paradigm shift

'

m 趣

A'

X I

典 範轉移 藝術學 士學位課程畢業展二

六

paradigm shift Bachelor of Arts (Fine Art) Graduation Show 2006

1

)

> 典 範轉移

paradigm shift

Bachelor of Arts (Fine Art) Graduation Show 2006 藝術學 士學位課程畢 業展二 ??六

6-28.9.2006

4 - 5/F Pao Galleries of Hong Kong Arts Centre 香港 藝術中 心四至 五樓包氏畫廊

Jointly presented by:

Royal Melbourne Institute of Technology (RMIT) University 皇家墨 爾本理 工大學 Hong Kong Art School 香港藝 術學院

Sponsored by:

JVC

典 範轉移

paradigm shift

Preface Paradigm Shift The term ‘Paradigm Shift’was first introduced by Thomas Kuhn to describe how new scientific achievements

were and often a re-assessment of previous traditions or ways of thinking.

It may appear obscure or possibly even odd to use this particular term

for the name of an art exhibition.

But perhaps it is because not all of us are ready to accept such a

paradigm shift in ourselves.

Stephen R.Covey, the famous author of The 7 Habits of Highly Effective People*,

more commonly used today to mean a model, theory, perception, assumption, or frame of reference ... it is the way we “see” the world - not in terms of our visual sense of sight, states the importance of a paradigm shift:

but in terms of perceiving, understanding, interpreting/1 which helps us to "see things more differently" and help us “to make significant quantum changes in our life.”

Therefore, It can be widely applied to almost everything, especially to those working with creative and innovative ideas.

More pertinently, it does not only imply being creative but achieving breakthroughs with reference to tradition, experimentation, experiences of the accidental and other unexpected events.

Gonsciously or unconsciously, the 6th cohort of graduates of Bachelor of Arts (Fine Art)

create their artworks with many 'paradigm shifts/

This not only makes their artworks unique and meaningful but also involves the viewers with more than just “seeing and touching”.

In order to illustrate such “paradigm shifts” to our audience,

we have chosen to move away from the traditional graduation show set-up.

Viewers will be invited to see not only the works of art we have created but also the process of studying and making art, which is our life.

From the early planning stages to the final setting-up of the show, many paradigm shifts have occurred.

We hope this exhibition will challenge our audience's basic paradigms and be a catalyst for new ‘paradigm shifts’to occur.

Graduation Show Committee

05

序 典 範轉移 Kuhn) 提出，

「典範 轉移」 最初由 美國哲 學兼科 學史學 家庫恩

用來分 析和解 釋大部 分嶄新科學的 成就， 皆由突 破舊有 的傳統 和觀念 而來。 選用這 專有名 詞來作 一個藝 術展覽 的命名 ，聽來 好像有 些隱晦 、不易 理解； 但是 ，是否 因為我 們沒有 準備從 自我中 出發，

來一次 「典範 轉移」 的 嘗試？

著名作 家柯維

R. Covey) 的著作 「高效 能人士 的七個 習慣」 中指出 「典範 轉移」 的重 要性：

「在 目前是 更廣義 地指某 種典型 、理論 、觀點、或 參考 的理據

••…

是指 我們看 待世界 的觀點 ，並非 指視覺 感官上 的所見 ，而 是透 過主觀的了解 、感 受和詮 釋」。

這 幫助我 們改變 「對人 、事 和物有 不同的 看法」 *

從而 「作出 對我們 生命中 具重大 意義及 影響深 遠的改 變」。

因此 ，典範 轉移可 以被廣 泛地應 用在大 多的事 情上， 尤其 是那些 需要用 到革新 和具創 造性的 意念。

更準確 地?， 這不純 粹指要 有創新 ，而是 要從傳 統中、

試驗中 和各種 經驗中 有根據 地作出 突破。 這屆 畢業生 的創作 都有意 或無意 地在思 想和精 神上作 「典 範」 的 「轉 移」。 那 不單使 他們的 創作更 具獨特 意義，

也 讓觀者 「看 到」 和 「接觸 到」 更多 不同的 想法。為了要 更明確 地向觀 者展示 甚麼是

這 次展覽 除了會 「看」 到作 品外，

「典範轉 移」，

也會 「看」 到學習 和創作 藝術的 生活。

從開 始策劃 到佈置 展覽， 全是畢 業生展 現林林 總總的 「典範 轉移」 的 成果。 我們 希望整 個展覽 的過程 能夠給 觀者對「基礎 典範」 挑戰的 機會，

並且讓 「典範 轉移」 在 你我中 發生。

期待 著我們 都作出 「典範 轉移」 ，從 今開 始感受 和生活 得更為 美好。

畢業展 籌委會

典 範轉移

paradigm shift

Royal Melbourne Institute of Technology (RMIT) University

Foreword A paradigm is a pattern or model, a generalised way of thinking, believing or

understanding the world and oneself within it. But patterns or models need not be fixed. Think of the sky and cloud patterns reflected in the calmness of a still pond;

one ripple and the surface patterns change; and in the deeper sea, one current and the ocean surges anew. The impulse to change reverberates as a state of

immanence. And so it is with art and the artist, existing forever with possibilities for creative thought and action.

Art is our process through which we bring the world into our line of sight and reveal

ourselves to the world. In this sense art is our site of embedded concepts and material knowledge through which we know and are known. Art is also a repository

of cultural rituals, stories, habits and practices, and a cultural language through

which stories are renewed and new narratives invented. By these means art can be a bridge between people and places, ideas and practices, forms and functions, with the artist as the creative agent of change and originality.

Today we live in a global world of increasing material pressures as knowledge is folded into an economic paradigm. In the wave of globalisation I suggest that art and the artist have a crucial role to play in making this changing world visible to our understanding, reminding us and revealing that we live in a world of differences with co-existing languages, beliefs, histories, traditions, practices and multi-layered processes. Within this global world the material lineages of our people and environments reverberate in the present, but the rate of information transfer can often dull our senses and blind us to the evidence of what is around us.

Sometimes it takes a paradigm shift to change our ways of seeing and understanding. And here lies the challenge for the artist and art educator to realise and reveal the oppositional as well as the emancipatory power and potential of art. In

this sense, art speaks of not only what is there, but also reveals what is not there.

The Sixth Cohort of graduates from the B.A. Fine Art degree in Hong Kong presents to us a range of processes and possibilities. Paradigm Shift brings together creative

and innovative ideas and diverse ways of materialising the past, present and future to create in us, the viewers, a paradigm shift in our perceptions and sensibilities.

Sometimes the work excites, sometimes it leaves us wondering and puzzling, but always reflecting, engaging and enjoying.

07

•RMIT UNIVERSITY

The works open us to new discourses on past ideas and future possibilities so that we may reflect and see differently. And at each turn we are reminded that behind every work there is a creative practitioner who has worked diligently for three years of rigorous and sustained practice, exploring his or her creative sensibilities, with

the input of dedicated teachers and professional artists of the Royal Melbourne Institute of Technology (RMIT) University, School of Art, and The Hong Kong Art

School of the Hong Kong Art Centre.

The vision of the RMIT School of Art is to make a difference through art. This difference is felt at a local and global level and is reflected here in the work of the B. A. Fine Art graduates in Hong Kong. Engaging with technological changes and innovative media these artists are responsive to cultural practices in the local and

global communities of which they are a part.

The staff and supporters of RMIT University School of Art congratulate the Sixth Cohort of B.A. Fine Art Graduates and wish this exhibition Paradigm Shift t\r\e

success it deserves.

Professor Elizabeth Grierson Professor of Art and Philosophy Head of School of Art RMIT University, Melbourne

t

典 範轉移

paradigm shift

皇家墨 爾本理 工大學

前言 「典範」 是一 個樣式 或模式 ，一個 對世界 和自我 的概括 想法、 信念 或認知。但 樣式或 模式不 是一成 不變的。試 想想平 靜池塘

中天空 和雲彩 的倒影 ，輕易 被一個 漣漪所 改變； 同樣地 ，在深 海中 ，一 個旋渦 瞬間便 能令水 位上升 。變 幻是大 自然的 定律， 亦是 藝術和 藝術家 永恒的 探索。

藝術是 一種人 類對世 界的認 知之雙 向溝通 過程。藝術是 我們的

理念和 經驗的 載體； 藝術 也是文 化禮儀 、生 活習慣 、傳 統故事 的寶庫 ，同 時亦 是一種 把傳統 文化不 斷更新的語言 。在 這種情

況下 ，通過 藝術家 作為創 作主體 ，藝 術將 能成為人們與 地域、

概念 與實踐 、形式 與功能 之間的 橋樑。 今天 ，我們 生活在 一個知 識被經 濟扭曲 * 充滿 壓力的 世界當 中。在 全球化 浪潮中 ，我認 為藝術 和藝術 家的重 要貴任 ，就是

