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Contents 目錄

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Contents 目錄

004 Preface 序

008 Foreword _ 月|J

020 The Graduates 畢業生

114 Acknowledgements 鳴謝

Preface 序

In this Master of Fine Art program, we work through a process of

在過去兩年的藝術碩士課程中，我們在創作理念和技巧上經歷了一個

distillation and refinement of both the conceptual basis and the

提煉與淨化的過程，我們明白到對藝術創作的掌握，除了技術與工具

skill. To master the creation of art, we have not only developed

外，還需灌注個人的思維、情感甚至價值觀。對於自己的創作，我們

skill with tools but learned to express personal value and sensation. Our practice have always entangled in a juxtaposition

經常陷入清晰與模糊交互作用的一種狀態，作品便藉著這種檢視的方

of ambiguity with the obvious and obscured. This experience has been repeated and lingered long till the work has completed.

法，在不斷的調整和嘗試中完成。

以 “Master Mind” 為標題的畢業展覽與作品集，表述了我們對藝術

創作的態度及過去兩年研習的成果。在此，我們衷心感謝澳洲皇家

‘Master Mind’ - our graduation exhibition and catalogue is a

墨爾本理工大學及香港藝術學院所予的資助和人力資源上的支援。

discourse of our art creation manner and knowledge on top of

我們特別感謝 Professor Terrence Batt 和何兆基博士就校對工作

exhibiting the outgrowth of our research work for the last two

提供寶貴的意見。最後，感謝各位曾給予我們指導和啟發的老師，

years.

並寄望

“Master Mind” （掌握自己的思維）能成為我們更長遠的追

求與理想。

We gratefully thank for the Royal Melbourne Institute of Technology (RMIT) University and Hong Kong Arts School’s

sponsor and man power support to this exhibition and the catalogue production. We would like to express our deepest gratitude to all professors and lecturers trustworthy education

attitude and inspiration in last two years. In particularly, we show our great gratitude to our Professor Terry Batt and Dr Ho Siu Kee’s

advise on the proof reading job that make possible our catalogue as a professional piece.

As a final point of our Master Degree Fine Art research, our wish as a wholehearted and independent artist is forthcoming.

Foreword 前言

••

•籲

Royal Melbourne Institute of Technology (RMIT) University

The School of Art at RMIT University introduced the Master of Fine Art degree to students in 1993. It has proved to be a popular

and highly respected program within Australia and also as an off-shore programme in countries such as Singapore, Papua New

Guinea, Indonesia and New Zealand where it has helped establish

artists to further extend their practice and given many emerging artists a pathway and perspective in which to establish their work

in the arts community. With the exciting and eagerly awaited introduction of the MFA program to Hong Kong, as an extension of the highly respected

and well established collaborative partnership of Hong Kong Art School and the RMIT University School of Art in 2004, this

exhibition marks a significant milestone. It is a milestone for which both institutions have good reason to feel proud as it celebrates the graduation of the first cohort of candidates from the MFA program. Over 2 years of rigorous study these MFA candidates have

demonstrated themselves to be artists of commitment and

passion, individuals who have embraced a program that has challenged them to achieve the greatest possible expression of

who they are and has given them the courage to strive for their ultimate goals. I have every confidence that individually and collectively they will continue to make a significant contribution to

the cultural development of Hong Kong and also within an international context. It is with a sense of pride and great pleasure that I congratulate all of them on their fine personal achievements and wish them a

successful and exciting future.

JS 籲

Associate Professor Teiry Batt Program Manager (Postgraduate programs - Hong Kong) School of Art RMIT University, Melbourne

Foreword

前言

澳洲皇家墨爾本理工大學

皇家墨爾本理工大學藝術系自一九九三年起開辦藝術碩士學位課程此課程在澳洲廣受歡迎，也得到相當讚譽。及後

我們將課程引進到

新加坡、巴布亞新畿內亞、印度尼西亞及紐西蘭等國家，亦能幫助當

地的新進藝術家擴闊視野，並進一步發展自己的創作。這個令人興奮和期待的藝術碩士課程於二零零四在香港推出，標誌著香港藝術學院及皇家墨爾本理工大學藝術系的伙伴關係進入另一個新里程。今天我們在慶祝第一屆藝術碩士課程學員畢業的同時，兩所院

校都應該以此自豪。

畢業同學在兩年努力不懈的學習中

展示了他們作為藝術家的投入與

熱誠。當中每一位都經過挑戰自我、建立信心，最終達至各自創作目

標的奮鬥歷程。我深信他們每一位都能為香港以至國際上的文化藝術發展繼續作出貢獻。

我祝願他們各有所成，前程錦繡。

泰利百特澳洲皇家墨爾本理工大學藝術系

副?授 '課程經理（香港研究生課程）

008 I 009

Royal Melbourne Institute of Technology (RMIT) University

It has been immensely satisfying to witness the artistic development of each of the graduates represented in this

catalogue. They have worked with a tireless commitment and

enthusiasm to meet the challenges posed by post graduate study

within the Master of Fine Art program and the work they have produced is an eloquent testament to their spirit of exploration

and quest to both refine and develop, uniquely personal explorations of both seen and imagined worlds.

It has been a great pleasure and privilege to have worked with them in both the personal intimacy of their individual studios and

collectively, as a group. They have all shown an immense generosity of spirit in the regular interaction between staff and students, providing a mutually supportive foundation for critical debate and analysis of differing points of view and shifting

perspectives. Equally rewarding, is the tangible evidence this catalogue provides

of the ongoing development of the strong and fruitful collaborative partnership between Hong Kong Art School and the School of Art,

RMIT University, nurtured by the dedication and commitment of

academic and administrative staff from both institutions. However, in the final analysis, the work presented in this catalogue belongs entirely to the graduates and it is they who are

to be principally congratulated. I would like to commend them on

their achievements and wish them every success in the future.

Associate Professor Kevin White Program Manager, (BA Fine Art - Hong Kong) School of Art RMIT University, Melbourne

Foreword

前言

澳洲皇家墨爾本理工大學

本人很高興見到這本畢業作品集中每一位畢業生在藝術創作上的成長。

在這個藝術碩士課程中，他們以無限的熱忱與投入面對不同的挑戰

他們的作品有力地印證了他們在藝術追求上的志向及探索精神 •這些可見的成果，同時反映了每個人獨特的想像世界。

不論在集體課堂或是個別指導 •我與學生都相處得非常偷快，能與他們_ 起工作，我深感榮幸。在導師與學員的日常互動中，邁到大家有

不同觀點以至具批判性的討論，他們都能展現出寬宏的量度，這亦在學習上提供一個相互支持的基礎。

在香港藝術學院與澳洲皇家墨爾本理工大學藝術系的? 學及行政人員的共同努力下，兩院校間強健的合作關係得以不斷發展 •這本畢業作品集充份反映了大家努力的成果。當然，最值得慶賀的，是畢業同學在藝術追求上所獲得的成就，我謹此祝願他們有更豐碩美滿的將來。

白啟仁澳洲皇家墨爾本理工大學藝術系

副?授、課程經理（香港學士學位課程

010 I 011

Royal Melbourne Institute of Technology (RMIT) University

The RMIT School of Art has a leading role in the education of

practicing artists and creative critical thinkers. The schools

educational philosophies and teaching and research practices are fostered by professional artists and art educators with leading reputations in their field. The universities vision is global in outlook and action, this is particularly evident in the extensive experience the staff of the

school of art has in the education of off-shore international students. The School of Art’s premier international program is centered in Hong Kong. The long standing partnership with the Hong Kong Art Centre is exemplary and celebrates cross cultural

skills, concepts and understanding. Students, graduates and alumni from RMIT programs in Hong Kong produce innovative and challenging art. They are recognised

internationally for their pursuit of excellence, originality and a

sense of integrity in their practice. The range of outcomes are

personal, social, political, and cultural. Diversity of media includes ceramics, painting, drawing,

installation,

assemblage,

technologies,

the

object,

photography, and the digital as befits a pluralistic contemporary art practce.

On behalf of the staff of the School of Art, I wish these talented

artists great success in their future careers.

Associate Professor Peter Ellis Acting Head School of Art RMIT University, Melbourne

JS 籲

•••

Foreword

前言

澳洲皇家墨爾本理工大學

澳洲皇家墨爾本理工大學藝術系致力培育具創意及批判思維的藝術專

才，這方面我們一直擔當著領導的角色。透過一批具聲望的藝術家和

? 育家在 ?學及研究上的努力

我們的?育理念得以實現。

藝術系早就與香港藝術中心開展了伙伴合作關係 •在香港開辦的海外

課程體現了跨文化的概念和實踐

亦貫徹了我們的國際視野。這課程

的在學同學、畢業生及校友皆致力於富創意和具挑戰性的藝術創作，他們對作品的原創性和完整性都有極高的要求，因此亦受到國際上的賞識。他們的創作成果不單屬於個人，同時亦涉及社會、政治和文化

等不同層面。

此外，他們所運用的創作媒介亦展現當代藝術的多元性，其中包括：陶藝、繪畫、素描、裝置、集成藝術、印刷科技、雕塑、攝影及數碼藝術等。

最後，本人祝願各位富天份的藝術家在未來的專業發展上有所成就。

副?授

Peter Ellis

澳洲皇家墨爾本理工大學藝術系署理系主任

012 I 013

Hong Kong Arts Centre

As the Chairman of the Hong Kong Arts Centre, I would like to congratulate the 23 students on their graduation, and to express

my appreciation to the teaching staff of both our Hong Kong Art School and RMIT University, whose consorted efforts in the past two years has made this programme a successful one.

In the pursuit of an artistic profession, the development of

technical virtuosity, aesthetic sensibility, as well as a broader perspective of culture are crucial elements. This Master programme co-presented by HKAS and RMIT University, has

gathered 23 students from various professions such as designers,

artists, art teachers, business men, and other from different walks

of life. With their passion in arts, they joined the programme and Hong Kong Art School has provided them the nurturing ground to

complete their journey, I congratulate them and wish them all the

best in their future artistic career. Being an art lover myself, I have been participating in art creation

so that I truly understand the struggle the artists have to face during the process, and the satisfaction brought to them by going through it. I wholeheartedly wish this graduation show a great

success, and wish this programme, as a cradle of local art talents,

will be nurturing more talented artists as well as enriching the local cultural life in the years ahead.

Cissy Pao, WATARI Chairman of Board of Governors, Hong Kong Arts Centre

JJ#### Foreword

前言

香港藝術中心

作為藝術中心的主席，除恭賀二十三位同學圓滿畢業之外，我亦要衷

心感謝我們的香港藝術學院及澳洲皇家墨爾本理工大學 ?職員過去兩年的共同努力，令這項課程得以成功。

從事藝術創作

除要有美學觸覺之外，廣闊的文化視野亦不能缺少。

這項由香港藝術學院及澳洲墨爾本理工大學合辦的兩年兼讀制碩士課程

匯聚了二十三名背景各異的同學，他們分別來自創意行業、?育

界及商界，有些甚至在本身所屬的藝術領域中已具有相當的經驗及名

聲，又或是長居本港的外籍人士。憑著對藝術的一份執著，他們聚首

—堂

透過修課期內師生及同學間的互動、觀摩，取長補短

融匯貫

通，拓闊及深化了自身的文化藝術根基，將作品提升至更高的層次。

作為藝術愛好者，我亦曾參予過不同形式的藝術創作，深深體會到創作過程的艱辛，但同時亦享受當中帶來的滿足感。我衷心祝賀本屆畢業生展出成功，並期望這項藝術碩士課程能為本港培育出更多高水平

的藝術家，並令本地的文化生活更加豐富。

包陪麗香港藝術中心監督團主席

014 I 015

Hong Kong Art School, Hong Kong Arts Centre

The Master of Fine Art Programme jointly delivered by Hong Kong

Art School and RMIT University of Australia, holds its first graduation show this year. Named after the popular game, Master

Mind, the show is a reflection of the thoughts and expressions of our graduates, distilled through the experimentation and

self-exploration during the past two years. After 6 years of active development, HKAS now boasts one of

most

comprehensive and

scalable

visual

arts

education

programmes in Hong Kong. For the past four years, about 230 new and practicing artists have graduated from the School’s

award-bearing programmes each year, making HKAS a major

source of trained creative talents for Hong Kong. The introduction of the MFA programme offering art education at a higher

academic level is yet another important milestone for HKAS. Today we witness the graduation of the first cohort of 23 graduates. Despite their varied background, they share the same

passion for art and the belief in engaging the general public through their artistic expressions, whichever form these may take.

The first MFA programme has now been successfully completed, but the journey of artistic exploration never ends. I sincerely congratulate

our

first

graduates

their

outstanding

achievements, and wish them continued success both in their further artistic pursuit and in their own professions.

Irving Koo, SBS, JP Chairman, Hong Kong Art School Council

Foreword

前言

香港藝術學院，香港藝術中心

香港藝術學院與澳洲皇家墨爾本理工大學合辦的藝術碩士課程，首屆畢業展以經典智力遊戲

‘Master Mind’ 為名，正好反映同學們在這為

期兩年的兼讀制課程中，透過不斷的嘗試及自我探索過程而悟出的藝

術之道。

經過六年的積極發展，香港藝術學院已經成為香港最具規模的視覺藝術學院之一，為香港提供優秀的藝術及設計人才。過去四年畢業於學院各學歷頒授課程人數，平均每年約二百三十名。學院籌辦藝術碩士課程旨

在為社會人士提供更高層次的藝術? 育機會，課程的成功也標誌著香港藝術學院步入新里程。今天我們見證本屆二十三位畢業生學有所成

他

們雖然來自不同背景，但對藝術抱持相同的信念，相信藝術能令這個都市的文化生活更形豐富。他們藉著畢業展，透過不同的媒介，展示他們

的創作技巧和價值觀，牽引著觀眾對身邊事物作出反思。課程雖然已經完結，但藝術創作的路永無止境。我謹祝賀首屆畢業同

學前程錦繡

並冀望各位能延續本身對藝術的熱誠，為本地創意行業

及視覺藝術發展作出貢獻！

顧爾言

SBS, JP

香港藝術學院督導委員會主席

016 I 017

Hong Kong Art School, Hong Kong Arts Centre

Master Mind - The First Master of Fine Art Graduation Exhibition

When the words, “Master” and “Mind”ÿ come together, we get a

term, “Master Mind”ÿ which, besides bearing an implication of The theme of the first graduation exhibition of the MFA

mastering one’s own mind, refers to a board game. “Master Mind”

programme, which is jointly presented by the RMIT University and

is a game about breaking a code. In the game, the code-maker

the Hong Kong Art School, is Master Mind. This theme, to a

first chooses a code, which, being hidden from the code-breaker,

certain extent, reflects the graduates’ expectation towards the

is usually a sequence of 4 colored

programme as well as towards their own artistic pursuitsÿ while

clues provided by the code-maker, the code-breaker will then

taking part in the coordination work of this programme, I have

makes a series of corresponding guesses until the code is finally

another understanding towards this theme, and my interpretation

broken. This game involves a series of interactions between the

somehow brings out another kind of expectation.

code-maker and the code-breaker, such as trying, getting and

pegsÿ and

with the hints and

giving feedback, as well as reworking, and these are also the

The wordÿ “Master”ÿcan of course refer to the Master degree (the

interactions that in fact frequently appear in the teaching and

Master of Fine Art degree in this case), which is a recognized

learning process in art education.

qualification, and is something that can actually be obtained

when one fulfills the requirements prescribed for graduation from

Of course, there is not any kind of preset code in terms of artistic

a master programme. It is an expectation that can be answered,

exploration, and people’s expectations towards art vary. Regarding

and to all the graduates participating in this MFA graduation

this MFA programme, my greatest expectation lies on the artistic

exhibition, their expectation in this connection has indeed already

exploration process, in which students, under the stimulation

been met. "Master11 can also be interpreted as someone who has

from both their academic supervisors and their fellow students,

ownership of something or has control over someone (as what we

can always review and improve, and can enjoy playing both the

usually say, “be one’s own master”)ÿthis refers to a more abstract

role of “code-maker” and the role of “code-breaker”. After all,

concept, and when it is applied to artistic creation, it takes long

artistic creation is something individual and independent, and

views and relates to an expectation that is harder for one to come

“be one’s own master’’ is always a goal for anyone pursuing art in

up to.

the long run.

When we come to the word, "Mind”ÿ a few more abstract ideasÿ such as intelligence, perception, and sentient, are conjured up, and there is no absolute standard about measuring these elements especially when they are reflected in an artistic creation process or in a finished artwork. To answer an artistic expectation

associating with the concept of “mind”ÿ it requires constant and

retrospective adjustment as well as a profound understanding.

SJ#### Foreword

前言

Dr.

Ho Siu-kee

Academic Head, Hong Kong Art School

香港藝術學院，香港藝術中心

Master Mind 第一屆藝術碩士課程畢業展

Master Mind 合成一詞，除了解作掌握自己的心智、思維、感受外又可指一種流行的益智玩具，是關於位置與排列的推理遊戲。出題者

由香港藝術學院與澳洲皇家墨爾本理工大學合辦的藝術碩士課程，首

先在遮蔽物後設定一組顏色序列，另一個參予遊 ?的人則要嘗試重新

屆畢業同學將畢業展覽的標題定為 Master Mind ，這似乎反映了他們

排出。開始第一排大概都是隨機的

對此課程，以至對個人藝術追求上的某些期望；而作為參予籌辦這課

的選擇和排列位置是否正確作出提示，解題者就根據提示再作窖試

程的一分子，我對這標題的解讀

直至正確找出預設的顏色序列為止。這個遊戲涉及出題者與解題者一

大概又反映了另一些期望。

但每排一次 •出題者都會就顏色

連串試行、提示、重組、再試的互動過程，這都是藝術 ?與學的過程

Master 固然可以指 Master of Fine Art 藝術碩士，它是一個認可的資歷，學生需要完成課程的要求得

中不斷出現的狀態。

並經校外考試委員評核畢業作品而後獲

是一個很實在地知道是否可達的期望，而對每一位能參予畢業展覽

的同學來? ，這期望都已經達到了。Master 亦可以有其他的解讀

括對某種事物的掌握、獨立地掌管自己

包

one’s own master) 等等1

當然，藝術的探索不必有預先的設定就這個藝術碩士課程來?

