1.「關懷倫理」探討在社會脈絡中，照顧者和被照顧者之間的關係和雙方的福祉，涵蓋個人、社會、環境層面。有關「關懷倫理」 的簡史、應用和評論，可見 “Care Ethics”, Internet Encyclopedia of Philosophy, https://iep.utm.edu/care-ethics/.
The first exercise: beginning with a ball of clay, pinch what's on your mind.
Clay has a good memory. It remembers every pinch and fold. What it has gone through often emerges after firing.
Ceramics for Care is also the result of a long process. Over the past few years, communities have crafted hundreds of pieces, all encapsulating humble but significant personal stories. As participants took a breather, focused, imagined, explored, shared and bonded in our temporal studio, these processes shaped this art project as social practice. Human processes are even softer than clay. Moving moments fleet in time, but their imprints endure. Like indelible clay, this commemorative album recollects how this storied vessel was handbuilt with care.
Point of Departure
Ceramics for Care is an expansion from Take a Break Studio (2021-2022), a programme of Jockey Club Peoples’ Art Connective. During the pandemic, the art team at MaD reflected: How could socially oriented art get into society and respond to the many challenges of the time? In our capacity as a curatorial team, we brought together likeminded partners from different disciplines and tried to ground artistic practice outside the white cube.
We are honoured to team up with veteran artist Norwich Wong and Caritas Residents Mutual Help Centre—Kwai Chung and welcomed a dozen mothers who singlehandedly cared for their families. When we met for the first time, to break the ice, we casually asked about their favourite foods. Most answered, “I eat what my children like.”
In stark contrast with the habitual emphasis on the self in modern and contemporary art, the mothers’ selflessness presented a totally different reality—a reality true to countless carers. The pandemic has shed light on the heavy load on carers (such as healthcare and cleaning workers, housewives, etc). Care ethics, emerged in the 1980s, once again demanded critical attention: in a society obsessed with visible outcomes, have we noticed our unsung heroes? Are selfless contributions acknowledged, or simply taken for granted? When carers give endlessly, who looks after them? Or, at the very least, do they have a moment of care for themselves? 1
The social became personal as we looked at these mothers in the eye. We called one another by first names, and handbuilt worlds side by side. At the beginning, the mothers made loving vessels with their skilled hands. Gradually, they discovered their personal styles, and within them, their deeper needs. Eventually, they conveyed their wishes. As their techniques improved, they became less concerned with perfection…
After a year and a half, the mothers found moments of respite in ceramics. They also opened a window for self-reflection. Take a Break Studio concluded in 2022, but a project that touches life must continue. Fortunately, with generous support from the Robert H. N. Ho Family Foundation Hong Kong, Take a Break Studio evolved into Ceramics for Care in 2023.
1. “Care ethics” inquires into the relations between the wellbeing of carers and care-receivers in personal, social and environmental contexts. See “Care Ethics”, Internet Encyclopedia of Philosophy, https://iep.utm.edu/care-ethics/ for a brief history, applications and criticisms.
From Take a Break to Ceramics for Care
Ceramics for Care is an expansion of Take a Break Studio. With handbuilt ceramics and conversation as our primary media, we reached out to more carer communities and strove to elevate personal transformation to a communal level. Project sustainability was integral to our exploration of long-term synergy between art and social work. The curatorial team, dedicated ceramics facilitators, partnering organisations, social/ welfare workers and participants from diverse communities fuelled the project with their enthusiasm and creativity, and co-created its organic development.
Together with Caritas Labour-Friendly Communities Project, we introduced ceramics to cleaning workers—frontline carers of our city. After a day of hard labour, making time for ceramics is never easy, especially when domestic duties await the carers at home. Fish, Kin and Ling from Caritas gave 200% to bring together a group of inspiring participants. Chatting over ceramics, conversations sometimes touched on work. To make workers visible is a major advocacy of the Labour-Friendly Communities Project. Through ceramics, we hope to not only acknowledge their professional identity but also honour them as whole individuals. The social workers and ceramics facilitators designed the sessions thoughtfully. We gathered natural materials in the vicinity and made ceramics plein air, crafted festive ornaments to reflect on the new year, and connected individuals through acts of co-creation. The process was filled with memorable moments: when Kin had to be excused for an emergency and could not finish his planting pot, the workers took the initiative to paint it for him; after decorating her new year plaque with a fruitful tree, a worker remarked, “At this age, I’ve given so much to my life and family. I work hard and hope to be rewarded.” These are all testaments to the long-term relations and empowerment cultivated by the Labour-Friendly Communities Project. On this solid foundation, art added colour.
When welfare worker Ling painted a moon on her slab-built plate, a cleaning worker echoed with a sun on hers.
Most elders were new to ceramics. They are nonetheless very open and vividly conveyed lived experiences.
Our collaboration with Hong Kong Lutheran Social Service, LC-HKS Rhythm Garden Lutheran Centre for the Elderly ushered in groups of elderly. Attending to these senior retirees, who have spent their whole lives building our society, our approach was thematic, inviting them to express what they had in mind, celebrate successes and tend to their psychological needs. Elders affected by the redevelopment of Choi Hung Estate conveyed their emotions on commemorative plates. Those living with dementia, alongside their carers, pinched clay to capture what they held dear. Secluded elders expressed pride and hope through handbuilt objects. We were, essentially, their cheer squad—passing them soft clay and witnessing, borrowing the words of social worker Neko, the poetry of life composed with their seasoned hands. Brimming with humour, emotion, wisdom and resilience, their works are always authentic. Colleagues from the Lutheran Centre were unwavering in their support. In addition to facilitating the process professionally, they also organised taster workshops for colleagues across roles to explore how ceramics might integrate into elder care services.
Members of 1st Step Association were extremely creative. A participant carved fish scales with her fingernail.
Crossing paths with 1st Step Association’s support group for carers brought us to even more poets of life. At our first meeting, two couples travelled all the way from Fanling to the centre in Kai Yip Estate. Over conversations, it dawned on us that most buses in Hong Kong only offer one space for wheelchair users. If more than one person needs it, the second must wait for the next bus. Later, social worker Hiu-yan tried to book a rehabus, and we realised how hard it was to secure a seat. Despite these challenges, the participants’ always made our day with their enthusiastic attendance. We were blown away by their creativity. Although some were a bit unsure at first, clay quickly worked its magic. Their inspirations flowed boundlessly: charming infant toys, sushi with popping roes, a dinosaur guarding eggs of friendship, a wish-making bunny, a giant ring marked with “I ♥ U BABY”, a humphead wrasse eventually collected by a facilitator, a scenery “as you see it”... These unadorned expressions speak lucidly of life, feelings and imagination. Over ceramics, a community formed. People laughed, shared and connected. In the final tea gathering, the participants surprised the team with a handmade card. It holds this original limerick:
Made in class, ceramics in all styles. Lots of facilitators, full of laughter.
Mothers took on the role of facilitators and shared their love of ceramics with other communities.
Last but never least, together with Tai-lung and Samy at Caritas Residents Mutual Help Centre—Kwai Chung, where everything began, we felt the power of time. Some mothers from Take a Break Studio have stayed with us over the years; others joined when we moved onto Ceramics for Care. For this growing group, ceramics has become a cherished part of life. When guided practice was no longer enough, they started independent practice. We visited exhibitions together, after which a mama said, “We can make more art.” Their works remain full of love—for their families, and increasingly, for themselves. In the trusting community, they shared all flavours of life and supported one another through highs and lows. They stepped up as facilitators, sharing their passion and sparking inspirations in others. Some brought ceramics to their children’s school and church, weaving our network outward into the wider community.
Almost three years. Hundreds of gatherings. Bit by bit, we handbuilt Ceramics for Care. What began as a gentle space for relief has grown into a robust community. It takes on a slightly different shape in every community, but at its core are transformation, genuine interactions and memories to nourish the future.
Looking Back and Forward
This text is written near the end of Ceramics for Care 2023-2025. While preparing for the concluding exhibition and this publication, the MaD team also invited experienced practitioners in related fields to contribute to the review process.
Christine Choy, a social scientist-turned-researcher and educator in the creative industries, art and cultural studies, has been an old friend since the days of Take a Break Studio. Through first-hand observation and interviews with stakeholders, she has witnessed our evolution and sees Ceramics for Care as a “Third Place”. The project’s inclusive, lively and imperfection-embracing take on art, the delicate balance between community-building and individual care, and a relaxing, respectful and convivial spirit constructed an open, down-to-earth, joyful and chatty “Good Place”. Such a place has positive impacts on individuals. It also fosters social wellbeing, civic participation and a sense of belonging—vital in times of isolation and polarisation.
In this collaboration between art and social work, the participation of social workers has been crucial. Benjamin Sin, veteran social worker with decades of experience in community building, was invited to retrace the project from the perspective of social work and offer recommendations for our next chapter. He proposed a “circle of practice” and engaged colleagues from different organisations in a series of dialogues. By revisiting participants’ feedback and conducting further inquiry, the cross-centre circle identified the essence of our synergy: in a threshold where disciplines meet, art’s edge on non-verbal communication stretches the dimensions of normatively languagedriven social work; as communities give form to their stories in the context of social services, art is grounded as an empowering medium.
Christine and Benjamin’s analyses are included at the end of this publication. I would like to highlight how the review process itself has become a pivotal step for the entire project. Our rounds of discussions shared the spirit of the occasional tea gatherings. They allow us to put experiences into perspective, spelt out our camaraderie and articulated our shared vision. We all hoped that Ceramics for Care will not end in 2025. The road ahead is still uncertain, but our imagination is vivid: Caritas Labour-Friendly Communities Project fancies wider exposure through “takeaway” experiences at signout stations; Hong Kong Lutheran Social Service, LC-HKS Rhythm Garden Lutheran Centre for the Elderly is eager to incorporate ceramics into services for elders’ psychological needs; Caritas Residents Mutual Help Centre—Kwai Chung plans to open doors to more newcomers, while supporting returning participants to further pursue their passion and become “ceramics sharers” in the community. We also discussed about sharing resources and expanding collaboration with more stakeholders.