令人 們理解 ，大 家是生 活在一 個語言、信仰 、歷史 、傳統 、行 為多 元化的 、瞬 息萬變 的社會 當中； 在這個 世界中 ，人 與環境

的 親密關 係卻往 往被資 訊的發 展蒙蔽 ，令 我們看 不清身 邊的事 實。

因此， 我們需 要一個 典範的 轉移去 改變我 們對事 物的一 貫理解

方法 。而 怎樣去 賁現和揭示藝 術對事 物的對 抗與解 放力量 ，便 是藝術 家和教 育家要 面對的挑戰。換言之 ，藝術 的目的 不單是

要論述 已存在的東西 ，更重 要的是 去揭示 未為察 覺到的 真實。 第六屆 藝術學 位課程 的香港 畢業同 學向我 們呈獻 他們探 索的成

果 。在 「典範 轉移」 這個 展覽中 ，同 學們透 過創新 的手段 ，把

自己 對過去 、現在 及未來 的看法 ，以 不同 的形式 具體地 呈現出

09

•RMIT UNIVERSITY

來 ，讓 觀眾從 不同的 角度審 視和感 受事物 。雖然 作品有 時會令

人激動 、驚訝 、困惑，但無 論如何 ，它 們必定 能吸引 你的注 意， 令你得 到樂趣 ，引 發你的 深思。 三年來 ，同 學們對 藝術不 斷探索 、努力練習； 再 加上墨爾本皇 家理工 大學、 香港藝 術學院 導師們 的循循 善誘及 專業藝 術家的 指導 ，令是 次展覽 中的作 品帶領 我們從

個嶄新 的角度 去審視

過去的 想法和 設想不 可知的 未來。 皇家墨爾本理 工大學 藝術學 院的教 育理念 是透過 藝術改 變—貫

的看法。這個 理念在 畢業同 學的作 品中充 份體現 出來。透過技 術 和媒介 的革新 ，同 學以作 品表達 了自己 對其身 處之地 域甚至

世界的 自覺性 ，以 及對 傳統概 念及客 觀事實 的不同 想法。 在此， 皇家墨 爾本理 工大學 藝術學 院的全 體教職 員恭賀 第六屆 藝術學 士學位 課程的 畢業生 ，並 祝展覽 成功。

澳 洲皇家 墨爾本 理工大 學藝術 系主任 藝術 及哲學 系教授

紀綺 芙?授

典 範轉移

paradigm shift

Royal Melbourne Institute of Technology (RMIT) University

Foreword The choice of the term “Paradigm Shift”ÿas the title for this graduate

exhibition, is expressive of the increasing maturity and confidence of our graduates to examine and question their role as artists within

the rapidly changing and dynamic environment of Hong Kong. It is a term which, in the context of this exhibition, could be seen to be representative of a willingness and desire to seize opportunities and

be receptive to the challenge of new possibilities.

Each of these graduates has developed a uniquely personal

expression, a product of their individual and collective commitment to creative practice over the last three years. During this time they

have worked with an enthusiasm and commitment that has been a pleasure to have shared. I have no doubt that they will encounter

many more challenging and rewarding “shifts” in their artistic careers and this exhibition eloquently affirms their ability to surprise and enrich us with their response.

-

I would like to congratulate them all and wish them every success

for an exciting and rewarding future.

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

皇家墨 爾本理 工大學

•RMIT UNIVERSITY

前言 以 「典範 轉移」 作為 畢業作品展的 主題， 展示出 畢業同 學在香

港這 個轉變 迅速和 充滿活 力的環 境中對 藝術家 的角色 提出驗 證 ，這 是漸趨 成熟和自信的 表現。 同時也 表現他 們把握 機遇和 作好 迎接新 挑戰的 準備和 決心。 每位畢 業生的 作品都 具個人 風格， 反映在 三年修 業期間 對創作

付出的 熱誠和 努力； 在將來 的藝術 發展上，他們 將面對 更多的 挑戰 ，從 而在藝 術創作 上作出 「轉 移」。這個展 覽顯示 出他們

的 創作力 •同 時讓作 品豐富 我們的 生活。

本人謹 在此恭 賀各位 畢業同 學前程 錦?！ 澳洲 皇家墨 爾本理 工大學 藝術系 課 程主任（藝術 學士學 位課程 一香港 )

白啟宏 副?授

I

典 範轉移

paradigm shift

Hong Kong Art School

Foreword Paradigm Shift is a scientific theory introduced by the famous scientist, Thomas Kuhn, who maintained that knowledge was compiled by

continuous questioning of existing theories and the introduction of new models. In other words, human civilization is a process of repeated ? tions.

The same theory can be applied to art creation and art education as well. Indeed, it is the same urge to innovate that has driven the 44 young artists participating in this year’s graduation show to make use of new media and contemporary exhibition settings in projecting new

dimensions in their artworks. Through this graduation show the public will not only see the additional meanings of those artworks, but also the determination and self-challenging spirit of the graduates.

For any genuine paradigm shift in the field of arts to be accomplished, a high-quality art education is indispensable. The BA(FA) programme copresented by Hong Kong Art School and RMIT University is unique in

being able to draw from the complementary strengths of both

institution. Among others, this is manifested in the inter-disciplinary curriculum design, which seeks to broaden the students’horizon in art

creation. The graduation show provides an opportunity of self-challenge for these talented young artists, as they prepare for a lifelong pursuit in arts. I sincerely wish them success both in the show and in their future career.

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

013

香港藝 術學院

香港 藝 術?院 HONG KONG ART SCHOOL

前言 「範式 轉移」 (Paradigm Shift) 是著 名科學 家湯瑪 仕庫恩 (Thomas Kuhn)

提出 的學? ，他認 為知識 的累積 ，建 基於 學者不 斷對舊 有的理 論提出 質疑 、反證 ，換 言之 ，文明 進步源 於破舊 立新。

同樣 的理論，可應 用於藝 術創作 及藝術 教育的 層面上 ： 今屆藝 術學士 學 位課程 畢業展 的四十 四名畢 業同學 ，正 正以探 新求變 的精神 ，突破

舊 有創作 的框架 ，以嶄 新的媒 介及展 示方法，為作 品注入 新元素。觀 眾不但 可看到 作品的 另一層 面貌， 更可從 中看見 同學們 挑戰自 我的決 心0

在藝 術創作的層面 ，要 突破舊 設計及 舊觀念 的規範 ，良 好的藝 術教育 不 可或缺 。香 港藝術 學院與 澳洲皇 家墨爾 本理工 大學合 辦本項 課程，

憑 藉兩校 豐富的 辦學經驗及優 良的課 程設計 ，為 學員拓 闊藝術 創作的

視野。今屆畢 業展正 好給予 這些潛 質優厚 的青年 藝術家 一個試 煉自己 的機會 ，並將 成為他 們日後 從事藝 術工作 的一項 寶貴的 經驗；在此謹 祝他 們展出 成功！

香 港藝術 學院督 導委員 會主席

顧爾言 SBS 太 平?士

t

典 範轉移

paradigm shift

Hong Kong Art School

Foreword Art is a kind of risk as it leads to the unknown. Happy ending is not

confirmative and courage is needed for risk-taking. It is the same kind of uncertainty that makes art so fascinating. It challenges the normal way that the world is seen; it also makes creation a journey full of excitement and expectations.

Practicing art is learning how to cope with uncertainties and one’s own expectations. When our expectations are under constraint in reality, greater courage is in demand.

Browsing through the works of this year’s graduates, I recognize their

spirit of risk-taking and their courage.

Dr.Ho Siu-kee Academic Head Hong Kong Art School

015

香港藝 術學院

香港 g 術?院 HONG KONG ART 8CHCXDL

前言 藝術是

種冒險 ，因為它通向 未知； 冒險需 要勇氣 ，因為 它不 一定帶

來美滿 的結果 。但 藝術 令人著 迷之處 ，正是 這種不 確定性 ，它 挑戰我 們 慣常觀看事物 的方式 ，亦 令創作 過程充 滿刺激 '充滿 期待。

學 習藝術 ，就 是學習 面對不 確定的境遇、 學習處 理自己 的期待 ’而當

期待 受限於 現實時 ，尤 其考驗 我們的 勇氣。 翻?今 屆藝術 學士課 程畢業 同學的 作品集 ，我看 到他們 的冒險 精神， 我看到 他們的 勇氣。 香 港藝術 學院學 術總監

何兆 基博士

I屬

,

鐵 劈婦響曲

Contents 目錄

- 005

Preface 序

004

Foreword 前言

006-015

Graduates 畢業生

018- 107

Sharing 分享

108-125

Contacts 聯絡

126-127

Acknowledgement 鳴謝

128 130

-

Graduates 畢業生

:齡:

善難

::捕1

?.驅 'V :

,iis

Chan Sze-nga 陳詩雅

Cheung Sau-har, Linus 張秀霞

Leung Pui-shan 梁佩珊

Yeung Hiu-tong, Candy 楊曉棠

Fu Fuk-chun 傅福春

Chung Wai-fun, Fanny 鍾蕙芬

Lam Mee-yeeÿAmelia 林美意

Ling Lai 賴玉玲

Tang Kwei-man 部桂雯

Florian Ma 馬浩賢

Siu Kam-han 簫錦嫺

Tai lat-kuan, Amy 戴日群

MaikoAoki 蒼軌末 l/ÿ子

Lau Hok-shingÿHanison 劉學成

Chor Wing-cheung 左永?

