Sometimes Irrelevant 非決定性相關的事

BACHELOR OF ARTS ( FINE ART ) GRADUATION EXHIBITION 2018 藝術文學士 畢業展二零一八

PREFACE

This year the Bachelor of Arts (Fine Art) Graduation Exhibition Sometimes Irrelevant features art works of 40 graduating students. The course is co-presented by RMIT University and Hong Kong Art School. Students present the works by different media such as painting, photography and mixed media to embody their thoughts and feelings from indecisive yet significant things in life so as to make a broader and deeper perception of the world and themselves. Artworks is a review of life. Artist’s response to trivial things in daily life is not icy nor indifference but regard them as important inspirations. With keen sensitivity and unique skills, they integrate the objective life scenes into their understanding of life and attitude towards society to make the work as a unity of emotional experience and logical cognition. In law, although ‘obiter dictum’ is not essential to the decision, it may be influential on subsequent judgments. Other judges may later use it as a reference for judgments, thus it is still a convincing judgment. Just like artists - after reviewing minor things in life, they create works that finely blend the emotions of the viewers and themselves. The exhibited works are the graduates’ profound rational and emotional reflection of daily surroundings. We are honoured to invite audience to experience their pursuit of art creation, the pure love of reflecting life by art, and to discover and encounter the sometimes irrelevant beauties in life.

Bachelor of Arts (Fine Art) Graduation Exhibition Committee 2018

序

由澳洲皇家墨爾本理工大學與香港藝術學院合辦的藝術 文學士課程，本年度以「非決定性相關的事」為主題，展出 四十位應屆畢業生在主修媒介上的研習成果。畢業生通過

不同的媒介例如繪畫，攝影和多媒體藝術，以作品凝聚思 想情感，對世界和自己作更廣闊和深邃的理解。

藝術作品是對生活的審視。藝術家對日常的瑣碎事並不感

到冷漠或無動於衷，而是視為重要的創作靈感。他們利用 敏銳的觸角和獨特的創作技巧，把客觀生活的圖景融入對 人生的理解和對社會事物的態度，令作品達致情感體驗與

邏輯認知的統一。法律中「obiter dictum」 儘管屬判決中

的非必要部分，但附帶意見對以後的判決可能有影響力， 其他法官此後或會將其作為判決的參考，因而它仍是具 有一定說服力的判決，猶如藝術家翻檢生活中的薄物細故 後，創作出使觀賞者與藝術家情感融和的作品。

展出作品是畢業生對日常身邊事物所作的深刻理性與感 性思考，我們誠邀各位觀眾來感受他們對創作的追求，分 享以藝術反映生活的純粹和去發現、邂逅那些非決定性但 相關的美。

二零一八年藝術文學士畢業作品展 統籌委員會

CONTENTS 目錄

FOREWORDS 前言

PAINTING 繪畫

Professor JULIAN GODDARD

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Professor KURT CHAN 陳育強

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Jaffa LAM 林嵐

Dr. Edwin K. LAI 黎健強

HEUNG KIN FUNG Alex 香建峰 LEE MEI KUEN Carol 李美娟

17 21 25 29

AU MAN KIT 區文傑 CHA TAO Constance 戚韜

CHAN TSZ CHING Venus 陳梓晴 CHOI YAN YEE 蔡欣宜

WONG LAU 劉宛姍 LEE SUET YING Kitty 李雪瑩

LEUNG YI TUNG Eliza 梁伊彤

LI LOK HIM Jonathan 李樂謙 LI PUI HEI Antonie 李佩羲

YING WAI PICKOP C atherine 李盈慧 KARSIN NG 吳嘉善

NG WING YI 吳穎怡

WONG SIU LING June 黃小玲

CHAN NUEN KUEN Kacey 陳暖娟 CHAN SIN HANG Janet 陳茜珩

FUNG CHING KUEN Loiix 馮正權 LAM KA YEE Zoe 林嘉儀 LAU SZE YIN Vicky 劉思賢

35 37 41 45 49 53 55 59 63 67 71 75 79 83 87 91 95 99 103

LAU YUEN TING Rita 劉婉婷 LI NING YAN Lilien 李寧欣

PANG YIK HEI 彭奕熙

PONG CHUNG HANG Ivana 龐頌恒 WONG MAN CHING Maggie 黃敏靖 YAO CHEUK NI 丘卓妮

YEUNG SIU FONG 楊小芳 YIP KA FONG B oey 葉嘉芳

107 111 115 119 123 127 131 135

PHOTOGRAPHY 攝影

CHAN KWAN YI June 陳筠怡 CHAN OI YAN 陳靄欣

CHEUNG YEE LING Elaine 張綺玲 CHEUNG YICK KAN 張亦勤

CHOI CHING NGA Chanah 蔡青雅 CHOW KING FUNG Rodrick 周景豐 FUNG SUNG YUEN Gum 馮淞淵 LAI WING YU Karen 黎詠漁

LAU PUI NGO Natalie 劉培娥 LAW WAI LEUNG 羅偉良 LO WING YEE Raini 盧穎儀

NG SHUN KWAN Chantelle 吳舜筠 WONG CHUNG YAN Vanus 黃頌茵 YUEN KAM WA Magus 袁錦華

139 141 145 149 153 157 161 165 169 173 177 181 185 189 193

BIOGRAPHY 簡歷

ACKNOWLEBGEMENTS 鳴謝

197 233

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Professor

JULIAN GODDARD Head School of Art RMIT University Melbourne

BEING RELEVANT This exhibition of graduating BA (Fine Art) students

Art’s supposed irrelevance was once a powerful signal of

marks the twentieth year of the collaboration between

in this century when art is seen as fundamental to the

Hong Kong Art Centre and its Hong Kong School Art

Art today is more and more a part of the mainstream

are part of this collaboration that has over the past

Indeed these communities now look to art to enliven and

take on the challenges of being contemporary artists.

most famous is Bilbao, Spain in the 1990s that pursued a

was twenty years ago. The idea of being a contemporary

Art, it was hoped, would replace heavy industry and

personal one.

projects have since been initiated across the world

Back in the middle of the nineteenth century radical

to enhance the financial health of their communities.

art’s uselessness. Art for Art’s Sake was a motto that

for example recently created Bekraf,

retreating from the world to a place of introspection and

Today it is common to hear art spoken of in terms that

garde – in society but not a part of it. This retreat into

experience. However this is not what drives artists. No –

what an artist might be until recently with the move to

What

celebrates not only their wonderful achievement but also

its critique of the world but that has all but disappeared

the School of Art at RMIT University, Melbourne and the

public wellbeing and economic value of a community.

School. The students in this year’s graduating cohort

of communities, cities and nations across the globe.

two decades produced hundreds of artists – all set to

in some cases even revive the economies of cities. The

Something that is today very different, even from what it

cultural stimulus to restore some of its waning fortunes.

artist is today driven by a social agenda as much as a

manufacturing as a driver of economic wealth. Similar

with governments turning to the ‘creative industries’

art – at least as it appeared in Europe – was centred on

President Joko Widodo’s government in Indonesia

drove generation after generation of bohemian artists

instrument to advance the country’s cultural economy.

self imposed isolation. This was the model of the avante-

sound more like economic rationalism than aesthetic

the hermetic world of art has been the driving model of

contemporary art is all about a relevance of another kind.

what Nicolas Bourriaud has termed the ‘Altermodern’. A

Altermodern is its social engagement and direct

modernism driven by a de-centred art world articulated through a multicultural network.

distinguishes

Bourriaud’s

a government

concept

of

the

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relations with communities and its social relevance. Art

I congratulate all the graduates, and the staff at HKAS,

world – not to disengage as it was for so many artists of

exciting time is ahead of them as they test their ideas in

today is driven by a desire to make a contribution to the the last two centuries. But this new engagement requires direction and reasoning. It is not ‘art for society’s sake’ by which artists take some sort of moral high ground

directing communities to thank in a particular way – but

a more wholistic approach – one in which participation by an audience is signified by its interaction, production and general sense of ownership of the art process. This

is move away from the artist as the individual channel of expression to a more social and collective mode of artistic articulation.

The artists in this exhibition are graduating with this sense of social engagement. Their work looks to how it

can make the world a better place. How it can make a

worthwhile contribution to the community and how it can lead to a world striving to enhance the living experience

of all. Their teachers believe they are ready for this task and have been given both the technical and conceptual skills needed to become contemporary artists in today’s contemporary society.

for their diligence and commitment. For the students an

a global culture that is constantly changing. But as much as our cultures change art will always remain relevant as

artists strive to make a positive difference to our world experience.

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Professor

JULIAN GODDARD 藝術學院院長 澳洲墨爾本 皇家理工大學

相關 這個畢業生（美術）學生的展覽不僅慶祝他們取得的成就，而

基 礎 時，這 一 點 幾 乎 消 失 了。今 天 的 藝 術 越 來 越 成 為 全 球

術中心及香港藝術學校合作二十年。今年的畢業隊伍中的學

望藝術活躍起來，在某些情況下甚至可以重振城市經濟。最

且還標誌著墨爾本皇家墨爾本理工大學藝術學院與香港藝 生是這次合作的一部分，在過去的二十年中，這些合作夥伴 生產了數百名藝術家╶ 所有人都將接受成為當代藝術家的

挑戰。今天與二十年前截然不同。今天作為一名當代藝術家 的想法不單是個人的取向也是受到社會議程的驅使。

早在十九世紀中葉的激進藝術╶ 至少在歐洲出現的╶ 就是以 藝術的無用性為中心。為藝術而藝術是一個座右銘，推動一

代又一代的波希米亞藝術家從世界撤退到一個內省和自我 隔離的地方。在社會中這是avante-garde的模式，但不是它

的一部分。這種對藝術密封式世界的撤退一直是推動藝術家

社 區，城 市 和 國 家 主 流 的 一 部 分。事 實 上，這 些 社 區 現 在 希

著名的是二十世紀九十年代的西班牙畢爾巴鄂，它追求一種 文化刺激方法恢復一些衰敗了的財富。希望藝術能夠取代重

工 業 和 製 造 業 成 為 經 濟 財 富 的 驅 動 力。隨 著 各 國 政 府 轉 向

“ 創 意 產 業 ”以 提 高 其 社 區 的 財 務 健 康 狀 況，世 界 各 地 也

啟動了類似的項目。例如，印度尼西亞總統喬科維多多政府

最近創建了Bekraf，這是政府以推動該國文化經濟的工具。 今天聽到的藝術聽起來更像經濟理性主義而不是審美經驗。 然而，這不是驅動藝術家的原因。不╶ 當代藝術是關於另一 種相關性的。

走向近代的行為模式，直到最近Nicolas Bourriaud稱之為

布里約的“現代時代”概念與其社區參與和與社區的直接關

驅動的現代主義。

貢獻的願望的驅動╶ 不要像過去兩個世紀的許多藝術家那

“現 代 時 代” 。由 多 元 文 化 網 絡 表 達 的 脫 離 中 心 的 藝 術 世 界

藝 術 被 認 為 無 關 重 要 曾 經 是 它 對 世 界 批 判 強 而 有 力 信 號， 但在本世紀當藝術被視為社會公共福利和經濟價值的

係及其社會相關性有何不同呢?今天的藝術受到為世界做出 樣脫離身份。但是這種新的參與需要方向和推理。藝術家不

是為了社會的藝術而採取某種道德製高點的指導社區以特 殊的方式表達感謝╶ 而是一種更加全面的方法╶ 觀眾的參與

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是通過它的互動，製作和一般來表達的藝術過程的歸屬感。 這是從作為個人表達渠道的藝術家轉移到藝術表達的更加 社會性的和集體的模式。

這次展覽的藝術家們正在以這種社會參與感的方式畢業。他 們的工作著眼於如何讓世界變得更美好。它如何為社區做出

有 價 值 的 貢 獻，以 及 它 如 何 能 達 致 一 個 提 高 所 有 人 的 生 活 體驗的世界。他們的老師相信他們已經準備好及完成這項任 務，並且已經具備了現今當代社會中成為當代藝術家所需的 技術和概念技能。

我祝賀所有畢業生和香港藝術學院的員工勤勉盡責。對於學

生來說，他們在不斷變化的全球文化中測試他們的想法時， 他們的未來是一個令人興奮的時刻。但是，儘管我們的文化 發生了變化，藝術家總是保持相關性，因為藝術家努力為我 們的世界經驗帶來積極的轉變。

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Professor

KURT CHAN Acting Director Hong Kong Art School

A butterfly flapped its wings yesterday in Hong Kong. It rained heavily today in Shanghai.

I always find it beautiful to use the words ‘butterfly ①

effect’ to describe unpredictable chain reactions. In fact

it can also be applied to the unpredictable but somehow

logical phenomena in art creation. Art appeals to people because they can always make surprising discoveries in it. In art, people have to embrace the unknown as well as the yet-to-be-discovered self.

Sometimes Irrelevant, title to this year’s graduation

exhibition of students from the Bachelor of Arts (Fine Art) programme co-presented by Hong Kong Art School and RMIT University’s School of Art, can be referred to

something trivial and random but influential. I think this

is a modest description of the exhibition in which the works depict seemingly small issues but have profound

meanings. It actually embeds a kind of aesthetic attitude. Unlike other fields of study, art aims for purity and

intends to be emancipated from any functional property. However, in Hong Kong, a society that values profit and efficacy, art can only be seen when it is put in the economic system. Facing the dilemma as to whether

to stay self-contained or give in to the reality, perhaps artists cannot but only inexplicitly express their humble thoughts.

