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mastermind 2007
•RMIT 匿] UNIVERSITY
香港藝 術學院 DNG ART SCHC f Hong Kong Arts C<
mastermind 2007 Master of Fine Art Graduation Show 2007 藝術碩 士課程 畢業展
Exhibition date 1 5 May - 3 Jun 2007 time 10am - 8pm
venue The Pao Galleries 4-5/F, Hong Kong Arts Centre 2 Harbour Road, Wanchai
展覽 □期二
七年五 月十五 日至六 月三日
時間 上午十 時至下 午八時
地點 香港灣 仔港灣 道二號 香 港藝術 中心四 及五樓 包 氏畫廊
01 -02
Preface 序
Foreword 前言 03-04
Professor 曰izabeth Grierson
05-06
Associate Professor Terry Batt
07-08
Mr. Irving Koo, SBSÿJP
09-10
Dr. Ho Siu-kee
The Graduates 畢業生 11-14
ChanÿRandolph—陳國豪
15-18
ChengÿKwong Chuen— 鄭廣泉
19-22
CheukÿWai Man Siesta_卓慧敏 / 卓春淋
23-26
CheungÿKai Sun_張?新
27-30
ChowÿWai Man Jenny_ 周慧敏
31-34
Chow, Yu Yan April_周榆茵
35-38
ChuiÿYee Wah Eva_ 崔綺華
39-42
HeungÿKin Fung Alex_香建峰
43-46
HuiÿNga Shu Rita_ 許雅舒
47-50
Huntoon, Diane
51-54
Jip, Sock Ngoh Marie_葉珊娥
55-58
LauÿShuk Man Daphne— 劉淑敏
59-62
LeeÿYin Mui Catherine_李燕梅
63-66
MokÿChak Fa_莫澤花
67-70
PrydeÿSui Fun Nina_派瑞芬
71 -74
YauÿWai Man Raymond_ 邱偉文
75-76
Acknowledgements 鳴謝
Preface 序 All of us, who came into this MFA degree program more than two years ago, were already immersed in our art practice. Yet, by making the decision to become postgraduate students, we committed ourselves to further development of our art and to
Looking back, none of us could have known exactly
where our graduate study would take us. However, with our Graduate Exhibition, we are pleased and excited. We may even be a little surprised-we can now climb buildings and breathe fire!
attain a deeper understanding of our selves, our
imagery, and our vision. During the programme, our discussions, critiques
and dialogues opened doors to ideas and concepts. As a group, we were able to see through each other’s eyes for more clarity. Since artists normally work in isolation, our interaction was invaluable for research and revelation. The ensuing support we felt, by being surrounded with like-minded artists, helped us to feel confident and bold in defining our unique visual ‘voice’.
Too often, artists may be viewed as on the periphery of society. They may even be seen as a kind of monster, or dinosaur or dragon. Because of this, we know the confidence and boldness we have gained in the past two years is essential to our artistic vision and survival. We know that, even if we have to climb buildings and breathe fire, we will not relent in being true to ourselves and, without hesita¬ tion, unleash our visions.
01
We feel the deepest gratitude to all the professors and lecturers for their support during the course; for their guidance, inspiration and knowledge. We give special thanks to Professor Terry Batt and Dr. Ho Siu Kee for leading the program and making it an unforgettable experience for us. We also wish to thank and acknowledge RMIT and The Hong Kong Art School for providing the opportunity to participate in this MFA program and seeing it to completion with their generous support for our Graduate Exhibition production.
The MFA Graduates 2007
兩 年多前 ，在還未報讀 這個藝 術碩士課程的時候，我們已埋首於 各自的 藝術工 作之中。然而，一 但決定當上研究生，
我們便 致力開 拓更廣 闊的藝 術空間 ，從而對自身 、意念 、眼 界有更 深刻的 認知。
修 讀期間 的討論 、批判 、溝通為我 們的思維開敞 一道門。在群 體之中，我 們能夠從別 人眼中看到更透徹的面貌。
藝術家 通常獨 立創作 ，互 動的交 流令我 們在研 究與啟發上獲 益良多。與志同道 合的藝術家共 同努力，互 相砥礪 ，使
我 們能更 勇於表達自我 心聲。
很多時，藝 術家會 被人看 作社會 邊陲的 份子， 甚至被視為洪水猛獸 。因此，於過去兩年中磨練出來的 勇氣與無畏的 精神，著 霣成為 我們的 藝術視 野與堅持的必要條件。我們 知道， 我們不 會再猶豫或埋沒自己的理念 ，從 此忠於自己，
敢怒、敢言。
蘭 然回首 ，畢業 後會成就甚麼 光景仍 是一個未知數 ，但 我們對畢業 展麗充 滿欣喜 及期待 ，當中亦夾 著一點 驚喜的 小火花，就是果敢。
在此，我 們對所 有教授 、導師致以 最真誠的謝忱。他們的支持 、教導 、啟發、知識使我們終 生受用。特 別感謝
Terry Batt教 授及何兆基博士領導整個課 程及帶給我們一段段 難忘的回憶。
我們 亦希望 藉此機會鳴謝 澳洲皇 家墨爾本理工 大學以 及香港 藝術學 院提供 參與這藝術碩 士課程 的機會 •及 對我 們畢業 展覽 的鼎力支持。
2007藝術碩 士課程畢業生
_Foreword i_
J
月? 曰 Mobility, fluidity, interactivity are words that sum up
their communication, of knowledge and its effects,
the global world of today. As students, artists, edu¬
and most importantly of oneself in relation to others
cators we are part of this new condition of practice whereby we move easily from place to place, idea
in this shared planet, our home.
to idea, product to product, language to language, work to work, and so on. We are very aware that to succeed in this global world we need a “passport”
ties of knowledge to new ideas and practices we
that allows us to learn and work in different coun¬
our daily work. We become more alert to the needs
tries and to communicate easily with people from
of others, more attuned to the environment and the
With a creative education that opens the possibili¬
become more confident in our artistic practices and
different cultures. This global passport is gained
growth of our cities, more aware of creative problem
through an education that is attuned to the needs of
solving, more analytical of information and its
a contemporary global world.
sources, more responsive to the world of ideas, and
The Master of Fine Art is a glowing example of such
an educational program that has grown out of the far-sighted innovations and goodwill of two institu¬ tions in two different countries - RMIT University and Hong Kong Art School. An intellectual freedom
is engendered via these international cooperations
more responsible to the world at large. What I am suggesting here is that art as a profession is one that demands a profound ethics of practice. Such an ethics is not just about ‘the test of the good’ÿbut it is about an ethics of living and working together on a daily basis; it is an ethics of Self and Other; it is about the ethics of being human in the world
as creative networks are established. And it is these processes that enhance the creative lives of the
today as we shape the world of tomorrow.
MFA students and graduates to allow them a certain
Attuned to such an ethics of practice, the artists
mobility of practice.
graduating with the Master of Fine Art degree will
Artists are essentially globally mobile in the way
go forward into their world and contribute to the global work force in a more creative and productive
and the art they create has its own way of moving
way. We admire your work, we are stimulated by your creative productions, and we are excited about
across boundaries and interfacing with others to
the possibilities for your futures. On behalf of the
stimulate new thought and action. Artists respond
RMIT University we wish you every success in the forthcoming years.
