What am I looking at? Learn to love with pets & art by First Initiative Foundation

What am I looking at?

牠和他和她，讓我們學識愛

LEARN

LOVE With

Pets

Art

What am I looking at?

牠和他和她，讓我們學識愛

LEARN

LOVE With

Pets

Art

領賢慈善基金（ FIF ）一直支持並積極舉辦各種惠及藝術及教育

的慈善活動，致力將香港的獨特文化帶到世界舞台上。

領賢慈善基金深感榮幸，能與利園區合作，配合聖誕佳節，為

香港公眾及他們親愛的毛毛朋友度身打造 FURRYTALES ― 一趟慈善藝術之旅體驗。

我們將會為公眾舉辦一系列不同面向的特備節目，透過刺激好玩同時禆益身心的互動式體驗，激發成人、孩子和毛毛朋友們的想像力，從而增進對藝術的認識。

誠邀你們在觀賞的同時，參與由一眾充滿熱誠的藝術創作者參與策劃的互動式體驗，包括可以跟毛毛朋友一起參與、開闊視野的藝術工作坊，以及精彩的現場表演活動，一同在這個聖誕

First Initiative Foundation (FIF) is a registered charity that supports and organises social and charitable initiatives to beneﬁt the arts and education, and promotes Hong Kong's unique culture on the world stage. In association with Lee Gardens, FIF is proud to present FURRYTALES, a charitable art experience for the Hong Kong community and their beloved furry family to enjoy with this year's Christmas celebrations. For this initiative, we have designed a series of multifaceted programmes aimed at captivating the imaginations of adults, kids and pets. We offer the public an exciting, empowering and most importantly, a fun experience to engage with while discovering art.

佳節參與一趟藝術之旅，創造更多繽紛美好回憶。

We cordially invite you to come on an adventure with us,

是次活動，我們希望能夠透過創意和療癒藝術，向公眾分享

by passionate art creators. From mind-opening, artistic

「與寵物共融」的訊息，給予香港的毛毛朋友和毛毛家庭更多關愛和支持。

今年聖誕，歡迎你們帶同毛毛朋友走進領賢慈善基金悉心打造的奇妙藝術童話世界！

領賢慈善基金創辦人及主席王幼倫

領賢慈善基金常務總監張詩賢

where you will go through interactive experiences guided workshops with your furry friends to exciting live events – we hope that you will make colourful memories this Christmas. The idea is to spread the message of inclusivity, love and care for pets and pet families in Hong Kong while reaching out to the community at large through creativity and therapeutic art. So come, and be introduced to the magical world of art with FIF this Christmas. Remember to bring your furry friend along!

FIF Founder and Chairman, Michelle Ong FIF Managing Director, Amanda Cheung

了解更多： Facebook: @firstinitiativefoundation Instagram: @fif.hk Website: www.fif.org.hk

序言

毛毛世界，愛的藝術

As the saying goes,

“You stand on the bridge watching the sights; someone is watching you from above.” (<Fragments> by Bian Zhilin, translated by Peter Jincheng Xu)

When you are watching your furry family members, they may be observing you too! Artists' minds may seem so complicated that every piece of work, be it the theme or the techniques used, can be open to interpretation. However indifferent an artist may appear to be, he or she cannot hide their true self in front of their cats and dogs. They share their happiness or loneliness, and turn their pets into a core element of their creations.

現代新詩有云：

「你在橋上看風景看風景的人在橋上看你」（卞之琳《斷章》）

當你在看著你的汪汪和喵喵的一舉一動時，牠又何嘗不在凝視著你的一切？

藝術家的世界看似深奧難測，無論主題或者技法，每一幅作品

都可以多元解讀；但再 cool 的藝術家，在他們的貓貓狗狗面

前，無論本尊是孤獨或者歡樂，往往都忍不住坦誠直接地流露，甚至讓牠們成為他 / 她創作的重要元素。

The ultimate interpretation of art is reading the mind of an artist which is as mysterious as that of every animal.

The“furry”in every artwork tells a story of love, directly or

indirectly, found deep inside the heart of the artist.

Few can resist the sincerity found in the eyes of the“furry”. The artworks are full of the warmth of their“furry”life. By

the same token, when art is integrated with our daily lives and the community, even abstract works may feel familiar and connected with us all. Let us join the“furry”in this Christmas“FURRYTALES”and

share the warmth of art this winter!

藝術，最極致的解讀，是讀心。人心與動物同樣奧妙，畫中的毛毛，每一幅都是一個愛的故事。直接的描繪，曲折的寄托和隱喻，藝術家在有意無意之間，讓我們一窺他們的內心。

沒有多少人能抗拒毛毛們的率真。再 cool 的藝術作品，都因為

毛毛們的存在而加添了溫度。同樣，當藝術融入生活，融入社區，再抽象的作品，都能讓人親近，連結。

這個秋冬，就讓我們代入毛毛的眼光，一起感受藝術的熱和暖。 4

Prologue

ART OF PET LOVE 5

1/ 藝術家為��要畫他們的喵喵和汪汪？

Why do artists draw their moggies and doggies?

去觀賞

帶著提問

7/ 在商場、在戶外地方也可以辦藝術展覽嗎？

不需要去博物館和畫廊？

Can art exhibitions take place in shopping malls be hosted outdoors and instead of in museums and galleries?

8/ 我需要順著指定路線遊覽嗎？一般在每件作品

2/ 在作品當中，我可以感受到藝術家和動物的關係嗎？

逗留多少時間比較好？

Can I immerse myself in the relationship between

Do I have to follow a designated route to

the artists and the pets they paint in their works?

enjoy the exhibition? How much time should I spend on each piece?

3/ 同樣的小狗，畫在畫布上，

畫在瓷碟中，會有��不一樣嗎？

Is there any difference between

drawing a dog on a canvas and on a porcelain plate?

4/ 不同的創作媒介，會影響一幅作品的意義？ How do different mediums impact the

meaning of an artwork?

SEE? How do you FEEL?

How to

9/ 欣賞藝術是要先看作品介紹，還是先看作品，

研究顏色、形態、技巧呢？

How should I appreciate a piece of art?

5/ 藍色、綠色、黃色、粉紅色，即使外表大同小異，

牠們都是獨一無二的貓咪嗎？

Can cats be viewed as unique and different even though they look similar and only differ in colours – blue, green, yellow, pink...?

Should I read the introduction ﬁrst or study its colours, shapes and techniques?

10/ 最理想的觀賞距離是多少？站在哪個位置

看和拍照比較好看？

What is the ideal viewing distance? Where is the perfect photo spot?

6/ 色彩和質感，會改變我們對事物的觀感？

Do colours and texture alter our perception?

CO M PA N I O N S H I P 8

吃下畢加索的狗

THE D O G WHO ATE A PI C A S SO

C omp a n i ons h i p 9

我是 Lump ，鄧肯說我是「吃下畢加索的狗」，我也不懂為甚麼……我從來沒有吃下畢加索啊。我吃的不是畢加索，

「我要留在這裡。」

我吃的只是他的「兔子」。那天我趴在地下隱約聞到一陣

本來我是跟鄧肯一起住的，有一天

子」。我一下子跳上桌子就把它叨走，快步跑到花園草地上

我便喜歡上這個地方。第一次跟畢加

香味，抬頭發現畢加索拿著蛋糕盒子，盒子上有一隻「兔

嗅著舔著便吃掉了。畢加索一直坐在餐桌旁，根本沒打算出來拯救「兔子」。反正只要我開心，他從來都不會阻止我。在坎城、在這間屋子裡，我和他都可以做我們喜歡的事。 Hi, my name is Lump. Duncan called me“the dog who

ate a Picasso”– I had no idea why... I didn't eat Picasso, I just ate his“rabbit”! It was a lovely warm afternoon

and I was lying on the ﬂoor, smelling something sweet in the air. Picasso was holding a cake box and there was a

“rabbit”on it! Without much thought, I just grabbed it,

ran to the garden and chewed it to pieces. Picasso did not even move from the table. I knew he would not stop me – he never did – as long as I was doing something I

他帶著我到訪畢加索的別墅，甫下車

索見面，他很專注地打量我，連吃飯的時候也會不時看向我。他問鄧肯：「 Lump 有自己的盤子嗎？」當然沒有。他放下餐具，拿起一個碟盤畫了起來― 他已經記得我長成甚麼樣子。那天是我第一次擁有自己

的盤子，第一次感覺自己屬於一個地方，第一次願意交託信任給一個人。我看著鄧肯，希望他把我留下來，不想再回去被他的狗

Afghan 欺負；畢加索抱起我跟鄧肯說了一

句，此後六年我便與畢加索生活在同一屋簷下。

liked. Here in Cannes, in this house, we were all living the way what we wanted, both me and him.

“I'm staying.” 畢加索 Pablo Picasso (1881-1973)

畢加索作為 20 世紀現代藝術的創始者和代表人物之一，不但帶來了前衛畫風，更留下了為數不少的作品。由於父親是一名學院派畫家，畢加索從小便在父親耳濡目染和悉心指導下學習繪畫，九歲時完成了個人第一幅畫作“Le Picador”，並在 15 歲創作出第一幅學術作品 “La Premiere Communion”，自此開啟了長達 76 年的創作之旅，一共完成近 45,000 幅作品，絕對稱得上是數一數二的高產藝術家。 A pioneer and leading representative of 20th century modern art, Picasso not only created a new form of art but also left behind an enormous number of masterpieces. He learnt drawing skills from his father who was also a painter. He finished his first piece“Le Picador”at the age of nine and his first academic piece“La Premiere Communion”at the age of 15, marking the beginning of his 76-year art journey. Having completed 45,000 drawings during his life, Picasso was one of the most productive artists in history.

