Artwork List 作品列表

Do memories take up physical space? Why do we remember so clearly some things and some people but completely dismiss others? With this work the artist explores some of her own memories and questions the relevance they have on her life as well as the accuracy of her recollections.

記憶會否佔用物理空間？ 為什麼我們如此清晰地記住一些人和物，卻完全忽略了其他事物呢？ 這個作品中藝術家們探索了自己的一些記憶，並對她自己的生活，以及回憶的準確性提出了疑問。

Ane is a self-taught Mexican artist who, from a young age, found an escape in art and a forum in which to express her feelings, hopes and fears. As someone who continues to travel the globe, Ane draws on inspiration and technique from the different cities and cultures she has experienced. Ane takes us into the emotional world of each of her subjects, making each painting stand out with its own individual story. Through a deep personal connection present in her compositions, she aims to stimulate the viewer’s feelings and imagination and encourage them to create their own interpretation of what the art means to them.

Ane 是個自學成才的墨西哥裔藝術家，年輕時已發現從藝術中尋找到歸宿解放、表達到她的感受、希望與恐懼。她周遊列國，所體驗的種種不同文化啟發她現在繪畫採納轉化的技巧。畫中主題要角每每引人入勝、領導每個人進入其情感世界，每幅畫就能獨立講述一個故事。透過作品結構所表現的深層個人連繫，Ane 希望能激發觀眾情感和想像、鼓勵大家創造和演繹藝術的意義。

It’s like any other Wednesdays, she goes to work at 9a.m as usual. Made a coffee, stared at Instagram for an hour for the latest trend then start off work by checking her email. Lunch is the regular block of cheese washed down with a glass of freshly squeezed lemonade. Follows by the routined work of hassling people and replying more emails. Work finishes at 6pm. Then she goes home, fixes dinner, stares at it, goes to bed. The day starts again.

有如其他星期三，她如常早上九點上班。她煮了咖啡，盯著Instagram一小時了解最新潮流，然後查看電郵開始工作。午餐是普通的芝士塊，隨後是一杯鮮榨檸檬汁。接著是催促人們和回覆更多電郵等的例行人作。工作於下午6時結束。然後她回家，準備晚餐，盯著它，上床睡覺。 一天又開始了。

Amy Maria 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，Tong 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。

I started Project Declutter to say goodbye to the past and flush away the unnecessaries and bygones and hence I transform, reconstruct and repaint all the sleeping objects into new forms. Later on I realised mankind was just a passenger of our own life: we didn’t carry anything into this world and hence we couldn’t carry anything leaving this world. An empty luggage represents the lightness when you are able to offload all the weights of life. The question is whether our memory will stay behind or follow, hop on or hop off ?

我一直都在思考和研究生命中事物的斷捨離，如何說再見，如何撕走所有的不必要，如何只 剩下最簡單的「本來無一物」，那放手的留下來的又可不可以賦予新的意義和型態。後來我 發現我們都是生命的過客，我們不停的往生命的行李安装和卸載東西，結果什麼也帶不走， 和我們來這個世界的時候一樣。一個空的行李代表著跌宕過後生命的輕和捨去的沈重，問 題是我們意識中的意義還跟隨著嗎?

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 the best way to characterize himself would be the egg itself.

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。

Everyone in the year of 2020 learns how to find space and the positive responses during the environmental challenges and difficulties. I believe the flip side of bitterness is always sweetness and hence the negative space of a positive resistance would be beautiful.

2020至今是叫人困惱的一年，大家都在環境的挑戰當中尋求正面回應和適時的生存空間。 百味紛陳，人們自然會在苦難中自得其樂，負空間也有其美麗之處，看你怎麼看。

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 the best way to characterize himself would be the egg itself.

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。

“Every child is an artist. The problem is how to remain an artist once we grow up.” 

– Picasso

When “work from home” became the norm, my friends regularly post photos of Hong Kong’s sunny sky on our social media group. It’s quite a nice way to keep in touch with friends when we run out of interesting things to say. The rainy days brought back my childhood memories of this subtropical city. Back then we had to line up and walk home from school. We created our own Songkran Festival on our way every day. Armed with a few umbrellas and training in the meditative Zentangle technique, I tried to visit that feisty child within.

在家上班的朋友每天在群組裡貼上風和日麗的天氣照片互相問候，代替循環不息日出日落的話題。雨季來了，喚起濕漉漉的童年回憶，那時排隊放學步行回家，一班小學生天天在路上自製潑水節。現在隨手拿起一把雨傘，藉著隨意的禪繞畫，洗滌心靈，釋放心中的頑童。

Cindy Chan is a film veteran with solid and diverse experience in international film institutions. She also started nurturing the next generation in films schools Hong Kong in these years. With her film knowledge, Chan applied her concept and skills into artwork, creating a unique direction of Zentangle inspired arts and meditative oriented direction. She recently participated at the Hong Kong Affordable Art Fair in 2018 and 2019 consecutively.

