Diploma in Fine Arts 2006 Graduation Show 藝術文憑畢業展 2006

Reference Copy.

Please DO NOT take away.

Diploma in Fine Art Graduation Show 藝 術文憑 畢業展

?

香港藝 術學院 HONG KONG ART SCHOOL

2006

創意 •藝術 •終 身學習 Lifelong Learning for Arts and Creativity www.hkas.edu.hk

5

舅.

C ?

a eg

Diploma in Fine Art Graduation Show 藝 術文憑 畢業展 The Pao Galleries 4/F - 5/F, Hong Kong Arts Centre 6-26 February 2006 10:00-20:00

包 氏畫廊 香港 藝術中 心四樓 及五樓 2006 月 2 月 6 日至 26 日 上午 10 時 至晚上 8 時

Chan Kai

# Ceramics 陶藝

The Graduates 畢業生

# Painting 繪畫 ?

Photography 攝影

Sculpture 雕塑

• Chan King Pui • Chan Lin Yip • Chan Shuet Ying, Sarine •• Chan Sum Yan • Chan Wing Sze, Winnie • Chan Yin Yu • Cheng Suk Fa, Rebecca

陳楷

陳環佩 陳蓮葉 陳雪盈 陳沁昕

陳泳思 陳延羽 鄭淑花

Cheng Wing Ho, Tony

鄭永皓

• Cheung Chi Fan, Angela • Cheung Shing Fung • Cheung Yuen Shan • ChiuWaiKei • Chui Chun King • Chung Kin Hing • HoYiuKan

張志芬

Hui Wai Keung, Dick

張成鋒 張婉珊

趙瑋琦

徐振景 鍾健慶

何耀勤 許維強

• Ko Fung Wa, Liz • Kwong Wai Leung • Lai Hoi Sai, Joey •

高鳳華

Mok Fei Ha, Sophia

莫飛霞

鄺偉樑

Ng Chin Pong

吳展邦

黎海茜

• Ng Laam • Ngan Oi Sze, Alice

顏愛施

Lai Suet Fong, Scarlett

黎雪芳

Lau Fung Yee, Rosanna

劉鳳儀

Po Ka Chun, Bryan

布家俊

劉健麟

• Sit Hung Por • So Man Yin, Manita • So Wai Nga • Tang Pui Man • Tau Jan Wun • To Ho Li

薛洪波

• Lau Kin Lun, Canson Lau Ming Wa

劉明樺

• Lau See Ting, Rosalyn •• Leong Ki Fung

劉思廷

Leung Man Wing

梁文穎

• Li Cheuk Wai • Li Chun Chung, Hansel •參

吳嵐

梁期豐

李卓偉

蘇敏賢

黃淑貞 黃筱萍

• Wong Suet Yui, Sheree • Wong Yuk Tong • Woo Tze Mun, Mandy

黃?棠

Yau Man Pun, Ben

丘文彬

黃雪芮

胡子敏

• Yeung Pui Yee

楊佩儀

鄧佩文

• Yim Man Yuk, JoJo • Yip Ching, Joy • Yu Ka Lai, Carol

嚴文?

賓正宏

杜濠里

• Tong Kwing Ho, Kevin

湯炯豪

Li Man Hang

李萬鏗

• TseHau Cheung

謝孝祥

Li So Kit, Candy

李素潔

• Tsoi Sum Yi, Stella • Wong Ka Kwan

蔡心怡

雷文灝

• Wong Ka Lun

黃嘉倫

陸佩珊

• Wong Lai Wah

黃麗華

駱紫蘭

Wong Siu Ping, Helen

黃賣文

蘇慧雅

李振忠

• Lok Chi Lan • Lui Man Ho, Dicky • Luk Pui Shan

- Wong Po Man • Wong Shuk Ching, Sandra

黃嘉君

葉菁

余嘉麗

Dynamic Uncoated Paper 120gsm

It amuses me to hear people talk about their foot message experience. At first, pressing your reflex points will make you cry out in pain. This pain points to the problem that lies hidden in your body. But continued therapy will ease the problem. This is like a point of penetration - a work of art has the power to capture your attention, overwhelm you with its incomparable charm, and gives you immense pleasure by penetrating deep into your self. Art heals by touching your soul, deeply, affectionately, smoothly.

What we have learned in these two years is how to think and create - to think through a problem, to approach an issue from different angles, to get to the heart of the matter, to analyse, to critique, to search, to discover, to share ideas with teachers and other students, in a journey from chaos to light.

Preface 序

Life is art. Everyday life is pregnant with innumerable invisible worlds waiting for us to discover. The aroma of art is all around us, inaudible and colourless. This idea of beauty is like savouring a cup of warm honey water on a winter night, staring quietly at the twinkling stars in the sky, sweet and romantic.

Two years of hard work have now come to fruition. We wish the best for the graduates from the Diploma in Fine Art programme, and may all find unlimited possibilities in art and life, continue the journey of exploration, and experience the soft, soothing massage of art.

Editorial Team (2006 Graduates)

道 聽途? 別人的 腳底按 摩經驗 ，煞是 有趣。 每當按 到你的 「死 穴」 -痛 得要命 。這 痛就是 潛伏在 你身體 問題的 所在， 但往後 繼續治 療就能 順暢。 這就 如一個 刺點- 一件藝 術品能 令你駐 足停步 ，被它 無比的 吸引力 所震懾 著， 很窩心 地直刺 你的心 靈深處 。這就 是藝術 觸動你 心靈的 療效， 是深情 而舒 泰的。 I

這兩 年的藝 術學習 ，學的 是怎樣 思考和 創造。 在反覆 思考的 過程中 ，將問 題 「反 轉再 反轉」 思考到 根源， 正所謂 「打爛 沙盤問 到篤」 ，分 析和批 判； 尋找和 發掘， 不斷與 老師和 同學作 思想上 的交流 ，過程 好比經 過混沌 而走向 幽明。 「生 活就是 藝術」 ，在生 活中， 每每充 斥著無 數看不 見的空 間有待 我們去 發現 ，藝 術芬芳 的氣息 常無聲 無色地 在我們 身邊擦 身而過 ，這種 美的哲 學 ，就如 在寒冬 夜裡呷 著一杯 和暖的 蜜糖水 寧靜地 凝望著 穹蒼閃 爍的繁 星， 甜蜜而 浪漫！ I

經過了 兩年的 努力， 今屆藝 術文憑 課程各 畢業學 生又到 開花結 果之時 ，在 此 ，衷 心祝福 各位生 活快樂 ，創 意無限 ，一面 在藝術 人生的 領域裡 不斷探 索 和發揮 ，一面 沉醉在 藝術輕 柔溫婉 的按摩 之中。

編輯組

畢業 學生）

Chan Kai 陳楷

Energy & Geometry - 1. Energy Imbalance 能量 與幾何 - 1. 能 量失衡 Mixed mediums 8cm x 27cm x 42cm

They, still or not, I have always denied that they should be present in this form, in front of us, I will try to explain them. 無 論它們 是靜止 與否，

我總是 覺得它 們原本 應不是 以這形 態顯現 在我們 眼前的 我要嘗 試解釋 它們。

*

Health 健康

Loyal 忠誠

,

m

Life 生活

Chan King Pui 陳璟佩

Love 愛

©

-

r,

c

[

r

rp\

& p:

v

i

Luckiness 幸運

W /；

來品嚐 生活當 中各樣 的好。

?挪

p&2

會4:

，

There must be something good in your life, come enjoy and taste it.

m

漫

磁,

P& ?:淡 sd:'.

•於 ?!

Oil on canvas 26cm x 26cm each

Peace 和平

Chan Lin Yip 陳蓮葉

Red Chair 紅 色的椅 Acrylic on canvas 90cm x 120cm

?

f 'v

-

.