I used to live with Duncan. One day he brought me with him on a visit to Picasso's house and I fell in love with the place once I got out of the car! For

the whole day, Picasso looked at me attentively even when he was having his meal. He asked Duncan if I had my own plate – well, of course, I did not. He immediately put down his cutlery and drew on an empty porcelain plate. In one single stroke. By then, he already remembered how I looked. That was the ﬁrst time I had my own

plate; it was the ﬁrst time I felt at home and the ﬁrst time I decided to trust someone. When it was time to leave, I looked at Duncan, hoping that he would let me stay and save me from being bullied again by his other dog, Afghan. Picasso whispered a word to Duncan; since then, I lived under the same roof as Picasso for six years.

C om p a n i ons h i p 1 1

「我不是一隻狗，也不是個小孩，更像是某種特別的存在。」

「你能找到我嗎？」

我知道，我在這裡的待遇是特別的，也慢慢敞開心胸接受這份照顧。以前鄧

隨著我常常出現在畫室裡，我開始發現自己的畫像，跟我吃

還會和我一起睡在床上休息。畢加索長時間在工作室裡作畫，沒有人沒有貓

一隻，頭方方、耳朵尖尖，躺在畫作的下方；時而黑色，時

肯不常在家，我早已習慣獨自生活；可在這裡畢加索會陪我玩、餵我進食，狗能夠進去打擾他，除了我。只有我會肆無忌憚地推門進去，四處踱步或者臥在一旁；偶爾畢加索會抱起我放到腿上，一手撫毛一手畫畫。沒有過多交流的我們就像在同一個空間裡各自享受著自己的時間，互不打擾，卻彼此陪伴。後來我患病，重新回到鄧肯的家接受治療，但我們的連繫從

未切斷，並從人間延續到天堂―在我離世後的一個星期，畢加索也同樣與世長辭。

飯用的盤子上的一模一樣，大部分的時候，我是瘦瘦長長的而白色，時而啡色，但都是我的樣子。有時候，我會分不清畢加索在畫我還是他的妻子洛克― 畫裡那些女生臉特別

長、鼻子特別尖、頭髮特別長而蓬鬆，感覺像在洛克臉上看到我的影子。你能在畢加索的畫作裡找到我嗎？

“I'm not a dog, I'm not a little man, I'm somebody else.” I knew I was receiving special treatment in this house and I was also trying my best to open my heart to feel the warmth and love. I had gotten used to living alone in Duncan's house because of his nomad lifestyle. But Picasso did not treat me the same at all. He would play with me, feed me and even sleep together with me on his bed. He spent most of his time in the studio; no one dared to go in, except me. I was the only

As I began to frequent myself in Picasso's studio more regularly. I found

one who could go inside, wandering around or simply lying on the ﬂoor.

many images that looked similar to the one on my plate! Most of the

Sometimes he would lay me on his lap, patting me while continuing his

time, I was drawn with a thin and long with sharp-edged heads and

work. I felt I had company while enjoying myself in the same place;

ears, lying on the bottom of the images, sometimes in black, sometimes

I felt connected even when we did not say a single word. After getting

in white, sometimes in brown – but they all looked like me. There were

sick, I was brought back to Duncan's house for treatment and we never

some times when I looked at the women Picasso drew, I was confused

parted ways with each other since then. Our

if it was me or his wife Roque. Long face, pointed noses, long and ﬂuffy

connection, which surpassed life and death, was evident as we left the world together, only one week apart. 12

“Can you ﬁnd me?”

hair – was it a mixture of me and Roque? Are you able to ﬁnd me in Picasso's works?

C omp a n i ons h i p 1 3

我們家是一個小小的動物園，有兩隻蜘蛛猴 Fulang Chang 和 Caimito de Guayabal、數隻不同品種的鸚鵡、大鷹 Gertrudis Caca Blanca、

麻雀、母雞、無毛狗 Xolotl 先生，還有我― 深受卡蘿媽媽愛戴的小鹿

Granizo 。雖然媽媽當年因為一場交通意外，導致盆骨骨折而無法養育小

孩，但她有我們整個動物園陪伴著她―在床邊陪她畫畫，偶爾在花園或那

座特別興建的金字塔上飛來跑去，有客人來的時候又能展現一技之長。

“我會畫自畫像，那是因為我總是孤身一人，而且我最了解的便是自己。”

卡蘿媽媽喜歡畫自畫像，她說那是因為她總是孤身一人，最了解的便是自己。後來多了我們的陪伴，我們也逐一成為自畫像中的配角―媽媽一生畫了 143 幅自畫像，當中有 55 張都有我們的身影呢。

卡蘿動物園

K A HLO'S ZO O

Our home was a little zoo: two spider monkeys named Fulang Chang and Caimito de Guayabal, a couple of parrots of different species, an eagle called Gertrudis Caca Blanca, a few sparrows, hens, a hairless dog Mr Xolotl, and me, a pet deer fondly loved by Frida Kahlo, Granizo. Mama Kahlo had always wanted to have children, but unfortunately she could not, due to a traffic accident which had seriously damaged her pelvis. Instead, she had this little zoo of us to accompany her! We would lie right beside her bed when she was drawing; or play around in the garden and on a pyramid specially built for us. We even showed our tricks when guests visited her.

“I paint myself because I'm so often alone and because I am the subject I know best.”

Mama Kahlo loved painting herself. She said it was because she was always by herself and she knew herself the best. Since we were her companions, she started to include us one by one in her self-portraits – among the 143 self-portraits painted throughout her life, we managed to appear in 55 of them! 芙烈達．卡蘿 Frida Kahlo (1907-1954)

卡蘿六歲時因小兒麻痺導致右腿殘疾，18 歲時又因一場嚴重車禍導致脊椎、肋骨、骨盆等骨折，前後經歷三十多次大小手術，畢生受病痛纏繞。意外令卡洛放棄自小渴望學醫的理想，在漫長的治療和康復期期間開始創作，把個人的經歷和情感化為靈感。後來，卡蘿亦透過畫作記錄和面對自己的感情生活和挫折，以其前衛思想和自畫像聞名。 Kahlo suffered from polio which caused paralysis in her right leg at the age of six and experienced a severe traffic accident at the age of 18. She suffered from pain and surgeries throughout her life. During her recovery, Kahlo was inspired by her doctor and started to draw. She turned her experiences and emotions into inspiration; in her later life, her works mainly revolved around her relationships and thoughts. Kahlo was most famous for her self-portraits and the avant-garde ideology expressed in her paintings.

C omp a n i ons h i p 1 5

蜘蛛猴 Fulang Chang 第一個出現在媽媽自畫像的不是我，是黑色蜘蛛猴 Fulang

I was not the ﬁrst animal portrayed in Mama's painting.

蛛猴一般生性兇狠，在墨西哥又象徵著慾望，可自畫像裡

her husband Diego Rivera. It was said that spider monkeys

Chang 。那可是她丈夫里維拉送的禮物。從客人們聽說蜘

卡蘿媽媽抱著還是小小一隻的 Fulang Chang 特別乖巧可

愛！後來卡蘿媽媽又畫了一幅她和四隻蜘蛛猴的「合照」，畫裡牠們用長手長腳繞著媽媽，臉上沒有一絲兇狠慾望，反倒像是溫馴地注視她擁抱她，感覺像是在媽媽周遭努力防衛保護她，跟平日一樣。

That was Fulang Chang, the black spider monkey gifted by were usually cruel and ﬁerce; and they were the symbol of

“lust”in Mexico. However, in Mama Kahlo's eyes, Fulang

Chang was a lovely cute creature in her arms. Years later, there was another self-portrait featuring four spider monkeys, wrapping Mama Kahlo with their long limbs as if hugging her and looking at her fondly with a gentle stare; a normal day in the life of Mama.

小鹿 Granizo

Pet Deer - Granizo

卡蘿媽媽以我為藍本所畫的是一隻受傷的小鹿，身上插滿弓

You can ﬁnd me in <The Wounded Deer> where a deer

箭，躺臥在空無一人的樹林裡，卻換上自己的臉孔。我記

with Mama Kahlo's face was wounded by a bunch of

得，那時候媽媽為了減輕背部痛楚出發到紐約做脊骨手術，

arrows, lying in the forest. I could still recall that this was

後，我便陪在她身邊，看著她一邊承受著身心苦痛一邊一筆

surgery. It did not go successfully and she suffered more

可惜手術不成功反令痛楚倍增。卡蘿媽媽回到墨西哥家裡之一筆地把痛楚畫在畫布上。

在卡蘿動物園裡，我們總猜說 Fulang Chang 是

the time when Mama went to New York City for spine severe back pain after returning home. I was there to keep her company and watch her paint both her physical pain and mental plight onto the canvas, with me as her muse.

里維拉，而我則是卡蘿媽媽的化身；鸚鵡是媽媽

Here, in Mama Kahlo's zoo, we animals made wild

先生也許是媽媽心念的孩子。答案或許只有卡蘿媽

Chang was Diego Rivera while I was Mama Kahlo;

的外遇對象，常常出現在自畫像的無毛狗 Xolotl

guesses about our place in her work. We said Fulang

媽才知道，但我們深知這裡每一隻動物，都是

parrots represented Mama's other lovers, while Mr.Xolotl,

特別的、獨一無二的存在，或許代表著在她生命出現的過客，又或象徵著一段難忘的往事經歷，但最重要的是我們都是支撐著她與痛楚和病魔抗爭、陪伴她走過這段人生之旅的朋友。

Spider Monkey – Fulang Chang

frequently featured in portraits, symbolizes the child Mama Kahlo had been longing for. Well, only Mama Kahlo knew the answers and never told us! Yet, we

all knew, every animal in this zoo was unique, not because we represented someone in her life or an experience she went through. No, we were the ones accompanying her in her ﬁght with illness and pain. We were all Mama Kahlo's friends in her short yet precious journey. C om p a n i ons h i p 1 7