陳樹貞是一位電影學者，多年來工作和學業都是關於電影，本科、碩士及博士均主修電影，曾任職於香港國際電影節及當香港電影資料館口述歷史特約採訪員，曾任教於台灣及美國電影學院，專注研究電影工業發展歷史。近年深受禪繞畫的啟發，創作以冥想為主導的畫，在嚴肅的學術研究外，重拾孩童創作的樂趣。

她分別於2018年和2019年參加了Hong Kong Affordable Art Fair。

Cindy Chan is a film veteran with solid and diverse experience in international film institutions. She also started nurturing the next generation in films schools Hong Kong in these years. With her film knowledge, Chan applied her concept and skills into artwork, creating a unique direction of Zentangle inspired arts and meditative oriented direction. She recently participated at the Hong Kong Affordable Art Fair in 2018 and 2019 consecutively.

陳樹貞是一位電影學者，多年來工作和學業都是關於電影，本科、碩士及博士均主修電影，曾任職於香港國際電影節及當香港電影資料館口述歷史特約採訪員，曾任教於台灣及美國電影學院，專注研究電影工業發展歷史。近年深受禪繞畫的啟發，創作以冥想為主導的畫，在嚴肅的學術研究外，重拾孩童創作的樂趣。

她分別於2018年和2019年參加了Hong Kong Affordable Art Fair。

Damian Boylan became a scientist, and completed a Master’s degree (MEng) in Aerospace Engineering, long before turning to art. Those early beginnings pervade his work, which is multidisciplinary in range, including Painting, Photography, Videography and Sound. His methodology is more akin to scientific investigation. Boylan experiments with fundamental physical phenomena, and expands upon them, presenting the result to the viewer as art. The intent of his work is about something fundamental and perpetual. In essence, it is an unearthing of the very building blocks of this universe.

Damian Boylan 是個在香港居住了 10年的藝術家。他是個擁有正式數學及科學訓練背景、航空航天工程碩士畢業生。 設計強項範疇包括複合材料，空氣動力學，有限元分析（FEA）和計算機輔助設計（CAD）。他的多媒介藝術創作廣泛地研究物理現象與物理化學的相互作用影響。

Incorporating Chui’s exceptional calligraphic quality and Ng’s rich colour composition, the artwork is a daring attempt for both. The pair began painting the Hong Kong household staples- salted fish and dried bok choy, only ending up with a monk holding a hanger and a landscape with King Kong in the sky. The absurd visuals recount what happened when the two collide- a rare harmony. This is the first collaborative work between Doris Ng and Pui Chee Chui, featuring the artists’ distinctive styles. This collaboration is influenced by their pair up in the curation of the Hart Haus’ Ur Resilience art journey, where the two confront their art practice and search for common/ conflicting elements in their life and artmaking process since 2021.

結合徐沛之卓越的書法和吳玳𤦌豐富的色彩構成，兩件作品都是大膽的嘗試。 兩人一開始嘗試繪畫香港家常菜，例如鹹魚和乾白菜，但最後演變成和尚拿著衣架和金剛在天上的風景。 荒誕的視覺效果重新敘述了兩件藝術家的碰撞—是一種罕見的和諧。 這是吳玳𤦌與徐沛之的首個合作作品，展現了兩位藝術家的獨特風格。他們共同策劃HART Haus的Ur爾 Resilience藝術之旅，因而引伸了今次的合作，當中兩人面對從2021年以來自己的藝術實踐，並在他們的生活和藝術創作過程中尋找共同或衝突的元素。

Born in 1980, Dr Pui Chee Chui apprenticed under Mr. Jat See-yeu and Professor Wang Dong-ling. After obtaining his first degree at the Department of Fine Arts, The Chinese University of Hong Kong, Chui furthered his postgraduate studies at the Department of Chinese Calligraphy, China Academy of Art, where he obtained his Master of Arts and Doctoral Degrees in 2007 and 2010 respectively. Chui's artworks are collected by the Hong Kong Museum of Art, Ashmolean Museum of Art and Archaeology of University of Oxford and are popular among private collectors.

徐沛之師從翟仕堯老師及王冬齡教授，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。曾任香港中文大學專業進修學院藝術及設計課程統籌、香港中文大學兼任講師、香港科技大學兼任講師，中國嘉德（香港）國際拍賣有限公司中國書畫部、香港中文大學專業進修學院課程榮譽顧問。現為甲子書學會執行委員（學術）、石齋之友執行委員、中國美術學院現代書法研究中心研究員。作品為香港藝術館、英國牛津大學阿什莫林藝術與考古博物館及私人收藏。

Doris Ng is an artist currently stationed at HART Haus. Her artwork is coded with rich color, symbols and texts. She relates the surrounding contexts with her life episodes. Through collaging, she attempts to storytell the overwhelming information. She works in an intense manner- with constant motions to assemble, layer, erase and overlap. This is how her hands weave and unfold the tangled comprehension of unique interrelationships. Her articulation to her own history and the surroundings are developed over months in her work. Born in Hong Kong, Doris moved to Melbourne where she completed a BA Degree at Monash University in 2005. She has since worked in multiple start-ups and resided in multiple Asia Pacific’s cities for 12 years. She is currently completing her Master Degree (Arts and Cultural Enterprises) at University of Arts London.​ Her recently exhibited works are 999000110112 and Gate. She also co-organized social art practices the Be-sides Experiment and is a teaching artist in the K11 Musea Nature Discovery Park and in the Humble HART programs.