they work, communicate, research, and create;
and relate to a wide range of stimuli in the world
of today as they bring the world of yesterday and tomorrow into their line of sight; and art is the
language whereby these forms of knowledge become manifest. Gaining a Masters degree is about achieving mastery. Such mastery is manifold in its implications as it includes mastery of skills and techniques, of materials and practices, of ideas and 03
Professor Elizabeth Grierson Head of School of Art
RMIT University Melbourne
今天 的世界 ，可用 移動性 、流 動性和 互動性 作緦結。作為學生 、藝術 工作者、教育工作者 ，我 們是這 個新環
_
境的一部分 ，我們 可以很 容易? 此地移到彼地 ，由此意 念轉到彼意念，由此 產品變 彼產品，? 此語言到彼語 言 ，由此 工作往彼工作... 我們都 注意到 ，要在 這全球 化的世 界取得 成功， 便需要 一張容 許我們 在不同 國家學 習 和工作、能 輕鬆地 與不同 文化的 人互相溝通的 「通 行證」。這 張環球 「通 行證」 ，是 通過協調現今 全球世 界需 要的教 育而獲得的。
藝術碩 士課程 正是這 種教育 的鮮明例子。此課程 發端於 兩個不同國家 的機構 港藝術 學院的 高瞻遠
澳 洲皇家 墨爾本 理工大 學和香
及善意。這 種國 際合作建立了 富創意 的網絡而引發 了智性 的自?。正是這些過 程強化
了 藝術碩 士學生 和畢業生的創 作生命 ，讓他們創作時擁 有某程 度的移 動性。
因 著工作、溝通、研 究和創 作方式，藝術家在本 質上都是縱橫四海。他們所 創作的 藝術品 ，自有一套 跨越國 界 的方式，並 且能與 其他藝 術品產生關係 ，從而激發 出新的思想和 行動。藝術家 能對今天世界裡不同 範田壽
的刺激 作出回應和拉上關係 ，全因為他 們會將 昨天及明天的 世界作 出比較。而藝 術是令這些知識得以 顯露的 語言。取得碩 士學位，代 表達至 了充份 的掌握。所謂 「掌 握」，是有很多不 同應用面向的 ，包 括對技 術的掌 握， 對物料 和練習的掌握 ，對 意念和 意念之 傳達的掌握，對知識 和知識 之效果的掌握
最重 要的， 是對掌
握自己與 其他同 享著這 個行星（我們 的家） 的人的 關係的掌握。
因著 這種富 於創意 的教育 ，開啟 了我們獲得新 穎意念 和實踐 知識的 機會， 使我們 對自己的藝術 創作和 日常工 作更有自信心。它 也令我 們更能 察覺到 別人的需要；更能對 環境及 城市變 遷作出 協調；更注重以創新的方法
解決問題；對資訊及其來源更 具分析 能力；對概 念世界 更懂得 反應；也對 整個世 界更有 責任感。我想 提出的 是 ，藝術 作為一 個專業 ，是一 個有嚴 格倫理 要求的 工作。這種倫 理不只 是關乎‘
the test of the good ’，
它是關乎日常 與人共同生活和工作的倫理。這是「自我與 他人」的倫理 ，是 有關 在今天的世界 如何作 一個人 的 倫理；在作一個人 的同時，我們 亦塑造著一個 明日的 世界。
取得藝 術碩士 的藝術 工作者 ，若 能依這種倫理而行 ，則 會以更 有創意，更 高產量 的方式來貢獻社會。我們很
欣 賞你們 的創作，我 們都被 你的創 新製作刺激著 ，同 時我們 還為你 們充滿 不同可能性的 將來而 興奮。我謹代 表 澳洲皇 家墨爾本理工 大學祝你們有 美好的未來。
紀綺 芙?授 澳洲 皇家墨爾本理 工大學 藝術系 系主任
_Foreword 刖
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The Mastermind 2007 catalogue marks the comple¬
The artist occupies a significant role within society.
tion of the second cohort of Master of Fine Art
In a global environment increasingly confronted
graduates from the School of Art at RMIT University
by massive change and complexity it is important for artists to assert their right to make work which, in the words of British artist Paul Huxley, “have no practical use whatsoever”. It is this sense of creative liberty and personal vision that becomes a real vehicle for the powers of human thought and a true source of spiritual nourishment for society in general.
and the Hong Kong Art School joint program in
Hong Kong. This is a fine achievement in which both institutions take considerable pride. Above all else, it celebrates the success and personal achievement of the graduating students represent¬ ed in this catalogue.
The completion of a degree at the “Master” level is a significant award. It denotes a depth of learning
Mastermind 2007 is indeed a celebration of
commensurate with a sustained rigorous,
the creative liberty and personal vision of the
intellectual and scholarly standard. In the United
diverse talents of our recent MFA graduates.
States of America, for example the Master of Fine Art degree continues to be acknowledged as the pre-requisite qualification for artists to teach in art schools and universities. With the attainment of the MFA degree comes responsibility. In many countries the “Graduation” ceremony is often referred to as the “Commencement” ceremony. By definition it recognizes the successful completion of an academic award but, more importantly, it clearly acknowledges a new beginning where the knowledge and skills acquired from the formal learning environment will be applied into future professional endeavours and subsequently into society in general. It is important for our graduates to enjoy their success and to reflect upon their fine achievement. This period of reflection, however, must only be transitory for it is important for each of
I congratulate them on their outstanding achieve¬
the 2007 graduates to continue to apply the skills
and knowledge they have attained in an ongoing manner in order to challenge and extend their art practice well into the future.
ments and commend them for their positive contribution to the rich intellectual and creative
dynamic of the School of Art at RMIT University
and the Hong Kong Art School and I am confident that they will continue to make a significant contribution to the cultural life of Hong Kong and
the world beyond, wherever the pursuit of their art
may take them.
Associate Professor Terry Batt Program Manager for Postgraduate Studies:
Hong Kong School of Art RMIT University Melbourne
這本 Mastermind 2007 展 覽場刊 ，標誌著修讀 第二屆藝術碩 士課程的學員，終於 完成他們的專業進修 。作為合 辦課程的兩所 院校， 澳洲皇 家墨爾本理工 大學和 香港藝 術學院 都為同 學的成 就引以自豪。
能夠完成碩士 程度的 課程， 意義非 常重大。它象徵著嚴 格與高 學術水平的深 度學習 。在美國 ，藝 術碩士學位仍 然 是藝術 工作者 進入藝 術學院和大學任教的基本學 歷要求。取 得藝術 碩士後 ，便 要負上 責任。在很多國家， 藝術 碩士的 「畢 業」 儀式也 被視為 「開始」 儀式。畢業 象徵著成功完成了一個學位，但更重 要的是 ，它 標誌了
一個新開始，將 過去學得的知 識和技 術應用到未來 的事業和社會 。讓 我們的畢業生 享受成 功和反思他們 的成就 是很重 要的，但這只 是一個 過渡期 ，因為繼續應用技能和知識 ，以挑戰和擴闊他們 的藝術 創作，才是最 重要。
藝術工 作者在我們的 社會有 著重要 位置。當全球環境都面臨重 大轉變 和越趨 複雜時 ，藝術 工作者 更應該強調他 們 有權創 作一些
有任何實際 用途」（套 用英國 藝術家Paul Huxley的用語 的藝 術品。正是這 種創作 的自由
和個人 視野，才能夠 盛載人 類思想 ，也是 社會精 神養料的真正 來源。
Mastermind 2007 確 實是對我們多才多藝的藝術 碩士畢業生的自?創 造和個 人視野 的祝賀 。我 要恭賀他們的 傑 出成就 ，並讚 揚他們 對澳洲皇家墨爾本理 工大學 和香港 藝術學 院所作的貢獻。我 深信無論對藝 術的追求最終
把他 們引領 到哪個 角落， 他們都 會繼續 對香港 以及世 界的文化生態 作出重 大貢獻
泰 利百特 澳洲 皇家墨爾本理 工大學 藝術系 副教授 ，課 程經理（香港 研究生 課程）
Foreword 則
口
We are proud to present the second MFA Graduation Exhibition. It’s a familiar setting, but exciting all the same. After all, being able to showcase students’ progress and achievement must be the greatest pride and joy of any art institution.
The featured works this year are each distinctive in style and content. They embody the progress
and commitment of our graduates today, and at the
same time give a glimpse of what might be expected in the Hong Kong art scene in the years to come. By
this may I wish our graduates a fruitful future in their
artistic pursuit! Of the 16 graduating students, some joined the
programme as new entrants while others had proceeded from our BAFA programme. As
Irving Koo, SBS, JP
individuals they may be different by way of
Chairman, Hong Kong Art School Council
background and personality, but they do share a
common passion for art. This has provided the platform and the impetus for cross fertilization, interchange, and emulation during the last two years
with the MFA programme providing the conducive environment. The resulting creative
sparks are evident in the exhibition.
藝術碩 士課程 畢業展今年已是第二 屆舉行 ，場景雖然 熟悉， 卻不減 觀賞作品的興 奮心情 ，畢 竟能眼 見學生 學 有所成，是每 個教育 工作者最大的 滿足。
十六位應 屆畢業同學中 ，有 些是修 畢我們 的藝術 學士學 位後繼 續升讀本課程 ，也 有全新的名字 ，他 們各有
各 的背景 和特質 ，但 同樣擁 有一顆對藝術 充滿熱 誠的心。這項 兩年的 課程為他們提供交流 觀摩的 平台， 讓他們 在作品中展現併發的 火花。
今次 展覽的 作品各 具特色 ，在同學的 作品中，我 看見他們的進 步和對 藝術的 堅持；透過這 批學生 ，我看見
本地 藝壇未來充滿 希望， 在此預 祝各位 畢業同 學在藝 術的路 上更進 一步！
顧爾言
SBS, JP
香港藝術 學院督 導委員會主席
Foreword __ U
月 曰 Hong Kong Art School and the RMIT University have been jointly presenting the Master of Fine
Art programme since 2004. Throughout the past few years, the accumulated student number of this programme has exceeded 70.
Our candidates in this part-time programme come from different backgrounds and are of different professions, they are associated with various fields in the society such as the creative industry, art education and cultural management. In the past two years, pursuing artistic excellence and transcendence was no doubt a common goal that all candidates strived to achieve; while in the learning process, their keen discussions on contemporary issues within the context of art at the same time opened up and widened their cultural horizon, which consequently enabled them to bring new insights to their own professional realms as well as to the whole society in a broader sense.
09
As one cohort of candidates completing the Master of Fine Art programme after another, it is anticipated that the efforts and the diligence of all the graduates will continuously infuse the local art scene with fresh and delightful energy.
