo Sculptural Exhibition

42

九龍華仁書院金禧校慶美術展覽 Golden Jubilee Art Exhibition at Wah Yan College, Kowloonn

44

柱 Column

46

四重奏 Quartet

48

葛量洪教育學院陶藝教學 Ceramic education at Grantham College of Education

52

厚過一吋就爆 The one-inch limit

54

香港陶瓷藝術室 Hong Kong Ceramic Arts Studio

「香港陶藝教育之父」 The father of Hong Kong ceramic education

藝教兩全 An Artist-Teacher

4

器皿 Wares 太空 Space

「今日香港陶藝」 、 「香港藝術一九九七」 “Hong Kong Pottery Today” and “Hong Kong Art 1997” 舞 Dance

大事紀 Chronicle 後記 Afterword

55 56 60 62 64 66 70 72


前 言 FOREWORD 本地著名雕塑家、陶藝家和藝術教育家陳炳添(1937-)有「香港陶藝教育之父」之 稱,是次展覽以其作品為出發點,輔以藝術家的珍貴個人歷史照片及檔案收藏,以

及在本地藝術教育的傑出貢獻、經歷和人脈,勾畫出早年本地藝術教育的視野和 輪廓。公眾能夠欣賞藝術創作的同時,也對香港藝術教育歷史增加認識和了解。

陳炳添1959年畢業於葛量洪師範專科學校,並在1963至65年期間獲英國文化協 會獎學金,遠赴英國Ravensbourne藝術學院攻讀雕塑。回港後,他先後任教葛量

洪教育學院(1968-1988)及羅富國教育學院(1988-1994) ,退休前為羅富國教育

學院美術與設計系主任。陳氏以藝術家教師身份活躍於香港藝壇及美術教育界, 退休後更全心投入創作生活,舉辦多次陶藝、浮雕及雕塑個人展覽。陳氏曾為多位 本地傑出視覺藝術家的陶藝導師,包括李慧嫻、馮笑嫻和馬素梅等。

除了純視覺藝術方面的元素,策展人希望藉此計畫重新整理和有層次地展示陳氏 豐富的個人檔案,形式和內容包括舊照片、剪報、圖錄和佈展草圖記錄等文件和文 獻,讓年輕一輩的藝術家、策展人和觀眾能透過展覽,認識這一位藝術教育先驅和

早期本地藝術家教師(artist-teacher)代表人物多年來的藝術創作和教學生涯。 藝術檔案不應停留在靜態歷史參考資料的階段,應多嘗試利用不同平台和場合重

新活化檔案,鼓勵公眾加深對歷史的了解,甚至對本地藝術文化和教育發展的脈 絡產生出新的觀點和詮釋。

4

Known as the father of Hong Kong ceramic education, Chan Ping Tim (1937-) is a veteran sculptor, ceramicist and educator. The retrospective presents a range of his work and explores the early years of local art education and its vision through his personal archive of photographs and old documents, which shows his contribution, experience and connections as a local art educator. While appreciating the artist’s work, the public also has the opportunity to learn more about the history of art education in Hong Kong. Chan graduated from the Grantham Training College in 1959. He furthered his studies in sculpture at the Ravensbourne College of Art from 1963 to 1965 on a British Council scholarship. After returning to Hong Kong, he taught at the Grantham College of Education (1968-1988) and Northcote College of Education (1988-1994). He was the head of the Department of Art and Design of Northcote until his retirement. As an artistteacher, Chan has been active in the Hong Kong art scene and the field of art education. His devotion to art after his retirement is even more evident as he organised several solo exhibitions in ceramics, relief and sculpture. His protégés include Rosanna Li Wei Han, Anissa Fung Siu Han and Ma So Mui, all of whom acclaimed Hong Kong artists. An original exhibition like this aims to present to the audience visual art at its finest, as well as reorganise and systematically display Chan’s personal archive, which includes old photographs, newspaper clippings, catalogues and exhibition drafts. At the exhibition, young artists, curators and the audience will have a better understanding of the pioneering and representative figure in art education, his art practice and life as an artist-teacher. It is important for art documentation to go beyond its existing role as historical reference materials. Through different platforms and events, we endeavour to activate the documents and consolidate the general public’s understanding of art history. By doing so, it may even give rise to new perspectives and interpretations of the art culture and the development of art education in Hong Kong. 5


前 言 FOREWORD 本地著名雕塑家、陶藝家和藝術教育家陳炳添(1937-)有「香港陶藝教育之父」之 稱,是次展覽以其作品為出發點,輔以藝術家的珍貴個人歷史照片及檔案收藏,以

及在本地藝術教育的傑出貢獻、經歷和人脈,勾畫出早年本地藝術教育的視野和 輪廓。公眾能夠欣賞藝術創作的同時,也對香港藝術教育歷史增加認識和了解。

陳炳添1959年畢業於葛量洪師範專科學校,並在1963至65年期間獲英國文化協 會獎學金,遠赴英國Ravensbourne藝術學院攻讀雕塑。回港後,他先後任教葛量

洪教育學院(1968-1988)及羅富國教育學院(1988-1994) ,退休前為羅富國教育

學院美術與設計系主任。陳氏以藝術家教師身份活躍於香港藝壇及美術教育界, 退休後更全心投入創作生活,舉辦多次陶藝、浮雕及雕塑個人展覽。陳氏曾為多位 本地傑出視覺藝術家的陶藝導師,包括李慧嫻、馮笑嫻和馬素梅等。

除了純視覺藝術方面的元素,策展人希望藉此計畫重新整理和有層次地展示陳氏 豐富的個人檔案,形式和內容包括舊照片、剪報、圖錄和佈展草圖記錄等文件和文 獻,讓年輕一輩的藝術家、策展人和觀眾能透過展覽,認識這一位藝術教育先驅和

早期本地藝術家教師(artist-teacher)代表人物多年來的藝術創作和教學生涯。 藝術檔案不應停留在靜態歷史參考資料的階段,應多嘗試利用不同平台和場合重

新活化檔案,鼓勵公眾加深對歷史的了解,甚至對本地藝術文化和教育發展的脈 絡產生出新的觀點和詮釋。

4

Known as the father of Hong Kong ceramic education, Chan Ping Tim (1937-) is a veteran sculptor, ceramicist and educator. The retrospective presents a range of his work and explores the early years of local art education and its vision through his personal archive of photographs and old documents, which shows his contribution, experience and connections as a local art educator. While appreciating the artist’s work, the public also has the opportunity to learn more about the history of art education in Hong Kong. Chan graduated from the Grantham Training College in 1959. He furthered his studies in sculpture at the Ravensbourne College of Art from 1963 to 1965 on a British Council scholarship. After returning to Hong Kong, he taught at the Grantham College of Education (1968-1988) and Northcote College of Education (1988-1994). He was the head of the Department of Art and Design of Northcote until his retirement. As an artistteacher, Chan has been active in the Hong Kong art scene and the field of art education. His devotion to art after his retirement is even more evident as he organised several solo exhibitions in ceramics, relief and sculpture. His protégés include Rosanna Li Wei Han, Anissa Fung Siu Han and Ma So Mui, all of whom acclaimed Hong Kong artists. An original exhibition like this aims to present to the audience visual art at its finest, as well as reorganise and systematically display Chan’s personal archive, which includes old photographs, newspaper clippings, catalogues and exhibition drafts. At the exhibition, young artists, curators and the audience will have a better understanding of the pioneering and representative figure in art education, his art practice and life as an artist-teacher. It is important for art documentation to go beyond its existing role as historical reference materials. Through different platforms and events, we endeavour to activate the documents and consolidate the general public’s understanding of art history. By doing so, it may even give rise to new perspectives and interpretations of the art culture and the development of art education in Hong Kong. 5


藝術薰陶

Artistic Inspirations


藝術薰陶

Artistic Inspirations


九龍塘景觀粉彩畫

A pastel landscape drawing of Kowloon Tong

1957年 的 聖 德 肋 撒 堂。 St. Teresa’s Church in 1957.

陳氏的祖父經營紡織生意,早年成長於窩打老道的家族大宅,後 因風災造成的破壞,被迫清拆。他的成長與九龍塘及鄰近社區關

係密切。 「有一次我拿到一盒狗仔牌粉彩,有20隻色,我就拿著畫 板和紙去寫生,第一次寫生就是聖德肋撒堂。這個地方和我的住

處很近,這張畫我覺得很滿意,就拿 去 參 加 當 時 九 龍 華 仁 舉 辦

的 一 個 美 術 比 賽,結 果 奪 得 第 二 名。這 是 一 個 很 大 的 鼓 舞,讓 我 更 加 喜 歡 畫 畫 了,推 動 我 繼 續 接 觸 美 術。」

Chan’s grandfather was a textile entrepreneur. He grew up in a family mansion on Waterloo Road, which was later demolished due to the damage done by typhoon. His childhood revolved around Kowloon Tong and nearby neighbourhoods. “I got a box of Reeves pastels, a 20-colour set. So I grabbed my drawing board and paper and did some landscape drawing outside. I went to St. Teresa’s Church for my very first landscape drawing session. It was close to where I lived. I was happy with the result and used the drawing for an arts competition at WYK. I was the first runner-up! It encouraged me to continue drawing and pursue further in art.”

8

9


九龍塘景觀粉彩畫

A pastel landscape drawing of Kowloon Tong

1957年 的 聖 德 肋 撒 堂。 St. Teresa’s Church in 1957.

陳氏的祖父經營紡織生意,早年成長於窩打老道的家族大宅,後 因風災造成的破壞,被迫清拆。他的成長與九龍塘及鄰近社區關

係密切。 「有一次我拿到一盒狗仔牌粉彩,有20隻色,我就拿著畫 板和紙去寫生,第一次寫生就是聖德肋撒堂。這個地方和我的住

處很近,這張畫我覺得很滿意,就拿 去 參 加 當 時 九 龍 華 仁 舉 辦

的 一 個 美 術 比 賽,結 果 奪 得 第 二 名。這 是 一 個 很 大 的 鼓 舞,讓 我 更 加 喜 歡 畫 畫 了,推 動 我 繼 續 接 觸 美 術。」

Chan’s grandfather was a textile entrepreneur. He grew up in a family mansion on Waterloo Road, which was later demolished due to the damage done by typhoon. His childhood revolved around Kowloon Tong and nearby neighbourhoods. “I got a box of Reeves pastels, a 20-colour set. So I grabbed my drawing board and paper and did some landscape drawing outside. I went to St. Teresa’s Church for my very first landscape drawing session. It was close to where I lived. I was happy with the result and used the drawing for an arts competition at WYK. I was the first runner-up! It encouraged me to continue drawing and pursue further in art.”

8

9


祖母畫像 除了小學和中學一年班的美術課以外,在進入

A portrait of granny

葛量洪之前,陳氏在畫畫和雕刻方面都沒有受 過正規訓練。中學時期,有一次祖母耐心地在家

裡充當模特兒一個星期,讓他慢慢完成油畫畫 像,是一幅自學而成的作品。作品的純真可以從 線條不太明確的手部姿態看得出來。 「我四歲的 時候,正逢日本侵華,生活緊張,不會有什麼讓 小孩子拿去玩。阿嫲帶我去工廠,剛好看見有一

塊黑板,自己的高度又正好可以拿到黑板附近 的粉筆,這樣就開始拿起粉筆在地上畫畫。小時

候畫畫一般都會從身邊熟悉的人開始。我小時 候父母卻沒空理會我,我最熟識的人物反而是

當時看的一些大戲和神功戲裡面的人物。粵劇 戲服多姿多彩,耀眼生輝,對小時候的我是一個 很大的視覺衝擊。」

祖 母(二)

1957

油彩布本

Grandmother (II) 1957 Oil on Canvas 82 x 63cm

Apart from the art lessons at primary school and secondary one, Chan did not receive any formal training in painting or sculpture before entering Grantham Training College. When he was still in high school, his grandmother posed for him at home to let him finish a self-taught portrait painting slowly and gradually. There is a sense of innocence and naivety in the unpolished brush strokes portraying her hands. “The Japanese occupation started when I was four. Life was hard and there wasn’t much for children to play with. One day, granny brought me to the factory. I saw a blackboard and I was just tall enough to reach the chalks. So I took a few and started drawing on the floor. Children usually start with the people they know best when they draw. My parents didn’t spend much time with me though. It’s the characters in Cantonese operas or ritual opera performances that I was most familiar with. Cantonese opera costumes are so colourful and glamorous. They really left a great impression on me when I was small.”