吳玳誼，現HART藝術家 。作品主要以痕跡和符號學為視覺語言。透過雙手重複塗抹畫面，像是寫詩，亦像是在説故事。 畫作上總呈現豐富艷麗的顔色，各種符號，及多層影像，讓觀衆自身體驗及解讀畫面上的綫索。現專注研究街頭塗鴉，文字與社區文化之間的關係。2021展出作品包括 <999000110112> 和 <閘>。

This is an attempt to trace the pursuit and encounters, and ultimately embody a segment of the journey together in a multilateral way.

作品試圖勾畫追求和相遇，多面呈現集體旅程的一部分。

Coming from sculpture and environment design background, Jen Yoohyun Lee is a Korean-American practitioner who explores sculptural and microscopic ways of practicing socially-engaged art. Apart from tangible materials, she engages with different forms of narratives, gestures, inter-personal relations and such, which are arranged within the process of de-linking and re-linking in social mechanism. She is currently developing her doctoral dissertation on the social operation of narratives and the position of socially-engaged artists in relation to them.

Jen Yoohyun Lee 是一名韓裔美籍藝術家，出身於雕塑和環境設計背景，探索雕塑和微觀方法來實踐社會參與藝術。 除了有形的物料外，她還參與在不同形式的敘事，手勢，人際關係等，並將它們在社會機制中脫鉤和重新聯繫。 目前，她正在撰寫有關敍事的社會運作，以及與社會相關藝術家立場的博士學位論文。

Wu Jiaru is an artist who currently works and lives in Hong Kong. She obtained her BA in Fine Arts and English Language from Tsinghua University in 2014, and her MFA from the School of Creative Media in City University of Hong Kong in 2017. She experiments with imagined spaces and social norms in forms of installation, moving images, printed edition, image synthesis, etc. Wu’s practice covers a wide range of topics, including cross-boundary facilities, literature, modern service industries, manufacturing industries and innovation and technology, romantic relationships, business environment, quality living, education and talent, regional cooperation plans, ecology, as well as mechanisms and arrangements. Wu has participated in many good group exhibitions and her art is in the collection of some important people and organisations.

吳佳儒目前工作生活於香港。她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。以裝置、影像、複製版本、渲染圖像等形式實驗於想象空間與社會現象之間。吳氏作品涵蓋範圍廣泛，包括跨界設施、 文學、現代服務業、製造業及科技創新、羅曼蒂克關係、營商環境、優質生活、教育與人才、區域合作規劃、生態學、神秘學，以及機制安排等。她曾經參與很多出色的展覽，其作品被一些重要人物和機構收藏。

US native John Fennell has been a painter for more than 35 years. After graduating from Northern Illinois University, he attended the American Academy of Art in Chicago and then studied privately. He earned a master's degree in painting and drawing from the University of Wisconsin-Milwaukee. He has exhibited in Chicago and Milwaukee, as well as in St. Louis, Kansas City, Fulton, Ashland and Columbia, Missouri. His work is in many private and corporate collections. He recently retired as a professor at the Missouri School of Journalism where he taught magazine writing, design and publishing. Before teaching, he was a journalist and editor.

John Fennell 於美國出身，畫家歷已有35年以上。 從北伊利諾伊大學畢業後，他就讀芝加哥的美國藝術學院，然後私下學習。他獲得了威斯康星州密爾沃基大學的繪畫碩士學位。 他曾在芝加哥和密爾沃基以及聖路易斯、堪薩斯城、富爾頓、阿什蘭和密蘇里州的哥倫比亞展出。他的作品獲許多私人和公司收藏。 他最近在密蘇里新聞學院退休，在那裡他教授撰寫雜誌、設計和出版。 在任教之前，他是一名記者和編輯。

Everyone might own a pair of sneakers. It is a common ground between the “high-fashion-goers” and the “so-what-fashion” as it gives us a touch of emotion or physical comfort. The creator sees people how they define someone’s social status on what car they drive, where they live and what kind of property they own. However, as we all know, Hong Kong is the most expensive city in the world for living. It is so unfair and not common for people to have a simple flat or even a car. Sneakers are a common ground item that the majority of the population own and that’s the reason why he tries to capture the reality of a society, and uniquely demonstrate their status in a society by using a pair of sneakers. In the way, which pair you pick reflects your current status, right?

每個人都可能擁有一雙運動鞋。 這是「high-fashion-goers」和「so-what-fashion」之間的共同點，因為它令我們情感或身體感到舒適。 創作者看到人們如何以駕駛名車、高尚住宅、及所擁有的財產斷定某人的社會地位。 但是，眾所周知，香港是世界上生活成本最昂貴的城市。即使要擁有普通的公寓，甚至是一輛汽車也不常見。所以此標準是不是公平的！ 而運動鞋是社會上大多數人都擁有的物件，因此創作者嘗試透過這社會現象，並透過一雙運動鞋獨特地展示化不同的社會地位。 就是說，您今天所選擇的那雙鞋，某程度上已經反映您的當前狀態，同意嗎？

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。

Leong Leng is from Macau. At the age of 16, she moved to San Francisco, the cultural melting pot which left a lasting influence over her creative work later in life. Currently based out of Hong Kong, she creates expressive large-scale paintings. Without formal art training, she grasped the freedom to explore subjects by recreating the beauty she sees in them. Her paintings, made with oil in broad strokes, portray her subjects' metaphysical states, channeling notions of energy buried in subtle ordinary living. Leong Leng often presents settings that explore universal themes of hope and aspirations.