Dr. Ho, Siu-kee Academic Head Hong Kong Art School
香港 藝術學 院與澳 洲皇家 墨爾本 理工大 學自二??四年 起合辦 藝術碩 士課程 ，幾 年來，累積修讀人數 已超過
七十人0
作為一個兼讀 制課程 ，我 們的同 學來自 不同專 業背景 ，當中 包括從 事各類 型創意 產業、藝術教 育及文化管理 工作。在為 期兩年的學習過程中 ，追求 個人創作上的 深化與提昇固然是大 家的共 同目標 ，而透過對當 代藝術 議題 的探討 ，亦使同學的 文化視野不斷 擴展，並能在 各自的 專業領 域以至 更廣泛 的社會 層面發 揮積極的推動
作用。
可 以預期，隨著 一屆接 一屆畢 業同學的堅持 和努力
*
他們 將為本 地文化 藝術發 展開創 一番新局面。
何兆 基博士 香 港藝術 學院學 術緦監
Randol
Chan 陳國豪
Jj Education
教 育背景
2006
Master of Fine Art Royal Melbourne Institute of Technology(RMIT) University (Co-presented with Hong Kong Art School) 澳洲皇 家墨爾 本理工大學藝 術碩士
(香港 藝術學院合辦 2004
Bachelor of Arts(Fine Art) Royal Melbourne Institute of Technology (RMIT) University (Co-presented with Hong Kong Art School, HKAC) 澳洲 皇家墨爾本理 工大學 文學士(鉍術〉 (香港 藝術學院合辦
Figure 人像
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The interrelationship of man and animals within the food chain has remained constant for thousands of years.
Man eats the animals and discards the bones, which then generate a new life cycle for microorganisms. Within our culture man is generally considered to be at the top of the food chain and the microorganism at the
bottom.
In the late 20th and early 21st century, science has attempted to interrupt the sequence and natural transfor¬ mations that occur within the food chain and life cycle. An example of this is the introduction of biotechnology,
genetic engineering, surgical interventions and transplants, all of which destabilized the balance created in
nature to sustain all life. Further examples can be seen in cloning which may be used to genetically alter perceived defects, in future generations of humans.
The introduction of new developments in technology and science has had an impact on natural systems in both a positive and negative way. The evolution of these changes is a source of constant debate.
數 千年來 ，人類 與動物 在食物 鏈中的 關係是 固定的 。動 物被吃 掉後， 微生物 的新生命週期 會在被 丟棄的 骨頭中 誕生。
人類在 食物鍵 的頂部 •而 微生物 則在最 低處。
到二十 世紀末 及廿一 世紀初 ，人 類嘗試 利用科 學對自 然轉化 作改變 。當 中包括 運用生 物工程 '基 因改造 '外科 手術以 及移植 等手段 •令 自然 界趨向 不穩定。複製 技術更可能從 遺傳基 因方面 著手， 改善下一代的 缺點。
科技 與科學的界入 ，對自 然界有 著正反兩面的 影響， 因而出 現對這 改變的 爭論。
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Kwong Chuen 鄭廣泉
Education ?育背景 2006
Master of Fine Art Royal Melbourne Institute of Technology(RMIT) University (Co-presented with Hong Kong Art School) 澳洲皇 家墨爾 本理工 大學藝 術碩士
(香港 藝術學院合辦 2004
Diploma in Fine Art, Hong Kong Art School 香 港藝術 學院藝 術文憑
1995
Bachelor of Social Sciences( Honors ) in Communication in Cinema & Television Hong Kong Baptist University 香港浸 會大學 傳理學 社會科 學學士 (榮譽
Selected Exhibitions 部 份展賢 Oxwarehouse, Macao, 2006
2006
狗年做 乜一實 驗藝術 創作展
Diploma in Fine Art Graduation Show 2005 Hong Kong Arts Centre, Hong Kong 2005
2005
藝術文 憑課程 畢業展 •香 港藝 術中心 •香港 2003
Contemporary Hong Kong Art Biennial Exhibition 2003 Hong Kong Museum of Art, Hong Kong 2003 2003年度香 港藝術 雙年展 •香港 藝術館 •香港
Selected Works 部 份作品 2004
The Vanishing City animation, 6 minute, DV, pal, color 消失中 的城市 動畫 •六 分鐘 •彩色
2003
This is Orange Digital Photographs, color 這是橙
數碼相片 * 彩色 2002
My Fantasia animation, 4 minute, Beta, pal, color 我的幻相曲 動搴
*
六分鐘 •彩色
Awards 獎項 2003
Award Winner, Hong Kong Art Biennial Exhibition 2003 香 港藝術 雙年展2003優秀獎 •香港
2002
Jury Special Prize, Animation Category, The 8th Hong Kong Independent Short Film & Video Awards 2002. 第 八屆香 港獨立 短片及錄像比 賽動畫 組評審 特別獎 •香港 15
A Moment 那一刻
Digital color photos 數 碼相片
121cm x 81cm 121 厘米 x81厘米
2006
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Digital color photos 數 碼相片
121cm x 81cm 121 厘米 x81 厘米
2006
Utilitarian domestic objects are common in all apartments. The apartment is the place in which many urban people carry out their daily life. There is frequently a routine attached to this daily life that is repeated
consistently. Within this routine, these objects serve silently and are generally taken for granted. By their repeated use over a long period of time they create different memories for their users. They are simple tools
but their link to our daily life and our subsequent history often forms an integral part of our memory.
By changing the nature of both the object and the space it inhabits, how do we view the familiar?
在 日常生 活當中 ，家居 物品如 衣夾、衣架等 都是不可缺少 的東西。這 些物件 ，除了令生 活變得 更為方 便之外 ，也帶 來不少 的回憶。在熟悉的 環境下，「它 們」以別 的方式出現時 ，會引 發甚麼 樣的反 應昵？
Siesta Cheuk Wai Man
_
Education
教 育背筆
2006
Master of Fine Art
卓慧敏 / 卓春淋
Royal Melbourne Institute of Technology(RMIT) University (Co-presented with Hong Kong Art School) 澳洲 皇家墨
本理工 大學藝 術碩士
(香港 藝術學院合辦 1996
Bachelor of Art Education (Honors) Cheltenham and Gloucester Higher College of Education 切 爾滕納 姆和格 洛斯特 高等教 育學院 •藝術?育 (榮譽)學士
1991
Teacher Certificate of the Art and Design Education Northcote College of Education 羅 ?國? 育學院•? 育文憑 (美術 及設計
Selected Exhibitions 部 份展覽 2006
Galaxy (IX) Hong Kong Cultural Centre The Foyer Exhibition area E3 & E4 集 思耋展 IX •香港 文化中 心大堂 •香港
2005
50%
White TubeGallery. Hong Kong Arts Centre 50% 香港藝 術中心 •香港
1997
Art By Cheuk Wai Man Pao's Galleries, Hong Kong Arts Centre 卓慧敏個 人展賢 •香 港藝術中心 •香港
1994
Galaxy (V) Exhibition Hall, Hong Kong Cultural Centre 集 思畫展 V •香 港文 化中心 •香港
1993
A Galaxy of Seven Artists Pao's Galleries, Hong Kong Arts Centre 七 人藝展 香港藝 術中心 •香港
19
Sensation of bloom... 生 命情懷...
Ink and acrylic on rice paper 墨水及 塑膠彩 (宣 紙本)
200cm x 200cm 200 厘米 x 200厘米 2006
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Sensation of bloom. 生 命情懷...
Ink and acrylic on rice paper 墨水及 塑膠彩 (宣 紙本）
200cm x 200cm 200 厘米 x 200厘米 2006
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The subject matter of my project is the flower. The content relates to creating artworks that evoke sensa¬ tions of calm poetic beauty. I focus on the atmosphere, the image, the colour and the significance of water
as important components with which I might express the appearance of the flower while also using abstraction as a visual means of image making. I decided to use the Book of Change as an inspirational source for my creation. Besides the poetry, calligraphy can also express the speed, power and movement of the Chinese texts in the selected poem. This investigation has stimulated me to strengthen the context of my paintings.
A visit to the chrysanthemum exhibition held in the Chinese Yuen Yuen Temple in Hong Kong was a breakthrough in clarifying my theme. The calmness and colour radiating from the flowers settled my
‘anxious’ and ‘busy’ mood. My painting project ‘the Sensation of Bloom’ represents the ephemeral, the fragility and the brightness of flowers in order to suggest these qualities to my viewing audience.
After experimenting with a number of techniques, such as folding and tearing paper, I realised that it would be appropriate to reassemble all the works into forms capable of being displayed in an installation format.
I intended the indoor or outdoor space settings to act in the same manner of the white of the paper or white acrylic paint in the original works: that is, to create a blank space for contemplation and reflection.
