《凝眸我城》| 黃孝逵、霍慧中

03-19.01.2019

香港 a.m. space 呈獻駐香港藝術家 黃孝逵、霍慧中的全新畫作,是次展覽名為《凝眸我城》,為「2018-2019 水墨長征計劃」中的第二個展覽。兩位藝術家跨世代利用水墨探討當代城市議題。

自上世紀九七回歸前後,由於政治制度上的重大轉變,引發港人的身份危機問題,直接或間接地導致不少資深的和年青的藝術工作者不約 而同地採納本土題材進行創作,以回應他們對現狀或未來的思考。此類富有時代氣息的作品可見於眾多視覺藝術領域,包括油畫、水彩、 水墨、混合媒介、裝置、行為、錄像,以及跨媒體等創作界別。在過去十多年,香港社會出現過各式各樣政治和經濟問題的爭拗,這些無 休止的爭拗不單助長了更多本地藝術家對表達公共議題的興趣,更使他們的表達手法和方式在某些特定時刻愈發變得激烈。然而,總的來 說,相較其他界別,以中國傳統水墨和顏料為主要創作媒介的藝術家,大多並不熱衷於表達一己對政治和社會議題的看法。就這方面而言,黃孝逵和霍慧中可說是少有的例子。是次展覽名為《凝眸我城》,兩位主角 – 黃孝逵和霍慧中 – 分別從不同的視角,細心地描劃出他們對香港這個大都會的所思、所感。「凝」是動詞、「眸」是名詞,配上「我城」作為這次展覽的名稱, 旨在道出兩位長久生活於斯或長於斯的藝術家對此城的關注和熱愛,以及他們身為創意人對事物所持有的特別敏銳的觸覺。

黃孝逵為此展覽精心挑選了數件新、舊佳作,其中一部分以較直觀的手法描繪出香 港不同的城市景觀,例如維多利亞港的暮色,以及大城市中常見的車水馬龍的景象;另一部分則是以城市建築物的玻璃幕外牆為題創作而 成的作品。在後一類的作品中,黃孝逵將硬朗的玻璃幕外牆幻變為一 塊畫布,讓鄰近建築物的外貌投映其上,經陽光的折射使之化為一縷 一縷如波的條紋和絢麗的色彩。畫家戲稱這類作品為他的「現實的抽 象畫」。在本展覽中,黃氏最具特色的作品無疑是其中一幅題為《黑 色集會》的畫作,內容直接指涉2014 年 2 月 26 日香港《明報》總編輯 劉進圖被襲的事件。當天這樁突發事件激起無數香港市民的憤慨,3 月 3 日一萬三千人身穿黑衣在政府總部門前集會,抗議暴行,並藉此 表達港人捍衛新聞自由的決心。畫家在作品中以苔點的方式配合墨染, 將集會中密密麻麻的人群繪出並置其於西畫的空間結構內,成功地讓 這教港人震驚的暴力事件得以水墨圖像的形式記錄下來。除了擅長捕 捉光、影效果和城市面貌,黃氏展出的作品同時見證了他生活的時代。

霍慧中特別為本展覽構思了一批新作,分別題為《語》、《光環》和 兩張冠以《萬花同》系列名稱的作品。霍慧中於香港 中文大學藝術系 主修中國藝術,由於醉心藏傳佛教的歷史和藝術,2014 年畢業後曾前往香格里拉學習當地的唐卡藝術風 格,及後更赴尼泊爾考察該地的 唐卡製作手法。霍氏在上述新作中,均以唐卡常見的佛手造型為母題, 將之稍加改變成帶 有時代氣息的潮人手勢,配以目下流行的消費品諸 如智能手機和金飾,再結合她多年鑽研的工筆畫技巧和唐卡的設色、 構 圖等,營造出既有宗教意味又具有諷刺當今羊群效應式的消費文化 的作品。創作中,霍氏不斷探索如何更能有效地將中國 傳統繪畫技法 和當代語境融合,從中反思當代人的生活狀況和生存模式。這批新作 當可視為她朝著這方向邁進一步的明 證。

黃孝逵和霍慧中,一位是 40 後,另一位則是 80 後,兩人年齡相距 43 年,卻一起合作辦聯展,讓各自的作品對話,這對話想必相當有 趣,過程中或許會激起意想不到的火花也未可知!

黃孝逵,1946 年生於重慶。1969 年畢業於上海中國紡織大學機械系。曾追隨黃胄先生習畫,深受其影響。1978 年移居香 港。曾為深圳畫院客座藝術家,現為中國畫學會理事。 黃氏歷年來獲獎無數,其作品曾於第九屆和第十屆全國美展獲得優 秀獎,兩次獲香港民政事務局局長嘉許狀、香港藝術雙年獎(2001 和 2009),以及香港當代藝術獎 2012 獲優秀藝術家 獎。 其作品先後被中國美術館、香港藝術館、深圳畫院,深圳關山月美術館、中國畫學會等所典藏。

霍慧中,1989 年生於香港。於香港中文大學藝術系主修中國藝術,2014 年榮獲一級榮譽學士學位。由於醉心藏傳佛教的歷 史和藝術,畢業後前往香格里拉學習當地的唐卡藝術風格,以及遊訪尼泊爾,考察尼泊爾式的唐卡。 多年鑽研工筆畫的知 識,與學習傳統唐卡的技巧,在兩者藝術概念互相沖擊下,作品結合工筆畫和唐卡的設色、結構、立意等,創造出思考當代 社會問題的新角度。

Our City. Our Vision| Joint Exhibition of Wong Hau Kwei and Fok Wai Chung

Curated by Eliza Lai Mei Lin

3 January 2019 – 19 JANUARY 2019

a.m.space Hong Kong is proud to present Our City. Our Vision,  exhibition of Wong Hau Kwei, Fok Wai Chung The exhibition is the second part of the “Ink Long March Project 2018-2019”.  The two artists will rediscover issues in our city through their artworks.