大家好，我叫 Sam ，是這屋子裡第一個 Sam ―這一定要

說清楚，因為我有 24 個孩子，他們全部都叫 Sam ，是安迪

沃荷改的名字。剛開始我完全分不清是不是在喊我，到了後來每當家裡有人喚 Sam ，我都不會理睬。哈，誰知道他們

在喊誰呢。

剛來沃荷家的時候，這裡只養了一隻貓― 我女朋友

Hester ―就是你們認識的 Blue Pussy 。 Hester 是那種

性格特別冷酷的貓女王，不得不說藍色實在太適合她。沃

荷想給 Hester 找一個男朋友，於是帶我來了，而常常膩在一起的我們沒過多久便生下了兩打貓寶寶（對，兩打， 24

隻）。寶寶們都長得跟我特別像，也跟我一樣好動活潑（一點都不像 Hester 呢），可能這才會全都被稱為 Sam 吧？可

我還是挺羨慕 Hester 擁有自己專屬名字呢！

Warhol 和 25 個 Sam A ND 2 5 C AT S NA ME SA M

Hi everyone, this is Sam, the ﬁrst-ever Sam in this house – just to clarify as there were another 24 Sams – named by Andy Warhol – in the house. 安迪．沃荷 Andy Warhol (1928-1987)

沃荷是波普藝術（Pop Art）的開創者之一，尤其喜歡把日常生活事物帶進藝術，其中一系列最著名的作品便是以金寶湯罐頭為題材。沃荷主張藝術商業化，而絲網印刷是沃荷的標誌性創作方式，讓他能夠像機器般批量創作出一模一樣的成品。除了是一名藝術家，沃荷亦曾從事電影製作人、作家、插畫家、樂隊經理人等工作，一生經歷豐富。 As one of the leading artists of the Pop Art movement, Warhol loved connecting daily life and art creation by using daily life objects in his works. One of his famous work series was produced with Campbell soup cans. A strong advocate of commercial art, Warhol adopted silkscreen painting for mass production of artwork; this remained his signature style. Warhol was not only an artist, but also a ﬁlm producer, author, illustrator and even band manager. He lived such a rich life.

At ﬁrst, I couldn't tell if they were calling me. But, as time went by, I

. Hey, who knew who they were just turned a deaf ear to every“Sam!” calling to?

When I ﬁrst came to Warhol's house, there was only one cat, my girlfriend Hester, aka the Blue Pussy. Hester was cold but gorgeous like a queen – the blue colour ﬁtted her so well. Warhol was looking for a boyfriend for Hester and here I was! We gave birth to two dozen cat babies soon after – right, 24 kittens! The kittens looked so much like me and were more of the energetic or cute type; unlike Hester. Was that why they were all named Sam, Warhol? However I still envied Hester for owning her“one and only”name.

C om p a n i ons h i p 1 9

話雖如此，我知道沃荷是懂得分辨我們每一個的。他畫畫的時候，我和

聽說，沃荷成名了，但還是會畫很多跟動物有關的畫，想要

的原型來作畫，也沒有畫滿 25 隻 Sam（只畫了 16 隻而已），但那些舔毛、坐姿、睡相、耳朵貓鬚的細節，都能看出來他平常有仔細地觀察我們每一個孩子。即便他統一稱呼我們 Sam ，可在他眼中我們應該真的是 25 個不一樣的 Sam 。還記得那天，

聽說，沃荷養了一隻狗 Archie ，形影不離地帶他周圍去，

Hester 有時候會跳到櫃上趴著俯瞰。雖然沃荷不是照著我們每一個

沃荷和他的朋友一起上來為畫作上顏色，紅的、橙的、黃的、粉的、綠的，還有藍色的 Hester，那些五顏六色的配色跟我們各自的性格特別契合。

繪本出版以後，好像越來越多人認識沃荷，也越來越多人認識我們。他們會來家裡呼叫著「 Sam ， Sam 」，接著一個一個地把孩子們抱走。直到最

喚醒大家對我們的關注。

我好懷念跟沃荷的相處呢。

聽說，沃荷在臨終前最後的日子，選擇獨自搬到郊外與貓狗們同住度過最後的時光。

沃荷曾說：「我從來沒有遇到過我不喜歡的寵物。」同樣，我們沒有任何一個不喜歡如此珍惜我們的你。

後，孩子們全都找到新家，成為那些屋子裡唯一的 Sam 。沃荷只留下了

After the book was published and more and more people

嗎？）。再過了三年，Hester 離開了我們，沃荷和媽媽都說她成為了天使。

keep calling“Sam, Sam”and taking the babies away

我和 Hester ，感覺好像一切都從來沒有發生（從頭再來生 24 隻小貓，好

後來，我也去天堂跟 Hester 作伴去了。

Well, although Warhol named us all Sam, no one knew us better than he did. I knew he could recognise and distinguish every single one of us. Hester and I used to jump onto the cupboard, to lie down and watch how he sketched us. Warhol

did not use us as the blueprint of his cat sketches; he didn't even draw all 25 Sams – there were only 16 sketches. Yet, the way he portrayed the fur licking, sitting pose, napping look, cat ears and whiskers showed how much he observed my kitten babies – we were all different Sams in his eyes. I recalled one day when Warhol and his friends came to put colour onto the sketches – red, orange, yellow, pink, green, and blue for Hester – all the colours matched our personalities so well.

knew about Warhol and us. They would come over and one by one. In the end, all kittens found a new home,

and they became the“one and only”Sam in their house.

Only Hester and I were left to stay with Warhol – it was like a rewind to the beginning as if nothing had even happened. (Should we give birth to 24 babies again?)

Three years later, Hester left us – Mama and Warhol said she became an angel – and I also went to accompany her in heaven later on. It's said: Warhol became famous but still did many animal sketches to raise awareness. It's said: Warhol raised a dachshund called Archie and brought him wherever he went. Aw I missed the time spent with Warhol too. It's said: Warhol moved to live in the suburb with cats and dogs to spend his ﬁnal days.

Warhol once said,“I never met a pet I didn't like.” By the same token, we have never met anyone who did not like or treasure us. 20

C om p a n i ons h i p 2 1

Stanley：你好，我是 Stanley，牠是 Boodgie。我們就是跟大衛 · 霍克尼一起生活在荷里活的臘腸狗，可以隨便拍照、畫畫，有需要我擺個姿勢給你。沒關係的，我們很多年前早就習慣了。 Boodgie：我是 Boodgie。 Stanley ： Boodgie 比較安靜，別介意就好。我們倆不是

同時期來霍克尼家的，我大概比 Boodgie 早兩年進來，可

之後我們就一直一起生活，從來沒有分開過。 80-90 年代

的時候，我們住在加州，霍克尼很喜歡帶我們出去荷里活山附近的沙灘和公園；有時候又會帶我們去他的工作室，那裏還有我們專屬的坐墊呢。對吧，Boodgie？

Stanley: Hello, this is Stanley and Boodgie. We are the dachshunds who lived with David Hockney in Hollywood! Feel free to take pictures or draw. Let me know if you want me to pose for you. Come on, we got used to it a long time ago! Boodgie: Hello, this is Boodgie. Stanley: Boodgie is the quiet type, please bear with him. I came to Hockney's house two years before Boodgie. We

生活在荷里活的狗模特

D O G MODEL S WHO LIVED IN HOLLY WO OD

have stayed together since then without separating even once. Back in the 1980s and 1990s, we used to live in California; Hockey loved to bring us to the beaches and parks near Hollywood Hill. He brought us to his studio too – we had our own cushion there! Right, Boodgie?

C om p a n i ons h i p 2 3

B o o d g i e ：我們和霍克尼的作息基本上是一樣的。他起

床，我們跟著醒；他吃飯，我們跟著吃；他睡覺，我們跟著休息，每天生活步伐都是一致的。

Stanley ：我才是最一致呢！當霍克尼在家或是工作室，我

也會跟著他走，但 Boodgie 不會，牠喜歡獨自一個靜靜待

著，我和霍克尼都不會去打擾牠。你說這裡是不是天堂，有得吃又有得睡，霍克尼又喜歡我們― 以前加州的家裡和工作室都掛著很多我和 Boodgie 的畫像和模型呢。

Boodgie ：霍克尼每天大部分的時間都是在畫

畫，他是個很努力勤奮的人，這是大家不知道的畫家日常。至於我們倆，基本上就是陪著

霍克尼工作，24 小時都在一起。霍克尼休息

的時候會看著我們，用二十到三十分鐘的時間快速地畫下我們當下的模樣，之後便繼續回去作畫，可能畫我們就是他讓腦袋放空抽離的方法。

Boodgie: Our daily routine was basically the same as Hockney. When he woke up, we woke up; when he had his meal, we had ours; when he slept, we slept. We were always on the same timetable. Stanley: Hey, I was the one closest to him! When Hockney was at home or in the studio, I loved to follow him around. Boodgie never did the same – he liked to be alone. Hockney and I knew him well, so we never disturbed him. Wasn't it like dog heaven? We got food to eat and a place to sleep. Hockney treated us with love and care. You know, he

大衛．霍克尼 David Hockney (1937-)

霍克尼被譽為「全世界最受歡迎的在世畫家」，即使年屆 84 歲，仍然活躍於藝術界，在美國洛杉磯和英國兩地往來工作生活。霍克尼的藝術風格十分多元，喜歡嘗試不同風格，更會跟隨科技發展步伐善用嶄新電子產品創作，例如激光影印機、iPhone 手機、iPad 等，多年來對創作依舊保持熱情，努力嘗試突破固有風格，透過創作記錄生活表達想法。

Hockney is famous as“the world's most popular living painter”and is still active in the art industry even at the age of 84. He travels between Los Angeles, USA and the UK. He practices diverse forms of art; and is fond of trying different techniques and styles. He also keeps pace with advances in technology and uses the newest electronic gadgets, such as laser printer, iPhone and iPad, in his work. Up to today, Hockney retains a great passion for art and tries his best to create new styles while recording his life and thoughts in his work.

loved hanging our paintings and displaying the models of us at our home and studio. Boodgie: People might not know that Hockney spent most of his time on painting. He was really hard-working and serious about his work. Both of us just accompanied him 24/7 whenever and wherever he worked. Hockney

would come to us when he took a break from his work, spending a quick 20-30 minutes drawing us two, like a record of our daily life. I felt this was the way he rested his brain and mind, simply by drawing what he saw in us.