我 愛花兒的一份 生命力。我 希望能 在繪畫 上表現出她在自然界 短暫卻 令人難 忘的生 命情懷 。從 「易 經」的 第一卦 1
■乾」 卦，「生生 不息」的概 念與我 對花的 感知很 是相似。我當試向中國詩歌處追 尋花的情懷。我選了陶淵明
的詩：「采菊 東籬下 ，悠然見 南山」作為我的創作 情境。
我選擇了中國宣紙 、墨 水及塑膠彩來 作媒介 ，我用“草書 ”書寫出詩歌中的字，將 花兒的 生命力 ，寄託在筆 法上。
宣 紙的白、塑膠 彩的白，讓 畫面 的詩意更濃； 墨 水的滲 透像看 到花兒 的收放自然；撕紙 及摺紙就像接 觸花兒的柔軟 和 脆弱；過程是 奇妙的 ，我 就如融入詩，與詩人 一起感 受生命 ，感 受悠閒中的生命力。
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Cheung Kai Sun 張?新
Education
教 育背景
2006
Master of Fine Art Royal Melbourne Institute of Technology (RMIT) University (Co-presented with Hong Kong Art School) 澳洲皇 家墨輞 本理工 大學鉍術碩士
(香港 藝術學院合辦 2003
Bachelor of Arts (Fine Art) Royal Melbourne Institute of Technology (RMIT) University (Co-presented with Hong Kong Art School, HKAC) 澳洲 皇家墨 爾本理 工大學文學士 (藝術
(香港 藝術學院合辦 >
>
Selected Exhibitions 部 份展覽 2006
-
Innovative Ceramics, melbourne Hong Kong 2006 Nellie Castan Gallery, Melbourne, Australia 墨爾本 •澳 大利亞
2005
Timeless Wonder- Ceramic functional objects The Hong Kong Arts Centre, Hong Kong 造物 忘年一陶瓷實 用器物 •香 港藝 術中心
2004
*
香港
ICJES Exhibition of Ceramic Works by World Emerging Artists Fu Le International Ceramic Art Museums Fuping, Xian, China 2004年第一 屆國際 陶藝期 刊主編論壇之 世 界新秀 陶藝家 作品展 •富 樂國 際陶藝 博物館 •西安 •中國
1998
Journals, The Pottery Workshop, Hong Kong 曰誌 •樂 天陶社 •香港
Unity In Diversity, Manitoba Crafts Council Gallery Winnipeg, Canada 殊途同路 • Manitoba Crafts Council Gallery •加 拿大
1997
Awards 2003
獎項
2004 Meli Melo Living Arts Award for Excellence 2003 Meli Melo 優秀 作品獎2003
Collections 收藏 Fu Le International Ceramic Arts Museum Fuping, Xian, China 萬樂國 際陶藝 博物館 •西安 •中國
Guangdong Museum of Art, Guangzhou, China 廣州 美術館 •中國
23
Eyes
S Porcelain, Terracotta 白瓷 •低 溫紅泥
Various sizes from 6cm x 5cm x 4cm to 10cm x 9cm x 5cm 自由 尺寸由6厘米 x 5厘米 x 4厘米至 10厘米 x 9厘米 x 5厘米 2006
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The experience of daily life led me to contemplate upon the relationship/positioning and interdependence between oneself and the world. Working with clay somehow reconnects myself with earth/roots again.
As my work develops, I aim to enhance my understanding of the earth, and in this respect, rediscover the intuitive sensibilities of the child.
人 與土地 ，息 息相關 。陶 泥讓我 重新思 考人與自然的 定位與 關係， 同時重拾赤子 之心。
Chow Wai Man 周慧敏
r Education ?育背景 2006
Master of Fine Art Royal Melbourne Institute of Technology (RMIT) University (Co-presented with Hong Kong Art School) 澳洲皇 家墨闞 本理工 大學藝 術碩士
(香港 藝術學院合辦 2004
Bachelor of Arts (Fine Art) Royal Melbourne Institute of Technology(RMIT) University (Co-presented with Hong Kong Art School, HKAC) 澳洲 皇家墨爾本理 工大學 文學士{藝術） (香港 藝術學院合辦 >
Selected Exhibitions 部 份展? 2003
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A Person A[]"
White Tube Gallery, Hong Kong Arts Centre, HK
-
一人一[r •白 管子 •香 港藝 術中心 ，香港
Collections 收藏 2003
Line" Private Collection "線 ”私人收藏
27
Back to the nature II 回歸自 然??
Slide Show 投影片
970mm x 690mm 970亳米 x 690亳米 2006
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Back to the nature II 回歸自 然??
Slide Show 投影片
970mm x 690mm 970亳米 x 690毫米
2006
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My work investigates how nature is viewed and represented in an urban environment. Tin Shui Wai is a relatively new urban development in the New Territories. It is located between the densely
populated areas of Hong Kong and the natural environment of the New Territories and China. It exists
between two extremes. Within the urban environment nature often has a contrived appearance. Introduced plant species, artificial streams, man-made lawns and walls with the texture of rocks and pebbled ground represent nature.
In these high rise areas, there is a small 'window' of sky. Pristine nature, such as mountains, sky, the sea or the wetlands can only be glimpsed from far away or for those fortunate enough to live close by. Many people are restricted to visits to the wetlands, for example at the weekends.
Most people who live in an urban environment experience a ‘second-hand’ or ‘controlled’ interpretation of nature as experienced in advertisements by real estate companies who emphasize the calm and peaceful surroundings of the environment of a particular district that they are promoting.
The most charming photographic angles are used to attract and seduce urban dwellers who may contem¬ plate residing in an environment where they can experience nature.
Because the population density in Hong Kong is high and the buildings are crowded together, coupled with the added stress of extreme work pressures, many people look to nature to give them some relief. Blue sky, white clouds, green mountains and the vast ocean are examples of the visual aspects of nature that urban dwellers look to for comfort. However, most people are not prepared to expend the necessary time, money
and energy to experience nature first hand. They prefer to enjoy the sea in the comfort of an air-conditioned room or to see a movie or documentary about nature.
In essence, they are unwilling to give up their existing life style, an acknowledged contributor to pollution and global warming, in exchange for an artificial yet more durable experience of nature.
有 些國家 與城市的風光可歷百 年不變。但在 香港， 人們卻 不能捍 衛窗外 的風景，或 許一年 半載後 ，窗前的山丘和天
空會 變成高 樓大? ，莫非城市 人只可 在數碼影像裏 體驗大自然？
Chow Yu Yan 周榆茵
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Education 教 育背景
2006
Master of Fine Art Royal Melbourne Institute of Technology (RMIT) University (Co-presented with Hong Kong Art School) 澳洲皇 家墨爾 本理工 大學藝 術碩士
(香港 藝術學院合辦 > 2004
Bachelor of Arts (Fine Art) Royal Melbourne Institute of Technology (RMIT) University (Co-presented with Hong Kong Art School, HKAC) 澳洲 皇家墨 爾本理 工大學 文學士 (藝術
(香港 藝術學院合辦 1996
Diploma of Visual Communication Hong Kong Lai Wee Lai Technical Institute 香港李惠李工 業學院 •設 計系 •視 覺藝 術文憑
Selected Exhibitions 部份展 覽 50%
2005
White Tube Gallery, Hong Kong Arts Center 白管子 •香 港藝 術中心 •香港 2004
“Zoo” Hong Kong Arts Centre, HK 動物園 一聯展 •香 港藝 術中心 •香港
" The 5 th
Element " Graduation Exhibition of the Bachelor of Arts Hong Kong Arts Centre, HK 第5元素一澳洲 皇家墨 _本 理工大 學藝術 學士畢 業聯展 香港藝 術中心 •香港
1996
Graduation Exhibition of the Design Diploma Hong Kong Lai Wee Lai Technical Institute, Hong Kong 香港李惠李工 業學院 設計系 畢業文 憑聯展
香港李惠李工 業學院 •香港
Awards 獎項 2006
Award of u The Best of Design-Small Leather goods " Asia Pacific Leather Fair[APLF], Hong Kong [最佳 設計大 獎-皮 革組] 亞太 皮革展 2006•香港
Leather Ball 皮球
Leather, plastic ball 皮革、 塑膠球
300cm x 300cm 300厘米 x 300厘米 2007
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Leather, plastic ball 皮革、塑膠球
300cm x 300cm 300厘米 x 300厘米
2007
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Leather warehouse 皮革倉
2005
Leather is the medium of my artwork, because of a scene, which came to me in a leather scrap warehouse
a few years ago. I saw workers separating leather of different colors and textures from a big plastic bag, which had just arrived from a container. Leather scraps were in various sizes and colors and were pilled up
into small mounds. That scene was aesthetically pleasing to me. From that time, I felt leather was not only associated with luxury handbags, styled jackets, quality shoes and comfortable furniture, but leather itself,
could be ‘Art’ too. These leather scraps were seen as waste and waiting to be disposed of. However, some people saw them
as a kind of material, which could be recycled for making smaller and cheaper leather goods. In my point of view, If leather is a kind of by product of the human need for meat, then the leather I used was the by¬
product of high priced leather goods. Therefore, to make the best use of leather is by recycling the material and makes it into something meaningful and helpful to the environment.
In the businessman's mind, it is a kind of material that makes big profit. In the modern person's mind, these accessories bring up their status. In my mind, leather is not just a material for making luxury goods only.