Wong Mei-yeeÿKathy 王美儀

Yip Lai-yin 葉麗燕

Fung Man-yeeÿJudy 瑪敏兒

Tam Yuen-chau 譚源洲

Ip Hon-chungÿDominic 葉漢忠

Chan Hiu-ting 陳曉停

Lai Ho-yeeÿToffee 黎皓儀

Lau Wang-tat 劉宏達

Yu May-ming 余美明

Kan Pui-ying, Cat 簡霈盈

Andy Chan 陳安迪

Leung Pui-sze 梁佩思

Ng Wan-chung 吳運忠

Wong Lui-lui 王蕾蕾

Chu Wai-funÿSmarktie 朱惠歡

Wong Yuen-man 黃婉雯

Wong Hing-szeÿCal 黃慶詩

Fan Miu-szeÿMusei 范妙思

Movana Chen 陳麗雲

Yee Wai-pingÿAlinoz 余衛萍

Wong Lai-ngor 黃麗娥

So Siu-wai 蘇兆偉

Ho Wing-waiÿCain 何詠慧

Kung Hing-simÿAngela 孔慶嬋

Lau Wai-fong, Regina 劉慧芳

Ng Wing-yanÿIdy 吳詠欣

Ip Luk-ngaÿkalu 葉綠雅

Lock Lo 羅至傑

Au Ka-yiuÿGavin 區家耀

luÿ.ÿ

\

l,ii 1 :

m

2ÿÿ

m

il

f:

l

lit

__

-

i

I

tÿ

衫 0 m J,

J;;iÿÿÿ

silently stay at her place quietly play her role

Chan Sze-nga 陳思雅

靜靜地留 在自己的位置 默 默地擔 當自己的角色

painting in 1502. oil on canvas, 51cm x 41cm, 2005

邐

靡

I .\

■謹

i

A,

0

毒

,r/i

_l .

h,

i

,

MSÿ

Painting on the wall of the Museum of Art , oil on canvas, 180cm x 180cm, 2005

When the cells never stop dividing, Can you see it?

Can you feel it? 當 身體內的細胞不受控制地分 裂時， 你可以看 到嗎？ 你可 以感受到嗎？ Variation, mixed media on paper, 20cm x 40cm,

2005

Fu Fuk-chun 傅福春

Human beings continuously use their intelligence and scientffic methods to explainiphenomenon, to formulate things and to predict future events. /However absolute accuracy is impossible 5|nd errors I unavoidably appear in all types of human srctivities.

人類 不斷當試用他 們的智慧及科 學的方法以解 釋琅象 創造事 物和預 測未來。但絕對的準確似乎不可能 存在， 而誤差 也往住無可避 免地出現於人 類的行 為中。

m

A study of Error 誤差 60cm x 60cm x5 2005

:

_

麵

MS

M

.

?

m :

Invisible Brain 無形的腦 acrylic on canvas 121cm x 121cm x 2 2005

一

也:

i

m

wÿ

:_ ::

…:二 -

r.dS* ，

蠢 私.

4S

2

y

抓

\ w

‘Lines _ÿ| 線遊 m

,

：%

f

Lam Mee-yee, Amelia 林美意

r

#i

m

Thoughts and memories are the most mysterious thjngs; invisible, and yet, clearly, existing. Floating around with no restraint, thoughts go in and out of mind unpredictably, strumming pains and feelings. Traces of thoughts and memories remain and allow each of us to feel genuinely alive, and to individually exist.

Through visual elements I wish to convey my idea about “Invisible Existence”ÿwhich includes non-physical existence; thoughts, values and feelings, as well as physical identity. I hope to touch hearts and evoke thoughts and reflections in viewers.

% -魏:

't

蘇V :

思想和 記憶是 最神秘的東西，看不見，卻 又那樣 清晰地 存在著。它 們漂浮於無限 ，無 法預知地穿梭 在腦海間，撥亂了痛楚和思緒。留下的絲絲痕跡讓 我 們真正感到活著及獨 立地存 在著。

s

r

希望透過視黌元素 我傳達有關 虛渺 存在 j 的意 念 * 這 裡包括 精神上的思想、價值 和感覺 ，也 包括 實質存在的身份。也期望可以 觸動觀者的心 靈和思 維，引發 反思。

Memory IV, thread and mixed media 36cm x 36cm, 2005

Memory II, installation, 2006

cÿÿ

Vi

m

Tang Kwei-man 鄧桂雯

Homage to My Forefather 祭祖

Through this collection, Tang Kwei-man draws attention to the patriarchal community in which she grew up. References are made to the architecture of the village Ancestral Hall, to community rituals directed by a male hand, and by omission, to the exclusion of women. The cropped image of the clan elder serves to satirize a cultural system of mate inheritance, dominance and power. 透 過此展品系列 ，鄧 桂雯?述她在 父系社 會長大 的經歷。當中 包括 農村祠堂的建築風格 。由 男性主導的傳 統禮節 •以及 被否 定的女性地位。鄉 紳長老以男性 為承繼、主導 和權力 控制的角色。

Siu Kam-han 蕭錦嫺 ‘1

% i

Vf

AU

r

m

霸

n A U

f >VJrV

rid

i!f Mu k1 |Wrrw>.

一 rÿi

bUt

4*ÿ.

yitr' .

匕#w 處

'L.t>

v

•

y

/.wvÿ»

k十'

*

:，

M

U

txÿ

*/ VJ∼技

•

,•ÿ

令

-瓜

t :H>t CA‘fU

咖，∼ vÿ

‘J

uÿ4 t*4ilÿ

%》

T

\

;隨細徙減

Watercolor on paper, 2005

Sketches, 2005

，

>

f

-

?

9\ÿ

Would the interplay of the space between the container and its stopper remind you of the pleasure of bubble blowing and its related memories?

Untitled, porcelain, 2005

Maiko Aoki 蒼軌末 1/、子

3 —在 ?， 7S f f 泳灼人 ? 6,1ÿ. 背玨牮 苕人灼 、 HKfÿ 磧好 ?卜莩|不+疼 ‘# ? 4 ， ?字•汶 f - ? f ? a 芍 -:n袁? t 沒 ? 佧 W fn4 fÿ孑R， •WJr@-:f V 耗?

I jus 十

，

7ÿ! 7

— naof

。

矣。

lr\ +he post iew years, I did try my bes*f 十o reconcile 十he relo十iÿK\slWps wrth o十her people, WKeÿI was seeking my role \ÿ\ my familv, knew something very serious & impor 十on十 for our rela+iorvship.

Although I \redly VA/<3K>十十o osk my Grahdmo in heoveA Do you love me?' our love cowries hew m6»ÿK\V\<Q i"ÿme.

? ?

— 【— 一 ? — -— ---

V 基-

•釔

!ÿ

0

~

.

?卜─

?

—-

j

'.'OP

:

m

v's .' '

/v'V:ÿ_];

E

.續8 O

I Chor Wing-cheung 左永祥

Memory of Childhood

My childhood has gone with the wind, the impression retained is from my memories.

The days without factory- made toys, only land and sky, flower and tree.

Everything is raw, life is so simple..... 重 年印記

童 年的歲月隨風 而逝， 蘢曰的足跡衹有從 記憶裡找尋。 沒 有玩具的日子 ，衹有 天和地 ，樹 和木。 一切 都是那 麼純樸......

f

Mÿ,

Yip Lai - yin 葉麗燕

Guang Sun Lung A special kitchen (Figure2 & 3) and a strange sink, spiked my curiosity. After continuously asking my parents, learned that the kitchen was a canned food workshop a long time ago, and was closely related to my grandparents.

Figure 1 Facade of my old apartment (1997 photography) 麵 址外貌 {1997®

After World War II, my grandfather moved out of a V, lage near Guangzhou, and created a canned food business with his friends. Because there was insufficiant equipment in the workshop, and to increase mass production, they bought German machines. All commodities were brought out by the government and they closed the shop. This did not dispel my grandfather's goal, Instead, it stimulated him to migrate to Hong Kong with his family where he continued his original business with his friends to build their business locally and expand abroad. Many canned foods were produced, including taro, water chestnut and salted vegetable. The factory's name was "Guang Sun Lung" situated at 93 Des Voeux Road West, Hong Kong. My grandfather also created the brand name “Sun Wao* (Figure 4) which was a crystal sugar product with paper packaging. The designy printing, label paper and brand logo of the package were handled by a design house. My grandfather split from his partner and then managed the business himself. This shop was relocated to 1/F, 105 Catchick Street, Kennedy Town, Hong Kong

(Note 1 and Figure”which was my old apartment, it was dismantled in1997.

My grandfather worked outside, while my grandmother worked at home. They produced three boxes daily and each box contained 48tins of canned foods. The whole family worked from 6am to 12pm everyday. Thus, the kitchen produced loud sounds and noises of mechanical beating and stamping. As the years passed the business slowed down, and my grandparents tired from all the years of such hectic working. Consequently, they decided to shut down the shop. Although, this happened 30 years ago I only just learnt it from my parents.

Still, it is a part of me, and I want to reinvent my family's roots through my writings, photos, drawings and sculptures.

(Note 1) an old apartment building in Kennedy Town. The whole area had to undergo redevellopment in 1997.

