香港浸會大學基督教周藝術展
Hong Kong Baptist University Christian Emphasis Week Art Exhibition
《海的某處 Somewhere on the Sea》
展覽日期 Exhibition Period: 7-17/4/2022 12:00 - 18:00
地點 Location:
Parallel Space（深水埗大南街202號地下 G/F 202, Tai Nan Street, Sham Shui Po）
Introduction of the Exhibition
由香港浸會大學校牧處主辦，此藝術展覽乃浸大基督教周的項目之一。 以藝術作主要媒介，「栽種和平」(Peacebuilding) 為主題，結合科技元素，盼望藉此建立空間，
讓浸大學生與公眾以多元形式經歷和平的不同面向。
[ Peace Studies x Technology x Art ]
Organised by the Chaplain’s Office of Hong Kong Baptist University, this art exhibition is one of the programmes of the HKBU Christian Emphasis Week. With art as the main medium and the theme of “Peacebuilding”, combined with technological elements, it is hoped to create a space for HKBU students and the public to encounter different aspects of peace.
[ 和平學 x 科技 x 藝術 ]
展 覽 簡 介
Participating Artists
鄭桂苑 Amy Kwai-yuen Cheng
鄧啟耀 Frank Tang
陳祉皓 Tsz-ho Chan (Calvin Sebastian)
蕭俞 Zoe Siu
尹麗娟 Annie Lai-kuen Wan
(浸大視覺藝術院副教授 Associate Professor of Academy of Visual Arts, HKBU)
劉澤光 Daniel Chak-kwong Lau
(浸大視覺藝術院副教授及副總監（研究）Associate Professor and Associate Director (Research) of Academy of Visual Arts, HKBU)
「師友同行」計劃
Mentorship Program
藝術家導師 Artist Mentor
鄭桂苑 Amy Kwai-yuen Cheng
學員 Mentees
Hinsen Chan (計算機科學系 Computer Science)
梁文駿 Man-chun Leung (心理學系 Psychology)
關善鎂 Sin-mei Kwan (視覺藝術系 Visual Arts)
張國威 William Kwok-wai Cheung (浸大協理副校長（本科課程）、計算機科學系教授 Associate Vice-President (Undergraduate Programmes), Professor of the Department of Computer Science, HKBU)
陳朗欣 Alison Long-yan Chan
鄭桂苑 Amy Kwai-yuen Cheng
梁翠萍 Sally Leung
策展團隊 Curatorial Team
郭偉聯 Wai-luen Kwok (浸大文學院副院長、宗教及哲學系副教授 Associate Dean of Arts (Undergraduate Studies), Associate Professor of the Department of Religion and Philosophy, HKBU)
項目顧問 Project Consultants
參展藝術家
在人類歷史當中，戰爭與和平彷彿是兩道互相敵對的力量。人類在追求和平的同時， 卻又克服不了人性中的軟弱，戰爭成為了世紀與世紀之間屢屢出現的解決問題甚或 實踐和平的手段。在國際間、身處的城市中、日居的家庭中，人與人之間都出現不同 程度的角力。人們渴望和平，卻無法靠自身力量逃離日常的戰場。
和平的英文 peace 起源於盎格魯法文的 pes 及古法文的 pais ，帶著「和解、協議」的 意思，除了和平，它還包括其他含意，例如正義、繁榮、平等。社會學家及和平學研究者
John Paul Lederach 指出，和平是一個動態和持續的進程，它不只是「直接暴力」的 消失，其實踐指向深層結構暴力的治理與社會和解。因此，和平在現世中的實踐是 進行式的，在理想與現實之間也存有一種持續的張力。 展覽嘗試透過一系列作品展現和平作為實踐所遇到的真實阻力，並透過聚焦大時代 下人與人之間真實的情感與結連，呈現和平的不同面貌；同時嘗試創造一個空間，讓 觀眾體會以人作為主體，在個體之間相互依存的本質下，和平能夠被具像化的過程。 以「海的某處」作為隱喻，展覽由此提出盼望是和平理念的根基。這意念出自聖經中 挪亞方舟的故事，當雨停下，挪亞在方舟中等待洪水退去，並多次派出白鴿尋找可 著陸的平地。挪亞的等待、白鴿在空中的尋找，彷如這時代的大眾，在等待及未知的 狀態中，雖未看見，卻仍當以盼望為行動的根基，相信在海的某一處終能找到，又或在 海的某一處、水面之上能栽種出和平的種子。
展覽以鄧啟耀的兩幅水墨畫作為開端，以香港人熟悉的象徵性語言打開和平的匣子。 水墨層次抽象如煙霧般的肌理，或宮崎駿動畫系列中具像的人與景，皆反映繪者7年 間的心理變化，從彷彿看不見未來，到對未來寄予嚮往，真實地反映和平實踐路上的 進退。蕭俞的繩結裝置作品，以「打結」行為直面人內在不安的狀態，透過觀眾的參與 共同建構展場內一個臨時性的空間，同時為這行為賦予意義，嘗試把個體的不安轉化 為群體的安全聚結。
從向外的角力轉入內心的自理過程，和平有微觀的一面。建設和平
(Peacebuilding)
強調人是行動的主體，人際關係中的和諧與相知是和平最好的體現。透過陳祉皓描繪 家人相處片段的插畫與裝置作品，以及尹麗娟透過把媽媽的手倒模，以最親密的過程 讓彼此參與到自己的生命中，把和平帶入人性更貼近的層面，展現人際間相互依存的 關係。 鄭桂苑有關和平記憶的裝置作品以及劉澤光的書法與錄像作品，則把和平紥根於聖經 基礎上，同時以暗室映襯海與光的意象。前者把起伏不定的連綿記憶緊扣於恆久不變 的太陽軌跡，同時指向和平是一種能累積起來的力量；後者以自身與自然的渾然天成 作為靈修過程，體會上帝作為主體，祂的手凌駕於海浪之上，以超越的視角引導海上 某處的人們。
策 展 理 念
