MasterMind (2 of 2)

Master of Fine Art 藝術碩士課程畢業展 Graduation Show 2008

Master of Fine Art Graduation 藝術碩 士課程 畢業展 2008 Show 2008 Opening: 10 June 2008, 18:00-20:00

開幕

Date:

1 1-27 June 2008

展期

6月 10 日下 午六時至八時 6 月 11 日至 27 日

Time:

10:00-20:00

時間

上午十 時至下 午八時

地點

香 港灣仔 港灣道 2 號

Venue:

Pao Galleries, 4-5 /F Hong Kong Arts Centre, 2 Harbour Road, Wanchai

Symposium: 14:30-16:30, 14 June 2008

香 港藝術 中心四 及五樓

包 氏畫廊 研討會

6 月 14 日 下 午二時 三十分 至四時 三十分

遍

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Imagery and Content of Christianity Mixed Media by Hau Man Yi? Isabella

侯敏儀 - 基督教 的意像

Imagery and Content of Christianity

These objects are neither paintings or sculpture. They are indeed a combination of both.

The cut-out negative shapes on selective pieces resembles the outline of a cross, presented in a subtle way.

The burnt marks on the plywood are similar to that of the human hand, the lines on the palm and skin surface, symbolizing how my own skin would burn.

Each mark takes a considerable amount of time to be made, just as it takes time in our daily spiritual devotion. Each mark could be a scar or a wound, from each and every time we commit a sin.

The smell of the smoke which is generated from the heating device on the plywood bears a resemblance to industrial manufacturing.

Responding to our daily routine and the ultimate demise of the body which is destined to turn us into ashes and smoke - the Biblical icon of the sacrificial goat, being burnt.

The dimension of the long rectangular shape is that of a coffin, and the dark brown color on the wood is the original color. No paint was used in the process.

基督教 的意像

are like gifts, and they are “free” for you to discover. These gifts reference the gospel, which does not require you to spend a dollar, but as long as you are open to acceptance, it5s free for you to take.

這些作 品不是 油畫， 又不是 雕刻品 ，它

Even though the harder and heavier wood is stereotypically a masculine material, I still chose it over other softer materials, such as fabric, because I believe women in the 21st century are also very strong, and they can also do what is conventionally considered to be men’s work.

掌紋 。一條條粗幼 的線條 ，仿如 我們的

們是兩 者結合 而成的 。細 心看作 品的表 面， 微妙地 見到一個個不 同的十 字架。

在木 板上被 燒過的 痕跡就 好像我 們的手

皮膚 被燒傷 一樣。 每個 記號要 用相當 長時間 而刻出 來的，

就好似 我每日 的靈修 。每 個記 號一可

能 是疤痕 、創傷 ，又 或是 我們每 次犯過 的罪。

There are references to the city from the context of an aerial view. Each little slice is a scene from the everyday life, and they each tells a story. Afterwards, they are put together to form a whole.

Although Christianity is the central theme of this project, a viewer may view it with a neutral perspective. I do not wish to label it exculsively as Christian Art, but rather a gift that is free for the viewers to take.

"Ask and it will be given to you; seek and you will find; knock and the door will be opened to you. For everyonewho asks receives; he who seeks finds; and to him who knocks, the door will be opened." Matthew 7:7-8

將儀 器放在 木板上 加熱後 傳出一 陣陣煙 和 燒焦的 氣味;就像 我們每 日上班 、下

班、上班 ...... 重複 又重複 ，最終 都是死 亡 ，而我 們的肉 體被火 化後成 煙和灰

後， 也是從 火葬場 的排氣 管逃跑 出來一 聖 經中獻 祭羔羊 的生命 ，是要 被火燃

燒0 長方 型面積，好象 棺材； 顏色： 是用木

材原色 加上燒 黑了的 深啡色 ，在 制作過 程中 沒有加 上其他顏料。 所 有物料 都是拾 回來的 一就像 天賜的

「禮 物」 ，只要 你去找 ，就可 「免 費」

得到 。這些 「禮 物」 就好 像福音 ，你不 All materials involved are found-objects. They

需要 用錢買 回來的 ，只要 你願意 打開你 的 心接受 ，就 可以得 到了。

雖然 這些又 重又硬 的木， 習慣是 男性的 專利 物料； 我 仍然要 選擇木 ，不 是又柔

軟的 布料， 我相信 現今的 21 世紀 的女性

一 有足夠 能力做 男性的 工作。 從上面 向下去 ，細 小的木 方象小 城市又 像每 日生活 的片段 ，它 們各有 個別故 事 ，最 後將它 們放左 一起。

雖然 作品中 心是基 督教，我只想 觀者用 中立 角度去 欣賞。 我不想 將作品 商標成 基督 教藝術 ，只希 望觀者 看完後 有一個

免費 禮物的 感覺。 「你 們祈求 、就 給你們 •尋找 、就尋 見 •叩門 、就給你 們開門 。因為 凡祈求 的、 就得著 •尋 找的、 就尋見 •叩門

的 、就給他開 門。」 馬 太福音 7:7-8

各各他 01， 2008 Go/o?如 Burnt mark on wood 燒 烙木板 Back

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Burnt mark on wood 燒 烙木板

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Go%o/知r 似/各各他 02, 2008

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Imprecation 's love 咒詛原 是愛，2008 Burnt mark on wood 燒 烙木板

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Only One/ÿ.—, 2008 Burnt mark on wood 燒 烙木板

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Biography

Awards

1994

Hau Man Yi, Isabella 1992 Education

2007

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

2005

QKT, The Hong Kong Institute of EducationSelected Group

2001

BA (Fine Art) Royal Melbourne Institute of Technology (RMIT) University (Co-presented with Hong Kong Art School)

Outstanding Achievement in Art, JPHS, Edmonton AB, Canada

個 人簡介 侯敏儀

Fine Art Achievement Award,

JPHS, Edmonton AB, Canada

教 育背景 澳洲 皇家墨爾本理 工大學

2007

藝 術碩士(香港 藝術學 院合辦

香 港教育學院幼 稚園教 師證書

2005

Acknowledgements Associate Professor Terry Batt Associate Professor Kevin White Dr Ho Siu Kee Fran van Riemsdyk Dr Wilma Tabacco Stella Tang Ying Chi Pamela Ellen Kember

澳 洲皇家 墨爾本 理工大 學文學

2001

士(藝術 )( 香港藝 術學院 合辦） 部 份展覽 2007

Flash 12

2006

Artiststudio， 香港 Almostl8 香港藝 術中心

2002

- 白管子

學士學 位課程畢業展

香 港藝術 中心包 氏晝廊

Exhibitions

2007

Flash 12 Artiststudio, Hong Kong

2001

Creative Showcase 香港藝 術中心 香港藝 術學院

2006

Almostl8, White Tube, Hong Kong Arts Centre

1994

/

2002

BA Graduation Show, Pao5s Gallery, Hong Kong Arts Centre

1994

2001

Creative Showcase, The Art School, Hong Kong Arts Centre

1995

Canadian Young Artists, City Hall, Edmonton AB, Canada

1994

I Was Caught, Misercordia Hospital, Canada

1994

Edmonton School Board, Canada

加，加 拿大亞 佰達省

Misercordia 醫院

埃德 蒙頓教 育局， 加拿大

獎項 1995

「加 拿大 青年藝 術家」 ，加拿

大 亞佰達 省埃葙 蒙頓市大會堂 1994

「傑 出成 就獎一 藝術」JPHS， 加拿 大亞佰 達省埃 德蒙頓

1992

「藝 術成 就獎」JPHS， 加拿 大亞佰 達省埃 德蒙頓

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Jade Step was put on the balcony and grew as an ordinary plant.

Tabletop Garden In 2006, my main focus wason studying the scholars5 stationery in the Ming Dynasty and their shapes, materials and uses as well.

Having this as a reference, a series of delicate works were created out of contemporary materials with a poem corresponding to each work.

Chinese poems are the very expression of the poets in search of artistic beauty in arts. What the poems express are aspiration, interest and emotions. As simple as such, merely a few words embrace thoughtful meanings and elicit endless imaginings.

The ancient Chinese scholars viewed the cosmos with an exquisite sense of harmony and transformed the visual images into texts and poems. As for now,I converted the texts on the literature back into various objects.

These objects are just as small and delicate as the scholars5 stationery which themselves are the physical representations of the Chinese civilization and the spirit of the Chinese scholars.

In my solo exhibition “Poem. Imagine” in September 2006,1 selected 1 2 beloved Chinese poems as lead-in and reinvented them with contemporary methods which led the audience into a state of ancient Chinese style.

In 2007, not only have I persisted on the series of scholars5 stationery, but also reflected and developed this into the series of work “Tabletop Garden”.

Culture of the Chinese scholars is an important aspect in the civilization of the Ming Dynasty, especially for the objects and stationery of the scholars which are the physical representations of such culture.