C om p a n i ons h i p 2 5

Stanley ：對呢，以前那些叔叔會來我們家，跟霍克尼喝酒吸煙，在游泳池

嬉鬧，有時候還會帶著我們去沙灘！他們的相處是很輕鬆的，就像是霍克尼的調劑，也是創作的靈感！我記得有些畫作都是他跟叔叔們相處的場景。

Stanley ：你記得我們有段時間完全沒有離開家嗎？我都不

記得我們呆在家裡多久了，反正就是很久很久就對了，但每次我去找霍克尼，他看起來都很沒有精神，感覺只想留在家裡，可是我很想出去沙灘和公園啊！我會在家裡胡亂吠

叫 ― 因為我實在是太吵鬧， Boodgie 常常怒視著我― 可即便我跑到霍克尼旁邊，他還是沒聽見般。

B o o d g i e ：霍克尼平常就不太能聽見，是你沒眼力勁而

已。其實我有留意到的，是自從以前常常會來探訪的那四個叔叔沒有再出現以後，霍克尼才變得如此失落悲傷。他說，那些叔叔病倒了，離開了。我猜是四個叔叔一下子的離世才對霍克尼帶來了這麼大的衝擊。

Boodgie ：那是我們跟他相處以來最難過的一段時間。他把自己困在家裡不想出去，我們能做的就是在旁邊陪著他，就只有我們倆在他身邊。有段時間，霍克尼會很認真地觀察我們，每天對著我們畫畫，不知不覺就畫下了很多幅。 Stanley ：所以我們都是久經訓練的狗模特！除非我睡著了，不然當我看到

霍克尼對著我們拿起畫筆，我都會嘗試擺好姿勢，就算趴著也要趴得好看一點，方便他畫下來。真的，我都想不出再多的姿勢了。聽說後來出了書，還辦了一個掛滿我們倆的展覽呢，你們都看過我們的畫作嗎？

Stanley: Oh right! The four uncles used to visit our house and drink and smoke with Hockney by the poolside. They would come with us to the beach too! Hockney felt at ease with them and they were his muse

Stanley: Do you remember the time when we didn't leave

too. I remember seeing Hockney depicting the scenes of them playing

our home at all? It lasted so long that I even lost count of

together.

how long we stayed in the house! But whenever I looked for Hockney, he looked soulless – as if he just wanted to stay at home. But I really wanted to go out and enjoy the sun on the beach or in the park! I would bark at home – Boodgie always glared at me for that – but Hockney seemed as if he heard nothing, even when I ran and

Boodgie: We never saw him so upset for so long. All he wanted was to stay at home without meeting anyone; all we could do was to keep him company. We were his sole company in the house, so he would observe us really closely and draw us every day.

barked right next to him. Stanley: That was how we became experienced dog models! Whenever

Boodgie: Hockney couldn't hear well for some time.

I saw Hockney pick up a brush looking at us, I would try to strike a better

You did not notice. I did observe that Hockney got upset

pose. Well, unless I was sleeping. There were skills even for lying down!

ever since four of his friends no longer visited our house.

Plus, this helped Hockney to draw us too, I believe. I couldn't even think

Hockney would talk to himself, murmuring that the uncles

of more poses to strike – but at least we got a lot of our paintings, right?

had fallen sick and passed away. I guess that it was a big

I heard they were published in a book and there was an exhibition too!

blow to him, to lose four friends suddenly all at once.

Have you seen our paintings yet?

C omp a n i ons h i p 2 7

你有看過我的雕像嗎？對，就是那個 Pom and Me ，我

就是站在村上隆爸爸旁邊，昂著頭自信地笑著的那隻小狗

Pom 呢。偷偷告訴你一個秘密，這份作品的創作靈感其實

並不是我。早在我出生遇見村上隆之前，爸爸早已想好要畫自己跟一隻小狗站在一起。只是剛好那一年爸爸去了那間簡陋的酒店（我出生的地方），又剛好決定要把我和兄弟姊妹

們帶回到他的住處，又剛好最後選擇留下我在他的身邊，這份作品才會變成是爸爸跟我的模樣。

如果你仔細看的話，爸爸畫的我常常都是同一個樣子―昂著頭、瞇著眼、自信地微笑，像不像爸爸平常在你們面前笑哈哈的模樣呢？再告訴你一個秘密好了，其實我跟爸爸私底下都不是這樣的，誰會一直笑容滿面的呢，你說對不對？爸爸在工作室創作的時候，一般都比較安靜，有時候神情還會帶點悲傷，可他筆下的作品還是那麼色彩繽紛，我發現好像他越憤怒難過的時候，畫作就越奇特燦爛呢。人類太複雜難懂了，我只知道爸爸跟我一起玩的時候，他會變得很輕鬆，表情特別明亮！

村上隆 Takashi Murakami (1962-)

村上隆是近代日本最著名的藝術家之一，亦是後現代藝術風格超扁平（Superﬂat）運動的創始人。村上隆自小深受日本動畫和漫畫影響，更曾渴望成為一名動畫師，可惜最後因重重障礙而放棄夢想。成為藝術家之際，村上隆打算在西方藝術市場，以日本獨特的文化和歷史建立自己的身分，於是結合當初對漫畫等御宅族文化的興趣，向世界呈現日本的次文化，打造全新專屬的「超扁平」風格。 Takashi Murakami is one of the most popular Japanese artists in modern history and the founder of the“ Superflat ”aesthetic style. He grew up reading Japanese animations and manga, He once dreamt of becoming an animation artist, but gave up due to some unpleasant experiences. When he first became an artist, he thought about the uniqueness of Japanese cultures and history and planned to establish his own identity in the Western art industry by showing the world Otaku culture such as animation and manga – paving the way for his“superﬂat”aesthetic style that is now known worldwide.

永遠快樂的 Pom FOR EVER A H A PPY P OM

Have you seen my statue before? Right, the Pom and Me statue! I was the little puppy Pom standing next to Papa Takashi Murakami, tilting my head with a big smile. Shh, let me share a secret with you. People always thought I was the muse behind this statue, but you know – this piece was not inspired by me at all! Before I was born and met Papa, he already had the idea of drawing a self-portrait of himself with a dog standing shoulder to shoulder. It was just a coincidence that year Papa went to the hotel where I was born, and he decided to take me and my sibling with him. In the end he chose to keep me by his side. That was why, I appeared as the“dog”in Papa's sculpture.

C om p a n i ons h i p 2 9

If you look closely, you will ﬁnd that I always look the same in all of Papa's work – smiling conﬁdently with a tilted head and a pair of smiling eyes. Don't I look like Papa who always smiles so brightly in front of the camera? Umm, let me tell you another secret! Papa and I did not smile that much in our daily life...well, who smiles all day and night, right? When Papa was working in his studio, he was quiet and sometimes looked upset. But, interestingly, his works were still colourful – they actually became more colourful when he was furious or disappointed! Human beings are just too hard to comprehend. One thing I knew for sure was that Papa looked relaxed and his face would always light up when he was playing with me. Papa loved to include me in his works, just as he involved me in his life. He loved to take pictures of me too! He would upload a picture of me every day: when we were going for a walk, when I lay down in the studio or when he held me in his arms for a photo. I was not used to cameras so I looked so nervous! Talking about the studio, can I share with you another secret?

爸爸除了會把我放進他的作品外，也喜歡用照片記錄我們的生活，每一天都會上傳一張我的照片：有時候是我們一起在樹蔭路上散步，有時候是我攤倒在他工作室地上，有時候是他抱起我一起合照（我不會看鏡頭，結果每次都特別緊張板起臉來）。說起工作室，我又有一個小秘密呢！因為爸爸的

作品都特別巨型，所以都要花很長時間去完成，工作室牆上都有不同的進度表―而其中一個進度表是 POM 。那上面

記錄了我成長的每一個里程碑，哪天做了甚麼、哪天學了甚麼，哪天第一次去了哪裡，都一一記錄下來，爸爸是真的很認真對待我的成長，可能因為我是他第一隻養的狗？

可是後來，進度表上寫的變成「今天去看醫生做檢查了」、

「今天做了第一次手術」。爸爸總是會陪著我，可是真的很辛苦很累，我感覺到爸爸也很難受，這是一場我們倆跟癌

魔的抗爭。我很努力……真的很努力了，可過了一年半，我們還是輸給這隻病魔。不知道爸爸有沒有很難過啊？他在家會不會很悶呢？看我分享這麼多

秘密，你可不可以幫我跟他說，不要常常皺著眉板著臉，還有……不要忘記我！

Since Papa's artworks were usually large in scale and took quite a long time to ﬁnish, he had a habit of writing progress charts on the studio wall to record the progress of his

However, later on, what was written on the progress chart was:“Went to hospital for check-up”and“First

. I got sick and Papa was always there with surgery”

works – one of the charts was even

me. It was so hard and tiring...I could feel that Papa

named Pom (yes, me)! He recorded

was heartbroken seeing me this way too. This

was treating me as seriously as

was a war between us and the cancer demon. We fought for one and a half years but I lost eventually. Will Papa feel down and upset? Will he be bored at home alone? Hey, I shared

his art pieces.

so many secrets with you, can you do me a favour? Can

every milestone of my growth – what I did, what I learnt and where I went for the ﬁrst time. He joked that he

you tell him, don't frown and get mad too often, and... don't forget about Pom?

C omp a n i ons h i p 3 1

我的白色靈魂伴侶

開始就是一個「貓向」的人，直至在一個領養活動中遇上她

MY SO UL M ATE IN WHITE R AIN B OW & B O O GIE

生命中的靈魂伴侶―不是丈夫，而是她的愛犬：一隻白色

的唐狗以撒。自此，兩個生命從此互相牽伴，經歷每一天的患難、歡笑與得來不易的平安。

Rainbow had long been a cat person since she was little. After witnessing a dog biting her family cat to death. However at an adoption event, she met her soulmate – not her husband, but her dog, a white mixed-breed Boogie. Since then, Rainbow and Boogie have been bound together through thick and thin, sharing laughter and blessings.

