Umarell 遊園終日 - Bachelor of Arts (Fine Art) Graduate Exhibition 2023 藝術文學士畢業展 2023

This exhibition is a graduation show for Bachelor of Arts (Fine Art) 2023 copresented by Hong Kong Art School and RMIT University. Titled “ 遊園終日 Umarell”, the exhibition sets the scene for the artists’ reflection on the objectivity of seeing and art making. The Italian slang “umarell” refers to retirees who spend days watching construction works, offering unwanted advice to the workers. Words do not impede changes to their community, but they persist in expressing themselves with great gusto. On the other hand, the Chinese title “ 遊園終日” traces back to the ancient literati who roamed around gardens, drinking, mingling, writing poems, expressing their sentiment and ambition despite being overlooked by majority. The context of the English and Chinese titles appears unrelated, but they synchronise and reflect similar situations of the keen observers, and how they respond to changes with genuineness and optimism. In art practice, the act of observing different facets of the social environment activates the collision of transformational ideas. Wandering and seeing engender contemplation and lead to meaningful art pursuits.

This exhibition unveils a collection of works from our thirty-one graduates, debuting after three years of art exploration. Through diverse mediums including painting, ceramics, sculpture, photography, installation and performance art, our graduates present their unique perspectives of seeing and different ways of art making.

Reflecting upon our journey of learning, we are grateful for the support and mentorship from our lecturers, and appreciate their precious knowledge and experience they shared with us. We cherish the genuine sharing and discussion among our peers, the rapport we built and our companionship in the last three years. We wish that our aspirations lead us to fruitful journeys, where we meet again.

Thank you for visiting our graduate exhibition. Be immersed in our explorative works and discover our creative ways of seeing and art making.

Graduate Exhibition Committee 2023

是次展覽為香港藝術學院與澳洲皇家墨爾本理工大學合辦的2023年度藝術 文學士畢業展。本屆以「遊園終日 Umarell」為題，喻藝術創作中的客身與觀看。

「Umarell」一詞來自意大利俚語，形容熱衷於站在路旁觀看工程，不時指手劃腳 的退休人士。社區的變遷並不在乎隻言片語，卻無減暢所欲言的樂趣。古來 文人相約遊園，把酒言歡、吟詩作對，是為雅集。「遊園終日」由此引伸，描述 終日無事，流連於園林中的遊人，縱人微言輕，仍盼藉創作抒發滿腔抱負。

中英標題看似不相關，其實敘述了熱心旁觀者的相似處境，寄語面對世態的 幻變無常，仍當懷著赤子之心，未懼徒勞。

今年，我們共有三十一位畢業生參與展出，向大眾呈獻在學三年的探索 成果。各人分別憑藉繪畫、陶瓷、雕塑、攝影、裝置及行為藝術等媒介，呈現 他們獨特的觀點視角和不同的創作方式。

隨著展覽開幕，我們這群初出茅廬的藝術學生 即 將各奔前程。藉此機會， 我們僅此向各科系講師們致意。感謝各位講師將知識與技藝傾囊相授，以 自身經驗啟發我們；同樣彌足珍貴的，是同學們至誠的分享及討論。三年間的 成長，有賴彼此砥礪同行。來日方長，願大家能跟隨志向，路途上見。

最後，希望我們的藝術探索能啟發前來參觀的各位，創造出不一樣的觀看 角度和感受。

2023年度畢業展學生籌委會

Forewords 前言

Professor Kit Wise

Dr. Drew Pettifer

Mr. Louis Yu

Ms. Jaffa Lam

Ms. Rachel Cheung

Ceramics 陶瓷

Ho Ka Kei, Hannah

Kwok Ting Nui, Coey

Lai Ka Man, Kit

Lau Jin Ki

Ng Yuen Ying, Yuen

Yim Suet Wing, Michelle

Chan Sui Na, Sheila

Chen Jing Xuan, Olivia

Cheung Yuen Ching, Annabel

BH

Lee Ying Ho, Harris

Ng Toi Yee, Doris

Shin Ka Meng, Kelly

Tang Charles

Wong Hoi Ching, Hebe

Wong Waverly, Wave

Wong Yin Ying, Toby

Wong Yue Chiu, Horace

Wu Lok Wang, Marco

Yau Kit Chi, Juliana

Yip Chun Sang, Sami

Yu Wun Man, Sally

Yung Chung Kong, Sam

陳穗娜

陳靜萱

張涴晴

李英濠

吳玳誼

施嘉茗

鄧煒昌

黃凱晴

王嘉穎

黃燕瑩

黃宇超

胡洛泓

邱潔芝

葉鎮生

余瑗文

翁松江

Cheung Ying May, Maria

Sze Ching Nga, Sonia

Tsang Tsz Hin, Harry

Sculpture 雕塑

Chan Tse Yin, Krizia

Lai Mui Kit, Kitkit

Li Yee Nok, Coco

So Yuk Cheung, SO

Wong Sze Chung Christy

Forewords

The Landscape of Art

I am delighted to contribute to Umarell, the 2023 Graduate Exhibition. Through this theme, the graduating artists ‘reflect on the objectivity of seeing art and art making, offering a glimpse into the creative exploration of an everchanging landscape.’ A landscape that these new practitioners not just enter, but will shape through their many contributions and future careers.

This is not only a much-deserved celebration of that entry: it also marks a step-change in the status of the students who are graduating. The Bachelor of Arts (Fine Art) program, offered by Hong Kong Art School of the Hong Kong Art Centre in partnership with RMIT University is internationally recognised as a gateway into practice, as well as higher levels of study: a badge of honour. Completion represents the emergence of defined artistic identities, formed through rigorous critique, sophisticated innovation and an immersion in creativity. This has been achieved through dedication and hard work: by themselves, by their lecturers and the many support staff across both institutions. My sincere thanks and congratulations to them all.

Art education has been offered at RMIT since its foundation in 1887, with Photography amongst the oldest continuously offered such programs in the world. A separate school was founded in 1917 (the second following the Trades School in 1890). Today it is ranked first in Australia and 19th in the world for Art (QS World University Rankings by Subject 2023). Founded on a deep commitment to praxis, alternative ways of knowing and the critical role of art in global society, the school aspires to build on this history to achieve real and lasting impact.

Creative practitioners have always looked outwards but today they are increasingly mobile, crossing traditional delineations to engage not just with diverse media and methodologies, but ever more disparate disciplinary fields of practice and influence. Indeed, it celebrates these fault lines. The global pandemic was a further disruptor that generated unprecedented innovation in creative fields, out of necessity. This in turn catalysed a re-evaluation of the assumed outcomes and methodologies of creative education and research; foregrounding skills such as collaboration, communication, empathy and ethics. So-called ‘soft skills’ that, in conjunction with innovation and imagination, now appear more important than ever.

Professor Kit Wise

Dean, School of Art RMIT University

The value of creative practice has also emerged from the pandemic in a ‘new’ light. Rather than prioritising economic drivers as the primary rationale for creative, the inherent social value of culture, care and community is perhaps now better understood. We find renewed purpose and potential in the ‘public labour’ creative practice has always performed.

These new graduates emerge into a landscape of art expanded as never before: where art works across media, cultures, industries and economies, often simultaneously. As Jeremy Deller comments “I don’t make things, I make things happen.” This widening horizon of practice is matched by an increasing emphasis on collaboration between the artist and those who engage with art: embedding practice in society. The challenge ahead for these graduates, then, is not just how to engage, but what to do with that engagement: how to collaboratively re-think the world through art. This, too, is no small undertaking; as Hannah Arendt said: “There are no dangerous thoughts; thinking itself is dangerous.” Here we find perhaps the most important work of the artist: negotiating risk to think anew.

Whether they continue to explore their chosen field as contemporary artists, or, the wider frames of society that are similarly calling for creativity and innovation, their ability to re-imagine has the potential to change the world. As esteemed alumni of RMIT University and Hong Kong Art School, we wish them every success. Congratulations and good wishes exploring the landscape ahead.

藝術景貌

很高興為2023年度藝術文學士畢業展撰寫序言。本屆的展覽標題「遊園終日 Umarell 」喻意畢業生縱使面對幻變無常的景貌，在探索藝術創作中仍需保持客 觀。我們的新力軍即將踏上藝術征途，期望他們透過未來職業和貢獻來創造一番 稱心的景貌。

畢業展不僅是一個慶祝儀式，同時也標誌著學員畢業後的角色轉變。香港 藝術學院與澳洲皇家墨爾本理工大學合作開辦的藝術文學士課程被國際公認為 藝術教育的搖籃，帶領學員進入實踐和更高學術層面的通道：是一個榮譽的象徵。

修畢課程的畢業生代表其藝術家的身份被確立，並接受過嚴格評審和精密的創意 思維訓練。他們的成功除了學員自身的努力、亦有賴兩所學院的講師悉心教導和 教職員工的協助。我在此衷心感謝他們和再次祝賀所有畢業生。

成立於1887年，澳洲皇家墨爾本理工大學一直開辦藝術教育，其中攝影課程 是全球學府持續提供此類教育的最歷悠久課程之一。1917年成立了一所獨立的 藝術學院（繼1890年貿易學校之後的第二所學院）。目前，澳洲皇家墨爾本理工 大學的藝術學系在澳洲排名第一，全球排名第十九（2023年度 QS 世界大學學科 排名）。本學院的教育宗旨注重實踐體驗、鼓勵逆向思維與及肩負藝術在全球社 會中的關鍵角色，立志在歷史基礎上展現真正而持久的影響力。

從事創意行業者一向放眼世界，他們變得更靈活、也打破傳統界限，不單止 探索各種媒介和方法，同時在不同領域尋求多元實踐及影響。雖然全球疫情造成 衝擊，卻為創意領域帶來前所未有的革新。這樣反而促使對創意教育和研究固有 的假設結果和方法重新評估；與及彰顯相關技巧例如協作、溝通、同理心和道德 等。這些「軟技巧」對於創造力和想像力尤其重要。

疫情也讓創意實踐的價值出現了「新」的角度。文化、關懷和社區的固有社會 價值，也許比經濟驅動力作為創意因素更為優先。我們在創意實踐一直發揮的 「公共勞動」中找到了新的目的和潛力。

澳洲皇家墨爾本理工大學

藝術學院院長

我們的畢業生進入了前所未有及不斷擴展的藝術景貌：藝術作品跨越媒體、 文化、行業和經濟。正如 Jeremy Deller 所說：「我不是製造事情，我是令事情 發生。」這種不斷擴大的實踐視野與強調藝術家和從業員之間的合作，以公共 關係將實踐融入社會。因此，這些畢業生面臨的挑戰不僅是如何參與，而是如何 運用這種參與：如何通過藝術共同重新思考世界。這並不是一件小事，正如 Hannah Arendt 所說：「想法並不危險；危險的是思考。」在這裡，我們或許可以 找到藝術家最重要的作品：以平衡風險的角度重新思考。

不管他們是以當代藝術家的身份繼續探索，還是以創造力和創新思維在更廣 泛的社會框架中選擇自身的領域，他們重新想像的能力都有潛力改變世界。作為 澳洲皇家墨爾本理工大學和香港藝術學院的校友，祝願他們砥礪前行，並開創屬 於自己的一片天。

Observations

The artworks in the 2023 BAFA graduate exhibition, Umarell, capture the incredible challenges of the past few years and reflect the upheaval and change that have come from living through a global pandemic. These astonishing emerging artists have, through their work, succinctly encapsulated the zeitgeist of our times. We are privileged to have the opportunity to encounter their creative works and experience them through the immersive and poetic exchange that only happens when we are face-to-face with works of art.

