抖啖氣陶社 紀念冊

Ceramics for Care 2023 - 2025

Ceramics for Care 2023 - 2025 記一記，差不多一百位同行的朋友

由陶連成社

From a breather to a space of care with close to one hundred companions

一 群 人 ，一 把 泥 一捏一世界

Handbuilding worlds together

抖 啖 氣 陶 社 2023-2025

Ceramics for Care 序 04 記一記，由陶連成社 張慧婷

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歷程 圖錄

36 明愛勞動友善社區計劃 56 香港路德會社會服務處 路德會采頤長者中心

124 自強協會

144 明愛葵涌居民互助中心

回 顧，前 瞻

Preface 18 Handbuilt, with Care Stephanie Cheung

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Journey

Catalogue 36 Caritas Labour-Friendly Communities Project 56 Hong Kong Lutheran Social Service, LC-HKS Rhythm Garden Lutheran Centre for the Elderly 124 1st Step Association 144 Caritas Residents Mutual Help Centre— Kwai Chung

Looking Back and Forward

162 《抖啖氣陶社》作為「第三空間」 研究觀察與個人旅程

186 Ceramics for Care as a “Third Place” Research Observations Through a Personal Journey

168 實踐伙團再想像 《抖啖氣陶社》計劃策略

192 Circle of Practice: Reimagining Strategies of Ceramics for Care

176 陶藝導師對談： 由泥與人，到人與人之間

200 Conversation with Ceramics Facilitators: Between People and Clay

蔡曉瑩

冼昭行

黃樂、林海怡、劉彥希、吳沅盈 與創不同團隊

結

Christine Choy

Benjamin Sin

Norwich Wong, Lam Hoi-yi, Lau Jin-ki, Ng Yuen-ying and the MaD Team

Coda

184 一舊舊舊舊泥，一舊舊舊舊嚟

208 Let's Keep the Ball of Clay Rolling

210 成員名單及鳴謝

210 Credits and Acknowledgements

陳可澄

Carol Chan

抖啖氣陶社

序

記一記，由陶連成社 張慧婷

創不同協作， 《抖啖氣陶社》策劃團隊成員

第一課的小練習：

隨心捏一把土，此時此刻，在想甚麼呢？ 04

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Ceramics for Care

陶土是有記憶的，捏陶時一摺一扭，窰燒後，可能都會在作品中浮現。 《抖啖氣陶社》也由經歷塑造而成：一群人，一把泥，過去幾年間，捏出了數百件作品， 盛載着微小但真實的生命故事；陶室中的喘息、專注、想像、探索、分享和交往， 塑造了過程主導的社會實踐藝術項目。人本的過程比陶土更柔軟，

片刻的片段或會在時光中消逝，但在人的心裏留痕。像前往下一階段時寫給同學的紀念冊， 這裏如念念不忘的陶土，記一記這個由陶連成社的故事。

抖啖氣陶社

起點

《抖啖氣陶社》的起點是《賽馬會藝術人人連結社》旗下的《抖啖氣陶室》 （2021-

2022）。當時正值疫情，霧霾底下，創不同協作的藝術小隊思考：有社會面向的藝術進

駐，可以怎樣回應當下的種種挑戰？作為一個策劃團隊，我們希望結連來自不同界別 但理念相通的朋友，落地地共創白牆以外、以人為本的藝術實踐。

很榮幸可以聯同資深陶藝家黃樂，跟明愛葵涌居民互助中心一起，迎來了一班撐起一

頭家的媽媽。初次見面，日常地打開話匣子，問媽媽們喜歡吃甚麼，她們都說：「孩子 喜歡甚麼，我便吃甚麼。」

相對於習慣個人表述的現代／當代藝術，媽媽的「他者為先」是另一個世界 —— 這個世 界是無數照顧者的現實。疫情期間，社會倏然意識到城中照顧者（醫護人員、清潔工

友、家庭主婦等等）的重擔；在 1980 年代提出的「關懷倫理」 （care ethics）再次成

為關鍵議題：追求顯性成效的社會中，我們有重視鎂光燈沒有照到的默默守護嗎？無 私奉獻有沒有被看見，還是被當成理所當然？照顧者日夜無間地守護身邊的人，他們 有沒有也被照顧，或者至少，照顧自己？

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在大環境的脈絡中，看着眼前的媽媽，社會公義也是眼睛看着眼睛的事情。大家記下 了彼此的名字，從一把泥開始，一呼一吸，一捏一世界。起初，媽媽的巧手捏出了載

滿對家庭關愛的器物；慢慢，她們各有風格，而風格背後，是個人的深切需要；然後， 她們在作品中寄托對生活的盼望；手藝日益進步，她們開始不介意不完美⋯⋯

經過了差不多一年半，媽媽們在捏陶間重拾照顧自己的空間，也打開了一扇觀照自身

的窗。《抖啖氣陶室》於 2022 年畫上句號，團隊希望觸動生命的過程不會盡於項目時 限，很幸運地獲何鴻毅家族香港基金支持，在 2023 年將《抖啖氣陶室》拓展成《抖啖 氣陶社》。

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/.

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Ceramics for Care

從「 室 」到「 社 」 《抖啖氣陶社》的構想是進一步以手捏陶藝和對話為主要媒介，將《抖啖氣陶室》的可

見成效，伸延到更多照顧者群體，也同時把個人轉化推展到社群／社區層面，實驗項 目的可持續發展，探索藝術與社會服務長期協作的潛力。策劃的創不同團隊、一眾有 心的陶藝導師、伙伴社會服務機構、同行的同工和來自不同社群的參加者，都是陶社 的共創者，大家的投入和創造力，有機地帶動了項目的發展。

抖啖氣陶社

大家一起推泥板造碟，同工阿 Ling 畫了月亮，身旁的工友就畫了太陽。

伙拍明愛勞動友善社區計劃，陶社請來城市最前線的照顧者 —— 清潔工友。工友工作

勞碌，要在上班和照顧家庭之間找出時間參與，毫不容易。明愛同事 Fish、阿健和阿 Ling 一直落力推動，讓我們遇上了一班了不起的參加者。大家邊捏陶、邊聊天，有時

會輕描淡寫地提到工作日常。令社會「看見」工友，是勞動友善社區計劃的重要倡議； 在陶社，我們更希望還原基本步，重視他們作為有面有貌的人。過程中，明愛同工和

陶藝導師用心設計：到後山搜集素材戶外創作、造賀年掛飾回顧前瞻、以集體創作連 結個體。過程中發生了很多令人難忘的時刻：有次阿健突然要處理急務，擱下了未完 成的花盆，工友自發幫忙上色；新年時，有工友以果實纍纍的芒果樹寄願：「我覺得 自己到了這個年紀，已經付出了很多，很努力地經營自己的人生，經營自己的家庭，

好努力地工作，好希望得到回報，得到收穫。」⋯⋯ 這些都是勞友計劃長期建立關係 和賦權的印記，深耕之上，藝術的觸感加添了幾筆有溫度的色彩。

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Ceramics for Care

雖然從來沒有接觸過陶藝，長者開放地嘗試，捏出源自生活的作品。

與香港路德會社會服務處路德會采頤長者中心的合作，把一班又一班不同情況的長者

帶到陶社。面對這些花了一生建立今天的社會、現在退到後線的老前輩，我們採用主 題式策略，藉陶藝創作鼓勵長者表達心中所想，享受成功感，照顧心理需要。面對彩

虹邨重建的長者，在紀念小碟記下對幾十年居所的懷緬；腦退化患者和他們的照顧者，

捏出念念不忘的事物；平常較少參與活動的長者放膽隨心創作，分享曾經驕傲和當下 願望。我們一班後輩主要是給老友記打氣，給他們一塊親和、可塑而不批判的陶土，

由他們用經過歲月的手——借社工陳姑娘的說法，寫生命的詩。這些詩有時幽默、有時 傷感；有時豁達、有時堅韌，都至真至誠。路德會的同事全情投入，除了在活動中以

社工專業作擺渡，更組織了不同崗位的同工參與體驗課，親身感受陶藝在長者服務的 可能性。

抖啖氣陶社

自強協會的會員創意無限，其中一位以指甲逐片印出魚鱗。

機緣之下，在自強協會的照顧者喘息小組，遇上了更多生命的詩人。第一次見面，兩

對夫婦老遠從粉嶺來到啟業邨的中心，交談間，我們才察覺到香港一般巴士只一有個 輪椅位置，如果超過一位人士有需要，就要等下一班車。後來，社工曉恩嘗試安排復

康巴士，我們也才了解那也是多麼供不應求。感謝一班四輪之友願意遠道而來，更拜 服於他們的創造力。初到陶社，對陌生的陶藝當然有點戰戰兢兢，可是陶土在手，大 家就秒速進入狀態，創作靈感如泉：充滿愛的嬰兒玩具、魚籽粒粒分明的壽司拼盤、

守着友誼之蛋的恐龍、為自己健康許願的小兔、寫着「I ♥ U BABY」的巨形鑽戒、老 師也想收藏的蘇眉、「你看見甚麼就是甚麼」的風景⋯⋯ 無拘無束的作品直率地呈現 出生活、情感與想像，陶藝課造就了互相認識的契機，在笑聲和抒發中，活動小組成

為交心的關係網絡。最後一節分享茶會，參加者為團隊帶來驚喜，在自製的心意咭上， 提了一首七言絕句：

陶瓷班內制作呵，瓷器品種變化多。 班多助教多籮籮，正好制成笑呵呵。

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Ceramics for Care

媽媽們成為「小導師」，與其他社群分享對陶藝的熱愛。

最後，回到最初跟我們一起「拓荒」的明愛葵涌居民互助中心，我們和中心主任太龍 和前線同工 Samy 一起，深深體會到時間的力量。一些從《抖啖氣陶室》就開始參與

的媽媽留了下來，加上後來加入《抖啖氣陶社》的「新媽媽」，凝聚成新的社群。陶藝

成為媽媽生活中珍重的一塊，在有導師指導的「練習課」之餘，中心撥出空間讓她們 每周自習。學習更不止於課室，一起看展覽之後，有媽媽說：「我們也可以做多點藝

術。」她們的創作仍然圍繞關愛 —— 關愛家人，也關愛自己。在充滿信任的群體中，媽

媽們分享生命中的甜酸苦辣，彼此相伴，更以「小導師」的角色，慷慨地跟其他群體 分享捏陶的喜悅和啟發，甚至把陶藝帶到孩子的學校、教會，把陶社的網，編織至更 廣闊的社群。

差不多三年的時光，數百節相聚，一捏一捏，塑造了《抖啖氣陶社》。項目從一個溫柔 的舒緩空間，織造成更立體而堅實的社群。在不同的群體，它的形狀有些差異，但都 包含轉化、人與人真誠的交往、可以滋養未來的記憶。

抖啖氣陶社

回顧，前瞻

寫這篇文章時，《抖啖氣陶社》2023-25 邁向尾聲，團隊籌劃展覽及出版以記錄和分享 項目歷程，也請來在相關領域的資深工作者，幫忙回顧和前瞻。

社會科學背景、從事創意產業、藝術和文化研究及教育的蔡曉瑩是《抖啖氣》的老朋 友，自《抖啖氣陶室》起，已透過第一身觀察和跟不同持份者的訪談，見證陶社的演

變。她視《抖啖氣陶社》為社會學中的「第三空間」 （Third Place）：項目強調包容、 與生活緊扣、接受不完美的藝術取態，連結群體同時重視個體的方針，舒壓、尊重和

愉快的氛圍，營造了開放舒適、樸實無華、笑聲頻繁、對話蓬勃的「好地方」；這類

空間不僅能對個體產生正面影響，宏觀而言，更有助增進社會福祉、公民參與和身份 認同，在孤獨和社會極化的時代，尤其重要。

在藝術與社會工作的協作中，社會服務機構和同工的參與至為關鍵。我們邀請從事社 區發展工作多年的資深社工冼昭行，從社會工作的語境回溯項目的路徑，也為下一步

出謀獻策。他建議請參與機構的同工組成實踐伙團，透過跨中心的討論、重讀參加者 感言及與他們進一步交談，釐清項目作為社會服務介入的核心：在藝術與社會工作交

疊的邊界，藝術的非語言感悟，可以進一步拓展慣常以語言介入的社會服務，而不同

社群在社會服務的機緣下，藉捏陶訴說自己的獨特價值，也讓藝術回到生活現場，成 為賦能的媒介。

蔡曉瑩和冼昭行的分析，收錄在這本紀念冊的「回顧．前瞻」部份。在此想特別補充，

回顧本身，也發展成項目的重要一步：團隊間這一輪認真的討論，有些像久不久舉行 的分享茶會，給一直在發生的事情來了個清楚的描述，也言明了存在但無形的默契， 讓我們共同思考未來的進路。大家也希望，《抖啖氣陶社》不會在 2025 年畫上句號。

