Social Studio Showcase "Trans/versal" - Exhibition Catalogue

“Lying across the main direction; running at right angles; in a crosswise direction at right angles to the long axis” — Translation of “transversal” from the French

We are thrilled to bring to you our first Social Studio Showcase in 2022 - “Trans/versal”.

Trans/versal is an open-ended idea that speaks about our individual experiences connected through a shared community. Suggesting a common line beyond culture and place, it enables shared human experience and our need for community that transcends artificial borders.

No matter where we go geographically, we find hope in our ability to make connections despite our different cultural backgrounds. Beyond intellectual terms there is something intangible. Beautiful and layered with meaning that makes spaces wherever you go seem familiar yet different. Frames and borders easily become blurred by shared experience and the common lines of human experience.

Thirteen of our HART Social Studio Programme artists will present their works, oscillating from paintings, sculptures, and installations, all created throughout the artists’ day-to-day art-marking in HART Haus.

We look forward to connecting with you at “Trans/versal”.

“橫越主方向、以直角穿越、在正確的角度與長軸交叉” — 「Transversal」法文的翻譯

我們很高興為您帶來2022年第一個HART匯舍展示。《Trans/versal》是一個開放的概念，細訴 我們因共享社群而連繫的個人經驗；同時亦暗示了一條超越文化和地域的共享線，容許人文 經驗和社群需求跨過本為虛構的界線。 無論我們地理上身處何方，我們都希望能跨越文化背景，互相連繫。有一些在認知以外而無形 的事物，美麗而富含意義，使你到訪的空間似曾熟悉卻相異。在共享的經驗和人文中，框架和 界線往往變得模糊。 十三位HART匯舍的藝術家將展示他們在HART Haus 日常創作的成果，當中包括繪畫、雕塑、 裝置藝術等。 期待與您透過《Trans/versal》建立連繫。

BH

Life is not still 2022 Set of two 一套兩幅, @ 91.5 x 122 cm 厘米

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。

BH is an extreme slashie 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. His work practice is about pursuit of perfect balance between memory decluttering and collections.

BH 是極級斜槓男，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。這同時也是 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。他的作品嘗試於記憶清洗和留存之間 的矛盾當中找尋平衡點。

DAMIAN BOYLAN

Vanity of Vanities Indium metal on poly(methyl methacrylate) 聚甲基丙烯酸甲酯上的銦金屬, 2022 122 x 122 x 10 cm 厘米

Vanity of Vanities, takes its name from the opening passage of the Old Testament’s Book of Ecclesiastes c. 200 BC. In its contemporary context, vanity is often held as an excessive pride in one’s reputation or appearance, brought to the fore by the artist, as the viewer moves to accept or avoid the multiple instances of their own distorted reflection.

Yet, it is the original meaning of vanity, that of ‘futility’, that the artist references here. Created amidst a climate of frustration, at a society lost in the throes of futile gesture, after futile gesture, might a glimpse of its own, face-saving commotions, wake it to the absurdity of it all?

《Vanity of Vanities》名字源自於公元前200 年舊約的傳道書。在當代背景中，虛榮往往 是人們對名譽或外表的過剩自尊，而藝術家 則將它呈現眼前，讓觀眾選擇接受或迴避自 身扭曲的多重影像。 然而藝術家在這裡映照的是虛榮之原意「徒 勞無功」。一件在沮喪的氛圍中、於一個迷 失在無盡徒勞痛苦的社會中創作的作品，會 否一督自身挽回面子的騷動，喚醒一切荒 謬？

Damian Boylan's material centric, process driven techniques span the disciplines of painting, sculpture, new media & sound to explore themes pertaining to time and consciousness. With a background encompassing a Master’s degree (MEng) in the field of Aerospace Engineering, his work ties multifarious recherché substances with rigorous theory, to form works that upend time-honoured technique, with self-conceived methodologies.

British-born Boylan lives and works in Hong Kong, China.