Through studying and analyzing these objects, one could understand and reconstruct the very essence of the elegant living style of those scholars in the past. In the Ming Dynasty, these objects and stationery were essential in the light of the commercial market. Under the influence of both the scholars and the merchants, these objects exhibit both cultural and commercial characteristics. They

are sublime, and yet pragmatic. From the way they were placed on the table to how the furniture was put inside a house, and even how the house was constructed and accompanied with a garden, aesthetics was the central core and was utterly assimilated into the daily life.

Through the process of repeated creating and studying stationery indoors and gardens outdoors of a scholar’s room,the two different elements were combined and developed into the series of work “Tabletop Garden”.

Not only is “Tabletop Garden” an art work merely for appreciation, but also it requires a human touch to interact with. It is a part of a person's living memory. Upon the work, marks and clues of a person’s living were left behind and so are the person themselves.

10 potted landscapes were named according to their distinct shapes,namely Autumn Pool, Wind in the Fall,Jade Shield,Jade Step, Another Heaven, Autumn Canoe, Butterfly of Amber, Refreshing Fall, Spring inside a Pot and Wrinkled Cloud.

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Another Heaven

Final form of potted landscape and ready to be adopted. Another Heaven was put beside a goldfish bowl in an office.

案上園 2006 年起， 我集中 研究明 代文人 清玩的

令觀 者能從 作品進 入詩境 ，領略 古人遺

造形 、物料 與賞玩方式， 作為創 作的參

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考 。配 以相應 的詩詞 ，我 以當代 的物料

供到案 頭賞石 、到園 林山石 ，再 到兩 者結合 的盆景 ，最 後發展 成作品 「案上 園」。

再次演 繹古代 文人的 閒情興 ，成 為一系

2007 年 ，不 緊持續 創作文 房系列 ，更

列細緻 精巧的 作品。

再 次審視 ，並 發展成 「案 上園」 作品係

「案 上園」 不僅是 一件可 供欣賞 的藝術

列。

作品 ，更 需要人 去參予 ，作品 的重要

文人 文化的 流行是 明清社 會文化 發展的

在他 們覺得 合適的 地方， 如家中 、辦公

部份是 邀人收 養這些 「案 上園」 ，安放

中國 詩詞是 詩人為 抒寫自 己的個 性觀感 而對詩 歌藝術 美的不 懈追求。詩 所表達 的 是懷抱 、志趣 和情感 ，言 簡意深 、含

重 要特色 ，而物 的賞玩 ，尤 其是 古玩字

室 、露台 、花 園等 ，用自 己的方 式照料

蘊豐盛 ，能引發 聯想。

畫 ，文 房清玩 的鑑賞 ，更 是文人 文化的

小園林 ，與 它相處 、溝通，作品 上留有

重要 體現。 透過古 玩字畫 ，文房 清供的

「生 活過」 的痕跡 、參予 者共存 過的痕

古人以 細?的 觸覺， 觀察世 事萬物 ，把

品賞， 以建構 超?於 俗世的 「雅」 的生

跡 ，令 作品溶 入他們 的生活 ，成 為生活

視覺影 像轉化 成文字 ，化 成詩句 。而當

活意境 ，是 文人文 化的重 要內容 。明代

的一 部份。

世的我 ，再 次進行 轉換， 把紙上 的文字

賞 玩文化 的發展 ，一 直處在 市場化 、商

化 回視覺 影像； 作 品的大 小造形 就如文

業化 力量的 氛圍下 。它是 在文人 與商人

房清玩 ，精 巧玲瓏 ，然而 正是這 些小玩

交雜的 處境中 ，雅 與俗關 係不斷 交纏、

意， 卻又是 一個內 涵豐富 的知識 載體，

互動的 過程， 是超凡 ，也入世。 從案上

根植 于民族 文化中 ，是物 化了的 民族傳

文 具擺件 ，到室 內陳設 傢?，以至建

統， 是文人 精神的 再現。

築， 再到室 外園林 ，無不 展現了 文人對

2006 年 九月的 『詩前 想後』 展覽中 ，我

與要求透 徹地溶 入生活 之中。

「雅」 的追求 ，體 現了把 「美」 的觀點

選取 了鍾愛 的詩詞 十二首 為創作 引子，

用當 代藝術 手法令 詩中意 境再現 當世，

在研 究和創 作的過 程中， 從室內 文房清

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Autumn Pool Autumn Canoe

Wind in the Fall Wind in the Fall Butterfly of Amber Refreshing Fall

Jade Shield

—籬風 倚清秋

玉屏春 雛雲

一籬風 珀蝶香

一 泓秋水

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Wine. Candleandsword Wood, glass bottie, sand paper, glow-in dark varnish 2006 醉裏挑 燈看劍 木、 玻璃瓶 、沙紙 、水松 、夜 光劑

Description: A poet lit up a candle in the night and looked upon his precious sword. 引 用詩詞 一 辛棄疾 破陣子•為 陳同甫 賦壯詞 以寄之 了醉醉 裏挑燈 看劍， 夢回吹 角連營 。八 百里分 麾下炙 ，五 十弦翻 塞外聲 。沙 場秋點

兵。馬 作的盧 飛快， 弓如霹 藤弦驚 。了 卻君王 天下事 ，贏 得生前 身後名 。一可 憐白髮 生！

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I Raining River Wooden chair, glass, round plastic pad, metal, water 2006 野 渡無人 舟自橫

木椅子、玻璃 、圓 形膠墊、金屬 、水

Wei Yingwu

AT CHUZHOU ON THE WESTERN STREAM Like me the gentle grass grows by the stream

Deep in the woods golden orioles sing Eve’s sudden rains force rise in the tide of spring 唐韋 應物滁 州西澗 獨 憐幽草 澗邊生，上有 黃?深 樹鳴。

春 潮帶雨 晚來急，野渡 無人舟 自橫。

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Emerald on Lake Mirror, wood 2006 一青螺

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Reflection of lake echoes with the moon of Autumn Windless pool resembles a mirror of unpolished bronze Viewingjunshan Hill from far away Stands a green conch on a silver plate 唐 劉禹錫 望洞庭 湖 光秋月 兩相和 ，潭面 無風鏡 未磨。 遙 望洞庭 山翠小，白銀 盤裏一 青螺。

So long . Friends 白瓷杯，木，綠 色絨布 ，酒 2006

勸 君更盡 一杯酒

Petuntse cup, wood, greenflannelette, wine

Wang Wei A SONG AT WEICHENG A morning-rain has settled the dust in Weicheng; Wallows are green again in the tavern dooryard....

Wait till we empty one more cup

West of Yang Gate there'll be no old friends. 唐王維 渭城曲 渭城 朝雨浥 輕塵客 舍青青 柳色新 勸君更盡一 杯酒西 出陽關 無故人

Biography LAU Hok Shing, Hanison

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Education

2007

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

School) 2005

BA (Fine Art) Royal Melbourne Institute of Technology(RMIT)University (Co-presented with Hong Kong Art School)

石‘ 2003

Hong Kong Arts Centre, The Art School, Diploma in Fine Arts

2001

Swinburne University of

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Technology (Australia, Melbourne) Graphic Design

O

Individual Exhibitions Order - recordation of personal action by 2006 Hanison Lau White Tube Gallery

2006

Poem. Imagine Too Art Gallery

Selected Group Exhibitions Art container project 2008 West Kowloon Cultural District

2008

Artists in the neighbourhood 4 Launching Exhibition Exhibition Hall Hong Kong City Hall Low Block

2007

The Preview of New West Kowloon Exhibition Venue

C&G Artpartment 2007

Think AJier Ink - A new interpretation of brush and ink by Hong Kong artists Blue Lotus Gallery

2007

In visible White Tube Gallery

2007

Variances in Singular Too Art Gallery

2007

Episode II - Read Diffbance Fotanian

2006

Almost 18 White Tube Gallery

2006

Kadoorie Farm & Botanic Garden Art & Environment Programme 2006

-

2006 2006

2006

Poem. Imagine 2 Para/Site Central in Hanart Paradigm Shift - BA (Fine Art) Graduation Show The Pao Gallery, Hong Kong Arts Centre

個 人簡介 劉學成

2006

澳洲 皇家墨 爾本理 工大學 澳洲 皇家墨 爾本理 工大學 藝術 文學士 （藝術 >(香 港藝術

2005

POKHMORFFROM HKOP Printmaking Exhibition

2002

香港藝術 中心藝 術學院 藝 術文憑

2001

Swinburne University of Technology (澳洲 墨爾本 平 面設計

Habitus 2005

2004

2004

2003

Toyfs Story Art Exhibition Too Art Gallery Bodily Life Art Exhibition White Tube - Art School Gallery Hong Kong Arts Centre

The Art School, Hong Kong Arts Centre Diploma in Fine Arts Graduation Show The Pao Gallery, Hong Kong Arts Centre Residency Project for International Renowned Visual Artists Xu Bing's Artists - in - residency Workshop Exhibition The Pao Gallery, Hong Kong Arts Centre