李香蘭和她的以撒

S O U L M AT E S 32

曾經目睹過狗隻咬死自家貓兒的可怕經歷，李香蘭自言從小

李香蘭 Rainbow

Rainbow 本名梁曉文，筆名李香蘭，在沙田下禾輋村出生及成長，是一名鄉村畫家及繪畫導師，出版的圖文繪本包括《阿貓阿狗》、《上 • 下禾輋》、《尋人啟事上 • 下冊》等。以撒是《阿貓阿狗》便是充滿童趣幽默的四格漫 Rainbow 創作的靈感來源，也經常成為她筆下的主角，畫，從以撒的角度解讀生活日常瑣事。 Leung Hiu-man (Rainbow) was born and brought up in Ha Wo Che Village in Sha Tin. She is a rural painter and drawing teacher. Under the pen-name Lee Heunglan, Rainbow has published works including <Cat and Dog>, <Seung Ha Wo Che> and <Lost: Volume I & II>. Boogie has been Rainbow's source of inspiration and the main character of her works. One is <Cat and Dog>, a four-panel comic strip full of childlike humour, portraying daily life stories through the eyes of Boogie.

S o u l m ates 3 3

全身白雪雪、有個粉紅鼻子的以撒，其實患上了白蝕症，加上眼細細、呆呆

Diagnosed with vitiligo, Boogie is fair with a pinky nose; and looks

上決定帶牠回家。 Rainbow 家住下禾輋村，以撒天性好奇而且勇猛，八年

him among all the animals awaiting adoption and decided to bring him

的神情，在待領養的動物中， Rainbow 一下子就對牠產生奇妙的感應，馬

間竟然有五次捉蛇的經驗，其中一次是一條俗稱「飯鏟頭」的眼鏡蛇，搏鬥中幾乎要切去前肢，「每日三個電話，告訴我：現在要幫以撒打麻醉藥了，

有可能導致死亡的，問我是否同意，真的很崩潰！那段時間我一看見來電號碼是醫院，心都跳出來，我和老公彼此推來推去，誰都不願接電話，我們都怕接到的是牠死掉的消息！」

擔驚受怕之餘，以撒因為病情不

肯進食， Rainbow 想到牠自小聽著自己的結他聲睡去，於是錄了十多首歌在錄音筆上，有些更是

Rainbow 全家一人一句為牠而唱

的歌，最後以撒在醫院深切治療部聽到熟悉的歌聲，終於肯恢復進食。

dorky with a pair of small eyes. Rainbow was immediately drawn to home. Born curious and brave, Boogie caught ﬁve cobras during his eight-year stay in Rainbow's home in Ha Wo Che Village. One of the ﬁve was a Chinese cobra which almost took away Boogie's front limbs

in their ﬁght.“The hospital was calling three times every day telling me,

‘We will now apply anaesthetic onto Boogie, which may lead to death’ ; and asking if I agreed. It drove me crazy. Whenever I saw their call, my

heart skipped a beat. My husband and I just paced around since neither wanted to pick up the phone. We were so afraid to hear the news of his death.”

Even though was suffering from anxiety, she also had to ﬁnd ways to persuade the sick Boogie to eat. She prepared a recording containing more than ten songs - some to which were even sung line by line by Rainbow's family, re-enacting how Boogie went to sleep since he was little - with Rainbow playing her guitar next to him. In the end, Boogie, who was staying in the intensive care unit, was able to hear familiar voices and started to eat again. Boogie has been suffering from ear diseases since he was six, and has

每次捉蛇受傷，加上以撒自從六歲起便耳疾病發， Rainbow 語帶溺愛地苦笑，彼此這些年經歷過無數掙扎，「外界看我在社交媒體發佈以撒的故事，

好像很 sweet 很可愛，但背後其實我被牠咬了無數次，牠也被我打了無數

次。以撒令我明白到，愛是要付出的，沒有白白得來。養了以撒

這些年間，每次牠捉蛇受傷，加上耳疾，做了無數次手術，我大概有一半時間和以撒的病搏鬥。」以撒的耳疾並非會致命的嚴重疾病，但需要定時往耳窩深處滴藥殺死真菌。因為童年在鄉村長大，加上 Rainbow 的寵溺，牠的性格變得野性、不喜歡

人靠近，所以每次滴藥都會咬人，無數次手術更需要全身麻醉，至今以撒已經用盡了牠能夠承受麻醉的限額。有一次 Rainbow 崩潰地向以撒說：「我

injuries from catching cobras. When the topic has raised, Rainbow smiled bitterly, yet with much fondness. She revealed that both of them

had been struggling so much throughout the years.“We may look sweet and cute from the stories I post on social media. But the real story is that I have been bitten by Boogie and he has been beaten by me countless times. I

then realise that love is all about devotion. It cannot be taken for granted. Raising Boogie for all these years, I realised that I have spent almost half the time ﬁghting with his diseases and injuries, from catching cobras and after surgeries for his ears.”

們再沒法擺平這個耳疾，不如一起死掉算了。」

S o u l m ates 3 5

Although Boogie's ear infection is not fatal, if requires regular application of ear drops into his ears to kill infection. Growing up in the village and spoilt by Rainbow, Boogie is untamed and difficult to approach. He always bit people when ear drops were applied to his ears; and he had to get a full body anaesthetic for all his surgeries. Now his body can no longer endure any more anaesthetic. There was one time Rainbow

desperately shouted at Boogie:“I would rather die together if we can no longer cure the ear disease!”

Rainbow spent so much time and effort to help Boogie understand human instructions. Not only did she watch and read a considerable amount of ﬁlms and books on dog training, she also hired a teacher to learn communication skills. Thanks to her constant practice and walks with Boogie, his personality gradually improved and their conﬂicts over his ear disease have greatly eased.

“Many said Boogie and I look alike!”Rainbow feels like Boogie; they

have become one and are able to feel each other. Rainbow's creations

Rainbow 費了很多心思讓以撒明白人類的指令，不但閱讀大量狗隻訓練的

影片和書籍，又請老師教授溝通技巧，加上不斷的練習、散步等，幾年下來，以撒的情況終於得到改善，因處理耳疾而發生的衝突也緩和不少。

「很多人說我跟以撒很相像！」Rainbow 甚至感到自己和以撒已經融為一

體、彼此感應。她的創作主要以動物為主角，擬人法的故事內容活潑生動，這種視角對她而言其實毫不刻意，「一如以撒也很自然地知道我在想甚麼一

樣。我在餐廳看見肉骨頭，竟然也會心想：好美味，不知可否打包回家？我好像有時會不自覺用牠的腦袋去思考。」

以撒狂野、勇敢、好奇、忠誠、樂安天命，「除了不能說話，牠的所有

條件都比人類優秀很多，要說牠對我創作產生的影響，就是牠影響了我整個人。」每次面對家中動物離世，Rainbow 回想到以撒進入

with a lively personiﬁcation. She explained that choosing this point of

view is nothing intentional.“It's so natural how Boogie understands what I am thinking as well. When I see bones in a restaurant, interestingly, the thought of‘Delicious. Can I buy it to go?’pops up. Sometimes, I think like Boogie unintentionally too.”

Untamed. Brave. Curious. Loyal. Go with the ﬂow.“He

outshines human beings in all criteria except he can't talk. If you ask me the level of inﬂuence for the fact he brought to my creation, I will say he has changed every single part of me.” Every time Rainbow has to face the passing of animals at home, Rainbow will recall Boogie's calm glance before entering the operating room and tell herself to stay tough.

“It is said‘DOG’is‘GOD’spelled backwards. Boogie is so much

手術室那視死如歸的眼神，便告訴自己，必須堅強起來，「人家說『 DOG 』

like Jesus Christ, telling human beings not to worry amidst the wind

擔心，有牠在身邊，有時候甚至會覺得，如果能死在一起那真是太好了的。」

together, with him by my side.”

三個字的倒轉就是『GOD』，牠真的好像耶穌，在大風大浪之中叫人類不用

mostly feature animals as the main characters, presenting the stories

and storms. Sometimes I will imagine,“It will be so great if we can die

S o u l mates 37

「我覺得每一日有牠陪在我身邊，一起靜靜的畫畫，落街散步，便已經是小確幸了。」香港繪本畫家貓珊跟領養回家的 Rosie 一起生活兩年，Rosie 便因腦膜

炎離開，短短的日子，卻是每天充滿愛與歡樂的 quality time。這段動人的故事，觸發

起貓珊的藝術創作，也因而帶來了更多相知相遇。Rosie 即使離開了，牠對生命的熱情

卻在貓珊的創作中延續下去。

最好的聖誕禮物

貓珊 & 她的 Rosie B E S T CHR IS TM A S GIF T EVER M AOSHAN & ROSIE

“With her by my side, watching me quietly whenever I drew and going for a walk together every single day, I felt so grateful for all these little things.”Rosie lived

with Maoshan, a Hong Kong picture book author, for two years after her adoption and before her death from meningitis. Two years is such a short period of time; yet, to them, every day was quality time full of love and joy. Her own story with Rosie inspired her to embark on a journey of creation, which in turn brought her more lovely encounters. Rosie's passion for life has been passed on through Maoshan's work even though she has left us forever.

S o u l m ates 3 9

某一年聖誕節，一隻由繁殖場來的貴婦狗靜靜地瑟縮領養中心的一角。牠當時七、八歲左右，是一隻生育太頻密的狗媽媽，前肢因長期困在寵中導

One year around Christmas time, a

致嚴重變型，尾龍骨歪斜，走路一拐

poodle rescued from a puppy mill

一拐，又失去所有牙齒，來到七天都

was cowering in the corner of an

乏人問津。一般而言，只有唐狗才會

adoption centre. She was a mother

沒人理睬，純種狗通常都會很快便收

around seven or eight years old

到領養查詢或申請。 Rosie 來到的第

and exhausted from overbreeding.

