Studio Artists
工作室藝術家 2026
關於
HART HAUS is a not-for-profit arts organisation dedicated to supporting artists and nurturing Hong Kong’s creative community. Founded in 2018, HART HAUS has become a vibrant home for artists and creatives, providing them with a muchneeded platform to explore, experiment, and develop their practices.
HART HAUS’s core programme ofers artists afordable, dedicated studio space in Hong Kong—a crucial catalyst for creativity and collaboration. Through grants, exhibitions, and residencies, HART HAUS also fosters both local and global artistic exchange, strengthening Hong Kong’s arts ecosystem and building towards a sustainable, dynamic cultural landscape.
HART HAUS 是一個非營利藝術機構，致力支援藝術家及培育香港的創意社群。自2018 年成立以來，HART HAUS 已成為藝術工作者與創意人才的社群網絡，為他們提供一個 不可或缺助其探索、實驗及發展藝術實踐的平台。
HART HAUS 的核心項目為藝術家在香港提供實惠的工作室空間，以促進創意發展與合 作。透過資助、展覽及駐留計劃，HART HAUS 將進一步推動本地與國際藝術交流，鞏 固香港藝術生態系統，邁向可持續發展且充滿活力的文化景觀。
網址 @anealfeiran anealfeiran.com
Mexico 墨西哥
Ane Alfeiran is a Mexican visual artist based in Hong Kong. Her practice explores memory, identity, and collective consciousness through an intercultural lens shaped by over a decade living in Asia. She examines how societies remember and rewrite narratives, and how cultural environments shape personal and collective identity.
Trained in drawing and painting at the University of Hong Kong, Alfeirán completed courses in art history, Chinese calligraphy, ceramics, and curation in Hong Kong and Mexico. In 2025, she participated in the Interdisciplinary Art Seminar under Selma Guisande, the Methodologies for Creative Processes course under Gonzalo Ortega, and the HART HAUS Curatorship Incubation Programme.
She was selected for the Soho House HK Artist Residency (2025) and co-founded Xoloplastics in 2019, a non-profit that transforms plastic waste into art. She has conducted workshops at the Tamayo Museum (Mexico) and HART HAUS (Hong Kong).
Ane Alfeiran 是一位駐香港的墨西哥視覺藝術家。她的創作以 跨文化視角探討記憶、身份與集體意識，這一視角源於她在亞洲 生活逾十年的經驗。她關注社會如何記憶與重寫敘事，以及文化 環境如何塑造個人與集體身份。
她於香港大學完成修讀素描與繪畫課程，並於香港及墨西哥完 成藝術史、中國書法、陶藝與策展相關課程 。2025年，她參加 了由 Selma Guisande 主持的跨學科藝術研討會、由 Gonzalo Ortega 授課的創意方法論課程，以及香港 HART HAUS 策展 培育計劃。
2025年，她獲選 Soho House 香港藝術家駐留計劃。2019 年，她聯合創立了非營利機構 Xoloplastics，致力於將塑料廢 棄物轉化為藝術創作。她曾在墨西哥塔馬約博物館及香港 HART HAUS 舉辦工作坊。
These resin-encapsulated works preserve three distinct yet interconnected elements: an octopus, a squid, and a fragment of a wall from Hong Kong’s trails. Each piece captures a moment of transformation—organic forms intertwined with memory and place. The octopus and squid, fluid and adaptable, contrast with the solidity of the wall, a remnant of history embedded in the landscape. Suspended in resin, they exist outside of time, frozen yet alive with meaning, reflecting on resilience, impermanence, and the way places and creatures shape our sense of identity.
這些樹脂封存作品保留了三個獨特而互相連結的元素：一隻 章魚、一隻烏賊，以及來自香港小徑的一片牆壁碎片。每件 作品都捕捉了一個轉化的瞬間——有機形態與記憶及場所交織 在一起。章魚與烏賊流動且具適應性，與牆壁的穩固形成 對比，那牆壁是嵌入景觀中的歷史痕跡。懸浮於樹脂中，它們 存在於時間之外，雖被凝固卻充滿意義，反映出韌性、無常， 以及地點與生物如何塑造我們的身份認同感。
Anchored in Time 2
2025
Dried squids encapsulated in resin
27.5 x 27.5 x 7 cm
樹脂封存乾魷魚 27.5 x 27.5 x 7 厘米
Dwelling in Time
2025
Mixed media
40 x 29 x 3 cm
混合媒介
40 x 29 x 3 厘米
Dwelling in Time explores memory, place, and personal history through the symbolism of an octopus intertwined with the image of the door from my first home with my now husband. It reflects themes of attachment, nostalgia, and the way physical spaces become embedded in our identities. The weaving technique reinforces the idea of interconnection, between past and present, love and place, the fluidity of memory, and the deep roots we form in significant locations.
《Dwelling in Time》透過章魚的象徵，結合我與現任丈夫第 一個家的門影，探討記憶、場所與個人歷史。作品反映了依 附感、懷舊，以及物理空間如何深植於我們的身份認同之中。 編織的手法則強化了互相連結的概念過去與現在、愛與場所、 記憶的流動性，以及我們在重要地點所扎下的深厚根基。
United Kingdom 英國
Hong Kong 香港
Marian Ang is a contemporary painter born in London and based in Hong Kong. A graduate of the Courtauld Institute of Art in London, exploring material culture in contemporary life is the starting point for Marian’s practice. Combining the symbolism of traditional Western still life and interior genre painting with precious cultural objects and banal everyday paraphernalia, Marian brings together an eclectic range of stories about the world and our lived experiences today. Her most recent solo exhibitions include No Man’s Land (2026) at HART HAUS, which traces female migration, memory and belonging across the Chinese diaspora; A Room of One’s Own at Touch Gallery (2023), named after the 1929 essay by the English writer Virginia Woolf and inspired by the personal spaces that great women artists carved out for themselves; and Lucky You (2024) which explored the notion of “Chineseness” through classical imperial Chinese ceramics and everyday wares that embodied feng shui beliefs, superstitions, and the existential search for luck and fortune. Ang has also received an extensive private commission experiences in Hong Kong.
汪慧華是一位出生於倫敦、現居香港的當代畫家。汪氏畢業於 倫敦大學科陶德藝術學院,探索當代生活中的物質文化是她實 踐的出發點。汪氏將傳統西方靜物畫和室內風俗畫的象徵意 義與珍貴的文物和平庸的日常用品相結合,匯集了一系列關於 世界和我們今天的生活經歷的不拘一格的故事。她最近的展覽 包括 HART HAUS 的「無人之境」（２０２６年）帶出華 人離散群體中，關於女性與母職的故事碎片，交織著支離破碎 的現實；Touch Gallery舉辦的「一個人的房間」(2023年) ，該展覽以英國作家弗吉尼亞·伍爾夫1929年的文章命名， 靈感來自偉大女性藝術家為自己開闢的個人空間，以《Lucky You》(2024年)透過中國古典皇家瓷器和源自風水信仰、迷信 和世代對幸運和財富的願望的日常流散圖案來審視「中國性」 的概念。
All About My Grandmother II
2025
Acrylic on canvas
50.8 x 35.6 cm
塑膠彩亞麻布本
50.8 x 35.6 厘米
The painting series All About My Grandmother (2025) documents the ephemera of a single journey over a hundred years that led from the Warlord Era of the Republic of China to then-Malaya and finally modern-day Singapore.
繪畫系列《All About My Grandmother》（2025年） 追溯了華人離散背景下的女性遷徙、記憶與歸屬。此系列 作品記錄了一場跨越百年的單程旅程——從民國軍閥時期 出發，途經當時的馬來亞，最終抵達現代新加坡——所遺 留下的種種片段與痕跡。
Paper Plane
2026
Fabric, children’s clothes
400 x 150 cm
織物、兒童衣服
400 x 150 厘米
Paper Plane, presented in the artist’s solo exhibition No Man’s Land (2026) at HART HAUS, draws inspiration from a significant Qing Dynasty vessel: Vase with Women Enjoying Scholarly Pursuits, housed in the Metropolitan Museum of Art. The work interweaves two narratives: the evolving social status of Chinese women across centuries, and the contemporary childhood of the artist’s sons in Hong Kong, symbolised through their clothing. In doing so, Paper Plane creates a dialogue between personal feminine histories and shared cultural legacy.
《Paper Plane》 創作於藝術家在 HART HAUS 舉辦的個展 「無人之境」（2026年），其靈感源自大都會藝術博物館 所藏一件重要的清代器物《Vase with Women Enjoying Scholarly Pursuits》。作品交織了兩條敘事線，一是數世紀以 來中國女性社會地位的演變；二是藝術家的兒子們在香港成長 的當代童年，並透過他們的衣物作為象徵。《Paper Plane》 藉此在個人的女性歷史與共享的文化遺產之間，建立了一場 對話。
atelierYVF is the experimental extension of the couture house founded by French duo Yasmina Viale-Fraine, an award-winning embroidery artist, and Alexandre Viale-Berthélier, a multicultural entrepreneur and engineer.
Their multidisciplinary practice interweaves textile art and craft, design, and science.
Traditional techniques such as embroidery, natural dyeing, weaving, and pleating underpin their work, informing reflections on connection and elevation within urban space and its momentum, through explorations of humanity, memory, social and cultural fluidity, and material and spiritual verticality.
Participatory installations, public artworks and social performances form their primary media, inviting visitors into playful communal experiences shaped by spatial layering and ritual gesture.
atelierYVF 是由法國藝術家組合 Yasmina Viale-Fraine
（屢獲殊榮的刺繡藝術家）和 Alexandre Viale-Berthélier （一位多元文化企業家兼工程師）創立的高級時裝屋的 實驗性分支。他們的跨學科實踐融合了紡織藝術與工藝、 設計與科學。
刺繡、天然染色、編織和褶襉等傳統技法是他們作品的 基石，透過對人性、記憶、社會與文化的流動性以及物質與 精神之間的垂直關係的探索，引發人們對城市空間及其發展 動向中連結與提升的思考。
參與式裝置、公共藝術作品和社會表演是他們的主要媒介， 邀請參觀者參與由空間層次與儀式性姿態構成的社群體驗。
Set within the evolving landscape of Kennedy Town, this participatory installation invites reflection on how cities structure our interactions. Participants stand across a sheer tulle screen, each constrained to a single motion. Threads cross to form a woven field, echoing the dialogue that underpins community, and metaphorically reclaiming urban interaction as human, vulnerable, and co-constructed.