Damian Boylan 以材料為中心、過程驅動 的技術跨越繪畫、雕塑、新媒體和聲音等學 科，探索與時間和意識有關的主題。擁有航 空航天工程領域碩士學位 (MEng) 的背景， 他的作品將多種多樣的研究物質與嚴謹的 理論聯繫起來，形成了顛覆歷史悠久技術 的作品，並採用了自我構思的方法。 出生於英國的 Boylan 在中國香港生活和工 作。

NATASHA CHEUNG 張㯋曦

Choosing the Right Flower for New Year Video 錄像, 2020 4 mins 19 secs 4分19秒

“I want to buy! I want to buy,” a child exclaims in the background coincidentally.

For many, such a phrase may encapsulate the experience of living in this fast paced, commodity obsessed city. Here, I eavesdrop on an exchange of buying flowers for the lunar new year. One could focus on the bartering, trust, distrust, assurance and reassurance that arose from that mundane conversation. At the same time, I decided to paint with the video camera, to choose to listen to the flowers sitting, and in turn to the rich soundscape of form and colour that engulfs the complex city that we live in.

「我要買！我要買！」一個孩子恰好在背景 叫嚷著。對很多人來說，如斯話語體現了節 奏急速而沉迷消費的都巿生活。因此我竊聽 了在農曆新年時一場年花的交易。你能凝神 於這段日常對話中的易物、信任、猜忌、保 證，和安撫。與此同時，我決定以攝影機繪 圖，聆聽坐下的花朵，以及其後形態和顏色 的琳琅聲響，彷彿吞噬了我們生活的城市。

Still from Choosing the Right Flower for New Year 《Choosing the Right Flower for New Year》靜態影像

Natasha Cheung (b. 1998) received her BA in Fine Arts and Visual Studies from the University of Pennsylvania in 2020 and her MA in History of Art and Archaeology from SOAS, University of London in 2021. She is interested in articulating incompatible assemblages of identity without reifying existing structures that seek to compartmentalise and invalidate contradiction. She sees paradox as a necessity and strives to make this visible and visceral through implementing installation, photography, video, performance, conversation, as well as drawing itself as forms of drawing. In particular, she is interested in the languages and belief structures constructed to describe sight and vision, and making visible how these non-neutral interfaces have contributed to continued colonial imaginaries as well as how to manipulate these languages to render the absurdity of our reality.

張㯋曦，1998年出生，2020年畢業於賓夕 法尼亞大學（藝術和視覺研究系），2021年 畢業於倫敦大學亞非學院（藝術史與建築 學系）。她視繪畫為媒介與循環無端的哲學 ，而過程中的目標是美麗地失敗。對話，也 是她想與咏詩一起採掘的繪圖工具。她對 語言及信仰結構形成的視覺以及思覺感有 興趣。這些非中立的界面如何促成了如今 依然持續的殖民想像，以及這些結構如何 透過操縱語言來渲染現實世界的荒謬。

CHUI PUI CHEE 徐沛之

Vaidūrya 琉璃 Ink, charcoal and colour on paper 水墨設色炭粉紙本, 2021 137 x 70 cm 厘米

Liuli is the Chinese term of Sanskrit Vaidūrya, which is a kind of green precious stone attributed to release pure light, and is one of the seven treasures of Buddhism.

The term “Vaidūrya” world refers to the Buddhist pure land as the pure brilliant light of the stone credits the virtue of Bhaisajyaguru Buddha who created the Land of Purity. In this series of works, I use ink that was kept overnight, charcoal powder, rock pigments and special tailor-made papers as painting materials to achieve versatile ink and colour aesthetics. I am of the view that many characters and terms carry the feeling and iconic meaning of colours and that is the reason why I materialise visual expressions of colours from my own feelings. The two characters liuli thus generate light and colour of the precious stone with blue, green pigments and gold and silver shimmering powders.