八天是聖誕節，於是貓珊希望給牠一

Trapped in the cage for such a long time, her limbs were severely

份聖誕禮物，帶牠回家過聖誕。

來到貓珊的家，Rosie 突然一改畏縮、安靜的一面，開心地跑跳狂奔。活潑歡

樂的性格，讓貓珊馬上決定要留下 Rosie ，讓牠成為家庭一員。貓珊卻沒想

到牠只有短短兩年的時間留在自己身邊，回想起來，貓珊慶幸自己沒有浪費每一分一秒：貓珊習慣背上狗背囊，帶著 Rosie 出雙入對，牠那和

善、平靜的特質，總是奇妙地吸引到不同經歷的人靠近，「有一次去咖啡店，有位老婆婆問我可否抱抱牠，她一邊抱住 Rosie 一邊傾訴自己養過

She walked with a limp and had lost all her teeth. In general, mixed breeds are not easily adopted while single breeds like Rosie usually receive enquiries or applications for adoption within a short time. Yet, no one was willing to adopt Rosie after seven days. Christmas Day was on the eighth day since Rosie arrived at the Centre; Maoshan decided to give her a Christmas gift by bringing her home for Christmas.

的狗，她抱了 Rosie 好久，我們也談了好久。」在繁殖場受過的痛苦，卻絲毫

Upon arriving at Maoshan's home, Rosie was no longer timid and

為 Rosie 而作出了抱狗、摸狗的第一次。」

mind right away to let Rosie stay and become a member of the family.

沒有在 Rosie 的性格留下陰影，牠始終待人親切，「我有不少怕狗的朋友，因

貓珊 Maoshan Connie

貓珊（Maoshan Connie) 是香港繪本作家，大學時主修建築，後於劍橋大學修讀兒童文學碩士，回港後出版《最後的告別》、《小虎妹形象工作室》、《Deserve》等繪本。貓珊關注城市和動物議題，並在動物慈善機構（LAP）擔任義工統籌，提到創作靈感，Rosie 的經歷讓貓珊有很大感觸，《Deserve》正是以 Rosie 的故事為藍本。 Maoshan Connie (Maoshan) is a Hong Kong picture book author who graduated with a Bachelor of Architecture and continued her studies in Cambridge University for a Master of Children's Literature. Upon returning to Hong Kong, Maoshan has published her own picture books including <Last Goodbye>, <Tiger Girl Image Studio> and <Deserve>. With a keen interest in city and animal issues, Maoshan has taken up the role of volunteer coordinator in an animal charity, LAP. This has aroused strong emotions in her and inspired her to create stories. One was her story with Rosie, the inspiration for her book <Deserve>.

distorted and her spine was crooked.

quiet – she ran and jumped around happily. Maoshan made up her Never did Maoshan imagine Rosie would only stay by her side for only two years. Now Maoshan is glad that she never wasted a second with Rosie: she

used to carry her dog backpack, bringing Rosie everywhere she went. Surprisingly, many people with different backgrounds and stories gravitated towards Rosie for her kind and calm personality.“There was a time

when we went to a cafe and an old lady asked if she could hug Rosie.

She held Rosie in her hands and began telling me about her dog. For a very long time, she was holding Rosie and chatting with me.”Despite

the painful experience in the puppy mill, Rosie was not scarred for life – she still treated people warmly.“Some of my friends who were afraid of dogs attempted to hold and pat a dog for the ﬁrst time because of Rosie.”

S o u l mates 4 1

貓珊喜歡跟人聊天，總是臉帶歡樂的笑容，對周圍的人和事都充滿好奇，這種友善隨和的個性也恰好與 Rosie 一拍即合，「因為帶著她，一些陌生的朋友會更願意敝開

心扉去分享自己的故事，這些故事又會成為我筆下的題材。」

領養 Rosie 後，貓珊更加投入於動物義工，她形容自己在動

物組織中，見盡了世間最壞和最善良的人，「我總是覺得畫

畫不需要很漂亮，創作也不是一個乍現的靈感；最重要是生命中碰上一個火花觸動到自己，變成創作分享出去。」Rosie 的故事也影響貓珊創作繪本故事的方向，「因為 Rosie ，

我想讓更多人知道這些慘不忍睹的繁殖場，和無數正在受苦的動物；儘管現實如此，我還是希望故事的最後是一個

happy ending。」

受盡折磨的 Rosie 最後享受到快樂的兩年餘生，貓珊待牠如

女兒，「每天看見她在開心地彈跳跑步、狂吃東西，我便覺得很幸福了。」

Always with a big bright smile, Maoshan loves interacting with people and has immense curiosity towards everyone and everything around her. Her amicable personality matched well with Rosie as well.

“Whenever I brought Rosie with me, I was able to draw out stories from some unfamiliar friends who were more willing to open.” After the adoption of Rosie, Maoshan became more engaged in animal voluntary services. She mentioned that she had seen the best and worst of humankind in

the animal organisation.“I believe that drawing need

not be pretty and creation is never from one sudden

inspiration. It’s all about encountering a spark in life

that touches your heart and turning it into creation for

sharing.”Rosie’s story made an impact on Maoshan's

creative direction for her picture books.“Having met Rosie, I would like to let more

people know about the cruelty to breeding grounds and the plight of countless animals living inside. Despite the reality, I still wish

for a happy ending in my stories.” Inspite of Rosie's tortureous early life, she was able to enjoy her ﬁnal two years happily with Maoshan treating her as a daughter.“I feel happy

simply seeing her hop and run

around happily and eating a lot.” 42

S o u l mates 4 3

飯，他為了在附近逛街打卡。穿過銅鑼灣大街小巷之時，我們或許沒想到街道中央會放

館，卻發現藝術主動呈現在我們眼前。 There are many reasons to visit Causeway Bay today; visiting cafés,

grabbing a meal with friends or going shopping and taking photos with friends. We are here for different reasons. Yet, while we are walking down the streets of

ﾠAccidental Aesthetics No.3

還佈滿多件藝術裝置。明明沒有踏足美術

Oil on canvas / 180 x 160 cm / 2018

抬頭會看見天橋外牆貼著大型壁畫，草地上

ZHU JINSHI DR AW THE CHR IS TM A S TR EE IN YOUR MIND!

意外美學三

了一棵有別於傳統的彩色聖誕樹，也沒預料

朱金石

樣，我為了到咖啡店閒坐，你為了跟朋友吃

繪畫你心目中的聖誕樹

A R T F O R CO M M U N IT Y 44

今天我們來到銅鑼灣的原因或許都不一

Causeway Bay, we may never imagine seeing a colourful Christmas tree standing in the middle of the pedestrian road; or we may be surprised to come across large-scale window art on the bridge and all the art installations on the rooftop. Art has come to us and is now presented to us here amid the hustle and bustle.

朱金石 Zhu Jinshi

朱金石（1954-）是中國抽象藝術和裝置藝術的先鋒派藝術家，早於 80 年代初起開始抽象繪畫創作，是推動中國當代抽象藝術的一員。1986 年移居柏林，嘗試繪畫以外更多元的藝術實驗如行為、文字、裝置等，後來於 2010 年回到北京生活及工作，現有 15 個工作室散落於北京市。朱金石的創作表現出極強的生命力和延展性，以強烈、張力極強的手法，用調色板、砌牆抹刀、木鏟、十五寸的畫筆等將顏料重色厚塗於畫布之上，由此開創「厚繪畫」而為人熟知。透過油彩顏料創作立體作品，重新探索和定義「顏料」和「繪畫」，並多次參與國內外的重要展覽。 Zhu Jinshi (1954-) is a pioneer of Chinese abstract and installation art. Producing abstract paintings since the 1980s, he has made a huge contribution to China's modern abstract art. Zhu moved to Berlin in 1986 to experiment with more diverse art forms such as behaviour, word and installation. Returning to Beijing in 2010, Zhu now owns 15 working studios scattered over the city. Renowned for his original thick-layer oil paintings, Zhu demonstrates a strong sense of vitality and ductility in his works by wildly applying thick layers of paint on canvas; he uses colour plates, spatulas, wooden shovels and 15-inch paint brushes. Making use of oil paints to create three-dimensional sculpture-like works, Zhu aspires to explore and redeﬁne the meaning of“painting”. His works have been collected and showcased in several notable exhibitions nationally and internationally.

A r t For C ommu n i ty 4 5

#1ﾠ你心目中的聖誕樹長怎麼樣？

#1ﾠDraw the Christmas tree in your mind!

說起聖誕樹，一般都會想起常綠的杉木樹，直立呈圓錐形，繞著一串串小燈

Speaking of the Christmas tree, we may ﬁrst come up with the evergreen

熱鬧的聖誕節，聖誕樹不一定是綠色圓錐，也不一定要閃閃放亮，而是可以

ornaments hanging onto it and a big bright star on top. Have you ever

泡，掛著亮閃閃的吊飾，頂端還插上大大一顆星星。有沒有想過在充滿喜慶

ﬁr, a cone standing upright, with bundles of little light bulbs and shiny imagined a Christmas tree that is not green, nor conical nor shiny? While

利用色彩變得栩栩如生？

we are immersed in Christmas, why not apply more colours to create a livelier Christmas tree?

這次展覽範圍不只限於天台花園，連接天橋的外牆、商場外的街道都是展區的一部份。剛才踏入希慎道的時候，你有沒有留意到商場外一棵六米高的

Have you realised that our exhibition area is not limited to the rooftop

層層色彩繽紛的顏料色塊，交錯舖砌出稜角分明的六米藝術裝置，斑斕的色

walkway connecting the malls, and even on the pedestrian road outside

「聖誕樹」？那便是藝術家朱金石心目中的聖誕樹，利用厚繪畫的手法塗出一

garden? If you walk around, you may ﬁnd art works on the window of the the mall. Have you noticed the six-metre-high“Christmas tree”when

彩在鏡面中反射，在繁鬧的銅鑼灣街區中灑下奇彩異煥的光影，猶為突出。

you walked past Hysan Road? That is the Christmas tree as interpreted by Zhu Jinshi. Applying his well-known thick-layer drawing techniques,

「色彩感覺來自直覺，角色決定色彩，濃烈、絢麗、渾厚各有其意境。我的工作是使『角色』的表達栩栩如生。」

Zhu produced this installation with layers of paints in different colours, each merging and overlapping with one another to form a unique six-

metre-high art installation. The“Christmas Tree”reﬂects a kaleidoscope of colours on its mirrored surface, reﬂecting the hustle and bustle of Causeway Bay.