這件互動裝置作品置於堅尼地城不斷變化的城市景觀之中， 旨在引發人們對城市如何形塑人際互動的思考。參與者站在 一面輕盈的薄紗屏風前，每位參與者僅能進行單一動作。
交織的絲線構成一片織錦，呼應支撐社群的對話，並以隱喻的 方式將城市互動重新界定為人性、脆弱且共同建構的。
Whisper thread
2025
Social interactive performance
Wooden frame, synthetic tulle, silk ribbons
社會互動表演
木框、人造薄紗、絲綢緞帶
Confluences collection presented at Hong Kong Fashion Week 於香港時裝周展出的《Confluences》系列
09.2025
Eight evening gowns
Silk (chifon, mousseline, gazar, satin, organza, voile), pleated acrylic
八件晚禮服
絲質 (雪紡、薄紗、喬其紗、緞面、歐根紗、薄紗) ，褶襉亞克力
At the intersection of couture and fine art, atelierYVF runway shows explore memory, identity, and cultural encounter, and stand as a testament to the enduring relevance of handcraft in a globalised, fast-changing creative landscape. The shows are conceived as immersive performances, where couture intersects with art, music, and digital media.
atelierYVF時裝秀融合高級時裝設計與藝術，探討記憶、身份 認同與文化碰撞，並彰顯手工技藝在全球化且瞬息萬變的創意 環境中的恆久價值。整體以沉浸式表演呈現，將高級高級時裝 設計與藝術、音樂及數位媒體有機整合。
Hong Kong 香港
Frankie Au is an artist and architect exploring the intersections between visual art and architecture. His practice merges painting and drawing, oscillating between spontaneity and rationality—a duality reflecting his dual identity. His works feature fragmented architectural elements and childlike imagination that transform within the pictorial space, creating a sense of fluidity and playfulness. Through hybrid visual languages, he challenges conventional boundaries between art and architecture.
Frankie Au is a graduate of Harvard University (Master of Architecture), The Chinese University of Hong Kong (MA Fine Arts) and The University of Hong Kong (BA Architectural Studies). As an architect, Frankie has practiced both in New York and Hong Kong. He currently focuses on community architecture, exhibition spaces and installation design, where he engages in interdisciplinary projects bridging art and the built environment. Alongside his practice, he teaches architecture at The University of Hong Kong, instructing master students transitioning into architecture from other fields.
區卓勳兼具藝術家與建築師雙重身份，在視覺藝術與建築之間 探索創作可能。他通過繪畫與繪圖將概念具象化，遊走於感性 自發與理性克制的二元之間，這正反映其雙重創作本質。作品 融合建築語彙與童稚想像，兩者在畫面中相互對話、轉化，營 造出流動無常卻又充滿玩味的特質。這種混合視覺語言，旨在 挑戰藝術與建築的傳統界限。
區卓勳畢業於哈佛大學 （建築學碩士）、香港中文大學 ( 藝術 文學碩士）以及香港大學（建築學士）。作為建築師，區卓勳曾 在紐約及香港執業。他目前專注於社區建築、展覽空間及裝置設 計，致力於藝術與建築環境的跨學科實踐。同時，他在香港大學 建築系任教，為跨專業攻讀建築碩士的學生授課。
The Worlds and The In-Between 《世界與世界之間》
2025
Acrylic, ink, pencil on panel 80 x 80 cm
壓克力、墨、色鉛筆於木板 80 x 80 厘米
Where the Wall Ends 《房子之外》
2025
Acrylic, ink, coloured pencil on panel 120 x 240 cm
壓克力、墨、色鉛筆於木板 120 x 240 厘米
BH is a slashie mutant who is interested in observing various living forms and patterns, contextualising and recasting them with new suggested meanings through contemporary paintings. It is also a monologue process to identify his own form, understand the relationship between his own formation and other forms of relationships, as well as to navigate the impact and value of his existence to society. He believes the best way to characterize himself would be the egg itself.
BH是變種斜槓男，跨界身份、雙重生活，喜愛用當代繪畫 形式來重塑各種生命形態和模式，賦予新的場景和意義。同時 也是一種自我獨白，讓他識別和贖回自身的形態，以及探尋他 的存在對社會的影響和價值。他深信任何事物取之所需用之恰 當最終都可以成為畫材。
Life Is Not Still 2022
Each 91.5 x 122 cm
Set of two
每幅 91.5 x 122 厘米 一套兩幅
Between modes of depiction, 99% of being found is still life and 99% of people are not still.
姑勿論何種描繪手法，99%的眼所見皆為靜物，而99%的人 都不能止息。
Damian Boylan
United Kingdom 英國
Damian Boylan became a scientist, and completed a Master’s degree (MEng) in Aerospace Engineering, long before becoming a visual artist. Those early beginnings pervade his work which is multidisciplinary in range, including painting, photography, videography and sound. His methodology is more akin to scientific investigation. Boylan experiments with fundamental physical phenoamena, and expands upon them, presenting the result to the viewer as art. The intent of his work is about something fundamental and perpetual. In essence, it is an unearthing of the very building blocks of this universe.
Damian Boylan 在成為視覺藝術家前擁有數學及科學訓練 背景、航空航天工程碩士畢業生學位。設計強項範疇包括複 合材料，空氣動力學，有限元分析（FEA）和計算機輔助設 （CAD）。他的多媒介藝術創作廣泛地研究物理現象與物 理化學的相互作用影響。
Geoheliocentrism
Butane and compressed air on brass and wood
Ø - 1000 mm / 39.5” | d - 60 mm / 2.5”
丁烷和壓縮空氣作用於黃銅與木頭上
Ø - 1000 毫米 / 39.5” | d - 60 毫米 / 2.5”
Geoheliocentrism (2025) is a recent work from Boylan’s ongoing Fire Paintings series in which temporal asymmetry is examined by using combustion to exemplify entropic transformation. Drawing on his studies in thermodynamics, he employs controlled burning as a way to examine irreversible processes. “I char the wood’s surface, then remove the carbonised layers with compressed air to expose new strata.” This recursive approach functions both as technique and inquiry, producing a stratified material record of change. Its composition draws on an amalgamation of historical cosmological models, including Copernicus’ De Revolutionibus. Conceptually, the work forms a meditation on philosophical notions of time as it relates to grief and loss.
《Geoheliocentrism》(2025年)是Boylan正在進行的 《Fire Paintings》系列中的近期作品。該系列透過使用燃 燒來例證熵的轉變，藉此探討時間的非對稱性。他運用自己 的熱力學研究背景，採用受控燃燒作為一種方法，來檢視不 可逆的過程。「我燒焦木材的表面，然後用壓縮空氣去除碳 化層，以顯露新的地層。」這種循環往復的手法既是一種技 術，也是一種探究，產生了分層的、記錄變化的物質痕跡。 其構圖借鑒了多種歷史上的宇宙模型，包括 Copernicus 的 《De Revolutionibus》。從概念上講，這件作品是對時間這個 哲學概念——特別是當它與悲傷和失落相關聯時的一種沈思。
Website 網址 @the.buoy.for.you @artifact.as.tool artifact-as-tool.art
The Buoy
South Korea / United States
南韓/美國
The Buoy was formed as a collaboration between Jen Yoohyun Lee and Marty Miller. The two independent practitioners wondered, “how could creative practice navigate times of uncertainty?” Rooted in personal histories of transitions, The Buoy aims to be present during times of flux by staying rooted but able to shift with the current of events. The Buoy consciously drifts across the blurred boundaries of visual culture through practicing socially-engaged art and design as well as photography and installation. The mission of The Buoy is to stay lighthearted yet stay engaged enough to look beneath the waves of change. The Buoy currently lives and works in Hong Kong who graduated from their Doctorates in the Philosophy of Social Design at The Hong Kong Polytechnic University.
The Buoy 由 Jen Yoohyun Lee 和 Marty Miller 的合作 創立。兩位獨立藝術家好奇：「創意實踐如何渡過不確定的 時期？」紥根於個人的過渡歷史中，The Buoy 希望在時間 的波動中繼續紮根時，仍能在事件的洪流中漂動。通過實踐 社會互動的藝術和設計，以及攝影和裝置，The Buoy 有意識 地跨越模糊的視覺文化邊界。The Buoy 的使命是保持愉快和 投入，以直視變化的浪潮。The Buoy現於香港工作及居住， 並於香港理工大學取得社會設計博士學位。
Poetics Of Preservation 《保藏的詩意》
2022-2023
Social experiment, installation, film
社會實驗、裝置藝術 、電影
At the intersection of textile, sculpture, and craft, tactility, in materials and forms, becomes a mode of renegotiating co-subjectivity within intimate relationships. The repetitive gestures of making operate as acts of reparation: memories and experiences are materialised and transformed, generating a fluid, permeable space that invites viewers into a shared, embodied encounter.
Mae Chan lives and works in Hong Kong. After she graduated from the Royal College of Art (2021) with an MA in Textiles, Chan received the ‘Emerging Artists Development Grant’ from the Hong Kong Arts Development Council in 2025 and the ‘Developing Your Creative Practice’ Grant from Arts Council England in 2022. She was also a finalist for the 2021 Ingram Prize and the New Craftsmen Award at Cockpit Arts (2021). Her work has been exhibited extensively, including Art Basel Hong Kong, Exit Gallery (HK), H Queen’s (HK), Thrown (UK), London Craft Week (UK), Visual Arts Scotland (UK), Unit 1 Gallery | Workshop (UK), Young Space Views (UK), Kühlhaus (Berlin), and Søndre Green (Norway).