Hong Kong Art School is the only self-financed higher

arts education institution in Hong Kong. I am amazed by

the fact that she has cultivated a lot of outstanding artists despite limited resources. I also appreciate students who aspire to studying art. Overcoming whatever difficulties each of them have, altogether they have demonstrated great achievement with only small amount of resources

on hand. This type of community-run and communitysupport programme has special position and meaning

in Hong Kong. The performance of its students has illustrated the creativity and toughness of the dynamic forces in the community.

In my years of observation, the works of students from Hong Kong Art School tend to have a more solid grasp in expressing the details of media. They are more able to

drill in the study of a particular medium or idea without losing their openness. That results in higher level of

completeness in the whole body of work, and the ability

to capture the essence of a medium and extend its use. In the tide of the multifaceted and concept-oriented contemporary art, their works have revealed layers with a sense of steadiness, delicacy and poetic qualities. They

have also shown vast enthusiasm and industriousness. Majority of this year’s graduates choose painting and

photography in their art practice, and develop their

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works based on two-dimensional concepts. But the

two media are distinct in operation. In photography, deeper thoughts, emphasis on concepts and prior planning are needed because pressing the shutter

button takes an instant only. On the other hand, painting takes longer time. It pays more attention to craftsmanship and interchange between bodily

experience and materials. Graduation exhibitions usually aim at showcasing students’ works to the general public and the industry. But I would like to make a reminder that this occasion is an excellent opportunity

for

students

with

different

artistic

practices to exchange their ideas. Art is created

for other people but it is always the creator who is

the most dedicated audience of his/her own work. When people who are going through similar stage

of art-making gather, there will be many different passionate ‘me’s seeing each other’s works, making it a treasurable in-depth learning opportunity.

embracing art and putting it in the center of our being is

the happiest thing in life. Whether art can make a living, these years’ training already fostered new perspectives

for you to see the world. From the past to the future, appreciating the oeuvres of the renowned and the

anonymous, profound and delicate, art gives humans the biggest intellectual and sensuous enjoyment.

Everyone’s abilities, personalities and life experiences

are different. People who study art do not need to target

at being artists. Sometimes it is more important to let art

be seen and let art create meanings in the society. It is a happy thing to enjoy art, make art and recommend good art within one’s capability.

①

In chaos theory, the butterfly effect is the sensitive dependence on initial conditions in which a small change in one state of a deterministic nonlinear system can result in large differences in a later state.

The pursuit of art is not easy. Toughness and perseverance is not enough for one to become an

artist. However, keeping one’s curiosity about art and

turning it into practice allow him/her to go further. Love for art, cultivated in the past few years, gives

you the biggest driving force to move on. I believe

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*English

version translated by student helper

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陳育強 教授

署理院長 香港藝術學院

昨 天 香 港 的 一 隻 蝴 蝶 扇 了 幾 下 翅 膀，今 天 上 海 下 了 一 場 大雨。

總覺得用「蝴蝶效應」① 這說法來說明不可測度的連鎖反應很

有詩意，事實上，用這比喻來說明藝術創作過程中的不可測

但具某種邏輯的現象不無契合之處。藝術創作引人入勝之處 往往在於期望和技術實踐間的落差，在不斷調整目標的過程 中不斷有所發現，引領創作者投向未知，投向有待被發現的 自己。

「非 決 定 性 相 關 的 事」是 今 年 香 港 藝 術 學 院 和 R M I T 大 學 合

辦的文學藝術學士畢業展的主題，相信可以被理解為一些無 關痛癢的偶發事件，卻可以左右大局，這命題令我覺得有點 謙虛，可以是指涉展出的作品其實無關宏旨，卻微言大義；然

而其潛台詞是一種美學取態，一種看似被動但卻可影響大局 的態度。藝術在香港向來就處於這種邊緣的位置：在一個重

視功利效益的社會而言，藝術只能被放到經濟體系才能進入 大衆的視界，相對於藝術創作活動的本質是眾多學科中最傾

向追求純粹性，往往企圖撇開種種現實生活功能性的梏桎， 從而而達追求個人完善的初衷背道而馳，可謂是一種尷尬的 踫撞。藝術家在「完善自己」和「參與世界」中間的抉擇中，也 許也只能這樣謙虛地說明自己的本意吧。

香港藝術學院是香港本土僅有的自資高等藝術教育機構，我 曾驚訝於她在過去二十年間，在各種資源限制的夾縫中成就 了許多傑出的創作人，也佩服各位有志學習藝術的學生，無

論各人環境如何，都用身邊僅有的資源共同創造了非凡的成 績；這類在其他受政府資助的同類課程中，由民間辦學，亦由

民間支持，在香港有很特殊的位置與意義。而歷來學生的表 現，已很有力地說明了民間流動力量的創意及韌力。

據我多年觀察，香港藝術學院的學生作品的特色是對表達媒 介細節的掌握整體較為踏實，較能花時間集中在某一媒介或 想法來回嘴嚼研究，而不失其活潑開放性；所以整體作品的 完成度較高，並能捕捉媒介操作的核心並加以伸延；在多面 向，以概念為進路的當代藝術潮流中，香港藝術學院的同學 的作品往往有一種堅實穩定的層次感，精細而富詩意，也看

到大量熱情和勞動的投入。今年畢業同學大都以繪畫和攝影 為媒介，大致是平面概念作發展為作品的核心，然而兩者在

操作的性質上十分不同。攝影按下快門的時間短而因此所需

的想法深刻，且較重觀念和事前籌劃；繪畫所需的時間較長， 反而注重工藝，以身體經驗和物料的交滙共濟為前提。一般

的畢業展大概以向公眾和業界展示為最大目的，但我亦想在 此提示一下，這場合亦是不同進路創作的同學的極佳交流機 會；藝術創作的對象是他人，但自己往往是自己作品最忠誠

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的觀眾，當眾多在創作階段上境況相似的人聚在一起，應是 眾多熱切的不同的「我」互相觀摩，是難得的深度學習機會。

藝術的道路不容易走，但我相信單靠刻苦堅持不能成為藝術 家，反之，對藝術好奇而能用行動來學習實踐反而可以是更 遠的路，能在這幾年的學習產生對藝術的愛，這已是一個能

持續走下去的最大動力。我深信把藝術放在生活的核心是人 生最大樂事，無論日後是否能以創作來生活，這些年的訓練 已造就了看世界的不同方式，也能浸淫於古往今來，非以常 理推斷，但能欣賞有名無名天才的成果，進出於深刻幽微之 境，這已是作為人類智能和感性能企及的最大享受。

人的能力、個性、際遇大有不同，學藝術的人並不一定要以藝

術家為目標，有時讓藝術能被看得見，能讓藝術在社會産生

作用更為重要，能在自己能力範圍內，享受藝術，生産藝術， 推薦好的藝術，是相當的幸福。作為過來人，共勉。

①

蝴蝶效應（Butterfly effect）是指在一個動態系統中，初始條件下微小的 變化能帶動整個系統的長期的巨大的連鎖反應，是一種混沌的現象。

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JAFFA LAM

SOMETIMES UNCONNECTED

Academic Head

It has been 20 years since Hong Kong Art School and RMIT

In the recent decade, I have seen more of you work in

1998 to offer the Bachelor of Arts (Fine Art) programme.

gallerists and owners of businesses like art logistics and

Hong Kong Art School

University’s School of Art began their collaboration in I have been working here for 16 of those years and have

gone through many curriculum reforms that were made

to fit the changing world. During this period of time, I have seen graduates winning competitions. I have also

seen them stepping into world-class museums and being

the art industry - as artists, arts administrators, curators, alternative art space. I believe what the programme brings you is not just skills in artistic practice but also wider thinking, deeper imagination, and courage and toughness for embarking on new chapters in life.

on the world stage of art. We do not take credit for their

We all feel excited in the beginning of a journey but

students with a place to practice. Teachers who have

when you rushed through your assignments, when you

success. The school is just like a garden which provides

different areas of expertise are like the various species in a blossoming garden while students are like bees which collect nectar from them. Each of the bees has its own

pick. They stay longer on where the scents attract them. Back to the hives, they make honey that has different characteristics.

Unlike their counterparts from other art institutions, students of Hong Kong Art School have a lot of life

experience. Their maturity has made their works more enduring. The best proof can be seen in every year’s

sad when it comes to an end. I will never forget the time vigorously discussed your works, and, what I find most

unforgettable, when you encouraged and motivated each other. Those good memories will definitely be the

best remedy for healing your loneliness and helplessness in the art-making journey.

Never wait for something to be lost from you before you

know it is worth. Remember to come back for reunion. Join the alumni network. Recall the good times and your friendship. Stay connected!

graduation exhibition in which your seniors’ works have received great review.

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林嵐

學術總監 香港藝術學院

非必然性相關的舊人 香港藝術學院和澳洲皇家墨爾本理工大學的藝術文學士學

畢業了，上場亢奮，離場失落，在所難免。難忘大家趕功課時

了其中的十六年，經歷了不少配合時代的課程改革，看著畢

策勉勵的日子。那情那景將陪伴著你們走上崎嶇的創作路，

位合作課程，自1998年至今，已是二十年光景。我在此渡過

業生們在眾多比賽中脫穎而出，也看著她們走進國際級藝術 館，踏上世界舞台。我們從不敢居功，學校只是一個提供修練

的蓬頭垢面，評論作品時的舌箭唇槍，更難忘同學們互相鞭 美好的回憶讓你在孤單無助中找到綿綿不絕的藉慰。

的花園，每個老師都有不同的長處，就像百花園裡的眾生，學

人 生 路，得 意 之 時 易 忘 舊，失 意 之 時 才 懷 緬。記 得 定 時 回 來

一些，回去練製的蜜，也各有特色。

舊人之誼。

生們就像是採花蜜的小蜜蜂，各有偏好，哪裡花香就逗留長

與其他學院不同之處，聚於此地的學員總有講不完的個人經 歷，那添加了幾分的人生成熟味使其作品更加耐看。每年聯 校畢業群展中，你們師兄師姐的作品好評載譽，就是最好的 引證。

近十年來，偶遇大家的機會越來越多，成為藝術家的，還有做

藝術行政、策展的，經營畫廊，甚至藝術物流或者是另類藝術

工作室等藝術生意的，都有你們的踪影。我相信這個學士帶 給你們的，不只是藝術的能力，更多的是思考的闊度、想像的 深度和開拓人生的勇氣和韌力。

聚首，參加舊生會，重拾那純真的時光，延續母校之情，再續

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Dr.

EDWIN K. LAI Subject Coordinator (Photography) Hong Kong Art School

PHOTOGRAPHY AND WISDOM In 1895, with the support of the Ministry of Fine Art, the French Society of Photography held an exhibition

of photographs in the Palais le Champs - Élysée, Paris, at the same time of the annual painting Salon. This

exhibition enraged Charles Baudelaire, famous poet and art critic, who wrote that it was a lamentable period that

photography arose to confirm people’s stupidity and misunderstanding of art. If photography was allowed

to supplement art in some of its functions, Baudelaire

argued, photography would supplant or corrupt art altogether.

Baudelaire’s comments of course shocked and annoyed

the people who had been fighting for photography’s art status, and they in return vehemently scolded him. However, as photography historian Beaumont

in fact getting worse. In particular, the Internet with its

virtual world and the increasingly image - based culture

have made people think less and less in their daily lives. A university in England had conducted a research in recent years, and found that human intelligence is generally on the decline.

Can we still pursue imagination and dream in a period

like this? This year, we have fourteen graduating students in the Bachelor in Fine Arts programme who are major

in photography: they have used different photographic forms and methods to explore their subjects, and express their different ideas and attitudes. Photographic works

can also have widom, the question is how we can make the best use of it.

Newhall explained, what Baudelaire attacked was the commercialization and vulgarization in art and civilization that modern industrial society had brought about, which

were luring artists with profits to make corrupt and flattery works, and forget their pursuits of imagination and dream.

Today photography has already become an integral part of contemporary art, yet the conditions that Baudelaire was anxious about one hundred and sixty years ago are

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黎健強

攝影作品有智慧

學科統籌(攝影)

1859年巴黎舉行年度繪畫沙龍的期間，法國攝影會同時在

博士

香港藝術學院

香麗榭宮籌辦了一個官方認可的照片展覽會。對此著名詩人

兼藝評人波特萊爾勃然大怒，撰文說那是教人懊惱的年代， 攝影術的出現確定了人類的愚昧及對藝術的誤解。他認為如 果容許攝影術負起藝術的某些功能，它就會取代甚至完全腐 化了藝術。

波特萊爾的言論當然令爭取攝影成為藝術的人士感到錯愕、 憤慨和反擊，但是正如攝影史學者紐荷所解釋，波特萊爾反

抗的其實是現代工業社會將藝術和文明變得商業化和庸俗 的趨勢，令藝術工作者在利益引誘下墮落媚眾，忘卻了追求 想像與夢的藝術真諦。

時至今天攝影已經成為了當代藝術重要的部分，然而波特萊 爾在一百六十年前所感到焦慮的狀況，恐怕只可以說是有增 無已。特別是互聯網的虛擬世界和愈更圖像化的文化走向都 使人能夠不用怎樣思想就能平常地生活：幾年前年英國有家 大學就做過研究，發現人的智慧整體地是在下降之中。

面對這樣的年代，我們是否仍然能夠追求想像與夢呢？今年 的藝術學士課程有十四位畢業同學是主修攝影的，他們採用 了不同的攝影形式來探討自己關注的題材，以及表達了不同 FO RE WO RD S

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HEUNG KIN FUNG Alex Lecturer / Subject Coordinator (painting) Hong Kong Art School

BETWEEN THE RELEVANT AND THE IRRELEVANT If things that happen in the painting class have to be

sorted into two groups, the relevant and the irrelevant,

perhaps all the theories, analyses, discussions about art, exploration of methods and studio practice belong to the former. In these 3 years of study, students have made a lot of effort into these relevant things so as to find their own way in art.