雖然未來尚未明朗，大家已有很具體的想像：明愛勞動友善社區計劃希望令更多工友 接觸陶藝，構思以「外賣」形式，給在站頭等放工的工友初體驗；香港路德會社會服

務處路德會采頤長者中心有意將陶藝融入恒常服務，藉陶土觸及長者的內心世界；而

明愛葵涌居民互助中心則已準備好為新成員打開陶藝之門，同時讓「舊媽媽」繼續前

行，成為社區的「陶藝分享者」⋯⋯ 我們也討論怎樣分享資源，憧憬與更多持份者合作。

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Ceramics for Care

一路同行的也有各位陶藝導師，隨着項目拓展，黃樂帶來了幾位善良、開放的年青陶 藝工作者，包括在自己的陶藝旅程中也常常記掛着媽媽們的林海怡、獲工友送贈各式

寶物的劉彥希、起初害怕「擔大旗」到想拒絕，但後來與長者和四輪之友樂也融融的 吳沅盈。陶社的點滴，對每個人來說也是觸動的事情。項目讓藝術工作者碰到平日在 工作室、展場或者藝術館鮮有出現的群體，透過一把泥互相認識，經歷轉化，大家對

陶藝、對藝術，也多了一層的體會。導師們不止用心教陶、更以關懷塑造經驗，對項

目都極有歸屬感，期盼未來可以在這裏遇上更多不同社群，有更深入或者新鮮的交匯。

人人都是藝術家

在一次伙團聚會，冼昭行問：「再行一步，是不是有些參加者可以成為藝術家？」

他問這個問題時，我想起提倡「社會雕塑」 （social sculpture）的德國藝術家約瑟．博

伊斯（Joseph Beuys）。第二次大戰後，世界面對新一輪的挑戰，博伊斯相信我們對 藝術的想像需要更廣闊。他說：「人人都是藝術家。」 2

博伊斯指的「藝術家」，是有能力自由、自主、有意識地感受，然後創造的人，他們創

造的不一定是特定形式的「藝術品」，而是生活中各方面的事物，可以是一隻提醒要 善待自己的陶杯、在繁瑣中撥出來的自在空間、用不批判的眼光看待人各有異、彼此 安心分享同時好好聆聽、相信刻板生活以外還有其他的可能⋯⋯當每個人都能以這樣 的創造力改變生存的狀況，社會本身，就有機會從種種僵化之中，轉活成可變的雕塑， 呈現對生活與生命有判析的審美和想像。

沿藝術的路徑，這也是《抖啖氣陶社》的進路。陶土可塑，它提醒：創造是一種動能， 藝術動人，因為它盛載生命。作為這個歷程的逗號，這本紀念冊如展覽圖錄，並列作 品和人的故事，請你細看，每一位「藝術家」的創造。

2. 博伊斯於 1973 發表，有關「社會雕塑」和「人人都是藝術家」被廣泛引述，首次英文翻譯錄於 Caroline Tisdall, Art into Society, Society into Art (ICA, London, 1974), 48.

抖啖氣陶社

歷程 獲何鴻毅家族香港基金支持， 進化成《抖啖氣陶社》

《賽馬會藝術人人連結社》 旗下項目《抖啖氣陶室》

2021

2022

2023

明愛葵涌 居民互助中心

參加者

媽媽（基層婦女）

參加者

《抖啖氣陶室》的媽媽 ＋

陶藝導師

新加入的媽媽

蕭文潔、葉皓賢、姚俊樺

黃樂、林海怡

黃樂、林海怡、劉瑋珊、

陶藝導師

活動內容

活動內容

・總結展覽 ＋ 社區導賞

・練習課

・入門課 ＋ 分享茶會

・入門課 ＋ 分享茶會 ・自習課 ・看展覽

・給其他社群的體驗工作坊

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Ceramics for Care

2024

2025

明愛勞動友善 社區計劃

香港路德會社會服務處 路德會采頤長者中心

自強協會

參加者

參加者

參加者

陶藝導師

認知障礙症長者及其照顧者、

陶藝導師

清潔工友 黃樂、劉彥希 活動內容

・入門課 ＋分享茶會 ・練習課

受彩虹邨重建影響的長者、 體弱及隱蔽長者 陶藝導師

黃樂、吳沅盈 活動內容

・入門課 ＋分享茶會 ・同工體驗工作坊

四輪之友及其照顧者 黃樂、吳沅盈 活動內容

・入門課 ＋分享茶會 ・練習課

抖啖氣陶社

「盼望更多人能透過陶藝創作展現自我，也希望更多同工能用 這種方式，為社區工作注入新的活力。」 范翠怡

前明愛葵涌居民互助中心社工、

《抖啖氣陶室》至《抖啖氣陶社》合作同工

在社區工作時，我遇見許多婦女為家庭默默付出，往往把家庭放作首

位。然而，她們各有獨特的人生歷練，內心複雜的情感難以言表，受

環境與傳統束縛，更難盡抒志向與感受。我常感困惑，思索該如何鼓 勵她們多關心及表達自己。2021 年，創不同團隊邀請中心合作，提出

透過陶藝創作，幫助媽媽們減壓。我當時只覺得，藝術如果可以讓媽 媽們放鬆心情，不妨讓她們一試。

在協作活動的過程中，我也與媽媽們坐在一起，一同由零開始體驗陶

藝創作。第一次摸到陶泥的感覺到現在也十分難忘。那泥土軟軟的，

在手中隨心塑形，自由自在。大家按自己的個性與想法，捏出獨一無 二的作品。陶泥還能回收重塑，讓大家敢於嘗試，慢慢學會欣賞自己 的作品，不再追求完美無瑕。

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Ceramics for Care

沒想到，陶藝創作有種魔力，讓媽媽們暫時放下繁忙家務，興致勃 勃地來中心捏陶。在這個沒有批判的空間裡，她們用作品訴說難以 言傳的心事 —— 對生活的期盼、內心的信念、對社區的歸屬，以及

對家人的深情。媽媽透過展覽，將自己的作品呈現給社區，分享她 們對生活的真摯情感。

這個計劃遠超我的預期，原本只想媽媽們透過陶藝放鬆心情，沒想 到創作過程竟引導她們去思考生命、生活、社區、關係與自我，找 到內心的平靜與力量。

這段經歷不僅讓媽媽們有所收穫，我自己也深受啟發，開始在閒暇

時捏陶，梳理生活中的思緒。這次計劃讓我摸索出一種新的工作方 式：用藝術喚醒社群的內在力量，讓社群找到自我轉化的可能。

記得我的老師曾説過，社區工作就是不斷的嘗試與失敗。回想這段

旅程，我由衷感謝創不同團隊及陶藝導師們，過程中我們一起互相

學習、大膽實踐，並探索藝術與社區工作結合的可能性。每堂課後， 我們總會熱烈地分享自己的觀察，彼此啟發。我十分享受工作的過

程，很榮幸可以參與其中。同時亦感謝機構及中心支持我們的實踐， 提供空間讓我們安心發揮所想。

作為《抖啖氣陶社》初段參與的同工，聽聞計劃已成功拓展至不同 社群，實在很感動。盼望更多人能透過陶藝創作展現自我，也希望 更多同工能用這種方式，為社區工作注入新的活力。

抖啖氣陶社

Preface Handbuilt, with Care Stephanie Cheung Curatorial Team of Ceramics for Care Make A Difference Institute

The first exercise: beginning with a ball of clay, pinch what's on your mind.

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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.

抖啖氣陶社

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.

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Ceramics for Care

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.

抖啖氣陶社

When welfare worker Ling painted a moon on her slab-built plate, a cleaning worker echoed with a sun on hers.

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.

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Ceramics for Care

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.

抖啖氣陶社

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.

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Ceramics for Care

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.

抖啖氣陶社

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.

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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.

抖啖氣陶社

Journey Ceramics for Care supported by Robert H. N. Ho Family Foundation Hong Kong

Take a Break Studio of Jockey Club Peoples' Art Connective

2021

2022

2023

Caritas Residents Mutual Help Centre —Kwai Chung

Participants

Participants

Mothers (grassroots women)

Mothers from Take a Break Studio +

Ceramics facilitators

newly joined mothers

Norwich Wong, Lam Hoi-yi,

Ceramics facilitators

Hikki Lau, Kate Siu, Casric Yip,

Norwich Wong, Lam Hoi-yi

Wallace Yiu

Activities

Activities

・Induction classes + tea gatherings

・Induction classes +

・Guided practice

tea gatherings ・Concluding exhibition + community guided tours

・Independent practice ・Exhibition visits ・Taster workshops for other communities

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Ceramics for Care

2024

Caritas Labour-Friendly Communities Project

2025

Hong Kong Lutheran Social Service, LC-HKS Rhythm Garden Lutheran Centre for the Elderly

1st Step Association

Participants

Participants

Participants

Cleaning workers

Elders affected by the

Wheelchair users and their carers

Ceramics facilitators Norwich Wong, Lau Jin-ki Activities ・Induction classes + tea gatherings ・Guided practice

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

Ceramics facilitators Norwich Wong, Ng Yuen-ying Activities ・Induction classes + tea gatherings ・Guided practice

抖啖氣陶社

“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.

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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.

抖啖氣陶社

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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.

抖啖氣陶社

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圖錄

Catalogue

抖啖氣陶社

明愛勞動友善社區計劃 明愛勞動友善社區計劃相信：對勞動者友善，是社區溫柔的體現。

計劃以健康、安全與尊嚴為核心，貼心守護清潔工友的身體健康與工作安全， 也重視工友在工作以外的興趣發展，開拓對生活的想像和可能性。

勞碌過後，由黃昏到天黑，手捏一舊泥成為了工友重要的抖啖氣小空間， 指尖揉、捏、塑、刻，陶土在手中流動，也讓他們的思緒得以流轉。

當一件件作品被反覆塑造，他們看見的不止是陶泥，而是自己隱藏的創意 與價值——門前的新年祈願掛飾、喜歡吃的食物、有故事的器皿⋯⋯ 簡單小物，也能散發正能量和美好的立意。創作時的寧靜與專注，

成就了他們喘息時刻，相聚的小習慣也育成了笑聲此起彼落的療癒基地。

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Caritas Labour-Friendly Communities Project 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.

抖啖氣陶社

「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.” 張智健

Cheung Chi-kin

福利⼯作員

Welfare workers

羅慧玲

Law Wai-ling

《抖啖氣陶社》為清潔工友開設的陶藝班，最初只是一個簡單念頭：讓日復一日辛勞的 工友，在陶土中找到喘息的空間。沒想到，這片泥土不僅成為他們放鬆的角落，更承

載了他們的生活故事與內心轉變。從垃圾鏟到休息空間，每件作品都訴說著工友對職 業、家庭與自我的反思。

在捏泥與燒製的過程中，工友們學會以「隨緣」的心態擁抱變化，接受不完美的美。

他們從單調的日常（工作、煮飯、睡覺）中解放，變得更細心、更有創意，生活增添

色彩。有人從固執轉為靈活，學會「轉彎」應對挑戰；有人在創作中找到自信，發現「原 來我也可以做到」。陶藝成為無聲的溝通，讓不善言辭的他們，透過雙手表達情感。

這個空間沒有批判，只有包容與合作。工友們從個人創作到團體項目，見證自己的蛻 變、建立深厚連繫、感受創作的療癒力量，是過程中最大的收穫。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。陶土教會我們，過程比結果珍貴，變 化是慢慢成長的開始。

邀請各位走進工友的陶藝世界，感受他們如何用泥土，捏出屬於自己的故事與力量。 38

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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.

抖啖氣陶社

黃美顏 Huang Meiyan

一隻修口平整的碗，見證着美顏在陶藝路上的成長。初學時，她形容 自己捏的第一隻作品歪歪扭扭，口沿與碗足也不對稱。

經過老師耐心指導，她領悟到「鬆緊兼顧、力量均衡」的要訣。冬日

乾冷的手指，讓捏陶變得不容易，她仍一遍遍抹平、打磨。終於，這 隻碗碗口與碗腳也修得俐落，形態優雅、色澤均勻。看着成品，美顏 感受到超越預期的成就，心中滿載對學習的信心。

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.