In human history, war and peace seem to be two opposing forces. While humans are pursuing peace, they are unable to overcome the weaknesses of humanity. War has become a means of solving problems and achieving peace from century to century. Between countries, among cities, and in the daily living families, different levels of conflicts are habitual between people. People yearn for peace, but cannot escape the daily battlefield on their own.
The English word “peace” originated from “pes” in Anglo-French and “pais” in ancient French, with the meaning of “reconciliation, agreement”. In addition to peace, it also includes other meanings, such as justice, prosperity and equality. Sociologist and peace researcher John Paul Lederach pointed out that peace is a dynamic and continuous process; it is not just the disappearance of direct violence, its practice points to the governance of deep structural violence and social reconciliation. Therefore, the practice of peace in the present world is progressive, and a constant tension takes place between ideal and reality.
Through a series of works, the exhibition attempts to reveal the resistance encountered when practicing peace, and by focusing on the profound connections between people in today’s ever-changing era, trying to open different angles on peace, and at the same time create a space where the audience as a subjective being can experience the process that peace can be visualized under the nature of interdependence between individuals.
The exhibition takes “somewhere on the sea” as a metaphor to propose that hope is the foundation of peace. The concept comes from the story of Noah’s Ark in the Bible. When the rain stopped, Noah waited for the flood to recede in the ark, and sent a dove many times to find a flat land to land on. Noah’s wait and the dove’s search in the air resemble the state of the unknown and perplexity among people of this era. Although they have not seen it, hope should still be the foundation of their actions, believing that they will end up somewhere on the sea. It can be found, or the seeds of peace can be planted somewhere on the sea, above the water.
The exhibition begins with two Chinese ink paintings by Frank Tang, unboxing the cabinet of peace in a symbolic language familiar to Hong Kong people. The abstract smoky texture of ink as well as the figurative people and landscapes from Miyazaki Hayao’s animations both reflect the painter’s psychological changes over the past 7 years, from hopelessness and a loss of sight, to a concrete longing for the future, and it truly reflects the see-sawing of peace practice. Zoe Siu’s knot installation work urges people to face inner uneasiness with the act of tying knots. Through participation, the audience jointly construct a temporary space in the exhibition hall, and at the same time endows meaning to this act which transforms the individuals’ uneasiness into one secure collective intertwinement.