But the painting class is more than that. There are soft

guitar music filling the studio, heartwarming birthday

celebrations, exploratory journey on Peng Chau island, and group tours to exhibitions and talks. These everyday

activities, which I regard as sometimes irrelevant, connect people together, fuel our creativity and account

for the uniqueness of every year’s students. Most of the time art creation is turning our daily life into a world seen

from the creator’s vantage point, and, from brainstorm to

finish, finding possibilities in between the relevant and the irrelevant.

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香建峰

講師 / 學科統籌（繪畫） 香港藝術學院

在決定性與非決定性相關的事之間 如果把繪畫課堂分為決定性與非決定性相關的事，大概 課 堂 上 的 理 論 分 析、藝 術 討 論，以 至 創 作 方 法 的 探 索 與

實 踐 都 是 屬 於 決 定 性 相 關 的 事 情，在 這 三 年 的 課 程 裏

同學們都埋首於這些決定性而相關的事情上不斷努力， 在藝術裏追尋自己的道路。

可是課堂當然不只是這些，還有工作室裏時常輕輕奏著 的結他聲、生日會的溫馨場面、去坪洲的探索旅程和一起

看展覽聽講座的時光，這些因彼此投入藝術生活裏而引

發出的日常事情，留下了人與人之間的連結，也一點一滴 的累積成創作的養分，每一屆同學之所以與別屆不同，往 往就是因為這些被我分類為非決定性相關的事情上。藝 術創作很多時，就是把我們的日常轉化為一個由創作者

視點出發的世界，由作品構思到完成之間，在決定性與非 決定性的相關事情裏尋找藝術的不同可能。

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LEE MEI KUEN Carol Chairman Hong Kong Art School Alumni Network

SOMETIMES UNCONNECTED It has been 20 years since Hong Kong Art School and

In the recent decade, I have seen more of you work in

in 1998 to offer the Bachelor of Arts (Fine Art) programme.

gallerists and owners of businesses like art logistics and

RMIT University’s School of Art began their collaboration I have been working here for 16 of those years and have

gone through many curriculum reforms that were made

to fit the changing world. During this period of time, I have seen graduates winning competitions. I have also

seen them stepping into world-class museums and being

the art industry - as artists, arts administrators, curators, alternative art space. I believe what the programme brings you is not just skills in artistic practice but also wider thinking, deeper imagination, and courage and toughness for embarking on new chapters in life.

on the world stage of art. We do not take credit for their

We all feel excited in the beginning of a journey but

students with a place to practice. Teachers who have

when you rushed through your assignments, when you

success. The school is just like a garden which provides

different areas of expertise are like the various species in a blossoming garden while students are like bees which collect nectar from them. Each of the bees has its own

pick. They stay longer on where the scents attract them. Back to the hives, they make honey that has different characteristics.

Unlike their counterparts from other art institutions, students of Hong Kong Art School have a lot of life

experience. Their maturity has made their works more enduring. The best proof can be seen in every year’s

sad when it comes to an end. I will never forget the time vigorously discussed your works, and, what I find most

unforgettable, when you encouraged and motivated each other. Those good memories will definitely be the

best remedy for healing your loneliness and helplessness in the art - making journey.

Never wait for something to be lost from you before you

know it is worth. Remember to come back for reunion. Join the alumni network. Recall the good times and your friendship. Stay connected!

graduation exhibition in which your seniors’ works have received great review.

FO RE WO RD S

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version translated by student helper

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李美娟 主席 Hong Kong Art School Alumni Network

今 年 夏 天 來 得 特 別 早，五 月 天 已 如 盛 夏 的 熾 熱。正 好 提 醒 了我，期待一年一度的畢業盛事又到來了！

自1998年至今，香港藝術學院與澳洲皇家墨爾本理工大學

合辧藝術學士課程已有二十載，畢業校友超過700人。校友

們 除 了 專 注 個 人 創 作 發 展，成 就 在 海 內 外 得 到 關 注 和 認 同 外，也在不同的藝術範疇裏默黙耕耘，為香港藝術發展和推 動不遺餘力，為本地藝術發展帶來了不一樣的轉變和活力。

這二十年裏，校友們不斷讓美好的事情發生。1999年，有校 友率先在柴灣設立工作室，2002柴灣藝術工作室聯合開放

活動「開閘」 ，創開放工作室的先河。2004至2008年，開設於 藝 術 中 心 的「二 樓 原 作」專 注 推 動 收 藏 本 地 藝 術 創 作，創 辦 人也是我們的校友。再看一些例子：2007年成立的「C&G藝

術單位」一直致力推動視覺藝術教育及策劃不同展覧；2008 年 西 九「藝 術 貨 櫃 計 劃」 ，是 前 所 未 有 而 且 並 非 由 政 府 資 助 的大型戶外視覺藝術活動；2008年成立的「藝術到家」推動

年成立的「Unit Gallery」推動當代陶瓷及玻璃藝術；2013

年 創 辦 的「點 子 藝 術 創 作」 ，參 與 及 協 辦 很 多 重 要 的 藝 術 活

動；還有2015年成立並藉網上平台推廣藝術的「藝們」 ，以及 2018年在韓國成立的「Artiarki」當代藝術空間等。校友們設

立各式各樣的教室和陶瓷工作室，在本港的藝術教育上也有 重要的影響。他們參與其事的藝術活動或創舉，可以寫一張 很長的清單。

有機會修讀香港藝術學院與澳洲皇家墨爾本理工大學合辧 的藝術學士課程，我一直心存感激。課程理論與創作並重，又

提供兼讀模式，讓許多和我一樣熱愛藝術的人，通過這個課 程，完成對藝術的追求和夢想，改變了往後的人生。我一直為

成為香港藝術學院校友感到光榮和自豪。今屆畢業展的主題 是「非決定性相關的事」 ，而我相信，畢業同學往後對藝術的

熱誠熱愛，對理想義無反顧的努力追求，都是他們創作生命中

「決定性相關的事」 。

社 區 藝 術 活 動 策 展 丶 工 作 坊 和 講 座，拉 近 藝 術 與 大 眾 的 距

我謹代表HKAS Alumni Network熱烈歡迎大家成為HKAS

的作品，希望把校友們的作品在本地及帶到海外收藏；2010

上開展新一章，期待你們創造更多美好的事情！

離；2009至2014年， 「提藝廊」主力推廣香港藝術學院學友

Alumini Network的一份子。更祝願大家畢業後，在創作路

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ENTHRONE 登 基 ”I believe that our banality in life would affect our thoughts. Similarly, every thought in reality would impact an imaginative young man.”

AU MAN KIT 區文傑

The series of artwork “Enthrone” is about a “young master” learning to be a successful person. Through the interactions between space, time and different individuals, the young master showed self-doubt and helplessness of stepping into the society for the first time. The ignorance and cynicism of bystanders served as a foil to the altruism of the young master in searching for happiness in his “hobby”. The installation is the crown of ”enthrone”. Hence, allowing the daydreaming young master to reflect on one’s ideology and reality. “我深信我們日常生活的經歷，都會影響到我們的想法。 同樣地，各種現實的思緒也會影響一位天馬行空的少年。”

「登基」這系列的作品是關於一名「不務正業」的少主在學

習如何做個成功的人。片中透過空間、時間和不同人的互 動，展示對個人身份的迷惘及剛踏出社會的無力感。以旁 觀者的不解及冷嘲熱諷襯托少主自得

其樂的「興趣」 。而

裝置藝術則是登基的證明。作品令這位”白日夢者”反思自 身理想與現實情況。

PA I NT I NG

Well I guess this is growing up ( 852 ) 9356 7553 aumankitamk@gmail.com aumankit.com

2017 — HDV, sounds & color, 6mins

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As I keep chopping PA I NT I NG

Well I guess this is growing up 2017 — HDV, sounds & color, 6mins

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I like when I get along with the familiar places, there is a kind of subtle connection between whoever the people is caring for it. It’s an indwelling feeling that words can’t describe, that is a sense of belonging comes from the place and people which you spent time on. Life is like drama, and memory contain all of it.

CHA TAO Constance 戚韜

My childhood was constructed by travelling between two cities. Throughout the process, I was finding my own identity as my childhood memory was preserved in a place where its not my hometown. This thought came to my mind that where is my hometown and the most important people around me. My nanny Rui who accompany most of my childhood time, she pays tributes to my family, a selfless woman who played a mother’s role in my memories. 我的童年流連在兩個城市之間，一個是屬於我的異鄉和一

個我不能久留的家鄉。因為年幼的回憶在異鄉被細心的

呵護着，當再次回到家鄉後，卻發現我對家鄉少了一份思 念的情感。像是一個外省人初來乍到，這種感覺既熟悉又 陌生。

芮阿姨是童年裡照顧我和哥哥的保母，在我成長過程中

無可替代的一個陪伴。她無私的為我們付出，像是代替忙 碌的家人在家中扮演母親角色。上海寒冷的冬天，時常令

我在家中四肢冰冷。所以阿姨特地織了一雙毛線襪，讓我

的棉鞋裡多加一雙溫暖牌毛線襪。襪子象徵著一個載體， 裝載著她對我們的愛，也是她長久以來用時間陪伴我們 最好的證明。

Carrying caring socks 成長茸體

PA I NT I NG

Jun 2018

( 852 ) 6020 2510 constancecha96@gmail.com http://constancecha96.wixsite.com/eportfolio

— Yarn and iron wire Dimensions variable

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Shanghai doorplates 上海門牌 PA I NT I NG

2018 —

Yarn and cardboard 22cm (H) × 15cm (W)

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MEMORY CONSTRUCTION Put together fragments of images to provoke wider spreading associations.

CHAN TSZ CHING Venus 陳梓晴

Memory construction i PA I NT I NG

2017

( 852 ) 9782 2848 c.tszching@gmail.com http://tszctc.tumblr.com

— Mixed media 32cm (H) × 24.5cm (W)

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Memory construction ii PA I NT I NG

2017 — Mixed media 35cm (H) × 24.5cm (W)

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CHOI YAN YEE

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SOUNDLESS 無 聲

WONG LAU 劉宛姍

I have been interested in the relationship between people. The sparks when two people collide in lives, how they react towards it and how it influences either themselves or those around them. Intimacy, I had explored issues about homosexual intimacy and simply intimacy between friendships and families based on self - experiences, they are both different but similar. Humans are complicated animals with emotions unexplainable and with the rise of modern technology, moments could be captured so easily, while words turn into texts messages in both good and bad way. Learning about the interpersonal relationship is indeed a lifelong lesson.

Soundless 無聲 PA I NT I NG

2018 —

( 852 ) 9072 3301 cherrycross15@gmail.com

Animation 1 min

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The pattern of a Chinese quilt often lingered in my mind. It was the quilt that my grandmother had used. In the mortuary, I gave my grandmother a late embrace across the quilt, even though I could feel her warmth, there was no response.

LEE SUET YING K itty 李雪瑩

One night, I decided to cuddle all my family members while they were fast asleep. This time I finally got a response. Although reprimanded, I treasure this. Granny, how are you lately? 有一塊布經常在我腦中徘徊，那是我外婆曾用過的一張 被子。

在太平間，我隔著壽被，給外婆一個遲來的擁抱。我能感受 到她那微弱的餘溫，卻怎樣也得不到一聲的回應。

有天夜深，我隔著被子抱著正在睡覺的家人，而這次我終 於得到了回應。雖然是斥責，但我卻不討厭。 婆婆，你最近還好嗎？

Belated hug 抱空 PA I NT I NG

2017 —

( 852 ) 6433 7135 fsckitty5052@gmail.com

Video 180 mins

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Dreaming 2 PA I NT I NG

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Dreaming 3 2017 — Inkjet print 25.4cm (H) × 30.5cm (W)

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SOIL OF URBAN What does my city look like? Does my city look vibrant and traditional at the same time? As for me, these are my impressions towards Hong Kong, the place that I live.

