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RMIT University Master of Fine Art Graduate Exhibition Hong Kong 2015 澳 洲 皇 家 墨 爾 本 理 工 大 學 藝 術 碩 士 畢 業 展 2015
12 - 20/09/2015
Pao Galleries, 4-5/F, Hong Kong Arts Centre 香港藝術中心四至五樓 包氏畫廊
Co-presented by 合辦機構 : RMIT University and Hong Kong Art School
C o n t e n t s 目 錄
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Acknowledgements
8
Foreword
前言
12
Introduction
簡介
14
Bess Ho Yuk Ming
20
Donna Tam
譚倩婷
26
Katie Ho
何穎琦
32
Kay Mei Ling Beadman
38
Michael Betts
44
Nelson Szeto 司徒勁鋒
51
Contact Details
52
Sponsors
贊助
鳴謝
何玉明
聯絡資訊
Acknowledgements 鳴 謝
An exhibition like this is never solely the work of the artists involved; a network of support and assistance is required to bring it to fruition. We would like to thank RMIT University and Hong Kong Art School for guiding us through the Master of Fine Art programme and the Hong Kong Arts Centre for making the venue available. We are indebted to Rhett D’Costa, Academic Advisor for the MFA Hong Kong programme, RMIT University, for his professional excellence, personal kindness and for curating the exhibition. In Hong Kong, Kiki Lau and Kay Wong’s tireless work behind the scenes at Hong Kong Art School ensured that everything ran like clockwork. In Melbourne, we are grateful to Professor Julian Goddard, Head of School, School of Art, RMIT University, for his support of the MFA programme delivered in Hong Kong. We would especially like to thank our sponsors for the generosity which made this exhibition and the accompanying catalogue possible: Lan Kwai Fong Group (major sponsor), Green Production (Overseas) Group (printing), Antalis (Hong Kong) Limited (paper), Green Mobility Innovations Limited (financial sponsorship), Hong Kong Arts Administrators Association (HKAAA) (supporting organisation), Blesscuit Bakery (catering) and SUPER BOCK Brandwerk Ltd HK (beverages). Finally, last but never least, thanks to our families, friends and classmates whose support throughout the journey was invaluable.
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F o r e w o r d 前 言
The six artists graduating from the Master of Fine Art (MFA) programme of RMIT University, Michael
showing in this exhibition can be assured that their education has given them the capabilities to
Betts, Bess Ho Yuk Ming, Donna Tam, Katie Ho, Kay Mei Ling Beadman and Nelson Szeto are
take advantage of the opportunities that await them. As well, the MFA programme equips
moving into an art world characterised by diversity and pluralism. In 2015 almost anything goes as
graduates with advanced conceptual and technical skills that will underpin their practices for many
subject matter for art, as it reaches into all aspects of contemporary life. From medicine to environ-
years to come and as such the programme sets them up for successful careers which we will be
mentalism, law to geography, consumerism to aesthetics and so on – art now has a role to play in
keen to follow and support.
the articulation of all domains of active living. This diversity of interest for art and artists underlines its relevance in contemporary culture, as art is now an active part in the fabric of everyday experi-
I would like to congratulate not only the six graduating artists but also the staff at HKAS and RMIT
ence for millions of people across the globe. What we might call the socialisation of art since the
University who have supervised, advised, nurtured and supported the graduates throughout their
1970s has also seen the growth of a burgeoning art industry characterised by art fairs, interna-
programme. That the Art School at RMIT University enjoys a position as one of the top 20 art
tional biennales, huge government investment in art and of course the rise of private art galleries
schools in the world is due to the diligence and commitment of its staff in making sure students
to the status of multinational businesses.
have the best possible experience while studying their programmes and that those students are well equipped with what is necessary for success.