Figure 2 ■二 My old kitchen (1997 photography) 蘭 檯?房 (1997«)

廣新隆 一 個兒時最愛玩 耍之地，廚房(圔 二及三 一個奇 怪的洗 滌檐， 引 發我的 好奇心，尋找背後的 故事。經一直追問下，從我的父母 口中懦述，得知廚房前身是罐頭食品 工壩，與我的袓父母 生前往 事 有密切關係。 大約在二次 大戰後，我的祖父母 一家離鄉到廣州生活，與朋友合 夥經營 罐頭食品生?，為 有助大屋生產，更引入德?機器 > 並設 於工 場內，其後因 工場的通風設備不足，所 有物霣 全被政 府充供 及封鋪。那次 事件沒 有打消 祖父對 罐頭食 品生意的念頭，反 而激 發他 和一家 遷往香港定居，並繼續本來 的生意，再與朋友合作 以本地生產和出口生意為主，主要食 品種類是索菜 I 有芋頭，馬蹄 ，咸菜等I * 公司名稱 f ?新隆 j ， 店鋪連工場 設於?輔道西 93號 ，另 經營一 個牌子 f 蛀和 j (P!四 > 是 紙包冰 糖產品，標 簽紙和 品標誌也經專人設計 和印刷。不久 我的袓 父與伙 伴拆夥，變為自 家式 經營，並將店 舖和工 壩遷回我家藿 址西理吉直街 105號2 檯 (註 ) 一及圖 。 I

I

i EJU Figure 3 圖三

Roor plan of my old kitchen 舊樓?房平面圖

祖 父對外，祖 母對內，每日生產屋 有三箱，每 箱有四 十八罐 ，為 了生活，一 家人 曰以繼夜不停地工作，?早上六時至?上十二時 。廚 房每天 不斷地傳出機 械轚，人手打 釘焊錫 封邊轚 ，人 手貼上 標紙 轚和烹調轚。其後生 意欠佳，我的祖父母也年 時已高，最終 結 束造門生意。 這已是三十年 前的塵年?事 ，有關的東 西已棄，沒留作任何紀念 和參考，也只好 從我的 父母口中聽取，和以文字，圖像 ，雕塑記 錄下來，讓過去的歷史不至消 失於腦海中。

駐 一1 自1997年 起?土地發展公司滴拆及璽 建西環堅尼地 城五街

Figure 4 圖四 Brand name (written by my father) 牌子名 •「牲和」（父親筆述）

Tam Yuen-chau 譚源洲

篇 鵷 01 Game, acrylic & model paint on canvas, 2005

It's time to stop and think...

每天 都在做同一樣的東西，是時候停 下來， 想一想..

Chan Hiu-ting 陳曉婷

mmw,

i Digital Sketch, 2005

VC 、' :.w

*_

I

WMMMML fg?f f

La u Wang -tat

"Memories are Intangible and fleeting.

With the help of ceramics, my memories get a more tangible representation.

Through copying and recreating, I know more about myself. M

Qeamy Mami1uins Tcpsy Turvy (Detail)

Porcelain, stoneware 200&06

%

Creamy Mami is a surreal piece of artwork featuring apre-adolescent girl, whom by divine intervention receives supernatural powers that can allow her, at any time by a whisk of her magic wand to become a glamorous, miniskirted Pop-star! Beyond its immediate "everyday-little-girl-turns-princess" message, I always wondered why Creamy Mami was represented in such a way. Are the objects shown actually that far away or are they mere illusions?

Instead of making an exact replica of an object, I decided to reduce the animation to its most primitive appearance. Cartoons often come in graytones printed on newsprint. By taking the color out of the entire picture, I return Creamy Mami to its most basic form, While light will cast a natural shadow, I decided to play with the animators' notion of light and shadow and distorted the scene further by artificially attaching 3-D "shadows" to my figurines.

Perhaps in this form, memories will not be as fleeting and intangible.

With the help of clay, my memories of childhood get a more physical representation.

醒

小忌廉 轉又轉 白瓷、?器 2006-06

我 常常都 想知道 ，動 / 漫畫 所表現 的一個 場景， 為什麼 就是這 方式?而不是那個。 可見場 面的背 後又是 什麼? 近就一 定大?遠的就 是小？（看是 大就一定近?小就一 定遠? )

在處理 作品時 ，我 將平 面轉化 為立體，再由 三維換 成二維 。藉 著變換 過程，

我就如 導演將 我認為 「未 完整 』 的呈現 給觀眾 ，觀 眾可 用他們 的角度 去重新 演繹。 而過 程重要 於成品，製作過程中既有我 客觀的 分析， 亦有主 觀的情 感及回 憶摻雜當中。 透過 製作， 回憶變 得有形 ，我亦 經歷了 創作的回億， 擴大和 延伸了 回億的 意義。

%

穴

*

A

\

h

This is a series about my psych<ÿcÿcal reftei rans.

It is not easy to explafrrfeelings, stress aad

fieunconscious mind without telling

the whole story

Visual images can present feelings more easily I arfr not good at speech Not good at argument

Not good at communication Art therapy is very helpful for autism,

I am one of the restored.

Ybu are welcome to visit my mtr&t mind

_

逭一系列的作品 是我的*0裡反映

•

f

感覺 ，壓 力和無意識，如果不 把整個 故事和 盤托出 '是很 難一一訢?的

°

然而視覺上的 像更能表?

#不善如辭令、 養爭 柔-溝通、 .藝 ff 是治療對自閉症每.有幫助. m. 我就是

慨康$者，’

歡迎# 觀 我的? 心世界

iiii ‘.ÿ -

懸

黎、 W"

Cat 簡霈盈

Leung Pui-sze 梁佩思

m Calm III. Laser print on Transparency Films, 17.5cm x 15cm, 2005

Calm Calm down! Take a break!

Listen to your breathing!

Feel that you're changing! 寧靜 靜 下來！ 放鬆自己! 聆聽 一下自己的呼 吸轚! 感受一 下自己的轉變

1ÿ— Testing the plasticity of the materia!, 2005

•U1

纖 Passing time, everything will flow. . .

A meaningful symbol, another's decoration, nothing else

%，

J

t

9

i

mm MYuen - man 黃婉雯

m

.Anchor «\ÿ m

a\we because

mv

'ee\\n9s

e沁st”

Emotions of water support human life.

Every little drop moves and moves ...

The satisfied white envelope is before me, Thinking of the White Far away of Blue and Green.

While Blue is the naive stablenessÿ

Green is the complicated wave, Touch with fingertips, All of a sudden,

The soul and spirit merge together To become meaningful images.

The White Contentment ...

人類的存在源於水，

一 點一滴，流動 ...... 眼前琉璃知足的白信封，

想起 了矇矓中的藍 與綠。 藍是天真的平穩， 綠是 複雜的暗湧。 指尖觸 礁了，

剎那感覺 •心神 交匯，

5? r ??狂 •

影像鮮活了感興，

心滿 意足矣

......

ini

Fan Miu-sze, Musei 范妙思 I like, I enjoy.

It’s the essence of arts for me.

I choose ceramics as my media of artwork

For its primitiveness. I like primitiveness.

A childhood in a hut in a valley.

A self-contained obsession in reading bees and bugs.

There comes the habit of microscopic myopia.

Look at a shell, then, these works.

Slowly, I immerse myself in the seabed of coral. 創作對 我而言

首要 是要自 己喜歡 ，讓自 己享受 我 喜歡陶 的原始 所 以選擇 了陶泥 作為創 作媒界

小時 候居於 山邊簡 陋小屋 閒來無 事就觀 察山間 動物昆 虫自娛

我的 「微距 觀察」 習慣 多半是 從這培 養出來 是 次創作 ，由 觀察貝 殼出發

漸漸迷 上了海 底的珊 瑚和軟 體動物

Connection, Earthenware. 2005

# !；

Yee Wai-ping, Alinoz

余衛萍 Alinoz and fish I have my name “Alinoz” from form 2 in secondary school and this special A and Z name has been my brand till now. I believe Hself is essential for an artist and I must keep it in sculpture.

I love fish. I have many memories of feeding them. Fish means “good fortune” in Chinese and it is a theme of eternity for an artist. I fell in love with this fish theme when I discovered that they have a special ecosystem. This is my source of inspiration. 我的名 字與魚 我的 英文名字起於 讀中二的時候別人把Alina的A寫成了Z, 讓這名字起於 A而終於Z。 最後它 成了我的品牌 ，無時無 刻出現 於所有自己的作品上。在那 時開始，我相信 作為藝 術行業的人， f 我 J 往往直接反 映於我的作品之中，既然我 是為雕塑而生，就忠實地幹 下去。 我的 姓氏與魚的讀音相近，童 年滿載 了養魚的回憶。我 喜歡魚，牠們 象徵了吉祥， 易於讓人接受 ，在牠們身上我找到 無數的 主題與 獨特的 生態。

• *iÿ

I

::ÿM

晒w

人

_靈%1 :d'. .

St-

Last ecosystem, mixed media, 2005 鼉 後生態

—

-

uÿ

§>

i 3

___

■■一

.ÿ

—

——

」“

術

個?系的穴間

1

I see my reflection in the mirror quietly and painfully aging day by day, I’m not afraid, I’m just sad. 每天 看著鏡 裡的自 已靜靜 地沉痛 地老去，我沒 有害怕，只有 無奈。

Ng Wing-yan, Idy 吳詠欣 There are thousand of thought in one's life. Artists create artworks by chasing after them. Today. I feel apart from my creations, even strange, though luckily, I was given an opportunity to read it from the viewer's eyes, to get to know my work again, and builtfÿreiationship with it once more. 人一 生思緒 萬千， 創作本 身原於 作者的 思緒。 今天 ，與 作品莫 明奇妙 地陌生 起來， 然而， 忘 卻了當 天是如 何碰巧 相遇的同時， 卻慶幸能夠 再次與 觀者站 在同一 距離， 與作品重新認識，建立第二次的關係。

，

Under the needles, photographs and thread.143cm x 234cm, 2005 同在針下

-tK*

iÿg\ |ÿ«M

#

.