Make choice has never been easy, or perhaps it is. Black or white, eastern or western, horizontal or vertical, one or two, leave or stay, she or he drift between the choices, consciously or subconsciously.

j*

選擇 從來都 不是一 件輕易 的事1 又或者 是一件 易事。

—

或二 •去 或留 •他 或她 •人 往往都 黑或白 ，中 或西 •橫 或直 自覺或 不自覺 地游離 於選擇 當中。 •ÿ

..。二.'二*-

Fading Memory 遠忘 Stoneware 15cm x 17cm x 23cm It used to be so deep and so familiar; but it stowly faded away along the river of time

The remaining piecemeal memory, like shadows; spread all over our sea of thoughts.

This work will show the vague, unreachable, yet everexisting shadows through the ceramic collections. It will also explore the form and space of ceramic arts. 曾經熟 悉的、 深刻的 •經過 時間的 洗禮而 遑忘。 留下 只有零 碎影像 •像影 子般散 落於腦 海中。

此作品 會透過 陶蓊， 把虛無 •不 能觸摸 •但 永恆 存在 的影子 表現於 作品裡 •對 形態 及空間 的處理 作 深入的 探索。

Chcm Shuet Ying, Sarine 陳雪盈

Chan Sum Yan 陳沁昕

.: 餐

Line 線 Stoneware 29cm x 26cm x 24cm

ion Wing Sze,

Winnie 陳詠思

"From simple to complicate, proceed gradually, duplication practice and initial exemplary." These are the phases that captured my attention when I was reading the book of

Chan Yin Yu

陳延羽

Unreal Reflection (2) 虛 空反映 (二) Stoneware 90cm x 90cm x 18cm

Touch me, touch me not."

This work appears to have two separate pieces one on top of the other. When you reach out to touch the one underneath you will realize that it is an illusion r becajuse it is just a reflection of the bottom of the top piece. This work expresses the co-existence of the real with the unreal in the same time and space, also how the unreal can sometimes appear to be real so what you see is not always what you get. 眼睛所 見不一 定真確 •伸 手觸 碰卻是 空構的 確並存 。真 與假其 實共存 於同 一時間 •同 一身軀 •真 實與虛 構的確 並存。

V

] eng Suk Fa, Rebecca 鄭淑花

Butterfly 蝶 Oil on canvas 60cm x 120cm

Do you love it when it doesn't have color?

Do you understand it when it only has a frame?

But who care?

Butterfly is a butterfly 沒 有色彩，它不 再耀目 •

但 討厭錦 上添花 所以為 它解色 • 留下一 堆白骨

但它仍 是它。

*

*

*

，•v K

r

eq ueo‘叫6?

, \ -ÿ•

?

紹

4

*v.

svK J

aioge

x aiose x LUOÿZ iÿ

sujn!p0ai pex!uj pue uunsdAg

箝 親明采

}i|6n 0ljj p 0jnidBÿ

AUOJL

'ÿH 6UIM 6ui

Memory 記憶 Stoneware Varied size

mm

Ang< 張志芬

My work is about memory.

、

f

I strive to instill the personal memory into each piece that reflects in the creation, allegorical purpose, and an undefined passage of time. I seek to achieve this though hand-building technique.

Although I usually have a notion of desired form, but I have found that it advisable to allow the clay to help guide me to the ultimate shape of the work.

Due to my almost obsessive desire to achieve ultimate form, which often leads to thin walls on my work. I have also learned to embrace breakage. Accidents, cracks and holes are seen as opportunities and anther episode in the *history* of the work. I allowed cracks to grow in the green ware or raw stage. This result in warpage, which left pronounced fissures indicating a sense of excessive force. 記 憶片片。片片記憶。 記悚 之深邃 承於泥 •如履 薄冰。 扭曲 。斷裂 。幻 滅。

編.

Jung C

始作 俑者。

Photograph not only representing the reality, it also reflects the photographer's mind towards the true. 照片除卻展 現真實 ，還 反映拍 攝者對 真實的 理解。

Tse Ming Chong (Lecturer / Course Coordinator) 謝明莊 （講師 / 學科 主任）

I-

1!

;

I '濟

一一 .一

m I il

Cheung Shing Fung 張成鋒

tg-y-

Yi (3) 衣 (3) Oil ?? ?v&s 120cm x 90cm

There is that in me-l do not know what it is-but I know it is in me.

它在我 的心中 •我不 知道它 是什麼 •可 是我 知道它 在我的 心中。

31 fi \

Cheung Yuen Shan 張婉珊

Devotion 戀 Oil & pencil on canvas 92cm x 123cm

Feeling of Woman II

Do you know her? Do you know yourself? Today, women play many different roles in societ\ ty. Have you ever sat down quietly by yourself and listened carefully to the message your body wants to convey? Have you ever tried to understand your body language? 女 性角度 (二）

「你 對她 了解嗎 7 你對 自己了 解嗎？ J 在現 今社會 •女性 在眾多 身份後， 每當獨 個兒面 對自己 •你 有細 心地聆 聽過身 體給你 的訊息 嗎？ 你有 否用心 了解過 她這些 身體語 言呢？

Chiu Wai Kei 趙瑋琦

Children 小朋友 3-D creation, video recorder

IMM

I have chosen "children" as the topic of my project because I have always liked children. In the past, I had always thought of children as simple, naive, happy & direct; but when I took a closer look, I discovered that these were only a part of their character and by no means the complete picture.

I have come up with a fundamental question: Who does the child's life belong to? The child's own self? The parents? What really is the parent-child relationship? I started my creative project based on these questions and I hope that my spectators can be encouraged to reflect on these questions.

Im

sUlrrlt n,

&

今次 的題目 我選擇 小朋友 •是因 為我喜 歡他們 •一 直以 來我都 覺得小 朋友是 好簡單 、天真 、開心 、直 接 等 。但 當我深 入了解 •就 發現原 來我所 想只是 _面 •而非 全部。 我發 現到一 個問題 •小朋 友的生 命是屬 於誰？ 自 己？ 父母？ 何 謂親子 關系？ 我 開始從 這方面 的問題 去創作 ，我 想觀 看者看 到我的 作品時 •會另 他們聯 想 、反 思當中 問題。

5 Chui Chun King 徐振景

w In the City 在城中 -•V

Acrylic on canvas 120cm x 180cm

What flashed in my mind about art in seconds: Painting - colors - life - living - motif - mood - tone - reflection canvas - oil - acrylic - sketch - movement - body - soul - dream imaginatio? - sand - tree - water

n

一時間 在腦海 中閃過 •關於 藝術的 東西： 繪畫 -色彩 -生命 -生活 -主體 -情緒 -調子 -反省 -畫布 - 油彩- 丙烯- 素描- 動作- 身體- 靈魂- 夢-幻 想-沙 - 樹-水

_

?

剩.5'+.-.厂 Chung Kin Hing 鐘健慶

Lust 你對她

/L,

Oil on canvas 120cm x 96cm

I like to be quiet, but I prefer chat.

I like photography, but I prefer painting.

There's no big deal, I enjoy it. 我喜歡 沉默； 但 我選擇 ?話。 我喜歡 攝影； 但 我選擇 繪畫。 沒甚 大不了 •我 樂在 其中。

Tai Chi series 太 極系列 Color photography 60cm x 40cm

El!

Yiu Kan 何耀勤

:

Man

mIwi* B

qi

sij

illl

…' ?.

Tai Chi is a martial arts which was created centuries ago in China and still could successfully exist nowadays. It embraces philosophy of the universe and from the nature such as "yin-yang", "balance", "incorporation" and "co-existence in a positive & negative manner". However, under such a modernization and globalization world of cities nowadays, could we still be able to see these elements? If the answer is negative, which are the factors influencing them and where they come from?