Over the past fifty years, art has moved from a fringe interest limited to a small (and possibly elite) group of enthusiasts to a common experience for an ever growing audience and, for those that can
I wish the six graduates all the best for their careers with confidence that they are art-world-ready
afford it, a class of investment asset which seems to continually rise in value. Given this environ-
and I look forward to their successes and contribution to international art over the coming
ment, the future for this year’s six graduating artists looks exceptionally bright as they now have
decades.
the potential to connect with a massive audience and the strong possibility of being able to make a good livelihood from their practices. Professor Julian Goddard Today it is the role of an art school and a programme such as the MFA at RMIT University to ensure
Head of School
an alignment of graduates with the potential that awaits them as practitioners. The six graduates
School of Art RMIT University
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六位澳洲皇家墨爾本理工大學藝術碩士畢業生 — Michael Betts、何玉明、譚倩婷、何穎琦、Kay Mei Ling Beadman、司徒勁鋒 — 將邁向多樣性和多元論的藝術世界。2015年，幾乎所有關於藝術的主題 ，都涉及當代生活：從醫學、生態論、地理法則、消費論以至美學，藝術都擔綱積極的表述角色。多 元化的關心議題強調了藝術和藝術家與當代文化的關聯性，因為藝術早已跟世界脈搏聯繫在一起，自 1970年代起，隨著藝術博覽會、國際雙年展的湧現及政府增加投放資源政策，藝術開始迅速發展，趨 向社會化。 在過去的五十年間，藝術從少數愛好者的非主流嗜好，擴充至大眾的普遍經驗，藝術投資更令藝術不 斷升值。在此等情況下，這六位畢業生將與大量藝術觀眾層接軌，有機會因而賺取可觀收入，前途一 片光明。 今天，藝術課程如澳洲皇家墨爾本理工大學藝術碩士課程的一個重要使命，是確保畢業生具備習藝者 的潛質。六位畢業生在畢業展的表現，證明他們已具備一定實力。再者，課程教授進階的藝術概念和 技巧，以鞏固藝術基礎，支持他們建立成功的藝術事業。 在此，我恭賀六位畢業的藝術家之餘，亦感激香港藝術學院及澳洲皇家墨爾本理工大學教職員對學生 的悉心指導、建議、培育與支持，他們的勤奮與投入，令學生擁有最佳的學習經驗以裝備自己，亦令 香港藝術學院與澳洲皇家墨爾本理工大學合辦的藝術碩士學位課程，位居於全球藝術學院課程頭20位。 衷心祝願六位畢業生前程美好，我深信他們已為擠身藝術世界作好準備，期待他們於未來數十年間， 在國際藝術壇中創出佳績。
Professor Julian Goddard Head of School School of Art RMIT University
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Introduction 簡 介
This Time showcases the work of six graduates of the RMIT Master of Fine Art programme in Hong
《此刻》展現了香港藝術學院與澳洲皇家墨爾本理工大學合辦之藝術學碩士學位課程的六位畢業生作
Kong. The individual concerns are wide ranging: the physical landscape; the interior landscape of
品，我們所關注的涵蓋面甚廣：自然風景、腦內風光、時間流逝、身分象徵、光度影響、冥想定向。
the mind; the passing of time; embodied identity; the effects of luminosity; transcendent medita-
作品包括畫作、繪圖、印刷、錄像、燈箱及裝置。
tional practices. Likewise the artworks range from painting, drawing and print, to video, lightboxes and installation.
截然不同的藝術作品，卻共同經歷了探索和進化的旅程。課程讓他們確認和嚴厲審視生活與藝術取向 ，令生活、研究、藝術美妙地交織在一起。
What connects these disparate art practices is the shared journey of exploration and development. The MFA programme enabled each graduate to identify and rigorously examine something that
無論關注點是甚麼，作品皆源自個人的深刻體會。縱然以個人為出發點，作品邀請觀者走進世界，彼
really mattered in their lives and art practices. Along the way, life, research and art making
此牽繫，共同感受人文的質感。
intertwined in unexpectedly wonderful ways. Whatever the interest, the artworks have grown out of deeply personal lived experiences. However,
Kay Mei Ling Beadman、何穎琦
while the starting points may all be idiosyncratically personal, they invite participation from the viewer through a shared belief in the human quality of making connections to both the world we live in and to each other.
Kay Mei Ling Beadman and Katie Ho
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B
e
s
s
H
O
Y u k M i n g 何
玉
明
Bess Ho is concerned with site practice. In this
Her project started objectively as an attempt to
case the site refers to Hong Kong Quarry Bay
capture in written and visual accounts,
Park, a place she visits daily in the early morn-
conscious and direct observations of what she
ing. Practice is a series of artworks executed at
saw. Over time the project developed into a
the site in a progressive manner through the
more personal, experiential journey, which
development of both concepts and art making
took into account her growing awareness of
skills.
phenomenology, perception, and the psychological. The daily routine of spending time
Through written and drawn annotations from
noticing and recording in situ became central
the daily site visits, a body of artwork devel-
to the artwork. The outcomes are a series of
oped which engaged with both conscious
photographic and written journals, a series of
external observations of the environment as
large-scale watercolours and works on paper,
well as subconscious and introspective experi-
including both drawing and printmaking
ences.
techniques.