LEUNG YI TUNG Eliza 梁伊彤

Using the urban city material – cement – to reconstruct the impression of the city; using the map to represent the image of the city. Both elements can resonate with each other. 城市的面貌是怎樣的？是光鮮明亮；或是粗糙古老？...... 對我來說兩者都是我心中的香港，我居住的地方。

選用城市的材料 ― 水泥來重塑城市的印象；用地圖來表 現城市的模樣。兩種媒介互相呼應，一體兩面。

Soil of urban PA I NT I NG

2017 - 2018

( 852 ) 6330 6466 Elizalyt@gmail.com Elizalyt

— Cement panel and acrylic on paper 30cm (H) × 30cm (W)

61

Soil of urban PA I NT I NG

2017 - 2018 — Cement panel and acrylic on paper 30cm (H) × 30cm (W) each

63

FOOD CHAIN

LI LOK HIM Jonathan 李樂謙

“The knowledge that nothing matters, while accurate, gets you nowhere. The planet is dying; the sun is exploding, the universe is cooling, nothing’s going to matter. The further back you pull, the more that truth will endure. But, when you zoom in on earth, when you zoom into a family, when you zoom into a human brain and in childhood experience, you see all these things that matter. We have this fleeting chance to participate in an illusion called, I love my girlfriend, I love my dog, I mean, how is that not better? Knowing the truth, which is that nothing matters, can save you in those moments. Once you get through that terrifying threshold of accepting that, then every place is the centre of the universe and every moment is the most important moment, and everything is the meaning of life”. By Dan Harmon (producer of “Ricky and Morty”)

Beer PA I NT I NG

2017 - 2018

( 852 ) 9031 6428 jonathanispainting@gmail.com painting_of_him

— Acrylic on canvas 90cm (H) × 60cm (W)

65

Red Pancake PA I NT I NG

2017 - 2018 — Acrylic on canvas 90cm (H) × 60cm (W)

Shrimps 2017 - 2018 — Acrylic on canvas 90cm (H) × 60cm (W)

67

BETWEEN THE CITY AND NATURE 城市與大自然之間 Li’s works depict the relationship between human, city and the surrounding nature with a focus on how she observes the world around her. Through reconstructing the scene of the city and nature to discuss the existing ambiguity of the city we live in.

LI PUI HEI Antonie 李佩羲

李氏的作品主要描繪城市與大自然之間的關係，透過重現

城市中的大自然景象，展現出她對周遭環境所關注的細 節，並引申觀眾思考我們身處環境中的各種模糊性。

Daydreaming in nature PA I NT I NG

2017

( 852 ) 6690 5116 antonieli.hk@gmail.com antonie-li.tumblr.com

— Video 1 min

69

Untitled Shattered dream PA I NT I NG

2017 — Pencil on linen 30cm (H) × 30cm (W)

2017 — Acrylic on linen 15.2cm (H) × 15.2cm (W) each Dimensions variable

71

YING WAI PICKOP Catherine 李盈慧

Repetition, stillness, and rhythm are essential elements in my work; each painting is my yearning for the harmony of order and beauty. Mechanical scoring on paper invokes a strong feeling of precision to achieve a compositional balance. The gesture of rubbing coffee residue and natural mineral pigments on paper using my body temperature, skin and the pressure of my fingers alone to control the tonal movement in color is for me, an intimacy between my body, mind, paper and the medium. The sound and scent, as well as the feeling, is therapeutic, meditative and liberating. 重複，靜止和節奏是我作品中不可或缺的元素，每幅作品 都是我對和諧美的渴望。紙上機械式的刮線引發了強烈的

精確感，以身體的溫度，皮膚和手指的壓力來控制色調的 運用，在紙上摩擦咖啡渣和彩色礦物，對我來說是一種身 體，紙張和藝術媒介之間的親密關係。這種聲音和感覺是 治療性的，沉思的和解放的。

Last night i dreamt of macondo 2018 PA I NT I NG

( 852 ) 6330 6466 catherine.pickop@gmail.com www.catherinepickop.com

— Natural mineral pigment and coffee residue rubbed on watercolor paper 76cm (H) × 56cm (W)

73

When someone is seeking 2018 PA I NT I NG

— Natural mineral pigment and coffee residue rubbed on watercolor paper 113cm (H) × 76cm (W)

Eccentric 2018 — Natural mineral pigment and coffee residue rubbed on pencil drew watercolor paper 76cm (H) × 56cm (W)

75

Ghost

KARSIN NG 吳嘉善

Why do animals suffer from humans’ wrong doing? Ever since I learnt about these facts, I felt responsible. I made a drastic change in my lifestyle. I am now going to the beach, not for sunbathing, but to clean up, or else I would be diving head first into the sea to recover more trash and nets. Art stems from living, and I choose to spend my days with those forgotten, to understand the connection between these trash/resources, nature and human beings. This process filled with frustration, anger, doubt, sorrow and gratitude, and I used art to record this journey. These abandoned fishing nets were given the name “ghost nets” to imply their silent killer nature. According to FAO and UNEP, more than 640,000 tonnes of nets were lost in the sea every year, Trapping and suffocating countless marine animals. The ghost nets installed here were retrieved from Hong Kong waters by a team of volunteers this year on April Fool’s Day. However, It was not a joke that I find funny at all. I am an art student, but I am also a diver, a Hong Kong citizen, a daughter, a consumer. I speak to you through my art, but that will not be all that I do for my planet.

PA I NT I NG

( 852 ) 6686 7257 karsin5@connect.hku.hk youtube.com/channel/UC-AdvfPQnn2EIXTOI59xhoQ maytheforestbewithyou852 thisisblairc

Ghost 2018 — Installation / nylon fishing nets 350cm (H) × 300cm (W) × 200cm (D)

77

Ghost PA I NT I NG

2018 — Installation / nylon fishing nets 350cm (H) × 300cm (W) × 200cm (D)

Ghost 2018 — Installation / nylon fishing nets 350cm (H) × 300cm (W) × 200cm (D)

79

Cats and dogs are the common types of stray animals which we can usually see them in the neighborhood. To me, they are also the resident of our society, which means they have the same right to share the same place with us. Rather than depriving the living space of stray animals, we could co-exist. My works trigger audiences’ awareness, re-examining their relationship with those animals who exist in our community.

NG WING YI 吳穎怡

貓和狗是社區內常見的流浪動物。對我來說，牠們同樣是 社區的一份子，跟我們有著同樣的權利在同一個地方生 活。人類不應該對牠們趕盡殺絕，剝奪牠們的生存空間。希

望透過我的作品令人們重新審視他們與社區動物的關係， 讓牠們在社區中得到平等的待遇及生存空間。

PA I NT I NG

( 852 ) 6898 2520 ngnnnwy@gmail.com https://ngnnnwy.wixsite.com/ngwy nigelwy

Untitled 無題 —

Graphite on paper 76.2cm (H) × 55.9cm (W)

81

PA I NT I NG

What we see at the first sight is not the whole — Graphite on paper 76.2cm (H) × 55.9cm (W)

83

WONG SIU LING June 黃小玲

I like staring at the shining windows. It was the summer in 2017. The weather was muggy and stuffy. As usual, there were lots of celebrations in the rainy days. Somebody forgot to close the window, and the sound of news seeped into the air on August 17th. The memory of colour suddenly became vivid. Tears, anger and fear aroused in this tiny city. It seemed a bit noisy. Windows closed and curtains drawn. In the deep of the night, the city slowed down and quieted while small light boxes gradually disappeared into the darkness. Is it possible to continue a dream after waking up? 我喜歡在晚上看窗。

吸一口悶熱和潮濕的空氣。慶祝如常地在雨天舉行，但有

一扇窗被忘了關上，然後一則新聞在八月十七日流出了。 回憶裡的一種顏色突然變得鮮明，淚水、憤怒和恐懼在這 細小的城市中被勾起來。看來太嘈吵了，窗門被關上，窗簾

被拉上。城市在深夜裡變得更平靜，而方形的光點遂漸消 失。上一個夢還是可以繼續。

忘了說，這是二零一七年的夏天。

PA I NT I NG

junewong1127@gmail.com www.junewongsiuling.com junewongpainting june_ww

Preparation for the summer 為夏天作好準備

2017 —

Pencil on paper 21cm (H) × 29.7cm (W)

85

Draw a summer 關於夏天的一張畫 PA I NT I NG

2018 —

Single channel video, colour, audio 4 min 2 sec

An ordinary day 平常一天

2017 —

Single channel video, black and white, audio 1 min 38 sec

87

Intermingling different environments with different spaces to make a sharp contrast, is the best way to record my daily life. I want to present two different spaces in one scene. I try to overlap the spaces to show the harmony as well as the conflict between them and to create a surreal space.

CHAN NUEN KUEN Kacey 陳暖娟

As there are two different spaces in one image, I use different painting methods to emphasize the difference in space and blur the boundaries between fiction and reality. 混合不同的環境和空間，並形成鮮明的對比是記錄我的 生活和活動痕跡的最佳方式。

我想在畫面中表現兩種不同的空間，並嘗試將裡面的空間

加以疊加，突出兩個空間的融合和衝突，創造一個超現實

的環境。將不同的空間融合在同一個平面上，但以不同的 繪畫方法去強調兩個空間之間的差異，以模糊現實和虛構 的界限。

Corner I PA I NT I NG

2017 —

( 852 ) 9155 3765 xuans269@yahoo.com.hk

Acrylic on canvas 152.4cm (H) × 101.6cm (W)

89

Corner II PA I NT I NG

2017 — Acrylic on canvas 152.4cm (H) × 101.6cm (W)

91

DOG'S GAZE 與 牠 屏 息 凝 視 All beings in this place keep a distance from each other. They are observers. They are also the observed. 存在於這片空間裏所有會活動的形體都保持著距離互相 觀察 ，既成為注視者，亦成為被注視的一方。

CHAN SIN HANG Janet 陳茜珩

Cast Its Shadow PA I NT I NG

2018 —

( 852 ) 6744 0471 sinhangjanet@gmail.com

Oil on canvas 76.2cm (H) × 101.6cm (W)

93

Sketch I - Coffee PA I NT I NG

2017 — Oil on paper 42cm (H) × 60cm (W)

Sketch II - Lucky 2017 — Oil on paper 42cm (H) × 60cm (W)

95

One suspense idea, translated into three branches of imagination. Inside city space, in between the distinct lines, the body created uncanny scenes in familiar places. The idea turns into three series of work — “I just want to cast my shadow in the square“、“ Temporary Sculpture“ and “In the name of rules“. 一個懸念，化作三種不同的幻想。讓身體在城市空間之中，

FUNG CHING KUEN 分明的規則線條之間，建構出很熟悉又不尋常的影像。 Loiix 影像分別結集成三個系列 ——「I just want to cast my 馮正權 shadow in the square」 、 「Temporary Sculpture」及

「In the name of rules」。

Untitled PA I NT I NG

2017

( 852 ) 9043 3797 loiixfung@yahoo.com.hk www.loiixfung.com

— Digital photo Dimensions variable

97

White Lines PA I NT I NG

2017 — Digital photo Dimensions variable

Body in, Soul out 2017 — Single channel video, no sound 5:00

99

THE ARCHIVE OF MEMORY 記 憶 存 檔

LAM KA YEE Zoe 林嘉儀

Patterns from objects are important because they have the potential to recall history and narratives. In a place like Hong Kong where spaces and places are undergoing such rapid “revitalization“, we lose coherence and cohesion. We lose stories and narratives. We lose our culture and histories. By recording the patterns and the elements of a place in an orderly manner, memories will be sorted and it becomes an archival action. The true meaning of cherishing is to treasure every little but important things in life and not let them be easily neglected. 透過閱讀記憶中的紋理和特徵，把自身作有系統的整理也 成了存檔的動作。

所謂珍惜，就是不讓生命中重要的，在生活中輕易被忽略。

Drive me to his place 載我 PA I NT I NG

2017 - 2018

( 852 ) 6136 5666 zoe.lamkayee@gmail.com iluvlittleeyes@gmail.com

— Acrylic, pencil on canvas 30cm (H) × 30cm (W) each

101

“… was often thought, but never so well expressed“ 回憶中的都不易說 PA I NT I NG

2017 - 2018 —

Ink on transparent paper, paper folders, clips, jewellery box Dimensions variable

103

A JOURNEY OF FORMS 形 ．再 輕 一 點 The process of making art is trying to present something in a different way. I have insisted on the process of making art and transforming the form of different objects. I try to transform them into something simple and light. With this in mind, it allows me to further enjoy the process of making art. Throughout this process, I become more sensitive to the details in my daily life.

LAU SZE YIN Vicky 劉思賢

In this series of works, I am focusing as much on the interdependency of the materials (stockings and wire) and the surrounding space as on the materials themselves. I am trying to explore the materials (stockings and wire), anti - form, indeterminacy, impermanence, spatial tension and balance. I had made some drawings of some organic forms and then used different materials to transform the two dimensional form to a three - dimensional one. After studying the form of the sculpture that I have made, I would make some sketches and draw it again. I would like to repeat this process again and again and try to discover some interesting forms. 藝術創作就像將日常的事物以不同的方式展示出來。我於創 作及物件形態的轉換進行不斷的探索，亦希望在當中尋找出

各種形態的變化，並展示出輕和簡的感覺，正因為常有這種想 法，令我更投入及享受創作，亦從這個過程，我更加敏感於生 活上的各種細節。

在這組創作，我專注於探究物料本身（絲襪和鐵絲）與周圍空

間之間的相互關係，我試圖尋索物料與空間所形成的各種形 式及變化，了解物件的反形式，不確定和平衡等各種狀態。

以最純粹的方式，由立體到平面，再從平面到立體，利用不同 PA I NT I NG

媒介與物料，不斷重覆這個過程，唯一的是：形。

A journey of forms: Lightness 1 形．再輕一點

2018 —

Stocking and wire Dimensions variable

A journey of forms: Lightness 2 形．再輕一點

2018 —

( 852 ) 9276 0134 szeyinlau@hotmail.com

Acyclic on wood Dimensions variable

105

A journey of forms: Lightness 3 形．再輕一點 PA I NT I NG

2018 —

Pencil, crocus paper and masking tape on paper 19cm (H) × 14cm (W) each

107

THE LANDSCAPES ARE DISAPPEARING The natural landscape in the city is disappearing due to the rapid city development. Sometimes I feel like a stranger to the place I live in as something that I am familiar with is disappearing.