The Tai Chi pictures that I am illustrating is not providing you an answer to the captioned but instead show you where the issues are. It is time for you to think and find the solution and get the ultimate answer. 太極 •不單 是我們 認識的 太極拳 •還包 含著陰 陽 ，平衡 .融合 •既 可共存 又可互 相克制 •但 是在 我們周 圍是否 同樣存 在著這 個理想 的情況 呢？ 若答案 是否定 •那 裡來的 力量在 影響著 呢？ 我 的太極 系列圈 片不是 解答這 些問題 ，只 是向 各位展 現問題 •讓 各位 自行找 答案。

Hui Wcxi Keung, Dick 許維強

My Oblation Given to Gundam in 9 x 9 days 為高 達鑿劍 九九八 十一日 Performance, wood Per beam saber: 5cm x 5cm x 150cm

The goddess, Nu Wa, mended the disastrous rift in firmament by melting colorful rocks in 9 x 9 (81) days.

To discover divine truth, Monk Tong had faced 9 x 9 (81) challenges in his journey to the West.

Now as my oblation given to Gundam, I craft and offer beam sabers in worship for 9 x 9 (81) days. 女媧煉 石補天 九九八 十一天

唐僧取 經歷盡 九九八 十一難

我 今為高 達鑿製 雷射劍 九九八 十一日 •誠心 誠意。

Ko Fung Wa, Liz 高鳳華

Metamorphosis 變形記 Acrylic on canvas 152cm x 152cm

"The movement of city" unceasingly transforms, I follow its unceasing way to change. 城 市的速 度”不 斷轉變 •我 跟隨著 它不斷 異化。

Kwong Wcri Leung 鄺偉揉

Five poetic places 花 •榆 ■河 •灣 •影 Colour print and mixed mediums 153cm x 132cm Starting from a sense of alienation between people, I connect different streets. In the process I re-establish a relationship between people, and rediscover different areas and unknown elements.

The possibilities are infinite you see the many faces of numerous interesting, unknown elements that are re-inventing themselves right before your eyes.

You adopt a new angle and pay attention to the place that is there all the time but never noticed. You begin to feel and rethink the relationships and connections between people, and between people and nature. 從人 與人之 間的疏 離出發 •在連 轚地域 道路的 過程當 中 • 重新 將人與 人之間 的關係 再次建 立起來 •重 新發掘 出不同 的未 知元素 和地點 •至 極無限 •當中 會發現 出無數 有趣而 未知的 因素在 其中不 斷建構 •多 面化 的展現 眼前。

從 而令人 去重新 用另一 新角度 •去著 眼可能 一直看 見但一 直忽略 的地方 •讓 人慢 慢去深 思細味 •反思 人與人 、人與 自然的 關係和 聯繫。

jy

y

Leri Hoi Seri, Joey 黎海茜

Family 家 Stoneware 30cm x 30cm x 14cm

I enjoy my family life

especially the time having meal together different pictures are all kept inside my memories

fewer time being together after growth yet laughter is still here

I, just want to express my ordinary feeling through the clay

我喜歡 我的家 我喜歡 家裡一 起吃飯 的時刻 寧靜的 、閒 談的、 電視的 、筷子 碰著碗 的聲音

長大了 •回 家小了 、餐 具少了 、湯 亦涼了 不過歡 樂的笑 聲仍在

我 •只 是想透 過泥土 去表達 這簡單 的感覺

!

A good audience is as significant as a professional artist in the contribution towards a healthy art ecology. 對於建 設一個 健康的 藝術生 態來? 的藝術 家之貢 獻同樣 重要。

Fiona Wong (Lecturer) 黃麗貞 （講師

，一 位有質 素的觀 眾跟一 位專業

Leri Suet Fong, Scarlett 黎雪芳

Forever 永 遠記得 Photographic print on tile (from a group of 80) 12cm x 12cm each

I don't like forgetting. I will always remember the things that I have to.

In the tide of time, things fade away continuously, how can I save the proof of yesterday?

Much harder I try to forget, more cleariy I remember ...

He said, "Once you no longer can possess a thing, the only thing you can do is not to forget." 我不喜 歡遑忘 。要 記得的 •我永 遠都會 記住。 在不斷 消逝的 時光中 •在 時間的 洪流裹 •怎 樣才 能留住 當天的 根據？ 只要越 想忘掉 •就 越記 得清楚 ...

他?過 ：當你 不能夠 再擁有 的時候 •唯一 可以做 的 • 就 是不要 讓自己 忘記。

1

Lau Fung Yee, Rosanna 劉鳳儀

Water & Water & Water 森 Porcelain 1260c 3cm x 4cm x 4cm each

»

Water is unpredictable, since she has different forms. It is impossible for people to grip on, so I try to capture the unsteady and changeable forms of water as photography do with ceramic. Every tiny droplet is unique and lively; they are like human with their own stories and experience. Through ceramic, I try to express the different form of water. 水 是變幻 莫測的 •因 為她 有不同 的形態。水是 一種難 以捕捉 的物體 ，所 以我嘗 試用陶 泥像攝 影一樣 把難以 捕捉而 又善變 的 水凝固 •再 加上 自己的 想像力 把優美 的水保 存下來 。我覺 得每一 滴細小 的水也 有不同 的故事 和經歷 。透 過陶瓷 我嘗試 展現水 不同形 態的可 能性。

Optical FungShui Compass User Guide 光 學三元 盤使用 ?明書 Photography 342mm x 872 mm

Lau Kin Lun, Canson 劉健麟

IIPi

Optical FungShui Compass 光學 三元盤 Mixed mediums 72mm x 2mm x 14mm

"Fung Shui" could pry into mysterious matters, and pile up images are impossible to record whatever existing.

To apply the essence of "Fung Shui* in lens in order to read cord in visible matters, and to transform these cord into spectaim. Recordings are in blend of truth and mystery. 風水能 窺探存 而不見 的事物 •我 亦相 信攝影 不能記 錄所有 存在的 ?物。 把攝影 注入風 水元素 •把能 見的事 與物讓 出數據 •把數 據化成 光譜顏 色 。在 不段的 記錄中 •難 於分辨 這是真 實還是 玄虛。

r

"Observe" & "Pain"

、

「觀」 &

Lau Ming Wa 劉明樺

r 痛」

Sponge and wood 26cm x 24cm x 23cm

m 斤'

m'ÿM

■爹

I am infatuated with human body, because I think which can tell tales. This concept takes into the the reality of intuition, "distortion and contortion is painful"

I hope my works can inspires the viewer's own association and thinking, because it is from their own life's experience and their perso?al communication with the works. 我個 人是非 常迷戀 「人 体」 •因為 我覺得 「身 體」 就似會 講故事 。這 概念來 自我對 「身 体」 的直覺 ：扭曲 是一種 「痛 。

」

同 時我希 望我的 作品能啟發觀 看者自 己聯想 及思考 •因為 聯 想出的 結果都 因為不 同人的 不同經 驗而有 所不同 •我希 望觀 看者能 與作品 溝通， 而感受 出來。

What you see what you get 看得 到得到

Lau See Ting, Rosalyn 劉思廷

Granite 13cm x 8cm x 19cm

Clay - seems nothing special when it was clay. When I knead it, roll it we gradually fusing into one with it.

Clay always brings me fun and unlimited surprise.

泥巴- 看似一 堆不起 眼的西 •但當 我捏它 、搓它 • 慢 慢地與 它溶為 一體。 泥巴總 帶給我 無限的 樂趣及 驚喜。

Leong Ki Fung 梁期豐

Little Devil(1) 死人頭 Stoneware 15cm x 7cm x 5cm

4

A little passage, a little thought, a little childish, in my eyes.

我 眼中的 ，一 些片段 ，一 些想法 ，一些 童真。

I

_

l:

。士獾 ?連? 玉身害 •來土 雕明甥 一甥一 斟31 明湞槲 采劊砑 •噩 業眢 姦臊 ¥?砑 • ¥¥明 荈 士獾明 W 躲研 •詡博 劊¥ •Mopeijs 八|9八!?