Wong Hau Kwei (b.1946, Chongqing) graduated from the China Textile University in Shanghai in 1969. He studied painting under the renowned painter Huang Zhou and was deeply influenced by him. Wong moved to Hong Kong in 1978, returning to China briefly as a visiting artist of the Shenzhen Fine Art Institute. He is a board member of the Chinese Painting Institute, Hong Kong.
Wong has received numerous awards for his artistic achievements, including the National Exhibition of Arts in China Award (1999 and 2000), the Secretary for Home Affairs’ Commendations, Hong Kong Contemporary Art Award (2001 and 2009) and the Hong Kong Achievement Award in Contemporary Art (2012).
 His works have been collected by the China National Museum of Fine Arts, Hong Kong Museum of Art, Shenzhen Art Institute, Guan Shanyue Art Museum, Chinese Painting Institute, and others.

Fok Wai Chung, Chantal was born in Hong Kong in 1989. Fok is a fine Arts graduate in The Chinese University of Hong Kong with First-Class Honours Degree in 2014. In obsessed with Tibetan Buddhism history and art, Fok went to study Thangka painting in Shangri-La and Nepal after graduated. In years of studying Chinese fine line painting and learning traditional Thangka skill, her works are the combination of the colour adoption, structure and conception with her studies, and create a new point of view to reflect the contemporary social issues.

Form is Emptiness

dual solo exhibition 

LIU Tsz Ting

CHENG Yin Ngan

1 – 27 February, 2018

鄭燕垠與廖紫婷的雙個展「異色(Form Is Emptiness)」,主要展出她們近期多幅油畫與裝置作品,它可指涉兩位藝術家在創作用色風格上各異,也可以單獨指作品四框內外空間及世界的迥異。借鏡佛學「空不異色」中指出無自性(空)跟物質(色)沒有分別的意涵,兩人觀照自己的作品,不約而同地察覺到她們自己對於藝術形式甚至空間的理解與實踐也相當接近,將形式與空間視作變幻以至無形的狀態。兩人自覺彼此的畫作不論在用色、主題上都可以類比。同者,大抵是兩人所用的色調具個人風格,並不依靠繪畫明暗來營造氣氛,而是專注色調上的搭配讓人產生聯想與錯視,例如廖紫婷提到自己的用色有點像美國漫畫中的用色,兩人所畫的主題都牽涉到空間和場境營造;異者,從視覺元素分析,兩人的畫面處理截然不同,而大家對於繪畫的本質、想法亦有分別。故此,展覽既可視為藝術家個人獨立的展覽看待,同時在空間營造與佈展上希望能彼此呼應。

廖紫婷引發許多繪畫以外的美學處理來維繫喜歡畫畫這種情感,將繪畫由平面錯視延伸到三維空間。廖氏的藝術實踐以繪畫為本的特質,藝術家創作的母題一向是透視、錯視與空間營造為主,因此她對空間有一定的敏感度,譬如一開始她便希望在展覽空間裡其中一個角落放置作品及畫壁畫,用以配合空間錯視的畫題,並且讓人辨識兩位藝術家的差異。《木屋》(2017)、《在彼處》(2018)同為較為純粹的畫法,以幾何色塊拼砌出具錯視與超現實的建築空間,或會令人聯想到Ralston Crawford或Tishk Barzanji 等作品風格,在超現實的氣氛中暗地裡彰顯出清晰的思路過程。廖紫婷這個空間營造者除了從平面空間裡製造更多可能性外,還在現實的三維空間上進行美學探索,如《在彼處》運用了多項的處理方法,包括油彩畫於畫布與木板上帶來不同的質感,主畫面屬抽象的空間錯視,模擬具像的燈光則畫於兩旁的木板上,再加上真實的燈膽配合,反映出藝術家對於藝術/繪畫的想像的延伸。

鄭燕垠則以繪畫作為思考與觀看的方式,鄭氏同樣用色大膽,但在營造畫面上卻是流動多變,如不同筆觸粗細、拼貼、層次幾乎能在作品中找到,情感也較易顯露於畫面之中。對於藝術家而言,畫家能主宰畫面,在營造畫面的過程中實際上是製造一個場境與世界,將不同的元素細緻考慮與安排,才能製造出藝術家心目中的「大千世界」。藝術家希望觀眾能進入這些場境與作品,從這些場境與世界中游盪並詮釋,在作品間找到彼此的聯繫。這跟藝術家以繪畫作為思考的方式相關,藝術家認為「凡事都有邊界,只在乎什麼形式表達」,可見藝術家視繪畫為其中一個表達方式,其心態是流動的,亦不會堅執於繪畫的世界中。鄭燕垠利用繪畫來觀察世界,能讓她接觸不同的事物,例如繪畫期間會收集不同的模型與玩具,研究與觀察當中的結構與用色,然後套用到繪畫之中。依循這種思路,藝術家將繪畫視為一種圖像再現時,聯繫到影像的思考與分析中。