對藝術的期望亦是因人而異。

我最大的期望

莫過於學生能在探索的過

程中；在指導老師與同儕的互相啟發下，不斷調整自己

這些期望，相對來?就較難有客觀準則，套用到藝術創作上，會是更長

驗出題者與解題者的雙重身份。?到底

遠和更高的理想。

be one’s own master 是更長遠和更高的理想

交替地去經

藝術創作該是獨立自主的，

Mind 所涵概的意思就更抽象了，心智、思維、感受等等，這些素質在一定程度上能反映在創作過程和完成的作品當中，但就很難有絕對的指標，這方面的期望，更需要在個人創作實踐中不斷調整與體會。

何兆基香港藝術學院學術總監

018 I 019

The Graduates 畢業生

022 Au Kwok Wai Harley 區國偉

026 Chan Kam Shing Chris 陳錦成 030 Chan Kit Bing Sumee 陳潔冰

034 Chan Kwan Lap Eddy 陳君立 038 Chan Sin Man Miranda 陳倩雯 042 Chen Hui Lien Denise 陳惠蓮 046 Chow Wing SzeSiSi 周穎詩 050 Chung Po Yang 鍾普洋 054 Fung Bo Ming Victor 馮?明

058 Fung King Yiu Joyce 馮敬瑤 062 Fung Mo Yin Anny 馮慕賢 066 Ho Pui Fan Jessie 何佩芬

070 Hora Fumino 074 Keung Chi Ming Jimmy 姜志名

078 Leung Chung Yin Caroline 梁仲賢 082 Li Kam Wah John 李錦華

086 Lo Man Him Virginia 盧文謙

090 Lui Wai Chu Judith 呂慧珠 094 Luk Ho Sun Spencer 陸浩燊 098 Ng Chor Wai 吳楚慧 102 Ngan Kai Ming Clement 顏啟明 106 Lerouge Knight Virginie 維珍妮 110 Wong Fung Kei Francis 黃奉基

HARLEY AU

Conclusions 2005 Documentation / Video-graphic 回頭望過去記錄 / 錄像

••••

The Graduates

畢業生

2005

Au Kwok Wai Harley 區國偉

Conclusion on Conclusions Education ?育背最 2005

Master of Fine Art, Royal Melbourne Institute of Technology (RMIT) University ( Co-presented with the Hong Kong Art School, HKAC ) 澳洲皇家墨爾本理工大學藝術碩士 (香港藝術中心香港藝術學院合辦

2002

Art specialist course - Painting 藝術專修課程一繪道

Selected Group Exhibitions 部分?展

2004

10th Artists Abroad Annual Exhibition 第 10 屆海外藝術家年展

17th Philippe Charriol Foundation Art Competition Exhibition, Centro Cultural de Macau 第 17 屆夏利豪基金藝術比? •澳門文化中心

17th Philippe Charriol Foundation Art Competition Exhibition, Times Square Hong Kong 第 17 屆 S利豪基金藝術比? •香港時代廣場

Art Specialist Course 01-02 Graduation Exhibition 藝術R 修課程 01-02 結業展

Selected Awards and Commissions 部分獎項和創作邀請

2002

We all grow up differently, and we have our own unique memories. We all have people that have played important roles in our lives, events, encounters or experiences that result in good (or bad) memories. Even minor things that happened when we were young and seemed insignificant at the time can occupy a tiny part of our brain and resurface as a memory from time to time.

1st Runner-up — 17th Philippe Charriol Foundation Art Competition 亞軍第 17 屆夏利豪基金藝術比?

Creative Award - Art Specialist Course 01-02 Graduation Exhibition 創作獎 - 藝術禺修課程 01-02 結業展 Selected Collections 部分收藏

Left! Right! Left! Right!, Oil & printing oil on canvas, 153 x 91.5cm

Philippe Charriol Foundation 左！右！左！右！油彩布本 • 153 x 91.5cm 夏利豪基金 |

As we grow older we seem to become too busy in life, failing to find the time to stop and look back, reminisce about the years gone by. Memories seem to get washed away little by little, and fear sets in that one day they will be gone forever. This project provided a valuable opportunity for me and for my friends to take the time to pause at an interval in our lives, to remember one more time. I had the opportunity to talk to 23 people, most of whom I have known for a long time. Others are “new” friends. Through the interviews they all shared with me their “untold” stories, many that I assume very few people know about, and I saw through this process of sharing how they each looked when they were young children. An interesting realization I came to is that we are rarely asked to look at other people’s old photographs, even by close friends. When the participants showed me their baby photos I was amazed at how they looked so alike or unlike to how they look now, and I felt honored to be allowed a glimpse into such precious territory.

Different participants reacted differently to the questions in the interview, some of them were brave enough to unfold their past and reveal it to me. It was never my intention to disclose the secrets of the participants and the most valuable aspect of the process was the honesty and trust afforded to me by the participants. During the process, someone asked me if it was too much of a burden for me to listen to all the personal stories and information of the participants. The reality is that I didn’t feel any pressure to become personally responsible for the experiences of my participants but the funny thing is that I simply couldn’t help myself but take part in the conversation as a friend more than an interviewer. After completing my 23 interviews I felt closer to my friends with the better understanding I had gained of each one. Life is simple, if you can look at it in a simple way. Everyone, including you and me, is the beloved son or daughter of two parents.

I am so happy to have had the opportunity to create, compile and complete this project. To me it is a work of art, the art of friendship and humanity. I don't know how many people will come and see this project and out of those who do, how many will be moved by it but I hope that at a minimum this process has helped my friends in their journey through the future.

022 I 023

回頭來個總結

人生路漫長，我們各自抱存不同的記憶成長。某時某地，某人某事，烙下好壞印象。童年事無大小皆可佔據腦海，定時浮現。於大多來? ，我們的確長大了只不過為作應付繁忙生活。少有閒暇停下來回頭望過去。久而久之唯恐部份的你會一去不返。 I

此習作對我及朋友莫非大好機會，在人生半路暫停，嘗試再一次記憶過去。有幸得到 23 位朋友是次參與，有些相識多年，有些交情漸深。透過訪問，大家分享鮮為人知的過去，細看珍貴孩童照片。這些「大發現」全是我有史以來的光榮。過程中朋友們的反應表現不一能夠勇敢面對過去的不是隨隨便便。感謝他們的誠寅及信任，於我只好一輩子保守他們的故事。 |

有問：要容納這麼多人的故事是否很難？我想答案不會很難。雖然他們的經歷不由我去負責，但我往往顯得非常樂意細心聆聽每一個故事給予我可付出的見解。完成 23 次訪問後，我只覺得與各位朋友的親近關 |

係更甚。

生命志在簡簡單單。洞悉一切，方知原是天下父母心。很高興能完成此創舉（當然是於我來? 。它象徵著友誼及人性的真善美，超越了單純藝術價值。雖然無法了解到最後多少人會駐足觀賞，或有所啟思，至少希望我的朋友們能夠好好領悟過去 •展望將來。

"Conclusions 2005" is an effort to collect different people’s life experiences, at a stop of this yearÿthrough a video set up, demonstrate them to some more other people, and reflects to their own lives.

SS 參

The Graduates 畢業生

「回頭望過去」收集及探討不同被訪者的人生 SI驗於 2005 年來個暫停，回望他們的過去。透過錄像裝 H展示予更多的觀眾•各自反影出本身歷程。

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Crystallized the body, installation view Mixed media sculpture installation, dimension variable

?晶身軀•? 合展示混合媒介雕塑裝置，尺寸不定

Chan Kam Shing Chris 陳錦成

Crystallized the body Education ?宵背ft

2005

2003

Bachelor of Arts (Fine Art), Royal Melbourne Institute of Technology (RMIT) University ( Co-presented with the Hong Kong Art School, HKAC ) 澳洲皇家墨爾本理工大學文學士（藝術 (香港藝術中心香港藝術學院合辦

Selected Group Exhibitions 部分描展

2006

LEAP - Local East-Kowloon Art in Progress, Sing Win Factory Building 東棟動 - 觀塘藝術解構 •成運工業大?

2004

In Progress, White Tube, Hong Kong Arts Centre 進行中 •白管子- 藝術學院晝廊

The Fourth Dimension - Bachelor of Arts (Fine Art) Graduation Show 2004, Hong Kong Arts Centre 不確定的空間-學士學位（藝術港藝術中心

課程畢業展 2004 •香

Sculpture Non-Sculpture, la Space 雕塑復雕塑 • 1a 空間

2003

Extended City - painting exhibition, Taikoo Place Exhibition Area 城市擴張- 繪盡展 •太古坊展覽區

8 Stretching Memories - multimedia visual art exhibition, Shanghai Street Art Space Exhibition Hall 八憶空間- 多媒體視藝展 •上海街視藝空間展覽應室

The Re-appearance of "Tsang Tsou Choi", The Art School Learning Centre Galleries 再現“ 曾灶財 ”

藝術學院教學中心畫廊

Inseparable - an exhibition on small works, The Art School Learning Centre Galleries 形影不離 -小件作品展 •藝術學院教學中心畫廊

2002

in-side-out, The Art School Learning Centre Galleries

Firstly, I wanted to conduct a long term project. The plan was to observe the changing shape of my body over a period of time. The methodology employed was to document my body form through casting and copying processes and to record the shape of my body at certain stages and then to exhibit the different shapes of my body to reflect how my appearance changed over time. When I looked at the first plaster copy of my head, I felt amazed and curious because I had never seen myself in the third-dimension before. The copy was so familiar to me and the impact was very different from seeing an image of myself in a photograph or in a mirror. It had weight and occupied space. I could also touch, feel and observe the shape as a three-dimensional form. Of course I am aware that it is not <4meM but it made me question what it is to be "me" and how do I appear as “meÿÿÿ

I began my life in this world without knowing the reason over thirty years ago. My life network was developed in the process of meeting people, learning and living in my universal space. My life journey is constructed by my memories and the people around me. Simultaneously, I think the plaster copy should have its own life journey when it started to occupy a living space and left memories in someone’s mind. The cast copy from my body was created by me and it looked like me. People could recognize me from before. Others can learn that it is me even if we had never met before. So it can be described as part of “me” but as a stand alone object. The material ingredients became the identity and character of the copy. My work is to record a part of my life journey as well as the life journey of my copies.

表裡各2 ，藝術學院教學中心畫廊

2001

More More Cha Cha - Exhibition of Paintings, The Art School Learning Centre Galleries 喳咋 -繪畫作品展

藝術學院教學中心畫廊

I used foam to reproduce my body parts and then I put them into concentrated copper sulfate solution to crystallize. The foam will become totally covered by crystals from the chemical reaction and turn the foam blue. I cannot control the chemical process and the crystallized form is unpredictable. The foam is soft, flexible and elastic which makes it different from traditional casting materials, e.g. metal, steel and copper. The traditional materials are usually more durable and can last for a life time. In fact, all materials will be compromised structurally over a period of time and using foam to make sculpture as an alternative material will have a limited life span by comparison to traditional materials.

026 I 027

If using traditional materials to make sculpture is looking for a longer life time, then using foam to make sculpture is for a lesser time frame. In chemical practice, copper sulfate is used to reduce the decaying time frame. The foam may become more stable when covered by copper sulphate. The crystal of copper sulfate, however is easy to break and may change shape when it interacts with particles in the air. So I also have to accept the unstableness of copper sulfate when using it for my crystallized body sculpture.

Time and changes deliver us into unknown space in the future.

結晶身軀

原先，這只是_ 個對自己外表作長時間觀察的計劃，方法是倒模和複製自己的身體把自己某一時刻的外貌保存紀錄下來。當我把不同時期自己外貌的複製品並列展示時，我看到自己的外形隨著時間而轉變。 1

當第一個自己頭部的石裔複製品出現後，看著這個「我」時，心裡泛起了一種莫名的新鮮和陌生感，可能是我以前從沒有這樣看過立體的「我」。有別於平面的紀錄，複製品本身是佔有三度空間的物件並擁有重量，和我亦十分相似。以往只有透過相片或鏡子平面地看自己，如今終於可以立體地觀察，更可以觸摸。它雖然外表和我十分相像，但它並不是我。那麼「我」是甚麼？「我」又如何 |

形成？

We cannot catch and stop the time. We can only realize the existence of time through changes around us.

三十多年前，我被?進這世界，無故地開始存在，經歷著時間的流動，我和周遭的人、物和空間構成無數的關係網絡，而這關係網絡就分別紀錄在自己和他人的記憶中。「我」就是由那些自己的回憶和他人的敘述中建立出來，成為「我」自己生命的歷程。而那個複製的我是被我帶進這世界，佔據著空間和經歷著時間 •它理應有自己的旅程。自我身體的複製品，由我創造出來 •並擁有我的外表。認識我的人知道它是從我的身體模塑出來，不認識我的人可以觀察這複製品而得知我的外貌 •任何人可以透過它回憶起我或是認識我所以它是「我」的一部份。另一方面，複製品本身是一件獨立存在的物件它有自己的變化歷程，而用甚麼物料模塑出來，便成了這複製品的個特徵，亦是它的身份和個性。 |

我的作品就是 _次對這既是我的生成和變化的紀錄。

部份；也是一件獨立自存的複製品的

我先用發泡乳膠把我的身體部份模塑出來然後將它放在濃縮的藍礬（硫酸銅）溶液內任由它自然結晶，直至藍礬的結晶覆蓋著整個表面，把自己的外表隱藏在藍色的結晶底下。 |

柔我選擇用發泡乳膠先把我的身體部份模塑 •是因為乳膠的個性軟、富有彈性和容易變形。傳統鑲模人像，通常會採用一些堅硬的物料例如銅、鐵等金屬，期望塑像可以經歷外在環境的變化而不變，以垂長久之紀念。用金屬鑲成的人像可能比起真人存在得長久一些，但它是否永久不變呢？事實上，任何物料也會腐朽和破損，只是時間的長短罷了。 1

若果用堅固的金屬鑲像是喜歡它變化得慢，那麼用發泡乳膠就是喜歡它變化得快。工業上藍礬可作為防腐劑使用，從象徵的層面來? ，被藍礬結晶遮蓋著的乳膠塑像應會變化得慢些，但藍礬的結晶本身是很易碎和不穩定的，所以我的結晶身體跟本不能長期展示而不破損我必須要接受它的不確定性。 |

捨傳統的耐久物料而用易變的發泡乳膠，借用藍礬防腐保存的象徵意義但同時要接受它脆弱的物理狀態，種種不確定的變化因時間的流轉帶著我們進入無盡未知的空間。

Crystallized the body, details

結晶身軀，局部

時間早已存在，我們沒法捉摸，更不能阻止它前進，只有透過觀察事物的變化方知它的存在。 |

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Chan Kit Bing Sumee 陳潔冰 A Dialogue between Remembrance and Oblivion

Education

?宵背景 2005

2003

Selected Group Exhibitions 部分描展

2004

In Progress, White Tube, Hong Kong Arts Centre 進行中 •白管子- 藝術學院晝廊

2003

Infinite 3 三三不盡

Change . Thought . Narrative 易 ■思載

2001

Blooming Art

Selected Awards and Commissions 部分獎項和創作遨請

2003

Meli Melo Living Arts Award for Excellence

Existence is built up by memory. Man tries to capture his existence through recording his experience. This is translated into activities like writing, painting, sculpting and taking photographs. On a communal level, memorials are set up for collective memory. Through these activities, mankind makes an unceasing attempt to gather and store up experience. Recollection, the process of retrieving memory, literally refers to the re-collection of 'gathered material’.

Yet, partialness is a standing feature of memory. Forgetting is an inbuilt function of memory. Many a time, oblivion becomes a motivating force for remembrance. Indeed, if there is no forgetting, there is no need for remembrance as such. In the process of recollection, there are images, words and so on to focus on, followed often by doubts about materials that have not come to the foremost attention, and those that have. As a result, there is often a tension between attention and distraction, which is not often systematic in its presentation. With the advance of modern technology, we congratulate our increased capacity to capture and retain our experience. Yet as long as we, the human beings, remain the subject to process the captured materials, the memory is never complete. That is, we are destined to be haunted by, or blessed with, the tension of remembrance and oblivion. When memory is shared, oblivion is also shared, albeit not always on the same note. The reading of another person’s memory (or oblivion) would also invite the exploration of one’s own memory and /or oblivion.

Dialogue Version 2 (2) Print on paper, 16 x 16 cm 對話系列二（二）紙本印品，16x16 厘米

2005

030 I 031

記起，記不起

忘了，忘不了

存在可 ?是由記憶構成的。人類透過書寫，繪畫，雕塑和攝影，把經驗記錄起來去確認自己的存在。在群體的層面，集體回憶也透過紀念碑來得到確認。回憶，從英文的字義來? 就是重新收集存好的東西。 I

然而 •記憶從來就不是完整的。有記憶，就有遺忘。很多時候遺忘甚至成了記憶的動力。試想想如果沒有遺忘這現象的話，又何需記億呢？在記憶的過程中，我們會把焦點放在影像文字等等之上卻往往會記掛未有在記憶中出現的東西，也同時懷疑所記得的東西是否正確。結果形成了注意和分心之間的一股張力，而這股張力往往沒有一定的表現模式。 I

科技進步，令人類對自己記錄經驗的能力信心大增。可是只要是由人去主宰經驗的記錄的話，遺忘還是免不了的。不管是祝福還是咒詛，這股記憶和遺忘之間的張力還是會緊隨左右。 I

分享記憶的同時，也分享遺忘，雖然牽涉的內容不儘相同。當我們? 讀別人的記億（或遺忘）的時候，亦會引發自己去探索個人的記憶及 /

或遺忘。

Dialogue Versionl (27) Print on paper, 12 x 15 cm 對話系列一（二十七）紙本印品 12x15 厘米 1

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2006

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Graduates

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Chan Kwan Lap Eddy 陳君立 Education

?甯背最 2005

1985

B.F.A., Concordia University, (Montreal, Canada) 獲加拿大蒙特利爾康戈狄亞大學藝術學士銜

1981

completed a certificate course in Modern Chinese Ink Painting at the Department of Extra-mural Studies of the Chinese University of Hong Kong 修畢香港中文大學校外進修部現代水墨畫文憑課程

Selected Individual Exhibitions 部分個展

2000

'Shadow Mural' the Chinese Ink Painting Exhibition by Chan Kwan Lap, presented by the Leisure and Culture Services Department in Hong Kong 「影壁一陳君立水墨畫展」於沙田大會堂及屯門大會堂 • 香港康樂及文化車務處主辦

1996

'Exhibition of Modern Chinese Ink Painting by Eddy Kwan-lap Chan’ presented by Centre des loisirs de Saint-Laurent in Montreal 「陳君立現代水墨盡展」於滿地可聖羅倫市立文化中心

1995

'Exhibition of Chinese Ink Painting by Eddy Kwan-lap Chan - NEW BUDS REBORN' the Municipal Library in the City of Kirkland, presented by the City of Kirkland in Montreal 「陳君立水M創作展一新芽再露」於滿地可格克蘭市立 ?書館，格克蘭市政府主辦

1992

'Chinese Ink Painting Exhibition by Eddy Kwan-lap Chan', Art House of Collectors (Hong Kong) 「陳君立水 S盡展」於收藏家畫軒（香港

1991

The Best of Visual Arts Scheme" 'Chinese Ink Painting Exhibition by Eddy Kwan-lap Chan', presented by the Regional Council Hong Kong 視藝精英計劃「陳君立水墨畫展」於香港沙田大會堂及荃灣大?堂 •香港區域市政局主辦

1990

Origin of Life' - Modern Chinese Ink Painting Exhibition by Eddy Kwan-lap Chan, Taichung Municipal Cultural Centre, R.O.C. 「生之源」一陳君立現代水墨盡展於台中市立文化中心

034 I 035

Selected Group Exhibitions

Selected Collections

部分聯展

部分收藏

2006

Contemporary Hong Kong Ink Painting Exhibition at the Central Library Hong Kong

Hong Kong Museum of Art (Urban Council Hong Kong) 香港藝術館 (香港市政局

當代香港水墨大展 2006 於香港中央圖書館

Taipei Fine Arts Museum 2005

台北市立美術館

'The fifth Contemporary Chinese Landscape Painting Exhibition* The Museum of Hu Nan Central Academy of Arts

Taiwan Museum of Art

「第五屆當代中國山水畫展?大型學術活動」於河南鄭州

台灣省立美術館

中原書畫院美術館

National Taiwan Art Education Institute 2001

The fourth Contemporary Chinese Landscape Painting Exhibition and the Invitation Exhibition of Famous Chinese Landscape Artist' Museum of China 「第四 ?當代中國山水畫展K 中國山水名家遨諝展 J 於中

國立台灣藝術教育館

Jiangsu Province Museum of Art (China) 江蘇省美術館

國美術館

Chengdu Modern Art Exhibition Hall (China)

1994

The Exhibition of Modern Chinese Ink Painting' Taiwan Museum of Art 「中國現代水墨畫大展」於台灣省立美術館

'Beijing International Ink & Wash Painting Exhibition ’88", the Academy of Chinese Ink Painting

1988

「北京國際水墨畫展 _88」於北京中國盡研究院

Master Choice Exhibition of International Modern Chinese Ink Painting - traveling exhibition in Beijing China, Australia and 15 main cities in South East Asia' presented by International Ink Painting Association Beijing 「國際現代水墨晝名家精選巡迴展」於北京、澳洲及東南亞約十五個主要城市

成都現代藝術館

Selected Bibliography and Art Magazine 部分參考書目及藝術雜誌

Chu Tsing LI, C.L.MAN, 2003. Modern Art History contemporary section 1950 - 2000>. of China Rock Publishing International. 李鑄晉、萬 ff 力 • 2003. 「中國現代繪畫史」〈當代之部 —九五0至二000〉石頭山出版股份有限公司

LEE Chun-yi, 2001. Selected Articles of Hong Kong Modern Chinese Ink Painting. Published by Hong Kong Modern Chinese Ink Painting Association. 李君毅

2001 •「香港現代水墨畫文選」，香港現代水

M畫協會出版 Selected Awards and Commissions 部分獎項和創作遨請

Dan Fung, March,1992. Art of China No. 79. 丹峰，1992 年3月 •「中國文物世界第79期」

2005

2001

Awarded the prize for Creativity in the 5th Contemporary Chinese Landscape Painting Exhibition by the Central Ink Painting and Calligraphy Academy

S.F. Lee, August,1991. Dragon Root Art Magazine. August publication.