梁令怡主力創作大型油畫。她雖沒有受過傳統的藝術培訓，憑藉通過所觀察到及研究所得，她把人們的內在美整合重現出來。她的作品擅於運用粗綫條的筆觸去勾畫出物體的形態，引導釋出在日常生活中所隱藏的能量。充份表達探索宇宙間蘊藏著的希望和抱負。

Leong Leng is from Macau. At the age of 16, she moved to San Francisco, the cultural melting pot which left a lasting influence over her creative work later in life. Currently based out of Hong Kong, she creates expressive large-scale paintings. Without formal art training, she grasped the freedom to explore subjects by recreating the beauty she sees in them. Her paintings, made with oil in broad strokes, portray her subjects' metaphysical states, channeling notions of energy buried in subtle ordinary living. Leong Leng often presents settings that explore universal themes of hope and aspirations.

梁令怡主力創作大型油畫。她雖沒有受過傳統的藝術培訓，憑藉通過所觀察到及研究所得，她把人們的內在美整合重現出來。她的作品擅於運用粗綫條的筆觸去勾畫出物體的形態，引導釋出在日常生活中所隱藏的能量。充份表達探索宇宙間蘊藏著的希望和抱負。

This work consists of a group of images interspersed throughout The Buoy’s workstation cite. The images point to the importance of context for projecting meaning onto them. They do this by having been found with their history erased. As such, they struggle to escape their own shadow. The only space which now gives them meaning is the one informing their present encounter. In that moment, is there any place left for their finder to hide?

這個作品由散落於The Buoy工作坊《cite》中的一組圖像組成。 這些圖像指出了在將意義投射在圖像上時，情景的重要性。這些圖像能做這點，是因為它們被發現時，當中的歷史已被刪除；它們因此需要掙扎以擺脫自己的影子。而現在賦予它們意義的唯一空間，只有告知它們當前相遇的空間。 在那一刻，它們的發現者還可將它們隱藏於哪裡？

Marty is interested in the ability of photographic practice to impact how we notice a changing world around us. This interest has grown from many years spent living in a diverse array of cultural conditions. Throughout, the act of photo-taking proved useful for developing a practice of noticing the abnormal, or overlooked within the everyday. Marty is also developing these ideas not just through fine arts, but also through other disciplines such as social performance and reflective design practices. The traces Marty discovers ask questions about the increasingly inseparable relationship between technology, the body, and the ability to perceive what is noticed moment by moment. What better time to ask such questions than during this most unusual time?

Marty 感興趣的是攝影實踐如何影響了我們察覺到身邊世界變化。隨著他於多年來在各種各樣的文化環境中生活，這個興趣亦隨之加深。 當中拍照行為有證明為有助發現異常，或在日常工作中被忽視的事物。 Marty 不僅通過美術，而且通過社交表現和反思性設計實踐等方式來發掘這些想法。 Marty 發掘的痕跡質問了技術、身體和感知瞬間的能力之間日益不可分割的關係。 在這個不尋常的時代裡，有什麼更好的時間提出如此問題？

Inspired by the seminal works of Yves Klein and Hermann Nitsch, Untitled is a the result of a performance in which Michele is confined to a straitjacket while covered in black paint.

受到伊夫·祈因（Yves Klein）和赫爾曼·尼奇（Hermann Nitsch）的開創性作品的啟發，《無題》是一場表演的成果，當中藝術家穿上束衣，被黑色油漆覆蓋。

This series explores fleeting intimacy between strangers, taking form in street interventions like sitting on a yoga mat in the middle of Trafalgar square to have 1 minute of eye contact with strangers, holding up a Mistletoe behind unsuspecting strangers, as well as initiating conversation and interaction through cue cards from behind the glass in restaurants in London.

本系列探討陌生人之間短暫的親密關係，透過街頭干預，例如坐在特拉法加廣場中間的瑜伽墊上，與陌生人目光交流一分鐘，在毫無戒心的陌生人後面舉起槲寄生，以及通過倫敦餐館玻璃后面的提示卡，發起對話和互動。

Michele Chu (b. 1994) is an interdisciplinary artist and designer who graduated from Royal College of Art & Imperial College London with a MA/MSc Global Innovation Design and Pratt Institute with a BFA Communications Design (Illustration).

She is passionate about exploring intimacy and human connection in her works, specifically the interplay between sensory elements and space to amplify emotional connection between individuals. Her works contemplate what makes us human, through mediums like multi-sensory installations and street experiments amongst others.

Her works have been published in the likes of The Huffington post, the Telegraph and shared on global platforms like TEDx. They have won awards by GDUSA, the American Heart Association, and Packaging of the World. Michele Chu is supported by soundpocket’s Artist Support Programme 2020–21.