I would like to bring leather from the materialistic world to the world of fine art; to let the audience appreciate the quality of the material itself as a kind of unique material.
My goal is to understand leather by directly working with the material. It is a material that I have feelings for.
From the same factory, I produce my artwork and also the products of my business. I believe any material can be turned into artwork no matter where it came from.The thing about making one's art, is the way one looks at and interprets it.
皮 革不只令人聯 想到名 貴手袋、型 格衣飾 、華貴 傢俱， 亦不一定要淪 為生意 人的生 財物料 或作為顯示地 位的陪襯品。
皮革 也可轉化成為 藝術品。成 就藝術 ，在於作者 本身的 詮釋。
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Chui Yee Wah 崔綺華
Education ? 育背体
2006
Master of Fine Art Royal Melbourne Institute of Technology (RMIT) University (Co-presented with Hong Kong Art School) 澳洲皇 家墨爾 本理工 大學藝 術碩士
(香港 藝術學院合辦 1999
Bachelor Of Fine Arts, University of Tasmania, Australia 澳洲塔 斯曼尼 亞大學
•
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Selected Individual Exhibition 部份個 人展賢 2006
‘Place, Space, Inner Senses'
Diocesans Boys' School Primary Division Mong Kok, Hong Kong 《地域 1999
*
空間 、內心 世界》•香 港男拔 萃小學
'Space For Breathing' Inka Gallery, Salamanca Art Center, Tasmania 《呼吸空間》•澳洲 塔斯 曼尼亞
Inka Gallery • Salamanca藝 術中心
Selected Group Exhibition 部份聯 合展賢 2007
'Space Revitalized' Carl Cheung's Studio, Wan Chai, Hong Kong 《更 生空間 動力》•香港 •灣仔
2006
Carl Cheung's Studio
'Annual Creative Figure Studio Art Exhibition' Visual Art Center Gallery, Hong Kong 'Annual Creative Figure Studio Art Exhibition' 香港 視覺藝 術中心
2005
Annual Creative Figure Studio Art Exhibition' TST, Hong Kong "Annual Creative Figure Studio Art Exhibition' 香港 尖沙咀
2004
'In Progress', White Tube Gallery Hong Kong Art Center, Wan Chi, Hong Kong 《進行中> 香港藝 術中心 •白 管子
Selected Collections 部 份收藏 Private collections in Australia, Hong Kong & US 美國 •香港 及澳洲 均有私 人收藏
Selected Bibliography 部份參 考資料 Andersch, Joerg, Gallery Watch The Mercury (Tasmanian Newspaper), P. 406 October 1999
35
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1 Sunset Rhythm Series 曰落節奏系列
30cm x 10cm x 3 30厘米 x 10厘米 x 3
Oil On Canvas 油 畫布本
2006
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Jÿÿÿ Fading Line no. 23 散失中 的線第 二十三
50cm x 10cm 50厘米 x 10厘米 Oil On Canvas 油 畫布本
2006
-
Pok Fu Lam Series Fading Line no. 7 薄 扶林系 列一散 失中的 線第七
50cm x 10cm 50 厘米 x 10厘米
Oil On Canvas 油 畫布本
2006
Psychology of Space
_ PlacesÿSpace, Inner Senses
Psychology of Space - Places, Space, Inner Senses
Our personal psychology of space is developed throughout life. The kind of life experiences and environ¬ ments we encounter affects our personal sense of space. The paintings I create are an expression of my feelings for space. These feelings are expressed not only in the imagery painted, but also by the format
and size of the images in relation to the environment. It is an attempt to transform our view of the ordinary everyday environment, a search for a new aesthetic experience of space, to uncover new truths about our psychology of space.
心
間
— 地域、空間 、內 心世界
我們 個人的心理空間會隨 著歲月而變改。一些 生活的 體驗及 周圍環 境都能 影響到 我們對 空間的 感觀。我的繪 畫正是
表達出我 對空間的感覺 。這些感覺從 描畫的圖象以致於作品的大 小格式 與其展示的環 境均有 著密切 的關係 。我 嘗試 把我 們日常 見到的 景物轉化成一 種新的 空間審 美體驗，揭示 一個新的真切 的心理 空間。
Heung Kin Fung 香建峰
Education ?育背景 2006
Master of Fine Art Royal Melbourne Institute of Technology(RMIT) University (Co-presented with Hong Kong Art School) 澳洲皇 家墨爾 本理工大學藝 術碩士
(香港 藝術學院合辦 2001
Bachelor of Arts (Fine Art) Royal Melbourne Institute of Technology(RMIT) University (Co-presented with Hong Kong Art School, HKAC) 澳洲 皇家墨 ?本理 工大學 文學士(藝術〉
(香港 藝術學院合辦
Selected Exhibitions 部份展賢 2005
"Pre Work", Too Art Hong Kong Arts Centre, Hong Kong Workÿ•二 樓原作 香港藝 術中心 •香港 “50%",
White Tube Gallery
Hong Kong Arts Centre, Hong Kong 「50%」•白 管子 •香 港藝 術中心 •香港
2004
"Painting , Unpainting", 1a Space, Hong Kong 1a 空間 •牛棚 藝術村 •香港
「繪畫復 繪畫」 • 2003
"Hong Kong Art Bieannual Exhibition 2003" Hong Kong Museum of Art, Hong Kong 「2003香港 藝術雙 年展」•香港 藝術館 •香港
2002
U50°up", The Pao Galleries
Hong Kong Arts Centre, Hong Kong •包氏畫廊 •香 港藝 術中心 •香港
Collections 收藏 Hong Kong Museum of Art 香港 藝術館 •香港
When Wind, Forest, Mountain, Fire meet the Hare and the Tortoise 當風 林山火 遇上龜 兔?跑
Acrylic on Canvas 塑膠 彩布本
183cm x 122cm 183厘米 x 122厘米
2006
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When Plato meets Plum, Orchid, Chrysanthemum and Bamboo 當 柏拉圖 遇上梅 蘭菊竹
Acrylic on Canvas 塑膠 彩布本
183cm x 244cm 183x244厘米
2006
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Image is an important element in my paintings. One image combined with another image can represent
not only the individual meaning of the two images, but also the message represented by the relationship between the two images created. Likewise, when one story meets another story, when tradition meets the
contemporary, when east meets west, when design meets fine art, when abstract meets figurative...
在我的 繪畫中，圖像 是一個 很重要的元素，當一 個圖像 「遇 上」另一 個圖像，它 的意涵 不單承 載著兩個圖像本身的 內容 ，還 會反映 出圖像與圖像之間彼此互動 的關係 ，彷如 當一個 故事遇 上另一 個故事 ，當 傳統遇上現代 ，當 東方遇
上西方 ，當 設計遇 上藝術 ，當 抽象遇 上具象 ...
M.
,
二-1
0A Hui Nga Shu 許雅舒
Education ?育背景
HHHHB
1998
Director / Scriptwriter / Editor, "She makes me wanne die" 16mm • 27min • Color
“ 如 果天使 不死”Betacam •
2006
Master of Fine Art
* 1998 Hong Kong Independent Short Film
and Video Awards Sliver Award in Drama Category
Royal Melbourne Institute of Technology (RMIT) University (Co-presented with Hong Kong Art School) 澳洲皇 家墨爾 本理工 大學藝 術碩士
* 2000 12 Festival, Quand les Lesbiennes Se Font
2003
Du
Cinema,s Paris
(香港藝術學院 合辦〉
Master of Arts in Women's Studies Chinese University of Hong Kong
1998
性別 研究文 學碩士
Director / Scriptwriter / Editor, "Invisible city (wall)" Part of “Festival Now” Program “看不 見的城（牆 DV • 9mins • Color
香港中 文大學 1998
* 1998 Hong Kong Independent Short Film and Video Awards Sliver Award in Other Category
Bachelor of Fine Art in Film and TV Hong Kong Academy for Performing Arts 電影電視藝 術學士 (榮譽)學位
* 1999 Selected Film * 1999 Selected
香港演 藝學院
in Hong Kong International Film Festival
Work, Festival de Video de Macau
* 1999 Selected
Work Hong Kong Festival in Munchner Stadtmuseum
Selected Exhibitions 部 份展覽
* 2000 Selected
2005
Work The Japan Foundation Asia Centre Exhibition
The Lab: Hong Kong Video/Film Artists Series#2 Rita Hui Hong Kong Art Centre
* 2000 Selected
The Lab: 香 港錄像 / 電影藝 術定系 列二： 許雅舒
Work Festival du court merragre Clermont Ferrand
香港藝 術中心 2003
Video Installation, “Displacement ab-ject” Para/Site Art Space, Hong Kong 錄 像裝置 •“輾 。我"• Para/Site藝 術空間 •香港
Work, Onair 100 in Internet
* 2002 Selected
1996
Director / Scriptwriter / Editor, uAh Ming' Betacam • 15mins， B/W
“阿明 ••
* 1996 Hong
Kong Independent Short Film and Video Awards Distinguished Award in Drama Category
Selected Works 部 份作品 2004
_
* 1997 Selected Film in
Director/ Editor, "IdoLetHerMyHeadHave'
DV 17mins . Color
“ 我遊”
* 2004, Proxy, Microwave International Media Art Festival International Video Screenings * 2005, Hong Kong International Film * 2005, The
Festival
Lab: Hong Kong Video/Film Artists SeriesU2
Rita Hui. Hong Kong Art Centre * 2006,
The New Media Festival, Seoul
Compilations” The Transmedia, Berlin/ Germany
* 2007, “Historic
1999
Hong Kong International Film Festival
*1997 Selected Work Festival of Contemporary Arts 3, Reel Art Film Festival *1997 Selected Work, Kyoto International Film Festival in Japan * 1997 Selected
Work, European Media Art Festival
*1997 Selected Work, Tokyo International Film Festival * 1998
Work of Excellent, Image Forum Festival in Japan
* 1999 Selected Work, The 3rd
Thai Short film and Video Festival
Work, The 17th Annual San Francisco International Asian American Film Festival * 1999 Selected
Director / Scriptwriter / Editor, "Alice in the Wonderland' • 55mins，Color
••愛 麗斯 在美好 世界”Betacam * Screening in
1999/7/15 in Hong Kong Space Museum
Lecture Hall In "Super Frame" Program * 2000 Screening Program in
Red “紅“
Independent Yours of Hong Kong Arts Centre * 2000 Selected
Work. Onair 100 in Internet
* 2000 Se/ected
Wo汍.無 人駕駛 /n Cab/e TV
HDV, 27mins 3 channel video 2006
43
女鬼男孩女子 三
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Red “紅
HDV, 27mins 3 channel video 2006
This is a story about a story.