From outward wrestling to inward articulation, peace is also microscopic. Peacebuilding emphasizes that people as the subject of action, interpersonal harmony and mutual understanding are the best embodiment of peace. The illustrations and installation work of Tsz-ho Chan (Calvin Sebastian), depicting the fragments of family daily life, and Annie Lai-kuen Wan’s casting of her mother’s hands, presenting them entering the most intimate part of each other, together bring peace to a deeper level of humanity and manifest the interdependence in human relationships.
Amy Kwai-yuen Cheng’s installation works about the memory of peace and Daniel Chak-kwong Lau’s calligraphy and video work ground peace on the basis of the Bible, and at the same time use the dark room to accentuate the vision of sea and light. The former ties the undulating and continuous memory to the constant trajectory of the sun, and constructs peace as an energy that can be accumulated, whereas the latter combines the individual body with the nature as a spiritual devotion, to realize that God as the ultimate subject, His hand is above the waves and with a transcendent perspective guides people somewhere on the sea.
Curatorial Statement
Floor Plan 平面圖
地下 Ground Floor 二樓 Second Floor 2 1 3 4 5 6 7
鄧啟耀 Frank Tang
浮雲 VI Floating Cloud VI 石墨、水墨絹本 Ink and graphite on silk
102 x 61 cm 2016 這是《浮雲》系列的其中一張畫作。2014年開始，鄧啟耀以繪畫《浮雲》系列來回應 香港社會現況。層層堆疊的筆觸組成煙霧狀態，彷如街頭時常可見的催淚煙。 藝術家以唐代詩人李白在《登金陵鳳凰台》一詩中所寫：「總為浮雲能蔽日，長安不 見使人愁。」借喻，以蔽日的浮雲與不見城市的狀態，表達內心的沉鬱與無望。
鄧啟耀 Frank Tang
浮島（《天空之城》）Floating Island
(Laputa：Castle in the Sky)
水墨設色絹本 Ink and colour on silk
96.5 x 75 cm
2022 鄧啟耀在畫作中構入宮崎駿動畫系列的片段，以回應現今時代——民主抗爭、 國際戰事、人類對自然的破壞等。藉著繪畫電影中的一片樂土，希望活在世上的人
都找得到自己嚮往的地方。
This is one of the paintings in the “Floating Cloud” series. Starting from 2014, Frank Tang created the “Floating Clouds” series in response to the current situation of Hong Kong society. Layers of brushstrokes forming the smoke resembles tear gas that can often be seen on Hong Kong streets. The painter illustrates the hopelessness and loss of sight of the city, echoing the poem “On Phoenix Terrace at Jinling” written by Li Bai, a poet of the Tang Dynasty, “As floating clouds can veil the bright sun from the eye, Imperial Court now out of view saddens my heart.”
Frank Tang extracts fragments from Miyazaki Hayao’s animations in his paintings in response to the present era - democratic protests, international wars, human destruction of nature, etc. By painting a paradise in the movie, he hopes that people living in the world can find the place they yearn for.
1.
作 品 Introduction of Artworks
2.
蕭俞 Zoe Siu
你平安嗎？ Are You All Right? 尼龍繩、機械裝置 Nylon ropes, mechanic devices 尺寸不定 Size variable 2022
“Are you all right?” is the most common phrase people hear in recent years. The restless environment has driven many citizens stressed, frustrated and depressed. Under the local strict culture, people have to become tough to cope with difficulties and tend to suppress their negative emotions. Who has stopped and listened to their inner feelings?
