Quoting from the book Let's go Somewhere Beautiful by Ali, in a time when most individuals talk to each other like an empty light bulb, people who choose to take every step with me are my guiding light - Thank you Rhett D'Costa, Alex Heung, Ivy Ma, Clement Chan, family and friends for being there and making this journey full of colouful brightness.
江俊雅 KITTY KONG 觀看與被觀看者之間 Observer as the Observed
觀看與被觀看者之間 Observer as the Observed
前言 Foreword I 觀看與被觀看者之間 Observer as the Observed 生活在都市 觀看和被觀看者
Life in the Urban The Observer and the Observed
II 文字和影像 Text and Images 關於慾望 關於孤獨 關於記憶 植物 雞 房間 舞台
On Desire On Solitary On Memory The Plant The Chicken The Room The Stage
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On Paper Images
III 作品 Works 關於紙張 影像
關於江俊雅 About Kitty Kong 參考目錄
這是一組以記憶及想像的虛擬空間紀錄日常的作品。透過參照相片和日常觀察， 我的作品表達在都市的日常生活和常規，如何改變著我們的行為習慣和對社會及 自身的感覺。 作為一個生活在城市的人，我每天都在透過窗戶去觀察別人。而且，受到家附近 的一片人工草地啟發，我意識到自己對觀察都市人的行為習慣感到興趣，他們與 城市空間的互動揭示著城市的精神狀態－時間性、乏味及重複性，不時讓我感到 荒誕、複雜且難以理解。但同時，當我在觀察人們，或是嘗試把他們轉化在作品中， 我發現自己其實也是他們的一份子。 我的作品紀錄著細碎及無法平息的思緒，質疑著我們於都市的生活方式，當中抒 發的情感看似個人體會，卻能勾起各人共鳴。最終，我的作品裡表達著對慾望的 追求－渴望人性化的慾望。
This body of artworks explores ideas of virtual spaces of memory and imagination that record our daily life experience. Drawing on references from photos and daily observations, my work aims to explore how everyday lives and routines in the urban – a place of temporality, mundaneness and repetition – shape our behaviors and perception towards the society and ourselves. As a person living in the urban, I always have a chance to observe others through the window every day. Hence, inspired by the piece of artificial grassland near my living place, I recognize my interest in observing patterns within the behaviours of urban humans. Their interaction with the urban space reveals the mentality of the city – temporal, mundane and repetitive- which sometimes makes me feel odd, complicated and unnatural. Yet at the same time, when I am observing them or trying to capture them onto my work, I realize that I am spectating myself too. My works are archives of unresolved and unsettled emotions that question the way we live in the urban. The expressions within are sometimes personal, yet universal. Ultimately, I believe my work expresses desires – the desire for humanness.
Park | 公園 Watercolour on paper 29 x 20 cm 2016 8
I 觀看與被觀看者之間 Observer as the Observed "It all begins from a piece of artificial grassland."
觀看與 Observer a
生活在都市 Life in the Urban
夜／ Night 在城市中，每天晚上都亮著無數燈火。從我的角度觀看，這些燈並非反映著人的存 在，而是空無一人的孤獨感。／ In the city, many lights are being automatically lightened up every night. From my point of view, the lights do not indicate human presence but the absence.
與被觀看者之間 as the Observed
Night | 夜 Inkjet Print 40 x 50 cm 2016 11
日／ Day 生活在容器的人們和自然 四個層次中的天空、山、大廈和樹林／ People and nature in containers The sky, the mountain, the buildings, the woods in four layers
Flower Pot | 盆栽 Watercolour on paper 29 x 20 cm 2016 12
Mountain and Woods | 山和樹 Acrylic on paper 29 x 20 cm 2016 13
Tree | æ¨¹ Acrylic on paper 32 x 24 cm 2016 15
人／ People 保持距離、各自孤立 同時在忙著某些東西 卻不知道在忙什麼／ Distant, isolation Yet doing the same thing but don't know what they are doing 16
Distance | čˇ?é›˘ Watercolour on paper 28.5 x 38 cm 2016 17
觀看和被觀看者 The Observer and the Observed "Yet high over the city our line of yellow windows must have contributed their share of human secrecy to the casual watcher in the darkening streets, and I was him too, looking up and wondering. I was within and without, simultaneously enchanted and repelled by the inexhaustible variety of life." --The Great Gatsby by F. Scott Fitzgerald 19
觀看者／ The Observer 觀看者常以主觀的目光觀看。他只能看見自己渴望看見的事物，因此他其實一直 都在觀看自己的倒影。／ The observer always looks at things with subjective eyes. He only sees what he wants to see. Therefore he is constantly looking at the reflection of himself.