&Wÿt.'ÿ.tV

•>

••乂

c

-.

ii?U.

•Vr«w

r "ÿÿfflj Uu»T»#ÿl

»:ÿ!*ÿ

-< |ÿÿHl

tÿ wÿ.ÿr

r#

c»ÿe

-

:辦.V'.層

]

丫 < /

s\ÿ9

'M

rTfTfrnTrnrp

i

Cÿtc#

I

y

<?秦 VJUÿ

wy.w

J 1

mi :a

WWÿWWifM1 | Pÿf* f-v t.

.4.

-Hÿ

H*Lt i A

« 參

e>

n

+rKÿ

|ffiuivtri

:rU

...

“Y1 , {•”

mLlTTtÿ 6i-ÿTS ~ <T#

fAvÿÿÿ

m

m ‘

\ÿwu

vsÿ4

一?

f«JCtM«% W« CWWPTCA

p

.

4妒

:嗜

\

C«UT .

(ÿA<v-

知

>K<ÿ«

c* Cÿrv»Jl M

»

(

.

V4JR. .v

洲 f 賺??

• (/WN ??

U

u

A-H

糾

”*

—

tMf.

i.

r 9

.

y•一雇

««ÿAl<

tW 山外

(ÿ*:n<«i>9 «*A*CI«4>

(01?今 1

)

Details, S

Ml

I

_

Retail Shop

I Product Samples inn r-ÿ

package

卜 \

\ instruction

%

isÿ

\ %

s

essory

_

Stop separating from others; this is the visual artist I used to be.

I am searching for an alternative connecting point between art and the audience. Once in a while, I, as a third party, change and use another aspect to observe how art is being treated and read. 偶爾放 下藝術 工作者的身份 ，不 再“對 著幹”，走到 另一個 位置， 以 第三身 觀察藝 術是如何被看 被?讀，尋找藝術和 受眾之間不一 靄的接 觸點。

0'

Lock Lo 羅至傑

©

4 Speakers

©

il h 象I

象I iSDcrft

Coversations, mixed media, concept in proposal, 2005

Outdoor Space of the City Exhibition in a flash, outdoor installation, concept in proposal. 2004

7

One A typical light source Spot light

-

of Canvas

Transparent acrylic bars are used for supporting the canvas (or only

Oil on Canvas, without stretchers

ilit wall without this)

All canvases of art-space' pairnting can be rolled, easy to install, carry and store.

A (1x1) m square floor is formed. audience are allowed to step on, being inside the space.

Cheung Sau-har, Linus 張秀霞

Hidden Moment :

Feeling of curiosity and peace, unidentify space creating an unforgettable moment. 在一個不明的 空間滲 透平靜與好奇 感覺,

感受一 個難忘 的時刻.

隱藏時刻

遍 V// / /

Rs

i

wm

Still life - lime stone pieces 靜物 -石 灰碎片 Photograph 相片 76 cm x 50.5 cm x 3

Yeung Hiu-tong, Candy ne, acrylic

楊曉棠

Tong says, "Painting needs feeling, needs practice, needs patience, needs observation, intuition, believing oneself, these are important too. It also needs colour mixing, sense of contrast, nonstop painting wholeheartedly, paint and look; stop and change, to be not afraid of staying atone, needs high quality colour, put more colour on canvas willingly, needs the ambition of colour, needs appreciation, needs a little bit clumsy..."

Is there anything else painting needs?

棠?：「繪 衋要講感覺，要 多練習 > 要有耐性， 要細心 觀察身 邊事物 ，憑 直覺呀 ，信自己呀， 這些 都重要。又要多調色，注 意衋面佈局， 有 對比感 ，全情 投入不 停地衋 ，時耋時望； 時 停時改 * 不怕 長期獨 處一室 / 一角， 要用覬顏色 ，捨 得落多點顏料 •要對 色彩有追求， 要有人 欣竇， 要蠶蠢‘地’ J

還要怎樣嗎？

Chung Wai-fun, Fanny 鍾蕙芬

i

Windowscape12.13, acrylic on canvas, 60cm x 30cm x 2. 2005

The images form parts of memories, nature, environment, time, mysterious and subconscious feelings of people. 影像保 存了一 些回憶，自然，環境，時間 與人類 潛意識的神秘 感變。

Windowscape 15, acrylic on canvas, 60cm x 60cm, 2005

Ling Lai Architecture has its own style, its own form, its own relationship with space, and its specific period in

Repetition 2005

J x’91

acrylic on can應s 91.5 c

.5 cm (8pcs.)

time. It is these qualities that inspire my paintings.

崩:

建築存 在著它 們獨特 的形式 •緊扣 著空間 與時空 的關係

Using different media to create conceptual art rela|e0 tpiime, space and colour to specially describe the reproduction and methods to transform a wonderful interpretation of the source image; painting , video , scuplture are theit間Of”’ media to explore and to define the intrinsic characÿnstics of these. 以多種 媒體展示時間、空間 '色 彩之間的概念 藝術。 5 把影 像從新編輯突顯再生 '再造 之後有 一種新的詮釋 當中以繪畫、影像、雕 塑等創 作為主，重 視媒體之間_ 塑性。

*

2?的

VA''ÿC'

Florian Ma 馬浩賢 Mona Lisa 020822. video, 2.08 mins. 2004

A

Filling space in direction, video. 1.23 mins. 2005

Tai lat-kuan, Amy 戴日群

|iÿ

/

f

' \

,

懇

.Sketch, 2005

I worked with geometric form, line & color 我運轉 於幾何上的形、線、 色之間

Interaction, oil on canvas, 36cm x 30cm x 2. 2005

Lau Hok-shingÿHanison 劉學成

M %| m _:衡

msÿ

f u 息

ins

-

a

、….

»v

’ÿÿ•-•ÿ:*

}y/Sÿ

'.-

-•

'''

.

.凡* r

•

;

•

:»p

，/iÿ

. ,

‘;?

./

. 參

•

:V: .兩

欠:

•Y

-c

• * ,•• '.

:?f

>ÿ. r

，、

<V#.

•f

.••必

;y./ÿv J

-

.ÿÿÿ-ÿÿV''ÿ ?ÿ

iV

*

，

.

Vr

'

.'f

V,'ÿ

. P ?'v

.

V

fÿi

'

•

.

V's ’我 .

% ..K. • ••*•:’. ,vÿ. ‘人 >.ÿ::• V...T..

)':ÿÿ

'.

’

V Vÿ.

.ÿ

>)

，

v

.t

'-

hÿ •' * - V..• • • «# ,•

*/.-.

. ••… <

.-»•

i!4

.?

a

r. , r

m-.

.

v

'

，'吟 ,,

wv:

•m

.

了： •了 '• 7T-'

. .厂

v.. .

.了、 .:了?

.:

h...

Look infe the distance the lighthanging,in the dark .

[

•

.-•

•

' •

*

—

:

■義'

!....:ÿ-'.W.

‘、 •V »

: f*

. «

V , *

.

vÿ' »

•

—. -

k

.* *,

ri»> • ii A-"' \

i

v

»

\

'松 ％，;

'

"fc

•

m.:‘i

i

,'

D.'-I. (:ÿ

*

• *.

•* 1 «• *

I

"* . -

.vf.••ÿ*.

•病 : y;

•

.? >-ÿ..ÿÿ•

-v

，，

’

•:.以.

.

‘

Jv

..d

r.V ’

•

.•二'

y ,: ::‘V. .

-'

-I' 'ÿ•*•

•

.vÿ -ÿ• "

' •

. • *.

>

V

1

'*

S.'A

i"'4,

v

令：‘ vÿ'

4 '«

%

••

， i-.ÿ

乂，

'

Wong Mei-yee, Kathy 王美儀

Initially inspired by the use of the weaving technique of interlocking coils, I have found this simple element, a line when bundled together possess a strong directional gesture. From the flowing waves of the exterior to the interior, these lines have enhanced spacial dimensions. 靈感本 來自連扣之編 織技巧，發現 當最簡單的元素-線，束起來 的姿態 就能加強整個 形狀的 流向。線條由 外到內，能帶出強 烈的空間感。

Development process

Miim

_

ft

Fung Man-yee, Judy 馮敏兒

,

/

1而 A

In the material world, we have become lost in an abundance of objects, advertisements, artificial beauties, virtual-reality, simulated experiences and fake desires; nowadays the virtues of nature, the truth, and true beauty... seem too remote and not necessary for us.

If my life is in the search

of these virtues, then I would like to pursite my arts as a journey to the discover of true beauty. 在 物質的 世界中 ，充積

大量 貨品、 廣?， 人造的 美麗， ?擬的 環境，

?假的 經驗和 慾望； 人 們已漸 漸變得 迷失。

然而，大自 然的真 、善 、美 ...