此系列作品圍繞對平凡事物的觀察和敘述,加上個人的幻想與情感,投射潛藏內心的恐懼、渴望與憧憬。
「恐龍」基本上建立了一個童話式的個人世界,以繽紛暖和的顏色與筆觸表現破壞性的一面。其他畫作則是恐龍故事的延伸,例如屋和樹都在大畫中出現的。鄭不以一個特定的人物或事物作每幅畫的線索,反而是用場景為暗示。所以,更具體而言,鄭是在建立一個狂想的世界。
鄭 習慣在繪畫的過程中,收集不同的模型和玩具,研究物件的結構與色彩應用,加以想像再描繪出來。在她的畢業作品「ouch!」中,為了仔細描繪船隻,更學習砌模型船。對我而言,這是改變觀看的方法,也是將現實物件連繫到我的畫作中,繪畫者作為一個中介人,則嘗試將現實與虛構的聯想連接過來。而這次,則購買了一堆恐龍玩具,令繪畫的過程更生趣。

藝術家自白 (鄭燕垠,《異色》,2018)

About the artist
Cheng Yin Ngan graduated from the Academy of Visual Arts,Hong Kong Baptist University in 2017, and was awarded special mention prize at the AVA BA Graduation Exhibition. She visualize her observations in daily life and nature with oil painting, drawing and experimental photography. She is now open to new experiences and seeks chances to travel, varying the experiences and environments that are reflected in her work. Exhibitions in which Cheng has participated in include “Form in Emptiness” (am space, Hong Kong, 2018) and “PLUNGING MY HAND INTO THE LAKE OF BILLOWING TREES” (Gallery Exit, Hong Kong, 2017).
Cheng lives and works in Hong Kong.

關於鄭燕垠
鄭燕垠(生於1995年)於香港生活及工作,2017年畢業於香港浸會大學視覺藝術院。她家鄰近香港碩果僅存的船塢,並以此為靈感,將船的旅程隱喻生命。她曾參與的展覽包括香港刺點畫廊“從此幸福快樂 II — 藝術畢業生的夏日聯展“﹑香港am space的“異色” (2018) 及香港安全口畫廊的“PLUNGING MY HAND INTO THE LAKE OF BILLOWING TREES” (2017) 等。
鄭氏現於香港生活及工作。

Ink Asia 2018

That’s it《沒有意義》

TAO Hoi Chuen

28 September 2018 – 2 October 2018 

Hong Kong Convention and Exhibition Centre

a.m. space is proud to present TAO Hoi Chuen’s solo exhibition, That’s it, at Ink Asia 2018.

Tao Hoi Chuen practices contemporary Chinese Ink painting. Using Chinese Ink as a means to discuss the existential significance, functionality of painting and the essence of art. We will present his latest Chinese fine-lined figurative paintings and his award-winning ink installation, Being as it is (2018), a set of 7 paintings depicting various unconscious figures.The painter approaches the essence of existence by revolting against the idea of meaningfulness. Eradicating the traditional approach of semiotics, the painter emphasises on intuition and the presence the object.

a.m. space 在「水墨藝博 2018」呈現杜海銓個展《沒有意義》。
杜海銓探討作品的存在意義,思考關於繪畫功能,藝術本質等問題。本展覽將展示畫家得獎作品,一組七件水墨裝置《如是存在》,以及最新的人物工筆畫。畫家描繪人物睡眠的姿態,透過觀察人的無意識狀態,反抗流於表面的「意義」,單純地呈現並探尋存在的本質。

杜海銓 TAO Hoi Chuen, Jacky
只為綻放而綻放 White Camellia
水墨設色紙本 Chinese Ink and Colour on paper
33 x 50 cm
2018

To continue questioning about the meaning of creation, is to question about the function of paints, the nature of art. By time goes I gradually realised that, most meanings are endowed by people; for example, we believe that art will change the world, because we need art continue generating for certain reason, we want to look for the ultimate essence of art, to provide motivation for working on art But art can be meaningless, thus meaningless can also be meaning of art.
Therefore, the main axis of Tao’s works is to delete the meaning. For example, the sleep, which is the most static state of human being except for the death, is presenting human being as it is; the painted texture of paper on paper is returning to the material nature of paper. During the long process of painting, this Sisyphus-way is constantly questioning the meaning of the existence of art work.
Perhaps , the only meaning painting needs is meaningless.

Artist statement for the exhibition That’s it , Tao Hoi Chuen, 2018
杜海銓 TAO Hoi Chuen, Jacky
理性的鄉愁 The Nostalgia of rationality
水墨設色紙本 Chinese Ink and Colour on paper
93 x 104 cm
2018

對創作的意義繼續追問下去,是關於繪畫功能,藝術本質等問題。後來我慢慢發現大部分意義都是人為賦予的,例如深信藝術可以改變世界是因為我們需要讓藝術繼續合理地發生,我們要通過尋找藝術的終極本質來充實繼續做作品的原因。創作本身可以是沒有意義的,那麼沒有意義也可以成為作品存在的唯一意義。
因此,對意義的刪減成為杜氏創作的主軸。例如睡覺行為是死亡以外,人最靜止的狀態,就是要把人存在的事實如其所是的單純呈現;在宣紙上畫出紙的紋理是為了回到紙為物本身。在緩慢的繪畫過程中,這是一個「薛西弗斯式」的方法,不斷詢問作品的存在意義。在畫紙上畫多少條相同的線都會有畫完一整幅畫的時候,但真正重覆而沒有意義的,可能是不斷創作的行為本身。
繪畫或許只需要一種意義,就是沒有意義。