獲「大河春天 •第五屆當代中國山水畫展」創新獎

李省非 • 1991年 8月 ■「龍語文物藝術」 8月刊

Awarded the highest honorary prize of special invitation in the 4th Contemporary Chinese Landscape Painting Exhibition in Beijing, China 獲第四屆當代中國山水畫展國家級藝術評審委?會特遨榮譽獎

1990

Awarded a distinction prize in The Grand competition of Modern Chinese Ink Painting and Calligraphy' by the Foreign Cultural Exchange Association of China 獲中國對外文化交流協會「中國現代害畫大?」優秀獎

1988

Awarded a prize for 'Creativity in Modern Interpretation of Ink and Colour’ by Taipei Fine Art Museum 獲台北市立美術館「墨與彩的時代性」一現代水墨創新獎

Awarded a prize of distinction in ‘Beijing International Ink & Wash Painting Exhibition '88” by the Academy of Chinese Painting 獲中國畫研究院「北京國際水墨畫展 ’88」優秀作品獎

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Life Water Source No.l Chinese ink and color on rice paper, 48 x 180 cm 活水源泉（一）水墨設色紙本 48 x 180 厘米 1

2005

I like to explore possible methods of rendering Modern Chinese Ink Painting based on my personal conceptual target to indicate that the root of the tree represent the origin of life, It plays the role of a hidden potential of fertility, a rising tide and also a burning volcano about to light up the sky, I no doubt mean these roots as a metaphor for the human race and our ability to endure all obstacles until we see a day of rebirth. “Root” also stands for the beginning of human race. I would like to extend the Chinese Ink Painting culture from the origin to the one at present or even in the future for human race through my devotion in my work. There is an idiom in the Chinese society. It says that a soaring tree must have its own root while the water surrounding the mountain must have its original source. Both the root and water bear the same meaning that life is the main conceptual idea concealed behind. As I frequently apply in my work these two elements water and root, I really hopes that when the viewers see my work, they can grasp and read my conceptual meaning in my recent creative pieces of work, which is expressed by applying another form of water images like snow and cloud etc.

我的作品是以樹根為主題，把根的生態活現在觀眾面前，給人一種潛藏於內的生命力的感受，藉以歌頌生命的源頭一根。在我早期的作品中，經常可以看見光禿禿的樹枝，在冰封千里的大地上，幹根依然挺起腰板，力抗嚴寒，苦難壓不倒，反之把它們磨練得更有生命的力量，在幹根體內，隱然流著火熱的血，只待冰消雪解，春回大地，便再次萌芽發枝，化出蒼翠美麗的大地。[根] 是生之源； [根] 也是代表民族之始，但願以此能尋找民族文化之源，把蘊藏在內心無限的熱情凝聚於水墨之中，傳達出我對生命的熱愛，對民族和人類未來的寄望。中國民間有兩句 ?話：「參天之木必有其根，懷山之水必有其源」。「根」與「水」同時隱藏著「生命之源」的含意，故在我近期的作品中，也經常運用到「水」的另一狀態，如「雪」和「雲」等表達途徑來舒發我內心的感受。

036 I 037

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Found Objects Transformation Plan White porcelain, dimension variable 「棄置物轉化計盡」白瓷土，尺寸不定

2006

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Chan Sin Man Miranda 陳倩雯 Education ?宵背景 2005

2002

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Selected Individual Exhibitions 部分個展

a passer-by slows down..." On Site Environmental Clay Work In-Progress - Found Objects Transformation Plan, Campus Circuit East CUHK, HK

2005 -06 "When

「過路人 •慢下來 ••••ÿ 實地環境土作進行一棄置物轉化計耋 •香港中文大學環迴路東 •香港

Selected Group Exhibitions 部分聯展

2004

"Garden's Whisper" Installation Art Exhibition 2004, Artist-In-Residence Project, Kadoorie Farm and Botanic Garden, HK 「花困嫕語」裝置藝術展 2004 理農場暨植物園 •香港

藝術家駐困計? ，嘉道

"ln-Progress"IThe White Tube, Hong Kong Arts

Centre, HK ，白管子，香港藝術中心 •香港

2003

"Dream Garden" Art and Environment Exhibition 2003, Kadoorie Farm and Botanic Garden, HK Gardenÿ 環境與藝術展?會 2003 ，蒸道理鹿香港

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"Macrocosm & Microcosm/Le Songe Creux", Hong Kong Academy For Performing Arts, HK 「大宇宙與小宇宙 /虛空想」 •香港演藝學院 •香港

"Infinite 3" Bachelor of Arts (Fine Art) Graduation Show 2003, Hong Kong Arts Centre, HK 「三三不盡」藝術學士畢業展 2003•香港藝術中心 •香港 “Change-Thought-Narrative", Meli Meloÿ Zen+City, HK 「易

思

截」，Meli Melo，Zen+City ，香港

Selected Awards and Commissions 部分獎項和創作邀請

2003

Meli Melo Living Arts Award for Excellence, Meli Melo Limited, HK

Meli Melo Living Arts Award for Excellence Meli Melo Limited ，香港

1980

Young Artists of the Commonwealth Exhibition (Hong Kong), Hong Kong Arts Centre, HK Young Artists of the Commonwealth Exhibition (Hong Kong) 香港藝術中心 •香港 |

1979

“When a passer-by slows down, starts sensing the ground and his surroundings, recalls his memory of the landscape and looks for his proper position in it, he might discover himself located in an intersection of complex connections with diverse materials, structures and beingsÿ where all elements undergo years of transformation, conflicts and interventions, they are now co-existing or merged together to form the space he lives

Young Artists of the Commonwealth Exhibition, Commonwealth InstituteÿLondon, England Young Artists of the Commonwealth Exhibition • Commonwealth Institute : London ，英國

Along Campus Circuit East in CUHK, on the pathway situated in an unpopulated green area, I regularly practice a 25 minutes walk connecting the way from home to the outside world. The routine walk, started for a practical need, grew into a consistent habit, then turned into an artistic exploration, it witnesses an ordinary act progressing into an environmental event, derived from curiosity of a neglected association between an individual and his/her existing space, focusing ? ? the fading relationship connecting passers-by and their stepping ground.

Walking on the pathway, sensing its surroundings and thinking of a ? individual’s role in it - day after day I cross the familiar landscape, with prompt strides in the morning light and leisurely steps under the sunset glow, experimenting intimate sensations and secluded feelings in a public space. Behind its organic artificial setting, in response to the delicate sequence of the natural world or the hasty interference of mankind, numerous energetic activities are concealedÿ subtle or perceptible, they challenge the instinct of the passers-by, awaken their physical senses, urge them to sense the site with novel perspective, thus stir up erratic excitement into a monotonous practice. From corporeal to mental, the sensual playground activates physical responses, it simultaneously beneficiates their mind activity. The thoughts of the passers-by are liberated, pursuing their foot steps touching the ground or the perceptions entering their surroundings, to travel inside-out of matters, spirit and time crossing over their boundariesÿ related issues might expand and contract infinitively from personal to public, then return to the fundamental concerns about the origin of one’s existence, value, behaviors and connections in the living environment and their physical and mental relationships in it. Based on a personal journey, the art project Lot No. STTI437RP&Ext - Campus Circuit East is a site specific investigation, focusing on the material and mental interactive connections between the ground and the passers-by. Through the medium of reproduction of found objects transmuted into a series of sculptural ceramic bodies, presented on site or as indoor installations, it reflects the characteristics of an environment fusing natural and artificial elements, exploring the physical and mental interactive responses of an individual engaged in such a space.

038 I 039

「當過路人慢下來，環顧四方，感知土地 ■記憶身處的景地，尋找自頓然警覺踏腳於萬物混雜交結點；環境內的各樣元素 •經 _ 歷多年的轉變、衝突與干擾，現正共存融和於同天空下••••」存的位置

沿中文大學環迴路東人煙稀疏而茂綠的地段，每天走過二十五分鐘，那出外和歸家的路。走路，始於需要，漸成習慣，後轉為藝術探索見證日常行為至環境創作的演化；這演化是源於好奇，對人與存在空間被忽視的聯繫 •和過路人與土地關係消退的關注。 1

行走小路上，環顧四方，思考個人於環境內的角色一每天走過這熟識的地景，晨曦時趕急步促，日落時散步隨緩，於公共空間中經驗親密的感知和獨處的感覺。於自然而人為的地景背後，因應大自然巧妙的秩序節奏和人為的急進干擾，隱藏著無數活潑的變動；含蓄的或可瞻視的，它們均挑戰路過人的反應本能，喚醒其肉體的感官，帶來嶄新的視野，給單調的走動帶來不經意的刺激和興奮。

從肉體至精神 •這感官遊樂場激? 身體的感應，同時也增進思考的活動。隨腳步接觸地面，依視野遊歷四方，過路人的思想被全面釋放，跨越界限，自由出入物體、精神和時空之間；思考的題目被無限擴張和收涉，從個人走向大眾，再回歸至問題的本原，那些關乎個人的存在、價值、行為操守、於存活環境中的聯繫以致存在其中那身體與心靈的關係。 1

地段一環迴路東」的創作，建基於個人遊記，經驗竇地探索，集中探討土地與過路人間那物質與精神的互動關係。以棄置物的複製轉化為一系列的陶塑作品，以戶外地景或室內裝置的手法呈現；反映於自然與人為元素共融環境下的各樣特性，並探討處身其中種種身體與心靈感知的互動反應。

Found Objects Transformation Plan White porcelain, dimension variable 「棄置物轉化計畫」白瓷土，尺寸不定

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Drawn Mixed media (metal, terracotta, wood) 220 x 122 x 336 cm 引混合媒介（金麻，紅泥•木) 220x 122x336 厘米

2005

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The Graduates

畢業生

Chen Hui Lien, Denise 陳惠蓮 Education 教甯背 ft

2005

Master of Fine Art, Royal Melbourne Institute of Technology (RMIT) University ( Co-presented with the Hong Kong Art School, HKAC ) 澳洲皇家墨爾本理工大學S術碩士 (香港藝術中心香港藝術學院合辦

2001

To me, when the road to artistic creation is narrowing, it often happens that, seemingly from nowhere, many unforseen possibilities seem to emerge. With this fleeting swirl of chanced ideas and forms, I allow myself to float to and fro in a seemingly bounded sphere and I am able to fully explore my sense of curiosity.

Yet, in order to read into my work, I have always entangled in a juxtaposition of ambiguity with the obvious and obscure. This experience has often been repeated and lingered upon long after the work has been completed. It seems with close scrutiny, the inside nature of the work becomes vividly alive

Selected Group Exhibitions 部分?展

2006

'Cracker' ( Hong Kong Visual Arts Centre) 克力架 •（香港視*藝術中心）

2005

'Brink' (Chai-Wan) 臨界 •（柴灣工業中心）

2004

In Progress ( Hong Kong Arts Centre) 進行中

( 香港藝術中心

Happy Works ( Hong Kong Visual Arts Centre) 大喜作業 •（香港視# 藝術中心）

2003

Traces (Shanghai Street Artspace) 痕跡 •（上海街視藝空間

2001

I have tried to rationalize this situation. This response is to due to the intertwining, seemingly often obscure and constantly evolving state of artistic creation. This state represents my true feeling and thoughts about art. Clay has been my most familiar creative medium. But it has also confined me to a mode of traditional thinking that is not easy to transcend. This confinement is not due to the limitation of the expression of ideas or the physical properties of the material. Very often, it is more to do with my floating and unsettled character, trying to feel at ease within the context of conventional pottery.

Teapot Gala (Cobo Ceramics Studio) 壺陶九 •ÿ 大陶工作室）

Selected Collections 部分收藏

Hong Kong Heritage Museum 香港文化博物館

Private Collectors 私人收藏

Two years ago, I started the MFA program with a clear directionsteer away from using clay to create my work. This has not been successful. From the initial research to the formulation of ideas, thinking in terms of clay has dominated the entire process of development. In conclusion, the finished work is the result of integrating clay with other alternative materials.

‘Brink’ is made up of three pieces of work - ‘Drawn’ÿ‘Uncertainty’ and ‘The Ultimate’. The main exploration is the response of a person when facing something unknown. Trying to combine a familiar medium with new materials is totally different from handling just clay. The challenge, because of the many variable outcomes and situation is a truly memorable experience. Drawn I placed the needles into the soft clay repeatedly thousand of times. The physical changing state of clay created a sense of the "Drawn" from the concentrated attention to mechanical repetition. The distance between me and the needles began to blur as it gradually took its shape. This is one of the works from ‘Brinkÿ. ‘Brink’ is about a state of mindÿa situation that leads to the threshold of unknown space, unforseen danger or unexpected stir. 「引」「引」 •是一個緩慢而不易察覺的過程。由一開始專注的、重覆的，到最後無意識的陷入一種不可逆轉的狀態。「引」是臨界 J 作品其中之一，擬述的是，人在臨界邊緣面對即將發生或不可測知的未來，所產生的一種心理狀態。

042 I 043

藝術創作的路程於我總在愈行愈窄處，不經意的發掘、造就了許多可能性。也正是這種不特定、偶然的概念與形式，我允許自己踩在既定的限制框架上兩邊游刃讓自己的好奇心得到最大的延伸。 I

然而，我對自己作品的可讀性，常常陷入種模棱兩可、正反欲辨的膠著局面。而這樣的經歷，往往延續到作品完成之後，很長段時間，仍不斷地被重覆演練著。似乎作品的主題性在如此重複，恣意的檢視思考下，便可以變得清晰可讀。我嘗試合理化。會有這樣的反應是源於對藝術創作的認知裡重重# 疊，不一定清楚，也不斷在?變的狀態所衍生而來。而這種狀態，某方面也正是我對藝術最真切的感覺與想法。 1

陶土是我一貫創作的素材，儘管熟悉卻也曾苦苦掙扎於種種傳統制約的困境 •以為無以拓展。唯其所謂制約無關乎意念的表達或者物料物理性的限制，而是在於自己性格裡，游離的不安定的意識形態，處在既定的框架上，顯得力不從心。 1

過往的兩年一開始在決定方向時，刻意不去選擇陶土作為創作的物料。然而由資料搜集到主題概念形成當中，創作陶土的思考方式，卻往往主導整個意念的發展。最後在完成作品的呈現形式上，雖然不離陶土，也只是利用其功能性融合其它物料的結果。 I

，是由「引」，不定」 Ultimate) 三件作品組合而成。主要擬 (Uncertainty) ，「終極」述的是，人在臨界邊緣，面對即將發生或不可測知的情況下所產生的種種心理反應。此次作品「臨界」

「

作品中熟悉與不熟悉的物料在融合的過程裡是有別於以往只處理一種物料的方式。於是創作的過程中 •不定的因素特別多。但也就是如此，這次的經驗對我而言，意義十分深刻！

The Ultimate

Metal ball, wire, 80 x 80 cm ?極金屬球，鐵線，80 x 80 厘米

2005

The swinging ball brings out extreme feelings - with eyes open and with eyes closed. 重量的擺盪一極端的感受

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?宵背景 2005

2003

Bachelor of Arts & Diploma in Education, The Chinese University of Hong Kong 獲取香港中文大學教育文憑

乜

1996

Bachelor of Arts, The Chinese University of Hong Kong 香港中文大學藝術系畢業

Selected Individual Exhibitions 部分個展

2003

The Match Girl", Hong Kong Cultural Centre 《賣火柴女孩》互動裝置展

1996

香港文化中心

"Cocoon Speaks Again", Hong Kong Cultural Centre 《繭索

1995

My inspiration is sourced from my observations of the misbehavior of youth. Self mutilation with razor blades has become an all too popular trend among teenagers. They indulge in this practice primarily to gain attention and care from others. As a teacher, working closely with young people, I find it ironic that they often value their clothing more than their bodies. Consequently, using the analogy that clothing performs the function of protection for the body and school uniforms represent the students1 identity, I have symbolically combined the hair from many of my students as a material to 'weave' and integrate into a piece of cloth which I have then tailored into a school uniform. By matching the hair with the clothing in a symbolic manner I hope that it will convey the message to young people that they should treasure their bodies and their lives.