0ijj 'iftop 0i|j uj Mopeijs 0iji i|ÿÿ!ÿs 'Ajoaieuj |nÿ!ÿnB9q B

oucy ‘Mopeqs |n排neeq e ujjÿnL|6!|uns eiiuepufi

IJU091. XUJ001. q;op uj >|jÿMqojjÿs

士獲 MOpBLJS

6UIM UDÿI Buneq

U Cheuk Wcri 李卓偉

Scene 埸景 Oil on canvas 90 cm x 120cm

>1.

My work hope to express realistic space illusion, by using confused perspective, strange objects and the interaction between space and objects to create a space illusion sence . My direction is the Surrealism, surrealismpainting is one of the painting style that I like, it use 2D medium to break and reform the boundary of the real worid and it is the reason that causes my infinite interest to the surrealism painting.

我 的作品 希望表 達現實 空間的 錯覺’畫面由 錯亂的 透視線 組成一 個場景 ，當 中偶 然放置 一些奇 怪物體 •借空 間和物 體的互 動例如 影子 來特出 空間感 。我的 方向是 超現實 ，超 現實繪 畫是我 喜歡的 繪 畫類型 •它對 現實各 種既定 的規限 或者被 人既定 化的事 物在二 維空間 中重組 和扭曲 。那 打破 現實界 限的畫 面和腦 內對現 實的認 知的衝 激引起 我無窮 趣味。

6ld 揉 里斟? 畢 X 似 gf 服 •明 SS/crkUISW 士臊崇 ttY 明玉逸 蕻 轚#?《 * ?齙明 的?暑 萆玢象 明揉R 抱荽 玉巢白

。明荅 I??莰 •明 if 舀 士W褙 髟 •明潑 餅甚盍 ：箄 翁 明回 士 斟* 妨一 回揉里 YWIil T • YW

? •斟 ?明磐 ? ?? YWM ?翱 洹箏雎 聃明 自_暗5

寨？5® 宙 3主1 汞 ?萆孩 0* 平 35哿召 •鼬 襯? T 平 35

*sn punoje \ ssoddns noA 9JB ;egM S9网aui peuedcteq s6uji4 9qj ©soogo \t UBO0Mÿ| •Ajosop ?| Ayep 6u!网 ou •人|>|99山 _9Ape eijucteooe‘私 _9 :suo?nÿjs 9|C卿A9U! UjBVieO 9OI0S J9pun aiB 人9lft U0l|M e|dÿ0CUÿs6u!|00“U9J9卵 0lj} S|B0A0J -SUÿ!SS9JdX0 |B!ÿBÿJU9J0ÿ!P 0Aj6 SJ06u0SSBd 6u!Piÿij Sj 'Aeujnof J!0ijÿujgijM *snq 014 epjsuj 6u|puBis ijejpueq sje6uessed esoiji suee山 ‘snq 9叫 u! >pnp pe!jp 6u!6ueij ein

Luoggxoiooei.

SBAUBO uo |!ÿ

鼬剿 >lÿna

I0SUDH '6umiÿumjo n

peua

Where the money go

?

Li Man Hang 李萬鏗

Beggar + Limited 丐園

Woods, aluminium Varied size

已 自 Go

t o

HiL m y

beg.

Henceforth, beggar will have their own tools and era.

從 今以後 .乞 丐會擁 有自己 的工具 和時代

I

II

lkiO>» 6uÿH

uÿf«WP Y

nOOHOSXaVONOMONOH

-

-

mkW&i 錄轉

喊翁參域雜

邊孩

s

Beauty in art is withheld because the term "Beauty" has been expanded to encompass humanity, spirituality and possibility. 藝 術之所 以美麗 ，因 為它不 單只呈 現外表 的美麗 ，它 還嘉許 人的內 在精神 ，並 推動人 去尋找 未知的 可能。

Francis Yu (Lecturer / Programme Coordinator) 余偉聯 （講師 / 課程 主任）

U So Kit, Candy 李素潔

Dream 夢想 Mini TV set inside foam with curtain Varied size

I am a road finder, finding the road to exit my maze to go to my artwork, my dream, (candykit)

我是個 尋路人 •努力 地走出 困著我 的迷宮 到我 的作品 、我的 夢想裡 。（糖 果）

•

My Family 合 家平安 Lok Chi Lan 駱紫蘭

Poster colour on canvas 120cm x 60cm

Thank you to Joseph, Mum, Dad, brother Ping, On and sister Mei for your sensitivity support, encouragement, brilliance suggestions, ruthless criticism and most of all - LOVE Thank ycxj to my friends of Art School for their warmth, closeness respect and for being there, in particular Cheung for help with photography. 感 謝周公 •父 母親 •平 哥安弟 •媚姐 的支持 • 鼓勵 ，建議 ，批評 •而最 大恩賜 是他們 對我的 愛。 還要 感謝藝 術學院 中的老 師同學 •溫暖 親密地 陪 我在藝 術初階 中成長 •特 別是 阿祥的 幫忙拍 照 ，令作 品生色 不少。 ?5

Lui Man Ho, Dicky 雷文灝

Lam's Portrait 肖像 Oil on canvas 90cm x 60cm

The artworks come from the organized thought of what I have seen. 依照現 實所見 的景像，加 以組織 及取捨 繪畫。

People spent 1/3 time on the bed for their life, but also has about 1/5 time to imake the dream.

Therefore, to interpret the dream is worth us to spend the time. In addition, consciousness (rationality) although instructs our life, however subconscious also simultaneously tows our mind and behavior.

Luk Pui Shan 陸佩珊

人生 有大約 三分之 一的時 間花在 睡床上 ，而 其中又 有約五 分之一 的時間 在造夢 。故 此 •了解 夢的種 種實在 是一件 值得花時間去 做的事。此外 •意識 （理性 雖 指導我 們 的生活 •然 而潛 意識卻 也同時 牽引著 我們的 思考與 行為。

Dream 夢 Porcelain, Stoneware Varied size 秦

Hkÿ

劇

靈‘

itÿ*

羼

*

Fragile 脆弱

Mok Fei Ha, Sophia 莫飛霞

Mixed mediurr 26cm x29cm x64cm

Fascinated by the beauty of the curvature and form of living things, my artworks are often organic and develop around human body's shape. My works are very much influenced by my state of mind when I create them. Using my own hands to build or create something is certainly a blessing.

Through creating a piece of art work I express my views, my feelings and my preferences towards certain objects or subject matters. With a tendency to question traditional values and rules, I will continue to experiment the fragility and strength of organic forms, and to explore the scope of esthetic attraction using different materials. 吃下 * 然 後消化

讓 身體內 的器官 變得麻 木不仁

生命從 來都充 滿痛苦 隨著 胃液把 痛苦統 統幹掉

Ng Chin Pong 吳展邦

Tide 潮汐 Stone Approx. 10 meters Living in the same place , surrounding by the same things, you'll see the people moving house or the air you breathing out.

Rghting is wrong, but fighting is good to health.

What human being is love eating love instant food love not to love, love pain, love monkey see monkey do, love the appearance (only), love "Deadly lovely japanese".

I love everthing that cant talk and move, hello my wire on the wall, hello my concrete on the street, hello my hanging pipe, hello my street lights in the night. 在 同一環 境生活 •被同 一件物 件包圍 •你會 注意的 •是 遷出遷 入的人 •或 是抽出 抽入的 空氣。 但 打架是 不對的 •不 打也 對不住 自己。 人類是 高度進 化的變 色動物， 最愛吃 • ... 愛即食 •愛不 愛 ■愛痛 •愛 猴子看 猴子做 •愛 表面 •愛 死人蘿 葡頭。

我愛每 件不能 動也不 能發聲 的東西 •牆 上的電 線你好 • 街 上的石 屎你好 ，懸 著的水 渠你好 ，晚上 的路燈 你好"

I work in Central. There are lots of Philippines there at public holiday. They always setting there, in cold winter, hot summer, even in the big raining day. Every time when I pass across them, I have lots and lots of questions in my mind about them. I watched them and thought: Do they volunteer come to HK or forced by family economy? They must have families. Where are the young girls lovers? Have they got children? Who is taking care their children while they looking after other people's children? If I was born in their country, am I sitting on the street with missing my family as well? Am I crying or Am I laugh? Hips and hips questions make me want to know them more. Because they all are women as me.