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周煥枝 Chau Wun-chi

眾多作品之中，最讓煥枝驚喜的是一隻即興改造的碟。起初，

她盤泥條想做花盆，卻因泥條太重承托不住，花盆在最後一刻 化身為碟。

煥枝雖然一度以為失敗，卻在裂縫與變形中發現新生命。在碟

中央，她繪上了生氣勃勃的山水與天空，兩旁還加了活潑可愛 的猴子作點綴，宛如一幅流動的山水畫，「失敗」轉化成人生 的無限可能。如今，它成了煥枝家中招待客人的生果碟。 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.

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陳秀英 Chen Xiuying

說到這一隻長方形碟，秀英臉上掛滿笑意。尋遍市場也無法找到合適 尺⼨，她便在課堂上，根據自家蒸鍋大小親手製作。

她反覆調整厚度與曲線，終於打造出既可放進鍋中蒸魚、蒸餃，又能

承托重物的完美碟子。秀英笑說，這隻碟的實用度遠超購買的商品，

「真是買都沒有那麽滿意！」

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!”

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黃妙珠 Wong Miu-chu

一隻帶有「指甲印」的碗是妙珠的心頭好。起初，她長長的指甲，令捏泥變 得舉步維艱，留下的痕跡，也令她一度想放棄。

後來，同事輕聲提醒：「這些痕跡也是你的印記，何不當作藝術品欣賞？」出 窯時，妙珠驚喜地發現，指甲紋理在釉色中若隱若現。那些曾讓她灰心的細 節，竟成為最獨特的美感，令這隻碗成了她的新寵。

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.

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黃日妹 Wong Yat-mui

製作這隻大碟時，需以手掌不斷拍打泥板，耗盡全身力氣，日妹卻享受那股 與泥土搏擊的快感。

成品寬大厚實，能盛載更多食物。日妹在碟面上細心描繪出放射的太陽光束， 象徵自己希望以溫柔與熱情待人，也寄託了美好的祝願：每當家人共享菜餚， 碟上那抹陽光，便在餐桌上蕩漾出一片溫暖。

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.

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陳艷珠 Chan Yim-chu

一隻母女同心製作的貓貓碗，訴說着艷珠和女兒之間無聲的愛。

在外地讀書的女兒暑假回港，陪她一同上課。兩人在課堂分工合作：女兒在

第一堂塑形後就離港回去上學了，艷珠第二堂按女兒的提議上釉，象徵母女 共享的歡愉與互信。艷珠每一次凝視貓貓碗，都勾起與女兒同心創作的溫馨 回憶，和對她的思念與愛。

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.

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黃美妹 美妹心中最珍貴的陶藝作品是一件新年吊飾。她以紅綠線條

Wang Meimei

勾勒出喻意「平平安安」的蘋果樹，樹牌寫上「平安健康」。 她將吊飾掛於家中門前的月曆上，晨光映出鮮艷的色彩，如 同每日禱告。美妹說，望着它，就像再許一次新年許下的願 望，也提醒自己在忙碌中，不忘守護家人的平安與幸福。

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.

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郭少玲 Kwok Siu-ling

一件裝飾掛件，寄託了少玲對陶藝和生活的熱愛：芒果樹 下，籃子裡裝滿了剛採收的果實，整個畫面溫暖而豐盈，彷 彿能聽見樹葉摩挲的聲音。

作品元素豐富，但少玲不覺得創作過程複雜。她笑着說，已

經上了許多堂課，從揉泥到塑形以至上釉，每一步都不再生 疏。「這棵樹和果實，其實是在反映我自己。」少玲說。她 已到了付出和耕耘並重的年紀，過去這些年來，為家庭、孩 子、事業傾注了點點滴滴的努力，現在最渴望的，就是看到 回報和收穫，祝福自己和家人都能享受努力後的成果。

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.

抖啖氣陶社

香港路德會社會服務處 路德會采頤長者中心 香港路德會社會服務處路德會采頤長者中心從前在彩虹邨，

第一批會員多數是彩虹邨民。《抖啖氣陶社》尋找參與社群時，

服務這班長者的社工朋友想：不如借陶泥，讓長者記下多年居所重建前的感受？ 首兩組的公公婆婆創作了「紀念小碟」 ，盛載着一個時代的堅毅和珍重， 同時，也捏出了生活的感受。

之後，社工朋友請來更多曾經照顧過這個城市的長者加入陶社， 他們大都是采頤花園或鄰近的街坊，也有些遷走了仍遠道而來。

「我沒有試過陶藝啊！」勇於嘗試的公公婆婆和他們的照顧者捏着捏着， 捏出了或遠或近的家鄉故事、未有遺忘的心中所想。

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Hong Kong Lutheran Social Service, LC-HKS Rhythm Garden Lutheran Centre for the Elderly 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.

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「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.” 陳敏樺 社工

Chan Man-wah, Neko Social worker

在這個陶藝計劃開始時，我對陶藝可說是一無所知。只是因為看見其他服務單位的成

果，在心中悄悄萌生一個念頭——是否也能在我們中心為一群受彩虹邨重建影響的長者、 認知障礙症長者及其護老者、體弱及隱蔽長者，開啟一扇讓他們說出內心故事的窗？

膽粗粗嘗試下，陶藝不僅進入了中心的空間，更深深走進了長者的生命。每一件作品， 都是他們對彩虹邨及生命的記憶、對過往的凝視。當陶土在掌心翻轉、成形，我看見 他們不只是參加者，而是藝術家，是記錄者，是生命的詩人。創不同協作亦為本機構

長者中心組安排職員體驗班，為本機構陶藝發展播下重要的種子。這過程也讓我反思，

我們工作員是否偶爾設限了他們創作的可能？是否給予足夠的不批判空間與耐心，去 真正聆聽與接納？

在製作過程中，發覺陶泥是有生命，教我們接受不完美，如同人生的皺摺與裂痕。它 提醒我們，年老不是結束，而是另一種豐盛的開始。讓陶土說話，讓長者日積月累的 智慧與獨一無二的故事，透過作品靜靜流傳。

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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.

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劉潔玲 Lau Kit-ling

潔玲是第一批搬入彩虹邨的街坊。那時 1962 年，起初，這麼大的一條邨只有

四條巴士線，兩條去尖沙嘴，兩條去佐敦。後來交通越來越四通八達，大家 生活也方便了。

「我們邨中的路，不是巷，是路，真的通車的。」她畫下了家中望出去的風景， 天空有星，山前面有路，三輛車子在行駛——她衷心欣賞的民生便捷。

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.

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黃麗玉 Wong Lai-yuk

麗玉 1971 年搬到彩虹邨，「那時好開心，家婆有八個子女，十人就可以住在 最大的單位。」

在彩虹邨的喜樂，除了空間，更重要是人與人之間的關係。麗玉喜歡跟邨中老

人家聊天，了解他們有沒有甚麼需要幫忙。後來，先生更成為區議員，為邨

民爭取電梯，兩夫婦出錢出力，為街坊辦生日會。「自己做到多少便做多少！」 她碟子上的彩虹邨，是彩虹下聚首一堂的人。

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.

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藍司惠 「申請得到住彩虹邨，好像中獎！」司惠說，彩虹邨是獲獎的屋苑，單位空間

Lam Sze-wai

舒適，交通又方便。地靈人傑，出了很多醫生、會計、名人。

她 60 年代住在黃大仙，80 年代搬到彩虹邨。這一帶，她從來都熟悉，也見盡 改變，「小時候，這邊很空曠，獅子山下只有小積木般的房子。」她在碟子 上記下了還未填海的九龍東，「那時車還沒開通，可以乘船回家。」 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.”

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伍惠嫺 Ng Wai-han

惠嫺在碟子上畫了太陽下的一棵樹，草地上，有四個人，「從前家家的孩子 都到樓下玩。」她還記得，有一條「肥仔坑」，下雨時都是黃泥水。

小孩子自在遊玩，彩虹邨的地理位置也方便媽媽幫補家計，毗鄰的新蒲崗都 是工廠，很多人也從那裡拿貨回家生產。家中的膠花和邨中的小花，就一起 見證過無數孩子的成長。

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.

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程秀珍 Ching Shou-chan

秀珍碟上的向日葵一枝獨秀。她喜歡在家中插花，除了向日葵，久不久也會 有百合。

跟其他街坊一樣，秀珍口中的彩虹邨也像一個生態系統，交通造就便利，便 利造就生計，有生計就有生活。居所，本該如此。

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.

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曾惠雲 Tsang Wai-wan

惠雲的彩虹邨印象是遍地花草，問她這裏是不是從來都是翠綠盎然的，她說

不是。80 年代左右，植物還是幼苗，幾十年後長大成大榕樹，後來加上了座 椅，人就開始在樹旁聚起來。

她最喜愛的是球場那邊，隨風飄來的種籽自然生長成野花，春夏顏色都不同。 不過近年大概因為氣候變化，它們再沒那麼壯健了。

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.

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鄒玉潔 Jow Yuk-kit

玉潔最懷念每逢中秋，邨中小朋友在停車場上操場遊玩的晚上：明月下，大 伙兒玩燈籠、煲蠟⋯⋯好不熱鬧。

現在小朋友少了，也不可以煲蠟，但那個曾經熱鬧的操場仍然充滿人氣：早

上有晨運的老人家、上午有因為學校空間不夠而借地方上體育課的學生、下 午又有來打卡的遊人⋯⋯地方好因為有人在，像她的碟子。

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.

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俞財昌 Yu Choi-cheong

財昌在碟上寫了個「化」字，加幾筆，變了隻老鼠。為甚麼畫老鼠呢？原來， 他入住彩虹邨的第一個單位在二樓，樓下是坑渠，老鼠司空見慣，實屬等閒。 那個拿着老鼠尾把老鼠飛下街的傳說，是真的。

「你聽過『電燈柱掛老鼠箱』嗎？」那時老鼠橫行，衛生部門會把老鼠箱掛在 電燈柱上，街坊捉到老鼠，會自動放入這些老鼠箱待衛生部門處理，真是社 區自強。

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.

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鄭霞榴 霞榴對彩虹邨的記憶很鮮活：「斧山、鑽石山從前真是山呀！開礦會爆石⋯⋯

Cheng Ha-lau

那時，街坊關係很好，大家都不關門，小朋友在走廊跑，會喊『師奶』⋯⋯」 她小學畢業就到工廠上班，街坊經過，會叫她一起同路走。

下筆畫下彩虹邨時，她畫了一道彩虹、一個太陽、一個月亮、一顆星，是日 夜都光明的宇宙。

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.

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陳小粧 Chan Siu-chong

提到彩虹邨，大家都說彩虹。老師說：每個人也要有所不同。怎麼辦呢？阿 粧在回憶中，找到了小販賣的東風螺。

吃了幾十年的東風螺，霎時要畫出來，究竟是甚麼模樣？小粧參考了網上圖

片，畫下草稿；真正畫在陶碟時，五顏六色的釉下彩在同學間傳來傳去，本 來啡啡黑黑的東風螺，在創意開放的嘗試中，變了彩虹七色。 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.

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陳嬋英 Chan Sim-ying

得到第一塊陶泥時，阿英自自然然就捏了一隻油粿。從前新年，一家

人一起做油粿，「去拜年的時候，我也不會買甚麼，就是拿一把過 去。」

然後，同樣住過碧海樓的老街坊，此起彼落地說，「她也有拿一把給

我！」陳姑娘問：「那你會不會拿一把給我？」阿英答：「當時我還 未認識你嘛！如果早認識，我又拿一把給你。」

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.

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潘麗仙 Pun Lai-sin

阿仙在小碟上畫了色彩斑斕的畫面：七色彩虹下，七彩的人手牽手，前面還 有彩色的花——那是她對彩虹邨的印象。

這裏，她第一次擁有自己的廚房和廁所；在安居之所，她憑自己的努力養大

了孝順的兒子，鄰舍關係溫暖。「當我身體不適，需要做手術的時候，鄰居不 但幫我帶飯，而且經常慰問。」面對重建，她依依不捨；未來，還要重新適 應新居住環境呢。

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 kitchen and 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 people have to go separate ways. Lai-sin is unwilling to part. She will have to adapt to a new environment after she moves.