對現 今的我 們來? ，似乎 是遙 不可及 的事， 還是可 有可無 如果我 的生命 是追求 真善美 ，我 希望 可 藉藝術 去發掘 真正的 美麗。

Peony#*!ÿacrylic on canvas, 120 cm x 120 cm, 2005 牡丹，塑 膠彩 布本

%

1

T

%v

y

fi >

P' m

4.

i

Xÿ ,

:

.，，晨?

.i::)

w麵 1

:

:

馨蠡

%3_ .纖

l.:.v-

Ki

ti

:f-m

:

<I i::

%

I纖:

A

%

Lots of beautiful things are unreal and difficult to catch, but people still pursue those lofty ideas 任何美的事物都是短暫而不 拷在的，但是 人們所 追求的...

Ip Hon-chung, Dominic 葉漢忠

.

Lai Ho-yee, Toffee 黎皓儀

Thinking beauty when you in ground Crossover with Panda's work for background porcelain, 2005

在 地上思 想美麗 與 panda 合 作的組合作品

/

7

% U>jUÿ fÿtÿrUL

li

*tu扣 d, UHx

Cÿntrÿit .

CffviUaÿi ertcÿr

H

tkUD

'.一

h

Art

/Ldÿyjÿr*

*tÿk A

七二c

1ÿÿ,

Uÿ

CmJirK

.

-tLZÿiiC. iOfiM,

\

uÿ-

p:

乂

‘:

J

A.

u?n>dLciiÿ'

*iÿjlÿst

»

UiÿLr

ITT CAÿ

pÿctiai

_

s 麟

?:

cUÿt- juÿl

.h It

fs

sÿft >

. It

li

\>uJÿ

<ÿ

|fk

i

>t+KCivJuÿ

. 7i/uÿ

»5

trUÿUj

B

m.

\mÿ

|*|

mi 1科淬

樣

Cÿ-UÿaUÿ

(X、舶 4 气 J

£

'1?ft?

■變

Yu May-ming 余美明

km

•I,

:

: ■巧

\

\ I like taking photographs, I always see the world through the camera lens; I explore special angles to see the human body anew. 我 喜歡拍 照和通 過鏡頭 看世界 我 ? 試透 過特 ?角度 看人體

_

纏

'.薄'讀

：；,

w熟

B

靖Kv-:_r;--:

_齡

mm

:#

B

•方.

r:_:%靡 W--

m

•崎私考|

:馨

pr.fi -v.y,-v

應

p Hÿ

m

mm.

Vfi

1

課

:.f :•厲 'ÿ.

_鄉

W 零

?8 灣蘇

I am dreaming in this society

...

迷幻 在現今 社會中

Co'ÿs,

cÿ\ÿr

Penc'1 on paPer,

2005

Ng Wan-chung 吳運忠 Untitled, performance. 2004

:

mm'

Untitled, installation, 2005

丁here

is nothing new under the sun. 曰 光之下，沒有新事。 Untitled, photography, 60cm x 120cm, 2006

mmi

lEsasiiSi

m

E

E

MUi «IM11 #*500ÿ1 *»t9#

Propaganda, digita ? print on canvasÿ180cm x 120cm, 2005 宣傳

1 領匯贏終 審聖誕 前上市

\m S33M品

_:麵謙

mm

mm

mm 黼臟驅 ?愚幸r

恐嚇信 附炸藥 揚

mÿMm tmvtmm

顯署灘

?"LsmftW

?輯

?-?一

Chu Wai-fun, Smarktie 朱惠歡

Wong Hing-sze, Cal 黃慶詩

Fish Seller, video, 2005 ?魚勝

ir'X

m

娜. f Taxi Driver, video, 2005 的士司機

Movana Chen

I

陳麗雲

HK: Why wear magazines? Is it about recycling?

MC: ! like to collect magazines, so i create clothing out of them. I want people to be aware of how the media controls our bodies, minds and ways of thinking.

Life is not just about trying to make your body more beautiful.

、

HK: What’s one of the most eccentric projects you’ve created?

MC: My last exhibition was a performance show. On the opening night, I wore a magazine sculpture piece for two and a half hours. It covered my whole body, so people weren’t aware of a person being inside the sculpture until they read the captions. I needed to go the bathroom, but I kept sleeping. I fell asleep for 10 minutes or so and some people were afraid when I moved. A lot of people asked questions,but i couldn't answer, it was painful inside the dress; I could't even open my mouth. I could hear but I couldn!t answer. Then, someone tried to sit on me!

No. 609, Jan 13, 2006 HK magazine

HK: 為 什麼穿 著雜誌 衣服？ 有關瓖保再用嗎?

MC: 我喜歡收集各 類雜誌，故由此開 始創作。媒體是如此直接

影 嚮我們的思想、行為及身體。生 命並不只在乎外在的美麗。 HK: 那一 個創作最令你 難忘？ ，穿±- 賊繼顧酬塑? ® 麵 MC: 我在臟的行 纏術麵 ±

維持約 兩個小 時以上)。表演過程中，我曾睡 著了；當我醒來時 ，觀眾為之 嘩然 ，直至 他們看 過作品 簡介後 ，才 察? 雕塑是由藝術家自我 演釋而 存在。 耳遇 充塞翻 細鋼 ，哪不 R關的?肥翻is?靜 細關。

_

|

.

‘669 ue U| ? g 函蠆S S002 ‘u!E|eÿjÿd

:

'概，

.W

Wong Lai-ngor 黃麗娥

Scientists have already broken the secret of life. It can be represented by

different series of symbols and codes. If we re-arrange

those codes and symbols, what will be the new 科 學家己 經破解 生命的 密碼。 Life? 生命可 以用不 同的編碼組合 代表， 如 果我們 將這組 合重新 排列， 那 新生命 將會是 ..... f

Ho Wing-wai, Cain 何詠慧

•鼻 r:

各

淨

ti

mi

iÿ {,

w

34:" -A

'a

, $

、

.1 ::魅

<ÿ,'

\j

V

一

i4:

tw

*

; 4 Mt

瞻iÿ' Can we only be a doll? 我們 只是玩 偶嗎？

z 4

':

i \

i麵

乂

fl

c 瘺

Me-Doll, acrylic on canvas, 105cm x 105cm x2, 35cm x 35cm x32, 2005 玩偶

%

m Lau Wai-fong, Regina 劉慧芳

)l

Trees share nature with each other, with all beings and with men. Each tree is unique. It has its place of origin and it belongs to a particular species and family.

Each of its own branches and leaves is different.

Its many structures are visual manifestations of living things' potential for growth and change.

In them are held the mysteries and wonders of life.

My artwork of trees are records of my interaction with trees, my appreciation of their beauty and my delight in their presence. 樹 木與人 類及萬 物共同享有大自然。 每 一顆樹 均獨一 無二的，有自己的原產地， 隸屬某一科 某一種 ，而它的每一 枝節， 每一片葉都不 一樣。

落葉、發芽、開花、結果 ，顯現生物不斷成長 和變化的特質 ，樹 蘊含著生命的奇妙和奧秘。 我的作 品與樹 有密切關係，紀錄了我對樹 共虛的 愉?。

Coexistence, oil on canvas, 61cm x 51cm, 200£

•■雜

w

Ip Luk-nga, Kalu 葉綠雅

r-

Trying to re-explore 'ÿPhotography" from another aspect. 我 創作的目的就 是希望從另一 角度重 新探討 〈攝影

>。

Au Ka-yiu, Gavin 區家耀

Causeway bay, photography, 2005 網薄薄

A

t

? 範轉移 paradigm shift

Student Contact AOKI Maiko 蒼軌丰 子

maikoaoki @ maiko.com.hk

AU Ka-yiuÿGavin 區家耀

yiu_au@yahoo.com.hk

CHAN Andy 陳安迪

andychanl 703@yahoo.com.hk

CHAN Hiu-tingÿWinnie 陳曉婷

winniechan714@yahoo.com.hk

CHAN Sze-ngaÿWinnie 陳詩雅

szengachan125 @ gmail.com

CHEN Li-yunÿMovana 陳麗雲

info@ movanachen.com

CHEUNG Sau-har, Linus 張秀霞

Iinus0409@yahoo.com.hk

CHOR Wing-cheungÿSampson 左永?