何玉明關注場域特定藝術的實踐，這次她將藝
域觀察的所得所想記錄下來。
術場域設為鰂魚涌公園 — 一個她每天早上涉足 的地方。《Practice》展現了這次場域特定藝術
她的作品以客觀、直接的觀察作為切入點，繼
的概念發展和技巧演練進程。
而深化為個人經驗，從現象學、感知、心理學
Park Scape - shadow cast on the pasture of the soccer field, November 2013 waterless lithography, reverse print, mixed media on Somerset 300 gsm paper, 25 x 38 cm
Park Scape - roar of vehicles lingering with the clouds, November 2013 waterless lithography, reverse print, mixed media on Somerset 300 gsm paper, 25 x 38 cm
方向洞察分析。她以日常的記錄和觀察作為重
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她的作品從外在有意識的觀察開展，漸化成潛
心，創作出一系列的筆錄及攝影日誌，大型水
意識的經驗與反思，以文字和繪畫將每天在場
彩畫、繪圖及版畫作品。
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Park Scape - Soccer Field, March - May 2014 watercolour on Somerset 300 gsm paper, 76 x 228 cm (24 joiners)
Page from Daily Journal Entry Above: Thick clouds hang, people exercise on the pasture, 21 November 2013 watercolour on Somerset 300 gsm paper, 25 x 28 cm Centre: Phenomenal photography taken during the period of painting. Below: Annotation
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Park Scape - Soccer Field, April 2014 lithograph, serigraph and chin collé on Fabriano 290 gsm paper, 100 x 266 cm (24 joiners)
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Park Scape - Straight Path, July 2014 joined digital photographs Park Scape - Straight Path, March 2014, colour markers on watercolour paper combined with analytical diagrams, 9 x 81 cm (27 joiners)
Park Scape - Straight Path, July 2014 lithograph, chin collé and acrylic paint on Fabriano 290 gsm paper, 100 x 266 cm (24 joiners) Park Scape - Straight Path, March 2014 watercolour on Somerset 300 gsm paper, combined with analytical diagram, 76 x 228 cm (24 joiners) 18
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D
o
n
n
a
T
A
M
譚
倩
婷
Donna Tam investigates issues relating to
are the architecture of domestic windows,
luminosity in the context of colour in
which simultaneously reveal and conceal
abstract/monochromatic painting and photo-
interior activities, and the proliferation of neon
graphic lightboxes. She examines how colour,
signs, which cast glowing auras across the
particularly neon and high key colour, can
urban landscape of Hong Kong.
optically affect space both within and around the picture frame. These optical shifts have the
The artworks attempt to create an atmosphere
potential to subjectively create a sense of
of contemplation and solitude; an atmosphere
transcendence and mystery for the viewer.
which encourages quietness, as well as mystery and longing, which seems paradoxical to the
Tam’s ideas and motifs are initially sourced
busy, crowdedness of actually living in a
from nocturnal observations of urban spaces in
densely populated space like Hong Kong.
Hong Kong. The two aspects she focuses on
譚倩婷探索顏色和光線的關係，利用抽象／單
的玻璃幕牆建築，以及不斷激增、構成香港都
色繪畫和攝影用燈箱，探索顏色 — 尤其是霓虹
市繁華景觀的璀璨霓虹。
和高光調顏色 — 怎樣影響空間的視覺觀感。這 種影響有機會令觀者產生視覺轉移，營造出一
作品透過建構一個神秘和寂靜的空間，令人陷
種神秘和超越異常的主觀感。
入沉思與孤寂的氛圍之中，跟熙來攘往、人煙 稠密的香港製造出強烈對比。
Behind the Glamour 1-7, 2014 acrylic on canvas, 30 x 30 cm
她的創作意念和動機源自對香港夜都市的觀察 。觀察對象有兩大範疇：展現和隱藏室內活動
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Home, 2014 photographic print in light box, 60 x 60 cm
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The Untouchable Glow 1-4 (installation view), 2014 mixed media
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Embraced Glow 1, 2014 photographic light box, 23 x 23 cm
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Embraced Glow 3, 2014 photographic light box, 23 x 23 cm
Embraced Glow 4, 2014 photographic light box, 23 x 23 cm
Embraced Glow 6, 2014 photographic light box, 23 x 23 cm
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K
a
t
i
H 何
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e O
穎
琦
Katie Ho examines the subjective world inside
All the artworks narrate different fragments of
her skull. She believes that imagination is to be
stories. Although each can be seen as individu-
found between that subjective world and
ally complete, when assembled together they
observations of the real. The diversity of her
construct a more complex, multifaceted narra-
images includes representations of feelings
tive and experience for both the artist and the
and forms she sees and experiences through
viewer. They allow the viewer to make their
the daily routines of travel, work, walking,
own connections across the images and to
observations, home and leisure. No matter
take an idiosyncratic view of the subjective
how big or small the incessant parade of ideas,
world within Ho’s head; a view of narrated
she transforms them into artworks, including
stories which are imaginative, humorous and
drawings, paintings, sculptures and anima-
most importantly, compassionate and deeply
tions.