When you empty the content of a story, the only thing left is the character’s relationship. The video represents 3 stories with 3 video screens, and each screen tells the story of a character. The relationship between the three characters creates a sense of synchrony of time. Repeated and doubling, like a circle.
Two women with no other life and no story they can tell. And for myself, as the author, I have no story
I can tell.
這是一 個關於 故事的故事。
抽空 了故事 的內容 ，只剩下了 關係。 關係結 束了被 ?讀的可能。
只? 下了， 聯想和 線條。 重覆， 重疊 • 似一 個圓。
女子沒 有其他 生命， 也沒 有其他故事， 而我（為 作者）也沒 有故事可?。
Education ?育背f 2006
Master of Fine Art Royal Melbourne Institute of Technology (RMIT) University (Co-presented with Hong Kong Art School) 澳洲皇 家墨爾 本理工大學藝 術碩士
(香港 藝術學院合辦 > 1984
Bachelor of Fine Art (Painting Emphasis) University of California at Santa Barbara (UCSB) 美國加州聖德 巴巴拉 大學藝 術學士 (主修 繪鼉）
Selected Individual Exhibitions 部份個人展覽 1999
Akutsu Gallery, Maibashi, Japan
1997
Fellowship Gallery, Maibashi, Japan
1996
Fellowship Gallery, Maibashi, Japan
1994
Fellowship Gallery, Maibashi, Japan
Selected Group Exhibitions 部份聯 合展覽 1996
Arts International Exhibition, Maibashi, Japan
1995
Arts International Exhibition, Maibashi, Japan
1994
Gunma Museum of Art, Peace Exhibition
1994
Japan Tokyo Musuem of Art, International Friendship Exhibition
1993
Arts International Exhibition, Maibashi, Japan
1992
Japan Tokyo Musuem of Art, International Friendship Exhibition
Awards 獎項 1994
47
Asahi Newspaper Prize for Painting, Japan
m
Ift
V
Frame / Form / Content / Context 'exhibition view* 框 / 形式 / 內容 /背景 展 覽面貌
2006
.
Accumulated Painting 1 累 積圖畫 1
Frame moulding / Painted canvas in perspex box 33cm x 33cm x 13cm 33厘米 x 33厘米 x 13厘米
2006
In this work, I use the materials that complete a painting: canvas, paint, nails and frame moulding.
I derive ideas from the painters and paintings of the past and pay them homage. So, I consider myself a traditionalist.
However, I wish to allow a new iconography to present itself through various permutations, arrangements
and combinations of these traditional painting materials.
I strive for formal qualities as well as an element of playfulness. I find revelation through the medium. By ‘deconstructing’ and ‘reconstructing’ painting, and using its various parts, simple questions arise.
For example,‘How can we look at something familiar and see it in a new way?’‘How can we shatter old conventions and hierarchies?’‘How can we have a truly authentic experience, free from manipulated perceptions and programmed beliefs?1
These days, many areas in our familiar experience are being 'tinkered* with, such as food, animals, the weather, agriculture, human rights and even life itself. Painting is no different; however, a lot less dangerous.
Ever living, it begs us on, taking us to a new place, a place we know not where.
在這件 作品中，我 利用了傳統繪 畫中賴 以完成 畫作的 物料， 如畫布、油彩 、釘及 框架等 。我的靈感源於以往的畫家 及 其作品 ，並 希望值此向他們致敬。所以，我把自己視 為一個 傳統主 義者。
然而，我通 過對這些傳統 繪畫物 料進行 各式各 樣排序 、組合 ，希 望籍 此呈現 一種新的圖像 。我努力去追尋傳統藝術 形式的質素 ，同時 亦畜試 一些較 隨意與 帶有遊 戲性質 的方式。我 試圖通過物 料與媒 介得到 啟發。
把畫作 「解構」、「重 組」，並利用 組件進 行創作 ，一些 簡單但根本的問題? 之而生 。例如： 「我們 如何用新的視 角去看 一些熟 悉的事 物？」，「我 們 如何去粉碎常 規及制 度？」 ，「我 們如 何從被 操控的 知覺與預設的 信條中 得到真 實的體 驗？」。
在現 今世代，很 多我們 熟悉的景況都給東揍 西拼而 變得面目全非，食物 、動物 、氣候 、環境、人 權以至生命 本身。
繪畫又 何嘗不 是這樣，只 是沒有 那麼危 險罷。
活著， 就是不 斷向前，向未 知之處前進。
Jip sock Ngoh 葉珊娥
£ Education
教 育背景
2006
Master of Fine Art Royal Melbourne Institute of Technology(RMIT) University (Co-presented with Hong Kong Art School) 澳洲皇 家墨爾 本理工大學藝 術碩士
(香港 藝術學院合辦 2004
Bachelor of Arts (Fine Art) Royal Melbourne Institute of Technology(RMIT) University (Co-presented with Hong Kong Art School, HKAC) 澳洲 皇家墨爾本理 工大學文學士 (藝術
(香港 藝術學院合辦
Selected Exhibitions 部 份展覽 2006
Innovative Ceramics Melbourne and Hong Kong 2006, Nellie Castan Gallery, Melbourne, Australia.
2005
'The 5th Element - Bachelor of Arts Graduation Show' Pao Galleries, Hong Kong Arts Centre, Hong Kong “ 第五元素一學士學位 課程畢 業展”
包氏畫廊 •香 港藝 術中心 •香港
51
r
.
mmmm,
o辦
mÿ „r
SS1 Porcelain, wheel thrown work
55 inches x 9 inches x 6 inches 55寸 x 9寸 x 6寸 2006
'"ÿmm
;
SS5 Porcelain, wheel thrown work
4 inches x 3 inches x 2.5 inches 4寸 x 3寸 x 2.5寸
2006
"Space" - the making process embraces this simplicity, recognizing that its own meaning is deeply embedded in the sub-consciousness of the everyday actions. “Spontaneity” is achievable by discipline, enthusiasm and vitality, playful repetition, forgetfulness and risk. This revealed itself to me after the long process of self-immersion in my work.
「空間」 是製作過程中 包含的 質樸與 簡約， 它的意 義深植在尋常動作的 潛意識 之中。 「自 發性」成就於 紀律、 熱誠與 充滿活 力的重複默練 ，並要能忘 卻已知、勇於冒險。
這話 所以能 夠成立 ，只因它曾伴我沉浸在漫 長的自我磨鍊 之中。
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Da
au Shuk Man 劉淑敏
Education ? 育背景 Master of Fine Art
2006
Royal Melbourne Institute of Technology (RMIT) University (Co-presented with Hong Kong Art School) 澳洲皇 家墨爾 本理工 大學藝 術碩士
(香港 藝術學 院合辦
BA(Hons)Costume and Make-Up for the Performing Arts University of the Arts London London College of Fashion
1999
英國 倫敦藝 術大學 •服 裝學院 •表 演服 裝與化 裝學士
Diploma of Costume Technology (Applied Arts) The Hong Kong Academy for Performing Arts
1995
香港演 藝學院 •科 藝學院 •應 用美術 •服 裝技術文憑
Diploma in Clothing(Design and Pattern Making) Kwun Tong Technical Institute
1993
觀塘工 業學院 •服 裝技術文憑
Select Exhibitions
部 分展覽
Eggstravaganza
2007
Lobby, 2/F, Time Square, Hong Kong 蛋森林
香港 時代廣 場二樓 •香港 2006
Cracker Exhibition Hong Kong Visual Arts Centre 克力架
香港 視覺藝 術中心 •香港
Full Body 全身
Latex 樹膠
165cm x 54cm 165厘米 x 54厘米 2006
55
A \ m
Neckline 脖子
II
Latex 樹膠
30cm x 15cm 30厘米 x 15厘米
:齡: 公
2006
纖:
Half Bodice 半身
Latex 樹膠
60cm x 50cm 60厘米 x 50厘米
2006
This work, entitled “Bodies Sculpted from Desire”ÿreflects upon the female body and women’s identity issues in contemporary society. I do this through my artwork by questioning and re-questioning traditional visual representations of the feminine form and how we view and locate the female body in society.