「琉璃」是梵語薜琉璃（Vaidūrya）之略稱，它 是印度的一種天然的青色寶石，可放出淨光 ，為佛家七寶之一。稱此佛土為琉璃世界， 是用琉璃的淨澈光明來比喻藥師佛的佛德， 藥師佛願力所成的淨土也以琉璃為名。這系 列作品主要用宿墨、炭粉、岩彩和特製的紙 整作而成，視覺上呈現豐富的水墨色彩層 次。我相信很多字和詞都帶有色彩的感覺， 我就是以這感覺去想像用怎樣的色彩去豐 富視覺的元素，細看「琉璃」青藍二色配金銀 粉末去特顯寶石光芒。

Born in Hong Kong in 1980, Dr Chui apprenticed under Mr Jat See-yeu and Professor Wang Dong-ling. After graduated from Queen's College, Hong Kong in 1999, Dr Chui took his first degree at the Department of Fine Arts of The Chinese University of Hong Kong (CUHK). He furthered his postgraduate studies at the Department of Chinese Calligraphy of China Academy of Art, where he obtained his Master of Arts and Doctoral Degree.

Dr Chui served as a programme coordinator at the School of Continuing and Professional Studies, CUHK and a part-time lecturer at the Hong Kong University of Science and Technology. He was an Honorary Advisor of the School of Continuing and Professional Studies, CUHK. He also worked in the Chinese Paintings and Calligraphy Department of China Guardian (HK) Auctions Co., Ltd. Dr Chui is currently a part-time lecturer of CUHK and Hong Kong Baptist University, an executive member of The Jiazi Society of Calligraphy and Friends of Shizhai, as well as a research fellow of Modern Calligraphy Research Center of China Academy of Art. In 2012, Dr Chui received the Hong Kong Contemporary Art Awards - Young Artist Award, presented by the Leisure and Cultural Services Department. He also received the Award for Young Artist (Visual Arts) at the Hong Kong Arts Development Awards 2015 organised by the Hong Kong Arts Development Council. He was a finalist of The Sovereign Asian Art Prize 2015, 2018 and 2020. Some of Dr Chui’s artworks were

collected by the Hong Kong Museum of Art, Ashmolean Museum of Art and Archaeology of University of Oxford and private collectors. Recent selected exhibitions: ‘Classics Remix: The Hong Kong Viewpoint’, ‘Dawn Chorus, Happen with HART’, ‘The 2020 Sovereign Asian Art Prize: Shortlisted Finalists Exhibition’. 徐沛之博士，1980年生於香港，師從翟仕 堯老師及王冬齡教授。1999年於皇仁書院 畢業，先後獲香港中文大學藝術系學士、中 國美術學院書法系碩士及博士學位。 徐博士曾任香港中文大學專業進修學藝術 及設計課程統籌、香港科技大學兼任講師、 香港中文大學專業進修學院課程榮譽顧問 ，以及任職於中國嘉德（香港）國際拍賣有 限公司中國書畫部。現為香港中文大學及 香港浸會大學兼任講師、甲子書學會執行 委員（學術）、石齋之友執行委員，以及中國 美術學院現代書法研究中心研究員。 徐博士於2012年獲康樂及文化事務署頒發 「香港當代藝術獎」的「青年藝術家獎」，及 後於香港藝術發展局舉辦的「2015香港藝 術發展獎」獲頒予「藝術新秀獎（視覺藝 術）」，並於 2015、2018 及 2020 年三度入 選「傑出亞洲藝術獎」。徐博士的作品獲香 港藝術館、英國牛津大學阿什莫林藝術與 考古博物館及私人收藏。近年重要展覽包 括：「原典變奏—香港視點」、「晨曦之聲」以 及「2020 Sovereign傑出亞洲藝術獎」。

LAW MAN LOK 羅文樂

Tiger Liquor without Its Tail 虎酒無鞭 Acrylic, ink on paper 塑膠彩和墨（紙本）, 2022 78 x 32 cm 厘米

Beat of the Black Heart 救心 Acrylic, oil pastels on wood 塑膠彩和油粉彩（木板）, 2022 120 x 120 cm 厘米

“DIY aesthetic” is forcefully coined by the artist, to describe an aesthetic derived from “knockoffs”, during the modernization made used by Asia Pacific countries after World War II. To the artist, it is also an approach to search for self identity.