10

11


祖母畫像 除了小學和中學一年班的美術課以外,在進入

A portrait of granny

葛量洪之前,陳氏在畫畫和雕刻方面都沒有受 過正規訓練。中學時期,有一次祖母耐心地在家

裡充當模特兒一個星期,讓他慢慢完成油畫畫 像,是一幅自學而成的作品。作品的純真可以從 線條不太明確的手部姿態看得出來。 「我四歲的 時候,正逢日本侵華,生活緊張,不會有什麼讓 小孩子拿去玩。阿嫲帶我去工廠,剛好看見有一

塊黑板,自己的高度又正好可以拿到黑板附近 的粉筆,這樣就開始拿起粉筆在地上畫畫。小時

候畫畫一般都會從身邊熟悉的人開始。我小時 候父母卻沒空理會我,我最熟識的人物反而是

當時看的一些大戲和神功戲裡面的人物。粵劇 戲服多姿多彩,耀眼生輝,對小時候的我是一個 很大的視覺衝擊。」

祖 母(二)

1957

油彩布本

Grandmother (II) 1957 Oil on Canvas 82 x 63cm

Apart from the art lessons at primary school and secondary one, Chan did not receive any formal training in painting or sculpture before entering Grantham Training College. When he was still in high school, his grandmother posed for him at home to let him finish a self-taught portrait painting slowly and gradually. There is a sense of innocence and naivety in the unpolished brush strokes portraying her hands. “The Japanese occupation started when I was four. Life was hard and there wasn’t much for children to play with. One day, granny brought me to the factory. I saw a blackboard and I was just tall enough to reach the chalks. So I took a few and started drawing on the floor. Children usually start with the people they know best when they draw. My parents didn’t spend much time with me though. It’s the characters in Cantonese operas or ritual opera performances that I was most familiar with. Cantonese opera costumes are so colourful and glamorous. They really left a great impression on me when I was small.”

10

11


木雕

Carved wooden objects

小學時代,陳氏曾先後就讀旺角的鑰智小學及選南

臘腸狗

1954 木雕

1955

Dachshund 1954 Wood carving

Elephant 1955 Wood carving

21 x 2.8 x 3cm

15 x 11 x 13cm

木雕

學校。對於小學美術堂的黃楊木雕刻和用馬糞紙做

卡通人物的習作,他的印象依然深刻。中學就讀九 龍華仁書院的五年間,參加童軍的經歷也為他初步

開啟了立體藝術之門。 「平常的童軍領巾圈多用皮 革製成,上面印著金色的童軍會徽。我會趁著週末 露營時,用童軍摺刀來切削木材,自製領巾圈,之後

慢慢迷上木雕。我有一個臘腸狗木雕,也是自學而 成的作品。」

Chan went to two primary schools in Mongkok. He still has fond memories of the boxwood carving lessons and making cartoon characters with straw board. And during the five years at Wah Yan College, Kowloon, joining the Boy Scouts opened the door to his ventures in sculptural art. “Woggles are usually made of leather and emblazoned with a golden Scouts emblem. When we did wild camping on the weekend, I’d take out my folding knife and make my own wooden woggle. And then I slowly fell in love with wood carving. I also taught myself to make a wooden sculpture in the shape of a dachshund.”

12

13


木雕

Carved wooden objects

小學時代,陳氏曾先後就讀旺角的鑰智小學及選南

臘腸狗

1954 木雕

1955

Dachshund 1954 Wood carving

Elephant 1955 Wood carving

21 x 2.8 x 3cm

15 x 11 x 13cm

木雕

學校。對於小學美術堂的黃楊木雕刻和用馬糞紙做

卡通人物的習作,他的印象依然深刻。中學就讀九 龍華仁書院的五年間,參加童軍的經歷也為他初步

開啟了立體藝術之門。 「平常的童軍領巾圈多用皮 革製成,上面印著金色的童軍會徽。我會趁著週末 露營時,用童軍摺刀來切削木材,自製領巾圈,之後

慢慢迷上木雕。我有一個臘腸狗木雕,也是自學而 成的作品。」

Chan went to two primary schools in Mongkok. He still has fond memories of the boxwood carving lessons and making cartoon characters with straw board. And during the five years at Wah Yan College, Kowloon, joining the Boy Scouts opened the door to his ventures in sculptural art. “Woggles are usually made of leather and emblazoned with a golden Scouts emblem. When we did wild camping on the weekend, I’d take out my folding knife and make my own wooden woggle. And then I slowly fell in love with wood carving. I also taught myself to make a wooden sculpture in the shape of a dachshund.”

12

13


何漆園老師 Ho Chat Yuen

何漆園(1899-1970)為「嶺南三傑」之一高奇峰的七位弟子,即「天風七子」之

其中一位。曾同時任教羅富國師範學院及葛量洪師範專科學院美術科,主要 教導學生國畫技巧及知識,對香港美術教育貢獻良多。 「我入讀葛量洪是1958

年,剛剛是何漆園老師最後一年任教葛量洪。何漆園一上堂就教國畫,一路講

一路畫,蟲、魚、花、草到風景什麼也畫。我記得學期尾會抽籤,每人送一張畫。」 Ho Chat Yuen (1899-1970) was one of the “Seven Disciples of Tianfeng” – one of the seven students of Chinese painting master Gao Qi Feng, who was acclaimed as one of the “Three Masters of the Lingnan School”. Ho used to teach Chinese painting at the Art Divisions of Northcote College of Education and Grantham Training College, making great contributions to art education in Hong Kong. “I started studying at Grantham in 1958, which was the last year Mr Ho taught at the college. He went straight into Chinese painting skills when our course started. He liked to paint while giving us lectures. He would paint anything from insects, fish, flowers, plants to landscape. I remember we had a lucky draw at the end of the term and everyone got a painting from him as a gift.”

14

15

1959年,何漆園 與葛師美術組學生 郊遊。

Ho Chat Yuen travels with art students at Grantham Training College in 1959.


何漆園老師 Ho Chat Yuen

何漆園(1899-1970)為「嶺南三傑」之一高奇峰的七位弟子,即「天風七子」之

其中一位。曾同時任教羅富國師範學院及葛量洪師範專科學院美術科,主要 教導學生國畫技巧及知識,對香港美術教育貢獻良多。 「我入讀葛量洪是1958

年,剛剛是何漆園老師最後一年任教葛量洪。何漆園一上堂就教國畫,一路講

一路畫,蟲、魚、花、草到風景什麼也畫。我記得學期尾會抽籤,每人送一張畫。」 Ho Chat Yuen (1899-1970) was one of the “Seven Disciples of Tianfeng” – one of the seven students of Chinese painting master Gao Qi Feng, who was acclaimed as one of the “Three Masters of the Lingnan School”. Ho used to teach Chinese painting at the Art Divisions of Northcote College of Education and Grantham Training College, making great contributions to art education in Hong Kong. “I started studying at Grantham in 1958, which was the last year Mr Ho taught at the college. He went straight into Chinese painting skills when our course started. He liked to paint while giving us lectures. He would paint anything from insects, fish, flowers, plants to landscape. I remember we had a lucky draw at the end of the term and everyone got a painting from him as a gift.”

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1959年,何漆園 與葛師美術組學生 郊遊。

Ho Chat Yuen travels with art students at Grantham Training College in 1959.


初執教鞭

A Young Educator


初執教鞭

A Young Educator


塘尾道官立小學

Tong Mei Road Government Primary School 1959年從葛量洪師範專科學校畢業之後,陳氏被派到塘尾道官 立小學當美術教師。他在學校嘗試推行立體美術教育,教導學生

製作金屬絲線雕塑、用紙漿做臉譜等。 「當時塘尾道官立小學舉 辦開放日,我就發現大部份都是平面的作品,我是少數做立體創

作的。學生對立體製作也很感興趣,中午和假期都會回來弄。後 來也會選一些好的去參加比賽,可惜我沒有留下那份報紙,我和 另外一個男教師的學生贏到很多獎。」

小學美術堂製作 立 體 作 品。

Students make sculptural works at primary school art lesson.

After graduating from Grantham Training School in 1959, Chan started working at Tong Mei Road Government Primary School as an art teacher. He was an advocate of sculpture education in the school and taught his pupils different things like making wire sculptures and paper mache masks. “Back then, Tong Mei Road Government Primary School organised an open day. I discovered that most of the exhibits were two-dimensional works. I was one of the very few who did sculptures. My pupils seemed to be interested. At noon or during holidays, they would spend time at school working on their objects. I picked some outstanding works for competitions. What a pity I didn’t keep the newspaper: my pupils and those of another teacher got lots of awards.”

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塘尾道官立小學

Tong Mei Road Government Primary School 1959年從葛量洪師範專科學校畢業之後,陳氏被派到塘尾道官 立小學當美術教師。他在學校嘗試推行立體美術教育,教導學生

製作金屬絲線雕塑、用紙漿做臉譜等。 「當時塘尾道官立小學舉 辦開放日,我就發現大部份都是平面的作品,我是少數做立體創

作的。學生對立體製作也很感興趣,中午和假期都會回來弄。後 來也會選一些好的去參加比賽,可惜我沒有留下那份報紙,我和 另外一個男教師的學生贏到很多獎。」

小學美術堂製作 立 體 作 品。

Students make sculptural works at primary school art lesson.

After graduating from Grantham Training School in 1959, Chan started working at Tong Mei Road Government Primary School as an art teacher. He was an advocate of sculpture education in the school and taught his pupils different things like making wire sculptures and paper mache masks. “Back then, Tong Mei Road Government Primary School organised an open day. I discovered that most of the exhibits were two-dimensional works. I was one of the very few who did sculptures. My pupils seemed to be interested. At noon or during holidays, they would spend time at school working on their objects. I picked some outstanding works for competitions. What a pity I didn’t keep the newspaper: my pupils and those of another teacher got lots of awards.”

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1962年學生到 戶外寫生。

伊利沙伯中學

Students go outdoor sketching in 1962.

Queen Elizabeth School

任教塘尾道官立小學一年後,被派到伊利沙伯中學*,1962年於校內舉辦了

一個大型美術展覽。 「這間學校的學生比較優秀,可塑性較高。由於我當時是 去接手一個英國老師的工作,同事間曾有人對我的能力和經驗懷疑。後來第

二個學年,自己再加倍努力。教了一段時間後,我就決定辦一個美術展覽。中 學校內展覽很少只會有美術科,一般都會有其他科目。但校方看完我在美術 室的東西後,就放心決定舉辦了。」

*為香港首間官立男女英文中 學,創 校 於 1 9 5 4 年,即 英 女 王 伊利 沙 伯 二 世 登 基 翌 年。

After teaching at Tong Mei Road Government Primary School for one year, he was assigned to Queen Elizabeth School* and organised an art exhibition of that school in 1962. “The students of this secondary school were more talented and inspired. I was there to take over the duties of a former teacher from Britain. Some colleagues had doubts about my abilities and experience, but I kept working hard in the second school year. After some time, I wanted to hold an art exhibition. There were rarely any school exhibitions devoted to art – they usually covered several academic subjects. But after seeing my stuff in the art room, the school trusted me and gave me the green light.” *It is the first co-educational government English secondary school in Hong Kong. It was founded in 1954, the year after the coronation of Queen Elizabeth II. 20

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1962年學生到 戶外寫生。

伊利沙伯中學

Students go outdoor sketching in 1962.