There are too many picture books to show such the complicated city. Hardly even to see Philippines appear from photographer's lens. There are 200 thousand Philippines live and employed in Hong Kong. But nobody wants to them more. Do we too busy? Or we aren’t interested other people's life background and culture even they are sharing the same sky with us every day. We just don't want to see them in the city? Do we? How about me?

Can I know them more with my lens?

When photographers taking pictures, they get focus on what they want to show. Otherwise, they cut the things and just make other elements unclean in the pictures. Sometime this is the rule in photography field. But sometimes the blue is the just what is the most important .1 use lens to explore the relationship between us to them - clear to blur. 我在中 環工作 •一 到假日 •人人 都知那 裡滿目 兼是菲 籍佣工 。她 們一群 群坐在 街邊 •路旁 •天 橋下 •附近 的公 園更 是看不 到一個 「我 們」 。寒 風瑟瑟 她們在 那裡； 夏日 炎炎 也坐在 那裡； 大雨傍 泊一樣 有她們 的蹤影 。每次 從她們 身邊走 過我 都會放 慢腳步 •注視 那群和 我同性 的她們 。我 的心中 充滿疑 問：她 們掛念 家 人嗎？ 她 們是自 願離鄉 背井還 是迫不 得已？ 她們的 情愛在 哪裡？ 她們 有孩子 嗎？ 又是誰 在照顧 那些小 孩呢？ 如果 我投生 在她們 的家鄉 •今天 •是不 是也坐 在街邊 •掛念 著遠方 的家人 •或 歡笑？ 亦或 流淚？

_

關於香 港和香 港的人 •有 太多 的畫冊 •攝 影集 •從各 個層面 去展示 這個城 市 可 是鮮有 照片是 攝自這 二十萬 族群的 •更沒 有人會 想去了 解這二 十萬和 我們住 在同 樣天空 下的她 們的文 化背景 •或 是歷史 。是我 門沒有 時間？ 沒 有興趣 7 還 是我 們沒有 了解別 人文化 的習憤 •又 或者 "我 們根本 不想看 到她們 7 我呢？ 可 以把 她們看 清一點 點嗎？ 我 們拍攝 照片時 常常聚 焦在想 讓人看 的地方 •其 它的則 減去或 者模糊 ，但 有時， 常常 「那片模糊」 才是 「刺 點」 | 修 習攝影 的我用 她們來 探索攝 影中人 和背景 的 關係； 前景和 背景的 關係： 清晰和 模糊的 關係。

Ng Laam 吳嵐

Our Clear and Blur 我們 的清晰 和模糊 Color Celluloid 30cm x 40cm

J!

Ngan Oi Sze, Alice ?愛施

Make-Up & Illusion 化妝 與錯覺 Ceramics 16cm x 24cm x 5cm each

Nowadays, many people still regard make-up as an activity for ladies only. No one can deny that the purpose of having make-up is to become more beautiful. People have different interpretation in different era. and standard regarding How cxi earth shall we apply make-up to be more beautiful? And how shall we define make-up?

Basiically, make-up can be applied on faces or bodiies using colour, shade and gloss etc to create a sense of illusion with further depicting and molding. To put it bluntly, make-up is a type of art combining visual and illusive effects. 現今 •還 有很多 人認為 化妝只 是女士 們愛美 的玩意 。無 可否認•大 部份 人化妝 •是 要令 自己變 得更美 。但 每一 個年代 •人 類對 「美」 都有一 套不同 的準則 。究 ?要 怎樣化 妝才是 美呢？ 化 妝本身 的定義 又是什 麼呢？

基本上 化妝是 以顏色 、陰影 、光 影等 ... 在臉 或身 體上加 以描繪 及塑造 •形 成一種 錯覺。 ?穿了 •化 妝其 實是一 門視覺 與錯覺 結合的 舊術。

titi# —

-

/ilk.

、

，也

Wonder 奇 Po Ka Chun, Bryan 布家俊

Artificial mist 3 Rays of 240cm

I am satisfied and refreshed from both of my career and art creation.

In these two years, my life is extremely meaningful.

Vertical 直 Artificial mist 1 Ray of 240cm

I'm not sure if it is influenced by my career, Challenge must be an essential element in my process of creation, whatever for the material appliication, utilization or its control. I am an animal trainer.

I always work; with animals and I have to build up a close relationship with them. A question is always raised in my mind, I am utilizing different materials? Or I am "training" those materials? 近來 •發掘 了有趣 的挑戰 ，或 許受工 作影響 •我 要馴服 訓練 物料。 來 •給我 「伸 翼」 •打 筋斗。

|

Dream 5 夢 5 Sit Hung Por 薛洪波

Oil on canvas 76cm x 61cm

Dream Whenever I close the eye, marvelous and mystical world, one by one wells up my mind I thought... .

This truly belongs to my world. 夢 每當我 閉上眼 • 一個一 個奇妙 而神秘 的世界 • 湧上 腦海。 我想 ... 這就是 真正屬 於我的 世界。

Art students will ask question on "what is art?" After graduation, there will be other questions on "do you believe in art?" or "do you believe in what is art?" 「藝 術是甚 麼？」 是 學生在 學院內 思考的 問題； 「你相 信藝術 嗎？」 或 「你 相信 藝術是 甚麼這 個問題 嗎？」 或許可 以是離 開學院 之後的 問題。

Tang Ying Chi, Stella (Lecturer) 鄧凝姿 （講師

So Man Yin, Manita 蘇敏賢

Journey 旅程 Acrylic & mixed mediums on canvas 18cm x 24cm each

My paintings intend to capture my impressions about the world and my response to the change of my surroundings. As we go through the journey of life me time going through an inner journey. While we observe and experience the world,

we discover ourselves. 作品捕捉 我對這 個世界 的印象 •以及 對 身邊事 物轉變 的反應 。我 們經 歷生命 的旅程 •同 時經 歷內心 的旅程 。我 們在觀 察和體 驗這個 世界之 時 •也 發現了 自己。

?’'

?

'4:

So Wai Nga 蘇慧雅

Lorbinsun & Simutfu 羅 便臣與 史密夫 Oil on canvas 300cm x 300cm

-

»*

Who you want to sightseeing with in this hundred foot world? (thank you for this endless hundred)

在這一 百呎的 世界裡 ，願 每個人 都感到 輕鬆和 愉?！

(感謝 那個送 我一百 塊的人

Tang Pui Man 鄧佩文

Postscript of "Fool" Traveling 「愚」 遊 樂後記 Acrylic on canvas 90cm x 90cm

Looking for Does animals and still life have any relationship? 找尋 動物 、靜物 之間有 關系嗎 7

_

r、

WT /i. r <

-

Tcm Jan Wun 寶正宏

w

i

1 r:

m

1

1

-

5m >

'

V

Critical Wandering 關鍵性 的漫遊 Oil on canvas 91cm x 76cm

The word Critical gives different meanings to different people at different moments.Critical Path is vital in every manufacturing process. When a patient is described as in a Critical Condition, it implies a life and death situation.

Everyday we experience many critical moments and we may not notice. 在不同 的時間 、對 不同的 人來? •關鍵 性這一 詞都帶 有不同 的意義 。關 鍵途徑 是製造 業的一 個重要 過程。 一個 病人的 病情如 果到了 關鍵性 的時刻 •這可 能是他 的生 死時刻。我們 每天都會不自 覺地遇 到一些 關鍵性 的 時刻。

To Ho Li

杜濠里

Childhood I 童年 I Oil on canvas 75cm x 105cm

: My childhood life was like a combination of colours

Old buildings passed away with the sound of joy Childhood & old buildings are my theme of painting 童年回 憶如輕 紗掀起

.