Walking alongside with us were our dedicated ceramics facilitators. As the project grew, Norwich passed the baton to a few kind-hearted and open-minded young practitioners. Among them were Lam Hoi-yi, who always keeps the mamas in her heart even in her own ceramics pursuits; Lau Jin-ki, happy to receive little treasures from the cleaning workers; and Ng Yuen-ying, who was initially anxious but ended up having great times together with the elders and members of 1st Step Association. Touching encounters with communities rarely present in conventional art institutions brought new perspectives to the artists, who did not only teach a craft but also held space with care. With a strong sense of belonging, the facilitators look forward to greeting new communities and interacting with participants in greater depths.
Everyone is an Artist
During one of our circle of practice meetings, Benjamin asked, “Taking one step further, can some participants become artists?”
The question brought to mind Joseph Beuys, the German artist who put forth the idea of “social sculpture.” In the wake of World War II when the world was facing unprecedented challenges, Beuys believed that art needed to be reimagined with a broader vision. He said, “Everyone is an artist.” 2
To Beuys, an “artist” is someone capable of feeling and creating freely, autonomously and consciously. “Art” is not limited to artifacts. It addresses all aspects of life and manifests in many forms—a ceramic cup reminding carers to care for themselves, a small space of comfort carved out from daily burdens, the appreciation of differences without judgement, the ability to listen and share, the belief in possibilities beyond inertias… When everyone can be creative in this all encompassing way and reshape their lives, society can be sculpted into a living organism, embodying critical ideas about what is good and beautiful, realising worlds as we imagine.
This too has been the path of Ceramics for Care. The sculptability of clay reminds us: creativity is a form of agency; art touches us most when it moves life. In the midst of this dynamic journey, this commemorative album-cum-catalogue presents the artists and their creations side by side.
2.
Beuys’ widely cited statement on “social sculpture” and “everyone is an artist” was first published in English in Caroline Tisdall, Art into Society, Society into Art (ICA, London, 1974), 48.
Journey
Take a Break Studio of Jockey Club Peoples' Art Connective
Mothers from Take a Break Studio + newly joined mothers
Ceramics facilitators
Norwich Wong, Lam Hoi-yi
Activities
Induction classes + tea gatherings
Guided practice
Independent practice
Exhibition visits
Taster workshops for other communities
Caritas Labour-Friendly Communities Project
Participants
Cleaning workers
Ceramics facilitators
Norwich Wong, Lau Jin-ki
Activities
Induction classes + tea gatherings
Guided practice
Hong Kong Lutheran Social Service, LC-HKS
Rhythm Garden Lutheran Centre for the Elderly 1st Step Association
Participants
Elders affected by the redevelopment of Choi Hung Estate, elders living with dementia and their carers, socially isolated and frail elders
Ceramics facilitators
Norwich Wong, Ng Yuen-ying
Activities
Induction classes + tea gatherings Taster workshops for staff
Participants
Wheelchair users and their carers
Ceramics facilitators
Norwich Wong, Ng Yuen-ying
Activities
Induction classes + tea gatherings
Guided practice
“Beyond offering relaxation, the creative process has guided participants to reflect on their lives, daily experiences, communities, relationships and their sense of self.”
Tracy Fan
Former social worker at Caritas Residents Mutual Help Centre—Kwai Chung
Partnering social worker of Take a Break Studio and Ceramics for Care
Working in the community, I have come across many dedicated women who put their families before everything. They are at a loss of words for their individual stories, especially amidst social and traditional confines. I always wonder, how can I encourage them to care more about themselves and express what they have in mind? In 2021, the MaD team approached our centre for collaboration, offering an opportunity for the women to relieve stress through ceramics. I thought, if the mothers can relax through art, why not?
As we worked together, I sat besides the mothers and got acquainted with ceramics. Touching clay for the first time is memorable. It is soft, malleable and free. Everyone pinched something uniquely reflective of their characters and thoughts. Clay can be recycled, so everyone dared to try. Eventually, they learnt to appreciate their own works and no longer minded imperfections.
Ceramics plays unimaginable magic. The mothers would put aside their domestic duties and make time for practice. In this non-judgemental space, they gave form to what was beyond words—hopes, faith, sense of belonging and love for their family. Through exhibitions, they presented their sincere feelings to the community.
The project has far exceeded my expectation. Beyond offering relaxation, the creative process has guided participants to reflect on their lives, daily experiences, communities, relationships and their sense of self.
This journey has not only been rewarding for the mothers. It inspired me as well. I began making ceramics in my spare time to gather my thoughts. The project also opened doors to a new way of working: drawing on the inner strength of communities and enabling self-transformation through art.
My teacher once said that social work is a continual process of trial and error. Looking back, I am grateful for the MaD team and the ceramics facilitators for our co-learning, bold practice and exploration of the synergy between art and social work. After each class, we would passionately share our observations and inspire one another. The process was immensely enjoyable, and I am honoured to be part of it. I am also thankful to my organisation for the space it provided to realise our vision.
As an early member of Ceramics for Care, I am deeply moved to hear that the project has expanded to other communities. I hope more people can be empowered to express themselves through ceramics, and more colleagues can inject new energy to communities using this method.
一捏一捏的印記 ， 盛載生命 ， 不求完美 。
Far from perfect, these works matter because they are imprints of life.
Caritas Labour-Friendly Communities Project believes that treating cleaning workers with kindness is a sign of a compassionate community. With health, safety and respect at its core, the project advocates health and workplace safety, and expands imagination and possibilities of life by cultivating interests in pursuits beyond work.
After a day of hard work, from dusk till dark, workers made time for ceramics and took a moment to breathe. They gathered together, channeling their thoughts through clay. Lumps of clay were kneaded, pinched, shaped, and carved—transformed into one object after another. Through this process, the workers discovered their creativity and agency. They crafted simple yet powerful items—New Year lucky charms, miniatures of their favourite foods, vessels with stories—each piece infused with uplifting energy and kind intention. These peaceful, focused moments brought a refreshing rhythm to life. In regular gatherings, full of warmth and laughter, the workers connected with one another and got recharged.
「他們的作品不僅是器皿，亦記錄着勞動的尊嚴 與對美的重新定義。」
“They made vessels that carry the dignity of labour and redefine beauty.”
The ceramics workshops for cleaning workers began with a simple aim: to offer respite from day-today hard work. To our surprise, these moments also created space for storytelling and transformation. Over clay, workers gave form to their thoughts on career, family and their own selves.
Ceramics-making, all the way from kneading to firing, inspired workers to take things as they are and appreciate the beauty of imperfection. It liberated them from a monotonous routine—work, cooking, and sleep—and brought colour to their lives. For example, some learned to relax and face challenges with greater ease. Some felt empowered and gained confidence as they realised, “I can do it too.” Ceramics became a means of communication beyond words. They do not have to be articulate in words to express what their thoughts and feelings.
We held space for understanding and collaboration without judgement. Apart from making individual pieces, the group worked together as well. They witnessed one another's progress, formed a close community and found solace in creativity. They made vessels that carry the dignity of labour and redefine beauty. Clay teaches us to value processes over outcomes, as transformation emerges over time.
Please explore these stories of strength the workers endearingly told through clay.
The bowl on the right, with a perfectly even rim, demonstrates the progress Meiyan has achieved in ceramics-making. She said her first bowl (left) was wonky. Its rim and foot-ring were misaligned.
Thanks to all the tips shared by the facilitator, she eventually learnt the craft. Her dry fingers hurt when making ceramics in winter, but she persevered, polishing the bowl as much as she could. Finally, an elegant bowl with a perfect finish brightened her day. She gained a lot of confidence as the result exceeded her expectations.
Wun-chi learned something profound from her pot-turned-plate. Initially, she made coils for a flower pot. But the coils became too heavy to build up on. The pot turned into a plate.
The seeming failure did not discourage Wun-chi as cracks and misshapes hinted at new possibilities. On the plate, she drew a vibrant landscape enlivened with cute little monkeys. A “failure” evolved into a lesson about unlimited possibilities in life. She happily took the plate home and served fruits with it.
Xiuying cannot be prouder of her rectangular plate. She had been on the lookout for a plate that would fit her steamer perfectly. Eventually, she decided to make one herself.
After rounds of testing and adjustments, this sturdy and versatile plate, best for steaming fish and dumplings, came into being. Xiuying sang its praise, “Store-bought ones can never compare!”
This bowl, characterised by nail imprints, is Miu-chu's favourite. With long nails, hand-pinching was challenging. She had to constantly smooth out the marks, and nearly gave up.
One facilitator thoughtfully offered another perspective: “These marks are yours—why not see them as art?” After firing, Miu-chu was amazed by how the marks caught nuanced colours. What frustrated her before emerged as a signature touch. The bowl is now a gem.
To make a plate this large, Yat-mui had to pound the clay repeatedly to make a flat slab. The process was exhausting, but she loved the sensation.
This huge plate is perfect for generous servings. She adorned it with a radiant sun as a symbol of her life motto. She is always kind and warm to others. It also conveys her wish. On her dining table, this nourishing sun shines and brings warmth to her family.
This cat-shaped bowl holds a subtle but deep connection between Yim-chu and her daughter.
Yim-chu's daughter, who was studying abroad, joined Yim-chu for a ceramics class when she was home during the summer holiday. Together, they pinched the shape of the bowl. The daughter had to leave for school and could not finish the underglaze. But she had a plan for Yim-chu, and the bowl became a vessel of shared joy and mutual trust. Whenever Yim-chu sees the bowl, she thinks of her daughter. It calls to mind the fond memory of making ceramics together.
Among her works, Meimei's favourite is this New Year decoration. Featuring an apple tree in red and green, it says “peace and good health”. In Chinese culture, apples are symbols of peace because the words contain homophonic characters.
She hangs this lucky charm above her calendar at home. When sunlight filters in, it shines. Every time when she looks at it, she repeats her New Year wish: May her family be blessed with what the charm promises. It also reminds herself to take good care of her family, no matter how busy life gets.
An ornament encapsulates Siu-ling's passion for ceramics and her positive outlook. Beneath a mango tree, a basket is filled with freshly harvested mangoes. In this warm scene of abundance, you can almost hear the rustling leaves.
The work is rather complex but Siu-ling felt pretty at ease during the creative process. By the time she worked on this, she was already familiar with different steps of ceramics-making, from kneading and pinching to applying underglaze. “This mango tree reflects my mind,” said Siu-ling. After decades of hard work, she hopes for a rewarding future, when she and her family can enjoy the fruit of their labour together.