Queen Elizabeth School

任教塘尾道官立小學一年後,被派到伊利沙伯中學*,1962年於校內舉辦了

一個大型美術展覽。 「這間學校的學生比較優秀,可塑性較高。由於我當時是 去接手一個英國老師的工作,同事間曾有人對我的能力和經驗懷疑。後來第

二個學年,自己再加倍努力。教了一段時間後,我就決定辦一個美術展覽。中 學校內展覽很少只會有美術科,一般都會有其他科目。但校方看完我在美術 室的東西後,就放心決定舉辦了。」

*為香港首間官立男女英文中 學,創 校 於 1 9 5 4 年,即 英 女 王 伊利 沙 伯 二 世 登 基 翌 年。

After teaching at Tong Mei Road Government Primary School for one year, he was assigned to Queen Elizabeth School* and organised an art exhibition of that school in 1962. “The students of this secondary school were more talented and inspired. I was there to take over the duties of a former teacher from Britain. Some colleagues had doubts about my abilities and experience, but I kept working hard in the second school year. After some time, I wanted to hold an art exhibition. There were rarely any school exhibitions devoted to art – they usually covered several academic subjects. But after seeing my stuff in the art room, the school trusted me and gave me the green light.” *It is the first co-educational government English secondary school in Hong Kong. It was founded in 1954, the year after the coronation of Queen Elizabeth II. 20

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英國留學

Studying in the UK

1963至65年,陳氏憑著英國文化協會獎學金遠 赴英國Ravensbourne藝術學院攻讀雕塑,期

間創作了不少較具實驗性質的作品。 「去到英國 當地,對藝術了解加深。我選擇了香港比較少見 的雕塑課程,例如玻璃纖維、燒焊和倒模。這些 當年在香港都是比較難接觸的科目。」

From 1963 to 1965, Chan studied sculpture at the Ravensbourne College of Art on a British Council scholarship, during which he created a series of experimental works. “During my times in the UK, I started to understand more about art. And I picked those sculpture courses not often available in Hong Kong like fibreglass, welding and moulding. At that time, you rarely had a chance to study those subjects in Hong Kong.”

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英國留學

Studying in the UK

1963至65年,陳氏憑著英國文化協會獎學金遠 赴英國Ravensbourne藝術學院攻讀雕塑,期

間創作了不少較具實驗性質的作品。 「去到英國 當地,對藝術了解加深。我選擇了香港比較少見 的雕塑課程,例如玻璃纖維、燒焊和倒模。這些 當年在香港都是比較難接觸的科目。」

From 1963 to 1965, Chan studied sculpture at the Ravensbourne College of Art on a British Council scholarship, during which he created a series of experimental works. “During my times in the UK, I started to understand more about art. And I picked those sculpture courses not often available in Hong Kong like fibreglass, welding and moulding. At that time, you rarely had a chance to study those subjects in Hong Kong.”

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咖啡具

A Coffee Set 咖 啡具

「留學時想到如果在香港教雕塑,環境好像不許可。反而玩泥好 像更可以在香港發揮,於是去請求陶瓷課程的教授批准我去上

課。原來這個是晚間課程,很多成年人、家庭主婦、男男女女都來

學習這個課程。聖誕節快到,那時候的女房東對我很好,我就送

1965

了一套陶瓷咖啡具給她,結果她的朋友看到後,都希望可以得到

A Coffee Set 1965 Stoneware

“While I was in the UK, I realised Hong Kong might not be an ideal

炻器

這套咖啡具。我便把握這些機會去繼續接觸及創作陶瓷。」

place for teaching sculpture. Pottery might actually be a better choice. So I asked a ceramics professor to let me join the class. I didn’t know it was an evening course. There were lots of adult students, housewives and people from all walks of life. Christmas was coming. I gave my nice landlady a ceramic coffee set as a thank you gift. Her friends saw it and wanted the same set. So I kept learning and making ceramics.”

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咖啡具

A Coffee Set 咖 啡具

「留學時想到如果在香港教雕塑,環境好像不許可。反而玩泥好 像更可以在香港發揮,於是去請求陶瓷課程的教授批准我去上

課。原來這個是晚間課程,很多成年人、家庭主婦、男男女女都來

學習這個課程。聖誕節快到,那時候的女房東對我很好,我就送

1965

了一套陶瓷咖啡具給她,結果她的朋友看到後,都希望可以得到

A Coffee Set 1965 Stoneware

“While I was in the UK, I realised Hong Kong might not be an ideal

炻器

這套咖啡具。我便把握這些機會去繼續接觸及創作陶瓷。」

place for teaching sculpture. Pottery might actually be a better choice. So I asked a ceramics professor to let me join the class. I didn’t know it was an evening course. There were lots of adult students, housewives and people from all walks of life. Christmas was coming. I gave my nice landlady a ceramic coffee set as a thank you gift. Her friends saw it and wanted the same set. So I kept learning and making ceramics.”

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造型

Form

造型

1965

留學時期創作較具實驗性的,亦是少數具較明

玻璃纖維

顯中國或「東方」元素的作品。靈感來自漢字筆

Form 1965 Glass Fibre

畫中的「斜鈎」 ,嘗試將平面的書法轉化成具動

感的立體形態。動態的元素與往後的雕塑作品,

54.5 x 24 x 24cm

例如《舞》系列一脈相承,互相呼應。

During his studies in the UK, the artist experimented with oriental elements in this rare work of art. The inspirations came from the “slanting hook” stroke in Chinese writing, an attempt to transform two-dimensional elements into vivid structures. This approach continued in later sculpture series such as the Dance series.

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造型

Form

造型

1965

留學時期創作較具實驗性的,亦是少數具較明

玻璃纖維

顯中國或「東方」元素的作品。靈感來自漢字筆

Form 1965 Glass Fibre

畫中的「斜鈎」 ,嘗試將平面的書法轉化成具動

感的立體形態。動態的元素與往後的雕塑作品,

54.5 x 24 x 24cm

例如《舞》系列一脈相承,互相呼應。

During his studies in the UK, the artist experimented with oriental elements in this rare work of art. The inspirations came from the “slanting hook” stroke in Chinese writing, an attempt to transform two-dimensional elements into vivid structures. This approach continued in later sculpture series such as the Dance series.

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遊學歐洲

Trips around Europe

留學英國期間,陳氏利用學校長假期四出遊覽,用鏡頭把這些當年難能可貴的遊學機會和見聞記 錄下來,回港後成為與學生分享生活體驗的教材。 「當年碰巧雕塑大師Henry Moore的一個助手 就是負責教導我的導師,對我影響頗深。他的太太是希臘人,買了一架旅行車去歐洲到處旅行,找 了我和一個讀歷史的女孩一起加入,平分旅費。 我們每人各住一個帳幕。之後發覺跟他們的生活模

式不太配合,於是在南斯拉夫跟他們道別後,自己繼續行程。當時整個雅典都是青年旅舍,五六個 廁所只有一個是沒有壞的,所以一大早要和別人搶廁所用。旅舍住數日後就要離開,之後可以再排

1960年代末, 藝術家與朋友 在巴塞羅那遊覽。

The artist travels with friends in Barcelona in the late 1960s.

隊登記入住。我在希臘生活了一個多月,看了很多地方。一路上看到很多有趣、新奇的地方。 」

While studying in the UK, he travelled around during the longer breaks and used his camera to capture the rare learning and living experiences at that time. After coming back to Hong Kong, he often shared with his students these cherished moments of his youth. “One of the assistants of master sculptor Henry Moore used to be my teacher, and he had a great influence on me. He and his wife from Greece bought a camper van and travelled around in Europe. They asked me and a girl who studied history to join and share the costs. Each of us occupied a tent. But later I realised how different our lifestyles were, so I had to say goodbye to them in Yugoslavia and continued on my own. There were youth hostels all over Athens back then. Only one bathroom out of six worked and we had to fight over it every morning. You got to check out after a few days but you could just line up and check in again. I spent more than a month in Greece and visited many places. I saw many interesting and exciting places on the road.”

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29


遊學歐洲

Trips around Europe

留學英國期間,陳氏利用學校長假期四出遊覽,用鏡頭把這些當年難能可貴的遊學機會和見聞記 錄下來,回港後成為與學生分享生活體驗的教材。 「當年碰巧雕塑大師Henry Moore的一個助手 就是負責教導我的導師,對我影響頗深。他的太太是希臘人,買了一架旅行車去歐洲到處旅行,找 了我和一個讀歷史的女孩一起加入,平分旅費。 我們每人各住一個帳幕。之後發覺跟他們的生活模

式不太配合,於是在南斯拉夫跟他們道別後,自己繼續行程。當時整個雅典都是青年旅舍,五六個 廁所只有一個是沒有壞的,所以一大早要和別人搶廁所用。旅舍住數日後就要離開,之後可以再排

1960年代末, 藝術家與朋友 在巴塞羅那遊覽。

The artist travels with friends in Barcelona in the late 1960s.

隊登記入住。我在希臘生活了一個多月,看了很多地方。一路上看到很多有趣、新奇的地方。 」

While studying in the UK, he travelled around during the longer breaks and used his camera to capture the rare learning and living experiences at that time. After coming back to Hong Kong, he often shared with his students these cherished moments of his youth. “One of the assistants of master sculptor Henry Moore used to be my teacher, and he had a great influence on me. He and his wife from Greece bought a camper van and travelled around in Europe. They asked me and a girl who studied history to join and share the costs. Each of us occupied a tent. But later I realised how different our lifestyles were, so I had to say goodbye to them in Yugoslavia and continued on my own. There were youth hostels all over Athens back then. Only one bathroom out of six worked and we had to fight over it every morning. You got to check out after a few days but you could just line up and check in again. I spent more than a month in Greece and visited many places. I saw many interesting and exciting places on the road.”

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陶藝發展

Ceramic Endeavours


陶藝發展

Ceramic Endeavours


筲箕灣官立中學美術展覽會

Shau Kei Wan Government Secondary School Art Exhibitions

該校在1967及68年舉辦了兩次學生藝術展覽。當時全校每個學級都有自己的藝術學會,美術課的

活動得到第一任校長韓力行大力支持。展覽動員了全校學生,他們用午飯和放學後的時間創作立 體作品及浮雕,亦有會考生在試後回校繼續參與創作。兩次展覽各有四百多件學生作品,大量藝術 作品放滿校園每個角落,蔚為奇觀。活動得到媒體廣泛報道,當時的香港博物美術館館長約翰‧溫 訥亦有到場參觀,有報道他計劃挑選學生作品到大阪70年世界博覽會展出。

「我從英國回來之後,學習了很多新東西,打算在筲箕灣官中實行出來。我在筲箕灣中學的第二年

就舉辦了立體美術展覽,第三年繼續再舉辦一次。雖然付出了很多時間,但自己很喜歡這個興趣, 所以學生喜歡做的話,其實都沒什麼。筲箕灣這三年開這兩個展覽都有紀錄,推行立體美術教育。 我現在想知道可不可以再做到。」

Two student art exhibitions were held in 1967 and 1968. Mr J.A. O’Hanrahan, the first principal of the school, was a huge supporter of art-related school activities. And there was an art club for each school level. All the students contributed to the exhibitions by creating sculptures and reliefs during lunch hour and after school. Even students who had to study for public exams continued to work on their series after the exams. Over 400 student works were shown at each of the shows, dotting all over the campus and creating a true spectacle. The events were widely covered by the press and were visited by John Warner, the Curator of the then City Museum and Art Gallery. It was reported that he had plans to send some student work to Expo ‘70 in Osaka. “Coming back from the UK, I was equipped with new knowledge and was ready to apply it to Shau Kei Wan Secondary School. The second year I joined that school, I organised a sculptural art exhibition, and another one during my third year there. I invested a lot of time on them, but it’s my passion. I was happy as long as my students liked it. Both shows at Shau Kei Wan were archived to promote sculpture education. I wonder if we can do something like that today.”

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筲箕灣官立中學美術展覽會

Shau Kei Wan Government Secondary School Art Exhibitions

該校在1967及68年舉辦了兩次學生藝術展覽。當時全校每個學級都有自己的藝術學會,美術課的

活動得到第一任校長韓力行大力支持。展覽動員了全校學生,他們用午飯和放學後的時間創作立 體作品及浮雕,亦有會考生在試後回校繼續參與創作。兩次展覽各有四百多件學生作品,大量藝術 作品放滿校園每個角落,蔚為奇觀。活動得到媒體廣泛報道,當時的香港博物美術館館長約翰‧溫 訥亦有到場參觀,有報道他計劃挑選學生作品到大阪70年世界博覽會展出。

「我從英國回來之後,學習了很多新東西,打算在筲箕灣官中實行出來。我在筲箕灣中學的第二年

就舉辦了立體美術展覽,第三年繼續再舉辦一次。雖然付出了很多時間,但自己很喜歡這個興趣, 所以學生喜歡做的話,其實都沒什麼。筲箕灣這三年開這兩個展覽都有紀錄,推行立體美術教育。 我現在想知道可不可以再做到。」

Two student art exhibitions were held in 1967 and 1968. Mr J.A. O’Hanrahan, the first principal of the school, was a huge supporter of art-related school activities. And there was an art club for each school level. All the students contributed to the exhibitions by creating sculptures and reliefs during lunch hour and after school. Even students who had to study for public exams continued to work on their series after the exams. Over 400 student works were shown at each of the shows, dotting all over the campus and creating a true spectacle. The events were widely covered by the press and were visited by John Warner, the Curator of the then City Museum and Art Gallery. It was reported that he had plans to send some student work to Expo ‘70 in Osaka. “Coming back from the UK, I was equipped with new knowledge and was ready to apply it to Shau Kei Wan Secondary School. The second year I joined that school, I organised a sculptural art exhibition, and another one during my third year there. I invested a lot of time on them, but it’s my passion. I was happy as long as my students liked it. Both shows at Shau Kei Wan were archived to promote sculpture education. I wonder if we can do something like that today.”