LAU YUEN TING Rita 劉婉婷

In this series, I turn my attention to the relationship between natural environment and human. I aim to develop a body of artworks which include inspiration and source materials from different disappearing landscapes, such as fishponds in Tai Sang Wai. In my paintings, artificial objects and and colour blocks are presented on the natural landscape. I also portrayed the landscape in an unusual way by making reference to the negative photographic image. The negatives can strengthen the emotional insecurity. 現在，城市的自然環境正在消失，這些城市的發展和變化導致 自然環境面臨毀滅。在我們的生活中，許多原始的風景和熟悉 的事物正在消失，這給我們的生活帶來了一種異化和陌生的 感覺。

當我不斷去探索自然環境，拍攝每一個美好的風景，我認為是

很舒服自在。但回想一下圖片背後，其實周邊自然環境已被破 壞和枯萎，我們內心都不想呈現最壞的畫面給別人看。

可是風景背後充滿人類破壞大自然的陰暗的一面，反映人類

仍然存在朦糊的界線。在我的作品裏面，會有人工化物件和非 自然的色塊介入自然景觀，還有我以菲林負片的色調來表達 不尋常的景觀，亦是大自然的不尋常狀態和不安的情緒。

The dilapidated cable 荒廢的電纜 PA I NT I NG

2017

( 852 ) 9340 6698 yyyuenting18@hotmail.com http://yyyuenting180.wixsite.com/ritalau

— Acrylic on canvas 100cm (H) × 75cm (W)

109

Unusual landscape 不尋常的風景 PA I NT I NG

2017 —

Acrylic on canvas 100cm (H) × 75cm (W)

The dilapidated container 荒廢的貨櫃

2017 —

Acrylic on canvas 100cm (H) × 75cm (W)

111

STAY 緩 ‘So dawn goes down to day. Nothing gold can stay.‘ - Robert Frost, “Nothing Gold Can Stay“ 「世間好物不堅牢，彩雲易散琉璃脆」 ╴楊絳《我們仨》

LI NING YAN Lilien 李寧欣

Stay 緩 PA I NT I NG

2017

( 852 ) 9533 0337 lilienplus@gmail.com lilienli.com

— Photography documentation Dimensions variable

113

Stay 緩 PA I NT I NG

2017 —

Mixed media Dimensions variable

115

Hong Kong, like every other city, has its unique cityscape. However, Hong Kong’s cityscape has been changed a lot over the past few years. Some people think that “change“ is the proof of prosperity of the city.

PANG YIK HEI 彭奕熙

I was born and raised in Hong Kong. I witness the change of the city. The familiar residential areas turned into water filled barriers. The familiar streets became construction sites. I feel like a stranger in my own city as something that I am familiar with no longer exists. 每個城市都有獨特的景色。

香港的街景經常改變，改變成為了城市繁榮的證明，民居 變成一個個水馬，街道變成了一個個無人的地盤 。 景色變了，感覺也不同了，熟悉的變成陌生了。

12B PA I NT I NG

2017 —

( 852 ) 6407 3728 hei95105@gmail.com

Oil on canvas 91.5cm (H) × 61cm (W)

117

Placelessness PA I NT I NG

2017 — Oil on canvas 91.5cm (H) × 61cm (W)

The non place 2017 — Oil on canvas 91.5cm (H) × 61cm (W)

119

MEMORY CONSTRUCTION The grids can represent the family photos or memory fragments. Each grid is independent but connected. The images showing in the grids are clear when you observe from afar and abstract when you observer closer, just like a world of memories.

PONG CHUNG HANG

Ivana 龐頌恒

斷斷續續的格子就像零碎的家庭照片或記憶碎片，它們 各自獨立卻維持着同一個脈絡。它們似是連續的卻又脱

了節。它們遠觀時清晰，逐格看時抽象，就像一個記憶的 世界。

19 2 ’97 (I) (a set of 20) PA I NT I NG

2018 —

( 852 ) 6645 6290 ivanapong0506@gmail.com

Printed ink and drawing on paper labels, stickers on release paper 16.7cm (H) × 20cm (W) each

121

3 3 ’92 (a set of 4) PA I NT I NG

2018 — Drawing on paper labels 16.7cm (H) × 20cm (W) each

27 3 ’95 (a set of 4) 2018 — Drawing on paper labels 16.7cm (H) × 20cm (W) each

123

FOR THOSE WHO HAVE BEEN PASSED BEHIND YESTERDAY 昨日之日不可留 The images in this painting series primitively come from the local public housing estate where I have been living and growing up with. In 2016, the announcement of a clearance program prompted me to take photos as commemoration. The initial intention of doing this project is to mourn for the loss.

WONG MAN CHING Maggie Back to the old ground and capturing the moment 黃敏靖 though shutter and lens can never replace the one

in memory, but the action of fragmentation and re - composition have make it a review, it is more likely to be a review and reconstruction blended in with emotions to the matters/persons and things in the collective memories. 這一系列作品的影像全部來自我從小到大居住的公共 屋邨社區。

2016年，一個重建計劃驅使我重回那些與童年記憶發生 關係的地點拍照記錄。 創作這一系列的動機起初是為逝去

的人和事、社區面貌、一個時代的終結立墓誌銘，但隨著將

影像碎片化、重組的過程，更像是一種融入個人情感的對 舊有記憶人與物的回顧與重新建構。

重回舊地通過快門所捕捉的特定一瞬間，是經歷了時間和

語境變遷下的產物，永遠無法取代記憶中的場景。通過將 其與我個人對地⽅的記憶中所抱有的情感串連在一起，是 當下的狀態的反映，也是拆毀與重建的過程。

For those who have been passed behind yesterday I 昨日之日不可留 I

PA I NT I NG

2017

( 852 ) 5605 0753 maggiewmc2001@gmail.com maggiewmc2001.wixsite.com/fineartprofo

— Acrylic on canvas 30cm (H) × 40cm (W)

125

For those who have been passed behind yesterday II 昨日之日不可留 II PA I NT I NG

2017 —

Acrylic on canvas 30cm (H) × 40cm (W)

For those who have been passed behind yesterday III 昨日之日不可留 III

2017 —

Acrylic on canvas 30cm (H) × 40cm (W)

127

IN MY OWN TEMPO From a mother’s everyday life to one’s sense of worth, Yao has gone on a journey of self exploration. In her paintings, she translates the psychological experience into subtle messages embedded in that clean and nearly empty kitchen. 從母親日常，

YAO CHEUK NI 丘卓妮

到自我價值的思考，

丘氏將隠匿的心理經驗，

透過那乾淨、零落的廚房， 微微地訴說出來。

Kitchen series 廚房系列 PA I NT I NG

2017

( 852 ) 9582 8684 yaocheukni@gmail.com www.yaocheukni.com

— Acrylic on canvas 29.8cm (H) × 21cm (W) each

129

In My Own Tempo - 1 PA I NT I NG

2018 — Acrylic on canvas 121.8cm (H) × 91.4cm (W)

In My Own Tempo - 2 2018 — Acrylic on canvas 121.8cm (H) × 91.4cm (W)

131

Memories precipitate in time Time disappears in memory All objects do not exist alone. We interact with them and they leave us memories. Some objects even wake our memories which have sunk in the unconscious mind.

YEUNG SIU FONG 楊小芳

I hope that the objects I chose can be mirrors for the audience. The work does not just show my personal memories but also memories between the body and the objects. 回憶在時間裡沉澱 時間在回憶中消失

而所有的傳遞物件都不會獨自存在，我們與它們互動已留 下記憶。甚至有些物件可以喚醒已沉睡的記憶。

我希望透過我與物件的互動，使觀眾可以把作品當成一面

鏡子，從作品中看到的並不只是個人的回憶，而是身體和 物件之間的記憶。

”At the moment there is” series 2《此曾在》系列 2 PA I NT I NG

2018 —

( 852 ) 6932 9049 nhgysf@gmail.com

Inkjet print 80cm (H) × 40cm (W)

133

”At the moment there is” series 1《此曾在》系列 1 PA I NT I NG

2018 —

”At the moment there is” series 1《此曾在》系列 1

2018 —

Video installation

Video installation

Dimensions variable

Dimensions variable

135

REBUILD MY FATHER’S GARDEN

YIP KA FONG B oey 葉嘉芳

I used to live in a house with a garden when my father was still alive. The plants there were all nurtured by my father. My sisters, brother and I had a wonderful time there. However, we lost our father when I was 10, we then moved away from that house and abandoned the garden. I want to ‘rebuild’ the garden because some of my most precious childhood memories were around it. The process of recognising the plant species helps me rediscover the fading memories and recapture those good old days. 當 爸 爸 還 活 著 的 時 候，我 住 的 房 子 前 面 有 一 個 大 花 園， 裏面的植物都是爸爸親自種植和打理。

我與姐妹和弟弟閒時喜歡在花園裏捉迷藏或捉弄花園裡

的 昆 蟲。但 是，當 爸 爸 去 世 後，媽 媽 就 一 個 人 頂 起 了 家， 我們搬離了那所房子，生活亦隨即變得不容易。長大後， 我發現自己很喜歡去郊外和喜歡植物，尤其是樹木，甚至 我的大部分作品都與植物有關。我想可能是因為我太懷念

童年那段時光，試圖重現那些美好的回憶。於是我想透過

「重建」爸爸的花園，表達對爸爸的思念。

Rebuild my father’s garden (a set of 10) PA I NT I NG

2018

( 852 ) 6416 6420 boeyip.homyone@gmail.com

— Inkjet print, watercolour on paper Dimensions variable

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Rebuild my father’s garden (a set of 10) PA I NT I NG

2018 — Inkjet print, watercolour on paper Dimensions variable

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NO. 20 PIERS OF HONG KONG ZHUHAI MACAU BRIDGE 第 20 座 橋 墩

Reading stele is a contemplation of the past in light of history passage with traces of former people; in consequent, it reflects one’s own place in history. The stele without an inscription represents an anonymous past and mirrors the situation of present.

CHAN KWAN YI June 陳筠怡

讀碑即為吊古，對於銘文的缺席，讀者意識到自己面對著 無名的往昔。共識的歷史被建構，並向公眾呈現。

P HOTOG RA PHY

No. 20 Piers of Hong Kong Zhuhai Macau bridge 第 20 座橋墩

Mar 2018 —

( 852 ) 6898 4611 junechanky@gmail.com

Light box, light box film 200cm (H) × 80cm (W)

143

No. 20 Piers of Hong Kong Zhuhai Macau bridge P HOTOG RA PHY

第 20 座橋墩

Mar 2018 —

Light box, light box film 200cm (H) × 80cm (W) each (2 in total)

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WERIFESTERIA (TO WANDER LONGINGLY THROUGH THE FOREST IN SEARCH OF MYSTERY) In the winter, every leaf in the tree falls off. When spring comes, the fresh green leaves make a happy note again for the tree. In late autumn, the leaves are blown away again. Life is like a tree. it is impermanent, vitality and beauty.

CHAN OI YAN 陳靄欣

Ever since the dawn of the humankind, trees have been our silent companions. They embody significant metaphors that have taught us many lessons in our evolution, and never fail to enlighten and inspire us. They also speak to our minds: try to get close to a tree next time when you are in a bad mood, embrace her and tell her all your worries. The tree will keep your secrets, even quietly accompany you and help you all the way through the hard times. 冬天時，樹上每一片葉子都脱落了。春天來臨時，豐盛的綠

葉為大樹再次譜上歡樂的音符。等到深秋，葉片又吹走了。 生命之道就像樹般，是無常、恆變，又是深奧，充滿着無比

的活力及美。一直以來，樹是人類無聲的同伴，她們隱喻著

重要的道理，有時亦是人類智慧的啟蒙。下次當你心情低 落的時候，不妨把心底話跟棵大樹分享，她會把你的心事

保密，還會用生命跟我們的心靈對話，靜悄悄地陪你走過 低潮。

P HOTOG RA PHY

Werifesteria (To wander longingly through the forest In search of mystery) ( 852 ) 9060 7729 oiyanchan@hotmail.com www.chanoiyan.com

2017 — Inkjet prints on archival paper, 120cm (H) × 90cm (W) each, 5pcs

147

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Werifesteria (To wander longingly through the forest in search of mystery) 2017 — digital c-print on transparency film 49cm (H) × 43cm (W) each, 5pcs

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EXTRA(ORDINARY) 非 響 同 凡 Everyone should be entitled to a decent wage / standard of living. And as a consumer, we do have the responsibility and obligation to rethink the idea of consumerism and popular culture. Blind acceptance and pursue on the mainstream values the industries provided is just ‘extra‘ and ‘ordinary‘.