杜海銓個展《沒有意義》藝術家自白, 2018
杜海銓 TAO Hoi Chuen, Jacky
Jones and Smith
水墨設色紙本 Chinese Ink and Colour on paper40 x 47 cm
2018


About the artist
Tao Hoi Chuen, Jacky was born in Hong Kong in 1996. He graduated from the Fine Arts department of The Chinese University of Hong Kong in 2018. He has spent his life in Beijing, Taiwan. His artworks are exhibited in Hong Kong and Taiwan, including Ink Asia 2017, Art Formosa 2018, and Ink as an Exercise in Contemporary Art II (a.m. space, 2018). Tao expresses himself through drawing, calligraphy, photography and installation. He is most skilled at traditional Chinese fine-lined painting. His works reflect his contemplation on existentialism and phenomenology. He thinks the structural line and chiaroscuro presented in Chinese fine-lined paintings help to present the essence of objects. He is awarded Y.S. Hui Fine Arts Award, Chinese Painting and Calligraphy Creative Award and Wucius Wong New Ink Art Award (2017,2018).

關於杜海銓
杜海銓,1996年生於香港,2018年畢業於香港中文大學藝術系。曾居北京、台灣,並於香港與台灣參與展出,包括「水墨藝博2017」﹑「福爾摩沙國際藝術博覽會2018」,以及2018年於a.m. space《墨色作為一種當代藝術的練習II》曾翠薇、杜海銓雙個展。杜氏創作涉獵繪畫、書法、攝影、錄像和裝置等媒介,尤以工筆畫為主,近年作品內容與存在主義和現象學有關,認為工筆畫結構性的造型線條和明暗筆觸等視覺效果的省略有助於呈現事物自身,曾獲獎項包括「許讓成藝術獎」、「中國書畫創作獎」、「王無邪新水墨創作獎」等。

Huang Po-Chih 黃博志

In his multi-disciplinary practice, Huang Po-Chih focuses on exploring issues related to production, agriculture, manufacturing, and consumption, and from there undertakes criticism on a socio-economic level. His works envision a macroscopic backdrop of trade and exchange, cross-sectioning complex industrial structures all the way down to the individuals who partake in this structure.

Huang Po-Chih adopts various roles in his projects. As a member of the family, he perused and compiled his family heritage, the stories about his mother’s ancestry and family members; as a producer, he reclaimed barren farmland in order to grow lemon trees; as an entrepreneur, he drafted and executed proposals; as an artist, he manipulated the system and resources of the art world. His projects are not only presented as objects of our observation but they also inherently take on potential and enduring social significance.

在黃博志多元化的藝術實踐中,他著重探討的是有關生產、農業、制造業、消費等議題,並以此為基礎進行政治經濟層面上的批判。他作品中的視野以廣泛而宏觀的貿易、交易為背景,剖析復雜的產業結構,並沿著它不斷地向下深入,最終著眼於一個個參與這一結構的平凡個體。在他的計畫中,黃博志扮演著不同的角色,他以家族身份考察並撰寫母親的故里和家族成員的故事,他以生產者的身份在田地裡種植檸檬樹,他以組織和執行者的身份起草、規劃著計畫的遠景,同時,他以藝術家的身份調用著藝術世界的體系和資源。這些計畫在成為我們的觀看對像之餘,也正在發揮著它們自身的持續性和潛在的切實社會意義。

Education

2005 B.Ed. in Department of Fine Arts and Crafts Education, National Taichung University of Education, Taiwan.
2011 M.F.A. in Department of New Media Art School of Film and New Media, Taipei National University of the Arts, Taiwan.

Solo Exhibitions

2016 500 Lemon Trees: An Organic Archive, Taipei Fine Arts Museum, Taipei, Taiwan.
2016 500 Lemon Trees: Patient Number 7, ITPARK, Taipei, Taiwan.
2011 No.147, Ching-Shui Li, Galerie Grand Siecle, Taipei, Taiwan.