Selected Awards Finalist in Philippe Charriol 2005 Art Foundation annual Open competition 2004

Finalist in Philippe Charriol Art Foundation annual Open competition

2004

Best artwork Award The Art School Diploma in Fine Arts

個 人展覽

1998

飲食之間

POKHMORFFROM HKOP 版畫 藝術展

Habitus 2005

第 十九屆 夏利豪 基金會 比賽入 選 作品展

2005

童 玩童心 二樓原作

2004

活生生活 香港藝術 學院一 白管子 第十八 屆夏利 豪基金 會比賽 入選 作品展

2004

詩 前想後 -劉學 成個人 作品展 二 樓原作 2003

香港 藝術中 心藝術 學院， 藝 術文憑 畢業展 香港藝術 中心包 氏畫廊 著 名國際 視藝工 作者駐港計劃

一 徐冰工 作坊展

部 份展覽 2008

藝術貨 櫃計劃 西九龍 文化區

2008

藝 遊鄰里 4 揭幕展 香港大會 堂低座 展覽廳

香港藝術 中心包 氏畫廊 獎項 2005

第十 九屆夏 利豪基金會比 賽入選 作品

2004

第十 八屆夏 利豪基金會比賽入選 作品 （裝置 藝術）

of brush and ink by Hong Kong artists

2004

藝 術文憑 畢業展一最佳 作品獎

Blue Lotus Gallery

2003

《攝入 原型》 攝影 比賽一優異獎

2007

看不見 香港藝術 學院一白管子

1998

2007

獨 一有異 二 樓原作

2006

Almost 18

2007

2007

《西九新展場 •預 展》 藝 術展覽 C & G藝 術單位

Think Ajter Ink - A new interpretation

香港藝術 學院一 白管子 2006

Merits Shoot to Origin (al) Photo Competition

嘉道理農 場暨植 物園一環境與 藝術 2006 《是樹不 是樹》 環境 藝 術雕塑裝置展

2006

Episode II - Read Diffbance

Scholarship (Fine Art)St Paul’s Collage

2006

Graduation show

2004

2005

2004 規律 一劉學成個人 行動展 香港 藝術學 院白管 子畫廊

2006

出走

ART Tube@mtr

學院 合辦）

1 a space

In-Between Meals Exhibition ART Tube@mtr

2005

藝 術碩士 （香港 藝術學 院合辦) 2005

典 範轉移 藝術 學士學 位課程 畢業展 香港藝術 中心包 氏畫廊 近代 視藝創 作群展 牛棚 藝術村 la space

教 育背景 2007

(Away” Group Exhibition of HongKong Contemporary VisualArtists

2005

2006

伙炭 詩前想後 2 漢雅軒一寄隅

聖保 羅書院 獎學金（藝術

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Meeting of minds Wood,sandpaper, glow-in dark varnish 2006 靈犀

木、沙紙 、夜 光劑

Li Shang Yin Untitled Poems

無題

李商隱

昨夜 星辰昨 夜風畫 樓西畔桂堂東

Last night's stars, last night's winds, By the West wall of the painted house, East of the hall of cassia.

For bodies no fluttering side by side of splendid phoenix wings, For hearts the one minute thread from root to tip of the magic horn.

At separate tables, played hook-in-the-palm. The wine of spring warmed.

Teamed as rivals, guessed what the cup hid. The candle flame reddened.

Alas,I hear the drum, must go where office summons, Ride my horse to the Orchid Terrace, the wind-uprooted weed my likeness.

身無 彩鳳雙 飛翼心 有靈犀 一點通

隔座 送鉤春 酒暖分曹射覆 蠟燈紅 嗟余 聽鼓應 官去走 馬蘭臺 類轉蓬

Real

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Zhuangzi -Inner chapters 2: On leveling all things1 and dreamed that he turned into a buttci'tly. He One day about sunset, Zhuangzi dozed flapped his wings and sure enough he was a butterfly....'Yhat a joyful feeling as he Muttered about, he completely forgot that lie was Zhuangzi. Soon though, lie realized that that ]5ioud butteiily was really Zhuangzi who dreamed he was a biittciil}ÿor was it a IjuttcrHy w ho dreamed lie was Zhuangzi? Maybe Zhuangzi was the butterfly, and maybe tlic l)iuu'i lly Zhuangzi? This is vvhat is meant by the ''transformation of things/5

Thus a gentleman who can attain tlic Dao shrinks thai which has Ijccn created be\ond objedix t' existence, (instead using his spirit to guide his life force, u andering pleasantly in a broad, quietly empUr place, going along with all the changes in hea\ en and on earth, and being ol substance with the Uni\crse. This pleasure is not the sort an ordinal*% l)umj)kin can know : only men of distinction attain it.

《莊 子》 內篇二•齊 物論 2 昔者莊 周夢為 蝴蝶，栩栩然 蝴蝶也。自喻 適志與 ，不知 周也。 俄然覺 ，則 遽蘧 然周也 。不 知周之 夢為蝴 蝶與？蝴蝶 之夢為 周與？ 周與 蝴蝶， 則必有 分矣。此之謂 物化。 是以達 道之士 ，小造 化於形 骸之外 ，以 神馭氣 ，游燕 於廣漠 之墟， 與天地 俱化 ，與太 虛同體 。斯 樂非 庸夫俗 子之所 能知也 ，達者 得焉。

.VII the images in this booklet arc lixmi

the installation Real... I hi' arcane zone bclwccn ihc lx'aiity and dream ) Horizontal image: 255iL)x357

'•mical image: 22ÿ) L x 1»0 此? f 內的關 像全來 I* ?裝 置作品 真 ...( 入夢出夢間 > ?向?洲 像： 255 ( 長 x 357 ( 闕）雇米 直向_ 像： 2；2:> ( 長 > x ?》(> ( 剛厘米

I 《莊 fÿ ?篇 第二 G 〈押物綸〉，?,if ?：? 柒恩•?雅 2 《莊 子》 內篇 第二? 〈齊 物論〉 ，原 作者 ：莊子（生於 ?元前:收?年至 ?元前 2«(i 年間 >。莊 •适早 期的逍 學大師 ，屯 處戰 W 1!.¥代。《莊 子》 是中 W 首 本以哲 理上? 釋 生命的 ?作。

I /iHianyyi -Inner rliapliTs 2: On U'vÿ'linÿall ihins's. IVanslaUTl l>y Brian Bruya.

2 /liuan.ÿ/i -Inner rluipu-ÿ2: On lf\<-linsall iliinsjs. I'lu- Chinese original work \MOIC l>\ /ImansT/.i. < . li>'> 1$( lilcrally M;ISUT /huan.ir. was an t'ÿul\ Daoisi pliilosophcr. who is supposed to luixt' ii\v(l duriniÿilu- Wanini; SuiU ' l>i'iiiKl. /Iiiiiiiii>yi

Real...

(The arcane zone between the reality and dream) Through the text Zhuangzi -Inner chapters 2: On leveling all things, Zhuangzi ’s metaphorical dream of the butteifly included two essential questions: Who am I and what is truth. Zhuangzi wakes up and faces the paradoxical ontological situation, which is “Transmutation of things”. The text it-self is full of visual elements and controversial issues.

This stimulated me to consider in more depth the hidden meaning of the butterfly dream itself and the philosophy behind it in order to develop a new body of works.

In the history of \Vestern philosophy, Descartes (1596- 1650) explored the issue of self-identification of an epistemic subject by doubling the existence of everything, “I think, therefore I am” ergo sum” .The confirmation of **I existÿestablishes an epistemic subject. Zhuangzi doubts his ability to know himself as an epistemic subject. He tries to solve this suspicion by affirming the distinction between the butterfly and himself.

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Dreams have long been a subject matter, Why do we have dreams? Where do they originate? We still have no certain answer. Yet they are a common experience throughout all mankind, whether we originate from the East or West they are a familiar experience that we all share. Yet they can all be subjected to individual interpretation. Sigmund Freud, s (1856-1939) idea was that our dreams are a

reflection of our deepest desires going back To Freud, no dream was of entertainment value, they all held important meanings. Carl Jung (1875-1961), a student of Freud, disagreed on the theory that erotic content was the basis behind most of our dreams. Jung iDelieved that dreams reminded us of our wishes, which enables us to realize the things we unconsciously yearn for, and helps us to fulfill our own wishes. to our childhood.

In the search for what is truth, different philosophers and psychologists in the East and \\est interpret dreams in different ways. Their concepts and theories can be considered supportive material for tliis project, but in the final analysis whatever we claim to be true is influenced by our individual interpretation and our conceptual schemes.

Through my project I would like to invite the viewers to experience “The arcane zone between the reality and drcam,\ I intend to create a quiet, intimate environment and invite the viewers’ to engage in meaningful conversation and personal reflection in order to advance the creative process of re\iewing our own dreams, and wondering at the meaning within.