在紡織、雕塑與工藝的交匯之處，物料與形態中的觸感，成為 在親密關係中重新協商共同主體性的一種方式。創作中重複的 動作，猶如修復的行為：記憶與經歷被具體化並轉化，生成 一個流動而可滲透的空間，邀請觀者進入一場共享且具身體性 的相遇。
陳氏現居香港並從事創作。自2021年畢業於皇家藝術學 院紡織碩士課程後，她於2025年獲香港藝術發展局頒發 「新苗藝術家資助」，並於2022年獲Grant from Arts Council England 頒發“發展你的創作實踐”獎金。
她曾入圍2021年Ingram Prize及Cockpit Arts的The New Craftsmen Award。其作品被廣泛展出，包括香 港巴塞爾藝術展、Exit Gallery（香港）、H Queen’s （香港）、Thrown（英國）、倫敦工藝週（英國）、Visual Arts Scotland（英國）、Unit 1 Gallery | Workshop （英國）、Young Space Views（英國）、Kühlhaus（柏林） 及Søndre Green（挪威）。
Séparées, que reste-t-il encore de nous?
2025 Wool fibre, foam, aluminium, acrylic 102 x 103 x 18 cm
羊毛、發泡膠、鋁、壓克力 102 x 103 x 18 厘米
Imagine fleshy maternal entanglements, exposing internal canals, wombs and carcasses, and reaching towards possibility in co-subjectivity.
想像血肉模糊的母性糾纏，敞開的內裡管道、子宮與 殘骸，於共同主體性中探向種種可能。
Dony Cheng/Cheng Hung is the recipient of the 19th Hong Kong Arts Development Award for Young Artist (Visual Arts) (2025). She holds a Master of Fine Arts (2023) and a Bachelor of Fine Arts (2017) from the Chinese University of Hong Kong.
Inspired by the manmade nature and sense of alienation the artist experienced in Hong Kong, Cheng’s multidisciplinary practice recurringly reveals the complex of light, shapes, and spaces. Her works evoke poetic emotions within the city and explore the common connection between our senses and the surrounding environment, dwelling into the intricate relationship between humans, nature, and the urbanity.
While Cheng’s Master degree studies shift her focus to how sensory experiences in our urban settings shape our understanding of the environment, it creates a sense of alienation within the city. Her first-person perspective examines the relationship between painting and perception, leading Cheng to explore video installations and the communications with the audience. This year, her work Landscape in the World of Straight Lines (2025) was selected for screening in “InnerGlow” at Tai Kwun.
Cheng’s works have been exhibited in Hong Kong, Taiwan, and Paris, including her recent solo exhibition “Time Objects” (2026), “Dony CHENG Hung: Finding Rest on the Highway” (2024) and group exhibitions “emo gym” at Tai Kwun (2022).
Electric Stillness
2025
Acrylic on canvas
90 × 120 cm
壓克力顏料、畫布
90 × 120 厘米
鄭虹於2025年榮獲第十九屆香港藝術發展獎「藝術新秀獎 （視覺藝術）」。她先後於香港中文大學取得藝術碩士學位 （2023年）及藝術學士學位（2017年）。
受香港的城市中人造自然與疏離感的啟發，鄭氏的多媒介創作 反覆探討光影、形態與空間的複雜交織。其作品在城市縫隙間 喚起詩意情感，探索感官與環境的隱秘連結，並深入思考人、 自然與城市的微妙共生關係。
碩士研習期間，她將創作焦點轉向城市感官經驗如何重塑 我們對環境的認知——這種認知本身亦構築了城市中的異化 體驗。通過第一視角審視繪畫與感知的關聯，鄭氏逐漸拓展至 影像裝置及觀眾互動性的探索。其作品《直線世界的風景》 （2025年）入選大館「InnerGlow」展映計劃。
鄭氏作品曾展於香港、台灣及巴黎，近期包括個展「時間物 件」（2026年），「鄭虹：在公路上尋找休息」（2024年） 及大館群展「情緒健身房」（2022年）。
Max Cheng graduated from the Academy of Visual Arts, Hong Kong Baptist University. His creations centre on fragrances, mainly involving installations and mixed media, to explore the intrinsic value of objects and find creative inspiration in everyday life. After graduating, he established the okapi studio, where he has collaborated with various charities and organisations in designing fragrant creations, holding exhibitions and fragrance workshops, and guiding visitors at local farms. Through diferent activities, Max hopes to promote the multiple facets and sustainable development of the culture of fragrance.
Max is currently collaborating with HART HAUS on designing and executing community and art education programs that extends interactions and communications to selected neighbourhoods, encourages participants from diferent backgrounds to engage in arts in new ways and increase social impact and enhance social inclusion.
鄭志堅畢業於香港浸會大學視覺藝術系。他以香味進行藝術 創作，主要運用裝置和混合媒介，強調物件自身價值，在生活 中發掘創意。畢業後他創立了okapi studio，與不同慈善機構 和組織合作創作香味作品，同時亦舉行展覽、製香工作坊以及 本地農地導賞。透過不同活動，希望藉此宣揚香味文化的不同 面向和持續發展。
鄭氏現與 HART HAUS 團隊一起策劃及執行社區及藝術教育 項目。透過互動和交流空間延伸至不同社區，鼓勵不同人士以 嶄新的手法接觸和重新認識藝術，促進社會效益及共融。
Last 《末貌》
A contemporary society constructed from eletronic waste and the remnants of burned incense, the work attempts to explore the solitude and emptiness behind the urban life coated with advanced technologies, reflecting on the positioning of humanity in this electronic race.
以電子廢物和燃燒殆盡的香建構的當代社會，作品嘗試窺探 城市科技生活背後的孤寂和空洞，反思人性在這場電子競賽的 定位。
A Story of Time Through Scents 《讓香味刻劃時間》
“Time passes, but its traces remain. The life cycle of a plant, swirls of its scent, they imbue time, seemingly cold and formless, with warmth and dimensions.”
The installation, A Story of Time Through Scents, conjures the endless cyclical changes of environments, with anecdotes from around the world across time.
「時光縱然荏苒，歲月悄然留痕。植物生命的週期、香氣縈繞 的瞬間，為看似無形無情的時間刻劃出溫度和維度。」
《讓香味刻劃時間》以氣味營造環境轉變的週而復始，描繪 古今中外的趣聞軼事。
A Story of Time Through Scents
Part Two
《讓香味刻劃時間》 第二部分
This part of the artwork is a scent difusion device. Wood difusers shaped like waves are accompanied by the scents of dawn, day and dusk. The tidal ebb and flow narrate Victoria Habour’s story over a day, while signifying the passage of time and shifts of emotion.
作品的這部份為擴香裝置。海浪形狀的擴香木，配以晨、晝、 夕的香氣，潮起潮落，象徵維港一天的故事，亦比擬時間的 流逝和情感的變化。
Tracy Cheng (b. 2000, Hong Kong) and Shera Cho (b. 2000, Hong Kong) are the 2022 Academy of Fine Arts graduates at Hong Kong Baptist University, an artist-duo beginning their collaborations on media works during their University course and Honors project. In form of artist’s documentary photographs or online-sourced imageries, interactive video installations, and digital media, Cheng and Cho depict the contemporary world through hilarious and almost ridiculous approaches of story-telling.
鄭樂怡和左沁悅於2000年香港出生，是2022年香港浸會 大學視覺藝術系的畢業生。於大學課程及畢業展創作時已開始 合作，作品主要以她們的街拍攝影或網上圖片、錄像裝置及 數碼媒介呈現。她們憑著有趣、甚至乎滑稽的敘述方式來反映 現今的故事。
With the rise of artificial intelligence, the continuous pursuit of productivity has left little room for contemplation. Week 59 records the continuous repetition of the cleaning workers painting over the dirty walls, erasing the “garbage” in society. Through mundane and repeating tasks, Week 59 delves into the heart of urban development and explores human autonomy and self-direction, questioning the role of individuals in the shifting cityscapes.
隨著人工智慧的崛起，對生產力的不斷追求讓人們幾乎沒有 時間進行深思。《一卜一計劃》 記錄了清潔工人不斷重複地粉 刷骯髒的牆壁，抹去社會中的「垃圾」。透過這些平凡且重複 的任務，《一卜一計劃》 深入探討城市發展的核心，並探索 人類的自主性與自我導向，質疑個人在不斷變遷的城市景觀中 所扮演的角色。
Week 59 Project 《一卜一計劃》
2025
Video projection, mixed media Size Variable 4 minutes
視訊投影 、 混合媒介 尺寸不定 4 分鐘
Instagram Website 網址 @michele_chu_
phdgroup.art/artists/michele-chu
Michele Chu’s recurring practice explores intimacy and human connection, specifically the interplay between sensory elements and space to amplify emotional connection between individuals. Her works contemplate what makes us human, through mediums like performances, sculptures, multi-sensory installations and public interventions amongst others.
Her work has been exhibited extensively at Art Basel Hong Kong “Discoveries” section; Para Site (Hong Kong); 1a Space (Hong Kong); Negative Space (Hong Kong); and Tai Kwun Contemporary (Hong Kong). Her debut solo exhibition at PHD Group, “you, trickling,” was featured in The New York Times, Artforum, ArtReview Asia, Frieze, Ocula, and other publications. In May 2026, she will open a solo exhibition at MACA Art Center in Beijing (China).
She is a recipient of Soundpocket’s Artist Support Program from 2020-21 and was in residence at London’s Delfina Foundation as part of their “Performance as Process” program in 2023.
朱凱婷在她的實踐中探索親密關係和人與人之間的聯繫，特別 是感官元素和空間之間的相互作用，以放大個體之間的情感 聯繫。她的作品透過表演、雕塑、多感官裝置和公共干預等 媒介思考我們人類的本質。
她的作品曾在香港巴塞爾藝術展「藝術探新」；Para Site（香港）；1a Space（香港）； Negative Space （香港）； 及大館當代美術館（香港） 展出。她在 PHD Group 的首次個展「you, trickling」曾在《紐約時報》 、Artforum、ArtReview Asia、Frieze、Ocula 等刊物上 發表專題報導。 她將於2026年5月在北京MACA藝術中心 （中國）舉辦個展。
她是Soundpocket 2020-2021年度藝術家支持計劃 的獲得者；2023年參與倫敦Delfina Foundation的 《Performance as Process》駐留計劃。
inti-gym
2021
Participatory installation
Dimensions variable
互動裝置
尺寸不定
Short for “intimacy gymnasium”, inti-gym is a physical and environmental platform promoting a habitual practice of intimacy training, inti-gym brings together strangers in fostering deep emotional connections with the self and others. The design employs a series of tried and tested intimacy enablers and environmental theories surrounding conviviality. Pairs of strangers are invited to enter via diferent entrances in the tunnel, and are guided through a choreography of senses—to touch through a physical barrier, ask each other questions with conversational prompts, and maintain a set period of eye contact before leaving the space separately, sparking a moment of fleeting intimacy.