Group Exhibitions

2016 Taipei Biennale, Taipei Fine Arts Museum, Taipei, Taiwan.
Food – Ecologies of the Everyday:13thTriennial of Small-Scale Sculpture, Alte Kelter, Fellbach, Germany.
Rivers – The Way of Living in Transition / Asia Contemporary Art Links, Gwangju Museum of Art, Gwangju, Korea.
2016 Very Fun Park @NTU, National Taiwan University, Taipei, Taiwan.
Prudential Eye Awards, ArtScience Museum, Singapore.
2015 Hugo Boss Asia Art, Rockbund Art Museum, Shanghai, China.
Rivers – The Way of Living in Transition / Asia Contemporary Art Links, The Pier-2 Art Center, Kaohsiung, Taiwan.
Micro-Micro Revolution, Center for Chinese Contemporary Art, Manchester, U.K..
The Testimony of Food: Ideas and Food, Taipei Fine Arts Museum, Taipei, Taiwan.
2014 Project Glocal: TRANSI(EN)T MANILA, Teoff Center, Escolta St. Binondo Manila, Manila, Philippine.
Taipei Biennale, Taipei Fine Arts Museum, Taipei, Taiwan.
The 8th Shenzhen Sculpture Biennale, OCT Contemporary Art Terminal,Shenzhen, China.
The glimmer that we see/ Vietnam, Free Art Space, Taipei, Taiwan.
2013 DisOrder / Exhibition / in Order, Order System Company Zhongshan Branch, Taipei, Taiwan.
2013 Taipei Arts Awards, Taipei Fine Arts Museum, Taipei, Taiwan.
2012 CRUSH on EMU, Museum of Contemporary Art Taipei, Taipei, Taiwan.
YES TAIWAN—2012 Taiwan Biennial, National Taiwan Museum of Fine Arts, Taichung, Taiwan.
2011 Macross, Kuandu Museum of Fine Arts, Taipei, Taiwan.
Live Ammo, Museum of Contemporary Art Taipei, Taipei, Taiwan.
Creating Spaces, VT Artsalon, Taipei, Taiwan.
Don’t Brush off What You See, MEME Space Taipei, Taiwan.
Modes of Body, Providence University Art Center, Taipei, Taiwan.
Knotting: Swarm in the Era of Digital Media, National Taiwan Museum of Fine Arts-Digiark Gallery, Taichung, Taiwan.
2010 SuperGeneration@TAIWAN, Shanghai Art Museum, Shanghai, China. / Today Art Museum, Beijing, China.
Art With Mountain, No, 297, Songren Road, Taipei city, Taipei, Taiwan.
The 8th Taishin Arts Award, Kaohsiung Museum of Fine Art, Kaohsiung, Taiwan.
Reshaping History–A Spectacle of The Ordinary, China National Convention Center, Beijing, China.
FORUM BIENNIAL OF TAIWANESE CONTEMPORARY ART 2010,
UrbanCore Café & Bookshelf, Taipei, Taiwan.
Smooth, King Car Education Foundation, Taipei, Taiwan.
Taiwan Digital Art Pulse Stream Plan- The First Phase; “Body, Gender, Technology” Digital Art Exhibition,
Digital Art Center, Taipei, Taiwan.
2009 Room 19, Kuandu Museum of Fine Arts, Taipei, Taiwan.
The Organic Flux, National Taiwan Museum of Fine Arts, Taichung, Taiwan.
Unsealed Files: The 3rd Anniversary of VT Artsalon, VT Artsalon, Taipei, Taiwan.
S-HOMO, K’s Art, Tainain.
REALITY FANTASY, MODERN ART GALLERY, Taichung, Taiwan.
Dream in a Contemporary Secret Garden, Chelsea Art Museum, New York, U.S.A..
SOFT Revolt, VT Artsalon, Taipei, Taiwan.
2008
Breathing Deeply, Soka Art Center, Bijing, China.
2007
[11th] Japan Media Arts Festival, National Art Center, Japan.
Penumbra: Contemporary Art from Taiwan, Anne & Gordon Samstag Museum of Art, Australia.
SECOND VISION, National Taiwan Museum of Fine Arts, Taichung, Taiwan.
SELECTIONS FROM PENUMBRA: CONTEMPORARY ART FROM TAIWAN, Centre for Contemporary
Photography, Australia.
FEIGNING MOVEMENT 3, Galerie Grand Siecle, Taipei, Taiwan.
NEW VISION, Expol-Sources Art Space, Bijing, China.
Collaboration-Anticipating The Art of Future, Kuandu Museum of Fine Arts, Taipei, Taiwan.
ShContemporary 08-Best of Discovery, Shanghai Exhibition Center, Shanghai, China.
SWEETIES: Celebrating 20 Years of IT Park, IT Park, Taipei, Taiwan.
2007 URBAN NOMAD FILM FEST 2007,
Taipei Artist Village, Nanhai Gallery, Capone’s and Mei’s Tea Bar ,Taipei,Taiwan.
FEIGNING MOVEMENT 2, Huashan Culture Park, Taipei, Taiwan.
Traversing Fantasy: International New Media Arts Festival 2007,
Kuandu Museum of Fine Arts, Taipei, Taiwan.
URBAN NOMAD Project ,Scope Basel, Basel, Swiss.
Very Fun Park 2, No.12,Songshou Rd. , Taipei,Taiwan.
The Paradox of Simplicity and Complexity, National Taiwan Museum of Fine Arts, Taichung, Taiwan.
Breathing Deeply, Soka Art Center, Taipei, Taiwan.
Transformation in perception, MODERN ART GALLERY, Taichung, Taiwan
URBAN NOMAD Project, Scope Miami, Miami, America.
2006 SlowTech, Museum of Contemporary Art Taipei, Taipei, Taiwan.
decode, TADA Center, Taichung. / Art Center TNNUA, Tainan, Taiwan.
neMaF 2006 6th New Media Festival in Seoul, Seoul, Korea.
III INTERNATIONAL FESTIVAL OF ELECTRONIC ART 404, Rosario, Argentina.
Open-Contemporary X Post document, Huashan Culture Park, Taipei, Taiwan
2005 “Drawing”-Selected Exhibition of Sketch, STOCK 20, Taichung, Taiwan.
A Theather of Taiwanese Common Culture, Kaohsiung Museum of Fine Arts, Kaohsiung.
2005 FREE ART EXHIBITION, Taipei Artist Village,Taipei.
WU XING WU XING-Earthly and Distinctive Flowers and Grass,
Kuandu Museum of Fine Arts, Taipei, Taiwan.
2004 Art Kook, Taichung City Cultural Affairs Bureau, Taichung, Taiwan.
Thin Air, STOCK 20,Taichung,Taiwan.
Migration and Regress, STOCK 20, Taichung.Art Site of Chia-Yi Railway Warehouse, Chiayi, Taiwan
2003 The Image of NTCTC, Taichung City Cultural Affairs Bureau, Taichung, Taiwan.
2002 Taiwan Tempora, Taichung City Cultural Affairs Bureau, Taichung, Taiwan.