AKina Lee May 2008

真… (入夢 出夢間 ) 《莊 子》 內篇 第二章 < 齊物論 > 以莊周 夢 蝶來隱 喻兩個 探究本 質意義 的問題 我 是誰及 甚麼是 真實？ 文中 引述莊 子睡醒 後被自 身是人 是蝶這 「物 本轉

變」 所困惑 ，內裡 充滿著 大量視 覺元素

及具 爭議性 的問題。在西 方哲學 史中，

笛卡爾 1596- 1650) 對事 物的存 在抱著 懷疑 態度， 他以知 性來識 別自我 ，故他

? “Cogito ergo sum”，中譯 「我 思故我 在」。 他認為

r 存在」 是 建基於 知性。

在東方 的莊子 ，他 同樣地 對自身 的存在

气 L.

提出 疑問， 他嘗試 以知性 去區分 他與蝴 蝶來 秉棄猜 疑自我 存在的 想法。 夢被作 為題材 已有相 當時日 。為 何我們 會 作夢？ 夢從 何來？ 我 們仍無 確切答

案 。它是 一種人 類共有 的經驗 ，無 論我 們 來自東 方或西 方都可 分享相 類的夢

境感受 。誠 然各 有闡釋 ，如佛 洛伊德

(1856-1939) 認為夢 能反映 孩提時 代始的 深 層慾望 ，所 有夢境 皆有重 要信息 。可 是 佛洛伊 德的學 生榮格

並

不同 意他那 套夢境 內容皆 存在性 愛情色

的?法 ，榮 格相信 夢境能 反映我 們的祈 盼，它使我 們下意 識地將 渴求之 事於夢

!

內 呈現。

在尋 找何為 真實時，東西 方的哲 學家及 心 理學家 均有不 同?法 。他們 的慨念

與理 論能夠 組成及 豐富此 裝置作 品的內 容，至於人 們採納 那一個 角度去 解?真

貨 ，還是 以我們 各自的 理解及 經驗為 據。 我希望 以裝置 的手法 來給觀 者感受 「入

夢出 夢間」 。透過 營造一 個悄靜 及舒懷 的環 境來引 領觀者 與作品 交流，從而誘 使我 們重新 探討對 夢境的 認知，細味內 裡 含意。

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The venue of Real. .. (The arcane zone between the reality and dream) is a screening room. All cliairs have affixed two 2cm (H) x 8cm (Wÿplastic mirrors, one on the back and the other on the bottom. A series of images will project on the screen and some will hang up on the wall, covered by black gauze, l'he can atmosphere is tranquil and calm, hear diOercMit kinds oi natural sound like water drops and the wind blows sometimes.

The light source is very limited and the main light source comes from the screen which encourages the audience to focus on a gradual change. All images transformed by the overlapped sdf-portraits fade away on the horizontal, through the vertical and horizontal lines fade out ellbct. The fade out speed is difTcrcnt as each image changes and creates a residual image with two diflcrent images ox crlapping at the same time. These residual images also invent the illusion ol a moving image and the reversed images are reflected on the linear mirror surface on the Hoor and ceiling.

真 ...( 入夢出 夢間） 的展示 場地是 一間放 映室 。所有 椅子的 背面及 底座均 貼上了

一塊兩 厘米長 乘八厘 米闊的 膠鏡片。一

連串 的映像 投射在 屏幕上 ，部份 圖像會

掛在 牆身及 被黑紗 蓋著。整個場 地充滿 著舒懷、悄 靜氣氛，隱約 可聽水 滴聲、 風聲 及其他 來自大 自然的 聲音。 放映室 的光 源很少 ，主要 來自放 映中的 屏幕好

讓觀者 注視映 像變化 。所 有由自 拍照交 ?而 成的映 像都是 在屏幕 中以多 條直線 及? 線的漸 變蓋屏 效果相 交出現 。漸變 的速 度會因 應不同 的映像 而有所 不同。

兩個 映像交 ?時會 產生映 像殘留 及移動 效果 。這 些虛假 的移動 映 像均能 被地板 及天花 板上的 條狀鏡 片反映 出來。

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Biography

個 人簡介

Alvina Lee Chui Ping

李翠屏

Education

2007

1999

Master of Fine Art, Royal Melbourne Inslitutc ol' Technolog> (RMIT) University (Co-presented with the Hong Kong Art School, HK.\C) Bachelor of Fine Arts (Hons) in Theatre Technical Arts, Flic Hong Kong Academy for Performing Arts.

Acknowledgements

教 育背景

2007

澳洲 皇家墨 爾本理 工大學 藝 術碩士 （香港 藝術學 院合辨 )

1999

藝 術學士 （榮譽 學位

香港 演藝學 院-科 藝學院 個 人展覽 2008

真 ... 入夢出 夢間） 香港演 藝學院 放映室

Individual Exhibition

2008

Real... (The arcane zone bctwccMi the reality and dream) Screening room, l'he Hong Kong Academy tor Performing Arts, Hong Kong

Seleted Group Exhibitions

2007

Flash 12, Artiststudio, Hong Kong

2006

Almost lfi. White "lube, Hong Kong Arts Centre

Flash 12 Artiststudio，香港

2006

Almost 18 香港藝 術中心

Mr. Kaiy Kwok Ms. Gacbriclla Wilkins For their inspiration and m/)p(>rt

My Family For theirJiill scale siij)j)ÿrt

部 份展覽

2007

Associate Professor Kevin W hite Associate Professor Terry Batt Dr. Ho Siu Kec Dr. Wilma Tobacco Ms. Fran Van Riemsdyk Ms. Pamela Ellen Kember Ms. Fiona Wong Lai Ching For tlieir invaluable guidance and precious advice

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Contingency。 Transmigration Painting and Installation by Carol Lee Mei Kuen

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Contingency

Transmigration

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4tBirth is not a beginning, death is not an end. There is existence without limitation is space; continuity without a starting point is time” An important scripture of Taoism the Chuang Tzu.( (4th century BC),

Human history is formed from a story constituted in three parts, time, space and the human being. Time can be infinitely laid out. Nature may also be compressed at will.

Past, present and future can also be inverted, overlapped to seep through each other in our consciousness.

The universe is limitless but human beings are tiny. A person who exists in the infinite time and space will lose one’s gravity and direction and float towards space. They will enter into an everlasting journey of contingency and

transmigration.

During the course of history, human beings have unceasingly pursued a better life.

Construction, destruction and extermination moves in endless cycles and also reveals the inexhaustible desire of human beings.

Contrasting to the infinity of the universe, fragility and helplessness appear to be a tone

with human nature. Through my art works, which consist of elements of time, space and men, I would like to reflect upon human nature, explore the condition of man in our time, and express the anticipation for a better world.

不確定 。轉移 「出 無本，入無竅

有實而 無乎處

者，宇也；有 長而無 本剽者 ，宙 也。」 一 《莊子 •雜篇 •庚桑楚第二 十三》

人類的 歷史是 由時間 、空 間和人物構成 的故事。時間 的長卷 ，可 以無限 伸展； 大自然 ，可 以隨意 壓縮；過去、 現在、 未 來可以 在意識 中顛倒 、交疊 、相 互滲 透。

宇 宙無限 ，人 卻渺小。人 在無限 的時間 和 空間裏 ，失 去重力 和方向 ，浮 游於空

間中，走進了 不確定 、轉 移再生 的無盡 旅程。

在歷 史的長 河中，人類不 斷追求 更美好 的生活 。建造 、破壞 與毀滅 ，卻 循環不 息 ，顯 露出人 類無窮 無盡的 慾望。

相對於 宇宙的 無窮大 ，人 可能會 顯得渺

小、脆弱 、無助 和無力 ，我 的作 品希望 透過 時間、 空間和 人三者 的關係 ，反思 人 的本質 ，探 討人在 現世代 的狀態 ，同 時表達對世界的 祈盼。

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Previous page

Under-layers, 2007 Monochrome painted or printed with ink on newsprint & wax, over 200 pieces assembled 2350 x 6110mm This page

Intimacy-4 handkerchiefs, 2007 Newsprint under sunlight 4 pieces assembled 940 x 940 mm

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Completely alienation

2007 Monochrome painted & printed with ink on newsprint, under sunlight 470 x 470 mm each

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Previous 4 pages

Everlasting River, 2007 A group exhibition “Till the end of the world”, presented by MIA, la space, 2007 Burnt newsprint, under sunlight and hot glass Dimension variable This page

Along with reason 3, 2007 Monochrome painted and print with ink on newsprint, under sunlight, Wooden frame with clear glass 95 pieces assembled 1880 x 3035mm Opposite page

Along with reason 3 (Detail)

Biography

2008

Carol Lee Mei Kuen Carol Lee Mei Kuen received a Bachelor of Arts (Fine Art) with distinction from RMIT University in 2002 and a Master of Arts (Fine Art) in 2008, she was selected as a member of the Golden Key International Honour Society at RMIT University, and is one of founding member of the MIA (Mere Independent Artist) group. Her work was selected for the Hong Kong Art Biennial Exhibition in 2001, and as 2nd runner up in Phillippe Charriol Art competition.