The title of the exhibition, “Umarell”, is an Italian word from the region of Bologna that literally translates to “little man”. In Italy it has been adopted as a lighthearted term to refer to men, usually of retirement age, who spend their time watching construction sites. It conjures images of hunched men attentively strolling the perimeter of construction sites with their hands behind their backs, peering through fences to glimpse buildings that are in the process of becoming. It is a fitting metaphor for this year’s graduates of the BAFA program. They have spent the past two to three years thinking through, reflecting on, and making art; thoughtfully peering in at creative practice with their hands figuratively behind their back. During this period, processes of observation have only been further heightened by the prevailing need for social distancing that accompanied much of the pandemic through which they have studied.

RMIT staff had the pleasure to work face-to-face with students in this graduating cohort during the first semester of their Year One classes before COVID travel restrictions prevented us from visiting in person. Technology allowed us to maintain personal relationships between teachers and students during the delivery of the remainder of the BAFA program. Viewing their work up close online, RMIT staff have also experienced the world like umarells, gazing into screens to experience intriguing artworks half a world away. We feel a connection to these students and their work, having witnessed the development of their projects and their practices with technology keeping us closer together.

Nevertheless, it is an honour to once again be able to experience the work of these graduating students in person. While it has been immensely enjoyable to see recent graduate exhibitions in 2021 and 2022 well-documented through three-dimensional digital programs like MatterPort, the privilege of physically encountering these artworks adds another layer to the experience.

Dr. Drew Pettifer

Program Lead, Bachelor of Arts (Fine Art)

Hong Kong School of Art, RMIT University

These students have devised new ways of working with and thinking about art. The limitations that have been placed on them during their studies, while not without their challenges, have seen them flourish as they have imagined original artworks and different sites for exchange. They have demonstrated just how quickly they have learned skills of adaptation and their work cleverly reflects modern concerns. There is a degree of independence, thoughtfulness, and innovation that comes through in these works that evidences the conditions within which they have been formed.

These graduating students exit the program with specialist skills in painting, ceramics, photography, and sculpture. Each student is now an emerging expert in one of these fields. This program, however, is uniquely designed to also teach students to work in ways that are interdisciplinary and dynamic. They employ their specialisation to create work that is rigorous and technically skilful without being limited by their medium. They are contemporary artists expertly moving across media and moving between themes.

These skills are not limited to art practice either. Graduates of the BAFA program learn to think creatively and independently. They are provided the tools to apply what they’ve learned to other fields and other aspects of their lives. The staff at RMIT University and Hong Kong Art School give them the guidance and nurturing they need to be able to find success after graduating. They are provided the tools to find the answers themselves, rather than being directly given the answers. This empowering approach has seen our graduates achieve incredible success after completing their studies.

This exhibition reveals only the tip of the iceberg of the hard work that has gone into the many years of study and devoted work for each of these graduates. There are many artworks, tests, and experiments that have not made it into the graduate exhibition that have laid the groundwork for the resolved artworks we see before us. There is also the invisible support of family, friends, peers, and teaching staff that has helped each student work through their creative process. We are all the product of the experiences we have had in our lives. The experiences that these students have enjoyed in the BAFA program have contributed to their understanding of creative practice and the world we occupy. We look forward to seeing them take these experiences and the skills they have learned into their lives beyond the BAFA program.

觀看與洞察

2023年度藝術文學士畢業展 「遊園終日 Umarell」

的展出作品捕捉了過去幾年 的巨大挑戰，反映了生活在全球大流行病中我們經歷的動盪和變革。這些令人驚 喜的新晉藝術家通過他們的作品，簡潔地表述了我們這個時代的思潮。我們很榮 幸有機會遇見他們的藝術作品，唯有直接觀賞實體作品，我們才能沉浸在作品的 氛圍當中，透過詩意的交流體驗它們。

展覽標題「 Umarell 」 是來自意大利博洛尼亞地區的一個詞語，字面意思是 「小男人」。在意大利，這個詞被用作一個輕鬆的俚語，通常指已達退休年齡， 經常花時間觀察建築工地的男人。這俚語喚起了一個形象：弓著背，手放在背後 的男人在工地圍柵外漫步，透過籬笆窺視正在建構中的建築物。這是應屆藝術文 學士畢業生的一個貼切的隱喻。他們過去兩至三年都在探究、反思和創作藝術作 品；手比喻性地放在背後，專注地窺探創意實踐。在學習期間，由於大流行病普 遍需要的社交距離要求，進一步加強了觀察的過程。

澳洲皇家墨爾本理工大學的教職員工在這屆畢業生課程第一年第一學期中， 有幸能夠與學生見面授課，然而在2019冠狀病毒病旅行限制生效之後，我們雖然 無法親自探訪，科技仍然讓我們能夠在餘下的課程中保持教師和學生之間的個人 關係。通過網上近距離觀看他們的作品，澳洲皇家墨爾本理工大學的教職員工也 像umarells一樣凝視著屏幕，從半個地球之遙體驗迷人的藝術品。我們感覺與這 些學生和他們的作品有了一種聯繫，因為我們目睹了他們的藝術項目和創作過 程，而科技讓我們彼此更加接近。

儘管如此，能夠再次親自體驗這些畢業生的作品仍然是我們的榮幸。縱使我 們在2021和2022年期間通過立體數字程式如 MatterPort 等方式看到近年的畢業 展已經非常有趣，但現在能夠親身體驗這些藝術品還是為我們的體驗增加了另一 層次。

Drew Pettifer 博士

澳洲皇家墨爾本理工大學

香港藝術學院藝術文學士課程主管

這些畢業生已經開創了新的藝術工作方式和思考方式。儘管他們在學習過程 中遇到了限制和挑戰，但他們通過想像原創作品和不同的交流場景而茁壯 成長。他們展現了迅速學習適應的能力，而他們的作品巧妙地反映了現代社會 的關注點。這些作品回應了形成作品的各種環境條件，並體現了一定程度的獨立 性、慎密的思維和創新。

在完成課程後，這些畢業生掌握了繪畫、陶瓷、攝影和雕塑等專業技能， 每位學生現在都是這些領域中初露頭角的專家。然而，這個課程的獨特設計也 讓學生以跨學科和動態的方式創作。他們運用專業知識創作出嚴謹和技術圓熟 的作品，卻不被媒介所限制。他們是能夠在不同媒介和主題之間靈活運轉的當代 藝術家。

這些技能不僅局限於藝術實踐。藝術文學士課程的畢業生學會了創意和獨立 思考，並獲得了將所學應用到其他領域和生活的工具。澳洲皇家墨爾本理工大學 和香港藝術學院的教職員工為他們提供指導和培育，讓他們能夠在畢業後找到 成功的道路。他們得到了尋找答案的工具，而不是直接得到答案。這種賦權的 教學方法讓我們的畢業生在完成學業後達至令人驚艷的成就。

是次展覽只揭露了這些畢業生在多年努力學習和專注創作中所投入心血的 冰山一角。還有許多作品、測試和實驗沒有在畢業展覽中展出，但它們都為現在 呈現在我們眼前的成品打下了基礎。此外，家人、朋友、同儕和教職員工的無形 支持也幫助每位學生度過了他們的創作過程。我們都是由生活中的經歷塑造 的。這些學生在藝術文學士課程中享受的經歷有助於他們對創意實踐和我們所處 的世界的理解。我們期待著看到他們將這些經驗和所學應用到藝術文學士課程 以外的生活中。

Drew Pettifer

Mr. Louis Yu Director Hong Kong Art School

I look forward to July every year, because that is the month of the BAFA graduate exhibition jointly organized by Hong Kong Art School and RMIT University. For Hong Kong Art School, this is not just another graduate exhibition, it is also the opportunity for us to show the best results to the society.

The graduate exhibition every year has never let me down. The graduates of Hong Kong Art School give me many surprises every year. Some works are thoughtful, some are innovative and breakthrough, and some are skillful, some works are more reflective and some works are responsive to society. These characteristics reflect the nature of Hong Kong Art School that our students come from very diverse backgrounds and ages, and the atmosphere of the Art School is free and open, encouraging students to explore their own paths and find their own voices.

Although our students are all independent in their creation, it does not mean that they are walking alone. Apart from their artistic exchanges, over the years, many students have formed studios together after graduation, co-organized exhibitions, opened galleries, and even established art service companies. Although they come from different backgrounds, the experience and abilities of the students can complement each other and cooperate with each other. Alumni of Hong Kong Art School have been very active over the years, organizing exhibitions, publicity and promotional events for recent graduates. The School is proud of our alumni, and we want our alumni to be proud of the School.

This year marks the twenty-fifth year that we have cooperated with RMIT University in Australia for the BAFA program. Here, I would like to thank our Australian partners for their cooperation and support over a quarter of a century. It is obvious to all that our cooperation has not only established the friendship between the two education institutes, but also contributed to Hong Kong becoming a world art capital.

I wish the exhibition a complete success!

香港藝術學院 院長

每年七月都叫我十分期待，因為這是香港藝術學院(學院)和澳洲皇家墨爾本 理工大學 ( RMIT ) 合作的藝術文學士課程畢業展的日子。對學院來說，這不單是 畢業同學展示他們學習成果的機會，也是學院向社會交出成績的日子。

每一年，畢業展都沒有令我失望。學院的畢業生，每年都給我不少驚喜，有 些作品思考深刻，有些作品創新突破，也有很多作品技巧圓熟，有些作品向內心 探索，有些作品和社會對話。這些特質反映出學院的特點，就是同學來自不同 背景，不同年齡，學院氣氛自由開放，鼓勵同學探索自己的路，找出自已的聲音。

雖然同學們在學習中獨立創作，但不代表他們是各行各路。同學們除了學習 和創作中不斷交流，歷年來有不少同學在畢業後合組工作室，合作辦展覧、開畫 廊，甚至成立藝術服務公司。雖然來自不同背景，同學們的經驗和能力反而能夠 互相補足，互相合作。香港藝術學院的校友們，歴年來都是十分活躍，為新畢業 的同學們搞展覽、宣傳和推廣。學院為我們的校友們感到自豪，也希望校友們為 學院自豪。

今年是我們和 RMIT 合作藝術文學士課程的第二十五年。在此，我感謝澳洲 的伙伴們四份之一世紀以來的合作和支持。大家有目共睹，我們的合作不單建立 了兩個教育機構之間的友誼，也為香港成為藝術之都，作出了我們的貢獻。

祝展覧成功！

Ms. Jaffa Lam

Academic Head

Hong Kong Art School

Umarell

遊園之士

This year‘s graduates use the Chinese title “ 遊園終日” means “wandering in the garden all day”, but the English title “Umarell” highlights the key point of the show. The Bachelor of Arts (Fine Art) Graduate Exhibition 2023 copresented by Hong Kong Art School and RMIT University, is described by this new 18 years old Italian word, which has a strong fresh taste of young people. I did some research on the Internet and realized that this term is a vivid description of these people: “are men of retirement age who spend their time watching construction sites, especially roadworks– stereotypically with hands clasped behind their back and offering unwanted advice to the workers. Its literal meaning is “little man” (also umaréin). The term is employed as lighthearted mockery or selfdeprecation.” 1 Although I don't understand why it refers to men specifically, and no matter whether the graduates are self-deprecating or not, their understanding of artists is different from the traditional one: they take away the hero-elite glamour and regard themselves as the city's voluntary supervisors.

