Wallpaper 1.1
Wallpaper 牆紙, 2021
”Romantic, rude but refined, ritual”
Amy Tong 唐嘉欣 (HK)
Amy Tong is known for her abstract experimentation on possible scenarios. Her work is often a collage of idealised, multi-layered scenarios, expressing the emotional traces from her daily encounters with society. Treading around the realm of truth, rituals, and absurdities, Tong creates textured environments to explore the complexity of human emotions within surrealist settings.
唐嘉欣擅長以抽象實驗手法探討充滿可能性的多種情境。她的作品經常拼貼理想化並多層次的境遇，描繪在社會中日常遭遇的情感踪跡。遊走於真實、儀式、和荒謬的邊界，唐氏於超現實的框架下創造了富質感的環境，探索人類情感的複雜性。
Uncharted
Mixed media on canvas 帆布上的混合媒介, 2021
”decluttering, ascending, reconciliation, fused, dilemma”
BH (HK)
BH is a slashie mutant who is interested in observing various living forms and patterns, contextualising and recasting them with new suggested meanings through contemporary paintings. It is also a monologue process to identify his own form, understand the relationship between his own formation and other forms of relationships, as well as to navigate the impact and value of his existence to society. He believes everything is pigments.
BH 是變種斜槓男，跨界身份、雙重生活，喜愛用當代繪畫形式來重塑各種生命形態和模式，賦予新的場景和意義。這同時也是一種自我獨白，讓他識別和贖回自身的形態，以及探尋他的存在對社會的影響和價值。他深信任何事物取之所需用之恰當最終都可以成為畫材。
Flower Bird Insect Fish
Acrylic on canvas 塑膠彩畫（帆布）, 2021
35 x 140cm
”Zentangle inspired art work”
Cindy Chan 陳樹貞 (HK)
琉璃
Ink, charcoal and colour on paper 水墨設色碳粉紙本, 2021
137 x 70cm
”Chinese Painting and Calligraphy”
Chui Pui Chee 徐沛之 (HK)
Born in Hong Kong in 1980, Dr Chui apprenticed under Mr Jat See-yeu and Professor Wang Dong-ling. After graduated from Queen's College, Hong Kong in 1999, Dr Chui took his first degree at the Department of Fine Arts of The Chinese University of Hong Kong (CUHK). He furthered his postgraduate studies at the Department of Chinese Calligraphy of China Academy of Art, where he obtained his Master of Arts and Doctoral Degree.
In 2012, Dr Chui received the Hong Kong Contemporary Art Awards - Young Artist Award, presented by the Leisure and Cultural Services Department. He also received the Award for Young Artist (Visual Arts) at the Hong Kong Arts Development Awards 2015 organised by the Hong Kong Arts Development Council. He was a finalist of The Sovereign Asian Art Prize 2015, 2018 and 2020. Some of Dr Chui’s artworks were collected by the Hong Kong Museum of Art, Ashmolean Museum of Art and Archaeology of University of Oxford and private collectors. Recent selected exhibitions: ‘Classics Remix: The Hong Kong Viewpoint’, ‘Dawn Chorus, Happen with HART’, ‘The 2020 Sovereign Asian Art Prize: Shortlisted Finalists Exhibition’.
徐沛之博士，1980年生於香港，師從翟仕堯老師及王冬齡教授。1999年於皇仁書院畢業，先後獲香港中文大學藝術系學士、中國美術學院書法系碩士及博士學位。
徐氏曾任香港中文大學專業進修學藝術及設計課程統籌，編寫書法文憑及書法創作與理論研究高等文憑等課程、香港科技大學兼任講師、香港中文大學、香港中文大學專業進修學院課程榮譽顧問，以及任職於中國嘉德（香港）國際拍賣有限公司中國書畫部。現為及香港浸會大學兼任講師、甲子書學會執行委員（學術）以及中國美術學院現代書法研究中心研究員。
徐氏於2012年獲康樂及文化事務署頒發「香港當代藝術獎」的「青年藝術家獎」，及後於香港藝術發展局舉辦的「2015香港藝術發展獎」獲頒予「藝術新秀獎（視覺藝術）」，並於2015、2018及2020年三度入選「傑出亞洲藝術獎」。徐博士的作品獲香港藝術館、英國牛津大學阿什莫林藝術與考古博物館及私人收藏。近年重要展覽包括：「原典變奏—香港視點」、「晨曦之聲」以及「2020 Sovereign傑出亞洲藝術獎」。
Disintegration
10 Day Painting: Law of the Instrument
Sledgehammer on marble 大鎚, 2021
100 x 5 cm
10 Year Painting: War of Attrition (Work in Progress)
Concentrated hydrochloric acid on marble 大理石上的濃鹽酸, 2021-2031
”Temporality, Materialism (Metaphysical, not economic sense), Conciousness, Forces, Sisyphean”
80 x 5 cm
Damian Boylan (UK)
In Disintegration, comprising two parts (a completed work entitled ’10 Day Painting’, and an ongoing work entitled ’10 Year Painting’), the artist employs contrary processes to two similar, stratigraphic systems, to form a visual counterpoint.