The skin, like the mould, continues the dialogue of binary opposition of internal/external, mind/body, and matter/spirit. In the case of the shell-like mould it is the external negative space around the body, an added
skin that defines the space, whereas the skin is the outer covering, the fleshy interface between bodies and
the world, but both define the transition between interior and exterior. I explore the concept of skin as an interface, a memory, a transition, and a connection in these works.
I am exploring the relationship between the body, the skin and the shape of the body. I have used my own body as art material and have examined my body and life; I then present it with all the awkwardness and grace we all find in interpretations of our own bodies.
皮虜 像一個 模型， 呈現出 身軀的 內與外 ，構成肉體上與精 神上、物質與 心蟊的對話。 透過 軀體， 顯現出 形式上 的空間 ，肉 身的變化成為探索皮 虜的具 體概念 ，造 成一個 分介面 、記 憶體和 演變的 界限。 今 次畜試 用我自己的身 體為物 料素材，去展示軀體 、皮虜 和體型 的關係 ，重 新解釋自我 的軀體 和女性 雕塑的 定義。
Catherine Lee Yin Mui
李燕梅
• 3 幽 %守:
Education ?育背景 2006
Master of Fine Art Royal Melbourne Institute of Technology(RMIT) University (Co-presented with Hong Kong Art School) 澳洲皇 家墨爾 本理工 大學藝 術碩士
(香港 藝術學院合辦 2004
Bachelor of Arts (Fine Art) Royal Melbourne Institute of Technology (RMIT) University (Co-presented with Hong Kong Art School, HKAC) 澳洲 皇家墨 爾本理 工大學 文學士 (藝術
(香港 藝術學院合辦
Se?ected Exhibitions 部 份展覽 2006
u Lotus - A Home Exhibition" The Artist's Studio Ping Che, Fanling, Hong Kong
“蓮 一在家 展覽”
作者 工作室•坪輋 •粉嶺 •香港 2005
"The 5th Element - Bachelor of Arts Graduation Show' Pao Galleries, Hong Kong Arts Centre, Hong Kong “第五 元素一 學士學位課程 畢業展 ”
包氏畫廊 •香 港藝術中心 •香港 "50%"
White Tube Gallery, Hong Kong Arts Centre, Hong Kong “50%" ，白管子 •香港藝 術中心 香港 *
2004
Nu Bra Bra" White Tube Gallery, Hong Kong Arts Centre, Hong Kong
" Ah
“ 阿女 Bra 2003
Bra”
白管子 •香 港藝 術中心 .香港
"Inseparable - An Exhibition of Small Works" The Art School Learning Centre Galleries Hong Kong Arts Centre, Hong Kong. “形影不離一 小件作品展” 鉍 術學院?學中 心畫廊 •香 港藝 術中心 •香港
Lotus 蓮
porcelain 白瓷
450cm (L) x 75cm (W)x 20cm (H) 450厘米(長 x 75厘米 (闊 x 20厘米 (高) 2006
59
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Sÿ
?感纖 :餐
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Lotus 蓮
porcelain 白瓷
450cm (L) x 75cm(W)x 20cm (H) 450厘米 (長)x 75厘米《闊)x 20厘米 (高) 2006
We live in an age of considerable change. Although great progress has been achieved in many areas, the world is still imperfect and we remain restless. The perfect world that each of us longs for remains as
far beyond our reach as at any other time in the past. We try to make peace with ourselves, but it seems an impossible task to fulfil.
I use clay as the medium of choice for my work and throwing and trimming are my main techniques. These studio works are like a form of meditation. As I focus on the clay before me, the world seems so perfect. It is a kind of purification. I find peace while working and use porcelain as a clay base because it
best reflects my idea of perfection. I simplify the form and minimize detail so it becomes an abstract representation.
While I was developing the work, one particular piece that was close to being finished, was trimmed so thin
that a hole appeared in one of the petals. At that moment it seemed that it was ruined. I felt very frustrated.
Upon reflection, however, I learned that imperfection is natural like the world we live in. It is far from perfect, but we can still see beauty.
我 們活在 一個不 斷在變 的年代，雖然在很 多方面 我們的確比從 前進步 ，但世 界仍然是一個 不完美 的世界 。我 們內心
仍充滿 不安。從過往到現在，完美 的世界 從來未曾建立 ，雖然 我們努 力追求 ，仍 是那麼 的遙不 可及。
我的作品以拉胚 及修整 為主要的技巧，在專注工 作時就似是一種襌修的活動 ，陶泥在面前的一刻 ，完美的境 界似乎 就在眼前 。用白瓷作 為素材 ，因它 最接近 完美， 我將形 態簡化，去掉 不必要 的裝飾 ，以 抽象的形態還原感覺
•
當我在 處理其中一件作品到 接近完成時，一片花 辦因過 度修整 ，出現 了一個 破孔， 那一刻 ，我 確實感 到沮喪 ，但一 個啟示隨之而起：不完美是自然的 ，像我們的世界 ，完美 雖是那 麼遙遠 ，但仍 可在其中看到 美麗。
Chak Fa 莫澤花
mm Education ?育背景 2006
Master of nne Art Royal Melbourne Institute of Technology (RMIT) University (Co-presented with Hong Kong Art School) 澳洲皇 家墨爾 本理工 大學藝術碩士
(香港 M 術學院 合辦） 2004
Bachelor of Education (Hons) HongKong Baptist University 香 港浸會 大學?育學士
2003
Certificate in Fine Arts School of Continuious Studies The Chinese University of Hong Kong 香 港中文 大學校 外部藝 術證書
Selected Exhibitions 部 份展覽 2005
50%
White Tube Gallery- Hong Kong Arts Center 白管子 •香港藝 術中心 •香港 2004
The Mood on Trip, Gallery B, Artist Commune, Hong Kong 旅情 •香 港藝術公社 •香港
2003
Certificate Programme in Fine Arts Completion Exhibition City Hall, Hong Kong 第三屆 藝術證 書課程 畢業展 •香港 大會堂 •香港
63
No title of series 1 無題系 列之一
Oil on Canvas 油 彩布本
160cm x 101.6cm 160厘米 x 101.6厘米
2006
No title of series 2 無題系 列之二
Oil on Canvas 油 彩布本
160cm x 101.6cm 160厘米 x 101.6厘米
2006
This work is an investigation into the material and visual construction of modern buildings, which is important for a number of reasons.
First of all, the windows, doors and walls of the buildings are often constructed with glass. We are able to
see outside through this glass. At the same time, the glass reflects the inside of the room. This produces interesting images with overlapping references to the inside/outside and positive/negative spatial relation¬ ships conveying an illusion of unusual depth. Also, the images of regular and irregular shapes that
repeatedly overlap reveal an illusion of time and space. This interplay of visual effects has been a constant theme in my previous work. I continue to be intrigued
by our urban environment consisting of architectural forms such as doors, windows, walls and buildings that are both representational and abstract.
In my painting, I am also influenced by the work of abstract artists such as Kazimir Malevich, Wassily Kandinsky, Pablo Picasso, Josef Albers, Ad Reinhardt, Lyonel Feininger and Andy Warhol. The geometric art of these artists influences my own since the illusions of the outside world parallel the introspective aspect of the inner life.