《inti-gym》意為「親密感健身室」，是一個注重感官和環境 體驗的平台，旨在引導人們探索自我，並學習與陌生人建立新 鮮的情感連結。裝置的設計依循科學研究，參考了關於提升交 際愉悅性的環境理論，融入了一系列經實驗證實的親密提升元 素。兩位陌生觀眾將被分別邀請從裝置的兩邊同時進入，在音 頻的引導下互動十分鐘，體驗短暫而深刻的親密感。當二人各 自穿過逐漸不透光的隧道，在中心的互動區域相遇時，他們可 以透過一層提升安全感的布料感受對方的觸碰，根據聲音提示 談心聊天，並保持一段時間的眼神接觸。
DD, the “cat lady,” channels her playful spirit and love for art into vibrant paintings and crochet creations. Believing that “you can’t be a boring artist,” she emphasizes curiosity and optimism in fostering creativity. Her work explores the connections between people and nature through intricate lines and shapes, with a focus on colors and mark-making. For DD, beauty lies in uniqueness, and she values the creative process over the final outcome, inviting audiences to appreciate the journey of artistic expression.
DD，俗稱「貓小姐」，將她的童趣靈魂和對藝術的熱愛融入 生動的畫作和鉤織創作。她堅信「無趣的藝術家無法創造出精 彩的作品」，強調好奇心和樂觀對創造力的重要性。她的作品 透過複雜的線條和形狀探索人類與自然的聯繫，特別注重顏色 和筆觸。對於DD來說，美麗在於獨特，她重視創作的過程而 非最終結果，邀請觀眾欣賞藝術表達的旅程。
The view from my window
2025
Mixed medium, Chinese ink, oil pastel on linen canvas
40 x 30 cm
混合媒介 、 水墨、粉蠟筆亞麻畫布
40 x 30 厘米
The Hong Kong View 2023
Mixed medium, oil, canvas , crochet yarn
150 x 120 cm
油彩、畫布、鉤針編織
150 x 120 厘米
GuGu in the Space 1 II
2025
Crochet yarn
Size variable
鉤針編織 尺寸不定
GuGu love letter
2025
Crochet yarn
Size variable
鉤針編織 尺寸不定
Audrey from Little Shop of Horrors II
2025
Crochet yarn
Size variable
鉤針編織 尺寸不定
This series was created to celebrate the beauty of ROOS— just like my everyday life. It captures fleeting moments, the views, and the GuGu as a visual diary of existence. Each piece channels happiness, joy, and the playful essence of living. Like the space it occupies, the work radiates only good vibes—a celebration of life‘s lightness to be shared. The key? To truly live the moment.
這一系列作品是為了頌揚ROOS的美好而創作——就如同我的 日常生活。它捕捉了轉瞬即逝的時刻、眼前的風景，以及菇 菇，如同一本關於存在的視覺日記。每一件作品都傳遞著幸 福、喜悅，以及生活中那份趣味。如同它所佔據的空間，這件 作品只散發著正向的能量——是對生命輕盈之美的頌揚，並期 待與人分享。而關鍵在於真實地活在當下。
Instagram Website 網址 @yvonne.ywfeng yvonne-yiwen-feng.com
Yvonne Feng (b. Guangdong, China) is an artist, researcher, and educator based in Hong Kong and London. She completed her MA at the Royal College of Art in 2014 and her practice-led PhD, titled ‘Tracing the Unspeakable: Painting as Embodied Seeing’, at the Slade School of Fine Art, UCL in 2020. She is an Associate Lecturer at Camberwell College of Arts, UAL and a former Senior Lecturer in Fine Art Painting at University of Brighton.
In Feng’s painting practice, she takes possession of life and societal events, infusing them with her own imaginary and subjective experiences. Through playful experimentation with figural forms and painterly gestures, she searches for representations that defy singular narratives and predefined meanings of events, making visible the intricate human condition within the midst of these occurrences.
Feng has presented solo exhibitions in Hong Kong and London, also participated in group exhibitions in the UK, France, China and the USA. Her work is held in the UCL Art Museum Collection as well as in private collections worldwide.
馮伊雯（出生於中國廣東）是一位藝術家、研究者和 教育者，目前居住在香港和倫敦。她於2014年在英國皇家藝 術學院獲得碩士學位，並於2020年在倫敦大學學院斯萊德美 術學院完成以實踐為主導的博士學位，題為「Tracing the Unspeakable: Painting as Embodied Seeing」。她現為 倫敦藝術大學坎伯韋爾藝術學院的副講師，曾任布萊頓大學純 藝繪畫高級講師。
在馮氏的繪畫實踐中，她佔有生活和社會事件，並注入自己的 想像和主觀經驗。透過對人物形式和繪畫手勢的有趣實驗， 她尋找挑戰單一敘事和事件預定義含義的表現形式，使這些事 件中複雜的人類狀況變得可見。
馮氏曾在香港和倫敦舉辦個人展覽，並參與多場在英國、 法國、中國和美國的群展。她的作品被收藏於倫敦大學學院 藝術博物館及世界各地的私人收藏。
My recent work explores the notion of “Docile Bodies” in a trilogy of exhibitions that approaches the theme through barrier, gesture and sight. Through a synthesis of bodily symbolism, pandemic-inflected motifs and fluid painterly gestures, I probe embodied memory and the ongoing negotiation between control and agency. I set up the canvas as a stage, incorporating symbolic boundaries and confined spaces that become a backdrop for contemplating how bodies conform to or resist predetermined rules, structures and restrictions. In doing so, I explore the intricate entanglement between the body and the spaces it inhabits.
The imaginary figure or the recurring motif of the hand, bare or gloved, serving as a performative agent, for negotiating the inextricable relationships between the individual and the external crisis, the inner self and the collective, navigating the thresholds between selfindulgence and restraint, autonomy and authority, performing a delicate choreography of mutual regulation. By situating the body in familiar yet dislocated environments, or by embodying existentially entrapped situations, I question whether the body is controlled or autonomous, disciplined or free.
她近期的創作透過一系列三部曲展覽，探討「馴順的身體」這 一概念，分別以屏障、姿態與觀看作為切入主題的視角。透過 身體象徵、疫情時代的意象，以及流動的繪畫性筆觸，她試圖 探掘身體的記憶，以及控制與能動性之間持續不斷的協商。
她將畫布設為一個舞臺，納入象徵性的邊界與受侷限的空間， 使其成為一個背景，用以沉思身體如何順應或抵抗既定的 規則、結構與限制。藉此，她探索身體與其所處空間之間那 複雜的糾纏關係。
那個想像中的人物，或反覆出現的手部母題——無論是赤裸或 戴著手套——皆成為一種展演性的媒介，用以協商個人與外在 危機、內在自我與集體之間那無法切割的關係。它遊走於自我 放縱與克制的臨界點，在自主與權威之間擺盪，上演著一場 相互調節的細膩編舞。通過將身體置於熟悉卻又錯置的環 境中，或是體現存在主義式的困境，她試圖叩問：身體 究竟是受控的，還是自主的？是馴服的，還是自由的？
Impulse 《欲動》
2025
Acrylic and oil on canvas 160 x 200 cm
壓克力彩、油彩、畫布 160 × 200 厘米
Installation view of Möbius Loop exhibition 「莫比烏斯環」佈展圖 2025
Willa Fok is a mixed-media and installation artist. She received her BA from Academy of Visual Arts at HKBU in 2025, and has been awarded the HART Award in the same year. Specialising in material expression, Fok conveys subtle emotional states through tactile textures, using metaphorical imagery and sensory encounters to explore the fluid dialogue between selfintegration, consciousness, and the subconscious.
霍泳如是一位混合媒介及裝置藝術家，於2025年在香港浸 會大學視覺藝術學院獲得學士學位，並於同年獲頒發HART 大獎。霍氏擅長運用不同物料的質感傳達細微的情感狀態，並 透過隱喻性的意象與感官體驗，探索自我整合、意識與潛意識 之間的流動關係。
Studio Grant Recipient
Prescription 《處方》 2025
Recycled paper, Chinese herbal medicine residue, plants, pills, wood, steel, gauze fabric, styrofoam, epoxy resin, white glue, motor 205 x 120 x 120 cm
回收紙、中藥渣、植物、藥丸、木、鋼材、紗布、發泡膠、 環氧樹脂、白膠漿、馬達 205 x 120 x 120 厘米
Hong
Angela is a Hong Kong-based artist whose practice explores personal identity and memory through unconventional materials and deeply autobiographical narratives. Before turning fully to art, she spent a decade working in consulting. In 2025, she made the pivotal decision to leave that career behind and dedicate herself entirely to her artistic practice.
Angela’s recent work draws from her upbringing in Hong Kong and her family’s connection to food culture. She uses wonton noodles as both medium and metaphor –transforming a humble, everyday ingredient into visual compositions. Through these works, noodles become lines, gestures, and symbols of family, culture and continuity. By elevating familiar materials into sculptural and painterly forms, she examines the meaning of personal heritage and belonging in a rapidly changing city.
Angela holds a double major in Art Practice and Economics, and a M.S. in Management Science and Engineering from Stanford University. She also holds a M.A. in Fine Arts from The Chinese University of Hong Kong.