Her “glass series” was also selected for the Corning Museum of Glass in New York in 2005 and 2006. In 2002, Carol initiated an open house event in artist studios in industrial buildings, and organized a series of talks and forums on this cultural phenomenon. In 2004, she opened ccToo Art”, a_ private gallery to promote art and the culture of collection in Hong Kong. In 2008, she is the vice convener of the Art Container Project. Art works were collected by overseas and local foundations.

Born in Hong Kong 1983-now Chinese painting Education

2007

2002

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

Royal Melbourne Institute of Technology (RMIT) University (Co-presented with Hong Kong Art School)

2008

Beyond ° Luminosity Fotan Studio Loft 2 1

—

2006

2004

Under-Layers presented by Art in Hong Kong Project - Sino Group

To setfire and stir wind presented by 10 Chancery Lane Gallery in Hong Kong

Art Container Departure Exhibition’ in HK West Kowloon Culture District

‘Awakening’ was selected in Philippe Charriol Foundation 17th Art Competition HK

2001

{My Childhood Game - One Two Three5 was selected in 2001 Hong Kong Art Biennial Exhibition

2000

'Black and White5 2nd runner up in painting group of Thillippe Charriol Foundation 15th Art Competition HK5

—

2007

‘Till the end of the world’in la Space Cattle Depot HK

2005

‘Schema: a traveller’s approach painting /knitting5 in la Space Cattle Depot HK

2002

‘RMIT University & Siemens Fine Art Scholarship exhibition’in RMIT Project Space in Melbourne

2002

2002

‘ Chinese Abstract painting competition5 in Macau Art Museum

—

—

sThe Search For A New Media’ was selected in the sculpture with partner-Anthony Lam of Phillippe Charriol Foundation 15th Art

'The Philippe Charriol Foundation 17th Annual Art Competition exhibition’in Macau Museum

Competition-HK 1999

2002

‘Kai Zha’ Open Studio exhibition in Hong Kong Ming Pao Industrial Centre

1997

‘50’Up’ Graduation Show in HK Arts Centre

2001

‘ 2001 HK Art Biennial Exhibition’ 1995 in HK Art Museum

2001

Wo. . .Man5 in Old Ladies House, Macau

2001

‘Studio Regime’ in Kwang Hwa Information & Culture Center in HK

2001

‘Girls’ Thing Female Artists Exhibition’in HK Fringe Club

2000

‘The Philippe Charriol Foundation 15th Art Competition exhibition’ in Hong Kong

4

1994

'Under-layers5 was selected in Macau Art Museum - “ Chinese Abstract painting competitionBeyond the surface”

2006

‘Robot’s headache’ was selected in New York the Corning Museum of Glass review 2006

2005

2002

‘Virtual and reality-flower’ was selected in New York the Corning Museum of Glass review 2005 ‘3D Puzzle一R’ was selected in

was selected in cThe World Chinese Calligraphy and Painting exhibition China5

—

‘Daffodils’ was selected in ‘The 9th Chinese Contemporary Competition of Art ExhibitionChina (Flower Section)5

1st runner up of ‘The National Peaceful Cup Art Competition -China’

Other Art Related Activities:

2008

The vice convener of Art Container Project

2004

Founder and art project coordinator of 'Too Art5 (gallery) in HK Arts Centre

2002

Curated ‘Kai Zha’Studio Open Exhibition in Chai Wan Ind. Centre in HK

Awards

2007

‘Flowers on fire’ was selected ‘The 9th Chinese National Art exhibition China’

--

2002

Solo Exhibitions 2008

RMIT University & Siemens Fine Art scholarship ExhibitionMelbourne

Selected Group Exhibitions

Organized and published the magazine cKai Zha’ Collections Private collection

Philippe Charriol Foundation Search Group

Alexander Tutsek-Stiftung FoundationGermany

個 人簡介 李美娟 於 2002 年以 優異成績畢業 於香港 藝術學 院與 澳洲皇 家墨爾 本理工 大學合 辦的藝

術文學 士學位 (純 藝術) 及 2008 藝術 碩士學 位 ( 純藝術）。 2001 年 獲選為 Golden Key International Honour Society之會員 ，現為

MIA(Mere Independent Artist) 創辨 委員之 一 。她 的繪畫 及裝置作品曾入選香 港藝術 雙年展 及夏利 豪基金藝術比 賽獲獎 ，其玻 璃系列 作品，更連續 兩年入 選美國 紐約康

寧玻璃 美術館 年刊。 2002 年 ，她發 起名為 「開 閘」 的工 作室開 放活動 ，策劃 柴灣工

業區之 藝術家 開放工 作室、並連串 活動及 研 討會。2004 年 ，她在 藝術中 心開辦 「二

樓原作」 畫廊 ，推動 本地藝 術收藏 文化。 2008 年，策劃 及籌組 藝術貨 櫃計劃 ，為計

劃召集 人之一 。作品 為海外 及本地 藝術基 金 及私人 收藏。

生 於香港 開 始從事 中國繪 畫藝術

1983

教 育背景

2007

澳洲 皇家墨 爾本理 工大學 藝 術碩士 （香港 藝術學 院合辦 )

2002

澳洲 皇家墨 爾本理 工大學 文學士 （藝術

香港藝 術學院

合辦) 個人 展覽、 聯展及 藝術獎 項等資 料請參 ?英文 部份。

Future Perfect Ceramics and Video Installation by Jervis Ng

吳麗 容-完 美未來

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Future Perfect

The scientific world today has the power to alter the very fabric of nature, not only by transferring characteristics between plants, but by cross-altering animals, plants and human beings. It is believed that in the long run the crossover DNA-alteration might lead to a vast change in the blue print of nature, affecting all living beings. The process is biologically irreversible. The cloning of animals or human beings with the reproduction of genes from foreign species of animals or plants alike will cause destruction, confusion, mutation and hybridization of genes from generation to generation. It is an affront to the wholeness and integrity of life upon which we base our understanding of nature. The external appearance of living beings may remain the same, whilst the inside may have been altered.

The true identity of each living being seems to be disappearing. However the practice of genetic-engineering for medical purposes and to increase food production is necessary in one way, as it is good for human beings in the sense of prolonging life. There lies a paradox/ contradiction here. Will genetic engineering really make the natural world perfect in the future?

I am interested in the topic of genetic engineering and how it affects the natural environment and human being. I am not a scientist. So far as I know, to alter the structure of DNA is to cut and paste the desired genes, DNA, to the desired place to ensure the desirable quality of genes.

Chromosomes contain the DNA genes which are the very basics of life. I was fascinated by the chromosome images shown under the microscope. Through the microscope, laboratory technicians fashion the desired

genes. Through the microscope, I attempt to take a closer look at the dilemma of genetic engineering and to investigate and make sense of the perplexing issues raised by it in an artistic way through an abstract approach.

Clay is the chosen medium for my work.

Some is made by molding and some by free hand with different elements and texture to indicate the reproduction, destruction, confusion, mutation and hybridization of genes. They are scattered on a microscopelike light platform with double layers of lens to create a chaotic scenario to the viewer.

A video projection on the wall with the chromosome images wandering around in the time tunnel gives a notion of the future. Video is made by zooming in the work from top view and then moving around, sometimes fast and sometimes slow. It is a subjective shot. It is like entering into the future through a time tunnel seeking for something. Inside this virtual space, there are a large number of unknown chromosomes scattered in it. There are good ones, bad ones, hybridized and mutated ones.

In this virtual gene pool, genes seem to be wandering around finding their identities.

The light platform turns on when the viewer walks close to it and it changes the perspective of the light platform. The virtual images echo the chromosome images which are lying on the microscope. It is like inviting the viewer to take a closer look at the issue of genetic engineering and in the meantime to raise my thoughts to viewers of the dilemmas of this situation.