現 代建築 大量採 用玻璃 ，如窗、門 或外牆 。透過玻璃，我們 可以望 到外面 的世界 ，同樣 也把裏面的世 界反映到外面
去，內 內外外 、虛 虛實實 ，看到錯置複 雜的視覺效果，使 我很有 興趣和感觸：它可以 是混亂 交錯， 也可以 是并然 有序， 更可能 是時空 交錯或 景物的 反轉；這 些種種 變化組 合起來 ，則形成無 限的變 化和神 秘感。
而光線的不同 ，時間 的不同 ，經 驗和領 會不同 ，也對 玻璃上的種種 變化有 不同的感受。我就是要表達 這種感覺交錯 的視覺效果。而這些感覺交錯的視 覺效果 ，我 在早前也以此 為題材 繪畫了 一系列 的作品 ：窗影 系列一 2004 同樣地，我們 在不同 場所， 也以不 同的身 份出現 ，這就 是職責 上的重 疊了。而這種 「重 疊」會 令人混 淆或分 不清誰 是誰， 這也是 使我感 有趣的 地方。
Prvde
Nina Sui Fun 派瑞芬
f} Education
教 育背景
2006
Master of Fine Art Royal Melbourne Institute of Technology(RMIT) University (Co-presented with Hong Kong Art School) 澳洲皇 家墨爾 本理工 大學藝 術碩士
(香港 藝術學院合辦
2003
Certificate Course in Modern Ink Painting Hong Kong Chingying Institute of Visual Arts 現 代水墨 創作證 ?課程
香港 正形設 計學校
Advanced Diploma in Fine Arts School of Continuing and Professional Studies The Chinese University of Hong Kong 西 方藝術 高等文 憑課程
香港中 文大學 專業進 修學院
Selected Exhibitions 部 份展覽 2007
Hong Kong Modern Chinese Ink Painting Exhibition 2007 Taoyuan, Taiwan 「走 進桃圍 一香港 現代水 墨畫展 2007」•台灣
2006
Sino Group 'Leisure in Ink' Chinese Ink Painting Hollywood Centre, Sheung Wan, Hong Kong 「墨休 閒水墨 盡展」 信和 集團上 環荷李 活中心 •香港
Beijing International Art Exposition China World Trade Centre, Beijing, China 「第 9 屆北 京國際 藝術博 覽會」
北京中 國國際 貿易中 心展廳 •北京 •中國 2005
Hong Kong Union of Visual Arts University Museum and Art Gallery The University of Hong Kong 「香港視魃盟 成立展
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香港大 學美術博物館 •香港
Asian Watercolours 18th Exhibition of the Asian Watercolour Confederation The Indonesian Watercolor Society, Indonesia 「亞 洲水 彩畫聯 盟展」•印尼
Selected Collections 收 藏選錄 The Landmark Mandarin Oriental, Hong Kong 香港置地 文華東 方酒店
Mr. & Mrs. Hojgarrd (Denmark) Mr. & Mrs. David Nichols(England)
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The Sound of Silence I 沉默的 轚音?
Installation view
Ink, mixed media and collage on rice paper 71cm x 191cm (each) 組 合展示 水墨 •混合 媒介拼 貼紙本
2006
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The Sound of Silence I 沉默 的聲音
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Installation view front view, close up Ink, mixed media and collage on rice paper, 71cm x 191cm (each) 局部組 合展不 水墨 •混合 媒介拼 貼紙本
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71 厘米 x 191 厘米（每幅) 2006
The Sound of Silence The Sound of Silence consists of two displays using modern ink painting and beeswax to express
visually, two contrasting sensations:(1) noise- stress and irritation; and (2)calmness.
The Noise series is an installation of six abstract ink paintings which vary in tone from the palest to the darkest (suggesting minimal to maximum noise levels). The inspiration for the series comes from a life¬ time of living in Hong Kong. The noise from construction sites, traffic congestion and large crowds make
up the bulk of noise pollution in Hong Kong. It surrounds you and is seemingly never ending. The paintings were created with the principles of the artist, Irene Chou (b 1962) in mind. The paintings are neither Chinese nor western in appearance and do not resemble the works of the masters. Noise level is
represented by the chaotic nature and tone of the ink on the paintings. The perpetual nature of the noise is represented by the untrimmed edges of the collage suggesting that only a snapshot is shown.The paint¬ ings are suspended vertically from the ceiling in a parallel configuration in order to influence the sense of
scale and create an impression that the whole range is visible from one position. The Calm series is created using beeswax, which is allowed to flow and settle on rice and other types of thin translucent paper. The inspiration for using wax comes from the use of a candle to calm the nerves
when practicing yoga. Beeswax is used because of its natural soothing properties such as its scent and its translucence colour.
沉默 的聲音 “沉 默的聲音”利用了對 比手法 ，傳 遞給觀 賞者不 同的視 變感受。一方 面是精 神壓力 、煩惱 、嘈 雜聲 ，另一 方面是
平靜和 優閒的感覺。 我運用 了現代 水墨畫 的層次 演繹從 安靜至 煩雜的感覺。
這 系列? 六張現 代水墨靈組成的盡作 ，加入 了抽象 的元素，由淡淡的 淺墨帶?安靜 、悠閒 的漫步 ，漸漸地 走向繁
忙 ，急燥 的深墨 。這 股力量 正形容 了香港 人忙碌 而急促 的生活 方式。
畫家 周綠雲(1962)曾?： 「藝 術創作是不 分東方 或西方，重要 性是靈 面的表達和用 意。」這引發了 我利用拼貼、
不規則 的切口、多種 顏料及 不同種 類的紙 張來表達和傳 送出我的感受 ，並 盡量顯 露在畫 作中。
寧靜 系列是 以蜂蠟 為畫材 ，靈 感源於 練習瑜 珈時， 燃點蜂 蠟所透出的淡 淡香氣 ，使我 有寧靜神經和 回返大自然的
感覺 。蜂蠟自然 地融化 在米紙 及其他薄透明紙材上，從 而引出 主題。
FRavmo?d Y
au Wai Man 邱偉文
Education ?育背景 2006
Master of Fine Art, Royal Melbourne Institute of Technology(RMIT) University (Co-presented with Hong Kong Art School) 澳洲皇 家墨爾 本理工大學藝 術碩士
(香港 藝術學院合辦
1994
School of Visual Arts(New York) Bachelor of Fine Arts with Honors (graphic design)
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紐約視 覺藝術 學院一 平面設 計系榮 譽學士 1990
Hong Kong Polytechnic Certificate of Foundation Design 香港理 工學院 基礎設 計證書
Selected Exhibition 部份展 覽 2006
“Time" Video Art Another Kitterick, Hong Kong
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"時間 "視 象藝術
Another - Kitterick •香港
"Friends of CIVA Art Exhibition" Hong Kong Visual Arts Centre 正形 設計學校友好 藝術展
香 港視覺 M 術中心 •香港 2004
"designAGAIN" HKDA members show Hong Kong Convention and Exhibition Centre
“designAGAIN” 香港設計師協會 會員展 香港 會議展 覽中心 •香港
"Reading is..." HKDA members show Joint Publishing Hong Kong “ ?讀是 "香港設計 師協會 會員展
香港三 聯書店 •香港
"agnes b. x Raymond Yau: Vx" Mixed Media Exhibition agnes b.'s Librairie Galerie, Hong Kong "agnes b. x Raymond Yau: Vx" 混合 媒體展
agnes b.’s Librairie Galerie . 香港
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Time 時間
Video 錄象
2 minutes 兩分鐘
2006
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Time 時光
Video 錄象
2 minutes 兩分鐘
2006
My perception of time is that it passes rapidly, but actually, the speed of time does not vary. I became
aware that psychological factors may affect the perception of physical time and it is this area that became the principle investigation for my project.
I have found that the perception and interpretation of time differs according to each person, so I investigated the use of installation and time-based mediums, such as sound and video, to allow the viewer to experience
"the time created by my artwork. I also found that the environment, emotions and other external factors have the potential to influence a person's perception of time. So, I have kept my works open-ended and let
the viewer determine how “time” should be read.
My final body of work, entitled “Digital Timer, Walker and Vehicle”ÿfocuses on the relationship between time and our daily lives. In these works, I create tiny shifts in the speed of the subjects in the videos, which
represents physical time, but affects the viewers' psychological time. The audience's perception of time will be challenged in relation to their own situation and they will be encouraged to reflect on their perception
of time.
時間於我看來總是飛快而過，不著 痕跡；然而 ，時間 的速度其實不曾改變 。如 是者 ，我 開始覺 察到心 理因素 或會影 響人們對時間 的感知，這 就是我作品所 探討的 主題。
我發現 對時間 的感知與詮釋 是因人而異的 ，於 是便 利用了 裝置手 法及有 關時間 的媒介（例如 ■聲音 及錄像
讓觀眾
親 歷作品產生的 「時間」。另外，? 於發 現環境 、情 緒及其 他外在 因素都 會影響 人們對時間的 感知， 所以我 的作品 是開 放式的 ，好 讓觀眾自行決 定如何 解讀這 「時 間」。
時計 、行人 與汽車 表現時間與日常生活 的關係 。錄 像中的主體代 表著自然時間 ，主體 移動的速度會特意造成些微 差異 ，從而影響觀 眾的心 理時間。透過我的作品 ，觀 眾對時間的感 知會因 其狀況而受到 考驗；另 一方面 ，亦 激發起
觀眾 對時間感知的 深思。
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Associate Professor Terence Douglas Batt Associate Professor Kevin Leslie White
Dr. Ho Siu Kee Anna FrancoiseVan Rimsdyk Dr. Wilma Tabacco Lukas Tam Wai Ping
Stella Tang Ying Chi Francis Yu Wai Luen Fiona Wong Lai Ching Communication Team of HKAS
Graduation Exhibition Committee
Congratulations to the Success
FA
FINE ART
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香港藝 術學院 HONG KONG ART SCHOOL A division of Hong Kong Arts Centre
of all Graduates !
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