朱凱婷，1994年出生，畢業於英國皇家藝術學院和帝國理工學院雙碩士學位（全球創新設計）；本科曾就讀於紐約普萊特學院傳播設計系，主修插畫。她的作品熱衷於探索人與人之間的親暱關係與交流方式，尤其是運用人的不同感官感受和不同的空間等元素去放大和展現人與人之間的情感聯繫，並且通過多感官裝置和街頭實驗等媒介，去讓人們重新思考「人，何以為人」。

關於朱凱婷的作品的報導曾於 The Huffington Post 及 The Telegraph 等雜誌上發佈。此外，她還在TEDx等全球平台上分享了她的作品。朱凱婷為聲音掏腰包「藝術家支援計劃」2020-21 年度獲選年青藝術家。

"Annotations 0" comes from Wong's current larger project that attempts to validate his relationship with his father. Using primarily flawed or unwanted materials (his father's dated horse-racing papers, pages from a faulty copy of the artist's own poetry book, and a discarded shelf board), Wong juxtaposes his and his father's annotations on a text type that has caused impact separately on their lives. Preserved in layers of beeswax, the father and the son become writers of/against their texts, while the assumption about power of "high" literary preoccupation over everyday horse-betting culture can no longer stand as both forms co-exist on the same plane.

《註解：0》是詩人黃裕邦同系列創作的原點，系列透過屬於創作者和他父親的文本拼貼，嘗試探索父子的兩代關係。《註解：0》用料包括棄置的木板，過期馬報和錯體版詩集，藝術家父親和他本人在代表自己的文本加上註解而成為作者。白蜂蠟把文本封住，同時文本互相對照，打破高低藝術分野。

Nicholas Wong is the author of Crevasse (Kaya Press, 2015), the winner of the Lambda Literary Award for Gay Poetry, and Besiege Me (Noemi Press, 2021). He is also the recipient of the Australian Book Review’s Peter Porter Poetry Prize. His has contributed writings to projects by the Solomon R. Guggenheim Museum and Manchester International Festival. He currently translates poetry by contemporary Taiwanese poet Sun Tzu-Ping. Nicholas has a background in English poetry writing, but the dimension of the page starts to bore him. He attempts to explore ways to creatively "translate" his own works into visual mediums. His visual outputs to be made during his time at Hart Haus may be text-based, text-integrated, or text-induced, with an emphasis on the dynamics between imagery and texture, tonality and medium.

黃裕邦，本地詩人，詩集包括《Besiege Me》（英文，2021），《天裂》（中文，2018）及贏得美國Lambda Literary Awards的《Crevasse》（英文，2015〉。IG: @citiesofsameness

Sharu Binnong Sikdar is a Hong Kong born Indian Filipino. Sikdar’s artistic practice is repetitive and labour-intensive as she collects, assembles, deconstructs and reconstructs found objects. Sikdar utilizes natural materials such as branches, barks and leaves. She is currently exploring her hair as a medium, tapping into the relations between the body and nature, personal growth and the ephemeral.

Sharu Binnong Sikdar 生於香港，是印度和菲律賓藉藝術家。Sikdar 收集、組裝、解構及重組現成物，她的創作富重覆性及勞動密集性，並常運用天然物料如樹枝、樹皮並樹葉。Sikdar 目前正在探索利用自身髮絲作為創作媒介，藉以發掘身體與自然、個人成長與轉瞬的關係。

This work frames the issue at the heart of our shared interest in the social studio. Both object and process, the frame waits for others to activate it. It positions itself within a space of movement. But it offers the potential to reflect the nature of what we believe makes art social. By navigating expectations of what artwork should become, the installation foregrounds the material conditions from which the overlooked emerges in daily life. It frames an artist’s portfolio and presence. But even more so, the frame traces spaces which we hope become known.

這件作品裱起了我們在匯舍中共同關注的問題核心。無論是對象或者過程，裱框都等待他人激活。它以運動的空間定位，或能反映我們對藝術「社群」了的信任的本質。在藝術品應成為甚麼的期許中，裝置突出了日常生活中被忽視的物質條件。它裱起了藝術家的作品集和存在。更重要的是，裱框追溯了我們希望人們熟知的空間。

The Buoy was formed as a collaboration between Jen Yoohyun Lee and Marty Miller. The two independent practitioners wondered, “how could creative practice navigate times of uncertainty?” Rooted in personal histories of transitions, The Buoy aims to be present during times of flux by staying rooted but able to shift with the current of events. The Buoy consciously drifts across the blurred boundaries of visual culture through practicing socially-engaged art & design as well as photography and installation. The mission of The Buoy is to stay lighthearted yet stay engaged enough to look beneath the waves of change.

The Buoy 由 Jen Yoohyun Lee 和 Marty Miller 的合作創立。兩位獨立藝術家好奇：「創意實踐如何渡過不確定的時期？」紥根於個人的過渡歷史中，The Buoy 希望在時間的波動中繼續紮根時，仍能在事件的洪流中漂動。通過實踐社會互動的藝術和設計，以及攝影和裝置，The Buoy 有意識地跨越模糊的視覺文化邊界。The Buoy 的使命是保持愉快和投入，以直視變化的浪潮。

Through Chinese names the dress tells what I/We would want to do after ... 望舒 Wang Shu Wang Shu is the name of the god who drives the carriage for the moon in ancient Chinese mythology. The first appearance of the god in Chinese literature is said to be in Chu Ci (The Songs of Chu), one of the first anthologies of Chinese poetry. The light and flowy dress is as delicate as her name and the fine materials used like Chantilly lace, silk crêpe and silk voile. @atelier.yvf