完 美未來

現今 的科學 領域擁 有改變 大自然 結構的

等 狀態； 把 各種狀 態的染 色體散 置在燈

能力 ，不 僅可轉 移植物 的特性 ，還能

箱上 ，仿如 顯微鏡 的雙層 鏡片下 ，給觀

交叉 改變動 、植物 和人類 的基因 。交叉

者營 造一片混沌的 感觀。

的基 因改造，一般 地相信 於長遠 而言可 能引 發大自 然藍圖 的重大 改變， 影響一

投射 在牆上 的視像 效果， 那染色 體的影

切 生物；這 生態的 程序改 變是不 可逆轉

像 正浮遊 於時光 隧道中 ，走訪 時空未

的 。一 代復一 代的透 過取自 跨越動 、植

來 。這 錄像是 運用主 觀鏡頭 的手法 ，拉

物的基 因再造 ，進 行動 物或人 類的複

近拉遠 ，時 快時慢 ，拍攝 散置在 燈箱上

製， 將會引 發基因 的破壞 、混亂 、變質

染色 體而成 ，這種 拍攝手 法的效 果像穿

和雜種 的產生 ，對 我們所 理解的 大自然

梭時光 隧道， 進入未 來找尋 。在 這虛擬

之整 體和完 整性是 一種公 然冒犯 。雖然

的空間 ，散 置?很 多不知 名的染 色體，

生物的 外貌看 似一樣 ，但 是其本 質或許

好的、壞的 、異種 的和變 異的。 在這虛

已被 改變，生物的 真實身 份似乎 正逐漸

擬的 基因庫 裏面， 染色體 如在疑 惑地浮

消失。然而，基因 改造工 程對於 人類壽

遊 ，尋找 它們的 身份。

命的 延長， 在醫療 和糧食 增殖方 面卻帶 來益處 。矛 盾也存 在於此：基因 改造工 程真 的可為 未來自 然世界 帶來完 美嗎？

燈箱 的透視 度亦? 之改變 ，虛擬 的影像

我喜 好基因 改造工 程這題 材以及 其如何

與燈箱 上的染 色體互 相呼應 ，似 在引領 觀者走 近一點 ，去 關注因 基因改 造工程

當觀 者走近 燈箱時 ，燈會 被感應 點?，

影響自 然環境 和人類。我 不是科 學家， 而產生 的問題 ，與 此同時 ，向觀 者提出

但據我 理解， 進行基 因結構 的改變 ，就 是去 剪裁理 想的或 合意的 DNA 基因 ，黏

貼在 理想的 位置， 以確保 所需的 基因質

量

°

染色體 包含? DNA 基因， 那是生 命的最

基本 根源。 我被顯 微鏡下 的染色 體圖像 吸 引?；透過 顯微鏡，科 研人員 剪裁他

們 的理想 基因；透過 顯微鏡 ，我 嘗試採 用藝 術的抽 象手法 ，於近 距離去 探視基

因改 造工程 所產生 的矛盾 ，並去 理解當

中錯綜 複雜的問題。 這作 品的主 題染色 體採用 的主要 物料是 陶泥， 其部分 運用模 子塑造 ，或 以手捏 而成 ，採用 不同的 元素和 肌理去 表現基

因的 被複製 、破壞 、混亂 、突變 和異種

我對 基因改 造工程所引發 的矛盾 看法。

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Video is made by zooming in the work from top view and then moving around sometimes fast and sometimes slow. It is a subjective shot. It is like entering into future through a time tunnel, seeking for something. Inside this virtual space, there are a large number of unknown chromosomes scattered in it. There are good ones, bad ones, hybridized and mutated ones. In this virtual gene pool, genes are wandering around.

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Title: Year : Media :

Future Perfect 2008

Clay, Video, Light, Light box (stainless steel + Acrylic board)

Dimension: Total area : 400 x 400cm Light box : (Height x Diameter) : 20 x 1 20cm Clay objects : various sizes ranging from 1 to 1 1cm

二孓

標 題：完 美未來 創 作年份：2008 媒介：陶泥、錄像 、光、燈箱 (不銹鋼 + 壓克力 膠板） 體積： 總體積 400 x 400公分 燈箱 ： 高 x 直徑 ：20 x 120公分 陶泥件：( 個別體 積長度 ： 由 1 至 1 1 公分

Biography

個 人簡介

Acknowledgements

Jervis Ng

吳麗容

I would like to take this opportunity to express my gratitude to my two supervisors, Assoc.

Education 2007 Master of Fine Art, Royal Melbourne Institute of Technology University, Australia Bachelor of Arts (Fine Art), 2002 Royal Melbourne Institute of Technology University, Australia 1989 Higher Certificate in Studio Ceramics,

1985

1983

Hong Kong Polytechnic Higher Certificate in 3-Dimensional Design Hong Kong Polytechnic Lower Certificate in Foundation Design Hong Kong Polytechnic

Exhibition 2007 First Guangdong Contemporary Ceramics Art Exhibition University City Art Museum of Guangzhou Academy of Fine Arts, Guangzhou, China

2005 2004

教 育背景

藝 術碩士（香港 藝術學 院合辦 )

2002

1989

1985

1983

部 份展覽

2007

Out Of Hong Kong Arts Centre, Hong Kong

1996

Leÿs

大學城 美術館 2005

1994

Out Of Fire, Hong Kong Arts Centre, Hong Kong

1990

Deep In Clay, Hong Kong Arts Centre, Hong Kong

1989

MW2F Ceramics Exhibition, Hong Kong Arts Centre, Hong Kong

香 港製造 香港 視覺藝 術中心

二合一 （陶 泥展） 大一 藝術設 計學院 展覽廳 三 三不盡 香港藝 術中心

1999

樂陶陶 99

香港?覺藝 術中心 1997

燒窯遊-II 香港藝 術中心

Fire - II,

Clay, Hong Kong Visual Arts Centre, Hong Kong

首屆 廣東當 代陶藝 大展， 中國 廣州美 術學院

2003

1997

基礎 設計初 級證書

香港理 工學院

2 In 1 (ceramics exhibition), First Institute of Art & Design Gallery,

Clay In Clay }99, Hong Kong Visual Art Centre, Hong Kong

立體 設計高 級證書

香港理 工學院

2004

1999

陶藝高 級證書

香港理 工學院

Visual Arts Centre, Hong Kong

Hong Kong

澳洲 皇家墨爾本理 工大學 藝術 文學士 （藝術 香 港藝術

學院 合辦）

Made in Hong Kong, Hong Kong

Infinite 3, Hong Kong Arts Centre,

澳洲 皇家墨 爾本理 工大學

2007

Hong Kong.

2003

Prof. Kevin White and Dr. Ho Siu Kee for

1996

—齊泥

香港 視覺藝 術中心 1994

燒窯遊 香港藝 術中心

1990

泥 觸深陷

香港藝 術中心 1989

金 木水火陶泥展

香港藝 術中心

their guidance throughout the MFA program.

I would also like to thank my friends for their help and encouragement.

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時間

Time

My initial investigation focused on the exploration of different processes, materials and concepts which could be used to discuss a personal experience of time. These included painting, mixed media works, and experimentation with a wide angled lensed camera. The photographic work became the dominant medium and this was used for the subsequent works. I photographed the sky during particular times of the day that were significant to me and I used these to create paintings and mixed media works. I chose the time to photograph the sky according to personal events that occurred during the day however the results were too random to develop and I needed a personal experience which was repeated over a period of time in order to investigate this project in a more systematic manner.

I have had a chronic medical condition for the past 20 years and I decided to use the regular trips to the hospital as the starting point for the next stage of my investigation. To me, time has an infinite quality that suggests no end. This quality relates to an incurable rheumatic disease I inherited from my family, which brings me constant pain each day. As an old Chinese saying goes, desperate people look up to the sky and wait for their fate to come. After twenty years of being an out patient, I have developed this habit.

The passage of time and how it is actually felt is sometimes subjective. Time can be felt as expanded and prolonged when one feels down. But when one feels happy, time might be experienced as if it has been compressed and shortened. This mutable quality of time became apparent to me on my trips to the hospital. Each time I visit the hospital I walk

through a tunnel (underpass). There is a small round hole on the concrete ceiling of the tunnel that brings only natural light from above. The railings around the hole have created a geometrically interestingjupiterlike shadow that is cast on the ground of the tunnel. This shadow becomes the only light in the tunnel and its movement along this dark tunnel changes slowly as time passes in a day. The passing of time as reflected by the position of the shadow is small and subtle, yet minute by minute the shifting of the position of the shadow reveals the actual movement of the sun in the dark universe. This is an interesting correlation to time and space reflected in this dark tunnel. In order to show these small shifts in the shadow’s position it is necessary to present the images in a sequence.

On first viewing it often appears that the image is repeated as the movement is so slight.

It requires time to locate these shifts in the sequence. By encouraging the viewer to slow down their own time in order to find change in the sequence I am allowing the viewer to relate to my own experience of time as it relates to my illness.