Reflection | 倒影 Coloured pencil on paper 29 x 20 cm 2015 20
Neighbourhood | 鄰居 Acrylic on paper 29 x 20 cm 2016 21
Basketball Court | 籃球場 Watercolour on paper 29 x 20 cm 2016 22
被觀看者／ The Observed 被觀看者埋藏於潛意識中，它經常來自日常生活，需要契機才能被發現。／ The observed is hidden inside the subconcious. It always comes from our daily lives, but we tend to realize it randomly or all of a sudden. 23
II 文字和影像 Text and Images Fragmented ideas from myself and others
關於慾望／ On Desire We treat desire as a problem to be solved, address what desire is for and focus on that something and how to acquire it rather than on the nature and the sensation of desire, though often it is the distance between us and the object of desire that fills the space in between with the blue of longing...somewhere in this is the mystery of why tragedies are more beautiful than comedies and why we take a huge pleasure in the sadness of certain songs and stories. Something is always far away. Rebecca Solnit, A Field Guide to Getting Lost
Peeping | 偷看 Acrylic on paper 28.5 x 38 cm 2016 27
The artist who painted with colours of desire - Kaye Donachie.
Kaye Donachie We wait for one last adventure Oil on canvas 46 x 61 cm 2005 29
Every day my mom stares at the window and says that the night view of Hong Kong is so beautiful. But what I see, is that I don't want to die here and get buried in there.
24 August 2016
關於孤獨／ On Solitary I listen to christmas songs whenever I feel sad or lonely. They are the most precise memories from childhood.
26 August 2016
Maybe I can never get rid of this kind of life I am well-trained to be this kind of person It is already a setting in my 'human nature' Do 'I' even exist? Do we not own the 'I' since we were born? Are we just mixtures, replicants of other people or belief? If there is no such thing as origin or originality, where do I belong?
2 November 2016
Wandering in Urban | 徘徊在都市 Photos of paper model Size variable 2016 33
關於記憶／ On Memory We are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost. Gaston Bachelard, The Poetics of Space
I dreamt of having a conversation with a flock of people. They thought they were social workers and started rehabilitating me. 11 October 2015
This small corner of the landscape - which I had never particularly noticed before - caught my eye and pleased me. Pleased me like a particular face one may see passing in the street, unknown, even unremarkable, but for some reason pleasing because of what it suggests of a life being lived. John Berger, And our faces, my heart, brief as photos
The Hole (After Serban Savu) | çŞż Watercolour on paper 21 x 13.5 cm 2016 36
Selectively lost memory | 選擇性失憶 Watercolour on paper 21 x 13.5 cm 2016 37
When I was small, I hated waiting for my parents at the mtr during rush hours. To make time flow faster, I counted the number of people who were wearing specific colour of shoes.
1 red, 1 yellow, 5 black | 1 紅 1 黃 5 黑 Acrylic on paper 28.5 x 38 cm 2016 38
Let's Play | 不如一齊玩 Acrylic on paper 29 x 20 cm 2016 39
She died But when I look at the photo The photo is just a photo Nothing can represent her
28 May 2016
She did not die She was as beautiful as the day she was born From earth and back to earth like a flower fallen from the sky The weight of her life has gone But the lightness remains
29 May 2016
ć¤?ç‰Šďź? The Plant The form of the plant originates from the healing herb of the computer game, Resident Evil/ Bio Hazard, which is used for curing zombie bites. I believe each plant in my paintings represent different ideas. Sometimes it can be related to time, witnessing and more...
In Between | 兩者之間 Watercolour on paper 20 x 20 cm 2016 43
é›žďź? The Chicken What fascinates me about chickens is the default setting of their lives. They are born to be givers, victims and short-lived creatures. They cannot flee with their wings. They are constantly in a state of innocence and replacement.
Flying Chicken | 飛雞 Acrylic on Canvas 50.8 x 60.9 cm 2016 45
房間／ The Room The setting of the room usually comes from my daily lives, especially home. Home is the most relaxing and personal space, therefore placing objects or scenarios within will reflect my subconcious mind.