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1967, 68年的美術展覽,學生作品遍佈校園每個角落。

Student display their artworks all around campus in the 1967 and 68 exhibitions. 34

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1967, 68年的美術展覽,學生作品遍佈校園每個角落。

Student display their artworks all around campus in the 1967 and 68 exhibitions. 34

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37


1967及68年,連續兩年舉辦的大型學生雕塑藝術展覽,在學界及傳媒間得到極大迴響,除了引來

報紙以及電視台廣泛報導,多位教育界同業亦紛紛來信請教雕塑的製作。當時擔任聖保羅男女中 學教師的著名國畫家林建同(1911-1994) ,號「梅花書屋主人」 ,亦來信交流分享。 炳添先生惠鑒,拜啟: 暑假前參觀 貴校筲簊灣中學藝術展覽得觀 閣下領導學生製作之雕塑外塗玻璃纖維,本人對此甚感興趣。此種玻璃纖維在何處可以購到?及其 製造使用方法,如有機會盼到 貴校參觀,藉增廣見聞也。耑此布達,敬候佳音,並頌 教祺

聖保羅男女中學教師 弟 林建同 頓首 十月二日

Two large-scale student sculpture exhibitions were held in 1967 and 1968, receiving tremendous feedback from the education field and the media. The events were widely covered by newspapers and television. Fellow teachers also wrote to Chan to enquire about sculpture techniques. Lin Jen Tong (19111994), also known as “The Lord of the Plum Blossom Studio”, was a famous Chinese painter teaching at St. Paul’s Co-educational College at that time. He wrote a letter to share his feelings about one of the exhibitions: 2 October Dear Ping Tim, It was an honour to attend the art exhibition you organised at Shau Kei Wan Government Secondary School before summer holiday. I am very interested in the coated fibreglass sculptures made by your students. May I know where I can acquire the material and how to use it? I would like to visit your school and learn more about the craft. I look forward to hearing from you and I wish you every success in your work. Yours sincerely, Lin Jen Tong St. Paul’s Co-educational College 38

39


1967及68年,連續兩年舉辦的大型學生雕塑藝術展覽,在學界及傳媒間得到極大迴響,除了引來

報紙以及電視台廣泛報導,多位教育界同業亦紛紛來信請教雕塑的製作。當時擔任聖保羅男女中 學教師的著名國畫家林建同(1911-1994) ,號「梅花書屋主人」 ,亦來信交流分享。 炳添先生惠鑒,拜啟: 暑假前參觀 貴校筲簊灣中學藝術展覽得觀 閣下領導學生製作之雕塑外塗玻璃纖維,本人對此甚感興趣。此種玻璃纖維在何處可以購到?及其 製造使用方法,如有機會盼到 貴校參觀,藉增廣見聞也。耑此布達,敬候佳音,並頌 教祺

聖保羅男女中學教師 弟 林建同 頓首 十月二日

Two large-scale student sculpture exhibitions were held in 1967 and 1968, receiving tremendous feedback from the education field and the media. The events were widely covered by newspapers and television. Fellow teachers also wrote to Chan to enquire about sculpture techniques. Lin Jen Tong (19111994), also known as “The Lord of the Plum Blossom Studio”, was a famous Chinese painter teaching at St. Paul’s Co-educational College at that time. He wrote a letter to share his feelings about one of the exhibitions: 2 October Dear Ping Tim, It was an honour to attend the art exhibition you organised at Shau Kei Wan Government Secondary School before summer holiday. I am very interested in the coated fibreglass sculptures made by your students. May I know where I can acquire the material and how to use it? I would like to visit your school and learn more about the craft. I look forward to hearing from you and I wish you every success in your work. Yours sincerely, Lin Jen Tong St. Paul’s Co-educational College 38

39


母與子

Mother and Son 母與子(六)

1967 陶塑

Mother and Child (VI) 1967 Ceramic 58 x 32 x 30cm

《母 與 子》是 較 早 期 的 雕 塑 作 品,外 形、神 韻 既 似 天 主 教 的 聖 母 與 聖 嬰 形 象,

也體現中國民間信仰中送子觀音的影響。全白的顏色帶有神聖和莊嚴的氣氛。

「這是我早期最受歡迎的作品之一。其中一位知音人是李耀波先生*。他是我

讀九龍華仁時的老師,我有幸邀請到他在筲箕灣官立中學展覽開幕擔任主禮

嘉賓。這個作品我總共做了六七件,全部皆被收藏,最後我再做一件給自己留 念。有些是陶塑,有些是玻璃纖維,有大有小,全在我當時九龍塘家車房內的工 作室製作。」

* 九 龍 華 仁 書 院 的 第 一 屆 畢 業 生,於 1 9 4 5 至 1 9 6 3 年 期 間 回 母 校 擔 任 教 師。1 9 5 6 至 6 9 年 期 間 任市政局民選議員 。

Mother and Son is one of his earlier sculptural works. It resembles the Catholic image of Madonna and Child and embodies the stylistic influence of Songzi Guanyin, literally meaning “children-sending goddess of mercy”, in Chinese folk beliefs. The pure white sculpture emanates a sense of sacredness and dignity. “This is one of my best-received early works. Among those who collected the series, Mr Li Yiu Bor* used to be my teacher at Wah Yan Kowloon. I was lucky to have him as the officiating guest of an art exhibition at Shau Kei Wan Government Secondary School. I’d made six to seven editions of the sculpture and they were all acquired by different collectors. Later, I made one for myself as a memento. They were made with ceramics or fibreglass in different sizes. All of them were made in the garage studio of my former home in Kowloon Tong.” * Li was one of the first graduates of Wah Yan College, Kowloon. He went on to teach at his alma. 40

41


母與子

Mother and Son 母與子(六)

1967 陶塑

Mother and Child (VI) 1967 Ceramic 58 x 32 x 30cm

《母 與 子》是 較 早 期 的 雕 塑 作 品,外 形、神 韻 既 似 天 主 教 的 聖 母 與 聖 嬰 形 象,

也體現中國民間信仰中送子觀音的影響。全白的顏色帶有神聖和莊嚴的氣氛。

「這是我早期最受歡迎的作品之一。其中一位知音人是李耀波先生*。他是我

讀九龍華仁時的老師,我有幸邀請到他在筲箕灣官立中學展覽開幕擔任主禮

嘉賓。這個作品我總共做了六七件,全部皆被收藏,最後我再做一件給自己留 念。有些是陶塑,有些是玻璃纖維,有大有小,全在我當時九龍塘家車房內的工 作室製作。」

* 九 龍 華 仁 書 院 的 第 一 屆 畢 業 生,於 1 9 4 5 至 1 9 6 3 年 期 間 回 母 校 擔 任 教 師。1 9 5 6 至 6 9 年 期 間 任市政局民選議員 。

Mother and Son is one of his earlier sculptural works. It resembles the Catholic image of Madonna and Child and embodies the stylistic influence of Songzi Guanyin, literally meaning “children-sending goddess of mercy”, in Chinese folk beliefs. The pure white sculpture emanates a sense of sacredness and dignity. “This is one of my best-received early works. Among those who collected the series, Mr Li Yiu Bor* used to be my teacher at Wah Yan Kowloon. I was lucky to have him as the officiating guest of an art exhibition at Shau Kei Wan Government Secondary School. I’d made six to seven editions of the sculpture and they were all acquired by different collectors. Later, I made one for myself as a memento. They were made with ceramics or fibreglass in different sizes. All of them were made in the garage studio of my former home in Kowloon Tong.” * Li was one of the first graduates of Wah Yan College, Kowloon. He went on to teach at his alma. 40

41


首次個人雕塑展覽

First solo sculpture exhibition 「英國文化協會的負責人問我有沒有空做展覽,我說怎麼了,她 意思是說我學成歸來,怎都應該有個交待吧。我當時已經在香港 找到合適的器材和材料,我立即答應。」

“The person in charge at British Council asked me if I was interested in having a show. I was wondering about what she meant. She wanted to say, I should do something after finishing my studies in the UK. I’d already found suitable equipment and materials in Hong Kong, so I said yes.”

1974年個展開幕儀式的點餐紙。 當時的英國文化協會展覽廳位於尖沙嘴星光行。

42

43

Catering menu for the opening of the solo exhibition in1974. The British Council’s Exhibition Hall was located at Star House in Tsim Sha Tsui. Snacks and food ordered: 1. Ham, squabs, cheese sandwiches; 2. Stuffed mushrooms; 3. Cocktail sausages; 4. Fish roe toasts; 5. Shrimp dumplings, Smoked oysters; 6. Chicken livers in “Swiss” sauce; 7. Quail eggs, Samosas; 8. Prawn crackers, Potato chips; 9. Fruit punch soda.


首次個人雕塑展覽

First solo sculpture exhibition 「英國文化協會的負責人問我有沒有空做展覽,我說怎麼了,她 意思是說我學成歸來,怎都應該有個交待吧。我當時已經在香港 找到合適的器材和材料,我立即答應。」

“The person in charge at British Council asked me if I was interested in having a show. I was wondering about what she meant. She wanted to say, I should do something after finishing my studies in the UK. I’d already found suitable equipment and materials in Hong Kong, so I said yes.”

1974年個展開幕儀式的點餐紙。 當時的英國文化協會展覽廳位於尖沙嘴星光行。

42

43

Catering menu for the opening of the solo exhibition in1974. The British Council’s Exhibition Hall was located at Star House in Tsim Sha Tsui. Snacks and food ordered: 1. Ham, squabs, cheese sandwiches; 2. Stuffed mushrooms; 3. Cocktail sausages; 4. Fish roe toasts; 5. Shrimp dumplings, Smoked oysters; 6. Chicken livers in “Swiss” sauce; 7. Quail eggs, Samosas; 8. Prawn crackers, Potato chips; 9. Fruit punch soda.


Golden Jubilee Art Exhibition at Wah Yan College, Kowloon

九龍華仁書院金禧校慶美術展覽 陳氏在1957年畢業於九龍華仁書院。就讀華仁期間,對學校貢獻甚多,尤其在課外活動和制服團

體方面。他有份代表的童軍九龍第十一旅於52/53年同時奪得嘉爾頓錦標和威爾斯太子錦標,被冠

As a graduate of Wah Yan College, Kowloon in 1957, Chan has contributed to the school in numerous ways, especially through extra-curricular activities and by joining the Scouts. The 11th Kowloon Group

以「總督旅」之名,成為一時佳話。1974年正值母校50週年金禧紀念,12月13至16日假大會堂高座

he represented, also became known as the “Governor’s Group”, was the talk of the town as it won the

友及前教師包括水彩畫家兼醫學物理系教授馮戩雲、著名水墨畫家何百里,以及日後成為首位香

1974, an art exhibition was held from 13 to 16 December at the High Block of City Hall. At that time,

舉辦校慶美術展覽。他當時已於葛師任職,負責美術教師培訓,特回校參加和籌備展覽,參展的校

Carlton Trophy and Prince of Wales Banner in 52/53. As his alma mater celebrated its golden jubilee in

港藝術館總館長的譚志成等。

Chan was teaching at the Art Division of Grantham College of Education and helped organise the Golden Jubilee Art Exhibition. The participating alumni and former teachers included watercolour painter and Medical Physics Professor Peter Fung Chin Wan, acclaimed Chinese ink painter He Bai Li, as well as

親愛的炳添:

Laurence Tam Chi Shing, who later became the first Chief Curator of the Hong Kong Museum of Art.