透過 這系列 的作品 ，我嘗 試討論 關於個 人對 時間的 經驗。試驗了 不同的 拍攝方 式 ，每隔 一分鐘 ，或一小 時拍攝 一張相

片，測試 時間的 伸縮性 ，展 示不 同的感 覺

照片裏的是 一條通 往醫院 的隧道 ，對普 通人 來?，是很短 的路程 ，但對 一個患

者如我來? ，可 以是很 漫長。

陽光 通過隧 道上方 的鐵框 進入， 影子留 在地上 ，隨 ?位置 和形狀 的變動 ，時間 一點 一滴的 流逝。 十多年 來重複 往返這

隧道， 內裏的 光和影 ，當 中的細 微的變 化 ，彷彿 對我有 ?特別 的意義 ，重 新思 考時間 的流逝 、生 命的 流逝。 偶然 抬頭， 隧道的 鐵框外 ，天空 十分廣 闊，陽 光如常 照射? ，可 能一切 的變化

，只 是一個 循環。

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Biography NgPoKi Education Master of Fine Art 2007

Royal Melbourne Institute of Technology (RMIT) University (Co-presented udth Hong Kong Art School) 2005

2005

Professional Certificate of Counseling Hong Kong Institute of Education

Postgraduate Diploma of Education, Open University of

Hong Kong 1999

伍寶琪 教 育背景 2007

Selected Group Exhibition 2007 Flash 12

Artiststudio, Hong Kong Almost 18

White Tube

Hong Kong Arts Centre Others 2006 “Teaching Assistantship” 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 )

2005

專業輔 導證書，香港教 育學院

2005

專業教育文憑，香港公 開大學

1999

香港中 文大學 文學士 (藝術

部 份展覽 2007

Flash 12 > Artiststudio

2006

Almost 18 _ 香港藝 術中心 白管子

Bachelor of Arts (Hons.), Fine Art The Chinese University of Hong

Kong

2006

個 人簡介

5

其它 2006

香港藝 術學院 -助教

孫穎兒 -

w.e with, enfold

Like the transparent size sticker on brand new clothing, the white adhesive in the performance (video)‘enfold’ and‘with’ of the installation w.e. 5 flows on the interpersonal physical contact — this flow archives the 4

moment, the environment or the people.

The physical contact is tangible but how about the intangible instinctual interaction?

In interpersonal relationships, what tetragonal relationships such as‘contact’ÿ‘apart’ÿ ‘physical’ and‘psychological’ are happening between them?

V.e* is a play garden - a journey for exploring the relationships between physical contact, the psychological response, and proximity of

interpersonal relationships. l hc play garden exposed two contrasting moments of interaction. The spectator, as a

voyager, may pry into the captured‘moment of contact’ through difTerent means and perspectives, or even be led to the realm of their own‘contacts’ and‘touches’ outside this

space.

與 •抱

如黏於 新衣服 上的透 明尺碼 貼紙， 《觸》 裏的 〈抱〉 和 〈與〉 當中 的白色 漿糊流 動於人 與人的 接觸上 ，把 當刻、 環境和 / 或人物的 微塵和 「證 據」 黏?， 凝住。

這 些是實 體的。

那非 實體而 本能的 交流又怎樣? 「接 觸」 、「分 散」、 「身體 上」、 「心 理上」 在人與 人之間 發生? 什麼樣

的四角 關係？ 《觸》，是一個遊 樂園- 一個讓 遊人探

索身 體接觸 、心理 反應、 遠近和 人與人 之 聯系的 旅程。

它公 開了兩 段相對 的交流 ，觀者 可以遊

人的身 份在這 凝住的 「接觸 瞬間」 選擇 不同 的方式 及角度 去窺探 其中， 甚或遊

樂園 外他們 自己的 「觸」 和 「動」 。

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Biography

個 人簡介

Winnie Suen

孫穎兒

Winnie Suen was born in Hong Kong. She continued her matriculation and graduated from her bachelor studies in Interior Architecture in Sydney in 200 1 . Extending her passion and interests in art and design, she worked as an interior designer in interior, architectural and branding companies after graduation. She has also taken part in solo and selected exhibitions as well as theatre performance in 2007 and 2008.

Education 2007 Master of Fine Art

Royal Melbourne Institute of Technology (RMIT) University (Co-presented with Hong Kong Art School) 2001

孫 穎兒生 於香港，中 學畢業後遠赴 澳洲繼 續 升學， 2001 年於悉 尼新南威爾斯 大學取

得室內 建築學 士學位 。憑她 對藝術 和設計 的熱誠 及興趣 ，畢業後她任 職於不同的室 內設計，建築 和品牌 形像公 司當室 內設計 師。在 2007 和 2008年 亦分別 參於了 個人及 數個 聯合藝 術展和 作劇場 演出。 教 育背景 2007

澳洲 皇家墨 爾本理 工大學

2001

澳洲 悉尼新 南威爾 斯大學 室內建

藝 術碩士 （香港 藝術學 院合辦

築 系學士 （榮譽 1998

澳洲 悉尼新 南威爾斯大學 大學先

修課程 （商業

Bachelor of Interior

個 人展覽

Architecture(Hons), University of

2008

觸，Trinity Space ， 香港

New South Wales, Australia 1998

Foundation Studies(Commerce), University of New South Wales, Australia

部 份展覽

2007 2007 2006

Solo Exhibition 2008 w.e, Trinity Space, Hong Kong

_/¥ ，Artiststudio ， 香港

，Artiststudio，香港 Almost 18 香港藝 術中心

-

白管子

Seleted Group Exhibitions

2007

Flash 14, Artiststudio, Hong Kong

2007

Flash 12, Artiststudio, Hong Kong

2006

Almost 18, White Tube Gallery, Hong Kong Arts Centre

Acknowledgements Dr. Ho Siu Kee Associate Professor Kevin White Lukas Tam Wai Ping

Fran van Riemsdyk

Associate Professor Terry Batt Dr Wilma Tabacco

Anyone who participated or gave a hand in this project.

My parents and anyone who have created and experienced valuable moments with me together.

City Around Us Painting and installation by Wong Pun Kin (Ah Shui)

黃本健 （阿水

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City around us Hong Kong is one of the highest population densit\ cities in the world. Most people who li\c in the city are alw ays busy with work and have little time to relax and to life. As a result il' this many people in Hong Kong experience a sense of alienalion.

My aim is to create a major prajcct based on my experience of the immediate worid around me as a Hong Kong artist and the impact this dynamic city lias on itÿ

inhabitants. I believe that our xÿlue systems and Iwhavior emanate from the care and the nurturing of our parents, relatives, 1'riends and even from neighbors and strangers.

Moreover, I will attempt to define the

implications that the intensity and hustle and l)ustlt* of a busy cit\ has on the people li\ing within and the resulting sense alienation that many people often experience.

In duÿY(ÿaiÿ 1 exhibition, t'mitlccl “Work In Progress" I showed tw o of my works. The first was the one* point perspecti\-c Xatlian Road painting and the other was the Liin Kwai Fong relief painting with a number of mo\ing figures in front of it. This exhibition, aHordcd me the opportunity to further experiment with a number of diilercnt combinations the cityscape motif and the figurative motif:

My intention was to create a scrit's of artworks that were accessil)lc to the \ie\ver by

way of ihcir tangiljle physicalitv.

Alter thr War 1 t'\hil)ition. I chose lo ust*

painting and drawing as the main medium for tliese experiments. I painted and drew a number of the cityscape views oi' Hong Kong vvilhout the presence of the human figure. I also developed some of these citN scapes as reliel' paintings.

The expcrimcnlation also imolvcd cross rel'erencing and combining a range t)f materials together including ihe kinciit machines and the flat images. Actually tlir flat images stuck onto the kinelic macliincs and the collage images panoramic si/t- composed in the computcT were comerted into a major painting.

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環繞?我們 的城市 香港是 一個人 口密集 的大都 會城市 ，住

在課程 中段舉 行名為 「進 行中」 的展覽

在這 個城市 裹每個 人彷彿 每天都 是生活 在忙碌 的工作 生活中 ，他 們每每 總是為

的一 點透視 塑膠彩 油畫， 另一件 是一組

了工 作而忘 郤了抽 空一些 時間來 感受生

裝置 混合媒 體作品 。在那 次展覽 中給與

活，對?生 活帶來 的壓迫 和追趕 ?急速 的生 活節奏 ，人與 人之間 的關係 逐漸疏

的 城市」 的 作品。

離。

在製 作過程 當中， 我通過 自身體 驗到環

繞?周 邊的城 市環境 ，而 這些感 受反照 出對作 者所帶 來的感 觀衝擊 。作 者相信 個人 價正正 被所有 圍繞? 自身的 人與事 所連繫 。與 此同時 ，我透 過作品 反映了 繁榮 熱鬧的 都市中 人與人 之間的 疏離中

的一種 對比。

裏 ，我展 出了兩 件作品 ，一 件是 彌敦道

了作者 一種靈 感發展 成後期 「環 繞我們

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I decided to make a big light box as my final work. The light box contains a long realistic panoramic painting which continually moves from left to right. There will be no human figures integrated within the cityscape.

However the figurative element is integrated as ‘cartoon like” figures in front of the painting..

The painting describes for the viewer in considerable detail the depiction of the entire environment of the street. As a reflection upon the way that people living in the city tend to repeat the same set of tasks and schedules on a daily basis I decided that the painting should continually move from left to right.