CHEUNG YEE LING Elaine 張綺玲

每個人都應該享有應得的工資與生活水平。而作為一個消

費者，我們確實擁有重新思考消費主義與流行文化的責 任和義務。盲目接受和追求這些主流價值只顯得更平凡 普通。

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Extra ( ordinary ) 非響同凡

1 May 2018 —

( 852 ) 9811 3927 yl20cheung@gmail.com

Mixed media 160cm (H) × 125cm (W) × 60cm (D)

151

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Extra ( ordinary ) 非響同凡

1 May 2018 —

Mixed media 160cm (H) × 125cm (W) × 60cm (D)

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NO PLACE LIKE HOME Windows can be viewfinders that expand our horizon to see something in very different perspectives, they can also be witnesses of the massive changes of our city in the past, the present, and the future.

CHEUNG YICK KAN 張亦勤

As time involves, what we see from the windows may not be the same tomorrow. The different window views presented here indicate that the community that we are familiar with may be something that we cannot have imagined, something totally realistic. A Utopia is stepping into an unknown future because of the urban renewal plan. Yet, no matter what To Kwa Wan will become, it will always be the place where my heart will stay. 讓我們在沙中綫通車之前一年搭上時光機，透過窗戶來遊 走土瓜灣的過去與未來。儘管會看到的只有是時代迫使這 個地方不停分解和裝嵌，天涯仍然無處勝家園。

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No place like home 2017

( 852 ) 9544 0209 yickkan.c@gmail.com www.yickkan.com

— Inkjet print on aluminium composite panel 63cm (H) × 72cm (W) each (9 in total)

155

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No place like home 2017 — Inkjet print on aluminium composite panel 63cm (H) × 72cm (W) each (9 in total)

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LUST FOR LOVE 渴 癮 When I’m crossing the threshold from the ordinary world, I feel like I’ve got a war in my mind, ”Let’s go get high together.” The time we’re having fun is amazing, It drowns out all our screaming.

CHOI CHING NGA Chanah 蔡青雅

We’re trying to make this moment last forever, The moment we both feel being loved. 此刻，

他像太陽般溫暖地抱著我， 你體會到暗香流動的誘惑， 從此，

我們捲進永無⽌境的漩渦。

P HOTOG RA PHY

Lust for love 渴癮

Dec 2017

( 852 ) 9873 5399 ccnc.choi@gmail.com www.chingngachoi.com

— Photography and installation 118.9cm (H) × 84.1cm (W) each (3 in total)

159

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Lust for love 渴癮

Dec 2017 —

Photography and installation 118.9cm (H) × 84.1cm (W) each (3 in total)

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COUNT DOWN 倒 數 The theme of this series of artworks is ”Art and Time” with ”Death” as a metaphor aesthetically explored. Death is not the most frightening thing; the most frightening thing is our helplessness about it. It seems birth is just a countdown towards death. Faded flowers and morbid fish, like the remaining bodies after our souls move out.

CHOW KING FUNG Rodrick 周景豐

P HOTOG RA PHY

Count down 倒數

2017 —

Inkjet prints on archival paper

rodrickchow@gmail.com

51cm (H) × 42cm (W) each

163

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Count down 倒數

2017 —

Inkjet prints on archival paper 51cm (H) × 42cm (W) each

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TOMORROW AND TOMORROW 明 天 與 明 天

FUNG SUNG YUEN Gum 馮淞淵

In the digital age, information explosion happened in every minute. The ubiquitous nonlinear media penetrated urban people’s life experience. Tomorrow and Tomorrow’ is a TV - matrix installation, surrounded by seven vintage televisions with looping animated collage . These animated collage is formed by GIF (Graphics Interchange Format) and the visual elements are retrieved from the internet. This installation is about the looping of a mad mad world on TV, by piecing animated collage, scenes over the world, geometry and symbolic images, it created a discursive practice of the multinomial modern situation. By the use of vintage television, it emphasizes our inadaptability to this unpredictable contemporary world. 在這個訊息爆炸的數據時代，無處不在的非線性媒體滲

透 了 城 市 人 的 生 活，明 天 與 明 天 是 一 組 裝 置 藝 術 作 品， 由七台電視繞成一個圓陣，電視循環播放着由Gif（ 圖像 互 換 格 式）合 成 出 的 動 畫 化 圖 像。作 品 裏 的 圖 像 全 部 從

互聯網下載取得，內容包括世界場景，幾何和象徵性圖像 拼湊成多元生成的現代話語實踐，上演着一個瘋狂世界 的循環，並透過懷舊電視來強調對瞬息萬變的當代感到 不適應。

P HOTOG RA PHY

Tomorrow and tomorrow 明天與明天

2018 —

( 852 ) 9878 5447 roycefung13@gmail.com

Installation of television with sound 160cm (H) × 350cm (W) × 350cm (D)

167

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Tomorrow and tomorrow 明天與明天

2018 —

Installation of television with sound 160cm (H) × 350cm (W) × 350cm (D)

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VESTIGE 心 跡 Abstraction is an artistic expression. Natural sculptures are fascinating to me. I want to express ”spirituality”; and pay attention to the creation of the environment. 傳統中國藝術與抽象結合是一種詩意形式的藝術，追求

LAI WING YU

Karen 黎詠漁

氣韻而非單純的形狀。

我相信每件事物都有其運行的軌跡及時間，眼前一片寛闊 的空間，讓人置身在天馬行空的想像中。

P HOTOG RA PHY

Vestige 心跡

2017 —

Inkjet prints on photographic paper (German Etching)

Wingyu.1812@gmail.com

36cm (H) × 24cm (W) (9 photographs)

171

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Vestige 心跡

2017 —

Inkjet prints on photographic paper (German Etching) 36cm (H) × 24cm (W) (9 photographs)

173

CLOUDS 雲

LAU PUI NGO

Natalie 劉培娥

One of the cameras my father bought me which was a second - handed Rollei 35, creates cloud shaped image marks; thus developed my interest in clouds. I enjoy watching the sky to observe cloud transformations under different weather conditions, sometimes they are absent in sunny days and reveal high humidity. At the end, they keep growing and become a cumulonimbus. Reading Francoise Barbe - Gall’s ’Comprendre les symboles en peinture’, I realized cloud is a symbol of guide and protect in the Bible, it also signifies revealing and hiding at the same time. My work is an expression of struggle feelings of daughters towards their fathers.

P HOTOG RA PHY

Clouds 雲

2017 —

( 852 ) 6093 8279 natlylau033@gmail.com

Inkjet prints on photographic paper 70cm (9 photographs)

175

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Clouds 雲

2017 —

Inkjet prints on photographic paper 70cm (9 photographs)

177

BE A RIDER OR FOOL 星 燦 騎 士

’Be a rider or fool’ employs a story plot and an interview dialogue to record a robbery that took place in Hong Kong. Through observing how the characters faced different conflicts and their self - reflection in the robbery, the film aims to depict Hong Kong people’s powerlessness towards the future.

LAW WAI LEUNG 羅偉良

《星燦騎士》利用戲劇情節與訪問記錄編成一段在香港發

生的搶劫事件。透過觀察角色們各自面對事件的沖突與 反思，映射港人對未來的無力。

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Be a rider or fool 星燦騎士

2018 —

( 852 ) 6605 8385 anwaileung@gmail.com

Video 20 mins

179

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Be a rider or fool 星燦騎士

2018 —

Video 20 mins

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CONSTANT ABNORMALITY 不 斷 不 常

LO WING YEE Raini 盧穎儀

People always seek the greatest pleasure in their lives, but when they privilege their own desire above nature, the natural laws will get back to them. Accumulated are the fruits of impermanence: they flutter with wind and drift with water, and continue to expand and spread until they become a threat. This project studies the coastal rubbish of Lung Kwu Tan and explores the causes of the rubbish on that beach, with the intent to reflect on the relationship between nature and the humankind, and gain insights into our choices and possibilities. 社 會 當 中 人 類 會 尋 找 最 大 的 幸 福，當 人 類 自 覺 個 人 的 滿 足 高 於 自 然，而 自 然 的 因 果 規 律 不 變，無 常 的 結 果 會

一直累積，隨風飄動，隨水飄流，不斷擴散，逐漸變成威脅。 這作品透過攝影探究龍鼓灘的海岸垃圾，嘗試了解垃圾 灘背後的因由，藉以反映大自然與人類之間的關係，思考 生活中的選擇與可能。

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Constant abnormality 不斷不常

2018 —

( 852 ) 6375 9959 Rainirnn@gmail.com

Metal prints with sand installation 60cm (H) × 60cm (W) each

183

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Constant abnormality 不斷不常

2018 —

Metal prints with sand installation 60cm (H) × 60cm (W) each

185

FUNDAMENTAL AND INCIDENTAL 本 末 Things have their roots and branches, affairs have their ends and beginnings. Knowing what comes first and what comes after takes one closer to the way. 物有本末，事有終始，知所先後，則近道矣。

NG SHUN KWAN Chantelle 吳舜筠

P HOTOG RA PHY

Fundamental and incidental 本末

2018 —

( 852 ) 6436 2753 chantelleng@gmail.com

Installation Dimensions variable

187

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Fundamental and incidental 本末

2018 —

Installation Dimensions variable

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IMAGES ˙ DAILY˙ IMAGINATION˙ 影 像。日 常。想 像。

The city in the night is like a big darkroom. This series is designed to take place in a drinks shop, from exterior to interior, using the logic and techniques of photography together with our innate imaginations, to show how a seemingly mundane business can be magically presented by photography.

WONG CHUNG YAN Vanus 黃 頌 茵

Our daily lives consist of an infinite number of ’stops’, ’looks’, and ’choices’ that occur in our minds. I hope to present these mental activities in three steps: ’stops’, ’looks’ and finally ’choices’. For those who do not want to make a choice, it is still a choice. 入夜後的城市就像是一間大黑房。這個系列將會是設計在

同一家飲品商店內進行，由外到內，運用攝影的邏輯及技 巧再加上我們與生俱來的想像力，如何展現一家普通至極 的平凡商店也有它可供攝影的價值。

一 個 人 每 天 的 生 活 都 由 發 生 在 大 腦 內 無 限 次 的「 停 」 、

「望」 、 「 選 擇 」交 織 而 成。我 把 這 個 潛 藏 的 動 作 或 是 思

想，透過作品將它呈現。這個系列有三個部分，分別對應 第一步:「停」 ，第二步:「望」 ，第三步:「選擇」 。至於不作選 擇，也是一個選擇。

P HOTOG RA PHY

Images ˙Daily˙Imagination˙ 影像。日常。想像。 2018 —

( 852 ) 5423 8967 vanuswong248@gmail.com

Installation Dimensions variable

191

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Images ˙Daily˙Imagination˙ 影像。日常。想像。 2018

— Installation Dimensions variable

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CLOSET The conflicts of multiple identities present in every life’s aspect, different roles are played and shifted in minutes. The task of a specific identity is to fit in certain rules, whilst hiding the rest of oneself that violates majority thoughts.

YUEN KAM WA Magus 袁錦華

Through this installation work, I tried to depict the psychological pressure of people’s hidden secrets of sexuality from their families.

P HOTOG RA PHY

Closet 2017 —

( 852 ) 6332 5219 magusyuen@hotmail.com

Installation Dimensions variable

195

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Closet 2017 — Installation Dimensions variable

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AU MAN KIT 區文傑

EDUCATION 2018

2018

Bachelor of Arts (Fine Art) 藝術文學士^

^

CHAN TSZ CHING Venus 陳梓晴

EDUCATION 2018

Bachelor of Arts (Fine Art)

RMIT University & Hong Kong Art School

藝術文學士^

GROUP EXHIBITION

SOLO EXHIBITION

”I am”

RMIT University & Hong Kong Art School

2018

Gallery Decumanus, Croatia

^

Let’s be Together Art Festival Ceramic Exhibition Hong Kong

”A postcard from here”

Sherwood Center for the Arts, USA

2017

Museum of Lost Public Notice

George Paton Gallery, Melbourne University

AWARDS 2017

2nd Runner-up, WORNDIFFERENT, Hong Kong Lomography Photograph Competition

INTERVIEWS CHA TAO Constance 戚韜

2017

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士^

“Education Forum”

Hong Kong Commercial Broadcasting Co. Ltd

^

RMIT University & Hong Kong Art School

2014

International Baccalaureate Diploma Shanghai World Foreign Language Middle School

BI O GR A PHY

^ ^

Programme jointly presented with RMIT University, Australia 課程與澳洲皇家墨爾本理工大學合辦

201

202

LAU YUEN SHAN 劉宛姍

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士^

^

LEUNG YI TUNG Eliza 梁伊彤

EDUCATION 2018

RMIT University & Hong Kong Art School

藝術文學士^

^

RMIT University & Hong Kong Art School

2013

LEE SUET YING Kitty 李雪瑩

Bachelor of Arts (Fine Art)

Higher Diploma In Fine Art (Painting) Hong Kong Art School

GROUP EXHIBITION EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士^

2013

”Origin”

2011

”Naked”

^

RMIT University & Hong Kong Art School

JCCAC, Hong Kong

JCCAC, Hong Kong

BI O GR A PHY

^ ^

Programme jointly presented with RMIT University, Australia 課程與澳洲皇家墨爾本理工大學合辦

203

204

LI LOK HIM Jonathan 李樂謙

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士^

^

LI PUI HEI Antonie 李佩羲

EDUCATION 2018

RMIT University & Hong Kong Art School

2014

藝術文學士^

^

RMIT University & Hong Kong Art School

Graduated

SALEM-Immanuel Lutheran College

GROUP EXHIBITION 2018

PROCESSING: on Reading Art

2015

Hong Kong Art School Art Fair’15

GROUP EXHIBITION 2016

Bachelor of Arts (Fine Art)