Edward Hopper Summer Evening Oil on canvas 76.2 x 106.7 cm 1947
Edward Hopper's work has been one of my major inspirations regarding the composition, lighting and shading.
舞台／ The Stage 目擊者、煽動者、沈默者、哀悼者、逃避者、領導者、騎劫者、謠言者、流浪者、 漂流者 ... 世界依舊是一個大舞台，角色多重身分，自由發揮。台上的人感到水 深火熱，台下觀眾卻為此拍案叫絕。／ The witness, intigators, muted, mourner, escaped, leader, freerider, rumour, roamer, drifter... As I see, the world is still a stage. All the characters can express freely and have overlapping identities. The people on stage is feeling intense while the audience is cheering for the play. 10 November 2016
Red | 紅 Coloured pencil on paper 28 x 38 cm 2015 The Enforcer | 執法者 Coloured pencil on paper 42 x 29.7 cm 2015 50
III 作品 Works Documentation
關於紙張 On Paper
喜歡紙張主要是因為它很接近「人」的感覺，無論正確或是錯誤的決定，都會成為 紙張歷史的一部分。與畫布不同，我們無法以顏料厚塗覆蓋並重新開始，因為這會 損毀物料本身的特性。使用紙張也同時讓我能誠實面對自己及鼓勵自己不斷改進。 ／ Paper gives me the closest feeling of 'human' as the right and wrong decisions will become part of the history. Unlike canvas, you cannot cover the whole thing and restart it because that will ruin the nature of the paper. Using paper also implies honesty to myself and motivates me to strive better each time.
( 先後次序排列 /In chronological sequence)
Spectator | 旁觀者 Acrylic on paper 28.5 x 38 cm 2016 56
Nature | 自然 Acrylic on paper 28.5 x 38 cm 2016 57
Together | 在一起 Acrylic on paper 28.5 x 38 cm 2016 58
Waiting | 等待 Acrylic on paper 28.5 x 38 cm 2016 59
Cargo | 貨櫃 Acrylic on paper 37 x 44.5 cm 2015 60
Window Shopping (After Edward Hopper) | 逛街 Acrylic on paper 38 x 43.5 cm 2016 61
Witness | 目擊者 Acrylic on paper 45 x 38 cm 2016 62
Digging a Hole | 掘窿 Acrylic on paper 33 x 43 cm 2015 63
I only see what I want to see | 我只能看見我想看見的 Acrylic on paper 32.5 x 44.5 2016 64
Backstage | 後臺 Acrylic on paper 60 x 60 cm 2016 65
The Obsessed | 著迷者 Acrylic on paper 56 x 76 cm 2016 66
關於江俊雅 About Kitty Kong Born in 1994, Hong Kong. Education 2017
BAFA, co-pressented by RMIT University and Hong Kong Art School
Solo Exhibition 2016
Parallel Space, "The Art Journey" collaborated by Hong Kong Art
School and Youth Square, 6/F, Youth Square, Chai Wan
Group Exhibition 2016
No-body Discourse, Nagist Group, Art Experience Gallery
《虛無》, HKCAA 10th Anniversary Group Exhibition, JCCAC L1 Gallery
Asia Contemporary Art Show (Spring Edition)
Scholarship, Rome Art Program
Championship (alumni group), Maryknoll Convent School 90th
Anniversary Photo Competition
Ali, Let's go Somewhere Beautiful, Kubrick, 2012 F. Scott Fitzgerald, The Great Gatsby, Oldcastle Books, 2013 Gaston Bachelard, The Poetics of Space, Penguin, 1958 John Berger, And our faces, my heart, brief as photos, Bloomsbury, 1984 Rebecca Solnit, A Field Guide to Getting Lost, Penguin, 2005
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影像／ Images Edward Hopper, Summer Evening, oil on canvas, 76.2 x 106.7, 1947, photo courtesy edwardhopper.net Kaye Donachie, We wait for one last adventure, oil on canvas, 46 x 61 cm, 2005, photo courtesy Maureen Paley Gallery The Great Gatsby, photo courtesy genius.com
Published and written by Kitty Kong in Nov 2016 email: email@example.com website: www.cargocollective.com/kongchunnga All rights reserved. No part of this publication may be reproduced without written permission from the author. 68
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