When graduates leave art school and embark on a social journey, it may be the beginning of a career, and some people regard it as the completion point of art creation. They no longer have abundant resources and incentives to create and become early “art creation retirees”. Perhaps we should stop asking about the role of artists in the society but should ask: the role of art graduates in the society, who are not engaged in “artistic creation”. Over the past two decades, our graduates have not only engaged in art creation, professional art management, such as museums, galleries, art foundations, or art academy management, but also professional curators, critics, and some have founded art planning company, art/craft studios, or become founders of related cultural industries, such as environmentally friendly cleaning brands made in Hong Kong.

Art study is not only about mastering the technical knowledge of the art, but also the ability to apply what you have learned through understanding the diverse perspective analysis of issues and creative problem-solving skills. On another level, the most treasurable experience is to start from personal experience/historical background/public memories, deepen understanding of community, expand care and concern for society, and cultivate a keen sense of global current affairs. In addition to providing nourishment to professionals entering the industry, Hong Kong Art School has also cultivated many experienced art audiences. These audiences support exhibitions and art activities by participating and financial engaging, to become art donors, art collectors later, so that art practitioners in the industry can get substantial monetary returns and spiritual comfort. The “wander person” seems to be a “little man”, but it is the unreplaceable foundation of the entire art ecosystem.

I wish all the graduates will soon find their ideal place to stand.

1 https://en.wikipedia.org/wiki/Umarell#cite_note-2

香港藝術學院

學術總監

今年的畢業生以中文「遊園終日」為名，但英文展名「 Umarell 」 才是戲肉。用 這個只夠十八歲的意大利新詞來形容香港藝術學院與澳洲皇家墨爾本理工大學 合 辦2023年度藝術文學士畢業展，具有強烈的年青人的新鮮味道。我在網上查 了一下才知道，此詞是對這些人的生動形容：「專指已屆退休年齡的男人，花時 間觀看建築工地施工，尤其是道路工程的行為。一般刻板印象認為，該等人士會 雙手緊握在背後，並對工人提供不必要的建議。⋯⋯此用語的字面意思是「小人 物」（umarèin）此用語在日常生活中，被用作輕鬆的嘲笑或自嘲」1 雖然我不明白 為甚麼專指男人，也無論畢業生們是否自嘲，他們對藝術家的領悟已和傳統不 一樣：抺走英雄感的精英色彩，而以城市的義務督導者自居。

當畢業生離開藝術學院，踏上社會旅途，可能是從業的開始，亦有人看作 是藝術創作的結業點，不再擁有豐富的資源和鞭策去創作了，變成提早「藝術創 作退休人士」。也許我們不應再問藝術家在社會的角色了，而是應問：藝術畢業 非從事藝術創作的人士在社會上的角色擔當。這二十多年來，我們的畢業生除了 從 事藝術創作、專業的藝術管理，例如博物館、畫廊、藝術基金會、或藝術學 院管 理，還有專業的策展人、評論家，也有人創立了坊間的藝術策展公司、藝 術/工藝工作室、或者成為相關的文化產業創辦人，例如香港製作的環保清潔品 牌。研習藝術教育不只是掌握藝術層面的硬知識，從領悟到分析事情的多方面， 創意的解决問題方法才是將活學活用的本領。精神層面，最重要的是，由個人 歷史記憶出發，加深對身邊鄰里的認識，擴大對社會的關心，培養出對全球時事 的敏銳觸覺。藝術學院教育的養份除了提供給進入行業的專業人士，亦培養出 大量的資深 藝術觀眾，眼光獨特的收藏家，他/她們用行動和金錢去支持展覽 和藝術活動， 才可能讓行業內的藝術從業員得到實質的金錢回報和精神安慰。 「遊園之士」似是小人物，但卻是整個藝術生物鏈中之支撐基礎。

祝願各畢業生很快能找到理想的立身之地。

1 https://zh.wikipedia.org/wiki/Umarell

遊園者 Umarell

Ms. Rachel Cheung

Lecturer / Programme Coordinator

Hong Kong Art School

This year‘s graduates use Umarell as a metaphor for their three years of studying fine art. As one of their teachers who walks along with them, I feel that this metaphor is self-deprecating and humorous, imaginative and real, which adds up to the epitome of the process of questioning, exploring, and finding answers as a person walks on the road of art. However, behind the metaphor, there are the great efforts of this group of graduates in the past three years; the inspiration, the achievement and the bittersweetness that they experienced are different, and those who have experienced the journey on this road will naturally share the resonance.

Walking on the road of art, allows the person to be exposed to another territory that is very distinctive from daily life, to use another language of communication, and to see the boundless and dazzling world of art. When art students are studying at school, teachers guide them to explore and learn, so that they can filter what they have learned in the process, absorb the things that suit them or judge the things to abandon, to establish their creative directions and values. People who have not experienced the art road but are curious about art, may consider approaching art as a visitor to the art world, just like this group of graduates, first act like an umarell to get in touch with art, and then decide whether to become one of the persons in the art world.

I have been working in the art field for some years, while I am still constantly exploring and absorbing different things, hoping to equip myself to become a better person, to assist the students and serve the field. In the process, I experienced the magnificent value of art that cannot be measured by monetary wealth. Art reveals and exerts its immeasurable preciousness in different people, whether viewers or creators, the inspiration it receives can last a lifetime. I wish all graduates to continue to pursue their goals and cultivate their own artistic “field”, to establish genuine artistic values as well as sincere personal values. Through art, the graduates contribute and influence different communities, and inspire the public to show their wonderful vitality.

香港藝術學院

講師/課程統籌

今屆畢業生以「遊園終日」比喻他們修讀藝術的三年時光、階段和狀態。作為 與他們並肩同行的其中一個老師，我感覺這個比喻當中有點自嘲幽默、有點想像 力、也有點真實，加起來正好說出一個人在藝術路上行走中的提問、探索和尋找 答案的過程縮影。然而隱喻的背後，蘊藏著這群畢業生過往三年來的付出和 努力，當中的意義、得著和苦樂各有不同，曾經經歷這段路的人自然會產生共鳴。

走在藝術路上，讓行走的人接觸到與日常生活大不相同的另一個領域，使用 另一種溝通語言，而藝術的無邊世界也讓人眼花撩亂。藝術學生在學時，學院的 老師引領他們在藝術「園」內探索和學習，讓他們在過程中學會將所學所聽的過濾 和隔音，路途上學懂吸收適合自己的或判斷要捨棄的，從而建立個人的創作脈絡 方向、領域和價值觀。未經歷過藝術路而又對藝術抱有好奇心的人，不妨考慮以 遊園者的姿態接觸藝術，就像這群畢業生一樣，先「遊園」探究一下，然後決定是 否成為「園」內的人。

我身在「園」內多年，作為其中一個「園丁」，仍然不斷在發掘和吸收，裝備自己 成為更好的人、更好的園丁，去協助不斷加人的遊園者；過程中亦體驗到藝術本質 裡非金錢能衡量的宏大價值。藝術於不同人的身上（無論是觀眾或創作者）皆展現 和發揮其不能量化的寶貴之處，獲得的啟發能在藝術上和個人發展上受用一生。

寄語各位畢業生，繼續迎向目標，耕耘自己的藝術「園圃」，建立摯誠的藝術 和 個人價值觀，將藝術的價值發熱發光，通過藝術去貢獻和感染不同社群，啟發 大眾彰顯其精彩的生命力。

Ceramics

Ho Ka Kei, Hannah 何家琪

HO collects the architectural samples from her workplace that have been selected or discarded for design projects, allowing these unhome objects to be extended or settled in her work.

The patterns and textures of the objects are adopted through moulding, the geometric columns, beams, and pipes are misplaced or embedded to form the parasitic architecture, these are the urban form in her home territory inherently embodying a sense of place.

If the definition of place is a sense of belonging, these hybrid spaces have grown roots intertwined with her life.

何氏從她的工作場所收集曾被建築項目選取或被棄置的物料樣板，讓這些 離散而來的物件在她的創作中得以延伸或安頓。

通過拓印去留下物件的圖案和紋理，利用錯置和嵌入不同的幾何柱子、 橫樑和管道形成依附結構，這都是她記憶中的城市形狀。

若地方的定義是歸屬感，這些混雜的空間原來已成為地方。

lalaindabox@gmail.com

hokee_hongker

Mapping the Obscurity

Ho Ka Kei, Hannah

Mapping the Obscurity

Ceramics and Architectural materials 2022

Size variable

Mapping the Obscurity 沒有關係也是關係

Ceramics and Architectural materials

Size variable

Ceramics Ho

Kei, Hannah

Kwok Ting Nui, Coey 郭停女

I like to work with discarded objects. In my final year, I changed my major from sculpture to ceramics that seem unfamiliar to me. I want to experiment with the transformation of materials and see what will happen when unwanted objects are turned into ‘eternal’ ceramics.

I repeatedly revisited, sorted and gave up objects, ‘ceramicising’ them in different ways. One of my memorable experiences was when I had COVID and fired some experimental ceramics, I was sick for a long time due to inhalation of bad gases. Some unsuspecting neighbors even thought that smell was a fire, they called the police and firemen to break into my studio. The smell of burning natural organic matter can be very strong.

However, I still believe that experimental works will lead us to the next level of artistic creation: the process of reflection, learning, improvement and integration will appear in a different kind of beauty.

喜用廢棄物創作。BA 最後改主修科目雕塑為陌生的陶瓷：欲嘗試物料的 轉化，把不要的東西轉成「永遠存在」的陶瓷。

重複重溫、分類和割捨著物件，把他們用不同的方式「陶瓷」化；很多難 忘體驗：如有次在中了新冠又經歷幾窯實驗性的陶瓷作品時因吸入不良氣體， 病了很久；更有不知情的街坊以為我工作室的味道是火災故報警：有警察和 消防員破門而入； 天然有機物燒出來的氣味竟會很大等。

但依然深信藝術創作中實驗性的作品將帶領我們走進下個台階：過程中 不斷反思、學習、進步和整合後會是另一種美。

lifeartcoey@gmail.com

95883767

Toy 2023

Discarded objects and ceramics

Size variable

Ting Nui, Coey

Discarded objects and ceramics

Discarded objects and ceramics

Szie variable

Ting Nui, Coey

Lai Ka Man, Kit 黎嘉雯

Ceramic often presents in three-dimensional forms in visual arts world. Audiences can choose different angles to appreciate the artwork. But I would like to break this norm. My studies explore the various transformations of clay under different water conditions, and documenting the physical process through videotaping. The magnification documentation of the transformation makes the audiences understand the art works without the impression of container, water and clay. These studies inspired me to interpret ceramic work through non-ceramic mediums, allowing myself to rethink the nature of clay.