金禧校慶美術展覽圓滿結束,成績驕人,謹此再次感謝閣下之貢獻。籌備工作歷時數月,一絲不苟,

17th January, 1975

感激。

Dear Julian,

隨函附上幾張照片,作為母校的一點心意,再三感謝。耑此,順頌

I wish to thank you, once more, for all you did to make our Golden Jubilee Art Exhibition such a

成就1974年12月假座大會堂之展覽盛會。 閣下盡心率領展覽工作進行,發揮專業知識,本人衷心

教安

resounding success. The many months of careful preparation that you provided over reached a fitting climax at the City Hall in December 1974, and I am most grateful to you for your dedication and skill in

黎烈德 謹啟

directing the entire exhibition.

1975年1月17日

Please accept the enclosed photos as a small token of appreciation from your grateful alma mater.

*黎神父為當時的校長及校監

With renewed thanks and every good wish, Yours sincerely, Derek Reid S.J. * Father Reid was the principal and supervisor of Wah Yan College, Kowloon at that time

44

45


Golden Jubilee Art Exhibition at Wah Yan College, Kowloon

九龍華仁書院金禧校慶美術展覽 陳氏在1957年畢業於九龍華仁書院。就讀華仁期間,對學校貢獻甚多,尤其在課外活動和制服團

體方面。他有份代表的童軍九龍第十一旅於52/53年同時奪得嘉爾頓錦標和威爾斯太子錦標,被冠

As a graduate of Wah Yan College, Kowloon in 1957, Chan has contributed to the school in numerous ways, especially through extra-curricular activities and by joining the Scouts. The 11th Kowloon Group

以「總督旅」之名,成為一時佳話。1974年正值母校50週年金禧紀念,12月13至16日假大會堂高座

he represented, also became known as the “Governor’s Group”, was the talk of the town as it won the

友及前教師包括水彩畫家兼醫學物理系教授馮戩雲、著名水墨畫家何百里,以及日後成為首位香

1974, an art exhibition was held from 13 to 16 December at the High Block of City Hall. At that time,

舉辦校慶美術展覽。他當時已於葛師任職,負責美術教師培訓,特回校參加和籌備展覽,參展的校

Carlton Trophy and Prince of Wales Banner in 52/53. As his alma mater celebrated its golden jubilee in

港藝術館總館長的譚志成等。

Chan was teaching at the Art Division of Grantham College of Education and helped organise the Golden Jubilee Art Exhibition. The participating alumni and former teachers included watercolour painter and Medical Physics Professor Peter Fung Chin Wan, acclaimed Chinese ink painter He Bai Li, as well as

親愛的炳添:

Laurence Tam Chi Shing, who later became the first Chief Curator of the Hong Kong Museum of Art.

金禧校慶美術展覽圓滿結束,成績驕人,謹此再次感謝閣下之貢獻。籌備工作歷時數月,一絲不苟,

17th January, 1975

感激。

Dear Julian,

隨函附上幾張照片,作為母校的一點心意,再三感謝。耑此,順頌

I wish to thank you, once more, for all you did to make our Golden Jubilee Art Exhibition such a

成就1974年12月假座大會堂之展覽盛會。 閣下盡心率領展覽工作進行,發揮專業知識,本人衷心

教安

resounding success. The many months of careful preparation that you provided over reached a fitting climax at the City Hall in December 1974, and I am most grateful to you for your dedication and skill in

黎烈德 謹啟

directing the entire exhibition.

1975年1月17日

Please accept the enclosed photos as a small token of appreciation from your grateful alma mater.

*黎神父為當時的校長及校監

With renewed thanks and every good wish, Yours sincerely, Derek Reid S.J. * Father Reid was the principal and supervisor of Wah Yan College, Kowloon at that time

44

45


七十年代的雕塑作品系列《柱》和《聚》 ,追求抽象概念,不求形似的風格更為明

柱(二)

顯。創作靈感來自留學英國期間在歐洲及地中海各地遊歷的體驗。 《柱》系列中,

1973

他嘗試用手塑和拉坯等不同手法和技巧,重新演繹古舊建築的美學和恢宏氣勢。

陶塑

粗獷破落的表面和深沉的顏色,帶出濃厚的歷史感。暴露在外的像是現代建築裡

Column (II) 1973 Ceramic

的鋼筋混凝土結構,揭示出堅固表面內的細緻和脆弱。作品呈現出新舊時空交錯

的美感和詩意。 「1965年的暑假,我在希臘住了一個多月,主要留在雅典。藝術學

30.5 x 75 x 30.5cm

生都可以免費進行參觀,所以我去了巴特農神殿遺址不下十次。我被那些宏大的 古建築結構和豐富的歷史痕跡深深吸引。」

Created in the 1970s, the Column and Gathered series are both presented in abstract forms as a step further away from realism. They were inspired by his travels to Europe and the Mediterranean during his studies in the UK. For the Column series, he reinterpreted the aesthetic of monumental ancient architecture using handbuilding and throwing techniques. The aged, gritty texture and dark hues add to the antique feel of the work, while the exposed structure resembles steel and concrete in modern architecture, revealing the delicate and fragile quality underneath a robust exterior – a beautiful and poetic blend of new and old. “In the summer of 1965, I spent more than a month in Greece and was mostly based in Athens. Art students had the privilege of visiting historic landmarks for free, so I kept returning to the Parthenon for at least ten times. I was absolutely amazed by the grand ancient architectural style and layers of

history within the site.”

Column 46

47


七十年代的雕塑作品系列《柱》和《聚》 ,追求抽象概念,不求形似的風格更為明

柱(二)

顯。創作靈感來自留學英國期間在歐洲及地中海各地遊歷的體驗。 《柱》系列中,

1973

他嘗試用手塑和拉坯等不同手法和技巧,重新演繹古舊建築的美學和恢宏氣勢。

陶塑

粗獷破落的表面和深沉的顏色,帶出濃厚的歷史感。暴露在外的像是現代建築裡

Column (II) 1973 Ceramic

的鋼筋混凝土結構,揭示出堅固表面內的細緻和脆弱。作品呈現出新舊時空交錯

的美感和詩意。 「1965年的暑假,我在希臘住了一個多月,主要留在雅典。藝術學

30.5 x 75 x 30.5cm

生都可以免費進行參觀,所以我去了巴特農神殿遺址不下十次。我被那些宏大的 古建築結構和豐富的歷史痕跡深深吸引。」

Created in the 1970s, the Column and Gathered series are both presented in abstract forms as a step further away from realism. They were inspired by his travels to Europe and the Mediterranean during his studies in the UK. For the Column series, he reinterpreted the aesthetic of monumental ancient architecture using handbuilding and throwing techniques. The aged, gritty texture and dark hues add to the antique feel of the work, while the exposed structure resembles steel and concrete in modern architecture, revealing the delicate and fragile quality underneath a robust exterior – a beautiful and poetic blend of new and old. “In the summer of 1965, I spent more than a month in Greece and was mostly based in Athens. Art students had the privilege of visiting historic landmarks for free, so I kept returning to the Parthenon for at least ten times. I was absolutely amazed by the grand ancient architectural style and layers of

history within the site.”

Column 46

47


四重奏

Quartet 四重奏(四)

1973 陶塑

Quartet (VI) 1973 Ceramic 62 x 122cm

1974年的《四重奏》是陶塑浮雕系列《聚》中的其中一個作品,用

Quartet from 1974 belongs to one of his ceramic relief series title Gathered. The artist

藝術家稱作「燒餅乾」的方法,先把構成部份逐個燒好,再把每個

prepared individual parts almost like “baking crackers”, then fixed the “crackers” one

「餅乾」組合和穩固在平面上。意念來自遊覽中東時看到的馬蹄

by one onto a surface to form a pattern. The series was inspired by the horseshoes

就要開課。我利用這個多月的空檔重遊歐洲及中東值得去的地

studies in Britain and was about to go back to Hong Kong to continue teaching. The

矮。我可以從機上看到很多陸地上的風景,看到很多人聚居在一

Europe and exploring a few places in the Middle East. I travelled mainly on domestic

鐵。 「1965年6月尾我在英國完成了課程,準備回港教書,9月1日

he saw during a visit to the Middle East. “In late June 1965, I’d just finished my

方。我主要乘坐內陸機,當時內陸機比較落後,飛的高度又比較

first school day was on 1 September, so I used the remaining month or so revisiting flights. The service was still a little lagging behind and the planes flew low. I could see

起的地方,讓我印象很深刻,也影響我回港後創作一個名為《聚》

the landscape clearly from the plane and places where people gathered. I was totally

的系列。」

48

impressed and created a series called Gathered when I was back in Hong Kong.”

49


四重奏

Quartet 四重奏(四)

1973 陶塑

Quartet (VI) 1973 Ceramic 62 x 122cm

1974年的《四重奏》是陶塑浮雕系列《聚》中的其中一個作品,用

Quartet from 1974 belongs to one of his ceramic relief series title Gathered. The artist

藝術家稱作「燒餅乾」的方法,先把構成部份逐個燒好,再把每個

prepared individual parts almost like “baking crackers”, then fixed the “crackers” one

「餅乾」組合和穩固在平面上。意念來自遊覽中東時看到的馬蹄

by one onto a surface to form a pattern. The series was inspired by the horseshoes

就要開課。我利用這個多月的空檔重遊歐洲及中東值得去的地

studies in Britain and was about to go back to Hong Kong to continue teaching. The

矮。我可以從機上看到很多陸地上的風景,看到很多人聚居在一

Europe and exploring a few places in the Middle East. I travelled mainly on domestic

鐵。 「1965年6月尾我在英國完成了課程,準備回港教書,9月1日

he saw during a visit to the Middle East. “In late June 1965, I’d just finished my

方。我主要乘坐內陸機,當時內陸機比較落後,飛的高度又比較

first school day was on 1 September, so I used the remaining month or so revisiting flights. The service was still a little lagging behind and the planes flew low. I could see

起的地方,讓我印象很深刻,也影響我回港後創作一個名為《聚》

the landscape clearly from the plane and places where people gathered. I was totally

的系列。」

48

impressed and created a series called Gathered when I was back in Hong Kong.”

49


美術教育

Art Education


美術教育

Art Education


葛量洪教育學院陶藝教學

Ceramic education at Grantham College of Education 陳氏透過鼓勵學生參與大型集體創作,引起學生的學習興趣、對

學校的歸屬感及同學之間的交流,這種教學方針從筲箕灣官中 的展覽一直延續到葛師時期的美術教師培訓工作。加士居道葛

師校舍大堂內的大型陶瓷浮雕,就是1978年畢業生的作品。此類

公共藝術創作不單有「美化」功能,亦能為校園建築添上濃厚文 化氣息。

「郭樵亮先生1968年找我到葛師開班,我當即心動想做些東西, 待70至71年左右學校新翼建好後,美術組有一層半的空間可以 用作工作室,算挺大的了;我們也有了一間陶工房;還未任教葛

師時,已經在英國訂了窯的組件,組裝完成後,那時開始便真真 正正大展拳腳了。」

Chan’s students were encouraged to take part in group projects and they were motivated to learn and exchange creative ideas. The experience also helped them develop a sense of belonging to their school. The artist-teacher’s pedagogical approach was applied not only to the art shows at Shau Kei Wan Government Secondary School, but also the training of art educators at the Grantham College of Education. The large-scale relief sculpture in the lobby of the College’s Gascoigne Road campus was created by its 1978 graduates. Apart from decorating the campus, public art like this also complemented the academic institution and its architecture. “Back in 1968, Mr Kwok Chiu Leung invited me to teach at the

藝術家示範 拉柸技巧。

College. There was a lot that could be done there. When the new wing was built in around 1970 or 71, one-and-a-half floor was

The artist demonstrates wheel throwing techniques.

reserved for the Art Division as studios, which wasn’t bad at all. We had a ceramics studio, too. Some kiln parts were ordered from the UK before I started teaching at the College. We could do so many things there when the kiln was assembled.”