近年來人們最常聽到的一句話：「你平安嗎？」 在紛亂不安的世代，大部分都市人皆面對壓力、沮喪、憂鬱。在嚴厲的香港生活 文化下，人人要變得堅強、挺著面對困難，習慣抑壓著不同的負面感覺。誰有靜下
作品在展場中構造一個大糾結空間，從地上伸延至天花板，然後垂落在地下，大糾結 會不停移動，令半空中的繩子處於鬆與緊之間的狀態。垂落在地上的繩由參與者 編織，從打結去感受整個步驟——穿、繞、抽、纏，把內心不安放在繩上。繩上的大
The work constructs a huge tangled knot, extending from the ground to the ceiling, and then hanging down to the ground. The large tangled knot keeps moving up and down to create tension and relaxation. The hanging ropes allow the audience to tie the unpeaceful knots. They will experience the whole process of tying knots - pass, wrap, draw and tangle which help them relieve the uneasiness. The large and small knots on the rope reveal their uneasy marks, also as a process of acknowledging and accepting their inner uneasiness. The audience will learn to tie an “unpeaceful knot”. The bigger the knot, the
3.
來聽聽自己內在的感覺？
4.
陳祉皓 Tsz-ho Chan (Calvin Sebastian) 被眷顧的草花頭 Botanic Sisters Illustration 數碼插畫、木條、格網、日常物件
Digital illustration, wooden strips, grids, daily objects 尺寸不定 Size variable
2021-22 外在環境年復一年帶來不安與傷痛，無力感籠罩之下，人可以做的，就是向內發展， 從自身出發，保守內心的光。陳祉皓相信，無論外面有多大的風雨，家庭都是避風 港，是最後的堡壘，替人們抵擋風雨，能予以休息得力。要先跟自己和好，讓家庭成為 最強後盾，人才有力量面對世界。
這個系列是他專注於家庭生活時畫下來的生活片段，跟太太、萱萱與芊芊兩位女兒 的互動，是他心靈的居所。
The external environment brings unease and pain year after year, and under the shroud of powerlessness, what one can do is to develop inwardly, starting from oneself, to preserve the inner light. Tsz-ho Chan (Calvin Sebastian) believes that no matter how fierce the storm and rain outside, the family is a safe haven and the last fortress, which can protect people from the storm and rain and grant them good rest. To be reconciled with oneself first, and let the family be the strongest shield, people will have the strength to face the outside world. This series of illustrations are the fragments he drew while devoting himself to family daily life. The interaction with his wife and two daughters Holly and Ellie is the residence of his soul.
尹麗娟 Annie Lai-kuen Wan
母親的手 Mother’s Hands
陶瓷 Ceramics
尺寸不定 Size variable
2000 尹麗娟小時候喜歡繪畫，其母親曾說了一句影響她一生的話：「這女兒將來會是 藝術家。」
母親從來都讓她做自己喜歡做的事，在這作品中，藝術家透過一段與母親共處的 倒模時間，讓她一同參與到她的藝術創作中。母親以手掬水滋潤兒女的生命，縱然 隨著兒女長大其影響力越來越少，但她掬著的水依然沒有減少。 Annie Lai-kuen Wan liked to draw when she was a child. Her mother once said something that might affect her entire life, “This daughter will be an artist in the future.”
Her mother always lets her do what she likes. In this work, the artist allows her mother to participate in her artistic creation through a casting time with her mother. The mother holds water in her hands to nourish the lives of her children. Even though her influence decreases as her children grow up, the water in her hands has never diminished.
鄭桂苑 Amy Kwai-yuen Cheng
記憶和平 Remembering Peace
雪紡、木架、機械裝置、投影機、人體活動感應器、LED 燈條、智能燈泡
Chiffon (fabrics) , wooden frame, kinetic installation, projector, human motion sensor, LED light strips, smart LED light bulbs
尺寸不定 Size variable 2022
和平，在聖經舊約原文（希伯來文）是Shalom，除了和平、和諧等義外，其核心意思 是「完整」。在鄭桂苑看來，這是練成面對衝突不穩的力量，在縫隙中恢復完整。 這或許是一個漫長的歷程，但生命中每場歷練的記憶都幫助人們儲起心中和平的 力量，在困境中仍可亮起來。
“Peace” in the Bible is translated from its Hebrew word, Shalom. Apart from peace and harmony, the primary meaning is “complete” and “well-being”. In Amy Kwai-yuen Cheng’s view, it is a strength to face conflicts and instability, as well as restore integrity in brokenness. It may be a long journey, but the memories of every experience in life help people to store the power of peace in their hearts, and they can still light up in difficult times.