望舒是中國古代神話中為月駕車的神，首次出現在《楚辭．離騷》之中，它是中國最古老的詩詞之一。 輕盈的裙子就像她的名字，以及使用的物料（尚蒂伊花邊、真絲縐紗和真絲薄紗）一樣精緻。

Through Chinese names the dress tells what I/We would want to do after ... 莫愁 Mo Chou Meaning ‘free of sadness’, this name is said to have first appeared in The Collection of Yuefu Poetry, which includes over 5,000 poems from the Qin dynasty to the Tang dynasty. The light and fitted dress hugs the hips just like the hands of a dance partner for a rumba. The slit lets the leg show off the happiness. @atelier.yvf

意指「勿傷悲」，這個名字據聞最初出現於樂府詩集之中，當中收集了秦代至唐代超過5000首詩詞。 輕薄而緊貼的裙子環抱下半身，有如倫巴舞中舞伴的手。隙縫讓腿展現悅樂

Through Chinese names the dress tells what I/We would want to do after ... 風眠 Feng Mian Falling asleep in the woods as the breeze swishes through. That is the scenery the name Feng Mian conjures. The light dress is made out of a delicate silk crepe which flare offers you to dance and run in the woods before the sleep. @atelier.yvf

在風吹拂的森林中進入夢鄉—正是風眠的意象。 這條輕巧的裙以精緻的真絲縐紗製成，閃熠似邀請你在睡前在森林起舞 。

Yasmina Viale-Fraine, a French fashion designer, started dressmaking at a very young age in her mother’s atelier. In 2011, she landed in Hong Kong and turned the devotion to her hobby into atelierYVF, an evening wear and bridal couture studio. Yasmina’s bespoke creations reflect the stories and personalities of her brides-to-be. They are designed with a slow fashion, zero-waste circular approach. Yasmina mixes French and Asian inspirations and uses a wide range of techniques such as silk painting, plant dying, French haute couture embroidery and beading, to create for bold brides, looking for minimalist designs that showcase their personality.

法國時裝設計師Yasmina Viale-Fraine從小時候已在母親的工作室裡開始製作服裝。 2011年，她來到香港，並將對工作的熱愛轉變成atelierYVF，一間晚禮服和新娘時裝工作室。 Yasmina的訂製作品敍述了準新娘的故事和個性；而設計的方針是慢時尚和零浪費。 Yasmina融合了法國和亞洲的靈感，並運用了各種技術，例如絹畫、植物染色、法國高級時裝的刺繡和珠飾，為大膽的新娘創作，尋求能彰顯她們個性的簡約設計。

We don’t agree to the concept of “the new normal” because “normal” means “the same as would be expected (Cambridge dictionary). Getting used to regulation and restriction may deter us from risk-taking. We are showing our piece in the state of work-in-progress not only because we want to show our craftmanship, but also to let the visitors see the meditative aspect of sewing and Zentangle drawing. We have to be patient and do one stitch/stroke at a time. No one can escape a global calamity unscathed, but we can at least get a different perspective of our existence in the universe. In the meticulous sewing and drawing process, we imagine ourselves being like the French or Chinese poets trying to ask or reach for the moon. The moon waxes and wanes. But it’s the same moon while generations and generations of people come and go. Meditation releases us from emotional corset and critical thinking frees us from mental foot-binding.

我們不同意「新常態」的概念，因為「常態」的意思是「與預期相同」（劍橋詞典）。 當我們習慣了監管和限制，可能就會停止冒險。 我們之所以以半成品展現作品，不僅是因為我們希望展示自己的工藝，而且還希望讓參觀者看到縫紉和禪繞畫的冥想性。 我們必須要有耐心，每次只能一針或一劃。全球災難沒有人能毫髮無損，但我們至少可以對我們在宇宙中的存在有不同的看法。 在一絲不苟的縫紉和繪畫過程中，我們想像自己像法國或中國詩人一樣，試圖詢問或抵達月球。 月有陰晴圓缺。 就算世世代代的人來來往往，月亮仍是同一個。 冥想使我們擺脫了情緒的束衣，而批判性思維使我們擺脫了精神的纏足。

Yasmina Viale-Fraine, a French fashion designer, started dressmaking at a very young age in her mother’s atelier. In 2011, she landed in Hong Kong and turned the devotion to her hobby into atelierYVF, an evening wear and bridal couture studio. Yasmina’s bespoke creations reflect the stories and personalities of her brides-to-be. They are designed with a slow fashion, zero-waste circular approach. Yasmina mixes French and Asian inspirations and uses a wide range of techniques such as silk painting, plant dying, French haute couture embroidery and beading, to create for bold brides, looking for minimalist designs that showcase their personality.