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葛量洪教育學院陶藝教學

Ceramic education at Grantham College of Education 陳氏透過鼓勵學生參與大型集體創作,引起學生的學習興趣、對

學校的歸屬感及同學之間的交流,這種教學方針從筲箕灣官中 的展覽一直延續到葛師時期的美術教師培訓工作。加士居道葛

師校舍大堂內的大型陶瓷浮雕,就是1978年畢業生的作品。此類

公共藝術創作不單有「美化」功能,亦能為校園建築添上濃厚文 化氣息。

「郭樵亮先生1968年找我到葛師開班,我當即心動想做些東西, 待70至71年左右學校新翼建好後,美術組有一層半的空間可以 用作工作室,算挺大的了;我們也有了一間陶工房;還未任教葛

師時,已經在英國訂了窯的組件,組裝完成後,那時開始便真真 正正大展拳腳了。」

Chan’s students were encouraged to take part in group projects and they were motivated to learn and exchange creative ideas. The experience also helped them develop a sense of belonging to their school. The artist-teacher’s pedagogical approach was applied not only to the art shows at Shau Kei Wan Government Secondary School, but also the training of art educators at the Grantham College of Education. The large-scale relief sculpture in the lobby of the College’s Gascoigne Road campus was created by its 1978 graduates. Apart from decorating the campus, public art like this also complemented the academic institution and its architecture. “Back in 1968, Mr Kwok Chiu Leung invited me to teach at the

藝術家示範 拉柸技巧。

College. There was a lot that could be done there. When the new wing was built in around 1970 or 71, one-and-a-half floor was

The artist demonstrates wheel throwing techniques.

reserved for the Art Division as studios, which wasn’t bad at all. We had a ceramics studio, too. Some kiln parts were ordered from the UK before I started teaching at the College. We could do so many things there when the kiln was assembled.”

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厚過一吋就爆

香港陶瓷藝術室

The one-inch limit

Hong Kong Ceramic Arts Studio

1”? 這是陳氏專門為初學陶藝者設計的功課,作品厚度不得超過一

「我1965年從英國回來香港,開始醞釀不同的工作,那就由教泥開始。泥比紙張還便宜,用小小

力,訓練思維。 「如果泥搓得不均勻,入面有少少氣泡,入爐燒的

適當的人合作,包括屯門青山龍窰工合陶瓷廠負責人梁森與畢業於台灣師範大學的陳松江。香港

吋,希 望 學 生 不 會 只 懂 製 作 外 表 美 觀 的 物 件,而 是 培 養 觀 察 能

一塊泥就可以弄不同的東西,誰知道在香港要找合適的泥料亦不容易。要找到材料就要先找到

時候空氣會膨脹,氣泡膨脹到極度,周圍去不到泥,就會在某個

陶瓷藝術室成立的目的就是這個意思——希望香港的教師、學生和藝術家都可以有地方買材料進

地方爆。這個道理我要讓他們知道,所以就要弄了一個練習:厚

行創作。」

過一吋就爆。」

This is a homework task designed by Chan for beginners who

“After I came back to Hong Kong from the UK in 1965, I took part in different projects and started

are required to create a ceramic piece not thicker than one inch.

teaching ceramics. Clay is cheaper than paper, and you can make so many different things with a small

He stresses the importance for students to train their eye and

piece of clay. But it wasn’t easy to find suitable clays in Hong Kong back then. You had to work with the

thinking instead of focusing entirely on the look of objects. “If the

right people to get the right materials. I got to know Leung Sum of Kung Hop Pottery Kiln, the “Dragon

clay isn’t wedged evenly, air bubbles will be trapped in the material.

Kiln” off Castle Peak Road in Tuen Mun, and also Chan Chun Kong who graduated from National Taiwan

During the firing process in the kiln, the piece will be exposed to

Normal University. The Hong Kong Ceramic Arts Studio allowed teachers, students and artists in Hong

its heat and the air will expand until the pressure forms cracks or

Kong to get the materials they needed for their creative projects.”

bumps. I want my students to understand this, so I created this exercise and named it ‘the one-inch limit’.” 54

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厚過一吋就爆

香港陶瓷藝術室

The one-inch limit

Hong Kong Ceramic Arts Studio

1”? 這是陳氏專門為初學陶藝者設計的功課,作品厚度不得超過一

「我1965年從英國回來香港,開始醞釀不同的工作,那就由教泥開始。泥比紙張還便宜,用小小

力,訓練思維。 「如果泥搓得不均勻,入面有少少氣泡,入爐燒的

適當的人合作,包括屯門青山龍窰工合陶瓷廠負責人梁森與畢業於台灣師範大學的陳松江。香港

吋,希 望 學 生 不 會 只 懂 製 作 外 表 美 觀 的 物 件,而 是 培 養 觀 察 能

一塊泥就可以弄不同的東西,誰知道在香港要找合適的泥料亦不容易。要找到材料就要先找到

時候空氣會膨脹,氣泡膨脹到極度,周圍去不到泥,就會在某個

陶瓷藝術室成立的目的就是這個意思——希望香港的教師、學生和藝術家都可以有地方買材料進

地方爆。這個道理我要讓他們知道,所以就要弄了一個練習:厚

行創作。」

過一吋就爆。」

This is a homework task designed by Chan for beginners who

“After I came back to Hong Kong from the UK in 1965, I took part in different projects and started

are required to create a ceramic piece not thicker than one inch.

teaching ceramics. Clay is cheaper than paper, and you can make so many different things with a small

He stresses the importance for students to train their eye and

piece of clay. But it wasn’t easy to find suitable clays in Hong Kong back then. You had to work with the

thinking instead of focusing entirely on the look of objects. “If the

right people to get the right materials. I got to know Leung Sum of Kung Hop Pottery Kiln, the “Dragon

clay isn’t wedged evenly, air bubbles will be trapped in the material.

Kiln” off Castle Peak Road in Tuen Mun, and also Chan Chun Kong who graduated from National Taiwan

During the firing process in the kiln, the piece will be exposed to

Normal University. The Hong Kong Ceramic Arts Studio allowed teachers, students and artists in Hong

its heat and the air will expand until the pressure forms cracks or

Kong to get the materials they needed for their creative projects.”

bumps. I want my students to understand this, so I created this exercise and named it ‘the one-inch limit’.” 54

55


「香港陶藝教育之父」

The father of Hong Kong ceramic education

陳氏曾為香港美術教育協會擔任顧問多年。協會成立於1992年, 旨在加強社會對美術教育的重視,並積極推動藝術文化發展,為 香 港 最 具 代 表 性 的 視 覺 藝 術 教 育 團 體 之 一。 《香港美術教育期

刊》2016年第2期以陶藝教育為主題,並以「香港陶藝教育之父」 為題訪問陳氏,探討其藝術家教師之路。

Chan was a consultant of the Hong Kong Society for Education in Art (HKSEA) founded in 1992. It is one of the representative organisations for Hong Kong visual arts education, which works to promote art education in society and local art culture. In Issue 2 2016 of the Hong Kong Art Education Journal, an issue dedicated to ceramic art education, an interview feature titled “The father of Hong Kong ceramic education” explored Chan’s career and practice as an artist-teacher. 圖 片提供:香港美術教育協 會

Image Courtesy: Hong Kong Society for Education in Art 56

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「香港陶藝教育之父」

The father of Hong Kong ceramic education

陳氏曾為香港美術教育協會擔任顧問多年。協會成立於1992年, 旨在加強社會對美術教育的重視,並積極推動藝術文化發展,為 香 港 最 具 代 表 性 的 視 覺 藝 術 教 育 團 體 之 一。 《香港美術教育期

刊》2016年第2期以陶藝教育為主題,並以「香港陶藝教育之父」 為題訪問陳氏,探討其藝術家教師之路。

Chan was a consultant of the Hong Kong Society for Education in Art (HKSEA) founded in 1992. It is one of the representative organisations for Hong Kong visual arts education, which works to promote art education in society and local art culture. In Issue 2 2016 of the Hong Kong Art Education Journal, an issue dedicated to ceramic art education, an interview feature titled “The father of Hong Kong ceramic education” explored Chan’s career and practice as an artist-teacher. 圖 片提供:香港美術教育協 會

Image Courtesy: Hong Kong Society for Education in Art 56

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藝教兩全

An Artist-Teacher


藝教兩全

An Artist-Teacher


器皿

Wares 三 層口瓶(二)

1999 陶器

Three-layer mouth Vase (II) 1999 Earthenware 26 x 16cm

90年代後期的器皿系列,用上不常見於陶器的色彩配搭,紋飾演 變自傳統中國的祥雲紋圖案,繼續嘗試在拉坯和上釉技巧以外 為陶器尋找可能性。

「我讀雕塑,又玩陶瓷,由外行變成專家,算是踏足了藝術界。然

而我一直在想,這些是對藝術家的訓練,在香港能怎樣做呢?當 時做藝術家實在難以謀生。拿我自己來說,我原先一心想做藝術

家,但現實根本沒可能,我便唯有平時教書,除非有空或是有展 覽機會時才做陶瓷或雕塑。創作方面實在較少,其餘時間也放在

教育方面。以前的話,如果時時也這麼有空做創作,是會被人取 笑、閒言閒語的。所以我一早計劃好了,一旦退休,便集中重投藝 術創作。」

Unusual colour combinations were applied to his pottery series in the late 1990s. Apart from refining his throwing and glazing techniques, the artist kept seeking new possibilities for the art form, such as transforming traditional Chinese cloud patterns into decorative motifs. “I studied sculpture and kept making ceramics, so you might say I was a professional artist. But I think this is a challenge to artists. How do you do that in Hong Kong? At that time, it was hard to survive as an artist. Take myself as an example, I wanted to become an artist, but reality didn’t allow me to. So I had to work as a teacher and only worked on my ceramics and sculptures in my free time or when there were exhibitions. Indeed I invested most of my time on education instead of making art. In the past, people’d make fun of you if you spent the whole day on art. So, I had this plan of going back to art when I retired.”

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器皿

Wares 三 層口瓶(二)

1999 陶器

Three-layer mouth Vase (II) 1999 Earthenware 26 x 16cm

90年代後期的器皿系列,用上不常見於陶器的色彩配搭,紋飾演 變自傳統中國的祥雲紋圖案,繼續嘗試在拉坯和上釉技巧以外 為陶器尋找可能性。

「我讀雕塑,又玩陶瓷,由外行變成專家,算是踏足了藝術界。然

而我一直在想,這些是對藝術家的訓練,在香港能怎樣做呢?當 時做藝術家實在難以謀生。拿我自己來說,我原先一心想做藝術

家,但現實根本沒可能,我便唯有平時教書,除非有空或是有展 覽機會時才做陶瓷或雕塑。創作方面實在較少,其餘時間也放在

教育方面。以前的話,如果時時也這麼有空做創作,是會被人取 笑、閒言閒語的。所以我一早計劃好了,一旦退休,便集中重投藝 術創作。」

Unusual colour combinations were applied to his pottery series in the late 1990s. Apart from refining his throwing and glazing techniques, the artist kept seeking new possibilities for the art form, such as transforming traditional Chinese cloud patterns into decorative motifs. “I studied sculpture and kept making ceramics, so you might say I was a professional artist. But I think this is a challenge to artists. How do you do that in Hong Kong? At that time, it was hard to survive as an artist. Take myself as an example, I wanted to become an artist, but reality didn’t allow me to. So I had to work as a teacher and only worked on my ceramics and sculptures in my free time or when there were exhibitions. Indeed I invested most of my time on education instead of making art. In the past, people’d make fun of you if you spent the whole day on art. So, I had this plan of going back to art when I retired.”

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太空 Space

1 9 7 0 年 代 初 至 8 0 年 代,美 國 太 空 總 署 派 出 水 手 1 0 號 及 航 行 者

星、土星,公眾得以首次認識其他鄰近星球的「外貌」 ,包括木星

1991 炻器

Vase 1991 Stoneware 21.5 x 25.5cm

1、2號,拍得大量地球以外的太陽系行星的照片,包括水星、木 的風暴眼和土星環。藝術家受到當年的新鮮視覺衝擊,力求在傳

統中尋找變化和新突破。 「我在媒體上認識到那些星球——我想

表達那些雲霧狀的,不同時間,接受陽光的效果,去上色、淋油、 浸油、噴油。我使用釉下彩,拿著太空行星的相片或電視介紹拍 出來的東西,作品上的裝飾就是用那些方式做的。」

From the early 1970s to the 1980s, NASA’s Mariner 10, Voyager 1 and Voyager 2 took a series of pictures of solar system planets other than the Earth, including Mercury, Jupiter and Saturn. It was the first time people had an idea of the “appearance” of other planets and their specific features like the Great Red Spot of Jupiter and the rings of Saturn. The exciting new visual impact inspired the artist to innovate and break through existing traditions in ceramics. “I learned about those planets through the media. I wanted to express those qualities like the swirling clouds, time and sunlight. I wanted to colour it, splash it with paint, drench it in paint and spray on it. I used the underglaze technique to depict the forms of the planets shown on pictures and on TV. The details on the sculptures were done using those techniques.”