「土炮美學」，藝術家監粗安上的一個名詞， 泛指二戰後泛亞假借而來的現代化工程中， 一種由「山寨」提煉而來的美學，對藝術家來 說，亦是尋找自我身份的手法。

Left: Tiger Liquor without Its Tail Right: Beat of the Black Heart 左：《虎酒無鞭》 右：《救心》

Starting from drawing some 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 works on his “DIY aesthetic”.

初初只是想畫公仔，不知為何就成為了概 念藝術，當中汲足了繪畫至古靈精怪想法。 是一個很錯，而又對世界好奇的多門路嘅 人類。在 Hart Haus 計劃靜下來，慢慢開始 創作計劃了很久的「土炮美學」。

VICKIE LI 李敬儀

aurora of the knight Oil on canvas 油畫（帆布）, 2022 183 x 92 cm 厘米

dreamer of the shore Oil on canvas 油畫（帆布）, 2022 153 x 100 cm 厘米

The work narrates our longing for freedom within the invisible strings holding us at bay. Imagination is often born out of a need to restructure our present reality, but will also flee away in the late hour, leaving us back on the shore.

作品敍述了我們在受無形的絲線牽扯控制 的同時，對自由的渴望。想像往往源於對重 塑現實的需要，但它深夜裡轉瞬即逝，最後 只剩我們仍留在岸上。 予仍舊以希冀作夢的香港人。

For the Hongkongers who still daydream with hope.

Left 左: dreamer of the shore Right 右: aurora of the knight

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 NG 吳玳誼

Very Rude Looking Dessert Acrylic, acrylic medium, oil pastel on canvas 塑膠彩、塑膠彩媒劑、油粉彩（帆布）, 2022 Set of two 一套兩幅, @ 90cm x 90 cm 厘米

A diptych in vivid, yet nostalgic colours composing a series of ice cream sundae and phallic elements arranged in stone textured vessels. The scattered composition where no colour dominates the work allows the viewer to see the complementary relationship between the objects. The absurdity stems from the artist’s personal narrative on human desire in today’s contexts and in theoretical discourses. What do they represent as human desire? Does the desire for ice cream represent innocence?

Whilst libido represents orthodox sin?

Who needs a confession in the Roman Catholic Church?

This is an expansion from her previous installation work Hide and Suck (2021) where ‘sucking’ as an act of reflex is also as an act of sexualisation in society. Based on Freudian psychoanalysis where sucking is the first human reflex and phallic stage as the third stage of psychosexual development, who then has the power to label these acts? Is it necessary as part of social construction?

顏色鮮艷而懷舊的雙連畫，組成了一系列的 雪糕新地和男性性器官元素，並列石紋的容 器。散亂的構圖中沒有顏色主宰作品，迫使 觀眾細看事物如何互補。荒誕感源自於藝術 家對現代的背景和理論層面中對人類慾望 的個人敍述。它們在人類慾望中象徵了甚 麼？渴望冰淇淋是否等於純真？性慾是否 代表原罪？誰又需要在羅馬天主教教堂告 解？ 這是藝術家先前的作品《Hide and Suck》（ 2021）的延伸，當中吸吮作為了反射動作， 也是社會中的一種性行為。根據佛洛伊德的 精神分析，吸吮是人類第一個反射動作，而 性蕾期則是性心理發展的第三階段。誰人有 權創造這些標籤？它們對構建社會是否必 要？

Currently residing in Hong Kong, Doris stages cultural symbols on paintings, photomontage and installations. With heightened colour and playful composition, her artwork re-frames the conformation of systems by evoking the silent absurdity in everyday life, revolving around sexuality and desire, religion, (post)colonialism, capitalism. Her work contains intimate narratives stemming from her agonies with migration, family turmoil and brain surgery, built upon her own socio-cultural identities and theoretical discourses.

Her recent exhibited work include Hide and Suck (2021), Icons (2021), Long Live the Queen! (2022), Very rude looking dessert (2022). Since 2020, she has joined HART Haus and Tung Nam Lou Art Hotel, Hong Kong. She has been working extensively in art and cultural community projects with The Lok Sin Tong Benevolent Society Hong Kong, Hong Kong Planner Institute, K11 MUSEA Nature Discovery Park, HART Hong Kong, Aroma office, HandsOn Hong Kong etc.