黃濼儀是一位來自香港的藝術家。 她的創作透過非傳統的材料 與自傳性的敘事方式來探索人生經驗與記憶。在全心投入藝術 之前，她曾於管理顧問公司工作十年。2025年，她作出關鍵 決定，離開原有職涯，專注發展藝術創作。
黃濼儀近年作品的題材是淵源於她在香港的成長背景，以及家 族與飲食文化之間的深厚關係。她以雲吞麵作為創作材料與隱 喻，將日常而樸素的食材轉化為視覺構成。在這些作品中，麵 條既是線條，也是筆觸，更象徵家庭、文化與延續。透過將麵 條轉化為不同的視覺形式，她探討在迅速變遷的城市中，個人 傳承與歸屬感的意義。
黃濼儀擁有史丹福大學藝術與經濟學雙主修學士學位，以及管 理科學與工程理學碩士學位。她並取得香港中文大學藝術碩士 學位。
Face the Universe 《面對宇宙》
2026
Mixed media, wonton noodles 92 x 120 cm
混合媒介，餛飩麵 92 x 120 厘米
Jin
《晶》 2025
Mixed media, wonton noodles
60 x 60 cm
混合媒介，餛飩麵
60 x 60 厘米
A Piece of S*** on a Silver Platter 《銀盤珍饈》
2025
Mixed media, wonton noodles 26 cm diameter
混合媒介，餛飩麵
直徑26厘米
Instagram Website 網址 @unislai unislai.com
Unis Lai 黎曉蓉
Hong Kong 香港
Unis Lai, Hong Kong comic artist. A graduate of the Academy of Visual Arts at Hong Kong Baptist University, once studied at the Accademia di Belle Arti di Bologna. Life, to her, is something to be felt before it is understood. Her creations are born from emotion — expressed through comics, illustration, poetry and painting.
She contemplates alternate reality and inner worlds, exploring resonance in and out.
黎曉蓉，香港漫畫藝術家。
畢業於香港浸會大學視覺藝術院，
曾赴意大利博洛尼亞美術學院交流。
對她而言，生命是一場體驗， 心動的瞬間，往往是她創作的起點。
作品以漫畫、插畫、詩書、油畫等方式呈現。
她遊走於思想邊境，透過構築現實難以觸及的神秘世界，
尋找回應自身與現實的靈感。
Between Us
2025
Colour pencil on paper
Digital retouch Hard cover
Made in Wales & Hong Kong
285 x 285 mm
32 Pages
紙本色鉛筆 數位修飾，精裝 出版自威爾斯與香港
285 x 285 毫米
32 頁
In a universe where lines and shapes exist apart, when two very diferent souls Linee and Shapee cross paths, will they embrace, fall in love, clash or drift away? How would you decide? Love is always the answer.
在線條與形狀分別存在的宇宙裡，截然不同的線線人與面面人 因一場意外相遇。
他們會擁抱、相愛，還是憎恨、迴避？ 你又會如何選擇？ 一切的答案都是愛。
Starting from drawing figures but ending up creating conceptual arts, Law eventually dabbles from paintings to anything whimsical. With many mismatches, he is so versatile thanks to his curiosity about the world. He plans to settle down at HART HAUS and slowly work on his “DIY aesthetic”.
初初只係想畫公仔點知就變咗做概念藝術，於是由繪畫到古靈 精怪的都有汲足。是一個錯Q晒，對世界好奇所以百足咁多爪 嘅人類。在 HART HAUS 計劃靜下來，慢慢搞下佢想了很久 的「土炮美學」。
This work dances with ghosts of basketballs floating in tanks, but flips the script. Where there was factory-perfect, now lives handblown poetry. Where pristine tanks once stood, salvaged containers speak in whispers of their past lives.
Glass spheres, dressed like childhood memories of watermelon balls from Hong Kong streets, float in spaces they were never meant to inhabit. Each wobble and bubble in the glass tells its own story - perfect in its imperfection.
The pedestals, cobbled together from urban debris, stand proud on legs painted in primary colors. They’re both throne and jester, holy and mundane, precious and throwaway.
This isn’t just about inverting Koons’ famous tanks. It’s about finding balance between the precious and the discarded, between memory and presence, between what we craft with care and what we find by chance
These pieces exist in the sweet spot where precision meets chaos, where art history winks at street games, where East meets West in a playground of possibilities.
此作品與漂浮於水箱中的籃球幽靈共舞，卻徹底翻轉了劇本。
昔日的工廠完美，如今化為手工吹製的詩意。曾經一塵不染的 水箱，現由回收容器取代，低語著它們的前世今生。
玻璃球體，裝扮成香港街頭西瓜球般的童年記憶，漂浮在從未 預期駐足的空間裡。玻璃上的每一道搖晃痕跡與每一個氣泡， 都訴說著獨一無二的故事——在不完美中展現完美。
底座則由城市碎片拼湊而成，以原色繪製的「雙腿」傲然挺 立。它們既是寶座也是小丑，既神聖又世俗，既珍貴又可拋。
這不僅是對傑夫·昆斯著名水箱的顛覆。更是在珍貴與廢棄之 間、在記憶與當下之間、在精心雕琢與偶然拾得之間，尋找 平衡。
Something about Equilibrium - After Jef Koons
Mixed media
101 x 58.5 x 44 cm
混合媒介
101 x 58.5 x 44 厘米
Almost a Bigger Book (David Hockney (SUMO))
《差少少大點點的書 （大衛·霍克尼（相撲））》
The “book” : Acrylic, ink on foam
The “stand” : Acrylic, Foam, copper, stainless steel
The“book”: 710 x 117 x 70 mm
The “stand” : unfinished
「書本」：710 x 117 x 70 毫米 「底座」：未完成
Hong Kong 香港
Beijing 北京
Studio Grant Recipient
Melody Qingmei Li is an artist and writer based in Hong Kong. She constantly edits and translates threads of memories and the present, some of which grow into forms of writing while others are woven into various mediums including drawings, paintings, moving images, objects, and sculptures. She treats artistic practice as simple daily exercises to resist the spreading of amnesia and aphasia, and meanwhile to create possibilities for moments of resonance. She is interested in liminal spaces between the natural and the artificial, the body and the mind, and the individual and the system.
李清美是一位藝術家和寫作者，生活工作於香港。她於記憶 與當下之間編輯轉譯，有些成文，有些線頭則織入豐富媒介 之中，如圖像光影或物件雕塑。她視創作為日復一日的簡單 耕作，以此抵抗失憶與失語的病毒蔓延，亦是為共鳴的瞬間埋 下種子。自然與人造、肉體與思維、個體與系統中的臨界空間 令她著迷。
Whispers floating among streetlights, halo, trees, and pounding hearts 《路燈、散光、枝丫、與心窩 間飄來飄去的話語》
2024
3D-printed UV curable resin, dried tree branches and leaves, petals, clear quartz, aventurine quartz, silk, hemp paper, ink, wood, metal Single channel video, HD, stereo sound 97 minutes
3D列印光敏樹脂，枯枝，落葉，花瓣， 白水晶，東陵玉，絲，麻紙，墨 單頻高清視頻，彩色，有聲 97分鐘
By chance, I came across the daily streetlight schedule of Beijing, channeling individuals, the cityscape, and the changing weather. I found the ritual of waiting for the moments of streetlights turning on and recording the processes. From then on, every day, I waited for streetlights to come alive from busy modern avenues to traditional alleyways, joined by many individuals I connected with over delivery apps who carry packages around the city.
Flâneur gained a sense of aim through discipline while endless cycles tied to the system found an excuse to pause. Day in, day out, collected images overlap, and vessels of the gazing and gazed grow into each other. Scattered thoughts gathered in the lampshades, enfolded in the moving images’ timeline. If you pass by, you may encounter the moment when the lights on a street corner wake up accompanied by someone’s memory on a certain day.
偶然找到北京全城每日亮燈的時間表，摸到一根鏈接氣候、 城市與人的線頭，拾獲等待並記錄路燈亮起瞬間的儀式。此後 每一天，我與未曾謀面、奔波城中的不同快遞員們在各自的 街頭一同等待某盞燈亮起。
遊蕩被規則賦予目標，系統中忙碌的循環有了一個停下來的藉 口。日復一日的影像疊加在一起，觀看與被觀看的器皿重合。 散落的念頭聚於燈罩中，埋在影像的時間軸里，若你經過，也 許會與某一日的某個人在記憶中共同捕捉某條街上燈亮起的那 一刻。
Vickie Li’s works often portray the dualism at play between preserving innocence and the desire for power. Her forms metaphorically embed a feeling to convey a visual state of mind. She calls them “immersive paintings” as they are curated narratives in the process, born through her ability to retain her imagination and dream.
李敬儀的作品經常描繪保持純真和權力渴望之間的二元。 她在 形式裡隱喻地埋入了一種能傳達視覺精神狀態的感覺。 她稱 它們為 「沉浸式繪畫」，是過程中精心策劃的敘事，亦是通過 她保持想像力和夢想能力而誕生的。
Doris Toi Yee Ng is a Hong Kong artist whose practice spans painting, participatory performance, and installation, focusing on how bodies negotiate space, structure, and care. Her research-led paintings draw on mono no aware, mapping and charting, semiotics, and expanded ideas of landscape, using vibrant yet delicate fields of colour and thin layers of oil paint to register time, feeling, and attention. Her work is held in the collection of Henderson Land, has been exhibited at Hong Kong Arts Centre, Tomorrow Maybe at Eaton HK, M+, and Goethe Gallery, and she is currently pursuing a PhD in Fine Art practice-research at Central Saint Martins, University of the Arts London.
Hong Kong 香港
吳玳誼是一位香港藝術家，其創作涵蓋繪畫、參與式行為藝術 及裝置，聚焦於身體如何協商空間、結構與關懷。她以研究為 主導的繪畫借鑒物哀美學、地圖繪製、符號學及擴展的風景 概念，運用鮮活細膩的色彩場域與薄塗油彩層，記錄時間、 感知與關注。作品獲恒基兆業收藏，曾於香港藝術中心、逸東 酒店「Tomorrow Maybe」、M+博物館及歌德畫廊展出； 現為倫敦藝術大學中央聖馬丁學院美術實踐研究型博士生。
Developed at Crip Art residency at c.95d8, Sky Compartments I (The Fallen Star) is a poetic exploration of human diversity. This artwork features a T-iron stainless steel structure, about 2 meters high and 1.8 meters wide, inviting 360-degree examination.