5.
6.
i.
處身在顛倒不穩的海面上，在痛苦之中，時間彷彿失去意義，漫長而無止盡。然而， 日光溫暖的軌跡依舊常存。
Standing among the upside-down and unstable sea of waves, in all these painful difficulties, time loses its meaning and becomes long and endless. However, the eclipse of the warming sunlight is always there.
以色列人常常以出埃及這段歷史、記憶，成為他們在危難中的盼望，這份帶有救贖 的記憶，提醒他們信實的上帝仍會施恩救贖。一段過去的記憶成為可以跨越時空 連接未來的信心。
We probably have our own memory or symbol of peace. You are invited to enter words about your memory of peace in the computer in front of you, which can be some metaphors, objects, people, etc., and let them be an encouragement to yourself and others as well.
iii.
Our memory of peace is sowed upon this sea, bringing light in every step as we are cultivating peace in the darkness.
我們或多或少都總有一些相似的記憶，你可以在面前的電腦輸入關於你的和平 記憶的字詞，可以是一些比喻、物件、人物等，讓它們提醒自己之餘，也成為別人的 鼓勵。
The Israelites always take the history and memory of the exodus (leaving Egypt where they lived like a slave) as their source of hope in times of crisis. This redemptive memory reminds them the faithful God will still provide grace and save them. It is also a foundation of shalom across time.
ii.
各人和平的記憶撒在海面上，如在黑暗中栽種和平，一步步踏出光明。
劉澤光 Daniel Chak-kwong Lau 展開清晨的翅膀系列 Wings of the Dawn Series
i.
場域特定書法表演；錄像
Site-specific performance of Chinese calligraphy, video
尺寸不定 Size variable, 04’51” 2016
ii.
水墨紙本 Ink on paper 50 x 100 cm 2022
作品的靈感及書寫內容來自《聖經》：「我若展開清晨的翅膀，飛到海極居住，就是在那裏，
The work is inspired by and adopted from Bible verses, “If I rise on the wings of the dawn, if I settle on the far side of the sea, even there your hand will guide me.” (Psalm 139: 9-10, New International Version). Following the calligraphic style originated from the “Diamond Sutra in the Stone Sutra Valley of Mount Tai” (Northern Qi Dynasty 550-577), Daniel Chak-kwong Lau deliberately chose Shek O Headland to be the site of this calligraphy performance to highlight the distance of “the far side of the sea” mentioned in Psalm: Shek O Headland is on the southernmost tip of Hong Kong Island, which is at the south of southern China, the barbarian land of the ancient times. The bird’s eye view of the aerial camera and the unmanned drone circling in the air hint at elements in the verses such as “wings” and “flying”.
選擇了石澳海角作為書法表演的場地，因華南地區自古以來都被視為蠻夷之地，香港在中國 南部一隅，而石澳海角又處於港島最南端。空中攝影的鳥瞰角度與無人機的盤旋飛行，則
暗示篇中「翅膀」及「飛」等元素。
晨曦、清風、海濤、巖石，這些自然界的元素是此項書法表演不可或缺的組成部分，不單構成 了《聖經》章節的語境，也體現了書法家追求自己、書法及大自然之間的和諧契合，而這種種 都是書法家深信之上帝的創造。要在巖石上騰挪運動相當困難，但在渾然天成的環境中， 質樸而自然的筆觸忠實紀錄了巖石表面的質感，也紀錄了書法家努力在巖岸平衡揮毫的 過程。書法表演融合了中國書法、場域特定表演及空中（航拍）攝影、錄像，也展露了表演者
The dawn, cool breeze, tides and rocks are elements of nature indispensable to this calligraphy performance. Not only do they create the context of the Bible verses, but they are also the embodiment of the calligrapher’s pursuit of the harmonious relationship between himself, calligraphy and nature, which he firmly believes are God’s creations. It was rather difficult to move his body on the rocks, but by blending well with the surroundings, the natural and inconspicuous brushwork completely preserves the texture of the rock’s surface as well as traces of how the calligrapher made an effort to balance himself on the rocky shore and render the calligraphy. This calligraphy performance integrated Chinese calligraphy with site-specific performance, aerial photography and video, and demonstrated the performer’s spiritual journey.