In the former, the artist wields the sudden, brutish force of a sledgehammer, to obliterate the marble substrate. This once cohesive, unified structure, formed over vast swathes of time, now lays shattered, casting a shadow of its former self.
By contrast, in the ongoing work, ’10 Year Painting’, the artist employs the daily, cogitative ritual, of pouring concentrated hydrochloric acid onto the marble’s surface. As days become years, the acid continues to assert its attritive power, wearing down the monolith, microns (µ, 0.000000001 metres) at a time. While this substrate appears to remain intact, one may observe the subtle caustic action, insidiously working into the now, fault-like veins of the marble, gradually eroding the lustrous surface, and tearing its fabric apart, from within.
‘Disintegration’ forms a reflection on the nature of ideals; Is it better to watch something be destroyed in an instant, or to witness its slow, inexorable ruin?
—————
Damian Boylan's material centric, process driven techniques span the disciplines of painting, sculpture, new media & sound to explore themes pertaining to time and consciousness. With a background encompassing a Master’s degree (MEng) in the field of Aerospace Engineering, his work ties multifarious, recherché substances with rigorous theory, to form works that upend time-honoured technique, with self-conceived methodologies. British-born Boylan lives and works in Hong Kong, China.
Damian Boylan 以材料為中心、過程驅動的技術跨越繪畫、雕塑、新媒體和聲音等學科，探索與時間和意識有關的主題。 擁有航空航天工程領域碩士學位 (MEng) 的背景，他的作品將多種多樣的研究物質與嚴謹的理論聯繫起來，形成了顛覆歷史悠久技術的作品，並採用了自我構思的方法。 出生於英國的 Boylan 在中國香港生活和工作。
Icon I Icon II Icon III
Mixed media on canvas 帆布上的混合媒介, 2021
52 x 42 cm
“Paradoxical, Metaxy, Sincerity and Irony at the same time”
Doris Ng 吳玳誼 (HK)
The series of three portraits are icons of what the artist looks up to with a vast chasm. Growing up in a religious context, Mother Mary and other female holy figures were regarded as the embodiment of one should inherit. In reality, it is the beauty, battle and darkness of the world from which shapes the artist.
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Doris Ng -mixed media artist at Hart Haus and Tung Nam Lou Art Hotel, Hong Kong. She specialises in symbols, bold colour and geometries composition to form rich textured visuals. Art trained since age 5, her brush is an extension to her body. She traveled and lived in various cities, inherited diverse cultural influences to address personal and social issues with multiple perspectives, translated in her artwork- painting, sculpture, photography and text-based expressions.
She also works extensively in art and cultural community projects with The Lok Sin Tong Benevolent Society Hong Kong, Hong Kong Planner Institute, K11 MUSEA Nature Discovery Park, HART, Aroma Office, HandsOn Hong Kong etc.
She co-founded LIN 𢆡 LIN ( social art initiative) and manages graffiti_nexus (graffiti and cultural connotation). Her exhibited work in 2021 includes 999000110112, Gate, Hang, Signage of Reflex I.
吳玳誼 -多媒體藝術家 ，現駐場 Hart Haus 和東南樓藝術酒店。藝術風格大膽用色，多層次畫面，讓觀衆自身體驗及解讀畫面上的綫索。自五歲接受藝術訓練，吳氏的筆猶如她肢體一部分。她多年居住在多個城市，深受不同文化和多角度探討個人情感和社會議題，作品結合繪畫，雕塑，影像和文字。其作品彰顯獨特風格。
吳氏從事文化項目及藝術教育，合作單位包括：九龍樂善堂，香港規劃師協會， K11 MUSEA Nature Discovery Park，HART， Aroma office，HandsOn Hong Kong 等。
2021展出作品包括 《999000110112》 ， 《閘》 ， 《掛》，《本能的燈箱 #1》，始2021年經營文化平台 Instagram @graffiti_nexus 街頭塗鴉與社區文化研習，始2021年聯合創辦藝術項目 LIN 𢆡 LIN 探討社會和身體禁忌議題。
The Unknown 未知
Oil on canvas 油畫（帆布）, 2021
“Diving into the unknown is incredibly daunting, yet the most courageous act one could live for”
Deborah Leong 梁令怡 (MO/US/HK)
The idea for “The Unknown” was fabricated during Deborah’s 14-days quarantine in her hometown, Macau. Rarely in her life has she experienced company of the self at such a repetitive pattern, frequency and intensity. Prior to this piece, there were countless failed attempts in developing an image of herself irrespective of mediums. In “The Unknown”, she chose to work directly on a blank canvas with solid oil painting sticks. Each stroke simulates direct reflex of her feelings towards herself, as expressed in lines, colors and composition. Action is passive and dependent on her connection with the self at the spot and timing of each stroke varies from seconds to hours of sitting and staring in stillness. This expressive method brings her back to her childhood days, drawing in crayons without complex thoughts, processes and plans, the most precious and beautiful gift she has safe kept into her adulthood.