香港文化中心

"Cocoon Speaks", Hong Kong Cultural Centre 《繭?》•香港文化中心

Selected Group Exhibitions 部分瞄展

2005

Artworks by Hong Kong Teachers 2005, Hong Kong Central Library

<教藝兩全2005》 2004

香港中央圔書館

"In Progress", Hong Kong Cultural Centre 「進行中」，香港藝術中心十檯白管子展覽靡

2003

Artworks by Hong Kong Teachers 2003, Hong Kong Central Library

<教藝兩全2003》•香港中央圓書館 1996

"Divine Trip", Hong Kong Cultural Centre 《天路歷程某一站

> ，香港文化中心大堂

Graduate Exhibition of Fine Arts Department, Chinese University of Hong Kong 中文大學藝術系畢業展 •香港中文大學文物館

"New Horizon in Art", Hong Kong Visual Art Centre 香港藝術新領域

1995

香港視覺藝術中心

Hong Kong Installation Festival 1995, Hong Kong Art

Centre 香港裝置節

1994

"Exploration-Human Painting", Chinese University of Hong Kong

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香港中文大學

And even the very hairs of your head are all numbered, installation views Acrylics, Human Hair, 300 x 40 cm 你們的頭髮也都被數過了，組合展示塑膠彩，頭髮， 300 x 40 厘米

2005

046 I 047

我的靈感來自一種時下年青人的異常行為「? 手」。「? 手」是他們發洩情緒的方法，目的是希望得到別人的注意和關愛。在這個著重物質生活的時代年青人愛惜身體的程度往往比衣服鞋襪等身外之物更低。我嘗試把校服（代表學生身份和保護身體的工具的布料改變成身體的質感，概念上是把保護靈魂的髮虜和保護身體的衣服倒置希望藉此表達出身體是保護生命的第一層屏障 > 應該予以珍惜。

And even the very hairs of your head are all numbered Acrylics, Human Hair, 300 x 40 cm 你們的頭髮也都被數退了塑膠彩 •頭髮 • 300x40 厘米

2005

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2005

The Graduates

畢業生

120 x 121 厘米

Chung Po Yang 鍾普洋 The Post-scholar Style

Don’t be disappointed by a simple way of arriving at an unexpected result. Don’t be disappointed by simplicity.

Education

?育背景 2005

Master of Fine Art, Royal Melbourne Institute of Technology (RMIT) University ( Co-presented with the Hong Kong Art School, HKAC ) 澳洲皇家璺爾本理工大學藝術碩士 (香港藝術中心香港藝術學院合辦

1969

B.Sc., Humboldt State University, USA 理學士學位 •美國坎培爾加州州立大學

Selected Individual Exhibitions 部分個展

2005

Po Chung Solo Exhibition at Gallery Holly Snapp (Venice, Italy) 在意大利威尼斯 Gallery Holly Snapp 舉行個人展賢

2004

Po Chung's Solo Exhibition at Gallery VRG (Paris, France) 在法國巴黎 Galerie V.R.G. 舉行個人展覽

Colourful Life and Brilliant Landscape Painting Exhibition of Po Chung at The Lee Gardens (Hong Kong)

r 人生絢?山色?漫」在香港利園舉行首次個人展覽

Selected Group Exhibitions 部分辟展

2005

Six Painters Create An Art Discourse With The Audience Through Painting at laSpace (Hong Kong) 「繪晝M來」在香港 1a space 空間舉行

2004

'In Progress' at White Tube Gallery (Hong Kong) Progressÿ 香港藝術中心白管子舉行

2003

'Art in the Summer Gardens Exhibition' at The Lee Gardens (Hong Kong) in the Summer Gardens Exhibitionÿ在香港利園舉行

'A Contemporary Chinese Painting & Calligraphy Exhibition' at The City Hall (Hong Kong) 「中國 ?畫十人展」在香港大會堂舉行

Selected Awards and Commissions 部分獎項和創作邀請

2006

St. Stephen's College Centennial Memorial Building, free-hand calligraphy building sign (Stanley, Hong Kong) 為香港赤柱聖士提反 ?院百年創校紀念大樓題?

2003

Three landscapes ink & colour on paper by the Shangri-la Hotel, Garden Wing (Singapore) 為新加坡香格里拉酒店大堂繪作三幅水墨設色畫

Two Chinese calligraphy couplets carved on wood by St. Stephen's College (Stanley, Hong Kong) 為香港赤柱聖士提反害院書法對聯乙對以木雕刻

Selected Collections 部分收藏

2002

Collection of 10 lithographs of Landscape by Mourlot (Paris Studio) 10幅原創石版畫為法國Mourlot 版畫工作室收隸

Selected Bibliography and Art Magazine 部分參考書目及藝術雜誌

Masterfield, M. 1996. Painting the Spirit of Nature. New YorkÿWatson-Guptill Publications.

Richards, D.P. 1995. How to Discover Your Personal Painting Style. OhioÿNorth Light Books. Appellof, M.E. 1992. Everything You Ever Wanted to Know about Watercolor. New Yorkÿ Watson-Guptill

Publications.

Chung Choong, Esq., my father Simplicity is at the heart of the world’s great ideas. In many ways, the challenge that I faced, the challenge that many artists face, is to create work from within a familiar vocabulary, so familiar as to be called fundamental, but which can express the unique message of the maker. There’s nothing new under the sun, so the saying goes, and what follows is the story of taking basic painting elements, combining them in a novel way, and use this new visual syntax to produce unexpected results. This has resulted, in short, in what I have called the Post-scholar Style.

In China, there is painting tradition with a facet that does not have a parallel in the Western canon, that of the Scholar style*. This scholar style was the umbrella term historically used to group the four hobby arts (music, game of go, calligraphy and painting) practiced by China’s scholars. These arts served as therapeutic releases from the stresses and anxieties that came from the demands associated with intensive studies. Regardless of the tradition or aesthetic position one brings to the studio, painting can deliver a social and psychological function. Contemporary Chinese culture no longer has the social class of scholar, as the road to success has diversified. Today’s businessmen, executives, professionals, academics and homemakers have replaced yesteryear’s scholar class.

Until 2002, I had concentrated my creative efforts within the practice of the calligraphic arts, attaining a skill that was advanced and successful. Beyond brushing inks to inscribe characters, however, I rarely ventured far into the more expressive arts. A few paintings of lotuses, bananas and some illustrations of bamboos were all to be found in my repertoire. These paintings didn’t echo the scholar style, didn’t break authentic, expressive ground, and also failed to evoke deeper meaning or passion on a subjective level. Then, as with all eureka moments, it seems that I was hit by a decisive, watershed moment. To say that it only took a day to discover my unique expressive style isn’t accurate, as I was eliminating ideas all along, leaving one expressive methodology to stand out. Just as writers and composers edit as they go, just as entrepreneurs freeze moving ahead with a product in order to refine and adjust, I was also refining a visual language that would deliver my impulse to canvas. My style merges Chinese and Western traditional techniques and materials, fusing both cultural histories and pooling the advantages from the classic materials. The work’s energy is conveyed by combining stroke and colour in a way that is

050 I 051

J- .

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Blue Mountain, Red Mountain Ink and Color on Paper, 117 x 215.5 cm 藍紅對奏水墨設色紙本 117x215.5 厘米 |

2004

identifiably Chinese as well as Western. The colours reach out to I the viewer and the brush strokes keep the gaze moving, all the while anchored in a tradition that is as Chinese as it is Western. Typically, traditional Chinese paintings project power and grandeur through size. Bold brush strokes were rarely used, a feature further undercut by the muted palette that was preferred by the classic painters.

Another method I developed to augment expression is through the power of splashes and flash effects coming from the use of ( colourful paint. By adding the black Chinese ink or strong colour from the reverse side of the thin tree-bark paper, I visually deliver j a flow not typically seen in Chinese works. This underpainting j technique is particularly effective if I use it with a bright light! colour on the viewer-facing surface of the painting.

••籲

•

The Graduates

畢業生

後文人風格「勿因以簡單的方式而獲得意外之結果而失望。勿因純樸而失望。」家父鍾重先生

純樸是世界上各種偉大思想的核心。有很多方面，我所面對的挑戰也是許多藝術家所面對的挑戰，它正是運用熟悉的辭彙，熟悉致可稱之為基本詞彙表達出創作者獨特訊息之作品。這? 起來並不新穎，無非是採用各種基本的繪畫元素，以新方法把它們揉合，把當中所產生的新視覺排列帶來意外的結果。簡而言之，這過程我稱為後文人風格。 I

}

在中國，有一個層面的繪畫傳統，與西方經典原則不 _致，這就是「文人畫」。這一學者風格曾是個統稱的詞語，歷史上用來將中國文人從事的四種業餘藝術愛好（琴、祺、書、畫）歸類在一起。那時這四種藝術被視為精神的調劑，以解除文人刻苦學習而產生的壓力和焦慮。

儘管有人賦予繪畫在傳統或美學上的地位，其實繪畫也可以作為一種社會和心理上的功能。當代中國文化不再具有文人這一階層，因為走向成功道路已經多種多樣了。今天的企業家、行政人員、專業人士、學者和持家者已經代替了昨天的文人階層。

m 卑‘

我的風格彙集了中國和西方傳統的技法和素材，融合了兩者的文化歷史，集中了來自經典素材的各種優點。創作的能量透過一種筆法和色彩的結合表現出來，其結合的方式均可追溯中國和西方的繪畫。各種色彩邀請觀賞者一同欣賞 •而筆觸則使觀者的注視點躍動，切都源於中國和西方的傳統。一般來? 中國繪畫是通過大小來突出其威力和宏偉的，過去很少使用渾厚的筆觸來表達，卻以減弱墨色的濃度比較為古典畫家所喜愛。

我創作了增加表現力的另一方法，就是使用豐富油彩的飛濺力量和閃爍效果。從薄薄的樹皮縐紙背面添加中國水墨或強烈的顏色，我傳遞了一種視覺上的流動感，這種表現手法在中國作品中並不常見。若這一背底塗技法在畫作正面配合明亮的顏色會有更好的效果。

FM\ Hi In the studio, my painting compositions are improvisational and spontaneous in character and execution. It may take a long while to build up the ‘feel’ of my next paintingÿbut by the time I stand in front of my painting table, my composition flows, waiting to be executed in a practice that is natural, therapeutic and meditative. This exercise is what I refer back to the scholar’s tradition, one that Chinese culture’s post-scholars can make their own.

在畫室裡，我的繪畫創作是即興的，同時製作並完成它。我可能要花上長時間來蘊釀我下一幅作品的「感覺」，但當我站在畫桌前時，構思便會如同泉水般源源不絕，聽候我將它躍然紙上。這是一個自然湧現、有治療作用和沉思的過程。這一歷程使我返回文人傳統，一個中國文化的後學者可將它演變成為自己特色的過程。在我的創作和實踐中，繪畫就是繪畫的行動，大致是按照襌宗的「在喝綠茶時喝綠茶」之實踐。專心繪畫的行動，如實地表達事物，是我在自己的後學者風格中的所衍生的驅動力和領略到的真誠。

In my compositions and in my practice, painting is the act of painting, roughly in accordance with the Zen practice of ‘drink green tea when you drink green tea’_ To be present to the act of painting, to express what is being expressed while it is being expressed, as it were, is the drive and honesty I create in my post-scholar style.

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? :轉

Fung Bo Ming Victor 馮寶明 Education ?宵背景 2005

2002

Diploma in Philosophy, University of Hong Kong (HK)

The idea of this studio research project was to create an unidentified environment together with a subject(s) in order to achieve a simple and static panorama in a visual and narrative form. Inside, the figures were the main subject while the environment was a subsidiary element. The major part of the project was to visualize and compose two identical figures within one see ? 6 with various actions and behaviour via scripts or improvisation...

哲學文憑 •香港大學，香港

1994

3-D Computer Modelling & Rendering, University of Toronto (Toronto, Canada) 三維箱腦製作證害

1993

多倫多大學•多倫多

加拿大

BA (Hons) Fine Art, Nottingham Trent University (Nottingham, UK) 藝術 (榮譽) 學士 •諾丁漢特倫特大學諾丁漢英國 |

1992

Exchange Student, Academy of Fine Arts (Prague, Czech Republic) 交換生 •布拉格藝術學院，布拉格 •捷克

1990

Graphic Design, De Montfort University (Leicester, UK) 平面設計 •地蒙佛大學

1989

李斯特城 •英國

Art & Design Foundation, (Nottingham, UK)

Trent

Polytechnic

藝術設計證番，特倫特理工學院 •諾丁漢 •英國

Selected Individual Exhibitions 部分個展

2006

White Tube Gallery, Hong Kong, China

Culture Club Gallery, Hong Kong, China |

“The conception of this project is purely about dialogues of thoughts between oneself - a confession of belief and conflicting emotions about life and ways of living. Thoughtfully speaking, I see art / artwork as a form of a visual or sensory medium, headed by Philosophy and Spirituality, which are something logical and emotional. The questions of dilemma are balance and interpretation.” “I intend to achieve a conclusion and definition for my ideal art form, which is something natural, simple, realistic and most importantly, to express one’s subconscious and ego, and to construct a sense of self-awareness in order to gain a better understanding between art, mankind and things around me. I believe this is the fundamental principle of my philosophy.”

白管子 •香港

Culture Club Gallery

“In this case, I wish to construct a non-verbal conversation between the subject, artist and viewersÿ I see this interface as an important interaction and communication between mankind. Moreover, I desire to reflect one’s identityÿcharacter and attitude as the major and final outcomes of this project.”

香港

Selected Group Exhibitions 部分瞄展

2006

Galerie des Arts et de la Culture, Hong Kong, China Galerie des Arts et de la Culture •香港

2004

The Art School Gallery, Hong Kong, China 香港藝術學院畫廊

1994

香港

Del Bello Gallery, Toronto, Canada Del Bello Gallery ，多倫多

1993

“You maybe able to find or define different layers of meaning inside the dialogues. Life is a chain of episodes and that reflects the thoughts passing through my mind. After all, this is my confession.”

加拿大

Bonington Gallery, Nottingham, UK Bonington Gallery 諾丁漢 ’英國 |

1992

City Gallery, Leicester, UK City Gallery 李斯特城，英國 1

The University / College Lecturer Union, London, UK The University /College Lecturer Union, London 倫教，英國 1

A brief conversation about dreams with Ms Sokolova and Mr Aquarius Digital image, 50 x 25 cm 關於要的對話數碼影像 50 x 25 厘米 |

2006

054 I 055

這創作計劃的意念是創造一個不能確認的環境，環境中會出現多於一個的主體，藉此希望以視覺及敘事的形式營造一個既簡單又靜止的景象。在作品中，人物是主體；環境則是輔助的元素。創作的主要部分是將兩個相同的人物按劇本或即興他們有不同的動作和行為），組織並呈現在一背景中。

為一種視覺或感官的媒介，在此之上其實是哲學和精神性，是那些兼具邏輯性和感性的東西。而平衡和詮釋正是兩難的問題。」

「在此情況下 •我期望在作品中的主體、藝術家和觀者之間建構一種非語言的對話；我認為這種接觸面是人與人之間一種重要的交流和溝通。而且我渴望此創作計劃的主要及最後成果中能反映個人的身份價值、

「我企圖為心中理想的藝術形式下個結論和定義，那該是自然的、簡單的、真實的，最重要是表達個人的潛意識和自我；以及建立自覺性，藉以對自己周遭的藝術、人和事物有更深入的了解。我相信這就是我的哲

個性和態度。」

學的基本原則。」

「這創作的概念是純粹關於自己的思想的對話，個關於信念的自白；以及關於生命、生活模式的矛盾情緒。?真的我認為藝術或藝術品作 I

「你或許能在作品的對話中找出或界定出不同層次的含義。生命是連串的小插曲，它反映我腦海中沖略過的思緒。畢竟，這是我的自白。」

I '

;

::#••• The Graduates

畢業生

—

A brief investigation of law and philosophy with Ms Gemini and Mr Aquarius Digital image, 41 x 11 cm 法規與哲理的研究數碼影像

41 x 11 厘米

2006

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: W.iÿ

Thunder and Lighting II Oil on canvas, 130 x 91.5 cm 行霣閃電 2 油彩布本，130x91.5 厘米

2005

SJ 參•參參 The Graduates 畢業生

Fung King Yiu Joyce 馮敬瑤 The Poetics of Umbrella Education ?宵背景 2005

2001

Selected Group Exhibitions 部分瞄展

2005

'Pre-work', Too Art, HK Art Centre •二樓原作 •香港藝藝術中心

2002

'50 UP', HK Art Centre 「50 UPÿ •香港藝術中心 The Voice of 18 Emerging Artists', Loft 21, Hong Kong 「開閛」，Loft 21 香港 |

2000

A Contemporary Art Interpretation Exhibition, Star Alliance City Festival 2001, HK City Hall 芸穗會「乙城節一藍是藍之當代藝術展」，香港大會堂

Fate People live in the city and are easily affected by it. The fate of the people can be controlled by the city? Environment, no one can escape, as the relationship between one and their growth environment is so tight. As a basic example, an unhappy home environment can affect a child? longterm behavior. The memories of one’s childhood can affect their whole life.

However, in this project, the city environment does not directly affect the fate of people. Humans are not the subject, they are only included as a metaphor to the key objects, where they are included, they are according to their nature, situation and condition. They have their own fate and are subject to it. Umbrella / Water / Container This is about the fate of an umbrella. We can see how an everyday object faces the environment under good and bad conditions. This is also about fate of water. We could say that water always lives free in the environment. Water can be transformed by the environment, it manipulate itself, but is manipulated. We should also see the living environment as a container that we all live in. This environment may not be harmonious, but we strive for harmony in our co ? t3in6r. I chose the umbrella in my painting because it is an everyday object and is common to everyone. To the viewer, the image of an umbrella is not strange because it is mass produced and it belongs to everyone. Everyone has experienced holding a ? umbrella on the street, and, perhaps even cradling it when alone and scared. In those moments, the umbrella gives shelter, protecting the user. In Chinese folklore, the umbrella is not only for sheltering from rain or severe sunlight, but also for the ghosts. In those stories, an umbrella is often haunted by a spirit, as it can avoid the sunshine and gives shelter, the safest place for the spirit. Sometimes, it even becomes ?ome?for them. Except for the umbrella as the main image in my painting, the unconscious drip and brush strokes are representing the rain or passion. Perhaps you will question what the container is. Around the world, cities become the large container. Everyday people live in the container. On rainy days, it is full of water, but also holds memories and passion.

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During Painting Oil?

關於傘的詩意

Day after day, in the process of oil painting, the dried out pigment is retained on my palette. Starting to paint, mixing the fresh and dried-out pigment onto the canvas. I intend to keep an ongoing process in my paintings, therefore, my palette is similar to my painting. In my painting, the use of dripping layers on the surface of the canvas gives contrast to the dried out pigment. The unconscious dripping creates unfinished layers on the edge of the canvas which is akin to life which we always feel is unfinished.

命運一傘、水與容器

一切從傘出發。我想到了關於_ 把雨傘的命運。雨天晴天，雨傘替人遮風擋日。城市人，每人總有一把或以上的傘子吧！手握著傘時，總是親切的，有時是逼切的，或許也是狼狽的。

Like Rembrandt, and many other painters, coming to the end of a painting I use white paint to provide highlight. A metaphor for our lives, providing highlights to end our day.