7.
你的手必引導我」（詩篇139：9-10）。 書法風格源於北齊 (550-577) 《泰山經石峪》，為了凸顯篇中「海極」偏遠之感，劉澤光刻意
本身的靈修歷程。
鄭桂苑 Amy Kwai-yuen Cheng
2010年畢業於香港浸會大學視覺藝術（榮譽）文學士，熱衷於水墨及社區藝術創作。鄭桂苑相信 藝術是上帝賜予人的禮物，為世界帶來美善。她盼以藝術與人同行，讓人親身參與成為她作品 的一部份，以不同角度觀看世界和自己。
Amy Kwai-yuen Cheng graduated from Hong Kong Baptist University, with a Bachelor of Arts (Hons) in Visual Arts in 2010. She focuses on ink art and community art. She believes that art is a heavenly gift that everyone shares, and embraces all different thoughts and feelings. Art makes the world a better place. She wishes to walk with people through her artworks and invites the audience to take an active participation in her artworks.
劉澤光 Daniel Chak-kwong Lau
身兼藝術史學者及書法篆刻家，劉澤光先後獲香港大學哲學碩士及美國加州大學哲學博士
學位，主修中國藝術史。主要研究領域包括中國書法史和篆刻史，曾三度獲香港政府研究資助 局資助其香港書法史研究項目。曾為北京大學及中央研究院訪問學人、澳門大學駐院藝術家、 全澳書畫聯展評審。曾於美國及港澳舉辦8次個人書畫篆刻展，作品為香港、中國、美國等地 藝術博物館及私人收藏。
劉博士是虔誠的基督徒，深信上帝的話語滿有能力，故喜以聖經經文為創作題材。例如 《小楷 傳道書全卷》（香港藝術館藏）及以結合航拍錄像的大型戶外書法即景創作 《諸天述說》（詩篇 19：1-2）及《展開清晨的翅膀》（詩篇139：9-10）。曾以《愛是永不止息》（哥林多前書13：8）與年輕 人分享被譽為愛篇的信息，並曾應邀於大型宗教活動中即席揮毫，完成巨幅書法《主愛臨香江》。
Dr. Daniel Chak-kwong Lau received his MPhil in Art History from the University of Hong Kong and his PhD in the History of Art and Architecture from the University of California, Santa Barbara. He has served as an Associate Professor since 2012 and is currently Associate Director (Research) at the Academy of Visual Arts of the Hong Kong Baptist University. He pursues research as both a scholar and an artist. He is an art historian specialising in Chinese art, Chinese calligraphy, seal engraving, and art and identity in late Imperial China. He has served as a Visiting Scholar at both Peking University and the Institute of Modern History at Academic Sinica, Taipei. He has obtained 3 General Research Funds (GRF) from the Hong Kong Research Grant Council for his academic research on the developmental history and social history of Hong Kong calligraphy. He is an established artist whose practice encompasses Chinese calligraphy, seal engraving and large-scale performance of Chinese calligraphy in public space. He has held 8 solo exhibitions in the United States, Hong Kong and Macau and participated in numerous influential group exhibitions at local and international museums and galleries. His calligraphy and seal engravings are in major public collections, including those of the Art Museum of the University of California, Santa Barbara, USA, the Hong Kong Museum of Art and the University Museum and Art Gallery of the University of Hong Kong.