Each compartment displays shapes resembling passport photos made from IKEA blue bags and transparent inkdipped sheets, hanging over a rotating surface that traces patterns in dark grey particles below.
At the center, a star shape symbolizes the experience of those who identify as Crip, representing the struggle for visibility. The blue rim of the IKEA bags is removed but remains functional, balancing individuality and interconnectedness. Each compartment embodies a distinct sky, inviting viewers to reflect on our shared existence and unique identities.
《Sky Compartments I (The Fallen Star)》於c.95d8的Crip Art駐村計劃中發展而成，是對人類多樣性的詩意探索。這件 作品採用約兩米高、一米八寬的T型鐵不鏽鋼結構，邀請觀眾 作三百六十度審視。
每個隔間展示著形似證件照的形狀，以IKEA藍色購物袋和 沾墨透明膠片製成，懸掛於旋轉平面上，在下方深灰色顆粒中 描繪出軌跡。
作品中心的星形符號，象徵著認同為Crip群體者的經驗，代表 著對可見性的掙扎。IKEA購物袋的藍色邊緣被移除卻仍保留 功能，在個體性與相互連繫之間取得平衡。每個隔間體現獨特 的天空，邀請觀眾反思我們共同的存在與獨特的身份認同。
Sky Compartments I (The Fallen Star)
2025
T iron steel, plastic screw, IKEA FRAKTA bag, transparent sheet, glass paint, steel hook, grain shell, lace fabric, light panel, led light, electronic lazy susan, steel frame, black hemp rope 220 x 210 x 140 cm
T型鐵鋼、塑膠螺絲、IKEA FRAKTA 藍色購物袋、透明膠片、玻璃顏料、 鋼鉤、穀殼、蕾絲布料、燈板、LED 燈、電動旋轉盤、鋼架、黑色麻繩 220 x 210 x 140 厘米
In Sound of Skin, Doris Ng and Crip Collective c.95d8 present a multisensory performance exploring breath, bodily tension, and interdependence. Featuring a 4-metre ephemeral landscape, costume restraints, breathing-modulated sound, DJ Woonji’s audio input, and real-time live camera projections, the work amplifies intimacy and explores themes of constraint, resistance, and support.
Crip Collective c.95d8 呈獻《皮膚之聲》，一場探索呼吸、 身體張力與相互依存的多重感官演出。作品設有四米長的短 暫風景、束縛服裝、以呼吸調節的聲音、DJ Woonji 的即場 音樂，以及即時攝錄投影，放大親密感，探索約束、抵抗與 支撐的主題。
Hong Kong 香港
Born in 1992 and currently based in Hong Kong, Wu Jiaru is a multi-disciplinary artist whose practice spans painting, installation, and moving image. Her work focuses on cultural memory, mythology, diaspora experiences, and urban imagination, specifically exploring how images and narratives shape identity and collective memory.
Wu Jiaru graduated from Tsinghua University in 2014 with a dual degree in Art and English. She received her master degree in Creative Media from City University of Hong Kong in 2017. Her recent exhibitions include solo show Apollo Center at Flowers in Hong Kong (2025), Emotional Device at P21 in Seoul (2023) and Secrets with an Abundance of Foreign Lines at Flowers Projects in New York (2023); and group exhibition Myth MakersSpectrosynthesis III at Tai Kwun (2023). Wu was awarded the Asian Cultural Council New York Fellowship in 2022, and her works are collected by Morgan Stanley Art Collection, Burger Collection, M+ Museum, among others.
吳佳儒是一位跨領域藝術家，其創作涵蓋繪畫、裝置與影像。 她的作品關注文化記憶、神話、離散經驗與城市想像，特別 探索圖像與敘事如何塑造身分認同與集體記憶。
吳氏於2014年畢業於清華大學，取得藝術與英語雙學位； 並於2017年在香港城市大學取得創意媒體碩士學位。她近期個 展覽包括：2025年於Flowers Gallery（香港）舉辦的Apollo Center；2023年於P21（首爾）舉辦的Emotional Device； 以及2023年在 「Flowers Projects」（紐約）舉辦的Secrets with an Abundance of Foreign Lines。她亦參與了2023年於 大館舉辦的群展Myth Makers – Spectrosynthesis III。她於 2022年獲得Asian Cultural Council頒發的紐約獎助金。她的 作品被Morgan Stanley Art Collection、Burger Collection 以及M+博物館等多個機構收藏。
The Death Of Lao She
2017
Hand-drawn 16mm film, projector, hair, printed text, film with sound Size variable
手繪 16 毫米膠片、投影儀、頭發、 印刷文字、有聲影片 尺寸不定
sites.google.com/view/elsangai-art
Elsa Ngai is an artist specialising in mineral pigment painting who graduated from The Chinese University of Hong Kong with a Bachelor of Fine Arts in 2024. Her works explore the delicacy between reality and illusion, employing layering and polishing techniques to interweave multiple images across distinct layers, inviting a multitude of interpretations. She draws inspiration from natural life and ancient relics, collocating organic forms with daily observations to explore their subtle relationships. She is the recipient of the HART Award, the Friends of the Art Museum Prize, and the Madam Jan Yun-bor Memorial Award for Chinese Painting and Calligraphy.
魏舍椏是一位主要從事礦物顏料繪畫的藝術家，她於2024年獲 得香港中文大學藝術系學士學位。她的作品探索現實與幻覺之 間的微妙界線，運用疊加與打磨手法，將多重影像交織於不同 的層次之中，讓觀者能夠作出多樣的詮釋。她從自然生命和古 代遺跡中汲取靈感，將有機形態與日常觀察並置，探索二者的 微妙關係。她曾獲頒HART Award、文物館之友獎、詹雲白夫 人紀念中國書畫獎等獎項。
Studio Grant Recipient 工作室資助藝術家
Seeking Eternally 《永恆地尋覓》
2025
Mineral pigments and copper leaves on paper, mounted on wooden board
50 × 80 cm
礦物顏料及銅箔繪畫 (紙本，裱於木板)
50 × 80 厘米
2025
Mineral pigments and gold/silver leaf on paper, mounted on wooden board
40 × 40 cm
紙本礦物顏料、金/銀箔，裱於木板
40 × 40 厘米
The cofee plantation at dusk features soft and rich colors, with surrounding fields layered in tiers. The warm orange-pink tones are painted using red soil from Yunnan, bringing a delicate earthy essence. A green-banded swallowtail butterfly perches on the tip of a cofee tree, adding vatility into the serene mountain wilderness scenery. This series of paintings will be displayed longterm at the Starbucks store at the Hong Kong Palace Museum.
這幅描繪黃昏咖啡種植園的作品，色調柔和而豐盈，四周的田 野層層疊疊。溫暖的橙粉色調，是以雲南的紅土壤繪製而成， 帶來了細膩的泥土氣息。一隻青帶鳳蝶停駐在咖啡樹的枝頭， 為寧靜的山野景致注入了盎然生機。此系列畫作將於香港故宮 文化博物館的星巴克分店長期展出。
Website 網址 @thepenguinlab penguinlab.net
Lab
Hong Kong 香港
Penguin Lab was founded in Hong Kong in 2008 by Kongkee, Art Director and Lawman, Project Director, who both believe in the power of art and storytelling. Our mission is to discover stories of our time via imagination, and to comfort human hearts by telling the stories through comic art and animation. Penguin Lab focuses on art making, comic and animation production.
Penguin Lab 由藝術總監 Kongkee 和項目總監 Lawman 於 2008 年在香港創立，他們以發掘這個時代的故事為使命， 透過富有想像力的漫畫和動畫藝術撫慰人心。Penguin Lab 現專注於藝術、漫畫和動畫製作。
Dew & Lightning
2025
106.7 x 106.7 cm
Mixed media on galvanized iron canvas
106.7 x 106.7 厘米 混合媒介於鍍鋅鐵板畫布
Darkness
2025
Neon Installation 146 x 260 cm
霓虹裝置 146 x 260 厘米
Hong Kong 香港
Sharu Binnong Sikdar (b. 1994) is a Hong Kong-born Indian-Filipino artist. Her artistic practice is distinguished by the repetition and labor-intensive processes, in which she collects, assembles, and reconstructs found objects. Sikdar mainly uses natural materials such as leaves, barks, branches, and even her own hair as her medium. Her work thoughtfully explores the intricate relationships between human and nature, delving into themes of personal growth and transformation, highlighting strength and vulnerability interwoven in the choice of her materials.
Sikdar graduated with a B.F.A. in Painting from the Savannah College of Art and Design in Hong Kong. Since then, she has exhibited her work in both solo and group exhibitions, galleries and public space installations, showcasing her unique approach to art-making.
Sikdar has also been involved in collaborations with various artists on community-based art and cultural projects. They organize art workshops that create inclusive and participatory art experiences that encourage individuals to explore their own creativity and use art as a medium for self-discovery and communication.
Sharu Binnong Sikdar 是位生於1994年香港的印度裔菲 律賓藝術家。她的藝術實踐以重複性與勞動密集的過程為特 色，透過收集、組裝與重構現成物進行創作。Sikdar主要 使用天然材料，如樹葉、樹皮、樹枝，甚至自己的頭髮作 為媒介。她的作品深刻探討人與自然的關係、個人成長，以及 存在的短暫本質。
Sikdar畢業於香港的薩凡納藝術設計學院，獲得了 繪畫專業的美術學士學位。此後，她的作品在個展、 群展、畫廊及公共空間裝置中展出，展現了她獨特的 藝術創作方式。
此外，Sikdar也積極參與與其他藝術家的合作，致力於社區藝 術與文化項目。他們組織藝術工作坊，創造包容性與參與性的 藝術體驗，鼓勵個人探索自身的創造力，並將藝術作為自我發 現與溝通的媒介。
I
Fear My Anger Will Eat Me Alive
2022
Hand embroidery threads, felt, wire, wood, soil, acrylic paint
Dimensions variable
手工刺繡線、毛氈、金屬絲、木材、
泥土、壓克力顏料 尺寸不定
Image courtesy: Novalis Art Design
圖片由 Novalis Art Design 提供
I Fear My Anger Will Eat Me Alive is a work that explores the artist’s growth of grappling with her own anger issues. The artist understood overtime when anger is suppressed and left unaddressed, it would silently fester into a ticking time bomb. Sikdar shaped her anger in the form of fungus growing on trees. Much like repressed anger, fungus consumes the host from within, gradually breaking down its structure. The various color transitions of the fungus also serve as visual markers for the diferent stages and intensities of anger experienced. By meticulously handembroidering these fungal forms in a repetitive pattern, the artist engages in a meditative process of channeling her anger into a more constructive and manageable outlet. The act of creation becomes a means of contemplation, allowing the artist to confront and work through her emotions in a healthy, productive manner.