法國時裝設計師Yasmina Viale-Fraine從小時候已在母親的工作室裡開始製作服裝。 2011年，她來到香港，並將對工作的熱愛轉變成atelierYVF，一間晚禮服和新娘時裝工作室。 Yasmina的訂製作品敍述了準新娘的故事和個性；而設計的方針是慢時尚和零浪費。 Yasmina融合了法國和亞洲的靈感，並運用了各種技術，例如絹畫、植物染色、法國高級時裝的刺繡和珠飾，為大膽的新娘創作，尋求能彰顯她們個性的簡約設計。

Cindy Chan is a film veteran with solid and diverse experience in international film institutions. She also started nurturing the next generation in films schools Hong Kong in these years. With her film knowledge, Chan applied her concept and skills into artwork, creating a unique direction of Zentangle inspired arts and meditative oriented direction. She recently participated at the Hong Kong Affordable Art Fair in 2018 and 2019 consecutively.

陳樹貞是一位電影學者，多年來工作和學業都是關於電影，本科、碩士及博士均主修電影，曾任職於香港國際電影節及當香港電影資料館口述歷史特約採訪員，曾任教於台灣及美國電影學院，專注研究電影工業發展歷史。近年深受禪繞畫的啟發，創作以冥想為主導的畫，在嚴肅的學術研究外，重拾孩童創作的樂趣。

她分別於2018年和2019年參加了Hong Kong Affordable Art Fair。

We all keep old or damaged cloths in the closet in the hope to wear them again someday or because they bring up special memories. Through innovation and tradition, the workshop “THE MEMORY MAKER” invites you to celebrate these memories and refashion your pieces of cloths stuck in the closet.

You are to bring a memorable picture of yours, to be translated into a computer language through a programme devised by the artists. The computer language is a series of four motifs that will be the embroidery stitches. The translated pictures will become the embroidery patterns of your unique artwork. You will then be taught embroidery technique to transfer the generated patten on your old cloths. The embroidery is “sashiko”, a traditional Japanese embroidery mainly used for mending, utilising mostly geometric patterns.

The workshop is led by Noémie Clavier, a multi-disciplinary artist; and Yasmina Viale-Fraine, a fashion designer. The participants will explore how embroidery is not only a technique, but also a craft, a mindfulness practice, and an art practice to channel your precious memories and emotions.

Instagram: the.memory.maker.workshop #thememorymaker

我們都將舊或破損的衣服放在衣櫃裡，希望有一天再穿一次，或是因為它們帶來了特殊的回憶。 通過創新和傳統，工作坊《MEMORY MAKER》邀請您慶祝這些回憶，重塑你長駐衣櫃裡的布料。

工作坊中你可以攜帶一張記念性的圖像，並利用一個由藝術家設計的電腦程序轉化為程式語言。當中共有四個樣式，它們將成為繡花針跡。你的圖像將因而成為你獨特作品的刺繡圖樣。藝術家隨後將教授刺繡技巧，將生成的圖樣轉移至舊布料上。刺繡方式是一種傳統的日本刺繡技巧「刺子」，平時主要用於修補，主要由幾何圖樣組成。

工作坊將由兩位法國藝術家帶領：Noémie Clavier是一位多媒介藝術家；而Yasmina Viale-Fraine是一位時裝設計師。參加者將發現刺繡不單是一個技巧，還是一門工藝、正念練習，和一個可以連繫你珍貴回憶和感情的藝術創作。

Instagram: the.memory.maker.workshop #thememorymaker

Yasmina Viale-Fraine, a French fashion designer, started dressmaking at a very young age in her mother’s atelier. In 2011, she landed in Hong Kong and turned the devotion to her hobby into atelierYVF, an evening wear and bridal couture studio. Yasmina’s bespoke creations reflect the stories and personalities of her brides-to-be. They are designed with a slow fashion, zero-waste circular approach. Yasmina mixes French and Asian inspirations and uses a wide range of techniques such as silk painting, plant dying, French haute couture embroidery and beading, to create for bold brides, looking for minimalist designs that showcase their personality.

法國時裝設計師Yasmina Viale-Fraine從小時候已在母親的工作室裡開始製作服裝。 2011年，她來到香港，並將對工作的熱愛轉變成atelierYVF，一間晚禮服和新娘時裝工作室。 Yasmina的訂製作品敍述了準新娘的故事和個性；而設計的方針是慢時尚和零浪費。 Yasmina融合了法國和亞洲的靈感，並運用了各種技術，例如絹畫、植物染色、法國高級時裝的刺繡和珠飾，為大膽的新娘創作，尋求能彰顯她們個性的簡約設計。

Noémie Clavier is dedicated to visual and interactive practices: whether in the field of print or digital, graphic design and/or illustration. The openness to different disciplines helps her to meet the challenges of conceptualizing a project that is no longer limited to a single form. In her personal projects, Clavier plays with different medium, using, for example, a technique as traditional as illustration and silkscreen printing to approach digital and tech topics. To take the opposite direction of codes and invoke the unexpected. She also likes to evoke the sensitive, because design is a profoundly human discipline, through narrative and playful principles.