Formerly located in Choi Hung Estate, early members of Hong Kong Lutheran Social Service, LC-HKS Rhythm Garden Lutheran Centre for the Elderly were mostly residents in the public estate. When approached by Ceramics for Care, social workers serving this community thought: Perhaps ceramics can be a way for the elders to encapsulate their feelings about the redevelopment of their decades-long home? The first two groups of elders thus made commemorative plates, holding the tenacity of a cherished time and lively sentiments.
Afterwards, the social workers invited more elders—all former carers of our city— to the studio. Most of them live in the neighbourhood of the centre, but some made it all the way back even though they have moved away. “I've never made ceramics before!” The grannies were nonetheless eager to try. Together with their carers, they gave form to homely tales from close and from afar, and what they held dear to their hearts.
「他們不只是參加者，而是藝術家，是記錄者， 是生命的詩人。」
“They became artists who saw and created in a poetic way.”
Initially, I was completely new to ceramics. Seeing its promising impact in other organisations, I wondered: Could it also open doors for our elders and their carers to share intimate thoughts? Because of the redevelopment of Choi Hung Estate, they will have to move away from their longtime homes. Also, some elders we serve are socially isolated, frail or living with dementia.
The ceramics workshops ended up not only as a service, but something much deeper. Works made by the elders are vessels of reminiscence and appreciation for their lives in Choi Hung Estate. As they pinched clay into varied shapes, they became artists who saw and created in a poetic way. The taster workshops MaD organised for our colleagues also presented the potential for incorporating ceramics into our different strands of work. Through this first-hand experience, I came to realise that art and creativity know no bounds. Perhaps sometimes it is us who set limits. Have we been all ears and held space for our service recipients?
Ceramics is an inspiring art form. It teaches us to accept imperfections and find light in cracks and creases. It reminds us that ageing does not necessarily lead to an end; it can also open exciting chapters ahead. May the life stories and wisdom of our elders be passed on through their lovely works that speak volumes.
Kit-ling was among those who first moved into Choi Hung Estate in 1962. Only four bus routes were available back then: two to Tsim Sha Tsui and two other to Jordan. Of course, transport is a lot more accessible now.
“Roads here aren't narrow alleyways—they're built for traffic.” Kit-ling recreated the view from her flat on the plate: stars twinkle in the sky; three cars run on the road below the mountain. To her, the estate's convenient transport really stands out.
Lai-yuk moved into Choi Hung Estate in 1971. “We were so delighted. Our tenmember household, including my mother in-law and her other eight children, got the largest flat.”
Beyond the spacious home, she relishes the close-knitted community. She checks in with the elders over casual chats. Her husband pushed for an elevator during his term of service as a district councillor. The couple also hosted birthday parties for neighbours. “We're just giving what we can.”
A lovely scene of their communal get-together relives on her plate.
Sze-wai joyfully recounted, “A flat in Choi Hung Estate is like winning the jackpot!” This award-winning estate, with its thoughtful planning and transport network, has been home to a lot of professionals and celebrities.
A previous resident of Wong Tai Sin in the 1960s before relocating to the estate in the 1980s, she has witnessed transformation in the area. “When I was small, the settlements below Lion Rock were like sparse Lego blocks.” She captured on her plate the coast of East Kowloon before reclamation. “Back then, we could go home by ferry.”
A robust tree takes centre stage on Wai-han's plate, accompanied by a group of four hanging out on the lawn. “Kids always played outside.” She also remembers the wide gutter that would turn into a muddy puddle every time it rained.
Back then, many families assembled plastic flowers at home to earn extra income. While children enjoyed themselves playing, the housewives would head to factories in San Po Kong to pick up the materials. Flowers—both the plastic ones and those blooming in public space—remain fond childhood memories for many.
The elegant stalk of sunflower on Shou-chan's plate speaks to her passion for flower arrangement. In addition to sunflowers, sometimes she brings home bouquets of lilies.
Like other residents, Shou-chan also praises Choi Hung Estate’s transport accessibility. It creates an ecosystem that offers more options for work and therefore a positive outlook on life. It makes the estate the perfect place to call home.
Wai-wan's impression of Choi Hung Estate is the pockets of green here and there. Those incredible blooms are silent witnesses to the passage of time. Young seedlings planted in the 1980s have grown into robust banyan trees. The addition of public seats has turned the spot into a popular gathering space.
In particular, she has a soft spot for the ball courts, where drift seeds settle and burst into different colours across seasons. It is a pity that the flowers look less vibrant now, probably due to climate change.
Yuk-kit recalled the convivial nights of the Mid-Autumn Festival, when children gathered in the playground above the car park. Lanterns glowed under the full moon. Some burnt candle wax... Everyone revelled merrily.
There are fewer children now and wax-burning is strictly prohibited, but the playground remains a popular spot. It is frequently visited by elders who exercise in the morning as well as schoolchildren needing more space for PE lessons. The photogenic facade also attracts a lot of visitors. A place is good when people gather. Little figures thus congregate on her plate.
Choi-cheong first penned the Chinese character 化 on his plate. With the addition of a few strokes, it evolved into a mouse. Signs of mice were common when he first moved into Choi Hung Estate, as he lived on the 2/F right above the drains. Unbelievable as it sounds, people would really grab a mouse by its tail and throw it out of the window.
“Have you heard of mouse traps on the lampposts?” As Choi-cheong recalled, residents put caught mice in those traps set up by the hygiene department, which would then take care of the aftermath. Everyone played a part to make a better home.
As Ha-lau vividly recalled, “Hammer Hill and Diamond Hill were really hills. People blasted them open... We were all part of a loving community.
We didn't close our doors. Children raced through the corridors and called the housewives ‘see lai’...” She started working in a factory after finishing primary school. Familiar faces kept her company en route to work.
Ha-lau drew a rainbow, the sun, the moon and a star on her plate. The place she calls home shines day and night.
When prompted to come up with an image of Choi Hung Estate, everyone said rainbows. To set her work apart, Siu-chong thought of the whelks sold by the hawkers.
She is very familiar with the savory taste of whelks, but how do they actually look? She referred to online images and made a draft. When it was time to transfer the design onto the plate, inspired by the colourful underglazes, she painted her whelks like a rainbow.
Sim-ying
Intuitively, Ying moulded the ball of clay into a dumpling. Making dumplings was her family activity during Lunar New Year. “When I visited my relatives, I wouldn't buy anthing. I would just bring a handful of dumplings along.”
Her old neighbours in Pik Hoi House confirmed, “She did give me some before!” “Would you also get me a handful?” asked Neko the social worker. “We didn't know each other back then! Of course I would have given you some,” Ying replied.
On Lai-sin's colourful plate, joyful people holding hands beneath a bright rainbow. Flowers are in full bloom. It encapsulates what Choi Hung Estate means to her.
Choi Hung Estate is where she first got a flat with its own kitch bathroom. There, she has raised her loving son on her own. Neighbours look out for each other. “When I was hospitalised for a surgery, they brought me meals and took very good care of me.” The redevelopment means p to go separate ways. Lai-sin is unwilling to part. She will have to adapt to a new environment after she moves.
“Everyone in Choi Hung Estate calls me Fat see lai (housewife).”
Whenever Wai-yin smiles, her eyes squint. Because of her health conditions and family issues, she had been homebound for quite some time. Coming out for the ceramics classes was a significant step for her.
When prompted to make something intuitively, Wai-yin pinched a little disc with an etched sunflower. It is a symbol of positivity. After that, she made a banana. She ran her fingers along the fruit's upwardpointing curve, “I hope my luck will turn around like this.”
“My nickname is Snail, because I am slow,” said Suk-yin when she introduced herself. Later, she talked about “Mr Snail”. Decades ago, at age 20, young Mr Snail, then working as a technician at Sincere Department Store, met Snail at age 16 (whom he called “Little White Socks”). He needed to climb up and down all the time, and frequently ripped his pants. Snail kindly mended them for him. “I kept mending, and he married me.”
Snail drew on her plate the air vents outside her old home. Through the openings, wind and light flowed in. Forty odd years ago, Snail took an artistic photo of Little Snail standing in front of the air vents, under a shower of golden light. May the beautiful memories keep the smile on her face ever after.
“She is Choi Choi Tsz (Nanako). Everyone in the centre knows her!” People do not necessarily associate her grace with the Japanese actress, but she shares the same popularity. A long-standing volunteer, she paid home visits to other elders. “She came to see my mum too!” said other classmates.
Siu-wan's caring daughter always accompanied her to the centre and helped her settle. Nonchalantly, Siu-wan brought to life a lovely duck (or goose?) with fascinating details. She also made vessels in stylish forms. She poured her creative energy into this little plate with confident strokes of orange and green.
A resident in Pak Suet House, Lai-yung is fondly called Pak Suet (Snow White). Her skin is also bright as snow. A daily visitor to the elderly centre who enjoys activities and computer games, she stays active at the age of 97. She generously shared her skincare hack: banana and egg white mask.
Pinched rather casually, her first hand-built piece is a goose with spreading wings, something related to her hometown in Shunde. Coming from this bountiful town, Pak Suet is a foodie. The cholesterol in Chines does not deter her. Hold her ceramic goose by its neck and the lovely creature turns into a spoon.
陳三妹
Chan
Sam-mui
Sam-mui pinched an oval-shaped figurine. “It's Siu Bo.” She sculpted the likeness of her beloved dog, sadly lost in an accident. Siu Bo was black and white, but we did not have black underglaze. Sam-mui took creative licence to go with grey, the mixture of black and white.
She made a little green bowl after a gift from her caring sister. A matching one was made for Siu Bo.
商美珍
Sheung
Mei-chun
美珍細味日常，鴿子小碟有精靈眼睛和跳脫羽毛，還昂首踏步。
Mei-chun is from Guangxi. When she was young, her family ran a grocery store. She also helped out on the farm with her brother.
In class, everyone was prompted to think of something related to their past. Intuitively, she pinched a robust, elongated ovoid. It was a white wintermelon, evoking her memories of the summers long gone. Back then, as a hack to brave the heat, people placed a 30-catty load of gourd beneath the bed to keep cool.
Taking in the everyday with sensitivity, she also breathed life into this pigeon plate.