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太空 Space

1 9 7 0 年 代 初 至 8 0 年 代,美 國 太 空 總 署 派 出 水 手 1 0 號 及 航 行 者

星、土星,公眾得以首次認識其他鄰近星球的「外貌」 ,包括木星

1991 炻器

Vase 1991 Stoneware 21.5 x 25.5cm

1、2號,拍得大量地球以外的太陽系行星的照片,包括水星、木 的風暴眼和土星環。藝術家受到當年的新鮮視覺衝擊,力求在傳

統中尋找變化和新突破。 「我在媒體上認識到那些星球——我想

表達那些雲霧狀的,不同時間,接受陽光的效果,去上色、淋油、 浸油、噴油。我使用釉下彩,拿著太空行星的相片或電視介紹拍 出來的東西,作品上的裝飾就是用那些方式做的。」

From the early 1970s to the 1980s, NASA’s Mariner 10, Voyager 1 and Voyager 2 took a series of pictures of solar system planets other than the Earth, including Mercury, Jupiter and Saturn. It was the first time people had an idea of the “appearance” of other planets and their specific features like the Great Red Spot of Jupiter and the rings of Saturn. The exciting new visual impact inspired the artist to innovate and break through existing traditions in ceramics. “I learned about those planets through the media. I wanted to express those qualities like the swirling clouds, time and sunlight. I wanted to colour it, splash it with paint, drench it in paint and spray on it. I used the underglaze technique to depict the forms of the planets shown on pictures and on TV. The details on the sculptures were done using those techniques.”

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圖片提供: 香港藝術館

Image Courtesy: The Hong Kong Museum of Art

「今日香港陶藝」、 「香港藝術一九九七」

“Hong Kong Pottery Today” and “Hong Kong Art 1997” 1984年香港藝術館主辦的「今日香港陶藝」乃首個以香港當代陶 藝為主題的聯展。至於1997年的「香港藝術一九九七 - 香港藝術

館藏品展」 ,就挑選了多位具代表性的香港藝術家之作,到北京 和廣州展出,亦是陳氏作品首次於國內作大型展出。兩次展覽均 展示了《柱》系列的雕塑作品。

“Hong Kong Pottery Today”, organised by the Hong Kong Museum of Art in 1984, was the first group exhibition dedicated to contemporary Hong Kong ceramic art. And in 1997, the works of representative Hong Kong artists were shown in Beijing and Guangzhou at the “Hong Kong Art 1997: Collection of the Hong Kong Museum of Art” exhibition, which was the first large-scale mainland Chinese show for Chan. Sculptures from the Column series were shown at both exhibitions.

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圖片提供: 香港藝術館

Image Courtesy: The Hong Kong Museum of Art

「今日香港陶藝」、 「香港藝術一九九七」

“Hong Kong Pottery Today” and “Hong Kong Art 1997” 1984年香港藝術館主辦的「今日香港陶藝」乃首個以香港當代陶 藝為主題的聯展。至於1997年的「香港藝術一九九七 - 香港藝術

館藏品展」 ,就挑選了多位具代表性的香港藝術家之作,到北京 和廣州展出,亦是陳氏作品首次於國內作大型展出。兩次展覽均 展示了《柱》系列的雕塑作品。

“Hong Kong Pottery Today”, organised by the Hong Kong Museum of Art in 1984, was the first group exhibition dedicated to contemporary Hong Kong ceramic art. And in 1997, the works of representative Hong Kong artists were shown in Beijing and Guangzhou at the “Hong Kong Art 1997: Collection of the Hong Kong Museum of Art” exhibition, which was the first large-scale mainland Chinese show for Chan. Sculptures from the Column series were shown at both exhibitions.

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Dance 舞

1996 陶塑

Dance 1996 Ceramic 36 x 52cm

《舞》系 列 的 持 續 創 作,雖 然 從 八 十 年 代 才 開 始,但 採 用 雕 塑 造 型去演繹舞者動態的取向,從早期的作品便可以清楚看到。系列 一直延續到千禧年初,準備移民澳洲時才暫時停止。雕塑豐富多

變的線條,變化出不同形態,運用強烈的深淺色對比,增強作品

的立體感和動感。 「動感的線條和作品經常在我腦海中出現,再 者,留學英國時也有機會看到很多芭蕾舞表演。藝術科學生逢星 期 三 下 午 便 會 去 訪 問 那 些 藝 術 家,造 訪 建 築 及 古 蹟,一 有 好 節

目,學校便會鼓勵我們去看。這些節目多數是看夜場的,我們都

買學生票。倫敦的Covent Garden匯集眾多著名芭蕾舞和歌劇 表演場地,去排隊買票,十個先令而已,十個先令便可看到最當 時得令的表演者。我們都爭相去看。」

Although the creative process of the Dance series only began in the 1980s, his use of sculptures to depict the movement of dancers was evident in his early practice. The series continued until the early 2000s, followed by a hiatus when he prepared for emigration to Australia. The dynamic forms and lines of the sculptures and the bold, contrasting colours emphasised the expressive structure and energy of the series. “I always had some lively shapes and ideas popping up in my head. I also had lots of opportunities to see ballet performances when I was studying in the UK. Every Wednesday afternoon, art students like us would meet different artists and visit architectural and historical sites. Whenever there were good performances out there, our college would encourage us to go see them. Most of them were evening shows and we all lined up and bought student tickets. There were many famous ballet halls and opera houses at Covent Garden in London. Just ten shillings and you could see some of the top performances, so we wouldn’t miss them.” 66

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Dance 舞

1996 陶塑

Dance 1996 Ceramic 36 x 52cm

《舞》系 列 的 持 續 創 作,雖 然 從 八 十 年 代 才 開 始,但 採 用 雕 塑 造 型去演繹舞者動態的取向,從早期的作品便可以清楚看到。系列 一直延續到千禧年初,準備移民澳洲時才暫時停止。雕塑豐富多

變的線條,變化出不同形態,運用強烈的深淺色對比,增強作品

的立體感和動感。 「動感的線條和作品經常在我腦海中出現,再 者,留學英國時也有機會看到很多芭蕾舞表演。藝術科學生逢星 期 三 下 午 便 會 去 訪 問 那 些 藝 術 家,造 訪 建 築 及 古 蹟,一 有 好 節

目,學校便會鼓勵我們去看。這些節目多數是看夜場的,我們都

買學生票。倫敦的Covent Garden匯集眾多著名芭蕾舞和歌劇 表演場地,去排隊買票,十個先令而已,十個先令便可看到最當 時得令的表演者。我們都爭相去看。」

Although the creative process of the Dance series only began in the 1980s, his use of sculptures to depict the movement of dancers was evident in his early practice. The series continued until the early 2000s, followed by a hiatus when he prepared for emigration to Australia. The dynamic forms and lines of the sculptures and the bold, contrasting colours emphasised the expressive structure and energy of the series. “I always had some lively shapes and ideas popping up in my head. I also had lots of opportunities to see ballet performances when I was studying in the UK. Every Wednesday afternoon, art students like us would meet different artists and visit architectural and historical sites. Whenever there were good performances out there, our college would encourage us to go see them. Most of them were evening shows and we all lined up and bought student tickets. There were many famous ballet halls and opera houses at Covent Garden in London. Just ten shillings and you could see some of the top performances, so we wouldn’t miss them.” 66

67


白蛇傳(舞之三)

1998 陶塑

The White Snake Legend (Dance III) 1998 Ceramic 33 x 29.5cm

68

69


白蛇傳(舞之三)

1998 陶塑

The White Snake Legend (Dance III) 1998 Ceramic 33 x 29.5cm

68

69


大事紀 Chronicle

1937

出生 於 香 港。

1959

畢業 於 葛 量 洪 師 範 專 科 學 校。

1959-61

任教 於 塘 尾 道 官 立 小 學。

1962-63

轉至 伊 利 沙 伯 中 學 擔 任 美 術 教 師。

1963-65

考取 英 國 文 化 協 會 獎 學 金 到 Ravensbourne藝 術 學 院 主 修 雕 塑。期 間 到 歐 洲、地 中 海、中 東 遊覽。新 學 年 開 始 到 筲 箕 灣 官 立 中 學 任教。

Born in Hong Kong.

Graduated from Grantham Training College.

1982

香港大專美術聯會主辦「第一屆顧問及導師作品聯展」 。

1984

香港藝術館主辦的「今日香港陶藝」乃首個以香港當代陶藝為主題的聯展。

1985-95

為香港藝術館擔任顧問。

1986

展能藝術節「接觸藝術展」 。

Taught at Tong Mei Road Government Primary School. Taught art at Queen Elizabeth School.

Awarded British Council Scholarship to study sculpture at the Ravensbourne College of Art and Design. Travelled extensively in Europe, the Mediterranean and the Middle East. Started teaching at Shaukiwan Government Secondary School when the new school year started.

1967-68

於筲 箕 灣 官 立 中 學 連 續 兩 年 舉 辦 美 術 展 覽,引 來 學 界 和 傳 媒 廣 泛 報 導。

1968-79

到葛 師 任 職 美 術 講 師、第 三 年 美 術 專 修班 主 任。

1971

葛師 美 術 與 設 計 系 增 設 陶 藝 課 程。

1974

英國 文 化 協 會 主 辦 首 次 個 展「陳 炳 添 雕 塑 展」 。

Organised two consecutive art exhibitions at Shau Kei Wan Government Secondary School. Attracted enormous attention from the media. Became Lecturer at the Grantham College of Education responsible for Third Year Course in Art and Design.

1988

“82’ Artwork Exhibition by Lecturers & Advisors”, Hong Kong Post-Secondary Schools Art Association

“Hong Kong Pottery Today”, organised by the Hong Kong Museum of Art, was the first group exhibition dedicated to contemporary Hong Kong ceramic art. Served as Advisor for the Hong Kong Museum of Art. “Please Touch” Art Exhibition, Festival of Arts with the Disabled. 「當代香港陶藝 – 香港藝術館藏品展覽」 。

“Contemporary Hong Kong Pottery from the Collection of the Hong Kong Museum of Art”, Hong Kong Museum of Art. 轉到羅富國教育學院擔任美術與設計系主任。

Became Head of Department of Art and Design, Northcote College of Education.

1995 1997

從訓練美術教師的工作崗位退下來,全心投入藝術創作。

Retired from art teacher training and focused on artistic career. 「香港藝術 一九九七. 香港藝術館藏品展. 北京.廣州」 作品首次於國內展出。

“Hong Kong Art 1997: Collection of the Hong Kong Museum of Art: Beijing & Guangzhou Exhibition”, Hong Kong Museum of Art. Artwork was shown in mainland China for the first time.

Ceramics was added into the Art and Design Curriculum at the Grantham College of Education.

舉辦個展「陳炳添雕塑及陶塑展」 。

Organised solo exhibition “Sculptures and Ceramics by Chan Ping Tim”.

The first solo exhibition “Sculptures & Reliefs by Chan Ping Tim”, British Council. 為母 校 九 龍 華 仁 書 院 籌 辦 及 以 藝 術 家 身 份 參 加「金 禧 美 術 展」 。

Participated in “Wah Yan College Kowloon Golden Jubilee Art Exhibition” as organiser and artist.

1975

香港 中 文 大 學 校 外 進 修 部 主 辦「陳 炳 添 浮 雕 展」 。

1976

香港 藝 術 中 心 與 香 港 藝 術 節 合 辦「回 港 藝 術 家 聯 展」 。

1979-81

兼任 香 港 中 文 大 學 藝 術 系 陶 藝 講 師。

1980

於香 港 大 學 馮 平 山 博 物 館 舉 辦 首 次「學 生 陶 藝 展」 。

“Reliefs by Chan Ping Tim”, The Chinese University of Hong Kong’s Department of Extramural Studies.