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鄭惠賢 Cheng Wai-yin

「彩虹邨人人都知道我是肥師奶。」惠賢笑起來眼會瞇成一線。不過

因為身體和家中的情況，她有一段時間沒有外出了。到中心上陶藝 課，是她勇敢地為自己再次走出的第一步。

請她隨心捏一樣東西，她捏了一塊小小、圓圓的，上面有些刻紋。那 是鼓勵自己的向日葵。之後，她又捏了一條香蕉。作品燒成後，她把

香蕉拿在面前，手指沿彎彎的曲線，說：「希望我的運氣，會像這樣 向上好轉。」

“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.”

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伍淑賢 Ng Suk-yin

淑賢稱自己為「蝸牛」，最初介紹時，她說因為自己慢吞吞。後來，她談到

「蝸牛公」 。二十歲的他在先施百貨公司商場做電器技工，遇上十六歲的她，

蝸牛公還叫她做小白襪。他工作需爬高爬底，褲子常常「爆呔」，她好心幫忙 縫補，「補得多了，他就娶了我。」

蝸牛的瓷碟上，畫了從前家門前的「空氣樓」，一格一格的通風結構，也可採

光。四十多年前，蝸牛囡囡站在空氣樓前，背後的陽光灑在地上，蝸牛拍下 了如藝術攝影的照片。但願相簿中美麗的記憶，會支持她繼續帶着甜美笑容， 一直走下去。

“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.

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蔡筱環 「她叫蔡蔡子，在中心人人也認識她啊！」筱環溫文爾雅，感覺半點不像日本

Choi Siu-wan

女優，不過「入屋」程度可能有過之而無不及。她是中心多年的義工，常常 家訪其他長者，「她也家訪過我媽媽！」陶藝班的同學說。

每次接送蔡蔡子時，女兒總是貼心地讓她安頓。課堂上，蔡蔡子漫不經意， 隨手隨意隨心，就捏成了比例優雅，還有小細節的鴨或鵝、造形不刻板的小 器皿。陶碟上，她一筆橙、一筆綠，悠然自得地畫上抽象自在的色彩。 “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.

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鄭麗容 Cheng Lai-yung

陶藝課上，麗容叫「白雪」，因為她住在白雪樓，也因為她皮膚光亮得像白雪 公主。九十七歲的她身強力健，天天到中心參加活動和玩電腦，推介的美容 秘方是香蕉蛋白面膜。

白雪的第一個手捏作品是一隻翅膀揚起的鵝，隨手捏成的，是從前在順德家 鄉的事物。順德是魚米之鄉，白雪甚麼也吃，就連很多人因為三高而望而生 畏的臘腸卷也吃。她的鵝身是個小窩，拿着鵝脖子，也可以當湯匙。 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 Chinese sausage buns does not deter her. Hold her ceramic goose by its neck and the lovely creature turns into a spoon.

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陳三妹 Chan Sam-mui

三妹捏了一個長長的橢圓：「牠叫小寶」，是她從前心愛的小狗，不 幸意外過世了。懷着對小寶的思念，三妹捏了小寶的模樣。小寶是黑 白色的，班上沒有黑色的釉下彩，三妹就塗上黑和白融在一起的灰。

她也捏了一隻綠色的小碗。綠色的碗是很照顧她的妹妹送的。她也為 心中的小寶捏了一隻。

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.

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商美珍 Sheung Mei-chun

美珍來自廣西，童年時期家中經營雜貨舖，經常跟着兄長在田間 耕作。

請她捏一件跟自己過去有關的事物時，她二話不說，就捏了一個長長

的橢圓，厚厚實實，原來是個白冬瓜。那是童年夏天的記憶，每家每 戶都會在床底下放上三十斤的白冬瓜，夜晚睡覺時，冬瓜的清涼讓人 倍感舒適，成為消暑的神器。

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.

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邱繼財 Yau Kai-choi

財哥來自潮州，說香港最好吃的潮州菜在九龍城。

從前從事珠寶行業的財哥見盡精雕細琢。第一次嘗試陶泥藝術創作， 他總是毫不吝嗇地誇讚別人的手藝。他自己的作品也越做越好，但都

淡淡然；在小碟子上，他用素雅的色彩，畫了一幅風景畫，有屋有樹， 安閒自在，恰如其人。

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.

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劉延生 Lau Yin-sang

生哥是江蘇人。請他隨心捏一樣事物，他捏了個金元寶。「那是江蘇過年時的

小吃。」他太太璇姐補充說。之後一節捏碟子時，他也畫了個金元寶。整個 系列，都塗了橙黃明亮的顏色。

生哥溫文爾雅，課堂上不多言，目光時常瞥向身旁的太太，盡是深情。有次大

家問到他們二人如何相遇，璇姐道來一個時代的故事，他靦腆但堅定地總結：

「相處得多，就是了。」

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.

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劉璇粦 Lau Shuen-lun

璇姐是印尼華僑，排華時走到內地，在校園邂逅生哥，就展開了一輩子的愛 情故事。

璇姐活潑開朗，平時會跳廣場舞，經常到海洋公園看企鵝寶寶。課堂上，總在 讚賞旁邊的丈夫生哥；拍照時，會熱情地教大家擺甫士。有次課後還傳來訊 息，感謝「美麗溫柔的姑娘們」。 璇姐一在，就令人感到充滿愛。

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.

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郭帶喜 Kwok Tai-hei

喜哥總是常常拋出令人意想不到的金句。他分享自己從前上中文課吟

詩作對，被老師評為「比自己更厲害」。在陶藝課，他興致勃勃地為 大家朗誦吟唱，有次更唱起張國榮的「Thanks! Thanks! Thanks!

Thanks! Monica...」

他在碟子上畫了幾顆星，來自他吟唱過的詩詞。問他要不要把色彩填

滿一點，他說：「做人要知足，夠就好了！」簡而精地，他又捏了一 條長長的東西，那是甚麼呢？請看下回分解。

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.

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朱蘭英 Kwok Phenwalee

英姐是泰國華僑，居港多年，隨手捏出之物是一隻餃子，但塗了鮮艷 的花紋色彩，跟小杯子襯成一套。

她是喜哥的太太，總是伴在身旁。有次她看到喜哥捏了一條長條狀物

體，夫唱婦隨，浪漫的她也跟着捏了一條。喜哥說自己的一隻是隻狗； 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.

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余彩蓮 Yu Choi-lin

彩蓮出生於南洋，是位印尼華僑。十多歲時，她乘船漂泊了 幾個月，最終來到了廣州，輾轉抵達香港。

彩蓮年輕時是一位紡織廠女工，專門紡織頸巾、毛衣，鍛鍊

到一雙巧手。她的作品是一條生動的魚，仔細觀察可以看到 彩蓮的用心與對烹飪的熱愛。凸出的魚眼顯示魚的新鮮，而 她還精心捏造了腹鰭和背鰭的細節，令鰂魚栩栩如生。 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 Hong Kong.

She was a textile worker specialising in scarves and jumpers.

Her craftsmanship found its way to ceramics. A carp-shaped plate came alive in a meticulous dance of her hands, which also professes a passion for cooking. The popping eye is a sign of freshness. Intricate details of the fish belly and tail fins bring the fish swimming to life.

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梁帶娣 問大家鄉關何處，娣姐說：「香港」。她是蜑家人，戰爭時，家人開船從一處

Leung Tai-tai

避到另一處，保一家大小平安。在海上，每天都有不同的鮮魚可吃，野生龍 躉、新鮮雞泡魚也屬等閒。

經歷過風浪的她現在是虔誠的基督徒，在作品上都畫了十字架。同時她也捏

了一個形狀莫名的東西，最初有同學猜是聖像，塗了色後，像白菜。娣姐態 度開放：「你覺得它是甚麼，它就是甚麼。」

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.”

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顧靄馨 Ku Oi-hing

靄馨是土生土長的香港人，年輕時在製衣廠上班，專門負責車醫生袍

和恤衫的開夾。她自豪地說：「這些衣服品質上乘，主要出口。」她 特意手捏了陪伴她製衣生涯的木間尺和畫粉，那片畫粉，大小形狀手 感都跟真的一模一樣。

喜歡吃蕃薯的她也造了一隻顏色跟木間尺和畫粉襯成一套的大蕃薯碟 子，燒成後怎料裂開了，樂觀積極的她笑說：「熟到笑開口！」

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!”

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張觀明 Cheung Koon-ming

明哥年輕時曾任救生員，之後又在海上行船十幾年，遠行至南美洲。 與海洋結下不解之緣，作品與海洋都息息相關。

他的小碟是一隻小艇，還配有船槳。創作過程中，明哥對細節非常講

究，船身的弧形要打造得完美，船槳也要比例合適，最後，他還在上 面加了魚的圖案。他拿起自己的「明哥號」，讓人想像到當年他在海 風中的英氣。

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.

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胡祖業 Woo Cho-yip

祖哥出生於書香世代，爺爺教卜卜齋，媽媽常教他做人道理，自己中學時亦 有學習中國文化思想。諸多理念內化，成為自己的人生哲學。

他創作的造型隨意，不強求；上顏色時，面對滿枱的五顏六色，他只選擇了 純淨的藍。總笑得開懷的他常常說，自己的作品很抽象，不拘一格，渴望在 浮雲裏穿梭。人生無為，他只求自己能以善念好好生活。

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.

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董燕卿 Tung Yin-hing

燕卿性格健談，爽朗且富有創意。創作一隻屬於自己的碟子時，她立 刻想到要做一盆花，有枝有葉，在盆子中一枝獨秀。

儘管她說自己沒有怎樣繪過畫，下筆前鮮明的配色也想好了：「花黃 色，莖綠色，盆藍色。」上色時，她還在莖上加了紋理，整棵花頓時 鮮活起來，像作者本人一樣充滿活力。

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.

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洪玉石 Hong Yu-shin

玉石家裏十分熱鬧，光是曾孫就有十幾個。四代同堂，問她還有沒有甚麼想 做的事情，她淡淡然地說：「沒有甚麼宏大的願望。」

在她的作品中，可以看到生活的小確幸：雙耳碗盛載她喜愛的碗仔翅，小花 盆長出了盛放的小花。拍照時，她還自己擺出了「心心」手勢。 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 endearingly made a finger heart in front of the camera.

抖啖氣陶社

侯美香 Hau Mei-heung

美香戴着漂亮的頸巾走進陶室，甜甜地說：「是孫女送的。」

精神奕奕的她今年九十六歲，問起她保持年輕的秘訣時，她提到超級健康的 生活習慣。她每天都會為長者中心取報紙，至少在家附近步行三十分鐘，然

後在家中享用豐富的早餐，配普洱茶。由於喝茶是每天的固定活動，她毫不 猶豫地捏了一個茶杯，至於碟上的心心，是「最緊要有愛心」。 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.”

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黃明霞 Wong Ming-ha

在創作中，不少參加者選擇重現回憶，霞姐卻教會我們創作是一種感覺、一 種與美好邂逅的想像。

她在碟中描繪了一棵樹、一隻狗。當被問到為什麼有一隻狗，她笑笑說：「忘 記了，以前也沒有養過狗，但是總覺得樹旁邊要有一隻狗。」

⾄於橙色嘴巴的鴨⼦，也是隨⼼⼿捏出來的。學霞姐的直覺和想像：牠會不 會也是從樹下走出來的？

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?

抖啖氣陶社

自強協會 自強協會有一個照顧者喘息小組，顧名思義，目的是讓年終無休的照顧者

歇一歇。小組把四輪之友和他們的照顧者帶到《抖啖氣陶社》，大家在這個 放下煩惱的時空，秒速就進入創作狀態。

第一組參加者凝聚成志趣相投的小社群，第二組的新朋友加入，他們仍然

樂於繼續參與。這個群體的創作力令人驚歎，十指捏出的小物件無拘無束， 加上坦誠幽默的分享，這些一盅兩件、花鳥蟲魚、珍禽異獸、愛的印記⋯⋯ 上天下海，讓我們深深敬佩他們的內心有多闊多大。

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1st Step Association

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.

抖啖氣陶社

「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.” 鄧曉恩 社工

Tang Hiu-yan Social worker

我們協會每個月都有一個給照顧者的活動，不過很多時候，因為照顧者很繁忙，讓照 顧者和被照顧者一同參與殊不容易，與《抖啖氣陶社》的合作凝聚了這樣的一批參 加者。

社會環境裏面，有很多壓抑，很多生活的限制。我看見會員透過藝術品，將他們想要 的事情展示，有些想回到過去、有些表達對孫仔孫女的掛念，也有一些很重要、開心 的回憶。聚會時有些參加者會打情罵俏，有些比較含蓄，都有不同愛的表現。小組人 數少，也讓我們可以更深入地瞭解他們個別的情況。

活動成效明顯，參加者變得更正面、開朗，更願意去表達自己，也把原本的潛能發揮 了出來。我想不到一把陶泥，就可以令到他們那麼快樂。創意部分天馬行空，但怎樣 應用在生活很重要。活動跟社會工作的關聯，是可以進一步思考的事情。

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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.