Artist Biography 藝術家簡介
尹麗娟 Annie Lai-kuen Wan
尹麗娟生於香港，於香港中文大學藝術系取得學士及碩士學位。現任香港浸會大學視覺藝術院 副教授。
曾參與多次本地及海外展覽，並獲「夏利豪基金會藝術比賽」雕塑組冠軍、「亞洲文化協會 獎助金」、香港藝術推廣辦事處選為「藝遊鄰里計劃II」藝術家、香港藝術發展局頒發海外駐場 獎金及在「香港藝術雙年展」中獲獎，亦曾在美國、日本及丹麥進行駐場藝術創作，及被日本信樂 陶藝之森邀請為客座藝術家。作品為香港藝術館、香港文化博物館及海外藝術機構收藏。
Born in Hong Kong, Annie Lai-kuen Wan obtained her Bachelor’s and Master’s degrees from the Fine Arts Department of the Chinese University of Hong Kong. She is now Associate Professor of Academy of Visual Arts of the Hong Kong Baptist University.
Annie has participated in various local and overseas exhibitions. She was also awarded the Winner (Sculpture) of the Philippe Charriol Foundation Art Competition, the Asian Cultural Council Fellowship, “Artists in the Neighbourhood Scheme II” by the Hong Kong Art Promotion Office, the Overseas Residency Grant by the Hong Kong Arts Development Council and the Award Winner of the Hong Kong Art Biennial. She has also been the resident artist at different art institutions in the USA, Japan and Denmark and invited as Guest Artist by Shigaraki Ceramic Cultural Park in Japan. Annie’s works are collected by the Hong Kong Museum of Art, the Hong Kong Heritage Museum and overseas art institutions.
鄧啟耀 Frank Tang
鄧啟耀生於1988年，其創作經常結合不同媒介，例如：水墨、錄像、聲音和跨媒體表演。2010年 畢業於香港浸會大學視覺藝術（榮譽）文學士。2014年獲邀參與蘇黎世藝術大學的藝術家 駐留計劃；2022年獲邀參與台北寶藏巖國際藝術村駐留。2009年獲「友生昌中國繪畫獎」; 2010年獲「視覺藝術創作獎」; 2012年獲「麥羅武中國繪畫獎」及「美思堂文教基金」獎學金。 近年，他曾參展亞洲協會香港中心舉辦《尋林覓趣》（2019）、香港藝術中心及比利時Les Halles de Schaerbee合辦「香港味道」（2016）、京都藝術中心「音をめぐる場と表現」（2016）及德國蓋爾
森基興美術館的中國八項目「Tradition Today – Ink Painting and Calligraphy」（2015）。其作品
Born in Hong Kong in 1988, Frank Tang uses a range of technologies and platforms in his projects, including ink painting, video, sound and collaborative performance. He received his Bachelor of Arts (Hons) in Visual Arts from Academy of Visual Arts (AVA), HKBU in 2010. He was invited to artist-in-residence programs in Zurich by The Zurich University of the Arts in 2014 and Treasure Hill Artist Village in Taipei in 2022. He was awarded the Grant Award by Muses Foundation (2012), the Louis Mak Chinese Painting Award (2012), AVA Award (2010) and Yau Sang Cheong Chinese Painting Award (2009). Recently, Frank has participated in exhibitions including “Hidden Forests” at Asia Society Hong Kong Center (2019), “A Taste of Hong Kong” at Les Halles de Schaerbeek in Belgium (2016), “音をめぐる場と表現” at Kyoto Art Center in Japan (2016) and “China 8 - Tradition
Today - Ink Painting and Calligraphy” at Kunstmuseum Gelsenkirchen in Germany (2015). His artworks have been exhibited in museums, art organisations and galleries in Germany, Switzerland, Japan, Mainland China, Taiwan and Hong Kong.
見於德國、蘇黎世、台灣、深圳和香港的各個藝術館、藝術機構和畫廊。
陳祉皓 Tsz-ho Chan (Calvin Sebastian)
十年來專注於日常教學、修讀神學及照顧家庭上，藝術創作彷彿被放到一旁。直到2021年，小女兒 也開始上學，陳祉皓有更多空餘時間在家，於是決意花多點時間創作，以補回過往十年的真空期。
生活供給他創作的題材，而創作讓他留意到生活中的美善。
Focusing on daily teaching, theology studies and taking care of the family for the past ten years, creating arts seems to be put aside by Tsz-ho Chan (Calvin Sebastian). Until 2021, when his youngest daughter entered school, Tsz-ho began having more private time, he was determined to focus more on arts as a compensation for the missing decade. Daily life sparks inspiration. Creation drives him to notice the beauty and goodness in life.