She obtained a MA (Art and Cultural Enterprise) at the University of Arts London x HKU Space and a BBA at the Monash University.

吳玳誼現居香港，在繪畫、攝影蒙太奇和裝 置上策劃文化符號。透過艷麗的顏色和具 玩味的構圖，她的作品喚起日常生活中的 靜默荒誕，將系統的構象重新嵌置，當中圍 繞性向與慾望、宗教、（後）殖物、資本主 義。她的作品包含親密的敍述，而她源於殖 民主義、家族糾紛和大腦手術的痛苦根植 其中，亦建基在她自身的社會文化身份和 理論。 吳玳誼的近作包括《Hide and Suck》（2021 ）、《Icons》（2021）、《 Long Live the Queen! 》（2022）、《Very rude looking dessert》（ 2022）。自2020年起、她加入了HART Haus 和東南樓藝術酒店。她亦廣泛地與藝術與 文化社區計劃合作，包括樂善堂、香港規劃 師學會、K11 MUSEA Nature Discovery Park、HART Hong Kong、香公所、 HandsOn Hong Kong 等。她在倫敦藝術大 學 x HKU Space 獲得文學碩士（藝術和文 化企業），和在莫納什大學（Monash University）獲得 BBA。

STEPHANIE NG 吳芷瑩

black asteroids Ink and wax on paper 墨和蠟（紙本）, 2022 30 x 25 cm 厘米 (Framed 已裱裝)

Illusory struggle, hopeful despair, indifferent sensibility, chaotic tranquillity, prudent pondering… as the artist navigates through the coexistence of differences, conversation with the stars becomes the journey of self discovery.

The series blurs the boundaries between Chinese ink paintings and contemporary paintings with an abstract, multi-media approach through the incorporation of wax, adding light and warmth into the dark, mysterious reality.

掙扎彷如幻覺、絕望存有希望、感性仍舊冷 漠、謐靜糾纏混亂，忖思不離審慎...當藝術 家暢遊於異同之中，與星的對話驟變自我的 探索。這個系列模糊了中國水墨畫與當代繪 畫的邊界，以抽象、多媒介的手法，結合了 蠟，將光和溫度賦與黑暗而神秘的現實中。

Stephanie Ng is a visual artist who is currently based in Hong Kong. She holds a BFA degree from Simon Fraser University in 2015; she obtained her MFA degree at Central Saint Martins in 2021.

With immense interest in Architecture, her early works often commented on, drew attention to and interacted with surrounding space and architectural components. Her current practice aims to explore the expanding possibilities and boundaries between human relationships through colors, shapes and materiality.

吳芷瑩是一位視覺藝術家，現居於香港。 她於 2015 年獲得西門菲莎大學的藝術學 士學位，並在 2021 年畢業於中央聖馬丁學 院，取得藝術及文化企業文學碩士學位。她 對建築學有著濃厚的興趣，她經常透過作 品評論、關注四周的空間和建築，並與其組 成互動。她目前的實踐通過顏色、形狀和物 質來探索人際關係之間不斷擴大的可能性 和界限。

GISÈLE TCHITCHIAMA

vitraux pastels

Always

Rice paper 米紙, 2021

Collage on wood 木上的拼貼, 2022 30 cm x 23 cm 厘米

From there, I shall become and share

Ciel

Mixed media on canvas 帆布上的混合媒介, 2022 88 cm x 60 cm 厘米

Collage on wood 木上的拼貼, 2022 90 cm x 90 cm 厘米

Paysage

Dyptique

Mixed media on canvas 帆布上的混合媒介, 2022 50.8 cm x 60.9 cm 厘米

Collage on cardboard 卡板上的拼貼, 2022 55 cm x 30 cm 厘米 (x2)

E#d series

I keep hoping Mixed media on wood 木上的混合媒介, 2022 92 cm x 92 cm 厘米

Mixed media (pastels, watercolours, pencils) on paper 紙上的混合媒介（粉彩、水彩、鉛筆）, 2022 24 cm x 67 cm 厘米

Free Collage on cardboard 卡板上的拼貼, 2022 41.5 cm x 30 cm 厘米

Installation View 展覽照片

This work is about what speaks to me the most: getting close to the essence of things, whether it be for beings or places.