陶瓷在視覺藝術世界多以立體的方式呈現，觀眾可自由選取觀賞角度， 我試圖擺脫這種常規。在研習中，我嘗試發掘陶泥與水接觸所產生的變化， 並以影片記錄。過程被局部放大拍攝，在沒有足夠的影像給觀者作整體閱讀 下，這微觀角度，讓觀者失去對容器、水及陶泥的認知。這些研習啟發我嘗 試以非陶瓷的媒介詮釋陶泥，讓自己得以反覆思考陶泥的特性。

kitlkm@gmail.com

Processing 2022

installation, clay slip, audio track

Video

2’30” / 5’

Taking snaps is instinct-driven, movement-oriented when printing with slips is a slow reflective process. To read the image in detail, layer by layer. It mingles, distorts and transforms.

以版畫與泥土反覆閱讀路上隨手拍下的影像，泥土反覆重疊，疊加同時 流失、沉澱成立體。層接層，失真，變形，斷層。泥土生成雜訊，逐成景觀。

jinkijinkiiui@gmail.com

60822907

jinkijinkiiui

2023

Digital Image

Size variable

失真圖記 (Image)

Size variable

失真圖記

Ng Yuen Ying, Yuen 吳沅盈

Plane surfaces and 3D shapes are overlapped, studied and disassembled repeatedly - My world is formed by a pile of messy visuals.

My works purely depict my way of seeing. Like collages, I overlap planes surfaces and 3D shapes and reassemble fragmented records, visualizing the process of my seeing.

Painting is a medium that does not explore authenticity, which allows me to break free from objective reality. I realised that I could not view things as an integration. Instead, my perception of the world is always fragmented - such as the markings at the corner of the walls, a patch of purple, a paragraph of words, etc. I am overwhelmed by some indescribable feelings, which I can hardly comprehend (It feels like I’m seeing things through a magnifying glass, and sinking into many tiny fragments). When I turn them into existing objects through ceramic, it gives me a sense of relief.

我的作品純粹地描述我看到事物的方式，通過平面和立體兩種媒介的重 疊，把零碎的紀錄重新拼湊，令觀看的行為變得可見。

繪畫把我從客觀的世界解放出來，令我意識到，自己無法觀看一個整體。 我對於世界的認知總是斷斷續續的，一大堆難以形容的感覺在包圍着我（像 拿着放大鏡、被很多細碎的片段吸了進去一樣）。陶瓷把它們變成真實存在 的物體時，我鬆了一口氣。

mickochibee0713@gmail.com

61522981 mickochibee

The world from my side looks like this 我看到的世界總是這樣的 2023

Stoneware, drawing on paper

211 x 84.1 cm

Some fragments of the record

Drawing on paper 2023

Size Variable

Ng Yuen Ying, Yuen

Yim Suet Wing, Michelle 嚴雪咏

It begins with a cooking playset I bought from a stationery shop. Gazing through all these simplified everyday objects within the set, you will find they are very unrealistic in shape, however this distance between imitation and reality is what makes them so intriguing.

The circles of onions resemble a zen garden, croissants that look like the Monkey King’s magical clouds, and the ice-cream cones are now snowcovered Christmas trees… All of these images that come into mind are very different from the objects these toys are imitating. I’m sure you may have this similar experience when looking at ambiguous shaped objects, right?

This work is the result of these inexplicable associations. Using plaster molds, different toy parts are replicated and transformed into clay, utilizing the reformability of clay to reassemble them into absurd and playful forms that can be placed into everyday life. The drainage holes in the walls, gaps in the fences of a flower garden caused by missing parts, these somewhat familiar but minor, indefinable spaces are small but evocative, like silent ripples, circling and rounding, creating an endless movement.

事源某日於文具店買下的「煮飯仔」玩具套裝。細看套裝內各種被簡化的 日常物，你會發現它們的造型都與現實極不相符，但亦正是這種擬仿與現實 之間的落差，成了這些玩具的趣味之處。

一圈一圈的洋蔥形似枯山水、牛角包則幻化成孫悟空的筋斗雲、雪糕筒 彷彿是佈滿積雪的聖誕樹……腦海浮現岀的聯想都與玩具所模仿的物件截然 不同。因造型曖昧之物而遐想連綿，我想各位都有過相類似的經驗吧？

是次作品源於這些莫名的聯想。運用石膏倒模將玩具部件複製並轉換成 陶泥，利用泥的可塑性把它們重新組合成 既 荒誕且富玩味的造型，再放置於 日常生活之中。牆壁的排水渠口、花圃圍欄丟失部件以致的缺口，熟視無睹 但難以被定義的空間，渺小，卻引人浮想聯翩，猶如無聲無息的漣漪般，圈 破圈圓破圓，生出抖動如弦的騷動。

suetwing95@gmail.com

94992408

yim.snowing

I don’t know what was originally here, so I replaced it with something else.

我唔知依到原本有咩，所以我用其他嘢代替咗佢。

2022

Porcelain

Size variable

Yim Suet Wing, Michelle

I don’t know what was originally here, so I replaced it with something else.

我唔知依到原本有咩，所以我用其他嘢代替咗佢。

2022

Porcelain Size variable

I don’t know what was originally here, so I replaced it with something else.

我唔知依到原本有咩，所以我用其他嘢代替咗佢。

2022

Porcelain

Size variable

Yim Suet Wing, Michelle

Chan Sui Na, Sheila 陳穗娜

Through decluttering, I aim to achieve the philosophy of a simple and happy life by clearing out physical and emotional clutter, while also finding ways to let go of these unnecessary things. I create a safe and private space for myself to explore emotions through art, using mediums such as collage and oil painting to strike a balance between structure and freedom, allowing me to express myself freely. My hope is that through my artwork, I can let go of what no longer serves me and find inner peace.

通過斷捨離達成簡樸幸福的生活哲學，透過清理物理和情感上的雜物， 同時找到放下雜物的方法。我在一個私人的空間裏，讓自己能透過藝術探索 情感。作品結合拼貼和油畫等媒材，在保持結構和自由之間取得平衡，讓我 能夠自由地表達，並希望能夠透過創作放下那些不再對自己有幫助的東西， 找到內心的平靜。

sheilaatart@gmail.com

96065588

sheilaatart

Na, Sheila

Decluttering - The Day 2022

Mixed medium, oil on canvas

70 x 90 cm

Decluttering 00

Mixed medium, oil on canvas 2023 90 x 70 cm

Mixed medium, oil on canvas

150 x 150 cm

Sui

Na, Sheila

Decluttering 01&02 (draft) 2023

Chen Jing Xuan, Olivia 陳靜萱

By depicting ordinary things in daily life, transforming my subjective memory into ordinary experiences, and try to make the audience feel the beauty in life.

May your day be filled with flowers.

透過描繪日常中的平凡事物，將生活的記憶轉化爲普通的經驗，讓觀眾 感受生活中的美好。

願你的生活充滿鮮花。

Chanzinghuen31@gmail.com

91404768

chenjingxuann

https://www.chenjingxuan.com

窗前丁香花 2023

Oil paint on wood

30 x 30 cm

Chen Jing Xuan, Olivia

Oil paint on wood

30 x 30 cm

春天 要好好綻放 2023

Oil paint on wood

30 x 30 cm

Chen Jing Xuan, Olivia

Cheung Yuen Ching, Annabel

Reflecting the day-to-day experience in life through drawing lines and patterns.

Expressing the inner emotions with repetitive sequences.

Listening to inner world when concentrate on drawing.

annabelcyc@gmail.com

54987033

https://annabelcyc.wixsite.com/-site

Latex on canvas, wood

180 x 180 x 180 cm

Cheung Yuen

Ching, Annabel

Ink on paper

105 x 105 cm

APRIL, MAY, JUNE

14.8 x 10.5 cm each

Ink on paper

Cheung Yuen

Ching, Annabel

I believe this is a vivid, fleeting world, where everything in it is subject to change or decay, underscoring the idea that nothing in the world is permanent. Vagueness transcends all boundaries, and presenting what is genuinely real in the world is that nothing is real.

I see you seeing me seeing them seeing you all seeing us seeing you seeing her seeing me.

絢爛的世界既短暫又幻變，其中的一切都會受到變化或衰敗的影響。「瞬世」 意味著生命是短暫的，強調了世界上沒有什麼是永恆的。在現世，真正真實 的是沒有什麼是真實的，所有的邊界都被模糊化。

我在看你在看我在看他們在看你們在看我們在看你在看她在看我。

91049220 iamthebh2019@gmail.com iamthebh

is not still 2022

Life

Oil, Oil stick on canvas

Set of two, each at 91.5 x 122 cm

120 x 160 cm

Danshari

2020

Mixed media on canvas

180 x 180 cm

Lee Ying Ho, Harris 李英濠

In the past, the nude was Traditional, Sacred and Ordinary.

It is to be Private, Obscene and Shy words for now.

Would there be any change if the past’s nude appears in the contemporary?

I believe, nudity should be a pleasure in the future.

在過去，裸體是傳統，神聖和普通的。

現在卻是私密，淫穢和羞澀的詞語。

如果過去的裸體出現在當代現實，會有什麼影響或情況?

我認爲，裸露在未來應是歡愉的。

https://bell-lizard-lrtz.squarespace.com/ 67084397 harrislee2013 harris.lee.ho@gmail.com

Lee Ying Ho, Harris

Interlace 2022

Mixed media

59.4 x 84.1 cm

Lee Ying Ho, Harris

Interlace

Dear Nietzsche

2023

Installation comprising a steel bed frame, bubblegum, found objects, light projection and body performance

The freestanding installation consists of a steel bed frame, hand moulded soft sculpture, light projection and body performance. This work intends to expose the vulnerability and resilience of female roles under an intimate ambience by creating a surreal mise-en-scène, placing together a bed frame with raw meat like sculptures as a visual allegory. When the bed frame is placed in an art institution, allowing viewers a 360 degree spectatorship - a personal space turns public.

Drawing upon a collection of embodied experiences and oral histories from generations of female on the embroidery contains fragments of psychological catharsis compiled in sets of autoethnographic poems, addressing to philosopher Friedrich Nietzsche’s chapter <The Three Metamorphosis>. Her composition adopts a childlike lens as a subversive tool in response to the embedded personal politics, relationships and social norms in the entangled socio political structures.