在雨水多的城市，我與雨傘十分接近。我喜歡雨水喜歡想像雨水的型態，想像它從雲端那兒掉下之前，及掉下來後與塵世不同的表面或物件的撞擊最終化為不同的面貌等種種 ••這些我稱之為雨水的不同命

是一連串相關物之聯想。

由微觀到宏觀一從日常用物件，到城市，到天與地。

_•

運。

Memories of Rainy Days 沒錯，雨水也有它的命運啊！就像人吧!

My realization of the character of the umbrella might well depict human beings, in emotion and the attitude of encountering problems in the environment. It is when I refresh my memories about those days when I did my paintings in my studio, and it rained hard outside, when I looked down the street and saw those many colors of the umbrellas, and the struggles of people.

我們每每受環境影響我們的生活型態。至於後來有關小瓶子內的雨傘的無時無刻都在下著雨，雨水像我一樣的滴滴「塔塔」地不安著罷！

意象，我想是由於我心中那個像瓶子空間一般的我居住的城市

傳 ?中有關鬼魅在傘內的故事，對我來? ，是感人的。傘在這些故事裹，成了容器，成了不能存活於世的孤魂野鬼的暫時藏「身」之所。每次撐著傘，我總想到這些淒美的故事關於在世人及去世的人的處境等事情。

後來我畫了一系列油畫。沒有像以往般用厚重的油彩，反以比較薄及流動的筆觸表達有關傘與水的不同狀況。我在沒有上班的大半個年頭裏那 _把時正是春夏雨水之季，我從八樓畫室眺望下去看雨中的軒尼詩道把的雨傘，伴著忽忙走過的人，也隨隨走動著。然後，我又回到畫前，望著畫面上那彷以飄浮於某個空間的傘兒，望了良久，沈思著。 |

The Graduates

畢業生

4 ，, .Tf

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A Blue Sky and White Clouds I Oil on canvas, 130 x 91.5 cm 藍天白雲 1 油彩布本，130x91.5 厘米

2005

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Fung Mo Yin Anny 瑪慕賢 ?育背最

2005 •

/Xtr

2003

Certificate in Art Specialist (Sculpture), HKVAC 香港視覺藝術中心專修（雕塑

2001

證番

1990

Advanced Diploma, Seneca College, Toronto, Canada 加拿大多倫多 Seneca 學院高?文憑

Selected Group Exhibitions 部分聯展

2005

The 8th Anniversary of Hong Kong Return to China' Art Exhibition (The City Hall) 「慶祝香港回歸八周年」藝術?展（香港大會堂

Twenty Potters, Twenty Years' Ceramics Exhibition (The Pottery Workshop) 「20 陶人/20 年」陶藝展（香港樂天陶社）

2004

'In progress' Art Exhibition (Hong Kong Art Centre White Tube) 「進行中」藝術展

'Richness

白管子，香港藝術中心）

holding' Exhibition of the Art of Bowl

(JLCeramics Workshop) 「盛載鹽盛」碗的藝術陶瓷展

陶藝創作室）

'Sculpture and Ink' Art Exhibition (Cattle Depot Artist Village)

r 雕塑與水墨」聯展（牛棚藝術村

2003

Traces' Ceramics Art Exhibition (Shanghai Street Artspace)

「印記」陶藝展（上海街視藝中心） Selected Collections 部分收藏

Private Collectors 私人收藏

In our contemporary world sculpture can be employed to translate mass material from one area of significance to another, from plain objects to something meaningful or complex. Sculpture is essentially three-dimensional artwork. The combination of techniques, form, content, shape, texture, balance as well as the principles of order make for it to be a rather compelling discipline. It is defined by a unique language unto itself which is of particular interest to me. The characteristic language of three-dimensional forms and structures together with their subjective and objective references allows me the flexibility to work intuitively within a formal set of relationships.

The aim of my study relates to a focus on nature and natural elements such as the movement of the sky and observations of it’s constant changes which are as important to me as the urban world in which I live. I use the analogy of the sky as being like an artists canvas, full of imaginative options. It has become an example of “self reflection and purifying processes” by which to create my sculptures. I create multiple components and allow them to coalesce into unified forms, to reveal nature’s infrastructure and the way that it can transform and disappear simultaneously. Through a process of documentation and experimental approaches with natural resources I hope to capture the spirit of nature’s journey and energy to reflect the wonder of the cycle of life. For a deeper experience one must appreciate and understand the importance of balance, pattern and texture as well as movement and relationships of time and space. My observations of the sky leave many impressions on my imagination. The uncertain form of the cloud, constantly changing it’s appearance so rapidly reminds me of a natural motion picture. It is so colourful as it and allusive as it drifts through space. At time positive, at other times negative, it is sometime real and then suddenly it disappears out of sight. It contains rhythm, much like music and as I watch I am reminded of a symphony. Large and small, light and heavy, it is full of explosive energy. I can relate the essence of both sculpture and ceramics to these qualities.

Appearance III, installation view Glazed Stoneware Oxidation Fired Cone 8, metal, 500 x 500 x 70 cm 呈現 III ，組合展示釉燒?器，有氧燒 1260C ，金屬，500 x 500 x 70 厘米

2005

062 I 063

Colour is an important element in my work as it is in nature. It has a powerful psychological and expressive content which is complementary to the medium of clay. My passion for working with colour glaze and texture are inseparable. My glazes are my second medium and have been developed through careful research and the testing of successive layers on text pieces. The colours and textures are designed to relate to the structural forms from nature. In order to develop the appropriate surface quality I have to master its density to arrive at the desired tone and to capture the integral sense of rhythm each ceramic piece will have a particular glaze which corresponds directly to it.

The contrasting qualities of light and dark can create such a powerful and dramatic impact, both visually and psychologically on the same image within a given environment. As such it can become a significant metaphor for life. I often feel that my life is a series of steps between dark and light. I recognize through my experience of nature and art that I am on a journey in order to reform my inner world and purify my spirit so that I can reach into the future and make new discoveries.

對於現代雕塑，我們幾乎可以用任何一種物料和方式來演譯它一從一種意義到另一種意義；從簡單的事物到意味深長的形態和安排。雕塑作為立體造型藝術，它的技巧、形式、內容、形狀、紋理、平衡與秩序等元素的組合使它非常有吸引力。作為一種另類語言，這些特點，促使我投入雕塑的研究。我可以通過學習認識雕塑的特點來瞭解它 •用體驗來領

會立體造型與結構在現實和感覺之中的藝術表達，並在創作過程中以直覺聯繫它們內在的關係。

我的研究旨在透過雕塑創作經歷自然，例如觀察天空的流動，天空自然形態的改變 •就如創作中的畫幅，充滿想像的空間。對生活於城市中的我，這種創作過程同時作為一種「內省和淨化的過程」。小的組件合併為成整體，顯示了大自然的結構，呈現了轉化與消失同時發生的景像。記錄對自然的探索與利用自然資源的經驗，使我體會到大自然裡充滿著無限的生命力和生命周期的奇妙變化。對天空的觀察使我有很多感 _ 受浮雲瞬息萬變 •就像部電影 _樣它富有色彩、形態流動且時. 隱時現，也包含一種韻律像一首交響樂，聲音的大小、輕重，充滿 |

激盪但又極為和諧。雕塑和陶藝都包含這種韻律。對色彩的探索在視覺藝術中是一個重要元素。不少研究已證實了顏色對心理有重要影響，通過陶藝作自我表達，我對釉色、形體和紋理間不可分割的關係有一份熱愛。釉色和物料處理是我的第二個媒介通過仔細研究和持績測試我希造出配合自然形體和結構的色彩和紋理。在表面處理上，我必須掌握泥的密度以達到所需的要求。我的作品要擁有自己的韻律，就要有對應於它的氣質的特殊釉色。 |

As a ceramic artist who has worked independently to establish my own studio in Hong Kong I recognize how important my studio practice is to me. To continuously explore the quintessential and complex elements involving the ceramics discipline and to practice skills and develop a deep relationship with clay exudes a sensuality and pleasure that is irresistible. This is the way that I experience life.

在概念上，我提出我的興趣在於大自然中「轉化」和「消失」之間的關係。「轉化」改變了事物的可見形式；「消失」最終使事物變得不可。

此外，大自然還帶給我黑暗與光明的啟示，我有時感到同樣事情在不同環境中有不同的作用，並且感覺到我的生活亦步進於黑暗與光明之間經常改變。我視體驗大自然為一種自省的藝術表達方式利用自我與自然的結合作為實驗過程。將自我帶進淨化心靈的旅程 •使我能向前遠望並有新的發現。 |

作為 _個在香港建立自己工作室和獨立陶藝工作者，不斷實踐是重要的。例如釉色與泥土的試驗，造型和表面處理，燒制過程和效果。當中，擁有寅踐的技術和與陶泥之間的深切關係是重要的元素。我體驗到利用泥土創作的樂趣，那種感覺是不可抗拒的，這亦是我體驗生活的方式。

::•••• The Graduates

畢業生

Appearance III, details Porcelain Oxidation Fired Cone 8, metal 呈現 III ，局部瓷土，有氧燒 1260C

金屬

2005

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I5T

~5£

Struggle (I) Acrylic on canvas, 81 cm x 61 cm

••••

•• 90

角力塑膠彩布本，81 x 61 厘米

The Graduates

畢業生

2005

Ho Pui Fan Jessie 何佩芬 Education ?宵背景

2005

1990

Bachelor Degree (with Honours) in Education at University of Liverpool 取得英國利物蒲大學教育 (榮眷) 學士學位

1989

Teacher Certificate at Sir Robert Black College of Education 畢業於香港柏立基教育學院

Selected Group Exhibitions 部分聯展

2005

Return to Painting at la Space, presented with 5 MFA students of RMIT University and The Arts School 「繪畫重來」展於 1a 空間，由六位澳洲皇家墨爾本理工大學及香港藝術學院的藝術碩士課程學生合辦

2004

In Progress at the White Tube Gallery, Hong Kong Arts Centre, presented with MFA students of RMIT University and The Arts School In Progress 展於香港藝術中心白管子•由澳洲皇家墨爾本理工大學及香港藝術學院的藝術碩士課程學生合辦

2002

How to See Art at la Space, presented by la Space 「如何番藝術」展於 1a 空間 •由 1a 空間策展

1997

IN Art 3rd Exhibition at the Hong Kong Cultural Centre, presented by IN Art Association

Artists have different intentions when creating works of art, which vary with different people, places and periods. For me, I have spent much time rethinking about the significance and purpose of art creation that makes sense to me. I see art as a channel to express my feelings and views on relationships between people. Through my work, maybe some commonalities in relationships between urban people can be found. Working person living in a large urban city such as Hong Kong always feel tense and stressed, and I am one among many. Hence, I have focused my MFA studio research on how I express relationships with other people, (including such aspects as isolation, conflict, alienation, as well as warmth and caring) through my figurative painting. I have categorized the ideas of my art creation under three basic themesÿ My beloved, Between man and woman, and Pressure.

In a figurative drawing or painting that expresses personal feelings and emotions, there is always tension between content and form. Very often, the viewer’s attention is focused more on what is represented (content), but how it is represented (form) tends to be ignored. In order to express my feelings and emotions through figurative painting, and to transfer these inner feelings to the viewer, it is important that I gain a balance between form and content, so that feelings and artistic qualities will be taken into account.

「第三屆研藝畫展」展於香港文化中心，由研藝畫龠策展

1996

IN Art Exhibition '96 at the Hong Kong Cultural Centre, presented by IN Art Association 「研藝 ’96 畫展」展於香港文化中心 •由研fi畫金策展

1995

IN Art Exhibition at the Hong Kong Cultural Centre, presented by IN Art Association 「研藝畫展」展於香港文化中心 •由研藝畫會策展

1994

The Earthings at Hong Kong Cultural Centre, presented by Earthings Ceramics Studio 「泥與人」陶藝聯展室策展

展於香港文化中心，由泥人陶塑

Although the main purpose of my art creation is to express my personal feelings towards people around me, my manner of presentation is not highly expressive. Instead, I use a figurative and even narrative way of presentation.

The first focus of my study is the perception of art, especially towards narrative painting. For more than 50 years, Conceptual Art has seemed to retain a higher prestige in the art world than representational art. Abstract painting seems to play a more decisive role in painting, where many representational artists find themselves in an inferior position. However, contemporary painters tend not to stick to one particular style, and contemporary art theories recognize that no single way of seeing is sufficient to appreciate all kinds of artwork. Assuring that as telling a story in one’s painting is a valid means of expression in contemporary art, I then put the focus on the media of my work, namely painting and drawing and a mixture of the two to express emotions.

066 I 067

When I begin a work, I usually have an idea in my mind, which I will try to capture in a number of sketches with my pen. Then, I will begin to paint, and trying to develop the ideas from the sketches. Gradually, I found that my drawings were more natural and powerful than the final paintings. This caused me to re-examine my practice in drawing and painting. What are the basic considerations that influence how I approach the drawing and painting process? During the initial stage of my fine arts study, I tended to regard my paintings as the end product, and my drawing as only the process of creation and a medium to support painting. In fact, there is a historical tendency to view a drawing as an intermediate stage, and not an end product or a work of art on its own right. Interestingly, this preliminary step happened in every case in my process of painting. This was because very often when I was unsatisfied with the visual effect of a painting, I would re-do it again and again on the canvas, until I felt satisfied with it. In this case, I was actually treating my paintings as drawing. On the other hand, when I re-consider my drawing, I find that when I capture my ideas quickly, I usually draw with the materials most convenient and closest at hand. For me, that is pen. Working several times on the same sketch enriches the work, and sometimes creates interesting visual effects through layering.

藝術家在創作時，都有著不同的動機，那會因個人、地方和時代有所不同。而我卻花了不少時間思索藝術創作對自身的意義和目的為何。對我來?，藝術是讓我表達對人的感受和看法的一道橋樑。

常聽到人家 ?香港人生活緊張、壓力大，我想我定必是其中一員。故在此碩士課程中我所探討的是如何以具象的繪畫表達人與人之間的關係，包括孤立、爭鬥、疏隔，以及溫暖和關愛。我的創作主題有三：至愛、男女之間和壓力。在表達個人感受和情緒的具象素描或繪畫中，經常存在著內容與形式的拉力。很多時，觀者會較為關注作品在表達甚麼（內容），但如何表達（形式卻被忽略了。為了以具象繪畫表達我的感受和情緒並把它傳達給觀者，我須要在內容和形式之間取得平衡，希望在表達內心時，亦兼顧作品的藝術特質。 1

雖然我的創作在於表達個人對周遭人物的感受，但表達手法卻不屬表現性的，反之我卻以具象，甚至敘述性的表現手法創作。 |

我的首個研究焦點是關於藝術觀，特別是對敘述性繪畫。在此五十多年間，觀念藝術較之再現性的藝術似乎在藝術圈中擁有更優越的位置。而在繪畫中，抽象繪畫似乎又扮演著較重要的角色。相反，不少創作再現性作品的藝術家則處於較低的地位。不過，近代的藝術家多不會固定某種特定的風格，近代的藝術理論亦認同沒有單一的觀看方法足夠藉以欣賞各種各樣的藝術作品。

確定了作為當代的藝術，在繪畫中? 故事亦是一種有意義的表達途徑，我把研習焦點放到作品的媒介上，即以繪畫、素描和兩者的混合體來表達情感。

Studying on the development of drawing, we know that during the 17th century drawing was no longer a subsidiary to other art disciplines, but was established as a major discipline in its own right. In the second year of study, I spent more time in experimenting and treated my drawings as independent works of art. I became more relaxed in dealing with my artwork, and I began to feel more comfortable with other ways of working on drawing and painting. Sometimes it was not easy for me to identify whether my works were drawing or painting, or a combination of both.

Sketch of Can you hear me ? Pen on paper, 15 cm x 21 cm 你聽見我嗎？草稿原子筆紙本，15x21 厘米

2004

JJ _••• The Graduates

畢業生

當我開始創作一件作品時，通常我在腦海中會先有了意念，並且以原子筆繪描成草稿，把那意念捕捉下來，再嘗試從草稿作進一步的構思，然後才作繪畫。漸漸地，發現我的素描比起最終的繪畫來得自然和有力，這促使我重新思考自己的素描和繪畫。是甚麼基本因素，影響我如何處理這些素描和繪畫？

在修讀此課程的初期我會認為自己的繪畫才算是完成的作品，而我的素描只屬創作的過程和輔助繪畫的媒介。事實上，很久以來人們趨於把素描看作為創作一件作品的過程，而不是創作本身的結果。有趣 1

的是這創作的起始階段卻經常出現在我的繪畫過程中，因為當我對自己的繪畫效果感未如理想時，便在畫布上重做又重做，直至自己感到滿意為止。如此，我實在把自己的繪畫當作素描看待。 I

另_ 方面

當我反思自己的素描，便發現當我快速地捕捉腦海中的意念

時，我通常以手上最方便的工具描繪，那是原子筆。當我在同一張草稿上做上幾遍後會把它弄得豐富起來，有時透過層層的繪描造出有趣的視覺效果。 1

細看素描的發展，我們知道在十七世紀時，素描已不再只是其他藝術形式的附屬品，它漸漸地發展為一種主要的獨立藝術形式。在此課程的第二年，我用上更多時間試驗素描的創作，並把素描作為獨立的作品看待。我以較輕鬆的態度面對作品，並更放心地以自己不慣常的方式來素描和繪畫，有時我亦難分那件作品究竟該屬繪畫還是素描，或是兩者的結合。

夕.

mm Sketch of Can you see me ? Pen on paper, 14 cm x 19 cm 你看見我嗎？草稿原子筆紙本，14x19 厘米

2004

Sketch of What is love ? Pen, coloured pencil and watercolor on paper, 39.5 cm x 21.5 cm 愛是甚?？草稿原子筆、木顏色及水彩紙本，39.5 x 21.5 厘米

2005

068 I 069

Doppel Ganger

Searching for the identity of one’s ‘second self is a complex quest because the nature of ‘the second self is obscure. Although it resides in us and it exists close to us, we can never truly see it. It is unpredictable and uncontrollable. It is in disguise, capable of deception, and hides behind the uncertainty. No science, philosophy, psychology, or religion can reveal its real nature. It cannot be defined by logical theories, and belongs to the irrational and intuitive part of humanity. The nature of photography is static and monumental. It carries memoirs, the past, and a sense of antiquity. As soon as the photograph is taken, the present becomes the past, and it is not possible to take back that moment. Photographs capture the entire object in a second, sometimes in a crude and relentless way. It can also reveal something that has been concealed from the human perception.

In the English culture, it is said a dying person will travel his or her own life, tracing back to his/her child hood. It is like a flash back of small bits of memories. Spirits do not belong to particular times or places. Their existence is beyond the substantial world.