抖啖氣陶社

何兆基

何兆基跟著名雕塑家何兆基同名同姓，也同樣熱衷造物，每 次上課總靈感不絕。他喜歡飲茶，生活自自然然成為創作的 題材：捏了一盅兩件、腸粉加雙筷，還有隨心所見的風景。 率性的刻紋是隻雞嗎？「你看到它是甚麼，就是甚麼囉。」

Ho Siu-ki

基哥很會照顧人。埋首創作的同時，發覺課室中有甚麼需 要，都會仗義幫忙。活動完了，他會完美抹枱；有次摺枱卡

住，也是由他出手解難。太太麗嫦總是對他露出欣賞滿滿的 甜美微笑。

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.

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梁麗嫦 Leung Lai-sheung

見到先生基哥捏了一盅兩件，麗嫦就捏了兩個方形的小碟，上面都有笑面，

一個凹，一個凸，「一個是男仔，一個是女仔的。」跟基哥的作品放在一起， 宛如他倆去飲茶。

麗嫦的碟子會讓人在想像中飛翔：另一隻深綠色的像夏日的海洋，紅頭髮藍

眼睛穿着黃色泳衣的人躺在上面，好寫意！還有魚，魚鱗是她一片一片，用 指甲刻出來的。導師也說：「從來沒有見過有人這樣造魚鱗！」 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!”

抖啖氣陶社

陳金彬

金彬在陶室叫阿 Ben，他早期的創作風格抽象，大家說笑叫

他「Ben 加索」。每一堂，Ben 老是說：「我都不知道要造 甚麼。」之後卻總是捏出令人驚喜的作品：有像魚又像船的 小碟，也有一隻水怪，還有一隻拖鞋，也像艘船。原來他年

Chan Kam-bun

青時在大陸行船捉魚，怪不得作品活靈活現。

後來，大師創作了「Ben 當奴」薯條漢堡套餐，漢堡加了蛋， 包有芝麻，薯條更加不得了，炸燶得有不同程度——抽象大 師風格上有寫實的突破！

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!

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黃育玲 Wong Yuk-ling

看到「Ben 加索」自得其樂地創作，Ben 太太育玲也進入自己的陶藝世界。 女兒生了孩子，甜在心頭的外婆捏了幾個小玩具，有咬牙用的微笑玩偶，也

有鍛練手眼協調的拋圈圈遊戲。陶瓷是不是可以給小寶寶咬或者拋呢？先不 管吧！反正堅強的陶瓷，正好是保存婆婆心意的最好材質。

育玲最近的大作是一碟三件的壽司拼盤，有三文魚、⼋爪⿂和⿂籽軍艦，還 有放在葉子上的山葵，同樣地保存着生活的小確幸。

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.

抖啖氣陶社

關銘義

「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

Kwan Ming-yee

寫了「I ♥ U BABY」。

每次上堂，他和淑貞平均放閃十次以上。跟作品拍照時， 淑貞把鑽戒戴在手上，二人恩愛到旁若無人。後來，淑貞抱

恙，單人出席的 Sunny 就捏了寄願她早日康復的補⾝⽔鴨 和玫瑰花。

“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.

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雷淑貞 Lui Suk-ching

淑貞事事以 Sunny 為先，答問題時，有時也跟隨先生的答案，導師說笑問

Sunny：「她抄你，罰甚麼？」Sunny 又放一次閃：「罰她煮好味的東西給 我吃。」

除了烹飪，淑貞也有「好味」的作品：一尾立體的魚，有鮮魚才會站起的魚鰭， 還有細緻的魚鱗，盡是心機。她也造過一個有趣的小器皿，放着好似很尋常，

反轉卻有驚喜，有眼耳口鼻的娃娃叫「JJ」，是孫兒的玩具；連碟子也是充滿

愛的心形。創作都是她對家人的重視和感情，幸福滿滿的 Sunny 笑容滿面， 指着她說：「這件我最喜歡。」

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.”

抖啖氣陶社

傅鶴勇 Fu Hok-yung

「他手工很好的。」第一天上課，阿勇的太太笑玲就這樣稱讚他。阿 勇手工真的很好，導師也沒教太多技巧，他自己隨手就捏出了一個茶

壺。笑玲想造一個風筒，弄了一會不知怎樣辦，交給阿勇，他二話不 說，就捏了個風筒出來。

有一次，阿勇捏了兩隻恐龍。不知怎地，大家都開始捏恐龍蛋，陸續 傳給阿勇。阿勇造了個小碟放蛋，一隻龜背恐龍站在上面，好像用身 體庇蔭友誼之蛋。

“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.

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何笑玲 Ho Shiu-ling

從照顧先生到二人互相照顧，笑玲對照顧者的角色很有感受。她其中一件最喜 愛的作品是一隻站起來，眼仔碌碌的小兔，手抱着一個蘿蔔。造小兔的原因， 一方面是她屬兔，另一方面，是她希望自己像小兔一樣，健康活潑。

她另一件得意之作是一個花籃，有手把的籃子中，種滿了盛開的小花。笑玲 全神貫注，捏出一朵一朵小花，花瓣中有都花芯，滿籃子都是美麗的想像。 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.

抖啖氣陶社

明愛葵涌居民互助中心 《抖啖氣》跟明愛葵涌居民互助中心的合作已有超過四年。由入門工作坊開始， 發展出練習課以至由媽媽自行運作的自習堂，還有種種有關陶藝的探索，

從特別留意各處的陶器、在家練習、為生活做筆記、一起看展覽，甚至連家人 旅行也選了去製陶的景德鎮⋯⋯陶藝成了一班中堅媽媽生活中的一部份。

除了個人對陶藝的追求，每周相聚，也為生活添加能量。媽媽們也跟其他社群 分享所好，教咖啡小組造咖啡杯、在商場活動協助公眾體驗、與下田鬆一鬆 的家長陶土交流，還有作東道主支援來到葵涌中心練習的自強協會朋友。

說媽媽們是「小導師」，她們總是很靦腆，但她們樂於擔任「陶藝分享者」。

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Caritas Residents Mutual Help Centre— Kwai Chung 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.

抖啖氣陶社

「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.” 梁心延

福利⼯作員

Leung Sum-yin, Samy Welfare Worker

《抖啖氣陶室》讓媽媽能在忙碌照顧家庭的生活中，透過捏陶，能抖啖氣，照顧自己。

那《抖啖氣陶社》呢？對於媽媽們有着怎樣的意義，而我們又希望能陪伴她們怎樣的 成長？

她們是媽媽，但不只是媽媽。

感恩有創不同團隊推動《抖啖氣陶社》的發生，讓媽媽們有時間醞釀新的發現和情感 連結。不知不覺，她們由一開始主要專注自己作為媽媽的角色，為身邊重要的人創作， 到吸收捏陶的經驗、技術、觀賞展覽，甚至在社區中，向更多同路人分享做陶的美好。 她們變得更有自信，發掘更多的面向表達自己，更開闊地以陶分享；比起追求更完美， 並更能享受其中，以更自由的心創作真正屬於自己的陶藝作品。

在小小的陶藝課室裏，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。她們的故事亦因捏陶的過程和作品展現變得更立體：兒時的夢想、對家鄉的 思念、身份想像、深刻的人生經歷及回憶。

誠邀你細賞作品，發現背後個性鮮明，有趣又可愛的靈魂，又或許眼利的你能從作品 中找到與你契合的故事！ 146

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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!

抖啖氣陶社

陳賜雯

Moon 是大家公認健談的人物，也是個有擔當的人。每當有煩 惱找她商量，她都絕不托手踭，熱心地提供滿滿的情緒價值和 解決方法。

Chan Chi-man

她的作品總是充滿着色彩，這組陶瓷畫盛載了她和女兒第一次

搭飛機去旅行的經歷，有飛機、也有水族館的水母，每次看着 這些九宮格便能回憶起自己和女兒旅行的片段。「水母是女女

在海遊館畫的，她挑了綠色。」看來女女也遺傳了 Moon 豐 富的想像力，有着別具特色的眼光。

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.

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陳素芬 Chan So-fan

Sue 在眾多媽媽當中的點子最多，再抽象的作品，她也總能替它想出一個故事 來，然後再加入自己的獨特見解。

這個風鈴讓她想起小時候看的日本卡通，主角的家裡總是會有一個風鈴，每當

微風吹過，風鈴內的陶瓷珠便會吹得鐺鐺作響，撫平夏天燥熱的心情。她想， 現在也能自己親手做一個掛在家裏。做完一個鯉魚風鈴後，她又再做了一個

貓頭，想着把貓和鯉魚串在一起，當風吹的時候，魚尾擺動，彷彿就如要游 到為食貓的嘴裏去。

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.

抖啖氣陶社

夏林 Xia Lin

夏林有着善於觀察別人優點的能力，她總是能找到每位媽媽作品中的美好， 然後毫不吝嗇地稱讚別人，就如同她的作品一樣，直接、大方。

她常常說自己的作品太小，又羨慕其他人的作品可以捏得很大、可以裝很多

東西。一償心願，她慢慢地替泥板盤上一條條的泥條，陶瓷碗變得越來越深、 也越來越大，她想像這個大碗之後會裝起她喜歡吃的食物，最好是有湯的麵 條，讓自己能吃上美味的一頓。

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.

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戎佳萍 Rong Jiaping

佳萍對品酒和美食深有研究，精益求精的她，甚至修讀了營養師課程。每次

返鄉回來，都會和我們分享她在假期裏暢飲以及做飯的經歷。身為家中長女

的佳萍很喜歡給家鄉親人做菜，雖然要負責十多人的膳食，但她卻十分享受。

有關飲食，她也有對生命的感悟：「別人給我飯碗，不如自己造飯碗。」所以 佳萍也想替自己做一隻家傳戶曉的公雞碗，寓意自給自足。 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.

抖啖氣陶社

李麗冰 Li Lai-ping

麗麗是和女兒 Felix 一同參與陶藝課的，每次她們的互動都會引起一眾媽媽的 羨慕。

本是工廠裁縫的麗麗，做起陶瓷也絕不馬虎。雖然是後來才加入的學員，但麗 麗的細心和認真每每都能使她做出自己獨特的作品。當專心到陶泥去的時候， 她就像戴上了降噪耳機，連身旁的對話也聽不見。

她的天燈來自與家人在台灣旅行的記憶，上面逐筆逐劃刻上「開心健康」的 願望。當每次點燈的時候，光都會從縫裏透出來，照亮自己心裏的願望。

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.

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林渝欣 Lin Yuxin

大師姐渝欣總是輕聲細語，每當聊起陶瓷或咖啡時，眼睛都會發光。渝欣習 陶已經超過四年，她的作品圓滑仔細、一絲不苟，我們常常都笑說她的作品 工整得可以賣出去。

有次導師海怡旅行途中，買了一個陶製的咖啡濾杯，特意帶回陶室給大家看。 渝欣就想，自己也可以造一個。這個咖啡濾杯連同尺寸、咖啡杯合適的大小、 窯燒後縮小的比例她也計算好，拿着圖紙在陶室比對。要為這本結集拍照時， 濾杯剛剛完成素燒。

日積月累的創作，待續的想像，正好為今次的圖錄作結。 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.