殘破 建築伴 隨歡笑 聲逝去 童年 建築是 我探討 的主題

m

igKwmg Kevin 湯垌豪

AKevinKazcs MOVIE panic-beating 慄動 Short-movie 90 Seconds

I am a greed man. My first objective of this artwork, is let the viewers feel iroxysmal supraventricular tachycardia, what I feel what misery I feel with pan when heartbeat become Ihigh speed. Finally I choose short-movie to present this artwork, its including my feelings and self-reflection as a cameraman of independent movie. I call this artwork "movie*, but its only to form by titles and 222 photos. I insist my artwork is a movie, because this choice reflects my obstinate and greed. So, this artwork is my self-portrait.

:動 •beating

Struggle 掙扎

3i

Ceramics Varied size

Tse Hau Cheung 謝孝祥 fcÿÿ

y

"When people are searching for a new horizon outside, they finally will come back to the deepest part of their hearts and souls; and discover the existence of it.

That is the beginning and also the end."

With the full passion in creating, what Plato said is exactly the portrait of myself.

I:

「當 人們不 斷往外 尋找新 的領域 •最終 也會回 歸到自 身的心 靈深處 •並發 現該地 的存在 •那 是起點 •也是 終點。

』

柏拉 圈這句 ?話正 是我自 身寫照 •抱著 忠誠的 心態 纘研和 創作。

This series of work is called "Seems So Beautiful", and Barbie, the prettiest doll ever in the world will be the focus. As she is so popular, I played it too in my childhood. My memory of Barbie doesn’t come from my appreciation of her beauty, I remembered her is just because her clothes are hard to wear, and Iher hair is always a mess. When I le sweet - as - candy smile become grow up, the various images and the so fake and artificial to me. Children's toys should be positive and bear educational missions, but Barbie , just like the charming smile on her face, is just a lie: Barbie should not be the role mcxlel of beauty, and various identity is not as simple as changing the uniforms. I just want to destroy it as she is always so perfect. It is way too kind just to makes her face look ugly. So I preserve her prettiness, just to break down her plastic body, and placed her in some mysterious and fascinating environments. This will give you an illusion of something good and beautiful. But when you take a closer look, you will find out the decorating flowers are made of plastic (same as Barbie), the doll is so dead, with a terrifying atmosphere floating everywhere. It is just like Barbie, a symbol of great beauty and perfection is just a controllable doll, nothing to be proud of. 這 輯作品 題目為 「好 似好親 SeemsSo Beautifulÿ 以絕 對的美 問鼎世 界而聞 名的芭 比娃娃 為主角 。作 為最 popular 的 兒童玩 具，我對 它多少 有點童 年回憶，跟 它有淵 源不是 因為我 也默默 在膜 拜它的 完美， 印象中 只記得 它的衣 服難穿，頭 髮難梳 。愈 長愈大，看望 它的時 候愈覺 它不妥，千 變萬化的型象，甜 美無暇 的笑容，看 起來是 多麼的 虛假與 人工化 。作 為正道 的兒童 玩具, 多少帶 有?育 下一代 的意味，但看 起來它 就像臉 上的燦 爛笑容 一樣，統統 只是一 個謊話 ： 世上本 不該以 此為完 美準則，千變 萬化的 身份又 豈只是 換個衣 服那麼 簡單。它愈是 以完美 的姿態 出現，我 愈是想 破壤它，把它 畫個大 花臉略 嫌來得 簡陋， 那?我 就保留 它姣好 的臉蛋，把它 分解弄 個支離 破碎， 乍看華 麗高雅 的構 圖光線，還有 那笑容 依舊迷 人的芭 比娃娃， 一不留 神就落 入 「這真 美好」 的 圈套中 。再用 心一看，才 看出箇 中真相，相 中一切 都只是 一些看 似美好 的東西， 巧妙地 包裝好，回神 細看, 才 發現花 是假的，娃 娃死翹 翹的， 氣氛陰 陰森的，跟芭 比一樣 , 多美好 的象徵，其實 只是任 人操控 的塑膠 配偶. 沒值得 驕傲的 地方。

Tsoi Sum Yi, Stella 蔡心怡

Seems So Beautiful 好 似好覯 Photograph on matt paper 60cm x 90cm

Wong Ka Kwan 黃嘉君

Sky 天空 Digital print photo 6cm x 30cm

m Probably in the others, eyes

These photos do not carry special touch But those are authentic upon what I've experienced throughout the process

which is my original idea that I just want to show the simple beauty of the sky 可 能在別 人眼中

這些照 片並沒 有特別 的感覺 和觸動 但這確 實是我 在整個 過程中

對天空 的體會 和感覺 只是 想把所 見的美

簡 單的呈 現出來

Dear Reader, Hello , My name is Wong Ka Lun, for people that known me for quite some time, you have notice my nickname's been change just for the Exhibition, there are reasons.

Some of them belongs to what I am going to face after this matter of the moment, some of them is in between the life am I going to front with the "outsiders'1 that will effect me.

In this work "Return of the Dragon" You may see me again as in a rude way of showing how our future is for everyone and any places will be like in the next five to ten years. How to start to look at things to make thinking so different, how to use my mind to connect with you when "II am showing my story to you without telling the others"

Wong Ka Lun 黃嘉倫

九 龍回鬼 Ceramics 15cm x 20cm ?a u

have been thinking if you do not let yourself go into me and receive the main object. ie samej thing you

By the time you are looking at my Art, please start to feel as there's water all around the area, the only thing that flows to let you see is mine, besides that the real mass of medium will be shown in order for you to see who is it behind the ugly mask. Do not let your wall block your way, you will not see "Where is it ? I do not find it, I do not see it, and do not feel it* Have you know how long does it takes to find ourselves? It takes pain to feel what the second one have to say to you before bedtime. People are so tired of meaning what "LIFE" is. When you feel something that's feels like forever, that's where you feelings are the feeling of you, not to anybody.

Thank you very much for knowing me and the "other one of me." 名智的 出發點 •令 眾人也 變得海 闊天空。出生在香港 九龍 。要得 到平安 ，只 能雙眼 反看。

*

死在

&卜?

The locus point of contemporary art keeps changing that is the most interesting part of it. 當代藝 術的觀 點一直 在漂移 ，這 亦是 它最為 有趣的 地方。

Lukas Tam, (Lecturer / Course Coordinator) 譚偉平，講師 / 學 科主任

圓

Wong Lai Woh 黃麗華

Pinball Game for 2 Players (toy) 二 人的滾 球迷宮 （玩具 Wood, acrylic and paper clay 22cm x 33cm x 5cm

Many educational workers tried to use 'game' to explain human communication. As game is a kind of toy, I have designed a 2 player's game based on the traditional pinball game. In this game, both of the players will try to sense the hole which the opponent's ball will be dropped in. In my mind, "the ball" represents the message that we want to express, "the hole" represents "the thought", the picture beside the hole represents "language", and the wall represents the misunderstanding during communication. One of the player try to make the ball drop into a hole that he/she wants, at the same time, another player tried to "understand". If they are thinking in different ways, one player can't express his/her "thought" correctly; the other player also can't understand what his /her opponent is thinking. In this situation, a "feeling" will be come out. On the other hand, if they have the same thought, the condition will become uncertain, as different people have different feelings.

_

回想起 不少教 育工作 者使用 遊戲方 式去解 釋人際 溝通這 個課題 •而 「遊 戲」 的 另一個 衍生物 是玩具 •我將 類似滾 球迷宮（圖 的玩具 轉化為 二個人 玩 的遊戲 •可以 互相直 覺對方 的球要 進入哪 一個洞 •對 我而言 •球 就是代 表 著我們 要表達 的訊息 •洞 是一 個想法 •洞旁 邊的圓 畫代表 著言語 • wall 是 一些 當中我 們在了 解或要 傳訊時 遇到的 誤差， 而一人 要將球 進入到 希望表 達 的想法 •另 一人 同時在 「理 解」 •假如 相方所 想不同 ，一方 面不 能太順 利能表 達預期 的想法 ’第二 者也不 能了解 對方的 想法時 ，便 會產生 一些感 覺 •反之 •也 有可 能猜想 到對方 的想法 ，情況 不一定 是一樣 •不同 的人感 受也不 一定是 一樣。

a>

Color layer of color film and B/W film are same, but the feeling of both film is quite different to people.