此作品以實體床架和軟裝置組合成自立式裝置，輔以行 爲 藝術，試圖藉 著輕鬆及叛逆的角度參透女性角色的弔詭及脆弱性。當床架被放置在公共藝 術空間内，並以自立式的全方位觀摩角度與貌似腐肉的裝置共存時，其實體 意義從私密轉化成公開，是一個解放的實踐。

藝術家處理從自身和代傳的女性身上收集私密的對話和口述歷史裏，去 回應哲學家尼采一書中的「精神三變」，試圖解釋出跨越深淵的方法，把故事 分類重整爲一系列的詩語再分拆爲刺繡呈現。作品的處理手法加入孩童世界 觀去探討的議題包括對個人政治、關係，社會及政治價值觀的看法。

dorisngtoiyee@gmail.com

55336253

toi.yee

toiyee.com

Live Performance at Per Platform x Base, Hong Kong

Jiaozi

2023

Ng Toi-Yee, Doris

Installation view of light box at PRÉCÉDÉE Art Space, Hong Kong

Signage of Reflex #1

Installation of bubblegum, imitation pearl, ink, found objects

Flesh

2023

Doris

Shin Ka Meng, Kelly 施嘉茗

The ability to deceive oneself is one of the potentials of human beings. Self-deception is an interpretation of the self, which sets the association of ideas into self-worth. Illusion is creativity with things and spaces.

I tried to depict herself and some situations about deception For example, using a non-dominant hand in clipping the nails could be selfcheating; the politics-of-powerlessness may stem from the shamelessness of politicians, as their ability to deceive others stems from self-deception.

The reflective benefit of enamel paint use could bring the audience into the image and attract their attention. The color of house paint gives people a sense of no distance, as in the space of self, the luster of enamel does not make people uncomfortable, but sometimes reflects images to reflect oneself.

「自已呃自已」是人類的潛能之一。自欺亦是對自身的一種解釋和安慰， 去將想法與自我價值聯繫。這種自我對話的方式如同幻像，是對事物和空間 的創造。

由描繪自身自欺所帶來的安慰岀發，以至於對外有關自欺而欺人的無力 感或無奈；當中運用了水性磁漆作顏料，這種家用油漆的顏色不會讓人有太 多的距離感，有時能在畫面圖像中反射出自己的影像，就像在自我安舒的空 間裡一樣。

kameng1263@gmail.com

68760287

Kelly.kmshin

https://kameng1263.wixsite.com/www-kellyshin-net

Body Hole 2022

Enamel paint on MDF board

30 x 30cm

Ka Meng, Kelly

Smile 2022

Enamel paint on MDF board

60 x 30 cm

The

Risk Optimistic 2022

Enamel paint on MDF board

120 x 180 cm

Ka Meng, Kelly

Tang Charles 鄧煒昌

“Anatomy in Bloom” is an art project that amalgamates the intricacy of anatomical illustration with the vibrancy and elegance of painting. Drawing inspiration came from the timeless beauty of floral photography. This collection seeks to redefine the perception of human anatomy by infusing it with vivid colors and captivating compositions.

The realm of anatomical illustration has long been dominated by a sense of precision and realism, often perceived as cold and clinical. In contrast, floral photography is renowned for its enchanting elegance and arresting beauty, transcending the boundaries of traditional still-life imagery.

Utilizing the combination of traditional and contemporary techniques, the artist employs acrylic paint to render the intricate details of each anatomical subject.

Redefining the boundaries between anatomical illustration and fine art painting, the works breath in new life into the study of the human form. This collection challenges the viewer to discover beauty in the unexpected and to celebrate the incredible artistry inherent in our human body.

「盛放～解剖學」

將解剖插圖的精細與藝術作品的鮮艶結合。此系列從解剖學與花卉攝影 中獲得靈感，旨在通過注入生動的色彩和迷人的構圖重新定義人體學的感知。

解剖插圖一直被一種精確和現實感所支配，感覺冷漠與無情。相比之下， 花卉攝影以優雅及注目的唯簡性，超越一般傳統静物畫像的界限。這系列重新 探索解剖插圖與繪畫藝術的邊界，挑戰觀衆在意料之外尋找美麗，並歌頌人 體固有的藝術景界。

Charles Tang

Tang__Charles tang.charles91@gmail.com

tangcharles.com 55119838

Radial view of left and right hand

2023

Acrylic Paint

60.9 x 76.2 cm

Tang Charles

Dorsal Posterior View of muscles of five hands

2023

Acrylic paint

60.9 x 76.2 cm

Thorax/Shoulder-Trapezius 2023

Acrylic paint

Tang Charles

60.9 x 76.2 cm

Wong Hoi Ching, Hebe 黃凱晴

I want to get rid of my impetuosity and inattentiveness, it distracted me from following my pursuit. I am trying to regain a stable and focused mind through painting, to free myself from the unnecessary bother.

Artificial objects are made for fulfilling human desire, the wash-basin is a representation of purification. All the excessive seems could slip away on its white, smooth and gentle curved surface, without leaving a trace. I use paintbrush to polish, stack pigment to create some smooth surfaces, attempt to create pensive paintings that reflect the core of the device.

我希望擺脫浮躁與急進，不再拘泥於瑣碎事，怠慢本來的追求。我嘗試 藉繪畫靜下心來，逃脫流竄的慾念，重拾安穩而專注的狀態。

作爲存在旨於服務人類需求的人造器物，洗手盆象徵洗滌，其潔白、圓潤 且平緩的曲面，總能使一切外物隨水流沖走，不留半點痕跡。我用畫筆堆疊 顏料、細細打磨以形成一些光潔的表面，試圖映照出事物的本質。

hebewong418@hotmail.com @hebesbrain

Wong Hoi Ching, Hebe

Slip (study)

2022

Oil on canvas

40 x 40 cm

Slip (work in progress)

2023

Oil on canvas

50 x 50 cm each, a set of 8 painting

Wong Waverly, Wave 王嘉穎

“Occult & Supernatural power” was Waverly’s major creative when she studied in her year-two of Degree, this series covered “Past-Lives”, “Prophecy”, “Higher Self”, “Dreamland”, and “Tarot”.

When we talk about occult, we always realize on podcast or book, there is less art pieces for this topic, it is because most people are scared but want to know more about this.

Therefore, Waverly would like to use this series to propagate on Eastern Religious mythology on her experience with this special talent on this audience.

Waverly started on three dimensional objects as her major medium for this series since it will be more shocking on just painting on canvas. She loves to build and create figures more than painting seems it was a unique experience between the artist and audience.

「神秘學、超能力」

是王氏攻讀學位二年級時的主要創作，在這個系列中， 它涵蓋了 「前世」、「預言」、「高我」、「夢境」和 「塔羅牌」。

王氏的作品主要圍繞她的超能力。她希望籍著繪畫來表達她腦海中的訊 息/夢境。例如先人的報夢，前世的記憶，未來的預言等等。希望加入其他元 素，令繪畫不再是只是用平面的方式來表達。

因此，王氏想通過這個系列向觀眾宣傳她與這個特殊人才的經歷，分享 她的「能力」。

王氏開始將三維物體作 爲 她這個系列的主要媒介，因 爲 在畫布上繪畫會 更加震撼。比起繪畫，她更喜歡建造和創造人物，這似乎是藝術家和觀眾之 間的一種獨特體驗。

waverly0908@gmail.com

_waverly_wong

waverlywong.com

and

Polyurethane 16 x 7 x 7 cm

Ox-headed

Horse-faced demons in Hades

Six Realms Of Life – Heaven 2023

Digital Painting Size variable

Wong Yin Ying, Toby 黃燕瑩

The Metamorphosis

The concept of the series of artworks revolves around human inner sensibilities, emotions, and society’s psychological experience and how they exist in uncanny situations. It engages with different people’s stories and experiences while bearing witness and memorializing in addition. I attempt to depict the perception through dream-like realms and strange and ironic scenes.

Rather than painting on conventional canvas, I transform the canvas and frame and structured installation to reinterpret and explore the subtle and intricate connections between people and society. It aims to deliver an intriguing, visible and invisible of the absurdity of the era and the oppression of individual experience. Also, the works implicit the perception of the era of mutation and the turbulent changes.

I treat art-making as a form of continual exploration, discovery, and communication. Meanwhile, Each practice is an imperfect but honest mark of the particular moment.

變形記

這系列作品概念圍繞著人們的內在情感和生活情感，以及社會的心理 體驗。我試圖通過夢幻般的場景和奇怪的境界來描繪這種感知。

我在傳統的畫布上作畫，並且對畫布和框架以及結構化的裝置進行改造， 以重新詮釋和探索人與社會之間微妙而復雜的聯繫。它旨在以一種耐人尋味 的有形和無形的方式表達時代的荒謬和個人經歷的壓抑。

tobywongyy@gmail.com

https://www.facebook.com/tobywong 92768661

https://www.instagram.com/tobywong/

Fragmented Semi-consciousness 2022

Acrylic and oil on canvas

Approx. 140 x 180 x 10 cm

Wong Yin Ying, Toby

Approx. 40 x 50 x 18cm

Corner 2022

Acrylic and oil on canvas

Entrance / Exit 2022

Approx. 110 x 120 x 12 cm

Acrylic and oil on canvas

Wong Yin Ying, Toby

Wong Yue Chiu, Horace 黃宇超

Dichotomy, discordance, disruption… Unshakeable yet contentious ideologies exacerbate an unsettling era.

Distortion and fantasy are the subject of my investigation. As a whimsical visual journey, my works engender reimagination of truth and ideals by presenting contorted figures in satirical medley. By assembling images of exulting propaganda heroes and fairy tale characters in bubbly fantasia, I challenge the fixity of beliefs and depict the ambivalence towards utopian pursuits. The fluidity in my mark-making responds to the contorted reality of our time. I see the world as a flux of distortion, in fantasy I question indisputable advocacy.

二元對立，劍拔弩張，紛擾亂局是無休止的日常。

宏揚真相，宣示理想，是不屈信念還是一廂妄想？

扭曲和幻象是我創作概念的重心。扭曲是視覺語言，幻象是創作主題。

由圖片蒐集開始，拼湊宣傳大使和童話角色的狂歡影象，投入兩極意識形態 的碰撞，在奇幻泡沬中探索烏托邦路上的忐忑跌宕，反思真相和理想的無盡 可能。是戲謔，也是狂想。作品色彩恣意奔流，匯進開天闢地的瑰麗藍圖。

yuechiuart@gmail.com

yuechiuart 91839950 yuechiu.com

Dinner with fox and stork

2023

Acrylic on linen

75 x 50 cm

Wong Yue Chiu, Horace

75

Someone sneezes on the battlefield 2023

Acrylic on linen

x 100 cm

Wu Lok Wang, Marco 胡洛泓

The decision to reveal.

從捂住臉到決定把雙手打開的那一剎那。

2ndmarco637@gmail.com

https://www.instagram.com/arco.wu/ 67397850

https://2ndmarco637.wixsite.com/marco-wu

Cement Box (draft)

2023

Charcoal

80 x 120 cm

Wu Lok Wang, Marco

The door gap

2021

Charcoal on paper

90 x 150 cm

A beam of light (draft)

2023

Charcoal on paper

40 x 83 cm

Wu Lok Wang, Marco

Yau Kit Chi, Juliana

In our everyday life, we encounter various prohibition and regulatory signs that restrict certain human activities.

Through the metaphorical use of banned signs interfering with iconic images or symbols which signify childhoods, memories, and even senses, viewers are invited to explore the intriguing drift between familiarity and strangeness, between ambiguity and recognition, between representation and imagination.