抖 抖啖 啖氣 氣陶 陶社 社

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回顧，前瞻

Looking Back and Forward

抖啖氣陶社

《 抖 啖 氣 陶 社 》作 為「 第 三 空 間 」 研究觀察與個人旅程 蔡曉瑩

香港恒生大學藝術設計系副系主任及助理教授 教與學發展中⼼副主任（教與學發展）

入門課的總結是分享茶會，作品燒製完成，

大家自豪地回顧創作過程，歡樂地給每一位予以肯定。 162

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「我最享受的是揉捏泥土的過程。在揉捏的那一刻，我放下了所有的事情。

在那一刻，沒有想起我的孩子；我甚至不記得他們是在學校還是在其他地方――我什麼都不想。 雖然我打算創造一個形狀和表面完美的碗，但即使它裂開了，我也不覺得自己失敗了。

碗上的洞可以讓它變成一個花盆，仍然可以用來種花。即使它變形了，它依然是美麗。」 —— 摘自《抖啖氣陶社》的一位參加者

抖啖氣陶社

作為《抖啖氣陶社》的成效評估伙伴，我深受這個項目所創造的「第三空間」 感動，那是一個難得以陶藝創作賦權、帶動對話和轉變的社區空間。

「第三空間」這一社會學概念由雷 · 奧爾登堡（Ray Oldenburg）於 1989 年 提出，指的是與我們生活中的兩個主要領域——家庭（「第一空間」）和工作場

所（「第二空間」）——有所不同的社會環境。第三空間——如咖啡館、公園、

教堂和圖書館——是社區互動和創造力的重要支點。研究表明，這些空間增強 社會福祉、公民參與和身份認同，尤其是在應對孤獨和社會極化等當代問題

時至關重要。 《抖啖氣陶社》的影響超越了參加者，促進了藝術⼯作者、社 1

會工作者和社區成員之間的理解和反思。

雖然「第三空間」通常指的是一個物理位置，但《抖啖氣陶社》體現了奧爾 登堡在其開創性著作《偉大的好地方》中概述的七個關鍵特徵：

1. 開放和邀請：參與者感到受歡迎，可以自由地以自己真實的樣子出現 2. 舒適和非正式：氛圍中彌漫着歸屬感 3. 便利：項目理想地位於社區內

4. 樸實無華：環境促進平等，毫無做作

5. 常客聚集：熟悉的面孔迎接新來者，增強了社區感 6. 對話是主要活動：對話蓬勃發展，豐富了體驗 7. 笑聲頻繁：社區中彌漫着一種玩樂的精神

在《抖啖氣陶社》項目成效評核的研究過程中，我深受陶藝作為社區「容器」 的啟發——這個容器載滿真實敘事、關懷對話和轉變體驗。

1. Ray Oldenburg and Karen Christensen, “Third Places, True Citizen Spaces”, The UNESCO Courier 2 (2023): 12–14.

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分享茶會也是大食會，大家用親手製作的器物，分享用愛心帶來的食物。

《 抖 啖 氣 陶 社 》的 轉 變 性 影 響

根據我與各持份者的訪談和對項目的觀察，我親身體會到項目如何成為社區 的支點，並促進具創造性的正面互動。

陶藝作為一種包容的藝術形式

《抖啖氣陶社》為策劃團隊、藝術工作者和社會工作者提供了一個跨界別協作 的契機，伙伴考慮到參加者的背景，設計他們體驗陶藝的方式。大多數參加

者，即使是那些幾乎沒有藝術和手工藝經驗的人，也指出參與這個項目的陶 藝創作幾乎沒有困難，有些參加者更能夠熟練地將他們的日常技能，轉移到 陶藝中。這種可及性使他們能夠通過創作自由表達自己。

抖啖氣陶社

將藝術與更廣泛的生活經歷連結起來

參加者積極地將他們的藝術創作經歷與個人敘事聯繫起來。例如，輪椅使用 者通過他們的作品表達了對社會包容的思考，媽媽則將他們的創作與家庭需 要聯繫起來，長者通過陶藝分享了他們一生的鄰里記憶，而清潔工則在他們

的藝術表達中展示了日常工作。這種將敘事可視化的能力賦予參加者自我表 達和自我關懷的力量，也激勵了藝術工作者和社會工作者。 平衡群體共學與個人自由

團隊採用了多種策略，一方面讓參加者在群體中共同學習，同時也造就個人 實驗的機會。參加者欣賞陶藝工作坊所倡導的敘事自主權和創造自由。例如 長者對各種跟自身生活有關的主題感興趣，而工友也有意嘗試象徵工作身份 或社區文化符號的協作項目。 減壓與提升幸福感

不同社群的參加者均表示通過參與陶藝而減少了壓力。許多人描述在創作過

程中忘記了時間，暫時放下日常負擔。對陶土的專注使他們從日常憂慮中獲 得治療性的逃避。創造和看到自己完成的作品帶來快樂，促進了家庭和朋友 之間的跨代對話。

增強自信、自尊與身份建設

許多參加者在創造出具體作品時感到自信心提升，超出了自己的期望。照顧 責任繁重的媽媽們找到喘息的機會，重新發現個人身份，甚至承擔起「同伴

導師」的角色。長者為獲得新技能感到自豪，挑戰了社會對老年人沒有生產 力的看法。對於清潔工友和四輪之友來說，陶藝創作也賦予了他們力量感和 自我價值感。

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接受不完美與培養韌性

大多數參加者意識到，他們的作品往往與預期不同。許多人表示，這種經歷

教會了他們擁抱生活中的不完美。例如，一位參加者的碗沒有按計劃完成，

但她找到了欣賞其美學和功能的新方法。這種對缺陷的接受不限於藝術創作， 更影響了他們對生活不確定性的態度，並鼓勵他們對不如願的事情取更寬容 的看法。

建立新友誼與社交圈

項目促進了來自不同背景的參加者之間的聯繫，工作坊和聚會中的創造性社 交互動促進了友誼。參加者彼此學習，鼓勵和欣賞對方的作品，從而創造了

一個支持性的社群。內向的人特別重視他人邀請他們參加社交聚會的主動性。

更廣泛社區參與的漣漪效應

社群藝術項目是否成功，其中一個關鍵指標是其賦權並促進長期可持續發展的能力。

我認為《抖啖氣陶社》是一個成功的案例，恒常參加者表達希望協助未來的工作坊或

分享，以他們的技能來回饋。長期參與的媽媽成為了熱心的同伴導師，指導新來的參 加者。此外，其他持份者也有討論將他們的作品展示予更廣泛的觀眾，創造出漣漪效 應，以維持倡議。

在我的研究旅程中，可視之為「第三空間」的《抖啖氣陶社》使我深受感動，相信項目 有助促進社會福祉、公民參與和社區身份認同。在一個日益孤獨和極化的世界中，《抖 啖氣陶社》證明了藝術、創意、文化和人際關係，在促進韌性和歸屬感方面的力量。

抖啖氣陶社

實踐伙團再想像 《 抖 啖 氣 陶 社 》計 劃 策 略 冼昭行

躬行實踐所 社區策略出品人

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活在紛擾高壓的城市裏，當生命遇上某種經歷，人輕易就會被推進入一個窒息的處境。 是不是有怎樣的一個地方，做一件怎樣的事，可以令人放下心頭大石， 抖啖氣，然後尋找得到力量，再去應對生活？

《抖啖氣陶社》是在這設想下，經年累月雛化而成。這是一個關於從壓力處境中

出走避靜的想像，需要的是充滿接納的安全空間、觸動心思的媒介，以及看到文化觀念 轉化發生的機會。

抖啖氣陶社

《抖啖氣陶社》的前身是《抖啖氣陶室》，主辦的創不同協作聯同陶藝工作

者和明愛葵涌居民互助中心，將社區服務中心的空間短暫轉化為陶室，活動 檯成了捏陶塑泥的工作台，邀請面對生活壓力處境的婦女走在一起捏陶。這 班婦女有些發現了一個新的媒介寄載關懷；有些從捏陶中喚回童年玩泥沙的

純粹喜樂，喚回做事情可以不為甚麼的那份童心；有些找到可由自己掌控的 一片領土；有些只是純粹享受甚麼也不想，手捏着泥。她們更從導師的引導

下，日漸體會到不完美也是完美，對美的追求可以由自己來界定，不一定要 聽隨大眾主流。從回應外在要求到聆聽內在渴求，體察並重視自己，這不是 痴人說夢，是從「微社會」中得到共鳴迴響的觀念轉化。她們尋得到一刻心

靈安穩，更樂於四出宣揚，以陶會友，向其他需要社群分享塑造陶泥的樂趣 與釋放。她們在塑泥，也在重新塑造自我。

不同性情 的進取路線

突破自身經驗

離開壓力現場

練習專注

持續創作

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實踐出成果，往往造就更多嘗試。《抖啖氣陶社》是「社會工作 ╳ 藝術」兩個

界別聯乘的嘗試，與參與社群共構出安全而寧靜的空間，更將這個社會實驗， 從一個社區，拓展到幾個不同處境及背景的社群，體驗這個抖啖氣避靜和賦

能的過程。也希望這些社群能再次踏上第一代參加者的進路，從創作中發現 自己，又從分享技藝中呈現自我，建立自信。

在社會工作的語境中回顧與前瞻

在項⽬週期臨近尾聲時，創不同邀請我作回顧及前瞻，我建議邀請參與機構

的幾位負責同工組成實踐伙團，一同閱讀參與社群的話語和同工自身的論述，

從中梳理出實踐歷程，為策劃未來進行再想像。從 2025 年 1 月至 5 月進行四 次探索討論，我們都看得見《抖啖氣陶社》原來已走出好幾條不同進路，當 中的關鍵與構思計劃時的願景相符，實踐使我們更看得清路徑。

陶泥 帶出的學習

獲得 充實的力量

面向社會 的微妙變化

從呈現、分享及 教學建立自信

在社群親友面前 獲得肯定

釋放聯想 享受創作自由

引發社群集體創作 與社會對話

學習容錯 接受不完美

學到寬容 擁抱驚喜

不以主流觀念 判斷自身價值

經驗到非語言 溝通空間

重搭失去了的 表達能力

經驗深入交流 建立社群歸屬

覺察到自身擁有 學習能力

建立解難能力

提升社群 實踐開創的精神

學習塑造陶泥 與實踐創作

抖啖氣陶社

項目由藝術及社會工作者共同開發，引入陶泥作為表達媒介，不期然也將兩 個界別的志趣與技法搓在一起，實踐過程中有兩個相當重要的發現： 打開非言語溝通大門

一直以來，社會工作是一個相當倚重語言對話，從而促使個人、家人、社群 溝通互動，從有意識的對話逐層探索進入內藏的情感與渴求，可是礙於種種 原因，總有些朋友不輕易選取言語對話來表達自我，在人前難以展露自己。

《抖啖氣陶社》的空間，以陶泥為創作媒介，提供一個截然不同的體驗機會， 為社群也為社會工作者打開非言語溝通大門，不少社群成員都確認在相對沉

默內觀的創作過程中，留意到自己從中鍛練出觀察、專注、想像、精進、自 我確定等轉化，更促進自己與伙伴的自然溝通與交流，就算與伙伴只是一同 在捏陶，也留下不少盡在不言中的相知經驗，達到甚至超越言語溝通介入的 成果。

捏陶不只怡情養性，還實在提供一個機會開拓社會工作的面向，建立不一樣 的小組工作，值得調動服務空間去營造。 用雙手向社會呈現社群獨特價值

在習慣不聞也不問的時代，大眾失語成了日常。社區工作者發願令社群尋回自 己的聲音，也令社會聽見社群的聲音。《抖啖氣陶社》開拓出安全的空間，使

社群成員持續相處，經藝術工作者引發反思，同伴以言語或非言語交流共鳴， 促使社群從壓抑的生活中能夠用雙手打開心靈。這嘗試突破藝術的遙不可及， 帶引藝術回到生活現場，回到社群雙手之間，尋回表達語言，所製作出的器

物，蘊藏企盼、回憶、感念與祝願。一件留存雙手印記的作品所蘊載的內涵 勝過千言萬語。

社群從前需要展示生活困厄來得到社會注視，現在因着新掌握的創造力與同

伴的接納，他們接通了轉化的力量，轉化自己生命。他們展現自信，從創作 中重拾自由，帶着堅實生命力面向社會，以社群處境為共同題材創作，不用

再聚焦社會價值定義下的條件不足，呈現社群在社會上的獨特價值，令社群 更堅實，更圓滿，更富開創精神。 172

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隨時隨地轉化成安心之所

出來抖啖氣，那麼回去又如何？這是實踐伙團有過幾次討論的主題，實在社

群需要的不只是出來抖啖氣，往往是出走到安全空間吸返口氣，再帶回生活

場境，免於窒息。但若果困乏社群，一兩星期只得一次使用中心空間捏陶， 吸下的那口氣就好易消耗殆盡。剛好有參加者分享「每次摙下摙下就會引發

好多聯想，整完又拆，可以不斷諗下有咩其他方法。」他提到只要保持好陶 泥維持濕潤，保有其可塑性。可以重複捏塑的一份陶泥，如果隨身攜帶，是 否可以使社群隨時隨地流動創作？

當 即 聯 想 起 幼 兒 教 育 有 一 套 名 為「 瑞 吉 歐 教 學 方 法 」 （Reggio Emilia

Approach）的教育理念，提倡要放下要求幼兒模仿與臨摹的學習方式，而去 鼓勵孩子自主探索，交一塊陶泥給他們，他們自會捏出一百個形狀，講出一百 種聯想，這樣才有效幫助孩子大腦發展。塑陶本身就是可以塑出一百個可能， 帶動一百個聯想，這流動創作過程本身就是有意義的目的，在製作成品與成 品之間，每人只要隨身帶上一塊濕潤的陶泥，只要我們的心安住在創作上，