Honor

2004 The Annual Residential Artist for the STOCK 20 in Taichung, Taiwan
2005 LUCY and SUNNY Have a Drug collected by National Taiwan Museum of Fine Arts, Taichung, Taiwan
2006 The 11th Da Dun Fine Arts Exhibition, Digital Art, First Prize .
2007 Flov”er collected by National Taiwan Museum of Fine Arts, Taichung, Taiwan
2008 The Digital Art Awards Taipei 2008-Digital audio-visual, First Prize .
2009 The 8th Taishin Arts Award, Final list.
2011 Arising Artist Award of New Taipei City, First Prize.
2013 Taipei Arts Awards, Grand Prize.
2016 Prudential Eye Awards, Best emerging artist using installation.

WONG KIT YI 黃潔宜

Wong Kit Yi (b. Hong Kong) lives and works between Hong Kong and New York. She received her MFA from Yale University in 2012. In her practice, she focuses on basic units — cells, digital bits, genes, microseconds—and the systems in which time, space, and information are organized. Her latest research concerns genetics, DNA technology, mythology, models of ownership, and biological aging and immortality. At this year’s Art Basel Hong Kong, Wong presents photographs, double-sided gongbi -style paintings, a DNA sampling station, and a film structured in Wong’s signature karaoke-inspired sing-along format—all designed to encourage audience participation on the molecular, physical, and intellectual levels.

Wong’s solo shows include Futures, Again , P!, New York (2017), and Sandwich Theory: convertible painting series , a.m. space, Hong Kong (2016). Her works have been included in group projects at the Latvian Centre for Contemporary Art, Riga; Para Site, Hong Kong; and the Queens Museum, New York. Wong’s work has been reviewed in the New York Times, Art in America, Contemporary Art Daily, e-flux conversations, Art Review, ARTnews, Asian Art News, The Art Newspaper, ArtAsiaPacific, China Daily and Modern Painters. Her most recent film A River in the Freezer (2017) was collected by the Kadist Art Foundation. Currently the 2017/18 Shift Resident at the Elizabeth Foundation for the Arts, New York, she seeks biological answers to metaphysical questions.

黃潔宜 (生於香港)現於香港及紐約生活及創作。黃氏於2012年獲得美國耶魯大學藝術創作碩士學位。在她的實踐中,她專注於基本單元 — 細胞、數字位、基因、微秒 — 以及組織時間、空間和信息的系統。她近期的研究涉及遺傳學、DNA科技、神話、擁有權的模型,以及生物老化和永存不朽。在今年的香港巴塞爾藝術博覽會上,黃氏展出照片系列、可180度轉動的工筆雙面繪畫、DNA抽樣站和她的標誌性作品 — 宛如卡拉OK視唱頻道的錄像影片 — 鼓勵觀眾從分子、物理與智力層面的參與。

黃氏近期個展包括在紐約P! 《再次的未來》(2017)及香港a.m. space《層疊繪畫系列: 三文治理論》(2016)。她的作品曾於里加拉脫維亞當代藝術中心、香港Para Site以及紐約皇后美術館等群展中展出。黃氐作品被《紐約時報》、《美國藝術》、《Contemporary Art Daily》、《e-flux對話》、《藝術觀察》、《ARTnews》、《亞洲藝術新聞》、《藝術新聞》、《ArtAsiaPacific》、《中國日版》、《現代畫家》等媒體評述。最新錄像作品 A River in the Freezer (2017)獲Kadist藝術基金會收藏。目前為紐約伊麗莎白藝術基金會2017/18的駐留藝術家,她的項目是以生物學的研究成果探討事物本質和存在意義等問題。

Additional Art Basel project images 更多巴塞爾藝術展照片

Art Basel press coverage 巴塞爾藝術展媒體報導

Other recent Wong Kit Yi project 其他黃潔宜的近期項目s

a.m. space exhibtion

2018

Magic Wands, Batons and DNA Splicers
Solo exhibition by WONG Kit Yi
《神仙棒.警棍.基因捻接器》

27 March, 2018 – 31 March, 2018
Discoveries 1C48, Art Basel Hong Kong 2018,
Hong Kong Convention and Exhibition Centre

2017

What if, my window animates you
Solo exhibition by WONG Kit Yi
《要是: 我的窗子為你帶來生氣》黃潔宜個展

8 December, 2017 -11 December, 2017
Art021 Shanghai Contemporary Art Fair 2017,
Shanghai Exhibition Center

2016

Sandwich Theory
Solo exhibition by WONG Kit Yi
《三文治理論 — 層疊繪畫系列》黃潔宜個展

25 October, 2016 – 3 December, 2016
a.m. space, Hong Kong

Wong Kit Yi 黃潔宜

Born in Hong Kong
Lives and works in New York and Hong Kong

EDUCATION

2012 Master of Fine Arts (Sculpture), Yale University, USA
2006 Bachelor of Arts (Fine Arts), Chinese University of Hong Kong, Hong Kong

SELECTED AWARDS

2015 Jerome Foundation Travel Grant
2012 Susan H. Whedon Award, Yale University
2010 & 2011 Yale University School of Art Scholarship
2006 PASCA Fellowship, Annie Wong Art Foundation
         Ting Yen Yung Artistic Achievement Award, Chinese University of Hong Kong
         Wong’s Chinese Painting Award, Chinese University of Hong Kong
         Cheung’s Creative Award, Chinese University of Hong Kong
2005 Sovereign Asian Art Prize Finalist, Sovereign Art Foundation
         Ting Yen Yung Artistic Achievement Award, Chinese University of Hong Kong
         Madam Jan Yun-bor Memorial Award for Chinese Painting and Calligraphy,
         Chinese University of Hong Kong