The vibrant and bright colors deliver an intense feeling of dreamlike fantasies which allow viewers to go beyond what is seen by creating linkages between concept and visual experience while being teased by the underlying content beyond.

yau.juliana@gmail.com

56088893

yau.juliana

http://www.juliana-yau.com

Between Signs • Life 2023

60 cm in diameter

Acrylic and mixed medium on aluminium sheet

Yau Kit Chi, Juliana

Between Signs • Life 2023

and mixed medium on aluminium sheet 60 cm in diameter

Acrylic

Between Signs • Life

Acrylic and mixed medium on aluminium sheet

60 cm in diameter

Yau Kit

Chi, Juliana

Yip Chun Sang, Sami 葉鎮生

This series of works combines painting, installation, performance, and video. Through the continuous repetition of actions, such as repeatedly sketching wallpaper, rocking chairs, walking, changing clothes, etc., it explores the moments of imbalance in daily life, captures the indescribable sense of discomfort, and extracts the delicate emotions and feelings from it.

We should stay sensitive to the repeated things and behaviors, and constantly think about how to maintain a “balanced” state.

這系列作品結合繪畫、裝置、行爲和錄像，透過不斷重複的動作，扤凳、 步行、換衣服等，去探索日常生活中失衡的瞬間，捕捉那無法言說的違和感， 擷取其中細膩的情緒和感覺。 要對不斷重複的事和行爲保持敏銳，不斷思考 自己如何理解「平衡」這個狀態。

sycs1213@gmail.com

96539973

sami_yipcs

Yip Chun Sang, Sami

Yu Wun Man, Sally 余瑗文

School is a microcosm of the society. At school everyone is taught to be obedient, well behaved and united for a good learning environment. I realized as I watch children behavior at schools that they are, and we were trained to be disciplined and well-behaved for a stable society. Individuality doesn’t seem to exist. Although everyone in the line is different, as long as they stay in the line, tiny difference doesn’t seem to matter.

The series of painting “Line” is a reflection of relationship between individual identity and position as part of the society. After all, we left school after graduation, but we never leave the line.

我們的城市和文化教導我們聽從指示、跟隨隊列,好保護人與人之間的 平衡、生活的節奏、生存的空間。出入學校,受啟於同學們規律的活動模式, 學校正是社會的縮影,我們長大後仍循規蹈矩的過著營營役役的生活。

我希望用這些人群的身影作畫去反思在一樣的人群、在一樣的隊列中和 順從環境的生活中,每一個人的身份和想法是否還有意義?

https://www.instagram.com/sali_practice/

Line in Red Rainstorm 2022

Oil paint on stretched canvas

75 x 60 cm

Yu Wun Man, Sally

Line in Playground 2022

Oil paint on stretched canvas

80 x 60 cm

Line in Corridor

Oil paint on stretched canvas

50 x 60 cm

Yu Wun Man, Sally

Yung Chung Kong, Sam 翁松江

Depict fictional cityscapes, brimming with images of wilderness. Solitary and dilapidated symbolic objects are left behind in deserted scenes, creating an atmosphere that seems to speak of the past while also hinting at the future. Suspended between emotion and thought, his work is wordless, conveying a sense that nothing has really happened at all.

以虛構的城市景觀，盛載荒野意象。而零丁破落的符號性物件，被遺留 於人去樓空的場景，整個氣壓似是訴說著過去，又似是醖釀著未來。在有情 與無思之間，欲語無言，彷彿什麼都沒有發生。

yungchungkong@gmail.com

67307468

yung_chungkong

Oil on canvas

Yung Chung Kong, Sam

Night 2022

Oil on canvas

100 x 150 cm

Oil on canvas

80 x 120 cm

Yung Chung Kong, Sam

Maria 張影薇

The century-old reservoir has fulfilled its historic mission, co-existing with time after its decades of contribution to the community. The sudden intrusion and the unexpected demolition disrupted the harmony, leaving behind broken pieces all over. What the reservoir encountered triggered me to associate it with a once prosperous city.

I employed both documentary and montage photography to record and to express my emotions. The ruins at the opening reveal the sad reality, followed by the abstract montages with memories of past glories. While the ladder could be a way out, the red frames impose constraints everywhere. The drowning sound and the familiar bagpipe melody resonate with those who live there. The well constructed with stacked bricks is fragile and looks like a black hole; the bauhinia on the well is yet striking for survival.

百年水庫遭遇突然的破壞，留下一片頽垣敗瓦；昌盛的城市經歷時代更 替，引起動蕩不安。我以紀實和蒙太奇攝影手法來記錄及表達這複雜的情感。 開場的廢墟揭示了現況，抽象的蒙太奇鏡頭，試圖留住過去的輝煌。梯子可 能是一條出路，但紅色的鋼架到處施加限制。溺水聲和熟悉的風笛旋律令人 產生共鳴。磚塊堆疊的井十分脆弱，看來像個黑洞，井上的洋紫荊仍努力地 尋找生存空間。

mariaymcheung@yahoo.com

Maria Cheung

https://mariaymcheung-website.mozellosite.com/ 90303722 mariaymcheung Cheung

Passage of Water, Passage of Time 2022

Inkjet Print on Fine Art Paper 54 x 79 cm Photography

Cheung

Ying May, Maria

Passage of Water, Passage of Time 2022

Inkjet Print on Fine Art Paper

103 x 70 cm

Passage of Water, Passage of Time 2022

Inkjet Print on Fine Art Paper

103 x 70 cm

Photography

Cheung

Ying May, Maria

Sze Ching Nga, Sonia 施靜雅

Inspired by Robert Mapplethorpe’s series of photographs that explore masculinity and femininity as social constructs by photographing female bodybuilders, highlighting the diversity of beauty and desire across cultures.

The series attempts to challenge popular perceptions of the female form, gender roles and identity. Muscle is not only an expression of strength, but also of beauty. The muscular body of a man is embodied with the suppleness of a woman. Women sculpt their bodies and sculpt themselves through training.

啟發來自 Robert Mapplethorpe 一系列的攝影作品，以拍攝女性健美選手 來探索作為社會結構的男性氣質和女性氣質，突出了跨文化的美麗和渴望的 多樣性。

在這一系列的作品中嘗試挑戰大眾對女性形態、性別角色和身份的看法。 肌肉不但是力量的表現，也是美的表現。以男子一般的肌肉身形，體現着如 女子一般的柔韌度。女性透過鍛鍊身體，雕琢自我。

soniaszesoniasze@gmail.com

69332932

son1a.pic

Beauty

Sculptural

2022

Inkjet print on paper

60.9 x 60.9 cm

Ching Nga, Sonia

Sculptural Beauty 2022

Inkjet print on paper

60.9 x 60.9 cm

Beauty

Sculptural

2022

Inkjet print on paper

45.7 x 68.5 cm

Photography

Sze

Ching Nga, Sonia

Tsang Tsz Hin, 曾梓軒

Ancient man needed to understand the workings of the world to survive the cruelty of nature. So curiosity is like an inexplicable itch that has been left in the human gene pool, and every now and then it strikes us, asking us to use our brains, but now it’s not just about survival, it’s about “why do we want to live”; we think about our mission.

The universe is the greatest mystery for now, rocket launches and moon landings are like a satisfying scratch to the itch of human identity, bringing a very subtle pleasure. Thinking backwards, by imitating space exploration activities, I should be able to invoke identities buried in the subconscious.

遠古的人類需要理解世界的運作才能在殘酷的自然中生存。所以好奇像是 莫名的痕癢，一直遺存在人的基因庫中，時不時發作一下，提醒我要動腦， 但如今不止是為生存，更是「為何要生存」；繼而思考我們的使命。

宇宙為目前最大的謎團，發射火箭，登月活動，就如往人類身份的癢處 痛快一撓，帶來一種極為微妙的愉悅。逆向思考，透過模仿太空探索活動， 應能叫喚那埋在潛意識的身份。

astronaut6174@gmail.com

harry_atelier

I’ve mistaken the stars reflected in a pond for those in the night sky 2022

Dual channel video 1’ 26”

Tsang

Tsz Hin, Harry

Sculpture

Chan Tse Yin, 陳芷然 Krizia

Mother and daughter,

Not only two independent individuals, but also an indivisible community. To connect tightly of their hands and shoulder through wire. While they still can choose their own way. That is Mother and daughter.

母親與女兒，既是兩個獨立個體，亦是不可分割的共同體。

通過電線將彼此手， 肩緊緊牢固在一起。

但仍可各自各踏上自己旅程。

這就是母親與女兒。

kriziachan11@gmail.com 90261674

Krizia Chan t.y.kc

Mother and daughter

117 x 43 x 25.5 cm

Sculpture

Chan

Tse Yin, Krizia

Mother and daughter

2023

Wire

117 x 43 x 25.5 cm

Chan

Tse Yin, Krizia

Every strand of hair sprouting seems to represent every trouble we may encounter. How can we have a peaceful night of sleep if our trouble is enveloping our head.

三千煩惱絲，目不交睫，寢不成寐。

kekitlai@gmail.com 62880173 kikinotme

https://kitkitlai0730.wixsite.com/kitkit-lai

GOOD rest

2023

190 x 95 x 80 cm

human hair, wire, double-sided tape

From being obsessed with expressing something, to now simply playing with material based on my intuition, it’s actually more enjoyable.

Like to make sexual jokes, also like this kind of humorous material.

The more I play, the more relaxed my mind become.

從執着要表達些什麼，到現在單純以自己的直覺去「玩」一個物料， 反而「玩」得爽。

喜歡講鹹濕笑話，也喜歡這種滑稽的物料。

越玩心境越舒暢。

cocoli.ynl@gmail.com

69754546

cocoli_yeenok

Stockings, Electronic parts

Size variable

Untitled

Yee Nok, Coco

Untitled ll

2022

Stockings, Metal parts scrap

Size variable

Stockings, Waste fiberglass board

Size variable

Untitled III

無題 III 2023

So Yuk Cheung, 蘇鈺翔 SO

The experience of finding recycled materials in public spaces made me focus on the relationship between material and space. By deconstructing symbols of materials/objects, add new images to them.

I explored the relationship between “mobility” and “stability” in the works “The Moving Street Bricks” and “Moving in a Moving Train”

When I bow my head and walk, I always see bricks and think of the land. I liberated the bricks that were fixed on the ground and carved them into movable shapes.

在公共空間尋找回收物料的經驗使我著重思考物料和空間的關係。透過 解構物料/物件的符號，為其添加新的形象。

我在系列作 《街磚的移動方式》和 《在移動的車廂中移動》中探究「流動」和 「穩定」。耷低頭行路時總會見到磚頭，想起土地。我把原本固定在地面的 磚頭解放，雕刻成可以移動的樣子。

sky005002sky@gmail.com soyukcheung

The Moving Street Bricks

cement bonded bricks, baby oil; Terrazzo for street bricks as aggregate, wood; cement bonded bricks.

Size variable

Moving in a Moving Train (I) 在移動的車廂中移動(I) 2022

performance, a brick ball in a train, Inkjet print on paper and video 2’14”

Wong Sze Chung 王思頌

Between emptiness and fullness, we tightly hold on to the momentary satiation of “eating”, almost an infatuation. This series of works examine the relationship between healing and the body through the fermentation of abandoned natural food waste.