In general, people thinks that color film is happiness and B/W film is boring. So they would like to choose color film. But I don't agree it because of the tonal range of these films are similar.

Wong Po Man 黃寶文

I perceive all other colors as combinations of three colors. But I used the different type of color. These are black, white and

Colorful

gray.

色彩 Black and white photography 23cm x 40cm

一 張黑白 相跟一 張彩色 相比較 •它 們的顏 色層次 與灰度 層次其 實一樣 •卻 帶給人 們兩種 不同的 感覺。

彩色相 好像多 姿多采 •而且 它表現 開心快 樂的時 候總會 比黑白 相片來 得容易 •這 好像是 人們對 色彩的 傳統偏 見 •但 我卻覺 得這是 不對的 •因為 黑白相 與彩色 照色彩 層 次其實 大致是 一樣。

黑白 相或許 會予人 一種沉 悶及古 老落伍 的感覺 •而 我偏 偏覺 得它充 滿感情 和人性 •原 因很 簡單我 喜歡黑 色和白 色 。我更 會想黑 、白、 灰難道 不是色 彩嗎？ 黑 色到白 色 •當中 其實包 括了多 個灰色 。一 張黑白 相的層 次也是 由不同 灰度所 組成。 我也希 望和大 家分享 一下黑 白相裡 灰度 的豐富 和鮮豔 •灰 度的層 次感和 色彩。

U

我 所選用 的題材 很簡單 ，只是 可以造 出不同 顏色的 三原色 表。因為我 想大家 也可以 容易地 想像出 三原色 在正常情況下 它 的顏色 是怎樣 •所以 選 取了它。代表 了黑白 照除了 黑色白 色以外，更 有不同灰色。就像 三原色 一樣充滿變化 •而這些 變化 不只出 現在七彩的顏色上。

A

-,

做法是把一眼認出的三 原色表 先攝下來變成 黑白相 •為 了表 現這 些灰度 的層次 •我 會先 把該張 黑白照中的灰 度劃分 •繼 而把它們從 新嗄出 灰度。因為想 強調不同灰度 的劃分 •所以 我會 在曜相時刻意留下這 些灰度 區域的 分界線。提醒人們黑 白 相有多 個灰度 •及有 多個色 彩 • 希 望大家 可以從中領略 一下黑白照的 趣味。

Call of Memory 記憶 的召喚

Wong Shuk Ching, Sandra 黃淑貞

oil on canvas 100cm x 100cm

.‘敵藏 3

乂

m 一

M

Somethings I have experienced, they became memories, the depth of feelings defines the meaning of memories, Recall, also is another experience, when this memory call that memory, through the color and brush texture, gradually appear the hidden picture, then it became my personal experience again, and it is unique.

_

我所 經歷過 的東西 • 成為記 憶 感受之 深淺也為記憶 劃上不 同意義 追憶 •又 是另一 種體會 • 在 記憶召 喚另一 個記憶 之間， 於色 彩和筆 觸之間 • 慢慢現 出了一 個未現 的故事 • 再成為 我個人 獨特的 經歷。

•

Wong Siu Ping, Helen 黃筱萍

Recall the days of yore

記憶 與遺忘

Always keep reminiscence like a grave burden As time goes by Much weary in my mind

將回憶 經常掛 在心上 如包 袱一樣 曰積 月累越 加負荷 不自 覺的心 竭力疲

To indulge in days of yore I took it naturally To recall & ruminate To revive the old image

In Wim Wenders's film Helpless people love to indulge in old dreams where they can place their soul for a while in the grim world

Obstinate body cannot shake off the reality but active mind always seek for eternality My soul would like drifting apart between the past and present

1 Recall the Days of Yore 記憶 與遺忘 Video 5 minutes 20 seconds

Walter Benjamin says, "Present" relate to the "Past" which significance of recalling is to review our life as reading an essay reversely Everything had changed as time goes by Weakness more weakness Weighty more weighty Give a sign for "Growing" but never grown It's just fall into the endless cycle

Linear with fragments Sequent also reverse Continuous or skip over Seeing the "PUNCTUM" of the photo Memories become "PUNCTUM" of life

沈醉沈 淪沈溺 於過去 可 是我最 自然不 過的事 回看回 想回味 重拾值 得細味 的影像 如雲德 斯的末 日構想 無助 的世人 喜歡沈 醉舊夢 當遇上 世界冷 酷無望 的時候 好 讓心靈 得以暫 時寄託

頑拙的 身驅雖 無法抽 離現實 活潑的 意志卻 時刻追 求無限 既可盡 情投入於當下 亦會忽 然潛逃 到過去 原來班 雅明? 得沒錯 回憶跟 現在是 緊扣的 其 意義在 • 「過 去」 為 「現 在」 帶來什 麼啟示 追 索過去 有如倒 轉地? 讅一遍 檢 拾碎片或可整 理出一 個人生 從前建 立起的 隨著事 過境遷 輕 蔑的破 滅瓦解 沉 澱的越 加沈重 給成 長劃上 個記號 然 而不曾成長過 只 是不斷 的重複 又重複 循環地 糾纏著 線性 但斷續 順序 可逆轉 連貫 或跳接

相中的 PUNCTUM 連串的 PUNCTUM 回憶 也是生 命中的 「刺 點」

Wong !Suet Yui,

黃雪芮

Outside the Window 窗外 Acrylic and photographs 84cm x 119cm

Here is my imagination in the environment of the housing estate where I live.

i:.1

Do you think that Hong Kongers are too busy? Many people may see the same familiar and boring scenes on the streets everyday when going to school or work. Try to pause and imagine. Fairy tales or other interesting things may happen around you. What will you see, then? 這 是我在 所住屋 村的環 境中的 想像。

你 認為香港人太 忙嗎？ 很多人 每天上 班或上 學也會 看 到同一 個街景 •又 熟悉 又沉悶 。試試 停一停 •想 一想 •童 話故事 或其他 趣事隨 時會發 生在你 身邊。 你又會 看到甚 麼呢？

Wong Yuk Tong 黃?棠

A Journey of the Soul 心 靈旅程 Slabs & handbuilt Varied size

The footprints in the growth of the children, the important milestones they have gone through, and every memorable episode in their daily lives have become the source of inspiration to my works. And I have enjoyed so much in the course of creation, since the recalling of good old memories have driven me forward to this satisfying and refreshing journey.

MEMORIES always unique for individuals, it's essential in everyone's life and plays an important role while people getting older.

Whenever you stay alone?

Whatever you touch?

Wherever you go?

Whoever you met?

No matter how! It happens to recall an incident which is familiar and interlacing as part of your personal life. It makes you laugh, makes you cry and makes you dream.

wÿ<

Have fun.

•>

Let's assumed, it will be fabulous if own memories can be delivered to ourselves by means of letter which is not happen yet!