Limpidness is fascinating: revealing, embracing and taking root with sincerity.

I have always been sensitive to many aspects, such as visible and invisible elements, tangible and intangible themes, which have pushed me to continuously question and explore these senses and emotions.

Given the state of water as a major feature of life, there was natural conveyance of it in my work. At its touch, organically, I was able to feel a need for ethereality, to make my way to a medium reflecting this intuitive feeling, which is how I turned to paper in its different forms. Through this , I was able to translate, I hope, all of these feelings onto paper (how fitting), and resorted to lighter, less dense pigment, such as watercolours and wet pastels. I have been searching, yearning to find ways to translate this need for transparency, and was able to play with different substances, materials to try and successfully convey the soft haze.

Hope, light and peace, which sometimes I am allowed to be filled with might resonate with someone else? Maybe then my personal journey may be enriched with greater peace.

This might also be more personal reflection on a time where obscurity remains so easy to fall into, and still, I try to stray near the light.

這件作品關乎最打動我的一切：貼切事物 的本質，無論是為了場所或單純存在。 清徹感叫人著迷：它顯露、包容，並建基於 真誠。很多層面上我都很敏感，比如是可視 或不可視的元素、有形或無形的主題，它們 持續推動我質疑和探索這些情感。 水的形態是萬物的根基，因此我自然在作 品中傳達了它。它的觸感令我感到對空靈 的渴求，激發我尋求一種能反映這種直觀 的媒介，於是我將紙張演化成不同狀態。這 樣做令我能夠轉譯這些情感到紙本上（恰 好如是）。我使用了更輕、密度更低的染料 ，比如水彩和濕粉彩。我不斷尋覓，就是為 了找到能轉達這種對通透的需求，最後運 用不同的物質、材料，成功展示了霧靄。 疫情間時間融化為活在當下的必要。

During this pandemic, time melted into a need to live in the present.

This space, ‘there’, is the place where I stray with infinite pleasure, and an equal amount of sorrow. ‘Here’ symbolises the journey of making my way back, of sharing with the world my inner adventures.

這個空間，「那裡」，是一個我遇到無盡歡樂 ，以及等量悲傷的地方。「這裡」象徵了我回 程的旅程，與世界共享我內在的歷險。 希望、光與和平，偶爾充滿於我之中，或許 能使我得以與他人產生共鳴？也許那時我 個人的旅程將更寧靜。 這也是一個更個人的反思，特別有關一個 容易陷入隱晦的時代。然而，我仍試圖靠近 光線徘徊。

Gisèle Tchitchiama is a French painter and collage artist. She registered as a member of la Maison des Artistes de Paris in 2004. Her 2003 debut exhibition “Presences rassurantes”, was held in Paris to great critical acclaim. Since 2005, moving to Hong Kong, Gisèle has held many solo exhibitions and published two titles featuring her collage works.

Gisèle Tchitchiama 是一位法國畫家和拼貼 藝術家。 她於 2004 年註冊為巴黎藝術家 之家（La Maison des Artistes）的成員。她 2003 年的首展《Presences rassurantes》在 巴黎舉行，獲得了極大的好評。 自 2005 年 移居香港以來，Gisèle 舉辦了多次個展，並 出版了兩本關於她的拼貼創作的刊物。

THE BUOY

Between Lines Participatory Events 參與式作品, 2022

For a moment, let us focus on the void between lines, called the present. 在一瞬間，讓我們注重於線條之間名為當下的虛空。

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 transition, The Buoy aims to stay rooted but able to shift with the current of events. The work drifts through boundaries blurred by practicing socially-engaged art & design through photographic installation during times of flux. The mission of The Buoy is to stay lighthearted yet engaged enough to look beneath these waves of change.