Orginally from Chaozhou, Brother Choi finds the best Chaozhou cuisine in Hong Kong in Kowloon City.
Working in the jewellry industry before retirement, he has seen exquisite craftsmanship. It was his first time working with clay and he always expressed admiration for what others made. Over time, he got better at the craft, but he remained modest. He adorned his plate with a refined landscape. The house and tree exude a peaceful and tranquil vibe, very much like the artist himself.
Brother Sang, originally from Jiangsu, pinched a gold ingot. “That's what we had as a snack during Lunar New Year,” explained his wife, Sister Shuen. Weeks later, Sang also decorated his handbuilt plate with a gold ingot. The treasure became a signature of his ceramic collection.
Polite and quiet, he always cast a loving look at Shuen beside him. Fellow classmates were curious about how they met. Shuen told an epochal story. “We're always together. That's it,” Sang shyly but firmly concluded.
Sister Shuen is Chinese Indonesian. Because of anti-Chinese sentiments, she moved to Mainland China, where she met Brother Sang at university. A lifelong love story began.
Shuen has a bubbly personality. She enjoys square-dancing and often visits the baby penguins in Ocean Park. During the workshops, she always sang her husband’s praises. When it came to the time for photos, she coached everyone how to pose. After class, she sent a thank-you message to “all the beautiful and lovely ladies” who ran the session. Her loving presence warmed everyone's heart.
Brother Hei always surprised the group with his words of wisdom. Delightfully, he recalled he was praised by his Chinese teacher as the better poet. During the workshops, he entertained others with his wit and humor. One time, he even performed Leslie Cheung's “Thanks! Thanks! Thanks! Thanks! Monica...”
He adorned his plate with stars, alluding to a verse he recited. When encouraged to add more, he wittily responded, “We should be happy with what we have. Enough is good enough.” In the same spirit, he made a cylinder. Wonder what that is? The next story will tell you.
朱蘭英 Kwok Phenwalee
英姐說她的一條是蛇，有兩點小眼睛和小嘴巴，活靈活現。
A Thai Chinese, Phenwalee (Sister Ying) has been living in Hong Kong for many years. She pinched a little dumpling, decorated with a multicoloured floral pattern matching another handbuilt cup. She is Brother Hei's wife. The couple were always side by side. Following her husband's lead, she also made a cylinder. Hei said his was a dog. Ying's was a snake with a lively face.
Born in Southeast Asia, Choi-lin is Chinese Indonesian. When she was a teenager, she drifted in the sea for months before arriving in Guangzhou. Eventually, she made her way to
When asked where she is from, Sister Tai, a member of the Tanka community, said, “Hong Kong”. Living on the sea, her family managed to avoid chaos in wartime. It also meant fresh fish was always within reach. Giant grouper and pufferfish were nothing special on the dining table.
Having been through a lot in life, she is now a devout Christian. She wove crosses into her works. She also made an abstract figurine. Was it a holy statue? After underglazing, it looks like Chinese cabbage. Tai welcomes all interpretations, “It is what you think it is.”
Oi-hing was born and raised in Hong Kong. In her youth, she worked in a garment factory, specialised in sewing medical gowns and shirts. “They were of superb quality, primarily for export,” she proudly remarked. She recreated her wooden ruler and tailor's chalk. The latter is a mesmerising replica with its spot-on size, shape and texture.
Having a soft spot for sweet potatoes, she added to her collection a large plate in the form of her favourite food. She did not mind the crack after firing, “It's so ripe that it cracks a smile!”
When Brother Ming was young, he worked as a lifeguard and spent more than a decade in seafaring, travelling far to South America. His works speak to his deep connection with the ocean.
His small boat-shaped plate is adorned with an oar. He meticulously worked out the curves and proportions before adding a boatload of fish as a final touch. The way he held his work so dearly conjured up an image of his youthful days spent in open waters.
Brother Cho was born into an educated family. His grandfather was a Bok Bok Chai study hall teacher, and his mother also imparted wisdom of life. He was an avid learner of Chinese philosophy when he was in secondary school. All these learnings inspired his outlook.
He enjoyed spontaneous and unrestrained making. Given a range of underglaze options, he simply went for blue. He said, with a cheerful smile, his works were abstract and unconfined. Philosophically unbound like drifting clouds, he lives his life at ease and lets kindness lead the way.
Yin-hing is sociable, hearty and creative. When brainstorming for a unique plate for herself, she promptly decided on a blossoming flower growing in a pot.
While claiming to be a novice, she made a thoughtful plan for the colour scheme: “Yellow flowers, green stems and a blue pot.” With ingenious patterns on the stem, the flower brims with vitality, very much like the artist herself.
A great-grandma with over ten great-grandchildren, Yu-shin has a big four-generation family. When asked about her wishes, she said, “Nothing grand.”
Her works house her simple joy: a two-handled bowl for imitation shark fin soup and a small pot that holds flowers in bloom. She endearingl heart in front of the camera.
Mei-heung wore a lovely scarf to the class and told others joyfully, “It's a gift from my granddaughter.”
Active and youthful, she is already 96-year-old. A super healthy routine is her secret to staying young. On a daily basis, she delivers newspapers to the elderly centre, takes a 30-minute walk and then enjoys a full breakfast with pu-erh tea at home. Without hesitation, she pinched a tea cup. Her plate adorned with a big red heart provides another tip for living well, “Compassion is key.”
During the creative process, many participants went down memory lane. Mingha, who let feelings and imagination flow into her art, took another approach.
On her plate, she depicted a scene with a dog by the tree. Others were curious about the dog. She smiled and said, “I forgot. I didn't keep a dog. But I think there should always be a dog by the tree.”
This lively duck was also pinched spontaneously. Following the lead of Mingha's imagination: has it come to live under the tree?
To let round-the-clock carers take a break, 1st Step Association runs a support group for carers. The group introduced wheelchair users and their carers to Ceramics for Care. Momentarily forgetting their burdens, everyone got into creative mode immediately.
Participants in the first group formed a like-minded community. When newcomers joined the second round, they kept taking part. The creativity of this community is awe-inspiring. Their works are boundless, always enlivened with a good sense of humour. Food, animals, fantastic creatures, mementos of love... Their massive outputs know no limits. We are deeply touched by the vastness in their hearts.
「我想不到一把陶泥，就可以令到他們那麼快樂。」
“I didn't imagine they could be so happy just with clay on their hands.”
Our Association runs monthly activities for carers. However, carers are always busy and find it hard to make time for activities together with the people they care for. Ceramics for Care gathered a steady group of participants.
There are lot of social repression and restricitions in our everyday life. Through art, the members expressed what they wanted. Some wanted to return to the past. Some missed their grandchildren. Some recalled important and happy memories. When they got together, some couples interacted affectionately, some were more reserved. All showed love in different ways. The small group size allowed us to understand their individual situations more closely.
The impact of the programme is visible. Participants became more positive and cheerful, and were more willing to express themselves. They also demonstrated their potential. I didn't imagine they could be so happy just with clay on their hands. Creativity is boundless. How this can be applied to life is important. More thoughts could be given to the connection with social work.
Sharing the same Chinese name with renowned sculptor Ho Siu-kee (with a slight difference in English spelling), Brother Ki is also an avid maker. His endless inspiration came from everyday life. A big fan of yum cha, he pinched dim sum in steamers, rice rolls and chopsticks with a rest. Sometimes he is capricious. Is that a chicken? “It’s what you see it is.”
Brother Ki is very caring. While immersing himself in creative work, he always gave a hand whenever he noticed someone needing help. He helped clean the table after the workshop, and stepped in when others were struggling with a stuck folding table. His wife, Lai-sheung, always looked at him with an admiring smile.
Inspired by Brother Ki’s works, Lai-sheung pinched two delicate rectangular plates, both adorned with a smiley face. “One of them is a boy. The other is a girl.” The set evokes the image of the couple going to yum cha together. Lai-sheung's works always spark imagination. One of her plates, painted with a cool shade of green, resembles the sea in summer. A carefree swimmer with red hair and blue eyes, in a yellow swimsuit, floats atop. She also made fish by carving scales with her fingernails. The facilitator was very impressed, “I've never seen anyone doing it this way!”
Kam-bun is fondly called Ben in class. His earlier works are so abstract that he was given the nickname “Ben-casso”. “I have no idea” was his pet phrase. Even so, he always amazed others with what he made. There seemed to be a running theme: a fish or a boat, a sea monster, a slipper that, again, resembles a boat. We later found out he was a fisherman in his youth.
Later, he pinched a “Ben-Donald” set meal with French fries and a hamburger. The patty in the hamburger was topped with an egg, and the bun was sprinkled with sesame seeds. The fries are handfried with different levels of burntness. The master of abstraction has evolved into a realist!
Motivated by Ben-casso's creativity, Yuk-ling, Ben’s wife, also found delight in clay. Thinking sweetly of her granddaughter, she pinched a smiley chewing toy and a ring toss set for hand-eye coordination. Are ceramics good for a toddler's toys? It doesn't matter. What matters is that grandma’s love will be as longlasting as these enduring pieces.
Her recent masterpiece is a three-piece sushi platter, with salmon, octopus and roe. It is served with wasabi on a leaf. All brim with simple joy.
關銘義 Kwan
Ming-yee
「這個孔雀的尾巴可以用來吃雪糕，可以吃六種味！」穿花 襯衣的Sunny風趣鬼馬。他的佳作靈感都來自跟太太淑貞 的生活片段：年輕時騎馬、成家後用靴型酒杯喝啤酒、一家 人到北京天壇旅行⋯⋯還有一隻最少十卡的鑽石戒指，上面 寫了「I ♥ U BABY」。
“You can eat ice-cream with this peacock tail—six different flavours at a time!” Sunny, in his floral shirt, always amuses us with his humour. His masterpieces encapsulate his fond memories with his wife, Sukching: horse-riding in their youth, sipping beer from a boot–shaped glass, a family trip to the Temple of Heaven in Beijing… There is also an at-least-ten-carat diamond ring that professes “I ♥ U BABY”.
In every class, on average, the lovey-dovey couple flash their affection ten times or more. During photo-taking, we witnessed an outpouring of love when Suk-ching endearingly wore the diamond ring. At some point, Shuk-ching was unwell and Sunny attended the class on his own. He pinched a teal (a classic culinary remedy) and a rose as an earnest wish for his wife’s speedy recovery.