“Colour choices are intuitive, and characters determine colours. Strong or soft; dark or bright; thick or thin, they all carry their own meaning. My job as an artist is to portray the‘characters’in a lively way.”

對聖誕節的本能直覺使用不同顏色，描繪出他心目中的聖誕氣氛，繪畫更有角色個性的聖誕樹。你也喜歡這棵與別不同的聖誕樹嗎？嘗試憑著直覺，再次繪畫你心目中的聖誕樹吧！ 46

︵局部︶ﾠBeef Soup Temple No.2

們忽略了藝術的更多可能性―為甚麼聖誕樹就一定是綠色呢？朱金石憑著

Oil on canvas / 180 x 160 cm / 2018

彩的認知和理解或許都大同小異。然而，朱金石認為，這些色彩觀念反令我

牛肉湯寺二

色彩向來是繪畫的重要元素之一，顏色含意亦早以根深蒂固，我們對某些色

Colours have long been a key element in painting, each carrying their own meaning; we share similar impressions towards certain colours. But Zhu believes that colour stereotypes may hinder the possibilities of art. Why must the Christmas tree be drawn in green? Using different colours intuitively to match with the Christmas festive spirit, Zhu depicts his Christmas tree with unique characteristics in this installation. What do you think about this extraordinary Christmas tree? Draw your Christmas tree again. Go with your intuitions this time!

A r t For C om mu n i ty 4 7

#2ﾠ抬頭看看天橋外牆的壁畫，你認為是平面還是立體的？「繪畫是平面設計；雕塑是立體設計。」你也會有這樣的認知觀念嗎？朱金石

的厚繪畫正是利用繪畫常用的顏料，以顏料鏟等裝置工具，塑造立體畫面的質感，突破繪畫的平面界限。連接著兩邊商場的行人天橋在這次展覽期間將會在落地玻璃窗上貼出兩幅朱金石厚繪畫的經典作品貼紙―《絢麗的時代

傳來歌聲》和《凋零的時代正在開放》。

「厚繪畫象徵著今天的時代，它改變了人們的視覺經驗，畫面本身就是空間的、三維的。」雖然兩幅作品在玻璃窗上只能以貼紙形式呈現，但從街道上抬頭觀望，厚繪畫的視覺效果仍然如此立體，那便是厚繪畫的特性。朱金石的繪畫作品凸顯出極具雕塑感的三維樣式，畫面上的空隙、斷裂、留白、厚度、顏料等形成一套自屬融合的視覺系統。現今科技日新月異，繪畫不再限於二維平面，創

#2ﾠLook up! Do you see the window art along the bridge – is it 2D or 3D? We have been learning that“drawing is two-dimensional”and“sculpture

is three-dimensional”since we were young. But Zhu has been trying to break the two-dimensional boundary of painting by using paints

to create three-dimensional work – the essence of his thick-layer oil paintings. During this exhibition period, walkway windows will be decorated with corridor stickers adopting two designs of Zhu's classic thick-layer oil paintings.

“Thick-layer oil painting is a symbol of today's era. It changes the visual experience so that canvas can now become a three-dimensional space.” Despite showing in the format of corridor stickers, the visual experience of thick-layer painting remains three-dimensional; this fully demonstrates

作亦不限於三維立體，虛擬實境、擴增實境亦比比皆是，融合真實和虛擬世

its unique characteristics. Zhu's sculpture-like 3D paintings create

朱金石的作品更像是一份提醒，提醒我們學習探索、擁抱接納未來生活中更

thickness and paints on the canvas. With the advancement of technology,

界的影像。視覺體驗變得更為豐富之際，藝術的表現手法亦更為層出不窮，多的藝術可能。

an integrated visual system with every gap and fracture, emptiness, painting is no longer limited to two dimensions nor is creation bound by three dimensions. Augmented reality (AR) and virtual reality (VR) are now integrating the real and virtual worlds to create extensive visual experience of art. Zhu's artworks are like a reminder for all of us to

絢麗的時代傳來歌聲ﾠSinging from the Splendid Time

explore and embrace the boundless possibilities of art in the future.

Oil on canvas / 180 x 160cm / 整體尺寸 180 x 840 cm（5 聯 / 畫幅間隔 10cm ）/ 2019

A r t For C om mu n i ty 4 9

思想者

ﾠThe Thinker

Acrylic on canvas / 160 × 140 cm / 2021

奇蒂．納羅德

和平共處的歡樂

秋入京城吹白髮 Oil on canvas / 180 x 160cm / 2015

ﾠAutumn in the capital with wind blowing on grey hair

K IT TI NA ROD JOY OF PE ACE

奇蒂．納羅德 Kitti Narod

奇蒂．納羅德（1976-）是一名泰國藝術家，自小就讀藝術學校，尤其擅長描繪日常生活的細節和人際關係的美好，提醒觀眾留意生活中的小確幸，以鮮豔的用色分享喜悅和傳遞積極態度。他曾在多個城市展出作品，包括倫敦、都柏林、墨爾本、深圳等地，並在英國愛丁堡藝術節（2007）、英國曼徹斯特藝術節（2005）、曼谷文化藝術中心（2019）展出並廣受歡迎，惟首次於香港參與展覽。 Kitti Narod (1976-) is a Thai artist who studied in art school since he was young. He specialises in depicting details of daily life and portraying lovely human relationships in his works. He hopes to remind the audience to cherish their small yet precious happiness in daily life and to spread joy and positivity through his choice of bright colours. He has exhibited in many cities, including London, Dublin, Melbourne and Shenzhen, and participated in The Edinburgh Art Show (2007), Manchester Art Show (2005) and Bangkok Art and Culture Centre (BACC) (2019). His works were extremely popular. This time, Narod is exhibiting in Hong Kong for the ﬁrst time.

A r t For C om mu n i ty 5 1

#1ﾠ數數看，這裡一共有多少個紙板人偶？

#1ﾠLet's count! How many life-size cardboard cut-outs can you spot here?

想像一下你在家樓下公園或海濱長廊漫步，好奇看看站著坐著的人各自在做些甚麼。這裡沒有指定的入口出口，沒有規定要從哪裡開始觀看。在納羅德

Imagine taking a relaxing stroll in the park or along the promenade near your home where there is no designated entrance or exit, not to mention

的花園，你看到了那邊獨自坐在椅子上的男人嗎？又有沒有看到草地上那些

a speciﬁc route. Are you curious to look around and see what others are

帶著貓狗出來散步放鬆的人們？

doing? Welcome to Narod's garden! Do you see the man sitting alone on the chair over there? Or the people who bring their dogs and cats to

「我生活在一個受打壓、不被尊重的社會，因此平等於我而言是十分重要。我希望能夠在我的作品中描繪我們之間的平等相處和共通點，藉此反映現實社會中的不公義。」

walk or to lie and relax on the grass?

“These issues of equality are very important to me. Living in an environment that is so suppressive of human rights and disregards so many members of society, I do want to highlight these injustices and try to portray our equality and shared humanity, in my artwork.”

這片草地、這個花園、這個「 FURRYTALES 」像是現實生活的縮影，不同

膚色的人們一起相處，他和他一起遛狗；他彈結他，她唱歌；他喜歡自己一個跟貓狗玩樂。我們生活中同樣有著千百種不同的關係，而簡單快樂正正在

This piece of grassland, this garden and these“FURRYTALES”are the

於我們無分彼此地平等相處，各自享受自己喜歡的生活方式。今天，走進了這個「 FURRYTALES 」的我們，同樣帶著獨一無二的人物故事，成為作品

symbols of our society. People from all walks of life come together – be it walking the dog, playing music, or even just enjoying“me”time with

的一部份。

their own pets. There are thousands of relationships in our life and we

enjoy our own lifestyles and relationships equally and happily. Today,

stepping into“FURRYTALES”, we all become part of the artwork, telling

our unique stories of life.

繁出現，尤其在描繪獨自一人生活的畫作中經常能夠看到寵物的身影陪伴。靈感固然來自納羅德與家中接近 10 隻貓貓的相處，同時亦反映著現代社會

人們選擇飼養寵物一同生活的現象。今天身在「 FURRYTALES 」的你，也是其中一人嗎？

百貓圖ﾠThe Protest ︵局部︶

人在納羅德的創作世界裡佔很大的比例，但貓狗依同樣擔任著重大的角色頻

Acrylic on canvas / 170 × 230 cm / 2021

「人類和貓都認為自己很獨立，但同時兩者都很渴望獲得對方的關注，這不是十分有趣嗎？」

“It's funny how both humans and cats consider themselves so independent, and yet yearn for each other's attention.” People constitute a big part of Narod's works. Cats and dogs make frequent appearances as well, especially those who have a solo lifestyle. Humans and pets keep each other company. Inspired by his daily life with 10 kittens at home, Narod tries to reﬂect this phenomenon that people prefer to raise pets to keep them company in this modern society. , are you one of them? Dear visitors of“FURRYTALES”

A r t For C ommu n i ty 5 3

#2ﾠ第一眼看到納羅德的作品時，你有甚麼感受？溫暖愉悅？鮮豔花哨？眼花撩亂？

納羅德的作品色彩特別豐富，並大膽採用鮮豔顏色，如鮮黃色、桃粉紅等；加上大部份作品角色均穿著背心短袖和熱帶風情襯衫，令作品充滿春夏色彩，感覺尤其溫暖和藹。一抹抹鮮豔的色彩，我們或會聯想到熱情和快樂，又或想起納羅德的家鄉―四季如夏的泰國。有趣的是，雖然鮮豔色彩帶