-個大 型燈箱 ，就是 「環 繞?我 們的城 市」 作品中 的主要 外框，在燈箱 內放置 了一 幅長寬 的塑膠 彩油畫 ，這幅 油畫布

將會 由左到 右持續 不斷地 移同， 而且在 畫布 前放置 了數十 個卡通 化的的 人形公

仔不 停地搖晃?。

在 作品中 ，油畫 描繪了 繁榮街 道的一 面，而人物 公仔則 反映都 市人每 天重複 地過 ?循環 的刻版 生活。

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Biography

個 人簡介

Wong Pui Kin (Ah Shui)

黃本健 （阿水 )

Education

教 育背景

2007

Master of Fine Art, Royal Melbourne Inslitulc of Technology (RMIT) University (C.o-presented with the Hong Kong Art School, HKiVCi

2004

Advanced Diploma in Theatre Technical Arts HKAPA

2002

Diploma in Tlicatrc Technical Arts HKAPA

Acknowledgements Associate Professor Terry Balt

2007

澳洲 皇家墨 爾本理 工大學 藝 術碩士 (香港 藝術學 院合辦 )

2004

舞 台應用 美術深 造文憑

2002

香港 演藝學 院-科 藝學院 舞台 應用美 術文憑 香港 演藝學 院-科 藝學院

Associate Professor Kevin White

Dr Ho Siu Kcc Fran van Ricmsdyk Dr. Wilma Tabacco

Franc is Yu

Special Thanks to Brian Miu„ Hero Li, Lai Ka Yau, Karc'n Pow, Keith Wu, Suki Liim, , TwinstMi Ho, Wong Kai On,Wong Wing Po,

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Lines and Directions Installation by YIU Wai Lee, Winnie

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Lines and Directions “The glass of fashion and the mould form, the observ’d of all observers” Act 3 Scene 1 Hamlet, Shakespeare.

Body Shapes, especially women’s have been at the forefront of human attractiveness throughout history. Push up breast, tiny waist, and shape bump are always the main focus of the female body. From 14th Century onwards, women tried to use corset and crinoline to build a different silhouette.

People enjoy looking at the corseted body shape and are amazed how beautiful they are. Do the viewers think of, or even notice the work of the artificial under-garments? How do these "foundation" garments affect the wearers mentally and physically. Do the wearers want to please the viewers or themselves? Who is in control? Nowadays, the corset did not so much disappear as become internalized through diet, exercise, and plastic surgery.

Installation of bodies like 'hanging around in the area5, using the original lines of the bodies to create more lines and bodies by lighting reflection. I would like to invite the viewers to use their own bodies as part of the installation. All these bodies suggest to the individual viewer to think or create their own ‘standard of beauty’. These standards may be influenced by their own different culture and background. The appearance of lines suggests the complicated background, story and relationship between the bodies.

線 •方向 「風 流時尚身段 的鏡子 ，文雅 的典範 ，舉世 矚目的 中心」

哈姆雷 特一莎 士比亞 •第 三幕 •第 一埸

女 性的身 段外觀 ，經 常是歷 史和潮 流的熱門話題 。豐滿 的上圍 ，小 蠻腰和 圓潤的

臀部更常是 女性身 體的焦 點所在 。自十 四世紀 以來， 女性便 以束衣 和底裙 架創造

出不同 的形態 身段。 人們欣 賞和讚 嘆這些 人工束成的形 態身段，但對 「她」 的 內裏底 蘊有否留意？ 這 些束衣 和裙架怎樣在 精神上 和肉體 上影響 ?穿? 「她」 的人 。究竟 是想取?別人 還 是取? 自己？ 誰是 主宰？ 時 至今日 ，雖 然束衣 並沒有 以前的 影響力 ，但 形態身

段的 精神仍 然存在 ，並 以節食 、運動、修身 、整 形等 取代。

把這 些身體 「懸 浮在 空間」 ，並 以作品 的身體 線條； 以燈光 效果創 造出更 多的線 條。 看官置 身其中 ，亦 以他們 的身體 成為這 裝置的 一部份 。我希 望透過 這些身 體 ，令 看官想 想各自 「美 的標 準」；這些 標準會 受到他 的文化 、背 景影響 。而

在這裝 置中出 現交錯 的線條 ，亦 代表這些身體 的個別 的背景 故事和 他們相 互的關 係。

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Ready to Wear, 2007, Fabric,

paper , wood and metal 35W x 25D x 85H (cm), a series of 4 pieces. 成衣， 2007， 布 ，紙，

木 ，金屬 •一 系列四 件作品

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Biography Winnie, YIU Wai Lee Winnie is a graduate of the first year of The Hong Kong Academy for Performing Arts (School of Technical Arts), majoring in Costume Technology. She was awarded the

Academy Scholarship for overseas professional training in a number of famous leading theatre companies; including Royal Opera House London, National Theatre London, Royal Shakespeare Company London, New York City Ballet, Chautauqua Institution New York and Inoue Ballet Company Tokyo Japan.

Winnie has concentrated on costume coordination, production and construction;

for more than four hundred productions including film, drama, opera and dance.

She is now teaching for the Theatre Design Department, The Hong Kong Academy for Performing Arts in costume related subject, Costume Coordination & Construction Techniques, Millinery & Hair Styling and Fabric Dyeing and Printing.

Education 2007

2000 1988

Master of Fine Arts, Royal Melbourne Institute of Technology (RMIT) University (Co-presented with Hong Kong Arts School, Bachelor of General Studies Hong Kong Open University

Diploma in Performing Arts (With Distinction) Major in Costume Technology, Technical Arts, Hong Kong Academy for Performing Arts

Individual Exhibition

2008

lines and Directions, The Hong Kong Academy for Performing Arts

Selected Group Exhibitions

2007

Flash 12 Artiststudio, Hong Kong

2006

Almost 18, White Tube Gallery, Hong Kong Arts Centre

個 人簡介

Acknowledgements

姚蔚莉

Royal Melbourne Institute of Technology (RMIT) University and Hong Kong Art

香港演 藝學院 科藝學 院首屆 畢業生 ，主 修 舞台服 裝藝術 。在 學期間 ，曾 獲學院 獎學金 赴笈英 國進修 ，並 曾於多 個著名 海外 藝術團 體受訓 ，包括 ：英國 皇家歌

劇團 、英國 皇家芭 蕾舞團 、英國 皇家莎 士比 亞劇團 、紐約 城市芭 蕾舞團 、紐約

School Associate Professor Terence Douglas Batt Associate Professor Kevin Leslie White DrHoSiuKee Ms. Anna FrancoiseVan Rimsdyk Dr. Wilma Tabacco

Jayne Dyer Fiona Wong Lai Ching Chautauqua 藝 術學院 、日 本井上 芭蕾舞 Pamela Kember 團等。 for their academic advice and inspiration 多年 來從事 舞台服 裝統籌 和製作 ，曾參

與各種 不同類 型的表 演製作 ，例如 ： 電影 、戲劇 、歌劇 、舞 蹈等 ，數 目超過 四百 多齣。

The Hong Kong Academy for Performing

Arts

John A. Williams Frank Yeung

現任 教於香 港演藝 學院科 藝學院 設計系

for their support and approve to use the Academy space andfacUities

服裝藝 術專業 ，教 授舞台 服裝統籌和製

作、 帽飾髮 飾造型 、布料 印染技 巧等。 教 育背景 2007

澳洲 皇家墨 爾本理 工大學 藝 術碩士 （香港 藝術學 院合辦 )

2000 1988

香港公 開大學 通識教 育學士 香 港演藝 學院科 藝學院

Low Shee Hoe Tse Nam Nam for their genius lighting direction

設 計系演 藝文憑 ，主修

John Philip

服 裝藝術 （優異

Jimmy Keung Billy Chu Paul Chan Wong Wing Po Chan Kin Tak Cat Wong So Lai Lai for their assistance in preparation and set up

個 人展覽

2008

Psyche Chui Michael Betts for their inspiration and support

線 •方向 ，香 港演 藝學院

部 份展覽 2007

Flash 12 Artiststudio , 香港

2006

Almost 18 香港藝 術中心

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白管子

Keith Hawley Leung Hon Sing for their professional photography

Special thanks to Leung Hon Sing

for his generousfinancial sponsor and professional advise

Selected Work from Lines and Directionsÿ a series of 9 pieces 作品選 自<線 •方向 >一 系列九 件作品 「我 是完美 的」， 2007 Metal, 33W x 25D x 80H cm

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長頸，2008 Metal, 30W x 23D x 50H cm

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/ 裙一， 2008 Metal, 40W x 25D x 100H cm

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?公 子哥兒, 2008 Metal, 30W x 23D x 50H cm

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「我 是完美 的」， 2007 Metal, 33W x 25D x 80H cm

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Drm / 裙一，2008 Metal, 40W x 25D x 100H cm

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裙二，2008 Metal, 80W x 45D x 75H cm

懷孕 , 2008 Metal, 42W x 30D x 78H cm)

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