每 個人都 有過去 •都 有自己 的歷史 •都 有一 些 特別的 回憶。

我喜 歡回憶 開心的 往事。 有時 靜下來 •看 見某 樣物件 •就想 起某人 ： 某 個炎熱 的夏季 •我想 起某段 舊事的 發生。 嗅到某 樣氣味 •就 會想 起曾經 有過的 經歷。

A Parcel of Memory from the Future 回 憶郵遞 Ceramics 120cm x 35cm

小時候 •頑 皮的、 愚笨的 、幼稚 的往事 •回 憶 都令人 發笑。

我在想在這些情形下 •好像 從遠方 寄來了 一封信 或一個 包裹， 擦開了 就讓我想起某 人在某地寄來 的問候 一樣。 回 憶是不 是以前 發生過 的往事 •從那 時候郵

寄到現 在的包 裹呢？

回憶 又可否 從現在 寄回以 往呢？ 當你 在發生 某 事之前 •你 已經收 到你在 現在寄 出的包 裹 ，是 多麼好 玩而又 神奇。

Woo Tze Mun, Mandy 胡子敏

You Man Pun, Ben 丘文彬

Feast 盛宴 Ceramics, mixed mediums 17cm x 13cm x 10cm (each)

if.ÿ In the past, ceramics were thought to be functional pot, human made them to hold & store foods & drinks. I'm trying to explore the tricky relationship between food & functional pot. Suppose they swap their role, it would be interesting.

So, I use clay & wire to pack a chicken. At the same time, I made a plate by chicken. In my work, it suggests another point of view to our daily lives. 傳統 以來陶 瓷的主 要角色 都是盛 載食物 的器具 •陶瓷 與食物 之間有 著微妙 的關係 。我 嘗試把 兩者的 關係倒 轉 。我 以陶土 及鐵線 包裝的 一只? •另 一方面 以?肉 製成 一只碟 •把它 盛載著 。我的 作品主 張了另 一種看 事物的 方法。

nrti s

Yeung Pui Yee 楊佩儀

Hovering between the Sexes 兩 性之間 Video 8 minutes 30 seconds

FF

The two poles are no longer too far apart.

For years physical differences have compelled man and woman to assume dissimilar roles in our society.

Man loves to stare at woman, woman loves to be stared at. Man tries to dominate with his virile might, while woman tries to please with her feminine appeal. A subtle wrestling keeps going on. Sometimes man gets on top, sometimes vice versa.

Then comes the compromising era. He looks like her, she looks like him. The Yin and the Yang entwine and fuse. Roles interchange, gradually unfolding a uniquely disparate social phenomenon. 兩極 一體化 。兩極 的差異 令兩極 派一直 在社會 上都擔 當著不 同的 角色。 男的 喜歡看 女的， 女的喜 歡被男 看的； 男的 以男 性角度 去看， 女的 以女性 的角度 去取? ，男 上女下 •女 上男下 •不斷 角力。 後現代 一體化 ，你 看我 我看你 ，你 你我我 ，無 分彼此 ，至剛 至陽 ，至 柔至陰 ，互 相轉化 和結合 •達至 情至性 •形 成新一 代新 典範。

新一代 ，新 典範 ，新 角色， 新生活 ，我 演你你 演你。

Yim Man Yuk, JoJo 嚴文?

Daddy 爹?

Acrylic on canvas 120cm x 90cm

The lines bring the colors go across the panel, stimulate - our visual. 線條帶 著顏色 走過畫 面刺激 -視覺

When I was child, I was really keen on X-Ray films. I love the texture and "negative" space on these pictures. They are without clear line and figure. In addition to my present work, I can see different kinds of film such as CT brain, MRI, X-Ray. Hence, I use these films as my main materials on my creation.

X-Ray, CT brain and MRI films are for reliable diagnostic use in negative images. They help to find out the truth in diseases.

In fact, all these films are not clear. We just tried our best to find out the truth through blur, ambiguous and vague images.

This is contradictory and "negative" relationship.

Human invents different methods to find out truth and to know the fact. So what is truth? Is there any absolute truth in our human beings? Do you believe in what you see? Maybe there are "negative". Different people say different thing which induce different interpretation and believes. Is there any truth in our real world?

How about we purely appreciate and feel this world. Nothing is real, motion is real.

In my work, I try to put my audience in a "negative" world. A large acrylic plastic room is set up. It is fully attached by image collages which are made by 3 layers overlap transparencies.

Each transparency contains an image from the source of Xray, MRI films. Strong lighting surround the room which let audience to see the big difference and contrast of the images.

"Lighting" means finding truth in a "negative" world. Sensors are hidden outside. Then, audience has no choice to see images with or without lighting. It means human mostly have no choice to know what they want to know. 年幼 時已對 X 光片產 生好奇 及喜愛 •加 上工 作關係 •時 常接觸 X 光片•甚至 MRI 、 CT 片等 。很想 利用它 們作創 作元素 。人 類不斷 臢研科 技尋求 真相。 X 光、 MRI 、 CT 片是醫 學診斷 的方法 •亦 是攝影 的一種 •但 它們 往往呈 現模糊 •黑暗 的影像 •這 造成 諷刺及 矛盾。

有些人 在無選 擇下知 道真相 •亦有 些人不 斷地尋 求所謂 的 「真」 。但究 竟甚麼 是真？ 我們 看見及 遇到的 情況就 便是 真呢？

作 品利用 CT • MRI 及 X 光 片結合 而造不 同影像 •由 於影 像本身 較黑暗 •再利 用光照 射時，形成不 同變化 。當觀 眾欣賞 影像時 •在沒 有選擇 的情況 下欣賞 有光與 無光的 影像 。讓觀 者置身 於變化 及矛盾 之中。

Yip Ching, Joy 葉菁

Do you believe in what you see? 你看 到的是 真嗎？ Mixed mediums 180cm x 120cm x 60cm 4

Yu Ka Lai, Carol 余嘉麗

Amazing Relation 奇 妙關係 Stoneware 65cm x 65cm x 56cm Relationship between one another can be close and harmony, but it can also be detached. Have you ever experienced and felt the same? One would build walls around themselves against intrusion of others.

Through this artwork, the materials mix together to create a special relationship within each other.

Where does it come from? Do they remind you of any actions or different parts of the body? Can these relations touch your heart? Stop walking and feel the message, you might be amazed! 人與人 之間的 關係獨 特微妙 •既 可親 密得如 膠似漆 ，同時 又可疏 離得互 不相干 。有時 候 •各人 都為著 自己的 緣故而 築起一 道厚厚 的牆 •變 得冰冷 、漠不 關心這 些關係 你經歷 過嗎 7 你曾 否身同 感受？

作品 透過陶 泥的互 相配搭 和推碰 •建 立一種 奇妙而 複雜的 關係： 關係究 竟來自 哪裡？ 動 作？ 還是 身體各 部份？ 這關係 定能觸 動你的 心靈。 停下腳 步吧！ 當中必 有事情 發生。

Artistic activities to me, is a self-reflective mechanism that might help us to better position ourselves in this mercurial world. 藝術 活動對 我來? 是一種 自省的 機制， 它或有 助我們 在這多 變的世 界為自 己定個 位置。

Dr Ho Siu Kee (Academic Head) 何兆 基博士 （學術 總監）

I

m

m

Acknowledgements 鳴謝

Administration Team

Louisa Ho Kurama Ho Lydia Chan

Paper Supported by

何伊文 何穎雯 陳穎詩

/lcumen Cover Paper Savile Row Tweed - Dark Grey 100gsm Content Paper Dynamic Uncoated Paper 120gsm

Communication Team

Chloe Ng Law Chung Foon Queenie Sham Gwen Lam

吳倩美 羅仲歡 岑雅詩 林蒸雯

Printed by

PRINT - RICH PRODUCTS

Student Working Committee

Po Ka Chun, Bryan Chan Shuet Ying, Sarine Kwong Wai Leung Lau Fung Yee, Rosanna Leong Ki Fung Li Man Hang Lok Chi Lan Lui Man Ho, Dicky Yip Ching, Joy

布家俊 陳雪盈 鄺偉樑 劉鳳儀 梁期豐 李萬鏗 駱紫蘭 雷文灝 葉菁

組長)

Design by Flipp Creative

"Creativity", "high-quality and service" are basics Acumen Paper promises for the design and printing industries.

y

Wm-

PAPER

16/F., BLOCK A, HONG KONG WORSTED MILLS IND. BLDG., 31-39 WO TONG TSUI ST, KWAI CHUNG, H.K. TEL: 28403128 FAX: 28403178

www.acumenpaper.com

m

me?