artspace @ netvigator.com

CHU Wai-funÿSmarktie 朱惠歡

smarktie@sinatown.com

CHUNG Wai-fun, Fanny 鍾蕙芬

cwff@ netvigator.com

FAN Miu-szeÿMusei 范妙思

museifan @ hotmail.com

FU Fuk-chun 傅福春

fcfu305 @ yahoo.com.hk

FUNG Man-yeeÿJudy 馮敏兒

judymyfung @ hotmail.com

HO Wing-waiÿCain 何詠慧

wwhocain ©ÿsinagirl.com

IP Hon-chungÿDominic 葉漢忠

ipdominic@yahoo.com

IP Luk-ngaÿKalu 葉綠雅

kalubeeJp @ yahoo.com.hk

KAN Pui-yingÿCat 簡霈盈

ungoogoo@hotmail.com

KUNG Hing-simÿAngela 孔慶嬋

angelaOl 0963@yahoo.com.hk

LA ? Ho-yeeÿToffee 黎暗儀

lucerence@ yahoo.com.hk

LA ? Yuk-? ing 賴玉玲

yllai@hkbu.edu.hk

LAM Mee-yeeÿAmelia 林美意

lameeyee @ yahoo.com

LAU Hok-shingÿHanison 劉學成

hanison_lau2004@yahoo.com.hk

LAU Wai-fongÿRegina 劉慧芳

LAU Wang-tatÿDada 劉宏達

Iau.dada@gmail.com

LEUNG Pui-shan 梁佩珊

ps!eung2003 @ yahoo.com.hk

LEUNG Pui-sze 梁佩思

ssssze @ sinagirl.com

LO Chi-kitÿLock 羅至傑

penny_lock@hotmail.com

MA Ho-yinÿFlorian 馬浩賢

florianma@gmail.com

NG Wan-chungÿEric 吳運忠

ngwanchung @ hotmail.com

NG Wing-yanÿ? dy 吳詠欣

idyng316@yahoo.ca

SIU Kam-han 蕭錦爛

siukh @ hotmail.com

SO Siu-waiÿWarren 蘇兆偉

warren.so.hk@gmail.com

TAMat-kuanÿAmy 戴日群

taiiatkuan @ yahoo.com

TAM Yuen-chauÿSunny 譚源洲

sunflowersunny@hotmail.com

TANG Kwei-man 鄧桂雯

kweiman @ gmail.com

WONG Hing-szeÿCal 黃慶詩

cal.hswong@gmail.com

WONG Lai-ngorÿLian 黃麗娥

lianwong @ hkbn.net

WONG Lui-lui 王蕾蕾

wongluilui@sinaman.com

WONG Me卜yeeÿKathy 王美儀

kiffykaf@ yahoo.com.hk

WONG Yuen-manÿNaomi 黃婉雯

naomi_wong— 2000@yahoo.com.hk

YEE Wai-pingÿA ?? noz 余衛萍

alinozyee @ yahoo.com

YEUNG Hiu-tongÿCandy 楊曉棠

hiutong_yeung@ yahoo.com.hk

YIP

La卜yin,

Panda 葉麗燕

YU May-m ?ng 余美明

panday44@gmail.com yumm07@gmail.com

範轉移

paradigm shift

Acknowledgements Hong Kong Art School Lecturers CHENG, Helen H.H.

CHEUNG, Enoch H.S. CHEUNG, Stephanie W.T. CHING, Luke C.W.

FOK, Silvia S.H. Dr.HO, Siu Kee KEMBER, Pamela E.

KU, Christopher M.C.

KWAN Jerry LAI, Eliza M.L.

LAM, Chi Kwong LAM, Kong

LAM, Jaffa L. LAM, Joel K.H. LAU, Christopher P.K.

LEUNG, Chi Wo LEUNG, Jakie K.M. SO, Heung Keung

TAM, Lukas W.P.

TANG, Stella Y.C. TSE, Ming Chong Dr.VIGNERON, Frank

WAN, Annie L.K. WONG, Fiona L.C.

WONG, Sunny K.S.

YU, Francis W.L. YUNG, Sau Mui

Hong Kong Art School Staff Dr.JIM, Josephine S.H. HO, Kurama W.M. HO, Louisa Y.M.

KWAN, Zoe LAM, Gwen K.M.

LAM, Karen T.Y. LAW, Chung Foon LEUNG, Catherine S.M. NG, Chloe S.M. SHAM, Queenie N.S. WONG, Nico

I2S

RMIT University Staff Professor GRIERSON, Elizabeth

Assoc.Prof. WHITE, Kevin Assoc.Prof.BATT, Terry Dr.BARBERIS, Irene BISH,Garry

BRADDOCK Christopher BRADBEER,Godwin CLEARY,Sally

D’COSTA Rhett DYER,Jane Dr.ERREY, Sophia FERGUSON,Bill

LEE,Tina SANDERS,Chris SYNDIKAS, Alexander TABACCO,Wilma

VALE,Michael VAN RIEMSDYK.Fran

WEAVER,Louise

Dr.WILLI AMS,Linda

Graduation Show Committee Members SIU, Kam Han CHEN, Movana L.Y.

LAM, Amelia M.Y. LAI, Toffee H.Y.

YEUNG, Candy H.T. NG, Idy W.Y.

典 範轉移

paradigm shift

Design Team: Movana Chen, Ling Lai, So Siu Wai

Editors: Andrea Pritchard, Maria Lau

Sponsors:

ERPRE88

(HONG K

网Les Artistes I www.lMartis

JVC -

The Perfect Experience

?二焚'敏

;-rÿ

一

Congratulations to the Success of all Graduates!

i'kirsJ •«

m&m

纖

Hong Kong Art School

m >， 、

香港 il 術學院

/

HONG KONG ART SCHOOL

www.hKas.edu.hk

i

Sharing 分享

school life 校 園生活

i

m

t &

im

.1.

m

?

mm

m

t

t-

繼，:

A

i

aaaa

勸:

past three years 過 去三年

/ /

伽細

/

私

¥ f5

4 %%ÿ

祕’

A

9

courÿbrotxdÿeÿmy horCÿovv Ilexÿyÿt aÿl&t lAvthreeyyeary.

Orvfineÿcut.I\uM/notitop loÿCngÿcut.

TKeÿtKreÿyeÿuÿounoÿy tKmuÿvtKeÿÿtScKool/eKiaWeÿ

aÿmaXmÿaÿoAallmÿeci/me/tÿÿaÿa/cieeper iAA<uieriltzvndAÿiÿof

fiAve/cuty.

llvieÿectexiJLy, iX'wcÿalÿaÿttmcÿ/br eÿlorattÿia/cÿielÿcmÿ valuer RcvÿewOigp wtea/»a6Kigÿ

Semÿem-oWÿ

彳夸 A

三

-

-T2

v於?：i -气 Ah 弋 x ? M it' Ai.

w 4:以“、厂、

/h•、私

1 3 k

A>

tV\'

.. …外u

德

-

'ÿÿJÿ Lo

P)

Q-r

°f

i\

,NS>

A J'

A f

li m n. m

mm

ff] i

k \ A

This is like a battery starter which kick-started me 8e will drive me to continue to further for my development in ceramic art. Rdght nowÿ I'm applying for jobs that will provide chances to travel. AndIdefinitely want to apply for an aptish-in-residency in countries like Japan, NZ, Canada in the near future.

searcÿÿÿÿ

\\i

,4

\

z

ff ?、

At

&

令::

.,uÿVÿ? > ，.W

- —-

r\

.工

硬H

人t

Ir.

-軺先，著

m案以

£# 乂 •

給畢業的同學 ： 這三年的課程，希望您們學會了一些藝術的知識 和學問 * 學習 應是一 種態度和學會 求問。 畢業了，留下最後三、四條問題給 您們。 1 . 您們面對的是 什麼？怎 樣選擇自己的方向？ 2. 怎樣 從觀察中發掘 事物的 本質？ 3. 作重要 決定時 持 什麼的 理由？ 祝 快樂！ |

譚偉平 寫於二 00 六年六月一日

119

One of the great highlights of my 30 plus year teaching career has been the experiences that I have encountered teaching within the BA program in Hong Kong. The graduating class of 2005 is the 6th cohort of students to complete the RMIT BA program in Hong Kong since it's inception in 1998. The class of 2005 continue the wonderful tradition that has become a hallmark of the RMIT/HKAS students over the past 8 years. Talented and inventive this group of young artists has challenged the boundaries of

and established a collective platform from which to launch themselves into a brave new world. Innovative and energetic, they will make their presence known within Hong Kong, a city that is fast becoming an exciting environment for creative endeavour. Without exception each artist has developed a unique and individual artistic language yet as a collective group they have established a stong sense of collegial spirit and community that is both supportive, stimulating and energetic. contemporary art

I wish each of them every success for the future and I am confident that they will make a significant contribution to the cultural community of Hong Kong in years to come.

Associate Professor Terry Baft Program Manager for Postgraduate Studies in Fine Art: Hong Kong c/o School of Art RMIT University

期望這三年的學

習後，每次遇上 不順，您能緊

握拳頭，拍打手掌，

依然堅毅地?：會 以更大

勇氣，走出屬於自 己的藝術路。

Francis Yu 余偉聯

/十

h

，匕

“Plans are only good intentio unless they immediately degenerate into hard

Every year a batch of students graduates. This is the very end of the process which Iset in motion by introducing students to the undergraduate ceramics course both in Melbourne and in Hong Kong.

At graduation, I wonder how students will use what they have learnt.

It is the beginning of a career, not the peak. I also know that not all will become ceramic artists, as this is a difficult profession from which only a small percentage will choose to pursue as a career.

I do know that many graduates will use their knowledge of international and local art, their capacity to work with others, and their ability to share techniques and develop their skills and ideas. They will use these throughout their lives in a wide range of applications and other employment.

Undertaking a course in an art school demands courage: to find whatever talents one might have, to make the most of these, and sometimes to learn to accept their limitations.

To all graduates, I wish them this courage and self-belief.

Chris Sanders, June 2006, Melbourne //

1 士 .

"r 、么

謝明莊 Pamela Kember.

It is the function of art to renew our perception. What we are familiar with we cease to see... shakes up the familiar scene, and, as if by magic, we see a new n meaning in it... not to say what we all can say, but what we are unable to say.