In this way, my own Doppel Ganger can appear somewhere in the world, and I might exist at more than one place at the same time. Or I might exist sometime in the history, in the past or in the future. 離魂尋找某人的「第二重身分」是複雜的，因為「第二重身分」總是陰暗的。雖然它寄寓在我們體內並與我們非常貼近，我們卻從未真實地看到它。它是變化莫測和無法控制的，它喬裝和掩藏在不確定性之後，科學、哲學、心理學或宗 ?無法顯露它的本質，它無法由邏輯理論定義，它屬於人類非理性和直覺的部份。

Shadows and silhouettes are not actual beings themselves, but can connote the existence of a being. Costumes can be spokesmen of cultural identity or allegories of identity, as well as being proofs of existence. Transparency can somehow echo something beyond the material world - something that is psychological, spiritual or even divine. All of these metaphors can be stronger beings than the being itself.

Doppel Ganger is a German term that has a psychological meaning and a spiritual meaning. The psychological meaning of ‘Doppel Ganger’ might be more commonly known as ‘Alter Ego’. It means ‘another side of oneself’ÿ which is usually hidden, and which is drastically different from their usual selves. The famous story Jeckyl & Hyde or super heroes such as Spiderman or Superman are the typical examples. Schizophrenic people have alter ego(s)ÿ which are totally different from their surface.

In my projectÿthe inquiry of ‘Alter Ego’ will connect to the inquiry of ‘Identity’. I want to inquire ‘who am I?’ ‘What am I?’ ‘Who is the real myself?’ My out-looking might be just like a shell or a slough. My actual self might be very unpredictable and uncontrollable. The spiritual meaning of ‘Doppel Ganger’ is ‘Sprit or wraithÿÿ which might sound spooky and scary. Wraith is a spirit of a person who is still alive, but dying.

In Japan, it is said that this spirit will travel around (visit) his/her family members, relatives and friends at the moment of death.

••籲 The

Graduates

畢業生

攝影的本質是靜態而巨大的。它載負著傳記式的過去和一種已逝的感覺。每當我們拍下一張照片，現在即成為過去，那片刻亦不可能收回。照片在瞬間奪取整個對象旄有時會是一種粗暴和冷酷的方式。它有可能揭示隱藏

在我們認知背後的某些事物。影子不是獨立的存在，但它卻能諭示某物的存在；服式可能是文化身分的發言人或甚是一種諷諭，它同時是存在的證明。透明度可能以某種方式回應物質世界之外的某種事物，這些事物可以是心理上，精神上甚至神性的。所有這些隱喻可能要比實際存在的某事某物更為強大。

Doppel Ganger 是一個具有心理學和精神性意義的德語詞。 Doppel Ganger 在心理學上通常被理解為 Alter Ego 第二自我」，它意味著自我的另一面，這一面通常是隱藏著的，並且很多時與表面的自我截然不同。著名故事 Jeckyl & Hyde 或超級英雄譬如蜘蛛俠或超人都是典型的例子。精神分裂症病人的「第二自我」，就與他們表現出來的自我完全不同了。

「

在我的作品中，對「第二自我」的追尋連繫到對個人身份的探討。我想要問「我是誰？」、「我是什麼？」、「那一個才是真正的我自己？」表面的我也許只是外殼，我的真正自已也許是非常變化莫測和無法控制的0 Doppel Ganger 的精神性意思是離魂，這也許聽起來有點可怕。在日本，據? 人在生死離留之際就會出現這種離魂狀態，這時靈魂會四處遊盪去探訪他 / 她的家人和朋友。在英國文化中，亦相信一個臨終的人會像電影高速回捲般再一次經歷自己一生的回憶，精神不屬於特定的時間和地點，他們的存在是在真實世界之外的。

也許，我自己的 Doppel Gange 「能出現在世界上的任何地方，甚至能同時存在於多過一個地方。也許，我能存在於歷史上的任何一刻，不管過去或未來。

Hora Fumino Education

Selected Awards and Commissions

?育背景

部分獎項和創作邀誚

2005

2002

Selected Individual Exhibitions 部分個展

2003

Hinaÿ Musicians,

Hong Kong Country Club, Hong

2003

2nd Runner-up — 17th Philippe Charriol Foundation Art Competition 亞軍第 17 屆夏利豪基金藝術比?

Selected Collections 部分收藏

2004

Asian Art Archive

2003

Philippe Charriol Foundation

2001

Pfizer Corporation

2000

BASF East Asia Regional Headquarters Ltd.

1999

China Light & Power Company Limited

1998

Emirates Bank International

1997

BMG International Asia Pacific

Kong

Hina: Fumino Hora Sculptures, , 10 Chancery Lane Gallery, Central, Hong Kong

Simpson Marine

The Voice of Tranquillity, China Tee Club, Central, Hong Kong 2002

Evolution 2： Seeking the spirits of Balinese and Vietnamese, Fringe Club, Central, Hong Kong

2001

Evolution 1ÿ A Bird Has To Fly, Fringe Club, Central,

Selected Bibliography and Art Magazine 部分參考書目及藝術雜誌

2003

Wrapped up in the tradition, Review, South China Morning Post, 28 Oct

2002

Evolution II, be magazine, 18 Apr

2001

Flying to the Artistic Height, 24/7, South China Morning Post, 10 May

Hong Kong

Selected Group Exhibitions 部分聯展

2004

Visible and Invisible, the City Hall Central, Hong Kong

Infinite 3, Pao Gallery, Wanchai, Hong Kong 2003

17th Philippe Charriol Foundation Art Competition Exhibition, Centro Cultural de Macau 第 17 屆夏利豪基金藝術比?，澳門文化中心

17th Philippe Charriol Foundation Art Competition Exhibition, Times Square Hong Kong 第 17 屆夏利豪基金藝術比?，香港時代廣場 2002

Salon d'hiver 4, Galerie Martini, Central, Hong Kong

2001

International Women Artists Association New Millennium Exhibition, the City Hall, Central, Hong Kong

070 I 071

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畢業生

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doppel Ganger, installation views 離魂，組合展示

2005

072 I 073

神話

2??碎 n用2日星期六

發現號加州?

頓時空的 f i 隱蔽奇年

活在

天氣

神冉六號

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The Midday Canvas, 241 混合媒介布本 241x114 厘米 |

•

The Graduates

畢業生

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中午部分地區有縣雨

2006

Keung Chi Ming Jimmy 姜志名

... ....

When reality relegates

relegating

relegated

n30 years ago, I became a cinema billboard painter. At that time painting was just a paint job. I have painted thousands of cinema billboards. Several billboards were placed side by side for display in the form of montage. For years, the form of montage was addressed to my hands but not to my heart. Time passed those hand-made billboards had been replaced by computer graphics and I moved on to become a scenic artist. In this project, I am making a billboard-size artwork using the form of montageÿ however, this experience conveys meaning and carries greater significance. My life, my value and my pursuit of Art has been relegated and rebuilt over the years, the language of montage has never faded, but breathes new life into my heart as time goes by.”

Journals and newspapers are a medium for the general public to acquire information. The role of mass media is to record incidents and report facts. To some extent they present a rationale attitude. I read everyday as most people do. When I read, I also collect. Collect news, collect thoughts and even collect passions. I make news clippings, not on a regular basis nor focusing on any specific topic

當現黃轉移

轉移中 ••己轉移 •ÿ

三十年前, 我開始畫?院廣?牌，將幾十塊廣 ?牌並排放置，不同影象的組合，構成拼貼的效果，經年累月拼貼的形式，只代表我運用的 _ 種形式，但並不代表我的思想。時間過去，這些由人手繪畫的廣? 牌已被電腦製作取所代 * 我也踏進另一階段而成為繪景師但這種拼貼聯想的藝術卻未因此而褪色，反在我心中深處漸漸翻譯成內心對生命流逝的_ 種語言表達。 1

同來源的資料又被聯想並置，再以拼貼的方式繪畫在畫布上，文字及圖像的本來意義或因轉移而失真 •只想藉繪畫創作與這些人和事有精神上的溝通也期望沒有違背繪畫真正的意義。 |

創作理念清晨一智者決擇、中午一發揮無限、黃昏一接納包容，一天雖是短暫，但若能活得精彩和有意義 > 也是一生縮影。每一天透過報章雜誌讓我接觸到的許多人和事，都啟發了我的生命。這

些被轉移為文字及圖像的人和事，隨著我有感而發地剪下收集，這些不

以生命態度為主題而用一份免費派?、? 後即棄的報紙作為表現形式，是想帶出有關價值觀的問題。同樣是在表現形式上用較大眾化和入俗眼的大型廣?手法，卻用上只有在陳舊黑白電影中才會出現的??模式，都是 ?離了這個時代，畫中的人和事就好像被抽離於這個只重物質和不擇手段的現實世界，是否只有與現實距離越遠，才越能與心靈接近呢？ |

這兩年的繪畫創作帶給我無限滿足，但也帶給我沉重憂心，透過這樣的操練過程，在現實與生命之間找尋心靈內的真理當真正能為自已心靈作畫時，就能感到接近自已的生命，這得著是不錯的。 |

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2006

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House of the Cosmo - Horizontal Oil on canvas, 390 x 50 cm 寘居的宇宙一?觀油彩印布本，390x50 厘米

2005

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畢業生

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Education

Selected Awards and Commissions

?宵背景

部分獎項和創作邀請

2005

Master of Fine Art, Royal Melbourne Institute of Technology (RMIT) University ( Co-presented with the Hong Kong Art School, HKAC )

2001

Golden Key International Honour Society (RMIT chapter) elected member

澳洲皇家墨爾本理工大學藝術碩士

2002

Philippe Charriol Art Foundation Competition Finalist

(香港藝術中心香港藝術學院合辦

2002

1989

夏利*藝術基金比?最後入園

2004

Phillippe Charriol Art Foundation Cimpetition Finalist 夏利豪藝術基金比?最後入圍

Selected Collections 部分收藏

2002

"Cheung Oil Ling”ÿ mixed media work, private collection 「張愛玲」 •混合媒介，私人收藏

Selected Individual Exhibitions

2004

部分個展

2001

"Selfish" Work solo exhibition in Hong Kong Arts School gallery

"Animal in the cave", mixed media work, private collection 「洞穴裡的動物」 •混合媒介 •私人收藏

「己所己欲」個人 fi術展，香港藝術學院畫廊

Selected Group Exhibitions 部分聃展

2001

"Wo Man" female installation exhibition in Macau Old Ladies House 「女、也」澳門婆仔屋女性裝置藝術展

2002

"18 Emerging Artists" group exhibition in Loft 21 Hong Kong 香港火炭 Loft 21 畫室火炭藝術展

"Kai Zha" Open Studio exhibition at Ming Pao Industrial Building, Chai Wan, Hong Kong 香港柴灣明報工業大廋「開閘」開放工作室展覽

Philippe Charriol Art Foundation exhibition in Hong Kong Times Square and Macau Art Museum 香港時代廣場及澳門藝術管夏利豪藝術基金展*

2003

"Linkage" Art and furniture installation art exhibition, Calypso furniture shop at Soho Hong Kong 香港蘇豪區 Calypso 傢?店「串連」藝術与傢愀裝置展

2004

Phillippe Charriol Art Foundation exhibition in Hong Kong Times Square and Taikoo Place, 1A Space and Macau Art Museum 香港城市大學、時代廣場、太古坊、牛柵及澳門藝術管夏利豪藝術基金展 X

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House of the Cosmo

From An Ant of my house in childhood.

The cosmos is thought of as an orderly or harmonious system. It originates from a Greek term meaning order. When used as an absolute, the term cosmos is considered to be all that exists. Some theologians use the term to denote the created universe, not including God. Many philosophers use the word "absolute", cosmos and universe synonymously to include all that exists. In the 20th century, view of cosmos as "nature as self-sufficient, self-governing body" is in sharp contrast to the view of nature as merely mechanism for the growth of humans. In the cosmos world-view, man is a part of nature.

I saw the Big and Small of the cosmos from my house when I was a child. An ant, walking on the ceramic tile floor of my house took an hour to walk from one end to the other end of the room. But it was so easy for me to finish the walk through the room in a few seconds. The space is big for it, whereas it is small for me for the bigger creatures of the room. Indeed, there is no big or small for the ant as its eyes have flat angles, and it cannot see in the third dimension.

I look at the cosmos in terms of “BIG” and “SMALL” There are a lot of things next or distant from me, as a whole, I thought I am a very small module in the Cosmos. The ancient scholar, Chuang Tse, Taoism, A Happy Excursion. He used the philosophy of the principles of BIG and SMALL to define the freedom and carefree space of our inner heart. HOUSE represents a universe in that it contains air, water, natural light, humanity and information of the world. For our house is our corner of the world. As has often been said, “It is our primary universe, a real cosmos in every sense of the world. If we look at it intimately, the humblest dwelling has beauty its primitiveness, a primitiveness. (The poetics of space, John R. Stilgoe pg. 4) M

I started to learn about the cosmos from the house of my childhood. Thereafter, I thought about our (human) relationship with all these living creatures.

«•••• The Graduates

畢業生

From the fish tanks of my house in childhood. Our home had a big fish tank with numerous golden fishes. When I was young, I buried their dead body by flushing in water. I thought they could go back to the sea through the flushing water. It is the thought of a transition from life to death. I thought we might like to understand them, but, we could not talk to each other. They are so small in the big sea. And I am so small to understanding their world. Bird in my home’s bird cage

A bird flew into our house on one sunny winter day when I was young. We loved it. We brought it a beautiful wooden bird cage. We covered the bird cage with a white cloth to keep it warm. One day, it stopped singing. It died. We buried it in our garden. I cried and regretted that we kept it in our home as it should have lived happily under the big sky. I captured those I have encountered, learnt, shared, caught, thought, sensed and experienced in my house of my childhood through the layering of paint and explicit figure rendering. At that time, my pair of big eyes explored my little cosmos in order to search the big cosmos.

寓居的宇宙

由兒時家中的螞蟻看宇宙

「天地四方曰宇，往古來今曰宙」，中國文字一宇宙表示全部時間和空間的綜合。在二十世紀，宇宙被用來表示我們存在的一個時空連續體。「已知宇宙」或「可觀宇宙」一詞用以表示我們所看得見或可觀察到的部份宇宙。

第一次看到螞蟻在紙皮石地的夾?走動。在窄小的縱橫走道上只管向前直走。那時小小腦袋的我想了一些小道理。螞蟻用一整天的時間去走完那小房子、而我只花數十秒便能走完了。它們看到我是大、我看它們卻是很渺小。其實它們跟本看不到我有多大，因為它們的眼晴只看到平面並沒有角度的。人類有的是立体角度，大與小在每一個位置理應是有不同的体驗。

自身的宇宙觀是從兒時家中的每一角所發生的小事而開始。在 Gaston Bachdard 的 The Poetics of Space — 書中關於「屋」的述 ? ，引發了我一連串的宇宙思維。

由兒時家中的魚缸看宇宙在家一角放置了一個很大的魚缸，每隔一段時間金魚就會一條條的死去。那時我想它們是從大海來死後應該回到大海。無知的我放它們於廁所用水把它送走。我不知生與死的真正意義，亦不曉得大海對它有多大。這對我們人類來? ，就是一個很深很大的問題。

"For our house is our corner of the world. As has often been said,

it is our first universe, a real comos in every sense of the world. If we look at it intimately, the humblest dwelling has beauty its primitiveness, a primitiveness. "

由兒時家中的自來鳥看宇宙

他認為家是自我的宇宙開始，是最真實的。在最真切的體會中我們看到本來不美的地方都成為最美的角落。我亦感受到他對「屋」与「宇宙」的論述。他認為「屋」向上而結的建構是包含了人性的靈慾。

家中一角掛了

_ 個鳥籠，小石燕子是自來的。在冬日我們用布包起鳥籠

為它保暖。一天它不再唱歌了 •原來它靜靜死去了。傷心幼小的我將它放在盒子內將它埋葬於屋外的一處草地中。後悔了。我們應該讓它在倘大的天空生活不要困它於那小小空間裏。

在思想自己可觀的宇宙時，惱海總是浮現「大」與「小」兩個概念。

我將一片片的油畫顏料一層層的放在帆布上讓自己的宇宙觀層層漸漸的浮現，細心將自身的經驗、感覺及思維去描繪由平面至立體與觀者分享「宇宙」中的「已知宇宙」或「可觀宇宙」。 |

House of the Cosmo - Ground, 2005 Oil on canvas, 130 x 50 cm 窠居的宇宙一地平觀

油彩印布本，130x50 厘米

2005

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Invisible Father Stainless Steel, 50 x 50 cm 看不見的父親不鑲鋼 50 x 50 厘米 |

2005

SJ#### The Graduates

畢業生

Li Kam Wah John 李錦華 Education ?育背景 2005

1991

BA Fine Art, Chinese University of Hong Kong 香港中文大學藝術系畢業

Selected Individual Exhibitions 部分個展

2005

'Father & Sons", C01, Hong Kong 「父與子」李錦華雕塑展，香港 C01 設計學校展覽應

2004

"John Li", Campus Sculptures Exhibition, Artland Gallery, Hong Kong 「李錦華校園雕塑展」

2003

"Solo Exhibition of John Li", Rodin Gallery, Kaoshiung, Taiwan

Reaction to the Highlands", Hong Kong Arts Centre 「高山反應」李錦華個人耋展 •香港藝術中心包兆龍畫廊

1996

"Equal ChanceÿReview of John Li", 10 Years Works, Artland Gallery, Hong Kong 「平等機會 -李錦華十年創作回顧展」 •香港藝林耋廊

1990

"My Neighbour's Collections", Fringe Club, Hong Kong 「鄰家的收藏」李錦華水彩耋個展，香港藝穗會

Selected Group Exhibitions 部分聯展

2005

"Hong Kong Exhibition”ÿ University Museum & Art Gallery, University of Hong Kong 「香港藝術家聯盟創會展」香港大學藝術博物館 |

2004

"In Progress", Joint Exhibition by RMIT University MFA Students, White Tube, Hong Kong Arts Centre “In Progress” 澳洲皇家S爾本理工大學藝術碩士課程 |

學生聯展，香港藝術中心十樓，白管子畫廊

1997

"June 4", Art Exhibition, Hong Kong Cultural Centre

「六四」藝術聯展 1992

"Contemporary Hong Kong Art Biennial Exhibition”, Hong Kong Museum of Art Modern Art Competition by Philippe Charriol Foundation Exhibition 夏利豪現代藝術比?展

1989

What is most important to us is often invisible to our eyes. In the invisible father, I wish the viewer to see beyond what is there. I wish to pursue the beauty and tension of what is not there. Like ‘white space’ in Chinese ink painting or the Peking Opera or the mime, the meaning comes from the empty space. By making the visible invisible, I hope to make people rethink what we usually take for granted - the bonding between father and son. My sculpture is designed in such a way so that viewers can interact with it and play the part of the missing ‘father’. Stainless steel is used for two reasons. Firstly, being metal, it is a good conductor of heat. It looks cold but it absorbs heat and will warm up when the viewer interact with it. The viewer can therefore give warmth to the ‘childÿ. Secondly, stainless steel has a mirror-like quality and it allows the viewer to see his own reflection in the sculpture. The viewer will see his own face when he looks into the ‘face’ of the sculpture and thus symbolically turning it into his own child.