《I Fear My Anger Will Eat Me Alive》記錄了藝術家與憤 怒情緒的鬥爭。 Sikdar 明白當自己的憤怒被長久壓抑而不得 釋放時，它將會逐漸潰爛成一個無聲的定時炸彈。Sikdar 以長在樹上的真菌來形塑她的憤怒。被人壓抑的憤怒形同真 菌，從內將宿主的養分消耗殆盡，逐漸將其結構摧殘破壞。 真菌的各種 顔 色變化亦象徵著不同階段與強度的憤怒體驗。
Sikdar透過反反覆覆地細心縫製真菌，進入了冥想境界，並從中 引導自身的憤怒找尋一個更可控、更具建設性的情緒出口。創作 帶來了沈思，允許藝術家以一種健康、富有成效的方式面對和 處理個人情緒。
Spacefolks
Hong Kong 香港
Spacefolks is co-founded by Miu and Benji, both born and raised in Hong Kong, and having studied abroad in Melbourne, they design furniture and spaces for communities, businesses and social places.
The studio transforms spaces into environments that reflect individuality, enhance well-being, and stand the test of time. Their approach blends thoughtful functionality with refined aesthetics, drawing inspiration from local craftsmanship, natural materials, and human connections. Their creative work is for the people who will live with them every day.
With more than ten years of industry experience, they always seek a balance between aesthetics and function in their creative work, with the spirit of elevating the everyday experience of ordinary life in Hong Kong into something quietly meaningful and truly worthwhile.
Spacefolks 由 Miu 與 Benji 共同創立，兩人皆於香港出生及 成長，並曾赴墨爾本留學。他們為社群、企業及各類社交場所 設計空間與家具。
工作室致力將空間轉化為能展現個性、提升身心福祉，並經得 起時間考驗的環境。他們的設計理念融合功能性與美學，所有 創作皆以人為核心，靈感源自本地工藝、天然材質以及人與人 之間的連結。
憑藉超過十年的創作經驗，他們始終追求美感與功能之間的 平衡，將平凡轉化為內斂而有意義，並以提升香港日常生活 體驗為精神。
The Dive Stool is custom-designed into its simplest form - an expression that embodies the product concept: to ‘dive’ deep into a passion without distraction. Its clean, sculptural form features a rectangular seat that ofers versatile support in multiple orientations. The tapered legs provide exceptional stability, while integrated footrests reinforce the structure. The stools are handcrafted in our atelier from solid walnut, resulting in subtle variations in grain, tone, and character that make every stool unique. Each connection relies exclusively on traditional wooden joinery - no screws or metal hardware. It reveals timeless craftsmanship and material honesty from every angle.
《潛凳》以最簡約的形態體現「深潛投入」的產品理念，讓 人能毫無干擾地沉浸於熱情所在。簡潔的四邊形座面配合 錐形椅腳可供多個方向靈活就坐，而一體成形的腳踏強化 整體結構及穩定性。《潛凳》是spacefolks在木工場全人 手製作，每張皆因獨特的胡桃木紋與色調蘊藏着不同個性。
2023
所有連接均採用傳統木榫造法，無需任何螺絲及五金件，從任何 角度使用都能感受永恆的美學工藝。 Dive Stool 《潛凳》
Solid walnut
胡桃實木
Swallow Bench 《燕椅》
2025
Solid walnut, cofee dyed fabrics
胡桃實木，咖啡染色織物
Swallow Bench is designed to bring functional yet emotional value to people. Also hand-shaped from solid wood and assembled with classic mortise-andtenon dovetail joints, it carries on the studio’s dedication to enriching spaces with thoughtful, quality furniture options. Being placed in a cozy living room, the bench is an aesthetic pleasing low cofee table; when found in a cofee shop it becomes a long communal seating; at a gallery it silently provides seats for visitors to pause and rest. Multipurpose by design, it is curated to spark connection, bringing people, conversations, local communities and businesses together.
《燕椅》的設計旨在為本地市場提供具功能性和情感價值的 家俬選擇。它延續了工作室以用心設計來提升室內空間體驗 的理念。《燕椅》在咖啡店中，是一組長型座位；當被放置 在客廳時，它則變成了一個美觀的茶几；在畫廊裡，它靜靜 地為訪客帶來短暫休息的位置。這款多功能長椅鼓勵人與人 之間的對話，並連結社區活動和商業聚會。
France 法國
Gisèle Tchitchiama is an interdisciplinary artist. Her artistic practice is best-known for investigating the allure of freedom in her pictorial and abstract universe, and gives it form by examining the relationships between colour and brush stroke. Tchitchiama continually tries to clarify the transcendence of identity, an elegant fluidity in which a new sense of peace and gentleness is created.
A French artist, Tchitchiama concentrates on employing a powerfully evocative dreamscape, using distinctive strokes of paint that are like shadows of both force and lightness, creating a poetry between her profound use of colours, the material used and the act of creating. Tchitchiama invites us to take a moment to enter our personal cosmos of light and intimacy with oneself, inspiring those who engage with her work, to rediscover the beauty of humanity within oneself. Often created without any anecdotal or narrative aspect, Tchitchama’s work encompasses the essence of expression, purity and spirituality.
Based in Hong Kong, Tchitchiama has a Postgraduate degree in Public Relations between interest groups and the European Union: representation and negotiation (H) MA in anthropology(H). She has exhibited solo or in groups in France, Congo Republic, Singapore, Japan and Hong Kong. In 2024, Tchitchiama was part of the Mozart Opera the Die Entfuhrung aus dem Serail KV 384 directed by Sabine Theunissen for the Marvao festival in Portugal.
Her work is held in the Hong Kong Bankers Club collection, Asia Art Archive as well as in private collections worldwide. Her poems and artwork have been recently published in the Japanese magazine Don.
She is working on Living Memoria of the Sea, a collaborative installation project in 2026.
Gisèle Tchitchiama 是一位跨領域藝術家。她的藝術實踐以 探究其繪畫與抽象宇宙中自由的魅力而聞名，並透過審視色彩 與筆觸之間的關係賦予其形態。Tchitchiama 持續嘗試闡明身 份的超越性——一種優雅的流動性，在其中創造出嶄新的平和 與溫柔之感。
作為一位法國藝術家，Gisèle 專注於運用強烈喚起情感的夢幻 景致，以獨特的筆觸勾勒出兼具力量與輕盈的陰影，在她深沉 的色彩運用、媒材質地與創作行為之間構築詩意。她邀請我們
Untitled Bis_Sculpture Series I/II
Mixed media wood, plastic, rope, metal, cardboard 30 x 53 cm
混合媒介：木材、塑膠、 繩索、金屬、紙板 30 x 53 厘米
This year her main project is an installation’s project with Spawton company including painting, movie, song. It is inspired by a reflection regarding the migration issue and what it represents, the element of the sea. The material from daily life, the poems created, light efects and the music would like to ofer an interactive experience and an invitation to sense a moment of calm, hope and humanity.
今年，Gisèle 的主要創作是與
Spawton company 合作的裝 置藝術項目，當中包括繪畫、電影、歌曲等元素。作品靈感源 自她對移民問題的反思，以及象徵此問題的海洋元素。生活化 的物料，詩歌的創作、燈光效果和音樂構成了一種互動體驗， 邀請觀衆共同體驗充滿平靜、希望和人性的一刻。
駐足片刻，步入個人內在的光之宇宙，啟發觀者重新發掘自身 人性的美好。其作品常摒除敘事性元素，凝聚了表現力、純粹 性與靈性的本質。
現居香港的，擁有利益團體與歐盟公共關係（談判與 代表）碩士學位及人類學碩士學位。她曾在法國、 剛果共和國、新加坡、日本及香港舉辦個展或聯 展。2024年，她參與了由 Sabine Theunissen 執導、 於葡萄牙馬爾旺藝術節演出的莫札特歌劇《Die Entfuhrung aus dem Serail KV 384 》。
她於2026年計劃合作裝置《Living Memoria of the Sea》。
Hou Lam Tsui (b. 1997) is a Hong Kong-based visual artist who works across moving image, sculpture, installation, and text. Her practice centres around personal experience, afect, gender politics, and peripheral storytelling. Tsui rethinks how femininity and queerness are imagined within cultures, critically exploring how media and consumer desires shape emotions, our notion of love, femininity, and identities by drawing inspiration from pop culture, advertisement, anime, literature and beyond.
Her work has been exhibited at museums and institutions including Guangdong Times Museum (China), MoNTUE (Taiwan), Para Site (Hong Kong), and Tai Kwun Contemporary (Hong Kong). Her moving image works have been screened at ACMI (Australia), the Beijing International Short Film Festival (China), Image Forum (Japan), Kassel Documentary Film and Video Festival (Germany), Proyector Video Art Festival (Spain), Tirana International Film Festival (Albania), and Videoex Festival (Switzerland), among others. Her short film Hangnail was awarded the Best Student Experimental award at the Tirana International Film Festival 2025. Selected recent exhibitions include The Limit is the Turbulent Skies (MoNTUE, Taiwan, 2025) and Follow the Feeling (Guangdong Times Museum, China, 2024).
She received a BA in Fine Art and History of Art from the University of Leeds in 2018 and later obtained an MFA from the Chinese University of Hong Kong in 2024.