Suk-ching always takes her lead from Sunny. When answering questions, she often repeats what Sunny has said. Teasingly, the facilitator asked Sunny, “She copied you again. How shall we punish her?” Sunny said romantically, “Have her cook me a delicious meal.”
Her ceramics are also “delicious”. With meticulous care, she brought a handbuilt fish swimming to life with flared fins and intricate scales. She also made an intriguing vessel. Ordinary as it seems, when turned upside down, it becomes a doll with a lively face. It is called JJ, a favourite of her grandchild. Her work carries lots of love for her family, even the plates are heart-shaped. Brimming with bliss, Sunny pointed at Suk-ching, “This is my favourite.”
“He is skilled at making things by hand,” Yung's wife, Shiu-ling, sang his praises in the very first lesson. With deft hands, before the facilitator shared any tips, Yung managed to pinch a teapot by himself. When Shiu-ling wanted to pinch a hair dryer and found it hard, he took over and got it done effortlessly.
One time, Yung pinched two dinosaurs. For some reason, others started pinching dinosaur eggs and passed them to him. He then made a plate for all the eggs, guarded by one of the dinosaurs. These pieces come together like a symbol of friendship.
From caring for her husband to being there for each other, Shiu-ling reflects a lot on the role of a carer. One of her favourite creations is a standing bunny with big eyes and a carrot in its arms. She was born in the Year of the Rabbit. Symbolically, the lively rabbit also conveys her wish to stay healthy and energetic.
Another favourite of hers is a flower basket. She seemed to have forgotten the world when she pinched each of the blooming flowers. With delicately crafted petals and pistils, they come to life with rosy thoughts.
From Take a Break Studio to Ceramics for Care, our collaboration with Caritas Residents Mutual Help Centre—Kwai Chung has lasted for over four years. Beginning with induction workshops, participants have stayed with us through guided and independent practice. Ceramics have become part of their lives: ceramics caught their attention here and there; practice made its way into their homes; everyone was given a visual diary; we visited exhibitions together; the ceramics town of Jingdezhen became a family trip destination...
Besides personal pursuit, meeting weekly was also an energising boost. They eagerly shared their passion with others. They have made coffee cups together with a coffee-brewing interest group, assisted in public taster workshops in shopping malls, exchanged with a group of parents who find relaxation in farming, hosted members of 1st Step Association when they came over for practice. The mothers are shy to say they teach, but they are more than happy to share.
「她們不只是媽媽，也是分享者、創作者，是雀躍的 孩子、小師姐、小導師。」
“They are not only mothers, but also sharers and creators; they are also joyful children, veterans and teachers.”
Take a Break Studio gave mothers a break from domestic duties. Through making ceramics, they take a breather and care for themselves.
How about Ceramics for Care? What does it mean to the mothers? How do we accompany them through their growth?
They are mothers, but not just mothers.
I am grateful for the MaD Team for making Ceramics for Care happen, so that the mothers have time to make new discoveries and emotional connections. From focusing on care for their loved ones in their roles as mothers, they have built their own experiences and skills, visited exhibitions and shared with communities. They became more confident. They found more ways to express themselves and share openly. Rather than striving for perfection, they enjoy creating their own ceramics with a freer heart.
In our makeshift ceramic studio, they are not only mothers, but also sharers and creators; they are also joyful children, veterans and teachers. Through ceramics, their stories became more three-dimensional: childhood dreams, longing for home, imagination of who they can be and memorable experiences.
Please look closely at these works. You will see their characters and meet their lovely souls. Perhaps, you can also find a story that resonates with you!
Moon is chatty and dependable. Whenever someone has a problem, she is always there to help and enthusiastically offers emotional support and practical solutions.
Her works are always colourful. This set of reliefs documents her first overseas trip with her daughter. Among the scenes are an aeroplane and their visit to an aquarium. The set reminds her of endearing moments. “My daught drew the jellyfish in the aquarium. She wanted it in green.” Moon's daughter has apparently inherited her vivid imagination, and sees the world in an authentic way.
Sue has lots of ideas. Even in an abstract work, she can always see a story and come up with original interpretations.
This windchime reminds her of a Japanese anime she watched in childhood. The protagonist has a windchime at home; when there is wind, the sound of rattling ceramic marbles cools down the summer heat. Now she can make one herself. After making one in the shape of a carp, she made another one in the form of a cat's head. She imagines, when she puts the cat and fish together, when there is wind, the fish will swim into the mouth of the hungry cat.
Xia Lin recognises others' merits. Her praises for others are direct and generous, like her own work.
She nonetheless always says her works are too small and envies others for making big pieces. To fulfill her dream, she patiently built a bowl with coiling. As it got bigger and deeper, she imagined filling it with her favourite food. Noodles in soup would be great, and she could treat herself to a feast.
Jiaping is a serious gourmand and has taken a course on nutrition. Whenever she returns from a hometown visit, Jiaping would delightfully share about drinking and cooking. As the eldest daughter in her family, she cooks for her dear ones back at home. She needs to cook for a dozen of people, and still finds it very enjoyable.
Her connection with food also gets philosophical. “Making my own bowl is better than receiving one from others.” Wishing for self-reliance, Jiaping made a classic rooster bowl for herself.
Lai-lai came to class with her daughter Felix. Their interactions made all mothers envious.
Lai-lai was a tailor and is very meticulous when working with ceramics. Although she joined much later than the other classmates, her attentiveness and diligence made great works. When she is focused, silent mode is on and she mutes the world around her.
Her lantern is a memento of a family trip in Taiwan and is etched with chinese characters meaning “happiness and good health”. Whenever she lights it, light will shine through for her wish.
Yuxin is our “big sister”. Always quiet and gentle, she shines when she talks about ceramics and coffee. She has been practising for over four years. Her works are so fine and polished that people would want to buy them.
Once Hoi-yi (the group's ceramics facilitator) bought a coffee filter holder during a trip and brought it back to the studio. Yuxin thought, I could make one myself. This holder was made with meticulous calculations, even the factor of shrinkage after firing was taken into consideration to make sure that it functions well. At the time when we did studio shooting for this catalogue, the work has just gone through bisque firing.
Years of dedication. Imagination for what is yet to come. A perfect closing.
我會跟大家說，我現在很緊張，若果解說太難理解，請直接告訴我。 Norwich說她會記住每個人的名字，我正是因為記性差，會請大家讓我寫筆 記。大家笑一笑，跟我說「無所謂㗎」。我希望讓他們每堂課都上得開心， 知道有人願意聆聽他們的故事。我想每個人都有適合自己的教學方式，沒有 所謂絕對的好壞。 C : Y :
Ceramics for Care as a “Third Place” Research Observations Through a Personal Journey
Christine Choy
Associate Head and Assistant Professor, Department of Art and Design
Associate Director, Centre for Teaching and Learning (Teaching and Learning Enhancement)
The Hang Seng University of Hong Kong
Induction classes concluded in a tea gathering. Taking pride in the fired works, participants reflected on the creative process. Everyone was recognised in a convivial atmosphere.
“What I enjoy the most is the process of pinching. In that moment, I don’t think about my children. I don’t even remember where they are— I don’t think about anything at all. Although I intend to create a perfect bowl, I don’t feel like a failure even if it cracks. With holes the bowl can become a pot for planting flowers. It can still be beautiful in an unexpected shape.”
– Quoted from a participant of Ceramics for Care
As Impact Measurement Partner of Ceramics for Care, I am profoundly touched and impressed by the “third place”—a space for empowerment, dialogue and transformation within our community—this initiative creates.
The sociological concept of the “third place”, as articulated by Ray Oldenburg in 1989, refers to social environments distinct from the two primary spheres of our lives: home (the “first place”) and the workplace (the “second place”). Third places—such as cafés, parks, churches, and libraries—serve as vital anchors for community interactions and creativity. Research has shown that these spaces are crucial for enhancing social well-being, civic engagement and a sense of identity, particularly in addressing contemporary issues like loneliness and social polarisation.1 Ceramics for Care has not only impacted the participants. It also fosters understanding and reflection among various stakeholders, including art practitioners, social workers and other members of the community.
Personal Journey as a Participant Observer
While the term “third place” typically refers to a physical location, Ceramics for Care exemplifies the seven key characteristics outlined in Oldenburg's seminal work, The Great Good Place:
1. Opening and inviting: Participants feel welcome and free to come as they are.
2. Comfortable and informal: A sense of belonging permeates the atmosphere.
3. Convenient: The project is ideally situated within the community.
4. Unpretentious: The environment fosters equality, devoid of pretension.
5. Regulars: Familiar faces greet newcomers, enhancing the sense of community.
6. Conversation is the main activity: Dialogues flourish, enriching the experience.
7. Laughter is frequent: A playful spirit permeates the community.
Throughout my research journey as a participant observer in Ceramics for Care workshops, I have been deeply inspired by how ceramics-making acts as a “container” for community—a space filled with genuine narratives, caring conversations and transformative experiences.
1. Ray Oldenburg and Karen Christensen, “Third Places, True Citizen Spaces”, The UNESCO Courier 2 (2023): 12–14.
The Transformative Impacts of Ceramics for Care
Based on my observations and interviews with various stakeholders, I would like to highlight how the project serves as a community anchor, fostering creative interactions.
Ceramics as an embracing art form for well-being
Ceramics for Care provided an opportunity for interdisciplinary collaboration. The curatorial team, artists and social workers considered the backgrounds of participants when designing the creative process. Most participants, even those with little to no prior experience in art and crafts, had minimal difficulty in engaging with ceramics. Many could adeptly transfer their daily skills into the art of ceramics. This accessibility allowed them to express themselves freely through their creations.
Connecting art to broader life experiences
Participants actively connected art-making to personal narratives. For instance, wheelchair users expressed thoughts on social inclusion, while mothers related their creations to household needs. Elderly participants shared memories of their lifelong neighborhood, and cleaners depicted their daily routines. This ability to visualise narratives empowered participants in their self-expression and self-care, and in turn inspired the artists and social workers.
Balancing group learning and individual freedom
The project team employed diverse strategies to balance group learning and clear guidance with opportunities for individual experimentation. Participants appreciated the narrative autonomy and creative freedom celebrated in the ceramics workshops. For instance, elderly participants were interested in subject matter related to everyday life; cleaning workers fancied collaborative projects that symbolise their work identity or community culture.