香港文化中心

「香港當代藝術雙年展」 •香港藝術館

1991

My personal experience as a divorced parent and a weekend father in the past few years has made me rethink my relationship with my two sons. The ‘distance’ allows me to look at our relationship from a new perspective. People like to talk about the responsibilities, but what truly is important in the relationship is our love and care for each other.

香港藝林畫廊

「李錦華水彩晝個展」 •台灣高雄羅丹畫廊

1998

The role of the father is often looked upon as secondary in a child’s life. As he is not the one who actually gives birth to his child, he is often considered to be the breadwinner. Many fathers spend too much time working and thus neglecting their other roles on their children’s development. The increasing number of family tragedies and teenage suicides in Hong Kong draws our attention once again to love and family values.

香港多地點展出

Modern Art Competition by Philippe Charriol Foundation Exhibition 夏利豪現代藝術比?展

My work is a call to return to what I think is missing in the modern world - the love and care for each other. We may have better living standards and more kinds of enjoyments. But what truly is important is often invisible to us. We all feel cold and lonely sometimes when we focus our energy in the pursuit of materialistic pleasure. We all long to love and be loved.

香港多地點展出

Selected Awards and Commissions 部分獎項和創作遨請 1990

Y.S. Hui Arts Collection Award, Chinese University of Hong Kong 獲香港中文大學「許讓成藝術收棘獎」

Selected Collections 部分收藏

Sculpture "White Peace" & Painting "Breakthrough" were collected by the Hong Kong Museum of Art 雕塑「白色和平」及繪畫

r 突破」被香港藝術館收滅

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父親在家中照顧孩子的角色向都被視為較次要的，也許由於不是他把孩子生下來的緣故很多時候他的主要任務是為家人努力工作，讓家人得到溫飽。不少父親因過份投入工作而往往忽略了在孩子成長過程中更重要的角色。近年來家庭悲劇和青少年自殺事件在香港有上升的趨勢，促使我們再次關注家庭與親情的重要。 I

法，意義來自作品的虛位。藉著把看見的變成看不見，我希望大家能重新思考我們常常看作是理所當然的東西 -父子之間的親情。觀眾可與雕塑產生互動關係，扮演作品中那缺少的父親。我的作品採用不鏽鋼作為物料主要有兩個原因。第一、它是金屬，也是一種良好的傳熱導體，它看起來很冷但跟觀眾接觸後會馬上變得溫暖起來，觀眾因 _ 而可以給予這「孩子」溫暖。第二個原因是鏡鋼表面像面鏡子，能把觀眾的面貌也反映出來，觀眾看著這雕塑，也就看到自己的樣子，這樣便更象徵性地把它變成自己的孩子。 I

過去幾年因離婚後不再和兩名兒子同住，我也成了一個「週末父親」，這使我重新思考自己和兩個兒子的關係。這種距離讓我有機會從一個嶄新的角度去審視我和兩個孩子的關係。人們都喜歡談及賁任，但真正重要的是存在我們之間的愛與關懷。真正重要的東西我們往往會看不見。但透過「看不見的父親」，我希望

觀眾能感受到他們所看不見的。我追求的是由那不存在的所產生的美和張力。好像中國耋中的「留白」，或京劇與默劇中的抽象和想像表現手

我的作品是要叫大家返回到現代世界所最缺少了的愛與關懷中。我們的生活水平也許是提高了和有著更多不同的享受 •但真正重要的東西卻往往是我們看不見或忽略的。在追求物質快慰的同時，我們都有感到冰冷寂寞的時候，我們都渴望付出真愛和被愛。

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Chunk 6 Oil on timber, 14.5 x 18.7 x 4.4 cm 巧克力塊六木上油彩，14.5 x 18.7 x 4.4 厘米

2005

Lo Man Him Virginia 盧文謙 A Sweet Association

Education ?育背景

2005

2002

Selected Individual Exhibitions 部分個展

2002

Solo Exhibition "Juxtaposition'The Art School Learning Centre 「相相對對」

個人展覽•藝術學院教學中心

Selected Group Exhibitions 部分聯展

2006

"Return to Painting", Group exhibition at 1A Space, HK

I’ve got the impression that beautiful female breasts and chocolates are both sweet, tempting and irresistible. The Sweet Association’ series consists of my sensuality towards a mellow and comforting sensuality that relates to both female breasts and sweet confectionaries. Within this context, a dual message combining both the ‘sentimental’ and ‘Obsession’ conveys a sense that is alluring, suggesting sweet pleasure is carried.

The conception behind this body of work is that the female body part is introduced not so much an erotic gesture nor even a political statement as is referenced in most feminist art. It seeks to project my personal affection towards female breasts and chocolates in an obsessive manner, a fanciful collaboration of both subjects. The perception of an affluent and the contented quality of chocolate refers to my personal confection which can be associated with my sensuality towards the sexy female breast. This set of art work investigates the possibility of applying the affluent and contented characteristics of chocolate to female breast.

「繪盡重來」 |1A Space •香港

2005

"toy's Story", Group Exhibition at Too Art Gallery 玩童心」 •二樓原作

2004

In Progress”ÿ Group Exhibition at White Tube, HK Arts Centre 「中途展」

香港藝術中心、•白管子

2003

'Linkage", exhibition at shop Calypso 「串連」 • Calypso 家居設計

2002

"Kai Zha" Open Studio exhibition, Ming Pao Industrial Bldg, HK 「開閘」

明報工業中心

Selected Collections 部分收藏

Private Collection: United States, HK 私人收藏：美國 •香港

The female breasts literally result in different perceptions after they are detached from the body. In my artwork, the female breasts are depicted into round shapes and arranged together with the chocolates in an art piece with melodious qualities, through textures, forms and the fluidity of oil paint. A sexual image with a non-sexual yet sensuous approach reflects a feminine sensitivity in addressing a female body as a new vision - suggesting a fascination with luscious, rich and mellow qualities. Hence, a sexual and sensuous entity is presented in an eye confronting display. The art work “A Sweet Association” is crafted onto a set of wooden blocks which can be associated with individual pieces of chocolate or boxes of chocolates. In my mind, wood is a natural material suggesting a sense of warmth and intimacy and is thus suitable for use as a media to convey this affectionate association. On top of the round edged and well polished timber, the repetitive process of applying many layers of gesso combined with the constant sanding back of the surface is employed in a traditional manner until the painted surface is as smooth as white marble. This laborious process enhances the human touch of the object and in turns releases my sense of reflective and intimate passion with a comforting and gentle tone. Arranged in form of a box of chocolates, both of these female breasts and sweet confectionaries are depicted as a three dimensional relief object with oil paint. The luscious and fluid nature of oil paint and painting method serves as a crucial factor in illustrating these sexy and delicious images. Conjuring a sense of poetic ambiance, the artwork is completed in an explicitly feminine display.

086 I 087

甜蜜的聯想對我來? •漂亮的乳房與巧克力糖是同樣的甜美、吸引和無法抗拒。

作品《甜蜜的聯想》包含了這溫馨與甜美的感覺，表現了女性乳房與糖果，甜點之間的感性關係。這個創作訴?著個人對這種甜蜜愉? 的情意結，同時敘述了自身對這誘人題材的沉迷。作品中，女性身體並非以性或情色作為創作概念 •也非如_ 些女性作品般表述女性主義，它衹是投影了我個人對女性乳房和巧克力的迷戀，塑造出一個奇怪而有趣的組合；性感的女牲乳房和予人滿足愉快感覺的巧克力糖，連成了這感性的情意結，而創作本身亦同時探討乳房的性感與巧克力糖的甜美一起演繹的可能性。女性的乳房一般被認知作性感的象徵，但當乳房從女性身體上分開獨立來看，便會改變原先乳房所予人的性感感覺。在這作品裹，我用流暢的油彩特質描繪了一個個柔美的圓形乳房，這些乳房與巧克力糖整 _ 齊排列，繪畫出一個甜美的畫面。個性感的圖象用了一個非性感的鋪排方式，來述?一個女性的細?感受及其對女性身體的新啟思一女性的身體是甜美、豐腴、溫馨而又引人遐思的。如此便描繪出這些性感而又感性的個體。

作品《甜蜜的聯想》用了厚實的木塊分別雕鑿成巧克力塊和巧克力盒的模樣，木料予人親切和具生命的感覺，正能表達這份感性又親密的關係，而這密切的關係亦同時通過製作過程體現出來。作品用了傳統的繪畫方法，首先把厚木塊打磨得平滑圓潤，然後塗上了一層又一層的塗底料，再經過無數次的打磨，直至木塊表面如雲石般細滑。在這反覆啄磨的過程中，物料經多遍摩擦連日的手感細磨，使得創作人與作品的關係更密切透過這柔和溫厚的觸感，從而表達出創作者對題材近乎沉迷的情感。於細緻的底塗上，女性乳房和甜點被描畫成立體的模樣，看似一盒浮雕的巧克力糖果，這些看來性感而又可口的圖像，用了潤澤、流麗的油彩與細? 的筆法來描繪，而這種繪畫方法正是構成這性感與甜美畫面的要素。最後展示作品的場景將營造以柔美的氣氛，來顯現作品的女性情懷。 1

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Chunk 1 Oil on timber, 9.5 x 33 x 4.7 cm 巧克力塊一木上油彩，9.5 x 33 x 4.7 厘米

2005

088 I 089

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Homage to the Graces III Faith - Homage to Mui Yee Screen print on fabric with stitchery, 75 x 108 cm 向女神致敬?II 皈依一向梅綺致敬網印及布藝，75x108 厘米

2005

••••

•• ••

The Graduates

畢業生

Lui Wai Chu Judith 呂慧珠 Selected Bibliography and Art Magazine 部分參考書目及藝術雜誌

Education

?宵背景 2005

1983

2005

Collection of the 17th National Prints Exihibition, China 第十七屆全國版畫展作品集

2004

Invitational Exhibition of TAIWAN International Mini-print

Diploma in Education, Art and Design, School of Education, the Chinese University of Hong Kong

國際迷你版畫遨請展

香港中文大學教育學院美術與設計文憑

Contemporary Hong Kong Lithography 香港石版耋近貌

1982

B.A. Degree, Fine Arts Department, the Chinese University of Hong Kong

2003

Collection of the 16th National Prints Exihibition, China

Selected Group Exhibitions 部分聯展

2006

第十六屆全國版畫展作品集

Anhui/Hong Kong Prints Exchange Exhibition

2001

安徽 •香港版畫交流展

2005

The 7th National Intaglio, Lithography, and Screen Prints Exhibition

第十七屆全國版畫展（中國貴陽）

第七屆全國鋇版石版絲網版畫展作品集

10th

Art in Hong Kong Bimonthly, Aug 香港視藝雙月刊第六期八月

Hubei Academy of Art Periodical, Vol.4, No.3

International "Year of the Rooster" Prints Exibition (Schorndorf, Germany) 國際 < 雞年 > 版畫展（德國索倫多夫市）

2004

Japan. China International Print Exhibition 日本•中國國際版畫展 •日本京都

The 17th National Prints Exihibition, China (Kwai Yang, China)

Niigata. Hong Kong Cultural Exchange Anniversary Art Show (Hong Kong) 日本新潟香港文化交流 10 週年藝術作品展

Art on paper - Hong Kong Prints 香港版畫-? 上藝術

香港中文大學文學士（藝術系）

Invitational Exhibition of TAIWAN International Mini-print (National Taiwan Normal University) 躉灣 •國際迷你版查遨諝展

Contemporary Hong Kong Lithography 2004 (Hong Kong) 香港石版畫近貌2004 Selected Collections 部分收藏

湖北美術學院美術學報 2001

2000

Vol.4 No.3 i

Collection of Qindao Internatonal Biennial Print

Exhibition 宵島國際版畫雙年展作品集

Collection of the 15th National Prints Exihibition China 第十五屆全國版畫展作品集

Retrospective China Prints Exhibition of the 20th Century 1900-2000 中國版畫百年回顧展作品集 1900-2000

Anhui Printmakers Asssociation 安徽省美術家協會

Hubei Academy of Art 湖北美術學院

Qingdao International Biennile, Qingdao Art Museum 甭島市美術館

Guangdong Art Museum 廣州美術館

090 I 091

Although I have been a print-maker for many years, this is my first attempt at printing directly onto fabric. In order to present the theme of outstanding women of Hong Kong in the 1960s I have used many symbolic icons, at the same time using sewing and embroidery techniques so as to bring out the feminine quality and effects on my series of prints. In order to show the natural personalities of each woman, I chose the relief silhouette film of their face and applied monochromatic colour silk screen printing. During the process of exploring stitchery and embroidery techniques I found myself becoming more and more interested in studying needlework and resumed the great pleasure and enjoyment of sewing. Through the selection of a variety of materials I achieved the rich colour and texture on my works. In order to pursue a feeling of unity I made use of my own calligraphy of Chinese Ni-shu, writing two key words for each woman describing their lives or achievements. In every piece of work and illustration my own subjective attitudes and feelings towards these women are shown, however, I hope that my messages will be successfully delivered to observers. On finishing this series of works I feel much satisfied and am glad that there is much scope for further discovery. In future I shall go on studying more aspects of woman’s art and this might be a new direction in the stages of my creative life. I think that I have made an exciting breakthrough in this body of work.

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畢業生

創作版畫已有多年經驗，但這是我第一次嘗試在布上印刷出圖象。為了表達主題所要表揚的一系列香港六十年代傑出女性，我使用了不少象徵性圖像，並配合以? 紉和刺繡技巧，帶出女性化的感受和果效。為了展現人物的氣質，我選用了浮雕剪影以及用單色絲網印刷法去表現她們的容貌。在探討刺繡技巧的過程中，愈漸感到有趣味，讓我恢復了對針黹藝術鑽研的興趣，並且在選用布材線料的同時發現了色彩的豊富變化，質感與圖像造型的配合能相得益彰。我在每幅作品上也曾嘗試追求畫面的統一性，使用了兩個字的詞語來描述每一位女性，並運用了自己親手書寫的中國隸書予以配合，每一幅圖象的刻劃免不了流露個人的主觀感情和看法，但仍希望能傳達我要帶給觀眾的訊息。這系列的作品得以完成令我感到十分滿足，也發現了創作更新的可能性，今後我會更加深入地研究女性藝術，這也正是我的創作道路上一個新的突破和轉捩點。

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Homage to the Graces VI Preacher - Homage to Sik Wai Wing Screen print on fabric with stitchery, 75 x 101 cm 向女神致敬 VI 弘法一向釋慧榮致敬

網印及布藝

75x101 厘米

2005

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2001

Creative Painting Workshop, The University of Hong Kong 獨立創作繪盡課程課程 •香港大學專業進修學院

1992

Ontario College of Art & Design, Toronto Canada 安大略藝術學院

1987

Basics of Western-Style Painting Certificate Course, The University of Hong Kong 基礎西耋文憑課程

香港大學

Selected Individual Exhibitions 部分個展

2004

Solo Exhibition in Hong Kong Country Club 鄉村俱樂部

Selected Group Exhibitions 部分瞄展

2006

Return to Painting", Group exhibition at 1A Space, HK 「繪衋M來」，1A Spaceÿ香港

2002 - 2004

Artmatch exhibition 藝緣展

1990 - 2004

Hong Kong Art Club annual exhibition 香港美術會週年展覽

1998 - 2004

Hong Kong Artist Society 香港美術會

1996 - 2004

Hong Kong Chinese Artist Society 香港華人美術舍

2001

The Art exhibition in Central Library (the grand opening) 香港中央圜* 館（開幕典禮）

3D Work No. 5 Oil on shaped plywood, 65 x 45 x 43 cm 立體作品五木本油彩，65 x 45 x 43 厘米

2005

094 I 095

To a non-painter, painting is uninteresting and fairly unpleasant. To a painter, it is the life bloodÿa substance so utterly entrancing, infuriating and ravishingly beautiful that it makes it worthwhile to go back into the studio every morning, year after year, for an entire lifetime. To me, painting is my love and devotion since I was very young. It has grown to become part of me. I am not convinced that the art of painting has seen its days. That is the reason why I am still searching to see if there might be something we have missed which might bring painting back to its former glory.

對一個不畫畫的人來?，繪畫可以是索然無味，繪畫的過程，甚至是相當厭惡。但對一個畫家來? ，繪畫就是生命，是一個極之令人迷上、極富刺激性、極其唯美的過程，令人值得每天廢寢忘餐地、年復一年地、甚至畢生地致力追求。

繪畫是我的至愛。自幼時起，我已經一心一意投入到繪畫之中。繪畫是我與生 ?來的一部份。我從不認為，也沒有任何人、任何事物能夠?服我繪畫藝術已去到了它的盡頭。恰恰相反，我認為繪畫藝術依然有著無窮的奧妙，包括那些早已失去的東西，這就是我不斷潛心摸索、努力追尋的。這樣的奧秘將可以為繪畫藝術帶來往昔的光輝。

3D Work No. 4 Oil on plywood, 45 x 37 cm 立體作品四木本油彩，45 x 37 厘米

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Peephole maze Ceramic, 10 x 10 x 28 cm 窺孔迷宮陶器 10 x 10 x 28 厘米 |

2005

Ng Chor Wai 吳楚慧 Getting Lost Education ?育背景

2005

1993

Bachelor of Fine Art, University of Iowa, Iowa City, USA 美國愛荷華大學藝術學士

1991

Higher Certificate in Studio Ceramics, University of Hong Kong Polytechnic

"Getting Lost" is the title of a series of ceramic works in the form of the maze. The works are designed to be interactive and encourage the viewer to engage with the playful nature of each object. The contemporary world is exposed as a construct of our own making, over-saturated visually and informatively, where directions disappear from view even though they may be shown by arrows, or pointed by “leaders”ÿ- and where a fear of getting lost and a fear of emptiness seems more prevalent than ever.

香港理工大學陶瓷藝術高?文憑

1988

Certificate in One-Year Full-Time Advanced Course Of Teacher Education (Art and Design), Grantham College of Education, Hong Kong 香港葛量洪教有學院

1987

高級師資訓練課程文憑（美術及設計

Higher Certificate in Creative Screen Printing, University of Hong Kong Polytechnic 香港理工大學絲網印刷高?文憑

Human beings experience a sense of anxiety when they feel lost and seldom notice and believe that they can have fun in the circumstances of getting lost and always have choices to escape.

I chose the structure of the maze to embed my passion for the concept of "getting lost" combined with the confusing feelings of living in a city and the happiness experienced in searching for an exit. Also, the mazes relate to children’s gamesÿ the noughts and crosses format to emphasize the meaningless nature of the game. The maze is a complex structure of dead ends and blind passages, an environment in which one can easily become confused or lost. It is most frequently used as a metaphor, a reference to a difficult, unclear and confusing situation. The relationship of a person to a maze is an unpredictable event. Once the game starts, it can be causal or close, simple or involved, subtle or blunt. It can be painful or pleasant. Most of all it can be funny and confusing. My mazes are toys for us to store in our unclear mind and confused condition.