human.
何穎琦藉著創作審視她頭顱內的主觀世界。她
作品在敍述故事的不同片段，這些作品乍看是
相信想像力存在於真實觀察與主觀構想之間，
獨立完整的個體，湊合在一起時卻可串連成複
將日常遊歷、工作、蹓躂、觀察、待在家中和
雜、多元的經歷。觀者可以將不同作品自我串
休憩時的所見所聞，與大大小小、持續不斷的
連，拼湊出獨特觀點去闡釋她的世界 — 一個充
游思化成塗鴉、繪畫、雕塑和動畫。
滿想像、幽默感、熱忱和人性的空間。
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Mr. Bear Walk, 2015 looped HD video 00:37 Mr. Bear, 2013 plastic sculpture, 5 x 6 x 15 cm Previous page: Skull Room, 2015 installation, dimensions variable
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Mr. Bear’s Room, 2015 installation, plastic sculpture, wood box, table lamp, dimensions variable
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I am not there #07, 2014 giclée print on watercolour paper, 42 x 30 cm
Left Above and Centre: Man and Fish, 2014, gouache on watercolour paper, 14 x 14 cm each Left Below: Purple Party Boy, 2014, Chinese watercolour on rice paper, 33 x 33 cm Right Above: Worm, 2014, ink and photograph on watercolour paper, 14 x 14 cm each Right Below: Family Portrait 1, 2015, acrylic on canvas, 120 x 120 cm 30
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K a y M e i L i n g B E A D M A N
What if you look to the dominant historical and
duality in a mixed race narrative, with specific
cultural narratives that surround you and don’t
reference to her own Chinese and English
see yourself reflected there? How do you
heritage.
navigate through the space between the culture that surrounds you and your self-
She uses family history, memories, cross-
identity? Is there room between the two to
cultural motifs and the agency of the body
express the complications of individuality that
intertwined with the recorded historical past
doesn’t align with dominant assertions of
and present to construct representations of
national identity?
identity. She is particularly interested in how the body can be a repository of meaning, an
Kay Mei Ling Beadman’s art practice explores
embodied identity forever in the present,
culture and identity through an examination of
remembering and continually in the process of
lived experience and ideas of representation. It
being formed and re-formed, an instrument
attempts to create an affirmative space in
that writes its own personal narrative.
which to engage with the complexity of
當你觀照身處環境的歷史文化，卻反照不到自
與英國的混血兒身分，闡述雙重種族的複雜性。
己的影子，你將如何自處？如何從周遭的文化 氛圍中，尋找自己的身分？如何在民族身分迥
她以家族歷史、記憶、跨文化主題和身體，去
異的環境下，表現個人身分的複雜性？
記錄過去的歷史，從以建構現在的身分。她利
Class 11: Any other, unclassified, exotic, e.g. Lone Star, 2014 acrylic on canvas, 91.5 x 122 cm
用自己的身體 — 一個永恆的身分載體 — 進行回 Kay Mei Ling Beadman的作品透過真實經驗和
憶、建立和重組，寫下對自己的敍述。
概念展現，探討文化和身分的問題。她以中國
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Endless singularity, 2015 installation, felt, dimentsions variable Amplifying garments, 2014 C-type prints, each 35 x 35 cm
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Installation view of Mantle, 2014 video, 05:10
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Through, 2015 installation, looped video 02:44, looped muslin screen, acrylic rods, monofilament, projector, projector housing, dimensions variable
A short story about gardening and time travel, 2015 installation, framed 18th C botanical print, armchair, headphones, mp3 player, audio 08:51, dimensions variable
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M B
i
c E
h T
a
e T
l S
En plein air, is a French term which literally
front of you. It is honest and direct, divorced of
translates as in the open air. Its particular and
style and preconception. It not only relies on
notable reference is to the act of painting
the ability to see accurately, but to holistically
outdoors. For Michael Betts, it is to paint as if
and experientially encapsulate the atmosphere
you have never done it before; to feel the
of the landscape. Specifically for Betts, that
vitality of the moment and experience in both
landscape is the island of Lantau in Hong
the act of painting and the extremities of the
Kong.