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。

MERRYN TREVETHAN

Exit Strategy Installation including acrylic on canvas, acrylic, and timber; mirror; archival print reverse perspex mount on aluminium 裝置，包括塑膠彩（帆巾）、塑膠彩、木彩；鏡；典藏印刷以有機玻璃、鋁複合物裱裝 Variable dimensions 尺寸多變

Exit Strategy is a collection of responses to the clusterfuck of anxious uncertainty of recent times and to the profound sense of dislocation felt in arriving in a new city in the middle of a global pandemic. They are a reflection of our fading tolerance to the permanent state of flux that exists around us, while hoping to act as a reminder to take pleasure in the moments when we can.

《Exit Strategy》系列回應了現今叫人焦慮而 迷失的連串災難，以及在全球疫情下抵達新 城市時深刻的錯置情緒。它們反映我們正對 身邊永劫般的變幻逐漸失去耐性，同時希望 提醒我們在尚有能力時在稍𣊬中享受愉悅。

Installation View 展覽照片

Merryn Trevethan is an Australian artist currently based in Hong Kong. Her abstracted, hyper- saturated artworks are inspired by the changing nature and structure of cities. She examines how we see, navigate and record our experiences of urban environments. Her paintings, drawings, murals and objects are layered in site-responsive installations to reflect different modes of seeing, inviting viewers to relate to and be critical of our surroundings.

Merryn graduated with an MFA from Monash University, Melbourne (2005).

She was recently commissioned by Australian Theatre for Young People to create a mural for their new premises on Sydney Harbour. Merryn created murals for Facebook OpenArts program in 2020 and 2015. She was one of ten artists (and co-curator) of Bus.Stop.Art public art project, commissioned by National Arts Council for Singapore Art Week 2021. Key residencies include Golden Foundation Residency Program, New York (2018) and Red Gate International Artist Residency, Beijing, China (2009). She has held solo and group exhibitions in Australia, Singapore and the USA and participated in public art festivals in Melbourne and iSingapore where in 2014 she was awarded first prize for DRIVE - Public Art Festival Open Call. Curatorial projects include Bus.Stop.Art- a National Arts Council commissioned project for Singapore Art Week 2021, Rules of Engagement- a Public Square Programme, The Substation, Singapore (2019) and This Wild Song x Singapore celebrating International Women’s Day at

the Australian High Commission, Singapore (2018). She is currently a studio resident at HART HAUS Social Studio in Hong Kong.

Merryn Trevethan 是一位現居香港的澳洲 藝術家。她抽象、高飽和的藝術作品受到城 市變幻無常的大自然和城巿的結構啟發。 她研究了我們如何看待、導航和記錄我們 對城市環境的體驗。她的繪畫、素描和雕塑 在現場響應裝置中分層，以反映不同的觀 看模式，邀請觀眾聯繫我們周圍的環境並 對其提出批評。 Merryn 畢業於墨爾本莫納什大學（Monash University），獲得碩士學位（2005 年）。她 是由國家藝術委員會為 2021 年新加坡藝 術週委託的 Bus.Stop.Art 公共藝術項目的 十位藝術家（兼聯合策展人）之一。Merryn 於 2020 年和 2015 年為 Facebook OpenArts 項目創作了壁畫，並獲得了新加 坡的 DRIVE 公共藝術獎。主要駐留項目包 括紐約 Golden Foundation 駐留項目（ 2018 年）和中國北京紅門國際駐地項目（ 2009 年）。她曾在澳洲、新加坡和美國舉辦 過個展和群展。

KC WONG 黃家銓

Gucci X Adidas / km/h Road sign in metal 金屬路牌, 2022 Diameter 直徑 60 cm 厘米

Louis Vuitton / Stop Road sign in metal 金屬路牌, 2022 75 x 75 cm 厘米

Rolex / Use of horn Road sign in metal 金屬路牌, 2022 60 cm 厘米

Dismantled road signs are possessed by logos of luxury brands, changing the values and functions of both. How will the audience process the originally mismatched meanings which overlap here?

Road signs show directions, instructions, cautions, even limitations. When they are shown on correct occasions, they inevitably become the focus, and hence manage to exercise their sole functions.