Nin,Anais(1903-1977)

i寸論

http://groups.msn.com/artforum2006

Dear all Graduates 2006 and all Lectures,

you are invited to join this artforum to write down any messages about our coming Graduation Exhibition, eveyone welcome to upload your artwork images by yourselfunder the mention folder, i will help to upload and update this artforum hope everyone will enjoy It! movana

\n

傳

: 20060/9 下午 1W5

Hi! Everyone!

First I want to thank Movana for your efford setting this forum up! Ifs great!

Then I would like to propose an idea for the theme of the exhibition:

•Taking Turns" or "My turn"...

As we are not aiming to promote ourselves (at least quite some of us are) through the event, but holding the exhibition is a routine for the graduates...therefore, iTs Bke taking turns. And then, there would be no limit in the erther the ways of how we present our wÿfk or ourselves.

Please give some commentl And everyone please also give some suggestions la!!

Wrote by Ahmc, 9/3ÿ006 (h37am

I Time Table pj|Pÿii>c & promotton 溥撕間

W者：

2006ÿ下午

04:09

Time Table

?. 鷺i

card, poster

7

噱?

iue Production

for coming gral show you may not jusno select & pitscm one of your work done before, for the three years studied this fine

Catalogue artS

an course, it reaDy change my Kfe. find myself, very enjoy to making an to sharins the idea behind to people who fed

MINUTES

imeresicd so better to present a work relate to what u done before and have a contiiwc....you can still keep exploration.

Grad.show all participarrtft sign in here

15

??I

10

想? 筇?

2 21

lock

20

movana-

20C

4th meeting_10 April (mon) wÿcomed

傳送時間

餅者：

2006/3/10 上午 07:33

II

200 for sales

I have a simple idea. "Connection". This is one ihemc of my artwork for grad show; and I think all of us (and the artworks of

2006

雜 714

2at«lÿgue information & design

oourse!) m (ul! of connections.....

Sorry.Idon't have any great suggestion. Anyway,Itry my best la... IfIhave other ones, HI post there asap.

Cheery Maiko Aoki (Gwendoline)

寄件者： ?亞棠 candv

傳?間： 2006/3/? 1 上午 12:19

I think the most interest things among us is the period between final assesmeni and the 2nd show. So, mnu.jny idea is anything happen within that period.

10

•

2006,

?rawy

WKiniShlift: Let's know more!

Wpient for the graduation show

2

Email fm Lucas

3

2nd meeting_13 March (mon)

exhibition theme/conc«pt

2006&

i!

冷_714

_

鬵i

Jrd meeting_20 March (mon) welcomed

II

rALOGUE- working schedule

1

Bing of Photo Albums & Usernames

2

jÿain, I will Join the show

3 哽

2

Ittmÿing 6March

2

community team

5

Chin«w test

2

2006/3/1

:

2006/3/14

H 2006/3/11 2006/3/11

"nÿ12

2006/3/10

movana-

2006/3/10

，

photo allÿ.

2006/3/

2006/3/9 T 2006/3/9 下之 2006/3/9 下,

s•叫 Jim to write down some ideas we goi ftom Monday meeting. Candy may provide all of you more details.

I. Story Idling

-individual woria but may have linkajje between each woric

thÿ

•°ÿÿw

CONTENTS

•h—*ÿ

-ihc

目錄

choia compare to the other 2 choices as follow

2 -to bettvdescribe the pictuic. bnacinc then; is a steam and wkh iittJe nxks in it

H

-participant may have more tfan one work to put in dJfTaou 拆ace

**5

W

IFiecMakct

:篇Si

- psnidpBiis may ahibii grouped worts but noi individual works - think of the ttnn 'ait Jam' <- just like music

a

P.S: There arc 2 things we need to bear in mind in this graduation show. FiislJy,w should not|givepeoÿcafcdinKof 'self-promotion'. S«x»xL wc should encourage viewer IO have different poim of views and ideas and have our artworks see m

mmm

4 >2

l

*1.3

The Mobiliÿmay allow some woks arc popng

the flow of water

.

7ÿom4

os-25

« diffctcni spots while some may be sdll as stones in a $ÿtani that make

In fte other words some may set his works as the traditional way while other may

his woric in

different locaicns (as a suikDine/iouie).

The ReaMate is nt jam thai groups of 2 a-3 or more are displayed together so as to make sane music or say climax as (he

s. Lets say that ihetme Jsomebis orchcslra. while others may Jove to dfisÿay their own work wiAout intemiptionn of others.

broths of stalls in Ae flea market that has Kxs to explore white ihcrc we some Lihcme stalls as well.

li

Pb$Mce: to mature onridets! <

HS1 : Paradigm Shift Lefs know moie! 餅者：

一

傅送時間

_:Idy(ÿ_g)

200ÿ3/21 下午

12:33

Paradigm Shift ~ our Grad Show name and theme suggested by Ahme

thanks Ahmc for introducing us such a cool-phasc, i think all of us would like to know more about it. Here are

someinfo to sharc,whichweresimply searched on the intcmcL iA/W is the term first used by Thomas Kuhm in his 1962 book The Structure of Scientific Revolutions to

describe the process and result of a change in basic assumptions within the niling theory of science. Don Tapscott was the first to use the tom to describe information technology and business in his book of the same title. It has

since become widely applied to many other realms of hum如 experience as weil.

>

思維轉換 / 典範轉移，美國哲學家庳恩首次在他的極具經典之作（科學革命的架構 中提出•摩恩在

窨中?釋•?一項科學?究的重大突破 * 幾乎都是先打破道統，打破舊思惟，而後才成功的 •

fiirthcr reading & information: httpy/en.wikipcdia.org/wiki/Paradigin

shift

httpy/www.takcthelcap.com/dcfinc.html

< i agree that it fits the concept of Fine Art not merely in science. we need to make a big step from the traditions, we need a breakthrough in the show

welcome toprovide supplementary detail raise questions 如d 如swers.

\7

technical problem 吧？的確 ’》 作一本 caaloguc 是很?時的 3：作，擔心不能 常R•「報紙」這個? 準時出版是很正常的•而 念是很有趣的•因?我 而我 我也; 也看到 1 schedule 咖| 沒有得到更多的資料 我不敢銳有什?建議•只 •所以我想到的是斷 是想到，不如在有新 乍報紙類印W品的 I idea 的同時•粗略估計 坦白銳，在於? catalogue Problems* 遒成的可能性，慢慢 M成什麼 formal•我ft沒有很大的 再討論也不* • 效果完成 j •我 意見的 .可 能職業病使然 .我 有明友做傅媒••擇和 主嫌由 我魄 仍是要先 PR 工作，如果大家有什?相 定「能不能 期疑問，我很樂意去 當相?W的 餅，: ?_?

ProWemso? ver 的 • A A

-

暑：i暑，

*

’

III

*»••• so sony for the late *e Proposal is nainJyu,

for any suggestion and

顯

If iiH

傳觸間

Dear all, i'n> sorry for loep,ÿu guys

for further details and

anached pis find best regards,

Pÿint-forra, hope ifsalcniatjvely

oprnioa. Warehappy 10 Jn»«Jrprcauÿns, pis come iÿ

catalogue, hope

the proposal m

fÿrraa_

wÿwÿtoe is

no

kidding? Very deeded

Candy

16 march 2006

aÿÿrtdoÿcbyus,dueintbc woÿWooess newspaper

by us not the dÿgner)

issues t0 address some

regarding the Grad Show's

content and

ideas" which is a with"Character of students' life the catalogue category, everybody to fit into the DAsrocntioned and format then asks ftamework a up process, build throughout the entire clement rather than to wo last meeting, we

ing continuously

thdcfoieÿstnihope *eicwiUbesomebrainstornu it. please get rccoiding of

, i§openness»i and i i§diifFcrenceif, i§expcriracntali ilindividualityi", toy worts such as something new.

2) Expect some your thought and try wordings could stimulate session tojctiicr, to do a brainstorm §W',Ihope this meeting with all the students wouldUtetoanangea the ve 3)ThetutÿR with Francis Yu about 撕肌口 on 10 April at 7 date proposed the W 4 April. your works away between 17 May would like to present because 1 will be by asking i§hÿwyÿu reasons, with some risk 4)Ido expect to take message from your g categoryr, i§any help to to make a want you i§why discusaion that could and idcasi", process of searching and the through however,Ibelieve It is a bit vague, is and all about. identify and shape what it

Lukas

at. we arc open

the forum.

2006/4/4 上午 0?:33

Thanks!

傳麟間 ?? DCWSWPCr

•

Best

note oa

lÿread.

that's my

g_g_3 /3 的f

soft

tÿjÿ( a

mm proper

details and the concept WHY to present in Ne traditional as catalogue forraauiewpapCT

•

tioiuIw0ÿ

8ÿin« toarri

_•

rc some sample

thanks 如 the informÿ preparationÿ

welcome

， movana-

寄件者

we can design

Dear all,

tutore,

where

Idy

anyway oot much time, ican help Idy to prepare

寄件者

matter

to mate ftinss happen. aprij wift

busy jobs around

is better than

an easy way for u to rcadjio

the meeting

can also be a

J

200ÿ/2 下午 砍私

wan for ’suuuchÿ

"

2006ÿ 下午

10 咖如 扣 society,

w may leara morc„..

04:37

break the

sunplcfonnatin catalog. 0ÿ