那裏有陶泥在手，那裏就是安心之所。就如同隨身帶住氧氣瓶，避靜和賦能 可以是隨時隨地。

抖啖氣陶社

藝術為社會工作注入的進路

藝術為社會工作注入非言語的轉化進路，值得社區工作的同工好好承載，帶到

去不同社群當中。非言語溝通與表達的經歷難以言傳，要走過，觸動過，才 會有更深刻的體會。鼓勵同工在推動社群探索時，也容讓自己投身嘗試，實

踐經歷，從中記錄自身體會，日後與帶動社群參與時，就更可以找到着力點。 藝術不是遙不可及，更不限於有閒階級才可參與，無論活在社會甚麼位置， 這安定的空間是開放給所有人，而所有人都可以從中獲取力量。

容許我以作家馮內果（Kurt Vonnegut）一封寫給年青人的書信為此文作 總結：

任何種類的藝術都去試，玩音樂、歌唱、跳舞、演出、畫畫、油彩、雕塑、作詩、寫

小說、作散文、寫紀錄文學，不要理會自己是否好本事，又別去想賺錢或者賺取名聲， 當下只去體會轉化（experience becoming），發現內在的自己，培養心靈。

1

體會轉化也是開放給所有人，無論學歷、年紀、從事工種、所屬社會階層、 以至不同健康狀況，只要社群願意放下社會加諸自身的既有定型，然後自在

地去踏出第一步，去實踐，就能從實踐藝術中體會轉化。實現《抖啖氣陶社》

的所有同伴，創造出一個難得的香港經驗，也為馮內果這番說話作一個註腳。

1. 2006 年，紐約一中學老師給了學生嘗試與著名作家通信的任務，馮內果是唯一回覆的作家。引文被視為對藝術本 身意義的陳述，在網上廣泛流傳。Kurt Vonnegut， 〈給中學生的信〉 ，2006 年 11 月 5 日。

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參與《抖啖氣陶社》的婦女參觀藝術展覽，發現深層的觸動。

抖啖氣陶社

陶藝導師對談 由泥與人，到人與人之間 黃樂、林海怡、劉彥希、吳沅盈 與創不同團隊

項目週期尾聲，策劃團隊和幾位陶藝導師回顧三年來的經歷。

陶藝進入不同社區，接觸不同社群。陶泥因為人的情感、思緒、經歷， 被塑造成不同模樣，當中細節，讓我們以小見大。

我們討論陶藝作為一種連結的方法，討論社會工作和藝術在當中的角色。 話題離不開人本身——自身、他人，以及人與人之間。

有次媽媽們參觀展覽，看到一件移印的作品深受觸動；回到陶室，

陶藝導師林海怡教媽媽用這個技巧，在作品印上對自己有特別意義的圖片。 176

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M F H C Y

創 不 同 策 劃 團 隊 黃 樂 （ No r w i ch ） 林 海 怡 劉彥希（Cleo） 吳沅盈（阿沅）

M :《抖啖氣陶社》向不同社群提供接觸陶藝的機會。雖説是「陶藝班」，我們的

「課堂」跟一般的班頗不一樣。在《抖啖氣陶社》的情境下，「陶藝導師」是一 個怎樣的角色？

C : 我主要負責清潔工友的陶藝社。記得最初，我跟一般教班一樣，主要聚焦技

巧，解答參加者技術問題。初接觸工友時有一點緊張，因為不熟悉這個群體，

我很想知道他們對陶藝有甚麼期待。後來，我學會觀察他們創作期間的小細 節，然後和機構同工協調，一起構思接下來的課堂，並加入一些價值導向的練

習。以前教陶，我會事先準備好每一節的內容，但項目讓我更有彈性，例如只 定好一兩節課的大概內容，同時預備一些後備方案，按大家的狀態調節。

陶藝導師劉彥希與同工實驗不同方法，讓工友透過陶藝重新感受生活， 有天到了中心鄰近的公園戶外創作。

抖啖氣陶社

Y : 我主要參與四輪之友及長者班。最初我是 Norwich 的小幫手，幫忙搓泥、分

派工具，有需要時亦協助修補參加者的作品 —— 這是我最擅長的，哈哈。後

來，我接手⾃強協會的練習班，也主持部分長者班。起初要獨力主持課堂，其 實我很害怕，甚至想拒絕，因為擔心自己做不到，但原來重點在跟大家相處， 我發現性格內向的自己也有面對群體的面向。

H : 這是一個長期項目，不止為期數堂的體驗班。作為導師，我們和參加者建立的

關係日漸深厚。我主要負責媽媽班，發現陶藝真的能夠觸動她們，讓她們持續 參與。項目有新媽媽加入，每次都是重新適應、拿捏，和互相認識的過程。

N : 雖然也是教陶，但我沒計劃太多，而是採取更輕鬆、更沒顧慮的方法。我會留 意參加者的反應，再臨場調節。當然我也有做準備，社工及創不同團隊事前會

提供參加者的名字及背景資料，他們各有經歷，我希望我能在場叫得出每個人

的名字。我相信我們起初作為陌生人能夠以名字稱呼大家，是很有意義的事。

M : 和不同群體相處的經驗是怎樣的？ Y : 經歷和他們相處，我覺得自己更具同理心，對某些群體的印象，由抽象變得立 體。現在遇到四輪之友，我會馬上想起參加者 Ben 和 Sunny 等，以及他們提 過的遭遇，讓我更能理解他們的處境，拉近距離。

N : 我想我們在親身接觸不同社群前，多少有種既定印象，假設他們是弱勢社群，

需要幫助，但後來發現未必如此。例如清潔工友，他們都很有性格，而且非常 肯定自身價值。這啟發了我們思考如何設計更貼近他們心境的互動方式。後來 到四輪之友，我認為是項目高峰。起初我有點擔心，不知如何接住他們或許很 沉重的人生經歷，但他們都是鬥士。陶泥在他們手，是自我表達和表現的媒 介。我們不是「教」他們甚麼，而是引導他們從自身出發創作。

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性格內向的吳沅盈勇敢地接受挑戰，從小助手成為陶藝導師，直率地與參加者真誠交往， 互動中參加者也給了她很大鼓勵和啟發。

M : 這讓我們想起 Norwich 曾說，不同藝術媒介有其獨特性及「強項」。各位認為 陶藝如何適合社區項目？它有甚麼魔力？

H : 陶是很人性化的，參加者的人生故事，或當下造陶的狀態，都會透過揉搓，在 泥上留下痕跡，很實在地透過作品向外傳遞。他們曾親身體驗造陶，明白當中

過程，欣賞他人的作品時，更能感知及領悟細節深意，成就一種不一樣的連繫。

C : 我很認同。即使用同一方法造碗，最終成品都會因人而異。項目讓我再思考為 何自己那麼理所當然地喜歡陶藝。陶泥真的很有彈性，能容納十分廣闊的可能 性，讓人忍不住探索更多。比較自己和別人的作品，是十分開心和有趣的互 動。我們造陶，先是個人和泥接觸，進而讓人與人透過作品互動，觸發連結。

Y : 陶泥是和人很親近的物料，我們一定要用手直接接觸陶泥，並非每個媒介也如

此。如大家所說，捏泥的動作——當下可能很緊張，或很着急——都直接反映

在成品，於是造陶也在紀錄狀態，甚至是自身也未必意識到情緒或習慣。另外 是陶藝的重複性很高，我個人很享受這種同時在製作，同時很放鬆的狀態，可 以一邊捏泥一邊聊天。

抖啖氣陶社

N : 承接阿沅所説，透過造陶，我們發現自己，甚至自己不知道的面向。個性急躁 的人，會從作品看見自己急躁，平日未必察覺到的，都被視覺化。

不少當代藝術，作品和創作的人有種距離感，因為製作過程可能交托了給別

人。但造陶，從一開始，我們便直接參與，距離減至零，也把我們帶到創作及 物料的起源，從無到有的過程，是一個完整的週期。

Cleo 說她反思喜歡陶藝的原因。對我來說，最吸引人的是燒製過程。參加者 每每期待作品燒好後的成果，成品也真的教人驚歎。如此獨特的轉化過程，只 有陶瓷是這樣。

陶藝也慰藉人心，因為陶泥告訴我們，做得不好我們可以重頭來過，這是一個 很有力量的訊息。很多藝術媒介不能讓你回頭，但陶可以，陶泥甚至可以被回 收，成為再可被搓揉的狀態。陶藝包容的特性，也可能讓我們更懂得寬容自己 與他人。我常跟其他從事藝術的朋友討論，媒介的特性塑造了我們的性格。

M : 項目不單對參加者，對我們自身也帶來不少反思和啟發呢。 N : 在過程中，很多片段都揮之不去，這些片段主要是感受，是超越分析的。我回 想起很多參加者的影像，一些人與人之間的關係。

藝術、陶藝，與人沒關係，就沒意思。項目發生在社區，尤其凸顯這一點。項 目連結人與人，我獲得的啟發不是要造甚麼作品，而是如何用陶藝的特性和強

項作為一個方法、一個脈絡，讓事情發生，箇中成果並非其他媒介及語言所能 做到。每節課都讓我有這深刻感受，當中的過程和效果不只是單一模式。我所 獲得的經歷很豐富，難以言喻，要參與其中，感受那些很入肉的情感。

H : 起初我造陶，只關自己事，因為喜歡，感覺和出發點都是自己。透過項目，我 實在感受到陶藝如何也關別人事，如何影響人，並創造連繫。

陶泥是很理性的物料，不同方式處理，直接導致不同結果。項目讓我也發揮自

己感性的一面，我學會容許自己嘗試，也容許出錯，雖然有框架，但仍有探索

未知的空間。跟社群朋友相處時，聊天發問，我不時擔心問題是否合適，但不

問不知答案。有時候聽似不太妥當的問題，可能也創造了讓參加者抒發的空 間，以及小組交流的可能。以人為本的項目，就是要給予時間、空間嘗試及出 錯，再調適、解決。 180

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我很喜歡茶會時的大家，放下成品美不美、合不合乎期望的憂慮，自在地交

流。幾乎所有參加者都比我們年長，他們稱我為老師，但有時我更像是他們的 女兒，讓我很觸動，也讓我反思自己與家人的關係。

C : 現在回想起初的緊張，主要是因為教學模式跟以往不一樣。清潔工友與負責同 工關係密切，後來我跟同工朋友一起協調課堂，突然就不緊張。參與工友也很 放鬆，定期分享所見所聞，以及他們撿拾回來的寶物，相處很融洽。我個人心 境的變化，隨着時間自然地發生。

Y : 我說我曾有拒絕主持課堂的念頭，因為覺得自己做不到，也很擔心個人表現不

好影響參加者的體驗。後來，我發現對參加者來説，陶藝技術及表達能力好或 不好，並不那麼重要。當我很緊張時，他們也會緊張。意識這一點後，我反而 變得輕鬆――呈現不完美，反而更真誠。

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。

劉彥希與同行同工跟工友一起走出「成長之路」，工友不時送上寶物（如圖中 T 恤）。

抖啖氣陶社

M : 和策劃團隊，以及社會服務機構的同工合作的經驗如何？ H : 記得項目期間，其中一位參與媽媽經歷了意外，我起初不知情。這讓我覺得我

們跟社工的溝通很重要，只有了解參加者的狀況，我們才可構思最適合的互動。

C : 有一節課，因為工友家中的情況，我們沒有造陶，只在聊天。同工朋友專業地 面對他人的脆弱時刻，既照顧當事人的情緒，也留有空間讓他選擇繼續分享與

否，同時顧及其他工友的狀態，讓我長見識，並反思日常與他人的交流與互動。

N : 我回想起一次跟社工的交流，發現他們也承受龐大壓力，制度內有不少掣肘。 我們總以為他們是強人，充滿正能量，但他們亦要放鬆。

我們另外可以做的，是鬆綁社會服務的一些既有做法，社工朋友很了解他們的

服務對象，但亦可能不自覺地設限。想起一節為中心同事安排的體驗課，他們 充滿感受，也很快體會陶藝可以帶來的啟發。若有機會讓不同社會服務機構親 身接手，主辦一些突破現行框架的項目，就能影響更多人。