1999

香港教育學院藝術系主辦「藝術家駐院計劃‘99暨陳炳添雕塑展」 。

2000

康樂及文化事務署主辦「視藝精英計劃 – 陳炳添雕塑展」

2009

“Artists Come Home” exhibition, Hong Kong Arts Centre & Hong Kong Arts Festival.

“Sculptures by Chan Ping Tim & Artist-in-Residence Project ‘99”, The Hong Kong Institute of Education’s Department of Creative Arts. “The Best of Visual Arts Scheme: Sculpture Exhibition by Chan Ping Tim”, Leisure and Cultural Services Department. 香港教育學院文化與創意學系與香港教育博物館合辦 「聚藝2009 – 藝術作品及香港美術師資教育回顧展」

“Art Meet 2009: An Exhibition of Artwork and a Retrospective of Hong Kong Art Teacher Education”, The Hong Kong Institute of Education’s Department of Cultural and Creative Arts and Hong Kong Museum of Education.

Became Part-time Lecturer in Ceramics, Department of Fine Arts, The Chinese University of Hong Kong.

2017

The first “Students’ Ceramic Art” exhibition by The Education Department and The Fung Ping Shan Museum, the University of Hong Kong.

《香港美術教育期刊》2016年第2期以陶藝教育為主題,並以「香港陶藝教育之父」為題訪問陳 氏,探討其藝術家教師之路

In Issue 2 2016 of the Hong Kong Art Education Journal, an issue dedicated to ceramic art education, an interview feature titled “The father of Hong Kong ceramic education” explored Chan’s career and practice as an artist-teacher.

出任 葛 量 洪 教 育 學 院 美 術 與 設 計 系 主 任。

Became Head of Department of Art and Design, the Grantham College of Education.

70

71


大事紀 Chronicle

1937

出生 於 香 港。

1959

畢業 於 葛 量 洪 師 範 專 科 學 校。

1959-61

任教 於 塘 尾 道 官 立 小 學。

1962-63

轉至 伊 利 沙 伯 中 學 擔 任 美 術 教 師。

1963-65

考取 英 國 文 化 協 會 獎 學 金 到 Ravensbourne藝 術 學 院 主 修 雕 塑。期 間 到 歐 洲、地 中 海、中 東 遊覽。新 學 年 開 始 到 筲 箕 灣 官 立 中 學 任教。

Born in Hong Kong.

Graduated from Grantham Training College.

1982

香港大專美術聯會主辦「第一屆顧問及導師作品聯展」 。

1984

香港藝術館主辦的「今日香港陶藝」乃首個以香港當代陶藝為主題的聯展。

1985-95

為香港藝術館擔任顧問。

1986

展能藝術節「接觸藝術展」 。

Taught at Tong Mei Road Government Primary School. Taught art at Queen Elizabeth School.

Awarded British Council Scholarship to study sculpture at the Ravensbourne College of Art and Design. Travelled extensively in Europe, the Mediterranean and the Middle East. Started teaching at Shaukiwan Government Secondary School when the new school year started.

1967-68

於筲 箕 灣 官 立 中 學 連 續 兩 年 舉 辦 美 術 展 覽,引 來 學 界 和 傳 媒 廣 泛 報 導。

1968-79

到葛 師 任 職 美 術 講 師、第 三 年 美 術 專 修班 主 任。

1971

葛師 美 術 與 設 計 系 增 設 陶 藝 課 程。

1974

英國 文 化 協 會 主 辦 首 次 個 展「陳 炳 添 雕 塑 展」 。

Organised two consecutive art exhibitions at Shau Kei Wan Government Secondary School. Attracted enormous attention from the media. Became Lecturer at the Grantham College of Education responsible for Third Year Course in Art and Design.

1988

“82’ Artwork Exhibition by Lecturers & Advisors”, Hong Kong Post-Secondary Schools Art Association

“Hong Kong Pottery Today”, organised by the Hong Kong Museum of Art, was the first group exhibition dedicated to contemporary Hong Kong ceramic art. Served as Advisor for the Hong Kong Museum of Art. “Please Touch” Art Exhibition, Festival of Arts with the Disabled. 「當代香港陶藝 – 香港藝術館藏品展覽」 。

“Contemporary Hong Kong Pottery from the Collection of the Hong Kong Museum of Art”, Hong Kong Museum of Art. 轉到羅富國教育學院擔任美術與設計系主任。

Became Head of Department of Art and Design, Northcote College of Education.

1995 1997

從訓練美術教師的工作崗位退下來,全心投入藝術創作。

Retired from art teacher training and focused on artistic career. 「香港藝術 一九九七. 香港藝術館藏品展. 北京.廣州」 作品首次於國內展出。

“Hong Kong Art 1997: Collection of the Hong Kong Museum of Art: Beijing & Guangzhou Exhibition”, Hong Kong Museum of Art. Artwork was shown in mainland China for the first time.

Ceramics was added into the Art and Design Curriculum at the Grantham College of Education.

舉辦個展「陳炳添雕塑及陶塑展」 。

Organised solo exhibition “Sculptures and Ceramics by Chan Ping Tim”.

The first solo exhibition “Sculptures & Reliefs by Chan Ping Tim”, British Council. 為母 校 九 龍 華 仁 書 院 籌 辦 及 以 藝 術 家 身 份 參 加「金 禧 美 術 展」 。

Participated in “Wah Yan College Kowloon Golden Jubilee Art Exhibition” as organiser and artist.

1975

香港 中 文 大 學 校 外 進 修 部 主 辦「陳 炳 添 浮 雕 展」 。

1976

香港 藝 術 中 心 與 香 港 藝 術 節 合 辦「回 港 藝 術 家 聯 展」 。

1979-81

兼任 香 港 中 文 大 學 藝 術 系 陶 藝 講 師。

1980

於香 港 大 學 馮 平 山 博 物 館 舉 辦 首 次「學 生 陶 藝 展」 。

“Reliefs by Chan Ping Tim”, The Chinese University of Hong Kong’s Department of Extramural Studies.

1999

香港教育學院藝術系主辦「藝術家駐院計劃‘99暨陳炳添雕塑展」 。

2000

康樂及文化事務署主辦「視藝精英計劃 – 陳炳添雕塑展」

2009

“Artists Come Home” exhibition, Hong Kong Arts Centre & Hong Kong Arts Festival.

“Sculptures by Chan Ping Tim & Artist-in-Residence Project ‘99”, The Hong Kong Institute of Education’s Department of Creative Arts. “The Best of Visual Arts Scheme: Sculpture Exhibition by Chan Ping Tim”, Leisure and Cultural Services Department. 香港教育學院文化與創意學系與香港教育博物館合辦 「聚藝2009 – 藝術作品及香港美術師資教育回顧展」

“Art Meet 2009: An Exhibition of Artwork and a Retrospective of Hong Kong Art Teacher Education”, The Hong Kong Institute of Education’s Department of Cultural and Creative Arts and Hong Kong Museum of Education.

Became Part-time Lecturer in Ceramics, Department of Fine Arts, The Chinese University of Hong Kong.

2017

The first “Students’ Ceramic Art” exhibition by The Education Department and The Fung Ping Shan Museum, the University of Hong Kong.

《香港美術教育期刊》2016年第2期以陶藝教育為主題,並以「香港陶藝教育之父」為題訪問陳 氏,探討其藝術家教師之路

In Issue 2 2016 of the Hong Kong Art Education Journal, an issue dedicated to ceramic art education, an interview feature titled “The father of Hong Kong ceramic education” explored Chan’s career and practice as an artist-teacher.

出任 葛 量 洪 教 育 學 院 美 術 與 設 計 系 主 任。

Became Head of Department of Art and Design, the Grantham College of Education.

70

71


AFTERWORD

謹此衷心感謝陳老師慷慨分享其藝術與人生經歷,他的開明與信 任,促使今次回顧展能以結合藝術與檔案的形式呈現。與陳老師 訪問交流期間,本人明白到其成就除了因為才華出眾,還有賴多

Iven Cheung

年來的勤奮和全心投入。籌備展覽的數個月間,也非常感激陳老 師和家人付出時間和耐心。

多位曾受教於陳老師的藝術家,以及曾經訪問他的學者,都鼎力

支持這個項目,不吝賜予寶貴意見,本人由衷致謝。尊師重道的美 德和傳統教育精神,都從他們身上深切領會得到。

最後,感謝香港藝術發展局撥款資助項目進行;香港教育大學香 港教育博物館及藝穗會,亦給予相當協助和支持。

實體展覽完成後,陳老師的藝術檔案將延續至網上展覽,向更廣

大的觀眾呈現,讓現今世代的學生、藝術教師和研究學者,多加認 識一代藝術家教師典範,向他好好學習。

I would like to express my sincere gratitude to Mr Chan for sharing his experience and spectacular life stories. His open-mindedness and trust are crucial to help achieve the art/archive format of the retrospective. As his personal history slowly unfolded during our conversations, it became obvious to me that his success was the result of not just his talent but also years of hard work and dedication. In the months of preparation for the project, I am also profoundly grateful for Mr Chan’s family for their time and patience. I am truly thankful of the invaluable advice and generous support of artists who were once students of Mr Chan and academics who had the chance to interview him in the past. I learn enormously from them about the time-honoured virtue of respecting one’s teachers and the pedagogic spirit of traditional society.

後 記

Last but not least, many thanks to Hong Kong Arts Development Council for their support and funding, Hong Kong Museum of Education of The Education University of Hong Kong as well as Fringe Club for their generous assistance and backing for this project. The physical exhibition is merely a start. I hope the online exhibition, another way of presenting Mr Chan’s archive to a wider audience, will let the students, art teachers and researchers of the newer generation learn more about and from this important artistteacher of our time.

張 耀 輝 72

73


AFTERWORD

謹此衷心感謝陳老師慷慨分享其藝術與人生經歷,他的開明與信 任,促使今次回顧展能以結合藝術與檔案的形式呈現。與陳老師 訪問交流期間,本人明白到其成就除了因為才華出眾,還有賴多

Iven Cheung

年來的勤奮和全心投入。籌備展覽的數個月間,也非常感激陳老 師和家人付出時間和耐心。

多位曾受教於陳老師的藝術家,以及曾經訪問他的學者,都鼎力

支持這個項目,不吝賜予寶貴意見,本人由衷致謝。尊師重道的美 德和傳統教育精神,都從他們身上深切領會得到。

最後,感謝香港藝術發展局撥款資助項目進行;香港教育大學香 港教育博物館及藝穗會,亦給予相當協助和支持。

實體展覽完成後,陳老師的藝術檔案將延續至網上展覽,向更廣

大的觀眾呈現,讓現今世代的學生、藝術教師和研究學者,多加認 識一代藝術家教師典範,向他好好學習。

I would like to express my sincere gratitude to Mr Chan for sharing his experience and spectacular life stories. His open-mindedness and trust are crucial to help achieve the art/archive format of the retrospective. As his personal history slowly unfolded during our conversations, it became obvious to me that his success was the result of not just his talent but also years of hard work and dedication. In the months of preparation for the project, I am also profoundly grateful for Mr Chan’s family for their time and patience. I am truly thankful of the invaluable advice and generous support of artists who were once students of Mr Chan and academics who had the chance to interview him in the past. I learn enormously from them about the time-honoured virtue of respecting one’s teachers and the pedagogic spirit of traditional society.

後 記

Last but not least, many thanks to Hong Kong Arts Development Council for their support and funding, Hong Kong Museum of Education of The Education University of Hong Kong as well as Fringe Club for their generous assistance and backing for this project. The physical exhibition is merely a start. I hope the online exhibition, another way of presenting Mr Chan’s archive to a wider audience, will let the students, art teachers and researchers of the newer generation learn more about and from this important artistteacher of our time.

張 耀 輝 72

73


chanptarchive.org

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Sculptures. Ceramics. Archive: A Chan Ping Tim Retrospective  

Exhibition catalogue published on the occasion of "Sculptures. Ceramics. Archive: A Chan Ping Tim Retrospective" held at Hong Kong Fringe Cl...

Sculptures. Ceramics. Archive: A Chan Ping Tim Retrospective  

Exhibition catalogue published on the occasion of "Sculptures. Ceramics. Archive: A Chan Ping Tim Retrospective" held at Hong Kong Fringe Cl...

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