environment and to record a motif which is in
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法語中「En plein air」意即「在戶外」，尤常用
是一場坦率、直接、將風格與偏見撇除的過程
於「在戶外作畫」。對Michael
Betts而言，在
，除了要準確觀察，更要將對風景的體驗完整
戶外作畫是一個充滿生命力的經歷時刻，能將
地包含在畫內。大嶼山就是這次作品所記下的
眼前環境的中心思想推至極致，以畫記下，
一片風景。
Documentation of plein air painting on Lantau Island, January 2014
Black Kite Screeching, January 2014 mixed media on 330gsm paper, 37 x 55 cm
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Detail of No More Water, Time To Go, April 2014 mixed media on raw linen, 83 x 109 cm
Documentation of plein air painting at Chi Ma Wan peninsula, April 2014
No More Water, Time To Go, April 2014 mixed media on raw linen, 83 x 109 cm
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Clear Skies On Ferry Out To Mui Wo, July 2014 acrylic paint and medium on brown flax, 145 x 165 cm
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Closer To Home, July 2014 acrylic paint and medium on brown flax, 145 x 165 cm
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N
e
S
Z
司
l
s E
徒
o T
勁
n O 鋒
In Buddhist philosophy, Ayatana, the mind is
Nelson Szeto draws on ideas relating to
included as a ‘sense organ’ in addition to the
Ayatana in his fine art practice. His installation
traditional five - sight, hearing, taste, smell and
artwork uses video projections and sound-
touch. This addition to the commonly acknow
scapes to create an enveloping space that
ledged senses arises from the psychological
reflects this Buddhist psychological orientation
orientation involved in Buddhist thought and
in the context of meditation and states of
practice.
transcendence.
在佛學思想中，「處」是五個感官基礎 — 視覺
司徒勁鋒將「處」的意念化成藝術作品。他以
、聽覺、味覺、嗅覺和觸覺 — 以外的感官媒介
錄像投影和聲音裝置，營造出反映佛家心理定
，是從佛家思想衍生的心理定向。
向的環境，作為冥想和入處的空間。
Still from Hexamandala (red), 2015 four channel video installation, HD video, 14:30, hanging screens, mirrored platform, dimensions variable
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Still from Hexamandala (white), 2015 four channel video installation, HD video, 14:30, hanging screens, mirrored platform, dimensions variable
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Still from Hexamandala (black), 2015 four channel video installation, HD video, 14:30, hanging screens, mirrored platform, dimensions variable
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Still from Running Water (v2), 2015 installation, HD video 07:00, hanging screen, guqin table and chair Left page: Still from Hexamandala (kaleidoscope), 2015 four channel video installation, HD video 14:30, hanging screens, mirrored platform, dimensions variable 48
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C o n t a c t D e t a i l s 聯
絡
資
訊
Bess Ho Yuk Ming
何玉明
dehouseofart@gmail.com dehouseofart.blog.com everydaysitepractice.wordpress.com
Donna Tam
譚倩婷
donnatam98@gmail.com donna-tam.com Facebook page: Donna Art Space
Katie Ho
何穎琦
ho.w.kay@gmail.com katie-ho.com
Kay Mei Ling Beadman kaybeadman@gmail.com kaybeadman.com
Michael Betts michaelinhongkong@gmail.com
Nelson Szeto 司徒勁鋒 szetonelson@gmail.com
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Printing sponsor:
S p o n s o r s 贊 助
Major sponsor:
Paper sponsor:
Catering sponsors:
Financial sponsor:
Supporting Organization:
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Co-presented by 合辦機構 :