SELECTED EXHIBITIONS

2018
“Peer To Peer,” Surplus Space, Wuhan, China
“Seven Senses,” The Elizabeth Foundation for the Arts, New York
“Magic Wands, Batons and DNA Splicers,” Art Basel Hong Kong, Hong Kong

2017
“Infinite Narratives,” The Chinese American Arts Council, New York
“Reality Check,” Sotheby’s Institute of Art, New York
“what if: my window animates you,” ART021, Shanghai, China

“In Search of Miss Ruthless,” Para Site, Hong Kong
“Survival Kit 9,” the Latvian Centre for Contemporary Art, Riga
“The 2nd Session of International Biennale of Video Art and Photography,”
         Changjiang Museum of Contemporary Art, Chongqing, China 
“Futures, Again,” P!, New York
“Considerate Creations: Chameleons,” Taipei Cultural Center, New York

2016
“Sandwich Theory: convertible painting series”, a.m. space, Hong Kong
“Not Treasure, Not Trash”, West Bund Art Center, Shanghai

2015
“Rummage”, Open Source Gallery, Brooklyn, New York
“North Pole Futures”, NADA, New York
“North Pole Futures”, K., New York
“Regarding Lightness: On Lifeʼs Way,” Oil Street Art Space, Hong Kong
“Crystal Ball, Feng Shui & Tarot,” Rush Philanthropic Arts Foundation, New York

2014
“Bringing the World into the World,” Queens Museum, New York

2013
“The Ceiling Should be Green,” P!, New York
“EXCHANGE,” School 33 Art Center, Baltimore
“now what?” Microscope Gallery, Brooklyn, New York

SELECTED PROFESSIONAL ACTIVITIES

2018
Artist talk and visiting critic, School of Visual Arts, New York 
Visiting critic, Residency Unlimited, Brooklyn, New York
Conversation/Podcast, Elizabeth Foundation for the Arts, New York
Presentation, NY LASER, LevyArts, New York 

2017
Residency, SHIFT Residency, The Elizabeth Foundation for the Arts, New York
Visiting critic, DIAP MFA Program, The City College of New York, New York
Visiting critic, NARS Foundation Residency, Brooklyn, New York 
Artist talk, “Considerate Creations: Chameleons,” Taipei Cultural Center, New York
Panel discussion, “Common Equities: Corporate Models and Collaborations,” NADA, New York

2016
Visiting critic, Residency Unlimited, Brooklyn, New York

2015
Arctic Circle Expeditionary Residency, Svalbard region, Norway
Artist Summer Institute, Lower Manhattan Cultural Council and Creative Capital, New York
Presentation, School of Creative Media, City University of Hong Kong

2014
Graduate Lecture Series, San Francisco Art Institute, San Francisco
Presentation, School of Art, Design & Media, Nanyang Technological University, Singapore

2013
Presentation, Asia Art Archive in America, Brooklyn, New York
Residency, Curatorial practice, Maryland Institute College of Art, Baltimore

SELECTED PRESS
Chu, Chloe. “Profile of Wong Kit Yi,” ArtAsiaPacific, issue 110, Sept/Oct, 2018.
Chan, Hera. “A Lifetime Guaranteed: Based of the Works of Wong Kit Yi,” LEAP (English), 
May 29, 2018.
Chan, Hera. “Inevitable Immortality—Magic Wands, Batons and DNA Splicers,” 
LEAP (Chinese), May 11,2018.
Tsui, Enid. “Art Basel in Hong Kong: city’s small galleries shine through with memorable displays,” South China Morning Post, April 4, 2018.

Li, Katherine. “Art Meets Science at Art Basel 2018,” EJ Insight, April 4, 2018.
Basu, Chitralekha. “Fair Value for Viewers,” ChinaDaily, Mar 30, 2018.
Gaskin, Sam. “Art021 and West Bund Art & Design wrestle for dominance,” Ocula,
        Nov 17, 2017.
Kafka. “In Search of Miss Ruthless,” Hong Kong Economic Journal, Aug 15 , 2017.
Cheung, Karen. “In Search of Miss Ruthless,” ArtAsiaPacific, Aug 2017.
Tsui, Enid. “Hong Kong art show on beauty pageants, In Search of Miss Ruthless, explores
themes surrounding the contests,” South China Morning Post, July 26, 2017.
Tsang, Hiu Ling. “In Search of Miss Ruthless,” Ming Pao, July 7, 2017.
Duffy, Owen. “Wong Kit Yi at P!, New York,”  ArtReview, May 2017.
Brokaw-Falbo, Harper. “Wong Kit Yi // Futures, Again // P!, New York,” Dissolve, April 19, 2017.
“Wong Kit Yi at P!,” Contemporary Art Daily, April 10, 2017.
Wong, Mimi. “Futures, Again,” ArtAsiaPacific, April 3, 2017.
“9 Art Events to Attend in New York This Week,” artnews, March 6, 2017.
White, Roger. “Sightlines,” Art in America, February 2017.
“Wong Kit Yi: Sandwich Theory at am space,” My Art Guides, October 15, 2016.
Helmke, Juliet. “Next Stop, Svalbard!” Modern Painters, July/August 2015.
“Wheel of philanthropic fortune,” The Art Newspaper, May 16, 2015.
“Wong Kit Yi at K,” Art in America, April 30, 2015.
Salemy Mohammad. “Can Financialization Offer art an Exit from Contemporary Art,” e-flux,
         April 9, 2015.
Tan, Berny. “Ali Wong and Wong Kit Yi: Every System Breaks,” Asymptote, Feb 1, 2015.
Smith, Roberta. “If Seeing Is Believing, a Panorama of Truth,” New York Times, June 19, 2014.
Morgan, Robert. “The Ceiling Should Be Green at P! Gallery,”Asian Art News, March/April 2014.
The Ceiling Should Be Green: A Conversation with Wong Kit Yi and Mel Bochner,”
         Asian Art Archive in America, Dec 19, 2013.
Dawson, Jessica. “Feng Shui Curating at P!,” Art in America, November 8, 2013.