Sense & Sensibility

The Artland Gallery, Hong Kong

The Gallery of Hong Kong Art School, Hong Kong

Hong Kong Arts Centre, Hong Kong

SCHOLARSHIP 2018 2017

Best Progress Award Self - financing Post - secondary Scholarship Scheme Education Bureau

BI O GR A PHY

^ ^

Programme jointly presented with RMIT University, Australia 課程與澳洲皇家墨爾本理工大學合辦

205

206

YING WAI PICKOP Catherine 李盈慧

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士^

^

KARSIN NG 吳嘉善

EDUCATION 2018

RMIT University & Hong Kong Art School

2007

Bachelor of Arts (Fine Art) 藝術文學士^

^

RMIT University & Hong Kong Art School

2014

Bachelor of Business Administration University of Management and Technology

Bachelor of Science (Biology) University of Hong Kong

GROUP EXHIBITION 2018

PROCESSING: on Reading Art

The Gallery of Hong Kong Art School, Hong Kong

Stanthorpe Art Prize Exhibition Australia

NG WING YI 吳穎怡

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士

^

^

RMIT University & Hong Kong Art School

AWARDS 2017

2nd Painting Category

INTERVIEWS 2017

GROUP EXHIBITION

Light Space and Time Online Art Gallery

“Education Forum”

2018

”The Beauty, Taste, Voice & Joy of Nature”

2017

”Ghostnet Art Awareness Booth”

Apricot Body and Mind Expressive Arts Nourish Center Sai Kung street art fair

Hong Kong Commercial Broadcasting Co. Ltd

BI O GR A PHY

^ ^

Programme jointly presented with RMIT University, Australia 課程與澳洲皇家墨爾本理工大學合辦

207

208

WONG SIU LING 黃小玲

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士

^

^

CHAN NUEN KUEN Kacey 陳暖娟

EDUCATION 2018

RMIT University & Hong Kong Art School

2014

Higher Diploma in Fine Art

2010

Bachelor of Science (Honours) in Nursing

Hong Kong Art School

Bachelor of Arts (Fine Art) 藝術文學士

^

^

RMIT University & Hong Kong Art School

2015

Higher Diploma in Fine Arts Hong Kong Art School

The Polytechnic University

GROUP EXHIBITION GROUP EXHIBITION 2016

“Our Inner Voice” The 5th Hong Kong Art School Alumni Exhibition The Gallery of Hong Kong Art School

2015

“The Exhibition for Local Arteople” Hong Kong Visual Art Centre

2018

”Body 0.1” Artwork Display Scheme of Hong Kong Art Scheme Youth Square, Hong Kong

2015

Arts Oasis

Y Loft, Hong Kong

The Higher Diploma in Fine Art Graduation Showcase 2015 Hong Kong Art School

AWARDS/SCHOLARSHIP 2018 2016

Outstanding Performance Scholarship Self - financing Post - Secondary Scholarship Scheme Education Bureau

2014

The Best Artwork (Painting) Higher Diploma in Fine Art Hong Kong Art School

BI O GR A PHY

^ ^

Programme jointly presented with RMIT University, Australia 課程與澳洲皇家墨爾本理工大學合辦

209

210

CHAN SIN HANG Janet 陳茜珩

EDUCATION 2018

2015

Bachelor of Arts (Fine Art) 藝術文學士

^

^

FUNG CHING KUEN Loiix 馮正權

GROUP EXHIBITION 2018

Special Project by Affordable Art Fair

Hong Kong Convention & Exhibition Centre Hall 3D,

RMIT University & Hong Kong Art School

Hong Kong

Higher Diploma in Fine Arts

South Island Art Day by SICD Art Statements, Hong Kong

Hong Kong Art School

PROCESSING: on Reading Art

The Gallery of Hong Kong Art School, Hong Kong

GROUP EXHIBITION

2017

2016

Body 0.1

2015

The Higher Diploma in Fine Art Graduation Showcase 2015

The Gallery of Hong Kong Art School, Hong Kong

Micro-implantation

Youth Square, Hong Kong

Hong Kong Art School

Kong Art Space, Hong Kong

2016

We Wet Documentation Exhibition

2010

Art is Life

2009 2008

FUNG CHING KUEN Loiix 馮正權

A for…..

C&G Artpartment, Hong Kong

Artist Commune, Hong Kong

沉魚落雁

The Hong Kong Visual Arts Centre, Hong Kong

AAD Gradation show

Hong Kong Cultural Centre, Hong Kong

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士^

^

RMIT University & Hong Kong Art School

2008

Diploma of Graphic and Illustration

2000

Higher Diploma of Manufacturing Engineering

AAD International

AWARDS 2012

Gold Award

2011

Fresh Wave Best Creativity Award (Student Division)

Taipei International Digital Content Awards

Fresh Wave Film Festival Limited

BI O GR A PHY

Hong Kong Institute of Vocational Education (IVE)

INTERVIEWS ^ ^

Programme jointly presented with RMIT University, Australia 課程與澳洲皇家墨爾本理工大學合辦

2018

Cup magazine

211

212

LAM KA YEE Zoe 林嘉儀

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士

^

^

LAU SZE YIN Vicky 劉思賢

EDUCATION 2018

RMIT University & Hong Kong Art School

2015

Bachelor of Arts (Fine Art) 藝術文學士

^

^

RMIT University & Hong Kong Art School

Higher Diploma in Fine Arts (Painting) Hong Kong Art School

GROUP EXHIBITION 2015

The Higher Diploma in Fine Art Graduation Showcase 2015 Hong Kong Art School

LAU YUEN TING Rita 劉婉婷

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士

^

^

RMIT University & Hong Kong Art School

SCHOLARSHIP 2014 2013

2015

Angel Fund Student Full Scholarship (Higher Diploma in Fine Art)

Higher Diploma in Fine Art Hong Kong Art School

Hong Kong Art School

GROUP EXHIBITION INTERVIEWS 2016

2017

“Micro-implantation“ The 2nd Nagist Group Show Kong Art Space, Central

TV Interview: Papilionidae Project (Public Art Project)

“Art for Space / Space for Art?” The 6th Hong Kong Art School Alumni Exhibition

Hong Kong Connection, RTHK

The Gallery of Hong Kong Art School

2016

“Body 0.1“ Artwork Display Scheme of Hong Kong Art Scheme

BI O GR A PHY

Youth Square, Hong Kong

^ ^

Programme jointly presented with RMIT University, Australia 課程與澳洲皇家墨爾本理工大學合辦

213

214

LAU YUEN TING Rita 劉婉婷

GROUP EXHIBITION 2015

Art Oasis

Y Loft, Hong Kong

The Higher Diploma in Fine Art Graduation Showcase 2015 Hong Kong Art School

LI NING YAN Lilien 李寧欣

EDUCATION 2018

2010

Reaching Award Self - financing Post - Secondary Scholarship Scheme

2018

Talent Development Scholarship Self - financing Post - Secondary Scholarship Scheme

2017

HKSAR Government

2011

Second Award Liberal and Art appreciation Essay competition

^

BA (Financial Services) Edinburgh Napier University

GROUP EXHIBITION Asia Illustrations Annual Awards Art Exhibition 2018

Songshan Cultural and Creative Park No. 1 Warehouse, Taipei, Taiwan

HKSAR Government

2015

藝術文學士

^

RMIT University & Hong Kong Art School

AWARDS/SCHOLARSHIP 2018

Bachelor of Arts (Fine Art)

POETRY

George Paton Gallery, Melbourne, Australia

A for …..

The Gallery of Hong Kong Art School, Hong Kong

Micro-implantation

Kong Art Space, Hong Kong

Cultamap

INTERVIEWS 2016

Art Together

2015

Daily New

Mural Art in Ma Tau Wai Road The art Gallery

BI O GR A PHY

^ ^

Programme jointly presented with RMIT University, Australia 課程與澳洲皇家墨爾本理工大學合辦

215

216

PANG YIK HEI 彭奕熙

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士

^

^

PONG CHUNG HANG Ivana 龐頌恒

EDUCATION 2018

RMIT University & Hong Kong Art School

2015

藝術文學士

^

^

RMIT University & Hong Kong Art School

Higher Diploma in Fine Art

2015

Hong Kong Art School

GROUP EXHIBITION 2016

Bachelor of Arts (Fine Art)

Higher Diploma in Fine Art Hong Kong Art School

GROUP EXHIBITION

Body 0.1 Artwork Display Scheme of Hong Kong Art Scheme

2015

Hotel Art Fair

Youth Square, Hong Kong

Youth Square , Hong Kong

2015

Art Oasis

Y Loft, Hong Kong

WONG MAN CHING Maggie 黃敏靖

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士

^

^

RMIT University & Hong Kong Art School

2012

Higher Diploma in Fine Art Hong Kong Art School

GROUP EXHIBITION 2014

Hong Kong Art School HDFA Graduation Showcase 2014 Hong Kong Art School

BI O GR A PHY

^ ^

Programme jointly presented with RMIT University, Australia 課程與澳洲皇家墨爾本理工大學合辦

217

218

YAO CHEUK NI 丘卓妮

EDUCATION 2018

2017

YEUNG SIU FONG Cherie 楊小芳

Bachelor of Arts (Fine Art) 藝術文學士

^

YIP KA FONG Boey 葉嘉芳

EDUCATION 2018

Bachelor of Arts (Fine Art)

RMIT University & Hong Kong Art School

藝術文學士

GROUP EXHIBITION

GROUP EXHIBITION

^

A for …..

The Gallery of Hong Kong Art School, Hong Kong

^

^

RMIT University & Hong Kong Art School

2017

A for …..

The Gallery of Hong Kong Art School, Hong Kong

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士^

^

RMIT University & Hong Kong Art School

GROUP EXHIBITION 2018

‘Inside the wall’

2017

Hong Kong BUTOH SEASON 2017 ‘STRANGER IN THE GARDEN 2 black Milk & White Coal’ Exchange Performance Project

South Island, Hong Kong

唐三樓, Hong Kong

BI O GR A PHY

2015

Agnes B「再．藝術展覽」 K11, Hong Kong

^ ^

Programme jointly presented with RMIT University, Australia 課程與澳洲皇家墨爾本理工大學合辦

219

220

CHAN KWAN YI June 陳筠怡

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士^

^

RMIT University & Hong Kong Art School

2015

Higher Diploma in Fine Art

2014

Professional Diploma of Art Administration

CHAN OI YAN 陳靄欣

GROUP EXHIBITION 2017

Wonder Photo Day

2016

“Rippling“ Female Photographers Group Show, Ping Yao International Photography Festival

Hong Kong Art School

Songshan Cultural and Creative Park, Taipei

Pingyao, China

Hong Kong Arts Festival "Creativity in Action" Photography Campaign Exhibition

School of Continuing Education Hong Kong Baptist University

Hong Kong Cultural Center, Hong Kong

AWARDS/SCHOLARSHIP CHAN OI YAN 陳靄欣

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士

^

^

2017

Talent Development Scholarship

2016

Outstanding Entry in “Creativity in Action” Photography Campaign Hong Kong Arts Festival

RMIT University & Hong Kong Art School

SOLO EXHIBITION

2016 「煉思」Extraction

Youth Square, Hong Kong

HKSAR Government Scholarship Fund

INTERVIEWS 2017

First Smash 4 at Art Experience Gallery Asian Art News Magazine vol 27, P74-75 Nov 2017

留住石牆樹

GROUP EXHIBITION

BI O GR A PHY

2018

WWF Artist Show

2017

"Fist Smash 4" Art Project

WWF Island House, Hong Kong

Ming Pao Daily, Supplement (Culture), D6 8 Sept 2017

「初試啼聲4」我們看到的是什麼？ Art Plus issue 70, P52-53, Aug 2017

Art Experience Gallery, Hong Kong

Amygdala Hijack Group Exhibition

The Gallery of Hong Kong Art School, Hong Kong

^ ^

Programme jointly presented with RMIT University, Australia 課程與澳洲皇家墨爾本理工大學合辦

221

222

CHEUNG YICK KAN Kan 張亦勤

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士^

^

CHEUNG YEE LING Elaine 張綺玲

EDUCATION 2018

RMIT University & Hong Kong Art School

2015

Higher Diploma in Fine Art Hong Kong Art School

Bachelor of Arts (Fine Art) 藝術文學士 ^

^

RMIT University & Hong Kong Art School

2015

GROUP EXHIBITION

Higher Diploma in Fine Art Hong Kong Art School

GROUP EXHIBITION

2017

Amygdala Hijack

2016

As The Leaves Fall

2016

As The Leaves Fall

2015

Hong Kong Art School HDFA Graduation Showcase

2015

Art Oasis

The Gallery of Hong Kong Art School

1A Space, Hong Kong

Youth Square, Hong Kong

Hong Kong Art School HDFA Graduation Showcase Hong Kong

1A Space, Hong Kong

Hong Kong

BI O GR A PHY

223

224

CHOI CHING NGA Chanah 蔡青雅

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士^

^

FUNG SUNG YUEN Gum 馮淞淵

EDUCATION 2018

RMIT University & Hong Kong Art School

2015

Higher Diploma in Fine Art

2012

Foundation Diploma in Visual Art

藝術文學士^

^

RMIT University & Hong Kong Art School

Hong Kong Art School

Hong Kong Art School

GROUP EXHIBITION 2016

EXPOSURE: Camera-less Photography Exhibition

《光至景亡 ─ 相機次要攝影》 動漫機地 Comix Home Base

GROUP EXHIBITION 2017

Bachelor of Arts (Fine Art)