Stress relief and a greater sense of happiness
Across demographics, participants reported reduced stress levels through their engagement with ceramics. Many described losing track of time while immersed in the creative process, temporarily setting aside daily burdens. The focus on clay provided a therapeutic escape from routine worries. The joy of creating and seeing their finished works inspired happiness and fostered intergenerational conversations among families and friends.
Enhanced confidence, self-esteem, and identity building
Many participants experienced a boost in confidence as they created tangible works, often surpassing their own expectations. Simple creations provided a sense of accomplishment that transcended occupational identities. Mothers found respite from caregiving responsibilities, rediscovering personal identities and even taking on peer teaching roles. Elderly participants took pride in acquiring new skills, challenging societal perceptions of seniors as unproductive. For cleaning workers and physically challenged participants, these workshops instilled a sense of empowerment and self-worth
Acceptance of imperfection and nurturing resilience
Most participants encountered the reality that their creations often differed from their expectations. Many expressed that this experience taught them to embrace imperfections in life. For instance, a participant whose bowl did not turn out as planned found new ways to appreciate its aesthetics and function. This acceptance of flaws extended beyond art-making. It influenced their attitudes toward life's uncertainties and inspired a more forgiving perspective on what might previously be taken as disappointments.
Building new friendships and social circles
The project cultivated connections among participants from diverse backgrounds, fostering friendships through creative social interactions during workshops and gatherings. Participants learned from one another and offered encouragement and appreciation for one another's works, thus creating a supportive community. Introverted individuals particularly valued the initiative of others to invite them to social gatherings.
Tea gatherings were potluck-style. We savoured lovingly shared food on vessels made by ourselves.
Ripple Effect of Wider Community Engagement
A key indicator of the success of a community art project is its ability to empower stakeholders and foster long-term sustainability. I consider Ceramics for Care a resounding success, as regular participants expressed a desire to give back by assisting in future workshops or sharing their skills. Mothers who have practiced ceramics for an extended period became dedicated peer tutors, guiding newcomers to the craft. Other stakeholders also discussed exhibiting their works to broader audiences, creating ripple effects that would sustain the advocacy.
Throughout my research journey, I am optimistic that Ceramics for Care, as a “third place”, can be a transformative facilitator for social well-being, civic engagement and community identity. In a world increasingly marked by loneliness and polarisation, Ceramics for Care stands as a testament to the power of creativity and connection in fostering resilience and belonging.
Circle of Practice: Reimagining the Strategies of Ceramics for Care
Benjamin Sin Craftsman in Community Strategy, Walk the Walk
Complementing social services with ceramics—what are the pathways?
Living in a bustling and high-pressure city, one can easily be thrust into a suffocating situation because of certain life circumstances. Could there be a place where people come together for an activity that helps them release the weight on their chest, catch their breath and regain strength to push through real-life challenges? In response to this need, Ceramics for Care has evolved over time. The project envisions a retreat from everyday worries and builds on the need for a safe and accepting space. With an art form that touches both heart and soul, it presents an opportunity for transformation.
The origin of Ceramics for Care was Take a Break Studio. The MaD Team, as the project’s organiser, joined hands with ceramics facilitators and Caritas Residents Mutual Help Centre—Kwai Chung to transform a space in the community centre into a temporal ceramics studio. As activity tables were turned into pottery workbenches, women under stress met regularly and tried their hands at ceramics-making. Some found in clay a new means for self-expression. Recalling fond memories of carefree mud play, some relived the joy and innocence of childhood. A few reclaimed a sense of agency, while some others immersed themselves in a state of flow with their hands on clay. With gentle guidance from the facilitators, the women began to appreciate that imperfection was also a form of perfection. They were empowered to approach beauty with their own definitions that went beyond mainstream understanding. Shifting from meeting external expectations to listening to their inner needs, they were inspired to recognise and honour their own worth. This transformation was reinforced by shared experiences in a “microsociety”. Regaining moments of inner peace, these women also became eager to make new friends and empower other communities through ceramicsmaking. Through clay, they gave form to their reinvented selves.
Paths for Different Personalities
Break through from personal experiences Practise concentration Sustain creative practice
Ceramics for Care is a collaboration between social work and art. With proven impact, it has expanded to more communities. Holding space for more people, it enables community groups to walk the path once taken by the earlier participants—rediscovering themselves through creative work, expressing themselves through sharing, as well as building self-confidence along the way.
Looking Back and Forward in the Context of Social Work
As this project cycle approached its completion, the MaD Team invited me to come on board as the Project Strategy Consultant. I proposed forming a “circle of practice” engaging social and welfare workers from partnering organisations. Together, we reviewed the testimonies of the communities and put forth a discourse from the perspective of social work, retracing the journey and reimagining strategies for the future. Through four rounds of discussion from January to May 2025, we mapped out the project’s pathways during its evolution. The key elements aligned closely with the initial objectives. Reviewing the actual processes, the routes became clearer.
Clay-inspired Learning Transformation on a Social Level Empowerment
Build confidence through self-expression and sharing
Learn skills and create works
Accept mistakes and imperfections
Experience non-verbal communication
Realise one’s ability to learn
Unlock imagination to enjoy creative processes
Learn tolerance and embrace surprises
Regain a means to express
Develop problem-solving skills
Gain affirmation from social circles
Inspire collective making and social dialogue
Understand self-worth not by mainstream standards
Build connections and a sense of belonging
Boost innovative power
The project was co-developed by art practitioners and social/welfare workers and has brought together the two disciplines. Two crucial discoveries emerged through the collaboration:
Opening doors to non-verbal communication
Traditionally, social work relies heavily on verbal communication to foster interactions on personal, family and community levels. Intentional dialogues gradually uncover underlying emotions and yearnings. However, for a number of reasons, some people are less ready to open up in front of others and articulate their intimate thoughts.
Ceramics for Care presented an entirely different experience. With clay as an expressive medium, it opened doors to non-verbal communication for both the community and social/welfare workers. The quiet introspection during the creative process carved space for observation, focus, imagination, self-improvement, self-affirmation, etc. It also fostered natural interactions among the participants. While it may have seemed that they were only making ceramics, the shared experience cultivated profound mutual understanding, something that might not necessarily be achieved through verbal interventions.
Ceramics is not only an edifying craft; it also expands possibilities for social work. It presents a fresh method for working with communities and is worth making room for.
Presenting communities’ unique values through hands-on making
In an era when silence and indifference have become the norm, voices are less likely to be heard. Community workers strive to help communities find their own voices. Ceramics for Care held a safe space where participants could continually engage with one another. Guided by facilitators who prompted reflections, participants opened their hearts and expressed themselves both non-verbally through their works and verbally in casual conversations. Art is no longer remote and inaccessible; rather, it becomes grounded in everyday life and lends itself to communities where creative expression becomes a new language. The crafted pieces carry hopes, memories, gratitude and blessings. With distinct human touches, they speak volumes.
In the past, communities called for social attention by showing hardships and predicaments. Now, they can tap into the power of transformation made possible through newfound creativity and peer rapport. They have reinvented their identities, displayed confidence and reclaimed a sense of agency. Empowered and resilient, they cited their lived experiences as a shared thread in artistic expression. No longer seen through the lens of deficiency defined by social norms, they take pride in their unique values and roles in society. A more positive outlook makes communities stronger, more cohesive and more innovative.
Sanctuary Everywhere
After taking a break, and then? This question emerged multiple times in the circle of practice. What communities truly need is not momentary respites, but a breath of fresh air that supports them to thrive in everyday settings. For less-privileged communities who can only practise once every week or two, that breath could easily be depleted. Coincidentally, one participant shared, “Every pinch sparks a whole lot of associations. I shape and reshape the clay, exploring all possibilities non-stop.” Clay is always malleable as long as it is kept moist. If participants can carry a piece of sculptable clay with them, might they be able to create anytime, anywhere?
This calls to mind the Reggio Emilia Approach in early childhood education, which champions free exploration over learning by imitation. Hand children a ball of clay, and they will shape it into various forms based on their imagination, a process that stimulates brain development. Clay inherently holds the potential for endless possibilities. The act of making is meaningful in itself. The intent to create can turn any place into a sanctuary. It resembles a portable oxygen tank—always available for retreat and empowerment.
New Pathways for Social Work Ushered in by Art
Art introduces a non-verbal pathway for transformation—an approach worth embracing by social workers supporting diverse communities. The impact is hard to describe in words and has to be felt and understood firsthand. I encourage workers to immerse themselves in the process while guiding communities on their journeys. Personal reflections are conducive to identifying fitting approaches for intervention. Art is neither remote nor reserved for the privileged. This space of comfort is open for everyone, no matter one’s place in society. Everyone can gain power from it.
I would like to conclude with a letter to young people penned by author Kurt Vonnegut:
Practise any art, music, singing, dancing, acting, drawing, painting, sculpting, poetry, fiction, essays, reportage, no matter how well or badly, not to get money and fame, but to experience becoming, to find out what’s inside you, to make your soul grow. 1
This experience of becoming is open to all, regardless of education, age, profession, social class and health condition. As long as communities are eager to let go of the labels imposed on them and take a confident step, they can definitely experience profound transformation.
1. In 2006, a secondary school teacher in New York encouraged students to write letters to famous authors. Kurt Vonnegut was the only one who replied. His message on the intrinsic value of art attracted wide attention and circulation online. Kurt Vonnegut, “A Letter to School Students”, 5 November, 2006.
Women participating in Ceramics for Care visited an art exhibition and found deep inspirations.
Conversation with Ceramics Facilitators: Between People and Clay
Norwich Wong, Lam Hoi-yi, Lau Jin-ki, Ng Yuen-ying and the MaD Team
As the project cycle drew to a close, the MaD Team and ceramics facilitators took a moment to reflect. During the past three years, Ceramics for Care entered different communities where lumps of clay were handed over to community members with diverse lived experiences. Pieces in varying forms carry emotional weight, genuine feelings and personal stories. Even the tiniest detail reveals a world. We started off by discussing how ceramics weaves connections and the way art and social services can go hand in hand. At the heart of it all is people—from “me” and “them” to “us”.