In “Ferment by Back-slopping” and “Fortification” pieces, I explore preservation, continuity, and anti-fragility notions.

Amplifying the inherent materials and processes found in nature, I reinvigorated part of previous household fermentate as raw material for the next fermentation step, merging substrate continually into a coevolutionary force.

為何我們都用「吃」，在空與滿之間，抓住稍縱即逝的滿足感？ 這系列作品通過生廚餘的發酵，探討療愈與身體之間的關係。

作品 “Ferment by Back-slopping” 和 “Fortification” 則探索當中的保存、 延續及抗脆弱性。在回添發酵中，我把前一批的部分發酵物作下一批的發酵 原材料，注入演化的力量，釀成生生不息的形態。

szechungcw@gmail.com 98608842 szechung_wong szechung.com

Ferment by Back-slopping 2023

Discarded Shanghai bok choy, stock culture substrate Size variable

LWong Sze Chung Christy

Ferment by Back-slopping 2023

Discarded Shanghai bok choy, stock culture substrate

Size variable

Fortification 2022

Discarded cabbage, rice cake, beeswax, cotton towel

62 × 35 × 40 cm

Sculpture

LWong Sze Chung Christy

O Biography 簡歷

Ceramics 陶瓷：

Education

ℓ Bachelor of Arts (Fine Art)

Ho Ka Kei, Hannah

RMIT University (co-presented with Hong Kong Art School)

Exhibition

ℓ Retain.Remain: Photography & Ceramics Duo Exhibition Yrellag Gallery 2022

Education

2022

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Out of the Blue CCA Gallery, EdUHK, Hong Kong

ℓ We sculpt, therefore we are Art One, Mezzanine Level, Convention Plaza, Hong Kong 2023

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Higher Diploma in Fine Art Hong Kong Art School

Education

2022

Exhibition

2023

Lau Jin Ki

Education

2022

2020

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Out of the Blue CCA Gallery, EdUHK, Hong Kong

Exhibition Ng Yuen Ying, Yuen

2021

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Higher Diploma in Fine Art

Hong Kong Art School

ℓ Hong Kong Colours Jockey Club Atrium, Hong Kong Arts Centre

2020

2020 Award

Education

2022

2020

ℓ Outstanding Artwork Award (ceramics)

Hong Kong Art School

ℓ Outstanding Performance Scholarship

The Self-financing Post-secondary Scholarship Scheme

Yim Suet Wing, Michelle

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Higher Diploma in Fine Art

Hong Kong Art School

Education Chan Sui Na, Sheila

2022

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

Chen Jing Xuan, Olivia

Education

2022

2020

Exhibition

2021

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Higher Diploma in Fine Art

Hong Kong Art School

ℓ Hide & Seek: Bachelor of Arts (Fine Art) Students Exhibition

Hong Kong Art Centre 10/F"

Education

2022

2020

Cheung Yuen Ching, Annabel

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Higher Diploma in Fine Art

Hong Kong Art School

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Trans/versal

HART Haus, Hong Kong

ℓ Tyche

HART Haus, Hong Kong

ℓ Space Shuffler - Imagining creative communities

HART Haus, Hong Kong

ℓ #Ew! Normal?

HART Haus, Hong Kong

ℓ 2M02

ℓ Bachelor of Arts (Fine Art)

Lee Ying Ho, Harris

RMIT University (co-presented with Hong Kong Art School)

ℓ Higher Diploma in Fine Art

Hong Kong Art School

ℓ Unseen: Higher Diploma in Fine Art Graduate Showcase 2019

Hong Kong Art School

ℓ Outstanding Artwork Award

Hong Kong Art School

2022 2021 2009 Education

2023 2022 2021 Exhibition

ℓ Bachelor of Arts (Fine Art)

Ng Toi Yee, Doris

RMIT University (co-presented with Hong Kong Art School)

ℓ Master of Arts: Arts And Cultural Enterprise

University Of Arts London & HKU Space - Hong Kong

ℓ Bachelor of Business: Business Management

Monash University - Melbourne Australia

ℓ The Unknown Material’ Live Art Festival

Tai Po Arts Centre, Hong Kong

ℓ Social Media Takeover

Digital social media platform on BACKLIT, United Kingdon x HART Hong Kong

ℓ Trans/versal

HART Haus, Hong Kong

ℓ ART SUPERMARKET 藝術超級市場

Chi K11 Art Space K11 Art Mall x Art Tube Exhibition, Hong Kong

ℓ On Your Mart

Art of Nature Contemporary Gallery x Art Tube Exhibition, Hong Kong

ℓ Tyche

HART Haus, Hong Kong

ℓ Signage of Reflex #1

PRÉCÉDÉE Art Space, Hong Kong

ℓ Space Shuffler - Imagining creative communities

HART Haus, Hong Kong

ℓ Be An Artist: 33 hours in Yau Ma Tei

Tung Nam Lou Art Hotel x Arts tell community, Hong Kong

ℓ #Ew! Normal?

HART Haus, Hong Kong

Community Art Project

ℓ Social Media Takeover

BACKLIT, United Kingdom x HART Hong Kong 2022

Digital social media platform on BACKLIT, United Kingdon x HART Hong Kong

ℓ Show & Tell: (HART/ BACKLIT) Peer to Peer UK/HK Exchange

(Continue on next page)

ℓ OUR LIVING LIBRARY Oil Street Art Space: Art Books Library

Oil Street Art Space, Hong Kong

ℓ HART x LST Community Art and Community Pilot Programme

The Lok Sin Tong Benevolent Society Hong Kong x HART Hong Kong

ℓ Anchor Site Festival 主要伙伴場地創意節

BODW CityProg 設計營商周城區活動 2021 x HART Haus Haus

BODW CityProg x HART Haus, Hong Kong

ℓ 'Curating Smithfield’ Code Map

The Hong Kong Institute of Planners, Hong Kong

ℓ Fossil Corporate Volunteering Program

Handson x Aroma Office, Hong Kong

ℓ Collect & Connect Studio

Tung Nam Lou Art Hotel, Hong Kong

ℓ City Hunt- 33 hours in Yau Ma Tei

Tung Nam Lou Art Hotel, Hong Kong

ℓ HUMBLE HART

HART Hong Kong, Hong Kong

ℓ Reaching Out Award

The Self-financing Post-secondary Scholarship Scheme (SPSS)

Hong Kong Education Bureau

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Higher Diploma in Fine Art

Hong Kong Art School

ℓ Hide & Seek: Bachelor of Arts (Fine Art) Students Exhibition

Hong Kong Art Centre 10/F

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Painting Specilization

Savannah College of Art and Design

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Associate degree in Visual Arts

Hong Kong Baptist University, College of International Education

ℓ Fung Ho-yin: Out of the Blue

HKOP Gallery, Hong Kong Open Printshop

ℓ Out of the Blue CCA Gallery, EdUHK

ℓ Being in, Being out

ACO Art Space

ℓ Scene Seen

JCCAC L6 Common Space

ℓ Fathom: Graduate Exhibition of HKBU Associate Degree in Visual Arts

Koo Ming Kown Exhibition Gallery, HKBU

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Higher Diploma in Fine Art

Hong Kong Art School

(Continue on next page)

Education

ℓ Hide & Seek: Bachelor of Arts (Fine Art) Students Exhibition

Hong Kong Art Centre 10/F

ℓ The Flow: Higher Diploma in Fine Art Graduate Showcase 2020

Hong Kong Art School

ℓ Champion of open tournament

NOVO Land x A Happy Journey Drawing Competition

ℓ Champion, Ani-com Park Harbour Fun Drawing Competition

Hong Kong Comics & Animation Federation

ℓ Best Progress Award

Hong Kong Art School

ℓ Bachelor of Arts (Fine Art)

Wong Yin Ying, Toby

RMIT University (co-presented with Hong Kong Art School)

ℓ Bachelor of Arts (Fine Art)

Wong Yue Chiu, Horace 黃宇超

RMIT University (co-presented with Hong Kong Art School)

ℓ Master of Design

The Hong Kong Polytechnic University

ℓ Bachelor of Commerce

The University of Queensland

ℓ Vice-Chancellor’s List for Academic Excellence in 2022

RMIT University

Wu Lok Wang, Marco

2022

2020 Education

Exhibition

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Higher Diploma in Fine Art

Hong Kong Art School

2020

Hong Kong Art School 2021

ℓ Hide & Seek: Bachelor of Arts (Fine Art) Students Exhibition

Hong Kong Art Centre 10/F

ℓ The Flow: Higher Diploma in Fine Art Graduate Showcase 2020

Education Yau Kit Chi, Juliana

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Diploma in Fine Arts

School of Continuing & Professional Studies, CUHK

ℓ Certificate of Holistic Western Painting Training School of Continuing & Professional Studies, CUHK

Exhibition

ℓ The 7th Joint Exhibition, White Box Friends

Jockey Club Creative Arts Centre

ℓ Graduation Exhibition of CUSCS Diploma in Fine Arts

Hong Kong Cultural Centre

ℓ Students Exhibition of CUSCS Holistic Western Painting Training

CUHK

Education

2022

2020

ℓ Bachelor of Arts (Fine Art)

Yip Chun Sang, Sami

RMIT University (co-presented with Hong Kong Art School)

ℓ Higher Diploma in Fine Art

Hong Kong Art School

2023

2020 Exhibition

2019 Award

ℓ Out of the Blue CCA Gallery, EdUHK, Hong Kong

ℓ The Flow: Higher Diploma in Fine Art Graduate Showcase 2020

Hong Kong Art School

ℓ Student Service Award 2018/2019

Hong Kong Art School

Yu Wun Man, Sally

Education

2022

Exhibition

2021

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Hide & Seek: Bachelor of Arts (Fine Art) Students Exhibition

Hong Kong Art Centre 10/F

Education

2022

Exhibition

Yung Chung Kong, Sam

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

2021

Hong Kong Art Centre 10/F 2023

ℓ Abandoned City: Yung Chung Kong solo exhibition

Mooroom

ℓ Hide & Seek: Bachelor of Arts (Fine Art) Students Exhibition

O Photography

Education

Hong Kong Art School 2022

Exhibition

Cheung Ying May, Maria

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Higher Diploma in Fine Art

ℓ Another Round: Re-imaging COVID-19 Exhibition

Pao Galleries, 5/F, Hong Kong Arts Centre

ℓ Retain.Remain: Photography & Ceramics Duo Exhibition

Yrellag Gallery

ℓ Imagery & Objecthood, Fine Art Asia 2021

Hong Kong Convention and Exhibition Centre

ℓ Girls on Film: Photography Exhibition

The Gallery, 10/F, Hong Kong Arts Centre

(Continue on next page)

Award

2022

2020

Education

2022

ℓ Outstanding Performance Scholarship

Hong Kong Education Bureau

ℓ Academic Performance Award

Hong Kong Art School

ℓ Outstanding Artwork Award

Hong Kong Art School

Education

2022

Exhibition

2023

ℓ Bachelor of Arts (Fine Art)

Sze Ching Nga, Sonia

RMIT University (co-presented with Hong Kong Art School)

ℓ Bachelor of Arts (Fine Art)