On the other hand, when road signs are removed, their sheer values are lost right away.

With logos of luxury brands, the road signs appear in an alternative form for viewing, the lost values have been now regained with the credibility of those brands; regardless that the brands are, however, not necessarily appearing on their own products.

Such mismatch allows the audience to rethink the original values and functions of objects, or even gives new meanings to the objects.

奢侈品牌商標依附在被卸下來的指示路牌 上，令兩者自身價值及功能都產生變化。觀 眾會怎樣理解這原來不相配的意義重疊？ 路牌予人方向、指令、警告、提示、甚至限 制。在合適的場合出現，理所當然地成為焦 點，更能發揮其單一功能。相反，當路牌被 移除，那最純粹的自身價值隨即消失。 被套上品牌商標後的路牌，以另類姿態展現 人前，供人觀賞，原來失去的價值立即隨某 品牌商標的認受性提高；即使商標也不是慣 常的出現於自身產品上。 這樣的錯摸，讓觀眾再次思考物件原來的價 值及功能，甚至為它賦予新一重意義。

Above 上: Louis Vuitton / Stop Below 下: Gucci x Adidas / km/h

A multi-discipline artist, KC Wong has been involved in illustration & animation production, visual merchandising and art creation. KC has worked on commercial visual communication projects with companies in both Hong Kong and China.

KC is the founder of “Sick Sick Creation" a creative agency focusing at story-telling, as well as brand building.

KC brings a depth of experience in visual communication to his creations, with a BA (Hons) in Design and Visual Communication (Hong Kong Polytechnic University, 2003), and qualifications in Advertising Design and Computer Art and Design.

KC 為多元設計師及獨立短片導演，至今從 事設計及藝術創作已近20年。他涉獵範疇 廣泛，視覺營銷、產品展示、品牌推廣、大 學兼職導師插畫及動畫製作⋯⋯他曾與各大 小品牌，媒體合作，積極展示其多變的創 作。 除了突破傳統商業的展示模式，他更將之 傳譯為生活化的設計思維，出任香港浸會 大學持續教育學院兼職導師，主理「時尚商 品展示設計」課程。近年創辦了悉式創作， 主張以 story-telling 的方式呈現及建立品 牌形象。

NICHOLAS WONG 黃裕邦

Choosing the Right Flower for New YearFrom “We Are Metaphors of the Universe” (after Bochner) Mixed media on wood 木板上的混合媒介, 2021-22 79.8 x 80 x 2 cm 厘米 (Framed 已裱裝)

The painting extracts lines from the poem of the same title by the artist, in which the speaker personifies and queers capitalism.

While same-sex intimacy is illustrated through the crispy lifted polaroid images on black enamel, the conditional poetic text interrogates the positioning of the self in a hookup.

畫裡的文字源自黃裕邦的同題詩作，詩中敍 事者透過擬人法去幻想和資本主義發生關 係。脆弱的寶麗萊影像在黑瓷漆上勾出同性 親密，而詩句的假設含義窺探自身在即食性 愛裡的定位。

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 and Manchester International Festival. He currently translates poetry by contemporary Taiwanese poet Sun Tzu-Ping.

Nicholas has a background in English poetry writing, but the dimension of the page starts to bore him. He attempts to explore ways to creatively "translate" his own works into visual mediums. His visual outputs to be made during his time at HART Haus may be text-based, text-integrated, or text-induced, with an emphasis on the dynamics between imagery and texture, tonality and medium.

黃裕邦，本地詩人，詩集包括《Besiege Me》 （英文，2021），《天裂》（中文，2018）及贏得 美國 Lambda Literary Awards 的《 Crevasse》（英文，2015〉。 雖然從英文詩詞寫作出身，但頁面的維度 逐漸令他感到乏味。他因而嘗試尋找其他 表達自我的方式——把詩作「翻譯」為視覺 元素。他在 HART Haus 所作的視覺輸出中 ，有是基於文本的，有些是與文本相融，也 有些是文本所催生的。不論是哪種輸出，他 都強調著圖像紋理、色調和媒介之間的互 動。

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