The mothers once visited an exhibition and were deeply touched by a piece created with image transfer. Ceramics facilitator Lam Hoi-yi then taught them the technique for transferring images with personal meaning onto their works.
M MaD Team
N Norwich Wong
H Lam Hoi-yi
C Lau Jin-ki (Cleo)
Y Ng Yuen-ying (Yuen)
Diverse communities tried their hands at ceramics-making in Ceramics for Care.
Our workshops had marked differences from other ceramics classes. In this project, what role did ceramics facilitators play?
C:
I facilitated the classes with cleaning workers. At first, I ran the sessions like other courses, focusing on techniques and answering questions the participants had. I was a bit nervous, as I did not know what the cleaning workers, a group that I was not familiar with, expected. I then learned to observe closely how the workers engaged with clay and planned the lessons together with the welfare workers. We tried to go for a more reflective and value-based approach. I used to plan every session for a course before it started. This project prompted me to be more flexible. While I still made plans, I did not set things in stone, staying ready to adjust on the spot with backup activities.
M:
Ceramics facilitator Lau Jin-ki experimented with partnering welfare workers on conducive methods. One evening, they tried plein air ceramics-making in a park.
I worked mostly with wheelchair users and elders. When I first joined, I mainly helped Norwich wedge clay, arrange tools and fix participants’ works when needed—I am very good at these, haha. It was quite intimidating when I had to deliver classes for 1st Step Association and the elders on my own. I almost said no as I worried I could not live up to the expectations. But interaction is the key. Despite being an introverted person, I realised I could also play my role and get along with different communities.
Unlike other shorter courses, this project was more long-term. As facilitators, we forged connections with the participants. I was mainly responsible for the classes with the mothers. Ceramics-making really resonated with them and they took part on a longterm basis. When new batches of participants joined, we adjusted as we got to know each other.
As compared to other teaching settings, I took on a more spontaneous approach and responded to the dynamics on the spot. Before every course started, social workers and the MaD team would share with us the names and backgrounds of the participants. I prepared myself to call every participant by their names. To me, being able to call one another by first names as soon as we meet means a lot.
How was the experience engaging with diverse communities?
Having spent time with them, I found myself more empathetic. My initial impressions of these communities were quite hazy, but now they are real people to me. For example, when I meet other wheelchair users, I think about Ben and Sunny and their circumstances. I can therefore understand them better and feel more connected.
Before meeting them, in one way or another, we held certain preconceptions. We might assume that they were underprivileged and therefore needed help, but that was not necessarily the case. Our group of cleaning workers have strong personalities and high self-esteem. I had to refine my facilitation to match their energy. When we worked with wheelchair users and their carers, I would say that was the pinnacle moment. Initially, I was slightly apprehensive about how to process their past experiences, but their positivity and resilience touched me. To them, ceramics-making was a means for self-expression, allowing voices to emerge and be heard. We were not there to teach. We were there to guide them to create works that would mean something to them.
M: C: H:
It reminds me of what Norwich said about the unique characteristics and strengths of different art forms. What makes ceramics a suitable medium for community projects? What magic does it hold?
There is something profoundly human about ceramics. As our hands shape clay, the clay carries our traces and state. With first-hand experience, participants can read between the folds and creases as they interpret others’ works on a deeper level and form special connections.
I cannot agree more. Even if we make a bowl with the same technique, the form will vary from person to person. Taking part in this project drove me to reflect on why I have been naturally drawn to this art form. Ceramics is really versatile, and its possibilities are limitless. We could not help but go deeper. Comparing one another’s works is truly inspiring. We work with clay, and clay opens doors for exchange and connections.
Y:
Not all media are as intimate and tactile as ceramics-making. We must touch the clay with our hands. Like what Hoi-yi and Cleo have said, the final pieces manifest every single pinch. We might be very nervous or hasty—clay tells us how we are, including emotions or habits we are not aware of. On another note, making ceramics is very repetitive. Personally, I enjoy this relaxing process a lot. I knead clay while casually chatting with others.
Ng Yuen-ying is an introvert but she took on the challenge of stepping up from an assistant to a facilitator. She hosted the sessions with sincerity and gained a lot of encouragement and inspiration through interacting with the participants.
To build on what Yuen has shared, making ceramics is indeed a journey of selfdiscovery. People who are impetuous can see their impatience in their works. This feedback loop visualises aspects of ourselves that are even unknown to us.
When we look at contemporary art, some artists outsource part of the production to others. There is a distance between those artists and their works. But for ceramics, clay is the starting point. We directly engage with it from the get-go and complete every step in the making process.
Adding onto Cleo’s reflection, what fascinates me the most is firing. Every group of participants could not wait to see their fired pieces, something that brought them lovely surprises. This unique transformation only takes place with ceramics.
Additionally, we find solace in ceramics-making. One powerful lesson that clay teaches us is how we can always give it another try even if things do not go as planned. A lot of other art-making processes are irreversible, but clay can be recycled and allows us to start anew. Working with this forgiving material inspires us to be more forgiving of ourselves and others. Artist friends often say that the art that we practise shapes our personalities.
The project has prompted reflections and inspirations not only for participants, but also for ourselves.
There are a lot of unforgettable anecdotes, which have touched me on a personal level. These are beyond logical analysis. The participants and the connections woven have left with me many lasting impressions.
Art, including ceramics, only carries meanings if it weaves connections with people. This aspect was amplified as the project took place in communities. It did not inspire me to create individual works, but to consider how the characteristics and strengths of ceramics could be employed as a means and a context to make things happen, and to achieve what other forms or language cannot achieve. I strongly felt that what emerged in every class was unique. It was a remarkably fruitful and indescribable experience. We had to be part of it to truly grasp its profundity and nuances.
My initial attraction to ceramics was personal. I make ceramics because I like it. This project brought to the forefront its relevance and impacts on others, as well as how it creates rapport.
Clay is a very rational and straight-forward material. The outcome is a direct manifestation of the process. The project gave room to emotions and feelings. I allowed myself to explore the unknown within frameworks and accept mistakes. When I
interacted with the participants, there were moments when I had second thoughts on how I should guide the conversations. But unless we try, we will not know where it leads us to. Seemingly inappropriate questions sometimes open up space for deep talks and genuine exchanges. I believe people-centred projects should be flexible. We make room for trial and error to come up with the best engagement.
I truly enjoyed the tea gatherings, when everyone shared wholeheartedly. Whether the works met expectations no longer mattered. All the participants are older than us. While they often call me “teacher”, I am very touched because they also treat me as their daughter. It makes me reflect on my relationship with my family.
I realise that my initial worry stemmed from the difference between this and what I am used to in other classes. However, as the welfare workers know the cleaning workers very well, after I started to plan the sessions with the welfare workers, my anxiety was gone. During class, the cleaning workers were very much at ease. They delightfully shared updates and brought back treasures. Over time, I managed to adjust my mindset as well.
My lack of confidence was the primary reason why I hesitated to take the role as a facilitator. Compromising participants’ experience because of my poor facilitation was the last thing I wanted. It then occurred to me that the participants would not judge my ceramics and communication skills. Rather, they would actually tense up when I was nervous. I started to put myself at ease. Imperfections are marks of authenticity.
I tried to be honest about how nervous I was and welcomed any requests for clarification if I rambled on. I could not remember names like Norwich did, and sometimes I asked for a brief moment to make notes. Everyone would chuckle and reassure me by saying “That’s okay.” I hope I did make each class enjoyable and show my readiness to listen to what they wanted to share. One size does not fit all, and I believe it applies to facilitation as well. Y:
Lau Jin-ki walked hand-in-hand with welfare workers along a “A Journey of Growth” for cleaning workers, who gifted them with treasures like these T-shirts.
How was the experience working with the curatorial team and partnering social organisations?
There was a time when one of the mothers was going through a very tough time, but I was not aware of that. Communication between us and social workers is crucial. Only by understanding the participants’ situations can we facilitate the best interactions.
In one of the classes, instead of making ceramics, we held space for conversations as one of the cleaning workers suffered a bereavement. I was very impressed by the welfare workers’ professionalism in offering emotional support. It was up to the cleaning worker to decide how much she wanted to share, while other attending participants were also being taken care of. I learned about the balance between lending an ear and setting boundaries.
It reminds me of a conversation we had with the social workers. They also faced immense pressure and a lot of constraints within the system. While their resilience and enthusiasm are commendable, don’t forget that they also need a break to unwind.
Projects like this are crucial in the sense that some standard practices in social services could also be loosened. Although social workers know their service recipients very well, they might unknowingly set limits. In the taster workshops we organised for the social workers, a lot of them resonated almost instantly with the potential ceramics-making presented. The impacts could definitely ripple out if more units alike proactively run initiatives that break past existing limitations.
Another round of applause is for the MaD team as well, who continued to professionally handle liaison and all aspects of project management. Their support laid a solid ground for project evolution and allowed us to stay completely focused on our role as ceramics facilitators.
While this project cycle has come to an end, we hope it is a comma rather than a definite full stop. What vision do you have for the future if the project can continue?
Compared to other groups, the cleaning workers came together less frequently. I look forward to a more long-term engagement in which I can try different facilitation methods. They are full of interesting ideas. We can hand over some sessions to them and let them take the helm.
I am excited about bringing ceramics to more communities and testing its possibilities further. Before the project, I had not facilitated ceramics classes for elders, cleaning workers
Y:
and wheelchair users. I am very grateful for all the takeaways, and I am sure that some other communities are waiting for us.
I concur with Norwich in terms of expanding our reach. This is exactly where our role lies, while it counts on the partnering organisations to carry the legacy forward. Ideally, participating social workers and community members could take on our role one day so that the project can branch out to create deeper and lasting impacts.
H:
I wonder whether it is possible to explore alternative collaborative models with different social services organisations, such as launching a track of flash experiences in parallel with the long-term programmes. Of course, it requires careful planning and further experimentation.
A tea gathering for all would also be nice. Ceramics really brings people together.
Ceramics for Care evolved into a communities-bridging network. After offering taster workshops to a farming group, Lam Hoi-yi, the mothers and the farming group reunited in the farm and enjoyed a potluck while celebrating the outcomes of their creation.