徐皓霖（生於1997年），駐香港視覺藝術家，其創作涵蓋多 種媒介，包括流動影像、裝置、雕塑和文本。實踐圍繞個人 經歷、情動、性別政治、邊緣敘事展開。徐重新思索陰柔氣質 和酷兒身份在文化中的想像，並從流行文化、廣告、動漫、 文學中汲取靈感，探究媒體與消費欲望如何形塑情感、情愛、 陰柔氣質及身份。
她的作品曾於多家美術館及機構展出，其中包括廣東時代 美術館（中國）、北師美術館（台灣）、Para Site（香 港）以及大館當代美術館（香港）。影像作品亦曾於ACMI （澳洲）、北京國際短片聯展（中國）、ImageForum（日本） 、卡塞爾紀錄片與錄像節（德國）、Proyector錄像藝術節（西 班牙）、地拉那電影節（阿爾巴尼亞）及Videoex錄像節（瑞士） 等影展放映。她的短片《Hangnail》獲地拉那電影節的最佳學生 實驗作品獎。近期精選展覽包括個展「倒睫」（HART HAUS， 香港，2026年）；群展「亂流：半睡飛行夢」（北師美術館，台 灣，2025年）及「跟著感覺走」 （廣東時代美術館，中國，2024 年）。
Studio Grant Recipient 工作室資助藝術家
徐氏2018年畢業於英國列斯大學，獲藝術及藝術史文 學士。2024年獲香港中文大學藝術碩士。
Installation view of Hangnail at MFA graduation solo exhibition
The Chinese University of Hong Kong
Hong Kong 香港
Nicholas Wong is the author of Crevasse (Kaya Press, 2015), the winner of the Lambda Literary Award for Gay Poetry, and Besiege Me (Noemi Press, 2021). He is also the recipient of the Australian Book Review ’s Peter Porter Poetry Prize. His has contributed writings to projects by the Solomon R. Guggenheim Museum in New York City, Manchester International Festival, and, recently, M+ Hong Kong’s “Masquerade” exhibition of photography works by Cindy Sherman and Yasumasa Morimura. He is an International Writing Program (IWP) resident in Fall 2024 at the University of Iowa, where he received the title Honorary Fellow in Writing.
黃裕邦是《Crevasse》（Kaya Press，2015年）的作者， 該作品榮獲 Lambda Literary Award 的男同志詩歌獎， 以及《Besiege Me》（Noemi Press，2021年）的作者。 他也是 Australian Book Review 的 Peter Porter Poetry Prize 得主。他的作品曾參與紐約 Solomon R. Guggenheim Museum、Manchester International Festival，以及近期 香港 M+ 博物館的「變裝化身」展覽，該展覽展出了辛蒂． 雪曼和森村泰昌的攝影作品。他於2024年秋季參與愛荷華大 學的 International Writing Program（IWP）駐留計劃， 並獲頒榮譽寫作院士。
Randomly Placed Saliva, Or My Little Lines
2024
Markings, lubricant, watercolour and oil stick on carbon transfer papers
210 x 297 mm
潤滑劑、水彩、油、碳轉印紙本
210 x 297 毫米
In this series, Wong continues to experiment with medium and the nature of the written language to reflect on the intersection of his writing and visual art career. He copies rejection notes from editors by using carbon transfer papers, then sadistically makes marks on them and eroticises them by layering a mix of lubricant and watercolour, resulting in lines, stains, and shapes that resemble dried semen. The series’ title comes from Wong’s long poem, “Grief Sonnets”, an erasure of Grief (2006) by the gay American novelist and essayist Andrew Holleran.
在這個系列中，黃氏繼續透過媒介和書面語言的本質進行實 驗，從而反思他寫作與藝術創作事業的交集。他用碳轉印紙 複印了編輯的退稿通知，先是以近乎狂虐的方式在紙上留下 記號，再加上一層層潤滑劑與水彩的混合物，製作出各種色 情化的綫條、汙漬和形狀，就像是乾燥精液一般黏附在畫面 上。系列標題來自黃氏創作的長詩作品 《Grief Sonnets》， 該作品是對美國同性戀小說家和散文家安德魯·霍勒倫 (Andrew Holleran) 2006 年作品《Grief》的一種抹除 。
Yip Ka Ki 葉嘉祺
Hong Kong 香港
Wilson Yip Ka Ki is a multidisciplinary designer working across clothing and everyday objects, with a practice centered on experience.
He earned his Bachelor’s degree from The Hong Kong Polytechnic University and later completed a Master’s degree at Central Saint Martins. Wilson began his creative career at Maison Mihara Yasuhiro in Tokyo and later worked within the creative team at Walter Van Beirendonck in Antwerp.
In 2021, the year his brand Wilsonkaki was founded, Wilson was recognized as one of The 10 Asian Designers To Watch. Approaching design as an artistic inquiry, his work explores how garments and objects are worn, used, and perceived in daily life. Through his practice, he questions preconceived notions of normality and redefines clothing and objects through subtle yet unconventional modes of everyday use.
葉嘉祺是一位跨領域設計師，創作涵蓋服裝與日常物件，其設 計實踐以體驗為核心。他畢業於香港理工大學獲得學士學位， 後於倫敦中央聖馬丁學院完成碩士學位。Wilson 的創意生涯 始於東京的 Mihara Yasuhiro 工作室，之後在安特衛普加入 Walter Van Beirendonck 創意團隊。
2021年，他的個人品牌 Wilsonkaki 成立，同年獲選為十大矚 目亞洲設計師之一。他以藝術探索的方式進行設計，研究服裝 與物件如何被穿著、使用與感知於日常生活。透過創作實踐， 他質疑既定的常規觀念，並以不循常規的日常使用方式，重新 定義服裝與物件。 @wilsonkaki_ofcial
Inspired by Wilson’s experience of riding JR trains while living in Tokyo, this project reflects on the everyday gesture of commuters shifting their backpacks to the front of the body. By translating this action into insideout and reversed garment structures, the work questions conventional ways of wearing and using clothing, proposing alternative possibilities for contemporary everyday dress.
靈感來自 Wilson 在東京生活時乘坐 JR 列車的經歷，觀察到 通勤者將背包移到身前的日常動作。他將這個動作轉化為內外 翻轉與反向的服裝結構，以解構的方式創造由內而外的服裝 結構，以挑戰常態的視角及探索當代日常服裝的更多可能性。
CROWDED SPACE
2024
Textile
織物
“Zaat Hap” was founded by four bamboo crafting artists: Emily Chan, Oscar Lau, Jefrey Hung, and Mimmy Tjia in 2023. Each member brings a unique background, ranging from urban research to social design, communication design, and contemporary art. With a shared passion for humanity, innovation, and aesthetics, they delve into bamboo crafting, seeking to uncover the modern significance of this traditional art form through their distinct perspectives.
「紮合」由四位藝術家——陳瑋瑤、劉浩然、謝旻蒑及洪梓 維——於2023年共同創立。成員背景多元，涵蓋城市研究、 社會設計、傳意設計及當代藝術等領域。懷著對人文、創新與 美學的共同追求，他們投入竹藝創作，以各自獨特的視角去探 索這門傳統工藝在當代的意義與可能性。
Hong Kong 香港
The Harvest Moon 《月丘》
2024
Bamboo splint, tissue paper, light
150 × 150 × 110 cm
竹篾、紗紙、燈
150 × 150 × 110 厘米
With the mid-autumn harvest moon as the center and the Hakka hats as the shape of hills, the area around Meizilin is the land of white rice, and the terraced rice fields have been nurturing Zeng’s family for generations.
Looking up, under the full moon, the descendants gather once again to inherit what their ancestors have built and to nurture a new generation of Meizilin people.
以中秋豐收之月為軸心， 客家斗笠為山丘之形，梅子林一帶為 白米之鄉，一格格梯田養活了代代曾氏子孫。
舉頭望去，圓月下，後代再次聚首，承傳先祖所建，育成新 一代梅子林之民。
Roaming Kwun Lung
2025
Postercolour and marker on tissue paper; bamboo splint, tissue paper, laquer, steel wire, wood; plastic eyeballs, found banana leaves, peacock feathers
廣告彩、麥克筆紙本；
竹篾、紗紙、清漆、不鏽鋼鐵線、木； 龍獅眼球、拾獲香蕉葉、孔雀羽毛
Kwun Lung Lau built on the mountain in the city is like a dragon living on the mountain. There is also a colourful dragon mosaic drawn by the wife of the architect Michael Payne of the Estate in it, which is a collective memory of the neighborhood. The terrain of Kennedy Town is like a dragon body, raising with ups and downs, which becomes the inspiration for Roaming Kwun Lung
The choice of dragon and bamboo crafting works also has its historical and cultural origins in the community: Po Fu Lam Village near Kennedy Town used to eliminate diseases and purify villages every Mid-Autumn Festival. As a symbol of auspiciousness, dragon dance is an important activity to unite the community. The work Roaming Kwun Lung also hopes to play a role in the community in Kennedy Town. In addition, Kennedy Town is also famous for its one and only Artisan Temple, Lo Pan Temple, worshiping the master of all arts, Lo Pan. With such heritage and culture as the backbone, Roaming Kwun Lung has provided us with a view of stories and depth of the community. This project was commissioned by HART HAUS for a community and placemaking project titled “HART to HEART” (2025).
觀龍樓依山而建，宛如一條蟠龍。屋苑內的彩龍圖案由 設計師Michael Payne的太太創作，是街坊的集體回憶。
《觀龍出沒》靈感來源於堅城起伏的地勢，猶如龍身。
選擇龍和紮作工藝的元素，根植於我們的歷史與文化。每年 中秋，薄扶林村會舞火龍以袪災除病，成為社區凝聚的活動。
《觀龍出沒》旨在延續這份團結精神。堅尼地城還有著名的 魯班先師廟，魯班是百藝之師，這裡進行傳統紮作創作也十分 合適，讓我們得以窺見社區的故事與深度。
這件作品由HART HAUS營造社區項目「心藝系與堅尼地城」（2025年）特別 委託。
HART Hong Kong
harthongkong
hart.haus