Tsang Tsz Hin, Harry

RMIT University (co-presented with Hong Kong Art School)

ℓ Fung Ho-yin: Out of the Blue

HKOP Gallery, Hong Kong Open Printshop

ℓ Out of the Blue CCA Gallery, EdUHK

Chan Tse Yin, Krizia

Education

2022

2017

2003

Exhibition

2018

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Diploma in Drawing and Painting School of Continuing and Professional Studies, CUHK

ℓ Honors Diploma in Psychology and Counseling

Hong Kong Shue Yan University

ℓ The Graduation Exhibition of Diploma in Drawing and Painting (Cycle 24)

Lai Mui Kit, Kitkit

Education

2022

2019

Exhibition

2019

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Higher Diploma in Fine Art

Hong Kong Art School

ℓ Unseen: Higher Diploma in Fine Art Graduate Showcase 2019

Hong Kong Art School"

Li Yee Nok, Coco

Education

2022

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

Education

2020

Education

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School)

ℓ Higher Diploma in Fine Art

Hong Kong Art School

Wong Sze Chung Christy

ℓ Bachelor of Arts (Fine Art)

RMIT University (co-presented with Hong Kong Art School) 2022

Acknowledgements

Yip Chun Sang, Sami

Chairman

Graduate Exhibition Committee 2023

On behalf of my classmates, I would like to express my heartfelt gratitude to the teaching staff of Hong Kong Art School and RMIT University. It is through your attentive nurturing and selfless encouragement that we have learnt to explore the path of art. I would also like to extend my thanks to the staff of Hong Kong Art School and members of the graduate exhibition organising committee for their dedicated coordination and hard work, which made the graduate exhibition a successful event. I am truly grateful for their efforts. I would also like to express our gratitude to the generous sponsors from all sectors for their strong support.

Over the years of study, I realised that observation is fundamental to art. Finding out “how to see and the reason for seeing” is a lifelong pursuit. It is only by learning to observe that we can effectively respond. However, facing realities in the world and the rapid changes in society, art often leaves us feeling inadequate, constantly questioning its impact and purpose.

I would like to borrow from Zhuangzi’s insight to address this predicament, “the usefulness of the useless is the ultimate usefulness”.

In times of turbulence, it may become difficult to assert decisive influence through art practice. With that said, it is through the nature of “futility” or “lack of function”, that art walks its unique passage silently and reaches our innermost thoughts, engenders our resonance and inspires our contemplation. The utility or futility of art takes time to settle and accumulate before they can be truly manifested. Now, let us become members of Umarell and quietly observe the transformations in society and life.

After the graduate exhibition, I hope that everyone could continue to engage and experience everything they encounter, and take their time to respond. In some future life circumstances, art will have an impact within them. Even if we were mere observers, we are always immersed in the realm of art.

With that, I wish everyone would maintain their passion and sensitivity towards life and continue to be kind-hearted individuals.

葉鎮生

2023年度畢業展學生籌委會 主席

在此，我謹代表各位同學，衷心感謝香港藝術學院及澳洲皇家墨爾本理工大學 的教職員，得到你們悉心的栽培，無私的鼓勵，使得我們學懂探索藝術之路。也

有賴香港藝術學院職員、畢業展籌委會的同學抽空統籌、工作，使得畢業展圓滿 舉辦，我非常感謝他們的付出，同時感激各界贊助人士對我們的鼎力支持。

在學數年間，我深刻了解到觀察是藝術的根本，「怎樣看、為何看」是一門 畢生學問。學懂觀察，我們才能好好回應，但面對世界各種現實處境，藝術置於 社會的巨變當中，常令我們感到力有不逮，不斷對藝術之用產生質疑。

我想借莊子的洞見回應這困境，「無用之用，是為大用」。

在大時代中，藝術或許較難直接帶來決定性的影響，但正是藉由「無用」這 特質，它才能以獨特的形式，從無聲中觸動我們內心深處的共鳴，啟發思考。

藝術的用與無用，都需要時間沉澱和累積才得以展現。現在就讓我們化作 Umarell 的一員，靜心觀察社會與生命的變革。

希望畢業展後大家可以保持用心投入、用力感受身邊的一切，再慢慢回應， 就算只是旁觀，我們也會一直在藝術當中。日後在某個人生處境，藝術就必然在 其中帶來變化。

在此，祝願大家保持對生命的熱誠、敏銳，繼續成為善良的人。

AU Hoi Lam

Teaching Staff (HKAS)

CHAN Kiu Hong Joe

CHAN See Kwong Ray

CHAN Sum Yan Tap

CHENG Halley

CHEUNG Wai Sze Rachel

FUNG Ho Yin

Dr. Caroline HA THUC

HO Chun Yu Jerry

KEUNG Chi Ming Jimmy

LAI Cheuk Wah Sarah

Dr. LAI Kin Keung Edwin

LAM Fan Shing Fanson

LAM Laam Jaffa

LAU Tak Ming Rorce

LEE Pik Wai Louise

Dr. LEE Sai Chong Jack

LEUNG Chin Fung Jeff

LEUNG Man Ho Steven

LI Tin Lun Otto

LO Ho Yee Connie

LO Man Him Virginia

PAU Ellen

SIN Long Yee Stephanie

SIU Kam Han

TSANG Chui Mei

TSANG Man Fu Matthew

WAN Chi Chung Simon

wen yau

WONG Kai Yu Blues

WONG Lai Ching Fiona

WONG Wing Fat Morgan

YU Yeuk Mui Cally

劉德銘

李碧慧

李世莊

梁展峯

梁文豪 李天倫 盧可兒

Teaching Staff (RMIT)

澳洲皇家墨爾本理工大學導師

Kay Mei Ling BEADMAN

CHENG Halley

Kris COAD

Dr. Carolyn ESKDALE

Dr. Sally MANNALL

Dr. Clare MCCRACKEN

NG Kwok Ying Isabella

Dr. Drew PETTIFER

Graduate Exhibition Committee 2023

2023年度畢業展學生籌委會

Chan Sui Na, Sheila

Chen Jing Xuan, Olivia

Cheung Ying May, Maria

Cheung Yuen Ching, Annabel

Ho Ka Kei, Hannah

Kwok Ting Nui, Coey

Lai Ka Man, Kit

Shin Ka Meng, Kelly

So Yuk Cheung, SO

Tsang Tsz Hin, Harry

Wong Hoi Ching, Hebe

Wong Waverly, Wave

Wong Yin Ying, Toby

Wong Yue Chiu, Horace

Yau Kit Chi, Juliana

Yim Suet Wing, Michelle

Yip Chun Sang, Sami

Yu Wun Man, Sally

Yung Chung Kong, Sam 陳穗娜

嚴雪咏 葉鎮生 余瑗文 翁松江

Special Thanks

Ms. CHENG Wai Yin Chris

Ms. CHEUNG Wai Sze Rachel

Dr. LAI Kin Keung Edwin

Ms. LAM Laam Jaffa

Ms. LEE Pik Wai Louise

Ms. LO Ho Yee Connie

Ms. TSANG Chui Mei

Mr. WONG Ka Shing

Ms. WONG Lai Ching Fiona

Administrative and Technical staff at RMIT University, Hong Kong Arts Centre, and Hong Kong Art School

Vitamin D Award sponsors

Dr. LAI Kin Keung Edwin

Ms. WONG Lai Ching Fiona

Ms. LAM Laam Jaffa

Ms. CHEUNG Wai Sze Rachel

Vitamin D Award Judges

Mr. Chan Wai Kit, Hector

Dr. Ho, Daphne Alexis

Mr. Li Ning

Ms. Ma Wing Man, Mandy

Mr. Ocean Leung

Mr. Tung Wing Hong

All 2023 Graduates

Award Sponsor

獎項贊助

Mr. LEE Boon Ying for the Boon LEE Award

An anonymous support from Hong Kong Art School alumni for Mr. Jerry Kwan Memorial Scholarship Mooroom Award

WMA Graduate Award

Mooroom was founded in December 2022 by four graduates of Hong Kong Art School Alumni Kenneth, Makkie, Jackie and Kristy. It consists of three parts: Studio, Gallery, and Workshop. The place allows emerging artists of different media to create and exchange art, hold exhibitions, and use the teaching room to host art-related workshops, drawing on experiences from different fields.

We hope that Mooroom can become a link between everyone and the art world.

Mooroom 是由四位同屆的藝術學院畢業生 Kenneth, Makkie, Jackie, Kristy 在2022年12月 創辦。主要由 Studio, Gallery, Workshop 三部分 組成；整個空間可以讓不同媒介的新進藝術家 以藝術創作、交流、舉辦展覽，和使用教學室 舉辦藝術相關工作坊，從中汲取不同範疇的 經驗。

我們希望 Mooroom 這個空間能成為大家 及藝術之間的連結。

Mooroom.hk

mooroom.hk@gmail.com

Supporting Organization

支持機構

1a space, founded in 1998, is an independent, non-profit making contemporary visual art organization and art venue founded by a collective of Hong Kong artworkers. 1a space aims to promote the making, experimentation, exchange and dissemination of contemporary art both in Hong Kong and in the international arena.

Over two decades, 1a space has developed into one of Hong Kong’s leading contemporary art organizations. It has produced more than 170 exhibitions and activities, and has been active in international exchanges, cultural festivals, participatory community art, as well as art education and publication.

1A Space

1a空間於1998年成立，由香港藝術 家集體創辦。它是一個獨立及非牟利的 當代視覺藝術組織和藝術場地。1a空間 積極推動本地及國際當代藝壇的創作、 實驗、交流以及傳播。

經過多年來的努力，1a空間已發 展成香港主要的當代視覺藝術機構 之一。迄今，1a空間已製作及策劃超過 一百七十個展覽和活動，當中包括國際 交流、文化節、社區互動藝術、藝術教 育、藝術賞析、藝術評論和出版。

1a_space

info@oneaspace.org.hk

1a space https://www.oneaspace.org.hk/

Established in 2021, Art6 Gallery is an independent contemporary art gallery presenting works of emerging contemporary and established creators around the world. The gallery is founded by a group of vibrant professionals, the elites of the town that is dedicated to Art and Tech, and the exploration of the world of great art and contemporary culture. We aim to create an innovative community and make use of tech and charity to connect new generation of collectors and valuable art pieces.

We are bridging the gap between people, tech, innovation & physical Artworks, focusing on Art investment for investors and consultation across different mediums, directly providing brands integrate solutions and Art event planning, especially showcasing unique art collections from talented artists that embody culture and society today. Art6 aims at providing media and marketing plan for artists, building ip from artists, develop design related characters and animation.

art6_gallery

info@art6studio.com

Sinag Art Space

Sinag Art Space is an independent artist run space located on Lamma Island, a self-sustainable art space, to promote and celebrate cultural collaboration in various artistic forms. To generate ideas and strive to contribute to the arts’ advocacy through creative activities and reach out to the community. We hope to inspire others to create and deepen their appreciation of art. We run workshops; life drawing, art lessons, poetry nights, music performances and exhibitions.

Sinag is where life and arts merge.

Sinagartspace_lamma_hk

info.sinagartspace@gmail.com