Coda
Let’s
Keep the Ball of Clay Rolling
Carol Chan
Curatorial Team of Ceramics for Care
Make A Difference Institute
Whenever a tea gathering approached, I thought about the journey we went through with every participant. It was always a bit sad but also joyful watching them share their creations with radiant pride. One piece after another, in every tender and quirky form, told stories of growth and transformation.
At this layover on the journey, I wonder: what has the clay recorded? What does it carry? It holds memories, emotions and small philosophies of life. Our facilitators often say: as long as the clay hasn’t been fired, it can always return to its original form. But the traces left by the shaping process cannot be erased. Just like the countless stories that converge in Ceramics for Care, the clay does not only mark the roads we have traveled. It reminds us that we have always been together.
Does firing set things in stone? Not at all! A participating mama often said, “If it cracks, just make it again! No big deal!” That line struck a chord. Yes, once fired, the ceramic object is fixed in form. But our lives remain dynamic, evolving, and always open to restarts.
Thanks to the generous support of the Robert H. N. Ho Family Foundation Hong Kong, Ceramics for Care has grown into a warm, interconnected community. In this space, the love of mothers, the resilience of cleaning workers, the wisdom of elders, the broadmindedness of wheelchair users and the dedication of their carers all found resonance. Through shaping clay, they did not just create objects—they reshaped their inner worlds. Clay seemed to call for love, inviting art to enter everyone’s life. In doing so, it slowly awakened the inner strength of each community, opening doors to personal transformation. Here, communication can be beyond words. Clay becomes a bridge where emotions flow through fingertips, and silent exchanges recover lost voices.
People part ways, but it is not the end when our class finishes. It continues in life. In a city so pressured and fast-paced, we are often suffocated by the everyday. Ceramics for Care reminds us: art can be a breath of fresh air, and more importantly, a catalyst
In the last gathering of Ceramics for Care 2023-2025, cleaning workers co-curated a simulated exhibition to retrace “A Journey of Growth” paved with balls of clay.
for enduring love and acceptance. Once a participant, with a twinkle of secrecy, asked me for a ball of clay. He wanted to continue practicing at home with his grandson. In the lingering touch of that clay, we not only feel the joy of creation—we radiate it outward. This heartfelt joy reminds me of the cleaning workers’ last tea gathering, in which we simulated an exhibition. Together, the workers curated the display and titled it “A Journey of Growth.” They reflected how this winding course has taken them from amateurish creations to the pursuit of beauty, and how, eventually, they have outgrown pursuing and returned to spontaneity as they wholeheartedly took a break. To me, Ceramics for Care is a slow, tender declaration through art, like a gentle crease in the fabric of daily life. It is not aimed at visible results. Instead, it nurtures internal transformation: as we slow down and immerse ourselves in the shaping of a ball of clay, we relearn how to breathe.
Our facilitators often quizzed participants about firing temperatures—from bisque firing at 900°C to glaze firing at 1260°C. While the numbers are precise, the outcomes, like life, are full of surprises: sometimes bittersweet, sometimes bold. Yet one thing remains true: everyone approaches their craft with a genuine heart. Just like clay honestly holds the stories and emotions of our lives. As we look to the future, can we imagine more spaces to “take a break” for care? We hope to keep weaving this web of mutual support, bringing art into everyday spaces alongside more companions. Let us keep making, keep breathing, and keep calling love into being.
抖啖氣陶社 Ceramics for Care
支持機構 Supporter
主辦 Organiser
伙伴機構 Partner Organisations
2023-2025
工作人員及鳴謝
Credits and Acknowledgements
策劃團隊 Curatorial Team
張慧婷 Stephanie Cheung
李詠茵 Ada Li
梁棨豪 Nicky Liang (2022-2023)
陳子琳 Chan Tsz-lam (2022-2024)
麥巧兒 Lilian Mak (2022-2024）
何君濠 Charles Ho (2023-2024）
陳可澄 Carol Chan (2024-2025)
陶藝導師 Ceramics Facilitators
黃樂 Norwich Wong
林海怡 Lam Hoi-yi
劉彥希 Lau Jin-ki
吳沅盈 Ng Yuen-ying
* 承蒙香港演藝學院允准參與實習計劃
合作同工
Partnering Social and Welfare Workers
明愛葵涌居民互助中心
Caritas Residents Mutual
Help Centre—Kwai Chung
梁心延 Leung Sum-yin, Samy
李紹勤 Lee Siu-kan
明愛勞動友善社區計劃
Caritas Labour-Friendly Communities Project
張智健 Cheung Chi-kin
羅慧玲 Law Wai-ling
蔡蒨文 Tsoi Sin-man
香港路德會社會服務處
路德會采頤長者中心
Hong Kong Lutheran Social Service, LC-HKS
Rhythm Garden Lutheran Centre for the Elderly
陳敏樺 Chan Man-wah, Neko
自強協會
1st Step Association
鄧曉恩 Tang Hiu-yan
工作坊支援 Workshop Support
姚銘珊 Felix Yiu Ming-shan
鄧泳琪 Vickie Tang
實習生 Interns
何曦琳* Melody Ho*
林偉恆 Henry Lam
成效評估伙伴 Impact Measurement Partner
蔡曉瑩 Christine Choy
項目策略顧問
Project Strategy Consultant
冼昭行 Benjamin Sin
特別鳴謝 Special Thanks
陳思光 Ray Chan See-kwong
范翠怡 Tracy Fan
趙若彤 Jiu Yeuk Tung
李慧心 Lee Wai-sum
李晞琳 Charlotte Li
潘輝煌 Nick Poon
沈佩瑩 Shum Pui-ying
黃詠敏 Wong Wing-man
明愛臻藝坊 Caritas Creative ART Centre
浸會大學視覺藝術院 2025年畢業同學 Graduates of the Academy of Visual Arts, Hong Kong Baptist University (Class of 2025)
* With kind permission of The Hong Kong Academy for Performing Arts for the internship programme.
參加者
Participants
明愛葵涌居民互助中心
Caritas Residents Mutual Help Centre—Kwai Chung
陳賜雯 Chan Chi-man
陳素芬 Chan So-fan
關淑貞 Kwan Shuk-ching
李麗冰 Li Lai-ping
林渝欣 Lin Yuxin
劉彩文 Liu Caiwen
戎佳萍 Rong Jiaping
夏林 Xia Lin
明愛勞動友善社區計劃
Caritas Labour-Friendly Communities Project
陳艷珠 Chan Yim-chu
周煥枝 Chau Wun-chi
陳秀英 Chen Xiuying
黃美顏 Huang Meiyan
郭少玲 Kwok Siu-ling
黃美妹 Wang Meimei
黃妙珠 Wong Miu-chu
黃日妹 Wong Yat-mui
香港路德會社會服務處 路德會采頤長者中心
Hong Kong Lutheran Social Service, LC-HKS
Rhythm Garden Lutheran Centre for the Elderly
陳三妹 Chan Sam-mui
陳嬋英 Chan Sim-ying
陳小粧 Chan Siu-chong
鄭霞榴 Cheng Ha-lau
鄭麗容 Cheng Lai-yung
鄭惠賢 Cheng Wai-yin
程秀珍 Ching Shou-chan
蔡筱環 Choi Siu-wan
張觀明 Cheung Koon-ming
侯美香 Hau Mei-heung
洪玉石 Hong Yu-shin
鄒玉潔 Jow Yuk-kit
顧靄馨 Ku Oi-hing
朱蘭英 Kwok Phenwalee
郭帶喜 Kwok Tai-hei
藍司惠 Lam Sze-wai
劉潔玲 Lau Kit-ling
劉璇粦 Lau Shuen-lun
劉延生 Lau Yin-sang
梁帶娣 Leung Tai-tai
伍淑賢 Ng Suk-yin
伍惠嫺 Ng Wai-han
潘麗仙 Pun Lai-sin
商美珍 Sheung Mei-chun
曾惠雲 Tsang Wai-wan
董燕卿 Tung Yin-hing
黃麗玉 Wong Lai-yuk
黃明霞 Wong Ming-ha
胡祖業 Woo Cho-yip
邱繼財 Yau Kai-choi
俞財昌 Yu Choi-cheong
余彩蓮 Yu Choi-lin
自強協會 1st Step Association
陳金彬 Chan Kam-bun
傅鶴勇 Fu Hok-yung
何笑玲 Ho Shiu-ling
何兆基 Ho Siu-ki
關銘義 Kwan Ming-yee
梁麗嫦 Leung Lai-sheung
雷淑貞 Lui Suk-ching
黃育玲 Wong Yuk-ling
紀念冊錄像:捏泥說
Publication Videos: Conversations with Clay
編輯團隊
Editorial Team
陳可澄 Carol Chan
張慧婷 Stephanie Cheung
李詠茵 Ada Li
梁棨豪 Nicky Liang
何曦琳* Melody Ho*
攝影
Photography
林磊剛 Lam Lui-kong, Roy
陳庭章 Chan Ting-cheung, Tim
製作統籌
Production Coordinator
項淑儀 Zoe Hong
平面及書籍設計
Graphic and Book Design
studioWMW
kind permission
編導
Director
黃勺嫚 Wong Cheuk-man
攝影 Videographer
孫晞宙 Suen Hei-chau
統籌 Coordinator
郭靄儀 Coo Oi-yee
出版
Publisher
出版日期
Date of Publication
國際書號
ISBN
關於MaD About MaD
創不同協作有限公司
Make A Difference Institute Limited
香港九龍青山道700號時運中心1301室
Room 1301, 13/F, Charm Centre,
700 Castle Peak Road, Kowloon, Hong Kong
電話 Tel +852 3996 2788
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電郵 Email ask@MaD.asia
網站 Website www.MaD.asia
2025年9月 September 2025
978-988-75935-8-4
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MaD（Make a Difference）創不同成立於2009年，是一個結合思考和行 動的地區性協作平台。MaD以跨界合作、共創、同理心及永續發展為核心 價值，支持本地創意生態的長遠發展，積極推動年輕人以創新方法探索及回 應當代挑戰，建立創意公民社會，帶來正面改變。
Founded in 2009, MaD (Make a Difference) is a regional platform for thinkand-do collaborations. We strive to promote the growth of a vibrant creative ecology through cross-sector collaboration, empathetic co-creation and sustainable practices. With building a creative civil society for positive change as our long-term vision, we champion creative responses to challenges of our time.
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