「潛入未知是一個人可以為之而活，最恐懼也最勇敢的行為」
「未知」的靈感來自於梁令怡在家鄉澳門進行的十四天隔離。這段日子不斷重複的生活模式、自我對話的頻率和強度是她生命中的少有經歷。在「未知」成為一個作品之前，不論透過什麼媒體她也無法以自畫的形式把影像勾畫出來。對於「未知」，她選擇直接在一塊空白的畫布上用固體油畫棒進行創作，每一筆都是直接反射、都模擬了她對自己的感覺，以線條、顏色和結構來呈現。每一筆都是被動的，取決於畫者跟自我臨場的聯繫；靜坐凝視，下筆的頻率從幾秒鐘到幾小時不等。這種富有表現力的方法讓她回到了用蠟筆繪畫的童年時代，不用複雜的計劃和過程就可以恣意畫畫。這對她來說，是她成年後最珍貴、也最美麗的體驗。
Deborah creates large-scale paintings. Her work channels notions of energy buried in subtle ordinary living, symbolized by inner fights and consistent struggle to find herself. Deborah often presents settings that explore the universal themes of hope and notions of dream.
梁令怡擅長創作大型油畫。她的作品傳達了隱藏於平凡生活中微妙的能量概念，象徵著自己內心的矛盾以及尋找自我的旅程。梁令怡的作品經常呈現探索希望的普世主題和對夢想的追求。
better luck next time
Mixed Media on sneaker 球鞋上的混合媒介
”ridiculous, sneaker art, social status, up-cycling, trend”
KC Wong 黃家銓 (HK)
KC Wong, A multi-discipline artist, KC Wong has been involved in illustration & animation production, visual merchandising and art creation. KC has worked on commercial visual communication projects with companies in both Hong Kong and China. KC is the founder of “Sick Sick Creation"" - a creative agency focusing at story-telling, as well as brand building.
KC brings a depth of experience in visual communication to his creations, with a BA (Hons) in Design and Visual Communication (Hong Kong Polytechnic University, 2003), and qualifications in Advertising Design and Computer Art and Design."
多元設計師及獨立短片導演，從事設計及藝術創作近20年，KC由視覺營銷，產品展示，品牌推廣，大學兼職導師，插畫及動畫製作都曾涉獵，與各大小品牌，媒體合作，積極展示其多變的創作。除了突破傳統商業的展示模式，他更將之傳譯為生活化的設計思維， 出任香港浸會大學持續教育學院兼職導師，主理＜時尚商品展示設計＞ 課程。近年創辦了悉式創作，主張以的story-telling方式呈現及建立品牌形象。
"It may not be enough to look at surface I love. Or parts adjacent."
Title borrowed from a line by Rosmarie Waldrop 作品標題引用自 Rosmarie Waldrop
mixed media on paper and wooden boards 紙、木板上的混合媒介, 2021
”poetry, text-image, culture, desire, queerness?”
Nicholas Wong 黃裕邦 (HK)
Nicholas Wong's poetry collections include Crevasse (Kaya Press, 2015) and Besiege Me (Noemi Press, 2021)
黃裕邦，本地詩人，詩集包括《天裂》（Kaya Press，2015）和《Besiege Me》（Noemi Press，2021）
Studies; Say Your Piece
projector installation, paper, recycled styrofoam, ink 放映裝置、紙張、回收發泡膠、墨, 2020-21
”architectural, interactive, socio-cultural, analytical, black and white”
Sierra Chiao (HK/US)
Sierra Chiao is a senior at Wellesley College, Massachusetts, studying art, computer science, and a little philosophy. She spends her time thinking about digital and physical spaces, and can't ever seem to get enough sleep. Here she presents the study of two publics – the visual forms of public housing communities, and the characteristics of a community's public forum – the latter of which, she invites your active participation with. Her home is Hong Kong and the people within it.