The stoneware mazes are extremely fragileÿ with complicated structures often attached by nothing more than a slip, driving the bead on a track toward an exit. It is a metaphor for the extreme fragility of humanity as a whole 一 which is the essence of humanity - as well as that of the individual human being. If control is lost, even for a moment, disruption and collapse will inevitably follow.

098 I 099

Our life is as fragile as my stoneware mazes.

My mazes offer us an alternativeÿa world where either staying or leaving is a preferable option, where the pain of getting lost is as relevant as the happiness of having direction, and where staying on track is as important as a bold adventure. My relationship to a maze has a special philosophyÿ there is a possibility to break the restrictions and get out of the sense of being hopelessly lost. Assuming the role of a child I anticipate being fully emerged, well exercised, nurtured and stronger when I walk through all the paths and face the dead ends of maze.

Getting lost in a maze as well as wandering in a city, walking around skyscrapers, going through tunnels, climbing up stairs, and making decisions of my own direction and destinations gives me great pleasure. I would like to use my "maze" art pieces to remind the viewers that there is much simple pleasure in our lives and invite them to exercise their child's mind to enjoy it.

This is the soil from which all of my work grows. 迷失一組令人「迷失」的藝術品帶你進入迷失的國度。在時間和空間綑綁的現實世界、在方向與目標含糊的時空，人往往感到迷失以致孤立。

有時候越想尋找越恐懼，選擇越多便越迷失。要不然，享受這刻迷失樂趣又如何。作品在「井」字遊戲的意念下完成。對你而言，是有趣無比，還是無聊的孩童玩意呢？

迷宮這裡的困難、不明朗、困擾，好比人生的困惑與迷失。迷宮是困惑的符號，在選擇、取捨出路時印證了。人的出生進入了玩迷宮的遊? ，時而輕鬆時而緊湊，在有趣困惑之間游走。

脆弱的迷宮 •脆弱的人生 •身為玩家的你，一刻的分神都會製造遺憾。

這裡沒有規限的迷宮，讓你打破不少枷鎖。迷失在這裡，感受漫步城市、攀登大廈、穿越隧道 •在旋轉的梯間徘徊。無窮的樂趣就在尋找標竿過程。在失落中享受迷失從享受得到樂趣。 1

Noughts and crosses mazes City life Ceramic, 40 x 40 x 28 cm 并字迷宮：城市生活陶器，40 x 40 x 28 厘米

2005

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2003

Certificate in Chinese Painting, Chinese University 中文大學校外進修部水墨畫証書課程

2002

Art History Summer Cambridge, UK

School

University

Bachelor of Arts (Fine Art), Royal Melbourne Institute of Technology (RMIT) University ( Co-presented with the Hong Kong Art School, HKAC )

Fear is an unpleasant feeling of extreme dislike of some conditions or objects and it varies from one person to another in different degrees and at different levels. Its complexity in expression cannot be underestimated. The mild stage of fear stems from a distrust in an object or a person, which is rather like caution than fear, and we need to exercise a lot of guessing and testing to the other person or object so as to avoid being mistreated, betrayed or hurt. Fearing of objects or contexts can also be learnt by experience. If someone has gone through an intense fear-causing situation, such as a child’s fear of a stray dog, the emotion can lead the person to social problems such as acting irrationally or dangerously, resulting in hurting oneself or others.

澳洲皇家墨爾本理工大學文學士（藝術 (香港藝術中心香港藝術學院合辦

2000

Certificate in Foundation of Art & Design, SPACE The University of Hong Kong

香港大學校外進修部基礎美術與設計証害課程

Selected Group Exhibitions 部分聯展

2006

「緣 ■創作」

TaiKoo Place, Swire Properties

Limited 「? •創作 J 一太古坊 •太古地產

'Sparkling' - Olympian City, Sino Land Company Limited 伙花」一奧海城信和置業

2004 & 2006

'Fotanian* - Fo Tan Studio, Hong Kong

「伙炭」 •火炭工作室 2003

Infinite 3* - Pao Gallery, Hong Kong Arts Centre 「三三不盡」一包氐晝廊香港藝術中心 |

'Fotan Gathering' - Fo Tan Studio, Hong Kong 「老火新炭」 •火炭工作室

2002

'See without seeing' - Fringe Club 「睇到睇唔到 J 一 fi穗會

Hong Kong has undergone some difficult challenges over the past few years, ranging from political disputes to economic downturn, to the SARS (Severe Acute Respiratory Syndrome) outbreak, to the threat of avian flu, to pollution, and the list still goes on. Some of these challenges have never been experienced by this generation before, or even the generations before that. The compound effect, unfortunately, was a deep distrust spreading far and wide amongst the general public towards the government and the distrust was gradually taking root. No matter how Hong Kong people perceived these issues and threatsÿdamages were done and the locals’ daily lives were affected. Hong Kong people have never been so unsettled before, and the fear was so overpowering that one must have it released in some way, in their own different ways. The level of fear and the way it was expressed was what really sparks this project.

Rather than disturbing the viewers, the images I painted under the chosen topic are expressive. They are divided into four series of works which represent different stages of my study of the subject, that is from the ‘mask’ stage to the ‘skeleton’ stage. Applications of these works are a combination of classical and abstract portraits. And together with the use of collage of human faces, the violent and heavy brush marks, these are all employed and adapted to strike the viewers’ eyes and ultimately their feelings.

Sinking Oil and collage on canvas, 61 x 45 cm 下沈油彩剪貼布本，61 x 45 厘米

2005

102 I 103

恐懼是源自我們對某些情況或物件產生強烈的反感，而這些另人不安

的感覺是會因人而異的。「小心?慎」比較接近一般輕度的恐懼

主

要是對人或物的不信任，我們每每為了避免被背棄、出賣或傷害，因

而經常地對每人每事都質疑和猜測。恐懼亦可從經驗中學習得來，如某人曾經經歷過一些引致恐懼的處景，像小孩受過野狗的追嚇，這情景會深深爍印於當時人心中，往後因此而作出危害自己或其他人 / 物的行為。

香港在過去數件間經歷了多次的考驗，包括政見上的分歧，經濟下滑，爆發非典型肺痰，禽流感恐慌，污染問題等等。不少的考驗是我們甚至上一代的市民都聞所未聞。不幸地市民大眾對政府的信任程度大大減低。縱使受影響的程度因人而異但肯定的是香港市民從未有過如此集體不安各人亦以不同的方式發洩表達出來，是次作品亦以此作為創作基本。 |

Don’t scare me, baby Oil on canvas, 80 cm X 100 cm 親愛的，請勿嚇人油彩布本，80x100 厘米

2005

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Lerouge Knight Virginie 維珍妮 Selected Bibliography and Art Magazine 部分參考書目及藝術雜誌

Education ?宵背ft

2005

2003

Bachelor of Arts (Fine Art), Royal Melbourne Institute of Technology (RMIT) University ( Co-presented with the Hong Kong Art School, HKAC ) 澳洲皇家墨爾本理工大學文學士（藝術 (香港 S 術中心香港藝術學院合辦）

櫥窗濃?夢想的視覺盛宴，新天地雜誌 • #38 ，上海 • 2006 • 1 月 |

Virginie Lerouge Knight, Shanghai Artists'studioes, vol 3, p 6, Shanghai 2005 Virginie Lerouge Knight, 上海藝術家工作室 #3 ，第6? ，上海，2005

Creating Art in Hong Kong, a Cross Cultural Perspective, White Text, vol 1, Hong Kong 2005 在香港創作藝術，一個文化交錯的角度，香港，2005

Selected Individual Exhibitions 部分個展

2006

More than Window Dressing, At Xintiandi magazine, vol 38, Shanghai January 2006

His & Hers and Searching, Public projects for Fashion Carnival, part of the Shanghai Fashion Festival, in collaboration with Fudan's College of Visual Arts, Thames Town, Shanghai, China 他的和她的」和尋找，公共空間藝術作品 •上海時尚服節 •上海視*藝術學院籌劃 •松江泰晤士小錤 • 上海 •中國

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白文本，第一期

Souvenirs de Baignades, L'eveil, France, June 2 2004 Des baigneurs dans la Touques , Le Pays D'Auge, France, June 8 2004

Artistic Vision Floating in Shatin, South China Morning Post, Hong Kong, November 25 2003

Exchange and transform, "The Public Space” Hong Kong Art Centre, Public project for the French May (French Art Festival), Hong Kong 變幻 • 公共空間」香港藝術中心，為「法國五月」而作的公共藝術作品

「

2005

Anne Fontaine, Xintiandi, Shanghai, China Anna Fontaine • 新天地，上海

2004

Souvenirs de Nage, Public project for the celebration of the 60th Anniversary of D Day Landing, Lisieux, France 游泳的回憶利雪法國

紀念登陸諾曼底 60 周年公共藝術計劃

2003

Voyage, Public performance on the Shing Mun River Channel, Hong Kong 遠航

公共藝術計

•沙田城門河 •香港

Selected Group Exhibitions 部分聯展

2005

Gallery Agnes B, Hong Kong Arts Centre Agnes B 畫廊1 香港藝術中心

Artist's studio, Suzhou Creek, Shanghai 藝術家工作室

蘇州河 •上海

Salon par la Mer, for the French Art Festival, Sea Ranch Gallery, Lantau Island, Hong Kong Salon par la Mer, 為「法國五月」而作的公共藝術作品， Sea ranch 盡廊

2004

The Fourth Dimension - Bachelor of Arts (Fine Art) Graduation Show 2004, Hong Kong Arts Centre 不確定的空間-學士學位（藝術港藝術中心

課程畢業展 2004 香 |

In Progress, White Tube, Hong Kong Arts Centre 進行中 •白管子- 藝術學院盡廊

2003

Nocturnal Emotions, The Art School, Hong Kong S術學院教學中心耋廊香港

Nocturnal Emotions

Path, Ding Xiang Villa, Shanghai, photomontage Coat hangers, dimension variable 小徑，丁香花園，上海，相片拼貼衣架，尺寸不定

2005

106 I 107

Identity

變幻

Through our life journey we build up and accumulate memories as we move along. We store them, keep them deeply inside us, although we do not realise how much they influence the development of our own identities.

我們的生命旅程，讓我們在不斷遷徙過程中，積聚了點滴回憶，我們把回憶深深存在心底，沒有意識到這些回憶對我們的影響。

Coat hangers are a metaphor for the emotions and experiences of this journey. They remind us about our daily life, travel, history, events, and dreams. Their accumulation traces the path of our journey, and helps to construct our identity.

As a French artist living in Asia for the last 13 years, my surroundings have had a profound effect on my life and my understanding of the world. As I adapted progressively to this new environment I felt my own identity evolving in parallel.

This project is not about searching for identity, but rather to explore how our life experiences influence its development. We all feel a strong sense of uncertainty about who and what we are and how we fit in this world. We accept the fact that the environment and the society we live in have a major impact on the development of our life, but how much can new experiences transform our identity? It is our big question mark.

在這次旅程中，衣架比喻人的情緒和經驗。它們使我們想起了我們的生活，旅程，歷史，事件和夢想。它們積聚在我們旅程中，也幫我們構築了自身。作為一個在亞洲居住了十三年的法國藝術家，周圍的事物對我的人生和我的世界觀有著極為深刻的影響。隨著越來越適應新的環境，我覺得我自身也在變化當中。這個作品不是關於如何尋找自己，而是讓我們思考一個人所處的環境對自身生活，經歷的影響。我們都有一種很強烈的感覺，那就是對自身的不確定性：我們是誰？我們在做些什麼？我們自己在這個世界的位置又是什麼？在生活中，我們接受了這個事實：社會和環境的改變對我們生活有著巨大的影響，但是又有多少經歷會讓我們再次改變呢？這是我們腦海中的大問號。

Untitled, Ding Xiang Villa, Shanghai, installation view Coat hangers, Dimension variable 無題，丁香花園，上海，組合展示

衣架

2005

The Graduates

畢業生

尺寸不定

，—

隱

108 I 109

C •

i 4

Wong Fung Kei Francis 黃奉基 Selected Awards and Commissions 部分獎項和創作邀請

Education ?甯背景 2005

2005

1991

2003

1991

Finalist of the SIEMENS - RMIT Fine Art Scholarship Awards (Postgraduate), Australia 西門子純藝術獎學金入選作品本理工大學

澳洲皇家墨爾本理工大學藝術碩士 (香港藝術中心香港藝術學院合辦

4 卷

Master of Fine Art, Royal Melbourne Institute of Technology (RMIT) University ( Co-presented with the Hong Kong Art School, HKAC )

研究生

澳洲皇家墨爾

Costume Designer of a stage production "Fool" won the Best Costume Design 1992 from Hong Kong Federation of Drama Societies 香港戲劇協會主辦第二屆香港舞台劇最佳服裝設計獎

1990

Artiste Training Alumni Association Scholarship Hong Kong Academy for Performing Arts 藝進獎學金（香港演藝學院）

Graduated from the HK Academy for Performing Arts, Major in Set and Costume Design

Selected Collections 部分收藏

Selected Group Exhibitions 部分瞄展

2005 2005

“Pre-work”

vu - Animal, Private Collection 壓憶系列一野

"Pre-work" Too Art Gallery, Hong Kong Arts Centre

•私人收藏

•二樓原作 •香港藝術中心

D6ja vu - English Exercise 1, Private Collection

**SIEMENS-RMIT Fine Art Scholarship Awards" RMIT Gallery, Australia 「西門子純藝術獎學金展覽」 •澳洲皇家墨田本理工大學廊 •澳洲

*"Art Fair

壓憶系列一英文習作（一） •私人收藏

2003

Clonequins - B.E.D.(Beyond Existential Dimension), Private Collection Clonequins系列

床（藏） •私人收藏

Tokyo" Tokyo International Forum, Japan “Art Fair Tokyo" ，束京國際展館 •日本

'Toy's Story" Too Art Gallery, Hong Kong Arts Centre

"Collect(ive) imagery" Art Beatus, Hong Kong 「影像的聚合」 •精藝軒 •香港

2004

"In Progress" White Tube Gallery, Hong Kong Arts Centre “In Progress” ■白管子

香港藝術中心

"Then, I’m home...” Fujimage Gallery, Hong Kong Arts Centre 「回家之後」

2003

S 士畫廊 •香港藝術中心

"Linkage" Calypso - Furniture and Art Gallery, Soho, Hong Kong "Linkage" • Calypso — 像俱S廊，香港藝術中心 "Hong Kong, a World Cultural City?" HK French Chamber of Commerce, la space, Hong Kong "Hong Kong, a World Cultural City” ，香港法國商會 • 1a 空間

2002

"Meat" la Space, Cattle Depot Artist Village, Hong Kong 「慾」 • 1a 空間 •香港牛? 藝術村

"Kai Zha" The Studio Open Day, Ming Po Industrial Building, Hong Kong 「開閛」 •工作室開放日 •香港明報工業中心

"50° up" Pao's Gallery, Hong Kong Arts Centre “50° up" 包氏耋廊，香港藝術中心 |

The Voice of 18 Emerging Artists", Loft 21, Hong Kong “The Voice of 18 Emerging Artists” ， Loft 21 ，香港

i in

Deja vu

壓憶

When you see familiar objects, but you don’t remember where are they from? Could you be wrong?

當你看到似曾相識的事物，但又想不起它的由來，莫非出了毛病？

Ever had a conversation that you realize you’ve had before? Isn’t it strange? Has someone ever talked to you, and you feel you know what’s coming next? Because you know that you’ve heard it before, and you feel that this moment in time is surreal. Can you be sure? ‘Que sera sera’ - the little baby lying in the crib looking upon an overhead musical mobile wondering whatever will be, will be. At the instance of blinking, memory flashes back, the personality evolves.

The musical mobile is simply a reflection of our childhood and suppressed memories or experience we dare fantasize or dare not touch. Scattered imageries like homage to family values, socio-cultural impacts, nightmares, moral values, self-identity, evaluation, personal struggle, self-assertion and admiration embodies through juxtaposition of various collective images in a spatial environment with stark contrast and reproduced light and shade are recurring in our life cycle, a reminiscence of the spinning musical mobile. In my old days, the graphic chops imprinted self-value. Its influence may not be as visible as its visualization, but it has established my ways of thinking and seeing. I believe in exploring the hidden unconscious world and uncovering our repressed instincts. My project intends to unleash the irrational uncontrolled thoughts that underpinned human existence. “Deja vu” takes on a more personal approach on the development of my self-ego in relation and response to an external social environment and childhood experience. While I try to explore more about my in-depth reflections and feelings of my childhood experiences, the impact of moral values on and its interaction with personal development is also a major subject of concern.

The research work is the continuation of the exploration of blood relationships and my personal expression. This is an attempt to analyze and study the connection between one artwork to another. The collection of found objects and images will be presented in various ways and in different applications and contexts. Through various kinds of symbolic objects triggers the reallocation of a fragment from one’s past.

SJ#### The Graduates

畢業生

某些反覆的對話常浮現腦海，曾否讓你感到驚訝？或與人交談時，彷彿你已洞悉將會發生的一切，在這超乎現實的一刻，有否產生疑寶？還能清晰想起兒時對未來的憧憬。孩童安躺在嬰兒床上，目不轉晴地凝視著床端的旋轉玩具，隨著音樂轉出一幕幕童年片段。無數零星分散的影像聚合閱明著家庭觀念、社會文化的沖擊、夢魘、道德觀念、個人價值觀的反思及不斷的堅持掙扎，同時透過光與影在影像空間循環再生。

童年時，習作上每一個蓋章都標籤著成年人對我的評價。它的影響或許不若它的形象般明顯可見，但它卻建立起我的個人獨特思維方式。我深信藉著發掘個人隱藏的潛在國度及揭露我們被壓抑的本能，可鬆綁不理性和不受控制的思想，來加固人的存在意義。以我個人的取向，分析外在的社會條件及童年經歷如何影響「自我」的發展。除了發掘童年經歷的深層反射及感覺，童年經歷與人格成長的互動及道德價值的影響，亦是我關注的要點。這組作品延績了我以往作品中發掘血緣關係和個人內在的表達，亦試圖分析不同時期作品的連繫，同一系列的作品以不同的方式及於不同情境，利用不同媒體表現於人前。不同的藝術作品，實質是我們致力重組著過去零碎片段的印記。

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Deja vu - Superego Mixed media, 44.5 x 49 x 14 cm 壓憶一外混合媒體，44.5 x 49 x 14 厘米

2005

112 I 113

Assoc. Prof. Terence Douglas Batt Assoc. Prof. Kevin Leslie White

Dr. Ho Siu Kee Bill Ferguson Peter Hill

Chloe Ng Anna FrancoiseVan Rimsdyk Queenie Sham

Wilma Tabacco Lukas Tam

Stella Tang

Fiona Wong Francis Yu Graduation Exhibition Committee

Acknoledgement 鳴謝

!•« FDVA

AED

AMG

AIM/

ART

Congratulations to the Success of all Graduate HONG KONG ART SCHOOL

創意 •藝術 •終身學 Lifelong Learning for Arts and Creativ

A division of Hong Kong Arts Centre

www.hkas.edu.

香港藝術學院