給我們的主觀感覺是熱情快樂，亦有不少固有藝術觀念認為色彩繽紛代表低俗品味、花哨媚俗。納羅德正是希望透過結合鮮豔顏色和窩心的日常生活點滴，提醒我們感受鮮豔色彩帶給我們的喜悅，並藉此呈現他的家鄉風情色彩。

「我努力去進行一些簡單的創作，能夠輕鬆跟觀眾交流的作品，讓他們能夠共同理解當中的愉悅。」納羅德的創作靈感以日常生活為主，圍繞著自己的日常，以及對周遭人事的觀察，同樣亦是我們的日常。看著他的作品，你可能會代入那個獨自一人在家擼貓的男人，又或想起那些跟朋友坐在草地上野餐談天的時光。在納羅德筆下，我們總會找到自己熟悉的情境，找到相

似的那個「我」，不妨嘗試代入角色，了解作品當中的各樣情感。

牛年ﾠKrishna（局部）

Acrylic on canvas / 150 × 150 cm / 2021

#2ﾠHow do you feel when you ﬁrst see Narod's artworks? Warm and pleasant? Bright and colourful? Messy and overwhelmed? Narod's works are colourful, using bright colours, such as brilliant yellow and cherry pink. With most characters wearing vests, t-shirts and tropical shirts, Narod's artworks have a warm spring-summer feeling. They remind people of passion, happiness and his summer-all-yearround home country, Thailand. It's interesting that some may see bright colours as passionate and amusing; yet some may deem them to be tasteless, lower class, gaudy and kitsch. By portraying daily lives with bright colours, Narod hopes to remind people of the sheer pleasure brought about by colours, while proudly presenting the characteristics of his home country.

“I strive to develop my work in a way that has a simplicity and an ease of communication with the viewer, and hope to have a shared understanding of enjoyment and pleasure.” Narod creates with inspiration from his own lifestyle, as well as his observation of the surroundings, which largely echo our own daily life. Looking at his paintings, we may ﬁnd a resonance with the man playing with his cat at home alone; or recall the time enjoying a picnic with friends on the grass. In his works, we all can ﬁnd something familiar,

雲ﾠA Bottle of Middle Class

Acrylic on canvas / 160 × 140 cm / 2021

somebody we remember. Now, immerse yourself in this garden and feel the emotions sweeping over you!

A r t For C ommu n i ty 5 5

都市男女

ﾠEvacuate Acrylic on canvas / 120 × 150 cm / 2020

A r t For C ommu n i ty 5 7 56

吳佳儒

流動的藝術

︵局部︶ Untitled_excesstears_tm_3

Ink, charcoal, oil and reﬂective spray on canvas / 90 × 60 cm / 2019

WU JIARU THE MO B ILE A R T

Untitled_excesstears_tm_3（局部）

Ink, charcoal, oil and reﬂective spray on canvas / 90 × 60 cm / 2019

吳佳儒 Wu Jiaru

吳佳儒（1991-）出生於廣東，為一名 90 後當代藝術家。自小受香港電影、廣東歌等薰陶而嚮往香港生活，故大學畢業後前往香港修讀藝術碩士，現居香港。吳佳儒的創作形態多元，以裝置、影像、複製版本、渲染圖像和跨媒介的形式，表達其想像空間，並反映社會現象。曾參與不少展覽，作品亦被一些重要人物和機構收藏。 Wu Jiaru (1991-) is a post-90s modern artist who grew up watching Hong Kong films and listening to Canto pop. Fascinated by Hong Kong life, she went to Hong Kong for her Master's degree of Art and is living there. Wu produces a wide variety of art works, including installation, imagery, replication, rendering and cross-media; they portray her imaginary world and reflect current social phenomena. Wu has taken part in a number of exhibitions and her works are collected by notable people and organisations.

A r t For C ommu n i ty 5 9

#1ﾠ身處在天台花園或週末慈善市集的你，能否數出這裡有多少件藝術裝置

#1ﾠCan you count how many art installations there are

作品？

in this Rooftop Spa or Charitable Weekend Market?

天台花園是今次展覽活動和工作坊的舉辦場地，在這裡的牆上貼滿泰國藝術後藝術家吳佳儒的不同作品，每一架都獨一無二。你有沒有留意到呢？

「涉及到與公共空間有關的創作時，我會考慮更多作品與環境之間的關係，會思考如何構建一個和諧的場景去優化公眾體驗，靈活地處理作品的表現形態。」配合聖誕節的節慶氛圍和天台花園的綠化特性，流動攤檔上的作品風格和用園的環境，免於突兀。當代藝術的特性之一在於流動性，把作品呈現在不同環境、不同媒介，能夠展現不一樣的效果和感覺。就如在流動攤檔車上，藝術家可以把作品分拆成為不同版塊，安嵌在不同的裝置，如車頂、車身等。

不妨試想像，將畫作版塊交錯配搭，又或將流動攤檔車移放到花園的其他角落，又會展現出怎樣的新面貌？

︵局部︶ Untitled_excesstears_tm_3

色亦相對大膽亮麗，既能呼應周遭色彩鮮豔的插畫作品，亦和諧融入天台花

workshops of this exhibition. The walls on the sides are Ink, charcoal, oil and reﬂective spray on canvas / 90 × 60 cm / 2019

家納羅德的人物插畫，而在週末慈善市集當中每架流動攤檔車都採用了 90

The Rooftop Spa is the main venue for events and decorated with illustrations by Thai artist Kitti Narod. Have you noticed that every mobile stall at the Charitable Weekend Market has a unique design? They were all developed from the works of post-90s artist Wu Jiaru!

“When it comes to creations in public space, I pay more attention to the relationship between my work and the environment, thinking how to achieve harmony for the sake of a satisfying public experience by ﬂexibly presenting my work in a different way.” Matching the festive Christmas spirit and the greenery in the rooftop garden, mobile stalls are decorated with bold and bright designs. They reﬂect Narod's colourful illustrations and blend seamlessly into the botanic environment of the rooftop. One characteristic of modern art is mobility; here on the mobile stalls, the artist breaks her artworks into segments and rearranges them onto the stalls. By presenting the works at different venues through different media, she can vary visual effects and emotions. Imagine if you could rearrange the artwork segments, or change the position of mobile stalls, how would you place them in this rooftop garden?

A r t For C ommu n i ty 6 1

Untitled_excesstears_tm_3（局部）

Ink, charcoal, oil and reﬂective spray on canvas / 90 × 60 cm / 2019

#2ﾠ抽象畫作的意義，你能理解多少？

#2ﾠHow much do you understand about abstract artwork?

這次展出的藝術品中，吳佳儒的作品均偏向抽象畫風，你能從中解讀到些甚

Among all the pieces exhibited this time, Wu's artworks are more

甚麼涵義呢？

there is any meaning behind the lines and dots, paint-layer thickness and

麼呢？流動攤檔車上的粗幼線條、顏料厚薄、色彩搭配，你知不知道背後有

「當代藝術的特性在於當下，是流動的，充滿可能性，開放予自己下定義。生活在一個大型社會機器裡，本身已經太直白，太無聊。」身處在每天營營役役生活的社會裡，吳佳儒喜歡以對比迂迴的形式，根據主題和時機選擇不同的媒材創作，例如用鮮艷色彩記錄創傷回憶、黑暗時刻，或者用情詩講述孤寂。然而作品背後的經歷和故事於觀眾於我們是充滿可能性的，可以代入自身的經驗、內心的情感。抽象畫作的解讀，沒有對錯，開放予我們自己定義―而在不同階段觀賞作品的我們，或許對畫作也會有不

abstract in style. What can you read from her works? Do you know if colour combination?

“Modern art is characterised by the moment. It is mobile, full of possibilities and open to deﬁnition. We live in a society like a huge machine, everything is too straightforward – that makes life dull.” Living in such a society where everyone lives a repetitive life, Wu prefers to create with irony. She likes to try different media to match the topic and timing, such as bright colours for trauma; and love poems for loneliness. There is not any correct answer for the messages behind her artworks – it is open to our imagination and we may comprehend them

同的領悟和解讀。

in different ways, when we look at the work at different stages of life.

重新再看一次流動攤檔車上的畫作，你聯想到甚麼故事呢？

Take a look at the mobile stall design again now. What do you learn from the works?

A r t For C ommu n i ty 6 3

動手創作，你的毛毛朋友 Draw your furry friends!

Acknowledgements 2021 年 11 月 - 2022 年 1 月

November 2021 - January 2022

About FURRYTALES @Leegardenshk

join hands to present

@ﬁf.hk #FURRYTALES #ﬁfhk #leegardenshk

Vision and Concept by Wild Child Creatives 野孩子創意工作坊 Being Media Limited 就係媒體有限公司

505, Peter Building, 58 Queen's Road Central, Hong Kong 香港中環皇后大道中 58 號振邦大廈 505 室 Asia One Books 宏亞出版

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在 Instagram 分享你的肖像畫 ! Share your portrait on Instagram

#FURRYTALES #fifhk #leegardenshk

ISBN ﾠ 978-988-79176-9-4

Co-published by First Initiative Foundation 領賢慈善基金

Published in November 2021 in Hong Kong.

Printed by Asia One Printing Limited 宏亞印務有限公司

without prior written permission from the copyright owner.

Special thanks to Hysan Development Company Limited 希慎興業有限公司 Tang Contemporary Art 當代唐人藝術中心

may be reproduced, stored in a retrieval system, or transmitted in any way or by any means,

Illustrated by Albee Yau (P8-P31)

Edited by Being Media Limited 就係媒體有限公司 First Initiative Foundation 領賢慈善基金

including but not limited to electronic, mechanical, photocopying, recording or otherwise,

Any unauthorised use and reproduction of this publication will result in immediate legal proceedings.

Written by Being Media Limited 就係媒體有限公司