Sierra Chiao 是馬薩諸塞州威爾斯利學院的一名大學生，學習藝術、電腦科學和一點哲學。她思考數字和物理空間，似乎永遠無法獲得足夠的睡眠。她在這裡展示了對兩種公眾的研究—公共住房社區的視覺形式，以及社區公共論壇的特徵。她邀請您積極參與後者。她的家是香港和當中的人。
The winter recital
oil on canvas/linen 油畫（帆布和亞麻畫布）, 2021
93 x 61 cm
Underneath Muddy Waters
oil on canvas/linen 油畫（帆布和亞麻畫布）, 2021
100 x 50cm
”surreal, expressive, immersive, subconcious, kinetic”
Vickie Li 李敬儀 (HK)
Vickie Li, a hong kong based artist, continues her works in the portrayal of preserving innocence within a desire for power. Rooted in her artistic process and spiritual practice, she presents her first exhibition of abstract figurative paintings of memories— a state of mind, feeling or thought—told anew. The artist’s interests are in the objects a child might physically collect and recollect when developing new experiences. In this series, flowers and shells became the motifs that govern Li’s style. These immersive paintings are visual narratives born through her imagination and dreams.
香港藝術家李敬儀持續描繪在權力的渴望中保持的純真。植根於藝術過程和精神實踐，她的抽象畫從視覺上表現和重組記憶—心境、感覺或思想。她的興趣在於小孩會回憶或收集的東西，當中她用視覺敘事中的無限想像力美化和吞噬它們。她身臨其境的畫作誕生於夢想和超現實的風景。
untitled_excesstears_tg_tst_1
acrylic, oil, ink and reflective pigment on canvas, 90 x 60 x 4.5cm; 油畫（亞麻畫布）, 2021
”Zukunft, tragedy, glitch, 念想, anthropocene”
Wu Jiaru 吳佳儒
WU Jiaru (b.1992) obtained her BA in Fine Arts and English Language from Tsinghua University in 2014, and her MFA from the School of Creative Media at City University of Hong Kong in 2017. She experiments with imagined spaces and social norms in forms of installation, moving images, sculpture, painting, image synthesis. Wu’s practice covers topics including literature, mythology, romantic relationships, technology and futurology, etc. Wu Jiaru currently works and lives in Hong Kong.
吳佳儒2014年於清華大學獲藝術與英語學士雙學位，並於2017年取得香港城市大學創意媒體碩士學位。她以裝置、雕塑、繪畫、渲染圖像等形式實驗於想象空間與社會現象之間。其作品涵蓋廣泛，包括文學、神話、羅曼蒂克關係、科技和未來學等。
Ephemeral Eternity
Upcycled dress 升級再造的長裙, 2021
”Textile, fluidity, upcycling art”
Yasmina Viale-Fraine (FR)
Hong Kong–based fashion designer and textile artist Yasmina Viale-Fraine layers dying, hand-beading and embroidery to create whimsical, raw depictions through wearable art, soft sculpture. Like many textile artists, she started off by creating fabrics that were purely practical use. It is only in the past few months that she has changed her approach and become more liberal and curative with her art. For her, textile art is a means of answering questions regarding the altered state of naturals on one hand, and in the other hand upholds the experiences of contemporary female life through an ancient art form.
香港時裝設計師兼紡織藝術家 Yasmina Viale-Fraine 將染色、手工串珠和刺繡分層，通過可穿戴藝術和軟雕塑創作奇幻而原始的描繪。像許多紡織藝術家一樣，她最初創作純實用的布料；但在過去的幾個月裡，她改變了創作的方法，以藝術變得更加自由和治愈。對她來說，紡織藝術一方面是回應自然狀態的改變，另一方面通過古老的藝術形式來維護當代女性的生活體驗。
Lin𢆡Lin
Installation, video, prints, texts 裝置、影片、印刷、文字, 2021
”Socio-cultural”
Doris Ng 吳玳誼 (HK) & Yasmina Viale-Fraine (FR)
Once upon a time, we didn't hide our nipples, so did branded dolls til the 60s.
LIN 𢆡 LIN is a social art initiative co-founded by Doris Toi-yee Ng and Yasmina Viale-Fraine.
As artists, we want to open dialogue for the sexualisation of nipples. Unwanted dolls are our medium.
‘There is a link to how we see dolls that we see ourselves’, we observed.
There is a paucity in diversity and realistic body anatomically correct dolls we need to address
The human body is presented in a way that may change the perspective of the audience’s view on oversexualised body features through dolls.
These playful and zesty visuals and texts expose the social convention on how nipples are perceived.
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Lin𢆡Lin is a social art initiative co-founded by Doris Toi-yee Ng and Yasmina Viale-Fraine. The human body reality is presented in a way that may change the perspective of the audience. Our art project begins with acquiring unwanted dolls that are nipples embellished. We use facts, playful and zesty visuals to expose the social convention on how nipples are represented.
Lin 𢆡 Lin 是由吳玳誼和 Yasmina Viale-Fraine 共同創立的一項社會藝術計劃。人體現實的呈現方式可能會改變觀眾的視角。我們的藝術項目開始於購買帶有乳頭裝飾的回收布偶。我們使用事實、俏皮和熱情的視覺效果來揭示社會如何表達乳頭。