創不同團隊的角色也很重要，有大家在背後不斷地溝通、協調、處理行政，才 能讓我們心無旁騖地專心教和造陶。

M : 雖然這個項目周期來到尾聲，但我們希望，這只是一個「中期的逗號」。假如 項目未來有機會繼續，你的想像是？

C : 相比其他組，清潔工友的課堂沒那麼多，我希望可以更長時間跟他們相處，用

不同方式交流。工友們想法多多，若果他們有機會主導內容，應該也會很有趣。

N : 我希望有機會接觸更多不同社群，開拓更多可能性。我事前不曾以陶藝接觸長

者、清潔工友及四輪之友，也沒想像過可以與他們交流，過程中我們學到很多。 相信有其他社群也在等我們。

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Y : 跟 Norwich 一樣，我想的也是開拓更多參與社群。我想我們的角色是擴大圈 子，延續性的關鍵在於社會服務機構。希望項目未來可以引導社工及參加者擔 任我們的角色，以不同分⽀讓效果延續。

H : 在跟不同社會服務機構長期協作的同時，可否也有些短期一點的快閃合作呢？ 當然這要仔細計劃及測試。

另外，我也在想像一個集合各個參與社群的大茶會，造就互相交流的機會，讓 陶藝把不同的人拉在一起。

《抖啖氣陶社》發展成連結社群的網絡，林海怡跟媽媽一起為種植社群們帶來陶藝體驗， 之後一起在田間以陶藝作品，分享大家帶來的美食。

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結

一舊舊舊舊泥，一舊舊舊舊嚟 陳可澄

創不同協作，《抖啖氣陶社》策劃團隊成員

每當茶會的日子臨近，心裏就會默念着：參加者的陶藝之旅告一段落了。少許感傷之 餘，也為他們高興。他們會眉飛色舞地分享手中一件又一件作品，各式各樣的大小玩 意，見證大家一路走來的不斷進化。

站在中轉站，看着一舊泥，在手中翻轉，不禁讓我發問：陶泥記載了什麼？盛載了什麼？ 我想，陶泥記載着回憶、情感和生活的小哲理。導師常言道陶泥只要尚未燒製，它能

隨時回到最初的模樣，但過程中所留下的摺痕記憶，卻無法抹去。就像《抖啖氣陶社》 所匯聚的，無數細碎的生命故事，在此交織。陶泥不僅告訴我們已經走過的路程，更 提醒我們，其實我們從未走得太遠。

那麼，燒製好就是一輩子的事嗎？不是！我記得有位參加者媽媽常常說：「失敗、爛咗 就再做過囉！冇事！」這句話深深觸動了我。窯燒後的陶藝作品固然被定型，但我們 的生活卻是動態的、開放的，總有機會重新開始。

有幸得到何鴻毅家族香港基金的支持，《抖啖氣陶社》逐漸擴展成為一個充滿溫暖的社

群網絡，連接着每位參加者的關懷與支持。媽媽們的愛、清潔工友的堅韌、長者的智慧， 四輪之友的豁達及其照顧者的關懷，皆在這裏找到共鳴。他們的雙手在捏陶的過程中， 不僅塑造了器物，也重塑了自己的內在世界。這讓我深刻的感受到，陶泥在呼喚着愛，

讓藝術進入每個人的生命，慢慢喚醒社群的內在力量，讓每一個人找到自我轉化的可 能性。在這裏，語言不再是唯一的溝通工具，陶泥成為非言語的橋梁，讓情感在指尖 流淌，讓無聲的交流尋回失落的聲音。

散聚有時，然而下課並非終結，而是生活的延續。在這個高壓的城市，我們常常被日

常的窒息所包圍。《抖啖氣陶社》提醒我們，藝術是喘息的出口，更重要的是，它能催

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在《抖啖氣陶社》2023-2025 最後一次聚會，工友共同策劃模擬展覽，回顧由一舊舊舊舊泥舖展出來的「成長之路」。

化長久的愛與包容。還記得，有一次下課後，一位參加者神神秘秘地問我索取了一份 陶泥工具，希望可以回家和孫仔繼續一齊練習。在一舊泥的餘韻中，我們不僅感受到 創作的快樂，更把快樂散發出去。這種由心的喜悅，不禁讓我憶起工友在最後一次的

茶會中模擬策展。他們共同策劃「成長之路」陶藝展覽，介紹自己由素雅、粗糙的作品， 成長到追求美，到最後學會放鬆，放下追求，隨心創作，回到最初的「抖啖氣」 。我想，

《抖啖氣陶社》一直用漫長而溫柔的藝術形式告白，像是一處溫柔的縫隙。它不追求顯 性的成果，而是催化內在的轉化：當我們放慢速度，專注於一團泥的起伏，便重新學 會了「抖啖氣」。

回想起導師們常常抽問參加者燒製的溫度，由素燒的 900 度到釉燒的 1260 度，雖然這 些數字精準無誤，但最終出來的作品卻如同我們的人生，充滿驚喜，有時傷感，有時

豁達。不變的是，大家在創作中總是真摯而誠懇的，就像陶泥如實地記錄着生活的故 事與情感。當我們將目光投向未來，是否能想像更多「抖啖氣」的空間？期望 2025 年 後，我們能繼續努力編織這個互助的網絡，讓藝術回歸生活場所。望來年多多指教， 能與更多朋友結伴前行，讓我們持續創造、持續呼吸、持續呼喚愛。

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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.

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“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

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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.

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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.

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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.

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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.

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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?

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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.

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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

Leave pressure zones Practise concentration

Sustain creative practice

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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.

Empowerment

Transformation on a Social Level

Build confidence through self-expression and sharing

Gain affirmation from social circles

Unlock imagination to enjoy creative processes

Inspire collective making and social dialogue

Accept mistakes and imperfections

Learn tolerance and embrace surprises

Understand self-worth not by mainstream standards

Experience non-verbal communication

Regain a means to express

Build connections and a sense of belonging

Realise one’s ability to learn

Develop problem-solving skills

Boost innovative power

Clay-inspired Learning

Learn skills and create works

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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.

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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.

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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.

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Women participating in Ceramics for Care visited an art exhibition and found deep inspirations.

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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.

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M MaD Team N Norwich Wong H Lam Hoi-yi C Lau Jin-ki (Cleo) Y Ng Yuen-ying (Yuen)

M: 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.

Ceramics facilitator Lau Jin-ki experimented with partnering welfare workers on conducive methods.

One evening, they tried plein air ceramics-making in a park.

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Y: 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.

H: 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.

N: 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.

M: How was the experience engaging with diverse communities?

Y: 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.

N: 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.

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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.

M: 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?

H: 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.

C: 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.

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N: 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.

M: The project has prompted reflections and inspirations not only for participants, but also for ourselves.

N: 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.

H: 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 204

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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.

C: 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.

Y: 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.

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.

抖啖氣陶社

M: How was the experience working with the curatorial team and partnering social organisations?

H: 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.

C: 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.

N: 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.

M: 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?

C: 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.

N: 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

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and wheelchair users. I am very grateful for all the takeaways, and I am sure that some other communities are waiting for us.

Y: 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.

抖啖氣陶社

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

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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

抖啖氣陶社 Ceramics for Care 支持機構 Supporter

主辦 Organiser

伙伴機構 Partner Organisations

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Ceramics for Care

工作人員及鳴謝 Credits and Acknowledgements 策劃團隊 Curatorial Team 張慧婷

Stephanie Cheung

梁棨豪

Nicky Liang (2022-2023)

李詠茵 陳子琳 麥巧兒 何君濠 陳可澄

Ada Li

Chan Tsz-lam (2022-2024) Lilian Mak (2022-2024）

Charles Ho (2023-2024） Carol Chan (2024-2025)

陶藝導師 Ceramics Facilitators

黃樂

Norwich Wong

劉彥希

Lau Jin-ki

林海怡 吳沅盈

Lam Hoi-yi

Ng Yuen-ying

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 李紹勤

Leung Sum-yin, Samy Lee Siu-kan

明愛勞動友善社區計劃

Caritas Labour-Friendly Communities Project 張智健

Cheung Chi-kin

蔡蒨文

Tsoi Sin-man

羅慧玲

Law Wai-ling

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 鄧泳琪

Felix Yiu Ming-shan 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

趙若彤

Jiu Yeuk Tung

范翠怡 李慧心 李晞琳 潘輝煌 沈佩瑩 黃詠敏

Tracy Fan

Lee Wai-sum Charlotte Li Nick Poon

Shum Pui-ying

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)

* 承蒙香港演藝學院允准參與實習計劃 * With kind permission of The Hong Kong Academy for Performing Arts for the internship programme.

抖啖氣陶社

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

關淑貞

Kwan Shuk-ching

陳素芬 李麗冰 林渝欣 劉彩文 戎佳萍 夏林

Chan So-fan

黃日妹

陳嬋英

梁麗嫦

陳小粧

Chan Siu-chong

Rong Jiaping Xia Lin

鄭霞榴 鄭麗容 鄭惠賢

Chen Xiuying

黃妙珠

Ho Shiu-ling

Liu Caiwen

Lin Yuxin

陳秀英 黃美妹

何笑玲

Chan Sam-mui

Chan Yim-chu

郭少玲

Chan Kam-bun

陳三妹

陳艷珠 黃美顏

陳金彬

Li Lai-ping

明愛勞動友善社區計劃 Caritas Labour-Friendly Communities Project

周煥枝

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

Chau Wun-chi Huang Meiyan Kwok Siu-ling Wang Meimei

Wong Miu-chu Wong Yat-mui

程秀珍 蔡筱環 張觀明 侯美香 洪玉石 鄒玉潔 顧靄馨 朱蘭英 郭帶喜 藍司惠 劉潔玲 劉璇粦 劉延生 梁帶娣 伍淑賢 伍惠嫺 潘麗仙 商美珍 曾惠雲 董燕卿 黃麗玉 黃明霞 胡祖業 邱繼財 俞財昌 余彩蓮

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Chan Sim-ying Cheng Ha-lau

Cheng Lai-yung Cheng Wai-yin

Ching Shou-chan Choi Siu-wan

Cheung Koon-ming Hau Mei-heung Hong Yu-shin Jow Yuk-kit Ku Oi-hing

Kwok Phenwalee Kwok Tai-hei Lam Sze-wai Lau Kit-ling

Lau Shuen-lun Lau Yin-sang

Leung Tai-tai Ng Suk-yin

Ng Wai-han Pun Lai-sin

Sheung Mei-chun Tsang Wai-wan Tung Yin-hing Wong Lai-yuk

Wong Ming-ha Woo Cho-yip Yau Kai-choi

Yu Choi-cheong Yu Choi-lin

自強協會 1st Step Association

傅鶴勇 何兆基 關銘義 雷淑貞 黃育玲

Fu Hok-yung Ho Siu-ki

Kwan Ming-yee

Leung Lai-sheung Lui Suk-ching

Wong Yuk-ling

Ceramics for Care

紀念冊 Publication

錄像 : 捏泥說 Videos: Conversations with Clay

編輯團隊 Editorial Team

編導 Director

陳可澄

Carol Chan

李詠茵

Ada Li

張慧婷 梁棨豪

Stephanie Cheung Nicky Liang

何曦琳 * Melody Ho*

攝影 Photography 林磊剛 陳庭章

Lam Lui-kong, Roy

Chan Ting-cheung, Tim

黃勺嫚

Wong Cheuk-man

攝影 Videographer 孫晞宙

Suen Hei-chau

統籌 Coordinator 郭靄儀

Coo Oi-yee

製作統籌 Production Coordinator 項淑儀

Zoe Hong

平面及書籍設計 Graphic and Book Design

studioWMW

* 承蒙香港演藝學院允准參與實習計劃 * With kind permission of The Hong Kong Academy for Performing Arts for the internship programme.

抖啖氣陶社

出版 Publisher

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

電郵 Email

ask@MaD.asia

傳真 Fax

網站 Website

+852 3020 3396 www.MaD.asia

出版日期 Date of Publication

2025 年 9 月

國際書號 ISBN

978-988-75935-8-4

關於 MaD About MaD

MaD（Make a Difference）創不同成立於 2009 年，是一個結合思考和行

September 2025

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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本書採用創用 CC 姓名標示─非商業性─禁止改作 4.0 國際條款授權 This work is openly licensed under a Creative Commons

Attribution-NonCommercial-NoDerivatives 4.0 International

ceramicsforcare

MaD Asia

@2025 創不同協作有限公司 Make A Difference Institute Limited

ISBN: 978-988-75935-8-4