Amygdala Hijack

The Gallery of Hong Kong Art School

AWARDS 2016

CHOW KING FUNG Rodrick 周景豐

Bachelor of Arts (Fine Art) 藝術文學士

^

Hong Kong Art School

Best Progress Award Self - financing Post - secondary Scholarship Scheme Education Bureau

EDUCATION 2018

Best Artwork (Photography)

^

RMIT University & Hong Kong Art School

BI O GR A PHY

^ ^

Programme jointly presented with RMIT University, Australia 課程與澳洲皇家墨爾本理工大學合辦

225

226

LAI WING YU 黎詠漁

EDUCATION 2018

2014

Bachelor of Arts (Fine Art) 藝術文學士^

^

EDUCATION 2018

Bachelor of Arts (Fine Art)

RMIT University & Hong Kong Art School

藝術文學士^

GROUP EXHIBITION

GROUP EXHIBITION

The Higher Diploma in Fine Art Graduation Showcase 2014 Hong Kong Art School

2012

LAU PUI NGO Natalie 劉培娥

Xu Bei-hong International Youth and Children Art Competition (Hong Kong - Group Exhibition) Central, Hong Kong

^

RMIT University & Hong Kong Art School

2017

Amygdala Hijack

2016

Photomics + Ceragraphy

2013

Gaze

The Gallery of Hong Kong Art School The Gallery of Hong Kong Art School

Academy of Visual Art

BI O GR A PHY

^ ^

Programme jointly presented with RMIT University, Australia 課程與澳洲皇家墨爾本理工大學合辦

227

228

LAW WAI LEUNG 羅偉良

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士^

^

NG SHUN KWAN Chantelle 吳舜筠

EDUCATION 2018

RMIT University & Hong Kong Art School

2015

Higher Diploma in Fine Art (Photography) Hong Kong Art School

Bachelor of Arts (Fine Art) 藝術文學士^

^

RMIT University & Hong Kong Art School

2014

Higher Diploma in Fine Art (Photography) Hong Kong Art School

GROUP EXHIBITION 2017

LO WING YEE Raini 盧穎儀

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士

^

“Art for Space / Space for Art?” The 6th Hong Kong Art School Alumni Exhibition

The Gallery of Hong Kong Art School, Hong Kong ^

RMIT University & Hong Kong Art School

2016

Fine Art Asia 2016

Hong Kong Convention & Exhibition Centre, Hong Kong

The 16th China Pingyao International Photography Festival Pingyao, China

GROUP EXHIBITION 2016

EXPOSURE: Camera-less Photography Exhibition

《光至景亡 ─ 相機次要攝影》 動漫機地 Comix Home Base

Photomics + Ceragraphy

The Gallery of Hong Kong Art School, Hong Kong

“Our Inner Voices“ The 5th Hong Kong Art School Alumni Exhibition

The Gallery of Hong Kong Art School, Hong Kong

EXPOSURE: Camera-less Photography Exhibition

《光至景亡 ─ 相機次要攝影》 動漫機地 Comix Home Base

BI O GR A PHY

^ ^

Programme jointly presented with RMIT University, Australia 課程與澳洲皇家墨爾本理工大學合辦

229

230

NG SHUN KWAN Chantelle 吳舜筠

GROUP EXHIBITION 2014

Hong Kong Art School Art Fair’ 14

Hong Kong Arts Centre Experimental Gallery, Hong Kong

The Higher Diploma in Fine Art Graduation Showcase 2015 Hong Kong Art School

2013

WONG CHUNG YAN 黃頌茵

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士^

^

RMIT University & Hong Kong Art School

2014

Higher Diploma in Fine Art Hong Kong Art School

Hong Kong Art School Art Fair’ 13

Hong Kong Arts Centre Experimental Gallery, Hong Kong

GROUP EXHIBITION AWARDS/SCHOLARSHIP 2015

Reaching Out Award Self - financing Post - secondary Scholarship Scheme Education Bureau

2014

Best Progress Award Ms. Poon Sau Kuen Scholarship

2017

“Art for Space / Space for Art?” The 6th Hong Kong Art School Alumni Exhibition The Gallery of Hong Kong Art School

2016

Photomics + Ceragraphy

2014

The Higher Diploma in Fine Art Graduation Showcase 2014

Hong Kong Art School

The Gallery of Hong Kong Art School, Hong Kong

Hong Kong Art School

SCHOLARSHIP INTERVIEWS

2018 《職場卧底行動》

2013

Ms. Poon Sau Kuen Scholarship Hong Kong Art School

Project Interview Breakazine 052

2016

光影無限LIKE－攝影

Radio Interview,

RTHong Kong Dab 35,13 January 2016

展覽探究攝影本色：放下相機捕捉影像 Mingpao Daily, Supplement, 1 January 2016 BI O GR A PHY

^ ^

Programme jointly presented with RMIT University, Australia 課程與澳洲皇家墨爾本理工大學合辦

231

232

YUEN KAM WA Magus 袁錦華

EDUCATION 2018

Bachelor of Arts (Fine Art) 藝術文學士^

^

RMIT University & Hong Kong Art School

2014

Higher Diploma in Fine Art (Photography)

YUEN KAM WA Magus 袁錦華

AWARDS/SCHOLARSHIP 2017

Human Rights Art Prize – Director Choice

2013

Best Artwork (Photography)

Hong Kong Art School

Justice Centre Hong Kong

Hong Kong Art School

Silverprint Photography Scholarship Hong Kong Art School

GROUP EXHIBITION 2017

2012

Ms. Poon Sau Kuen Scholarship Hong Kong Art School

Amygdala

The Gallery of Hong Kong Art School, Hong Kong

Human Rights Art Prize Blindspot Gallery, Hong Kong

2016

Daily Handcrafts

2013

Origin

COLLECTION 2017

Closet

Private Collection

Unit Gallery, Hong Kong

JCCAC, Hong Kong

INTERVIEWS

2017 「人權藝術」你看不到，不代表他們不存在。 明周文化 MP Weekly

8 Dec 2017

Klassik Magazine by Laura Gomez 11 Dec 2017

香港人權藝術獎 周穎璇錄像作品奪冠質問資本主義勞動價值 立場新聞

11 Dec 2017

BI O GR A PHY

^ ^

Programme jointly presented with RMIT University, Australia 課程與澳洲皇家墨爾本理工大學合辦

Acknowledgeme nts

235

236

FUNG CHING KUEN Loiix Chairman Bachelor of Arts (Fine Art) Graduation Exhibition Committee 2018

In the past three years, I have been a student of the

bachelor degree in art at Hong Kong Art School and the

Royal Melbourne Institute of Technology in Melbourne, Australia. Under a liberal learning environment, we min-

gle and learn with students from different backgrounds. Even mature students like me can always learn some-

thing new from my peers. From each of my classmates I have learned a different way of seeing and accept the various opinion, this helped me experience the diversity and flexibility of studying art.

Thank you to the instructors, guest lecturers and staff

of the Melbourne Institute of Technology and the Hong

Kong Art School, they have guided and assisted us in entering the arts industry and broadened our horizons.

I feel grateful for the trust of my classmates in giving me

the privilege of being the Chairman of the Graduation

Exhibition Organizing Committee. On behalf of all the

graduate students, I would like to express my sincere thanks to Dr. Edwin Lai, Alex Heung and Ivy Ma for their assistance and guidance. I would like to thank you to all

the coordinators and classmates who have dedicated their time and effort lead to the successful launch of this exhibition.

I would like to express my acknowledge to Because

Yeung, the alumni designer of the Hong Kong Art School for designing beautiful visual theme and catalog, as

well as the support of the alumni association and all the sponsors.

Even though all of us are going to have different future

development, I hope we will continue to be partners in the art industry and develop our strength and shine in different areas.

ACKN OWL E DG EME NTS

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238

馮正權 主席

二零一八年 藝術文學士畢業展 統籌委員會

在過去三年，我在香港藝術學院與澳洲墨爾本皇家理工大學

的修讀藝術學士課程。雖然作為年長生，但在學院自由的學習 環境之下，經常與來自不同背景的學生交流，每次的學習仍然 會有初見的感覺。從每個人身上都學習到與別不同的事物和 看法，令我深深感受到學習藝術的多樣性和靈活變化。

感謝澳洲墨爾本理工大學及香港藝術學院的導師，客席講師 及全體職員，引導和協助我們踏進藝術之門，擴闊了我們的 視野。

多得各位同學的信賴及賞識，本人有幸當上本屆畢業展籌委

會 主 席，在 此 謹 代 表 全 體 畢 業 同 學，衷 心 感 謝 黎 健 強 博 士， 香建峰老師及馬琼珠老師的協助及指導，令我們得到寶貴的 展覽經驗，獲益良多。亦感謝各個畢業展統籌委員，以及其他

一 同 協 力 的 同 學，付 出 個 人 時 間 及 心 力，令 展 覽 順 利 舉 行， 實屬寶貴。感謝香港藝術學院校友設計師楊慧，為我們設計主

題視覺及精美場刊。以及學院的校友會及各個贊助商的支持， 本人衷心感謝。

縱使往後大家的前路各有不同，希望日後大家仍然是藝術路

上的伙伴，期望各位在未來能發展自我所長，在不同的領域中 發光發亮。

ACKN OWL E DG EME NTS

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240

TEACHING STAFF (HONG KONGAS)

香港藝術學院 導師

CHAN KIU HONG Joe CHAN LONG CHING Sunnie CHAN WAI BONG Clement CHENG YEE MAN Gum CHEUNG WAI SZE Rachel CHEUNG WAI TING Stephanie CHO YEOU Jui Evangelo COSTADIMAS FUNG HO YIN HEUNG KIN FUNG Alex HO CHUN YU Jerry KEUNG CHI MING Jimmy KWOK YIN NING Elaine Dr. Edwin K. LAI LAU KIN WAH LAU TAK MING Rorce LEE PIK WAI Louise LEUNG MAN HO Steven LEUNG SZE MING Gabriel LO MAN HIM Virginia MA KING CHU Ivy Cedric MARIDET Joshua THOMSON TONG KING FUNG Kurt TSANG CHUI MEI

ACKN OWL E DG EME NTS

TSANG MAN FU Matthew WONG KAI YU Blues WONG LAI CHING Fiona YU YEUK MUI Cally

陳翹康 陳朗晴 陳偉邦 鄭怡敏 張煒詩 張慧婷 卓有瑞 安杰路 馮浩然 香建峰 何鎮宇 姜志名 郭燕寧 黎健強 劉建華 劉德銘 李碧慧 梁文豪 梁思鳴 盧文謙 馬琼珠

唐景鋒 曾翠薇 曾敏富 黃啟裕 黃麗貞 俞若玫

TEACHING STAFF (RMIT)

Dr. Irene BARBARIS Dr. Rhett D’COSTA Jayne DYER Dr. Phil EDWARDS Carolyn ESDALE Dr. Shane HULBERT Dr. Tammy HULBERT Dr. Nikos PANTAZOPOULOS Drew PETTIFER Fran van RIEMSDYK Craig Jeffrey SHELL Mikala TAI

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242

GRADUATION EXHIBITION COMMITTEE 2018

FUNG CHING KUEN Loiix

二 零 一八 年 藝 術 文學 士 畢業展 統 籌 委員 會

CHOI YAN YEE

AU MAN KIT CHAN OI YAN CHAN TSZ CHING Venus

LAU YUEN TING Rita LEE SUET YING Kitty LEUNG YI TUNG Eliza LI NING YAN Lilien LI PUI HEI Antonie YUEN KAM WA Magus

ADMIN DEPARTMENT

Hong Kong Art School

行 政 部門

Communication & Development

馮正權 區文傑 陳靄欣 陳梓晴 蔡欣宜 劉婉婷 李雪瑩 梁伊彤 李寧欣 李佩羲 袁錦華

Academic Programme Administration

School Administration

Hong Kong Arts Centre Venue Operation

SPECIAL THANKS 特別鳴謝

Connie LEE Christina LAI Asian Art Society Delifrance Anonymous YING WAI PICKOP Catherine WONG SIU LING June YAO CHEUK NI YIP KA FONG Boey

李盈慧 黃小玲

丘卓妮

葉嘉芳

ACKN OWL E DG EME NTS

CO - PRESENTED BY 主辦

The Bachelor of Arts (Fine Art) programme is co-presented by RMIT University and Hong Kong Art School. 藝術文學士課程由澳洲皇家墨爾本理工大學與香港藝術學院合辦。

Artist-Run Brewery

有事創作，無事釀酒。 藝創為名，飲酒為實。

SPONSORED BY 贊助

252

NOTES

NOTES

NOTES

DESIGN Because Yeung

COVER Butterfly Surf Origin Brilliant White 350gsm

TEXT Brisk Pure White 100gsm