蕭俞 Zoe Siu
蕭俞2007年畢業於香港理工大學時裝設計，曾為國際牛仔褲品牌DKNY JEANS及LEVIS進行設計
工作，後對繩結藝術產生興趣，2011年毅然決定要創立ZOEE。蕭俞喜愛把傳統手工藝細節融入 充滿現代感的飾物結構中，突顯新舊元素碰撞出來的化學作用。
除了設計首飾配件外，她還透過探索繩索的建築可能性來進一步突破界限，以具有雕塑般大膽 而精細複雜的繩索裝置來改造零售和畫廊空間。她曾經為ELEMENTS和K11 SHOPPING MALL 做大型繩結裝置。她也致力於推動打結藝術，獲邀在國際品牌發布會設計不少紡織工作坊， 包括OMEGA、Adidas、Uniqlo、FRED、Mikimoto、45R及MARIMEKKO。這些年，她還應邀代表香港 參加國際展覽，如「2019年希臘珠寶周」、2017年的倫敦工藝周和2013年9月的「布魯塞爾設計」。
Zoe Siu is a Hong Kong-based knot designer, known for her bold, sculptural accessories and striking ropework installations. Weaving together traditional craftsmanship with inventive design, her creations are both sophisticated yet playful, contemporary yet timeless. In 2011, Zoe founded the accessories label ZOEE. She has since created a diverse range of innovative, knot-inspired jewellery collections, attracting stockists from major cities across Asia. Furthermore, she established the ZOEE Accessories Select Shop in 2014 as a platform for independent designers from around the world to showcase their craftsmanship and creative ethos. More recently, Zoe was invited to collaborate with renowned US fashion icon, IRIS APFEL, designing an exclusive accessories set for her solo exhibition at the Hong Kong Landmark in 2017. In addition to designing accessories, Zoe has been pushing boundaries further by exploring the architectural possibilities of rope, transforming retail and gallery spaces with ropework installations that are both sculpturally bold and painstakingly intricate. She has created huge knot installations for ELEMENTS and K11 ART Shopping Mall. Dedicated to promoting the art of knotting, Zoe regularly runs workshops for international brand launches, including OMEGA, ADIDAS, FRED, UNIQLO, MIKIMOTO, 45R and MARIMEKKO, etc. She has also been invited to represent Hong Kong at international exhibitions, such as the “Brussels Design September” festival in 2013, London Craft Week in 2017, AUTOR Jewellery Fair 2017 in Romania and Athens Jewellery Week 2019 in Greece.
主辦 Organized by
香港浸會大學校牧處 The Chaplain’s Office of HKBU
技術支援 Technical support
Kenny Cheng, Philip Lam, King-hung Cheung, Shu-ho Cheuk
協辦 Co-organized by
Wellness Oasis 香港浸會大學國際學院 The College of International Education of HKBU
贊助 Sponsored by
場地贊助 Venue partner
宣傳設計 Promotion design
影像 Media
中華基督宗教研究中心 Centre for Sino-Christian Studies
施達基金會 Cedar Fund
栽種和平 Cultivating Peace 田家炳基金會 Tin Ka Ping Foundation
Y. K. Jim Charitable Foundation
Parallel Space
鳴謝 Acknowledgement 梁翠萍 Sally Leung
更多資訊 More information
謝虹校牧 Rev. Hung Tse
基督教周籌委成員 Christian Emphasis Week Committee
Kenneth Tse, M.Y. Fung, Justin Lau, Anthony Kong
基督教周FB專頁
CEW FB page 基督教周IG
CEW IG / #artpeaceexhibition
查詢 Enquiries artpeace@hkbu.edu.hk