Noémie Clavier 致力於影像和互動創作：無論是印刷或數碼，平面設計和／或插圖。她對各種媒介持開放態度，亦因而能夠挑戰構思不受限於單個形態的項目。 在她的個人項目中，Clavier 遊玩在各種媒介之間，比如說使用傳統技術，例如插圖和絲網印刷，去演繹數碼和科技主題；或逆向使用編程，以引起不能預計的結果。她也喜歡喚起感性，因為設計在敍事和玩味的手法下，是一門人性的學科。

Noémie Clavier is dedicated to visual and interactive practices: whether in the field of print or digital, graphic design and/or illustration. The openness to different disciplines helps her to meet the challenges of conceptualizing a project that is no longer limited to a single form. In her personal projects, Clavier plays with different medium, using, for example, a technique as traditional as illustration and silkscreen printing to approach digital and tech topics. To take the opposite direction of codes and invoke the unexpected. She also likes to evoke the sensitive, because design is a profoundly human discipline, through narrative and playful principles.

Noémie Clavier 致力於影像和互動創作：無論是印刷或數碼，平面設計和／或插圖。她對各種媒介持開放態度，亦因而能夠挑戰構思不受限於單個形態的項目。 在她的個人項目中，Clavier 遊玩在各種媒介之間，比如說使用傳統技術，例如插圖和絲網印刷，去演繹數碼和科技主題；或逆向使用編程，以引起不能預計的結果。她也喜歡喚起感性，因為設計在敍事和玩味的手法下，是一門人性的學科。

I Was Sweating Buckets attempts to emulate the plain experience of walking around Hong Kong. Chan merges a sporadic selection of videos that portray urban and unconventional art spaces in Hong Kong. With the earliest clip filmed in 2009, I Was Sweating Buckets acts as an archival documentation that displaces her audience in location and in time. The overproduced videos echo the ever-changing landscape of Hong Kong, accompanied by an overlay of hand-drawn stopmotion, Chan reclaims her lived experience that is intimate and personal. Like Chan’s paintings, the hologram-like short film relies on shared reminiscence of specific activities and public spaces, as a result, triggering individual’s memories and appreciation of the urban and art spaces in Hong Kong. The domestic setting enables a relaxed viewing of the work, with the aim to break away from the white cube space and to relocate art back into the society, encouraging a critical contemplation and enjoyment of the arts in the context of everyday life. To Chan, this is an overromanticised love letter to the everyday of Hong Kong.

The Chinese title, 到此⼀遊, mirrors the universal marking “I was here”, as a way to signify a sense of temporal presence in specific places.

「到此⼀遊」嘗試鏡像 (the desire to signify your temporal presence in specific places.) 藝 術家陳惠琳剪輯了⼀些描繪香港都市和非傳統藝術空間的存檔影片，並伴有⼿⼯繪製的定格 動畫。過度錄製的影片呼應了香港瞬息萬變的景觀，希望將觀眾轉移到特定的想像時空。定格動畫亦重申了藝術家和她作品之間的親密關係。

就像藝術家的畫作，全息圖般的短片依靠對特定活動和公共場所的共同回憶，從⽽引發個⼈ 對香港城市和藝術空間的回憶和欣賞。家庭般的觀賞設置擺脫傳統⽅⽩空間，將藝術品重新 帶回社會，從⽽⿎勵⼈們在⽇常⽣活中進⾏批判性的思考和享受。對於藝術家陳惠琳，這影 片是⼀封過分浪漫，給香港的情書。

該作品的英⽂名稱 “I Was Sweating Buckets” 希望效仿在香港遊走的平凡經驗。"

Kristy M Chan (b. 1997, Hong Kong) is a Hong Kong and London-based painter and video artist. Chan’s hologram-like work explores notions of displacement and humour. Dense with information and odd depictions of her environment, Chan’s work reflects on her upbringing in Hong Kong and the experience of migration. It explores the act of locating “home” and its relationship with its cultural geographies. She views her work as a parallax of reality through irrational conversion, and ponders on an appreciative perspective towards the mundane, diffracted by paint.

Chan has exhibited in the UK and internationally across Europe and Asia, including a future solo show in London with KOVET.ART and at the Monaco Art Fair 2021, represented by a Madrid-based gallery. Her works are also represented in New York, Cyprus and Dubai. She has participated in several residencies in Finland, the UK and Germany, and soon in Chile, enhancing her fascination with displacement. She was featured in 12 online exhibitions since March 2020 with 5 upcoming physical shows in 2021. Kristy M Chan received a First-Class Honours Bachelor’s Degree from the Slade School of Fine Art in 2019, and Masters in Contemporary Art at the Sotheby’s Institute of Art, 2020.

陳惠琳（1997年生）是一位駐香港和倫敦的畫家和影像家。 她全息圖般的作品探索和融合幽默及反覆換置的概念。作品中繁忙的氣氛，加上風趣橫生的主題，藉其反映了她在香港成長與遷港外遊的經歷。藝術家陳惠琳經常探討「家」的含義與⽂化地理環境的密切關係，加以點燎欣賞平凡與的樂趣。

陳氏曾在英國、歐洲及亞洲多處展出，並將於倫敦舉行個人展，以及並Monaco Art Fair 2021展出。她的作品於紐約，塞浦路斯和迪拜被委託出售。陳氏曾在芬蘭、英國和德國、並將在智利參加藝術交流。這些經驗助以理解她對遷移相關主題的興趣。自2020年3月以來，陳氏已被邀參加12個線上展覽和6個實體展覽。她在 2019年於倫敦大學學院獲得⼀一等榮譽學⼠學位，並在 2020 年於蘇富比藝術學院獲得當代藝術碩士學位。