COLLECTIONS
Kadist Art Foundation, Paris/San Francisco 
Ackland Art Museum, North Carolina 
The Chinese University of Hong Kong, Hong Kong 
Private Collections 

Leung Wing Hong 梁詠康

Leung Wing Hong was born in Guangdong, China in 1991. He moved to Hong Kong in the next year. After graduated from Department of Fine Arts, The Chinese University of Hong Kong in 2014, he continues to paint in his studio in Kwai Chung.
He focuses on painting with a desire to express the discoveries from his daily observation on urban life. Being curious about the world surrounding him, he has always kept on looking and contemplating at the matters appearing around himself as if everything appears for some reasons and he is looking for the hints derived from them.

1991年生於中國廣東,次年移居香港。自2014年從香港中文大學藝術系畢業後,他在葵涌 工作室繼續繪畫。他專注於繪畫創作,並渴望表達從日常觀察所得。他對他周圍的世界非 常好奇,所以不停觀看和思考出現在他身邊的事物,彷彿所有東西的出現都有著一些因由 而他則要從中尋求提示似的。

CV

Born in Guangdong, China, 1991 Currently works and lives in Hong Kong

Education
2014 BA in Fine Arts, Chinese University of Hong Kong

Solo Exhibitions
2
018 Dust Stage Rhapsody, a.m.space, Hong Kong
2017 Coordinate Mapping, CL3 Architects Limited, Hong Kong
2016 Permutation, a.m.space, Hong Kong

Group Exhibitions
2014 Fragmented Body, Grotto Fine Arts, Hong Kong
2014 Enliven-Fresh Trend 10 anniversary Art Graduates Joint Exhibition, Hong Kong City Hall, Hong Kong
2014 The Art of CUHK 2014, Graduate Exhibition of Fine Arts, Art Museum, Institute of Chinese Studies,  Chinese University of Hong Kong, Hong Kong.
2013 The Art of CUHK 2013, Annual Exhibition, Cheng Ming Building, New Asia College, Chinese University of Hong Kong, Hong Kong
2012 FAAS 5217, Hui Gallery, New Asia College, Chinese University of Hong Kong, Hong

履歷

2014 畢業於香港中文大學文學院(文學士),主修藝術
1991 年出生於中國廣東,現於香港居住和工作 學歷

個展
2018 「塵土劇場」
2017 「飄流標記」, 思聯建築設計有限公司, 香港
2016 「唯序」, a.m. space, 香港

聯展
2014 「 Fragmented Body」, 嘉圖, 香港
「躍動-出爐 10 週年畢業生展覽」, 藝術系畢業生聯展 , 香港大會堂 「中大藝術 2014-中大藝術本科生畢業展」, 香港中文大學本部文物館
2012 「FAAS 5217」, 香港中文大學新亞書院許氏文化館

CHENG Yin Ngan 鄭燕垠

2018

Art Kaohsiung 2018

29 November – 2 December, 2018
The Pier 2 Art Center, Kaohsiung

Form is Emptiness
dual solo exhibition of LIU Tsz Ting and CHENG Yin Ngan

1 -27 February, 2018
a.m. space

Made in China 狂想曲
Oil on canvas
210 x 149 cm
2018

About the artist
Cheng Yin Ngan graduated from the Academy of Visual Arts,Hong Kong Baptist University in 2017, and was awarded special mention prize at the AVA BA Graduation Exhibition. She visualize her observations in daily life and nature with oil painting, drawing and experimental photography. She is now open to new experiences and seeks chances to travel, varying the experiences and environments that are reflected in her work. Exhibitions in which Cheng has participated in include “Form in Emptiness” (am space, Hong Kong, 2018) and “PLUNGING MY HAND INTO THE LAKE OF BILLOWING TREES” (Gallery Exit, Hong Kong, 2017).
Cheng lives and works in Hong Kong.

關於鄭燕垠
鄭燕垠(生於1995年)於香港生活及工作,2017年畢業於香港浸會大學視覺藝術院。她家鄰近香港碩果僅存的船塢,並以此為靈感,將船的旅程隱喻生命。她曾參與的展覽包括香港刺點畫廊“從此幸福快樂 II — 藝術畢業生的夏日聯展“﹑香港am space的“異色” (2018) 及香港安全口畫廊的“PLUNGING MY HAND INTO THE LAKE OF BILLOWING TREES” (2017) 等。
鄭氏現於香港生活及工作。


CV

Education
2013 – 2017 Hong Kong Baptist University, BA VISUAL ARTS

Exhibition
2018 Weight Watcher IAM international art moves prasentiert die academy of visual arts der Hong Kong Baptist University, Kunstquartier Bethanien Berlin , Germany
2017Fresh Trend art graduates joint exhibition, chi K11 art space, Hong Kong ++– 加加減減, Gallery, Kai Tak Campus, HKBU, Hong KongPLUNGING MY HAND INTO THE LAKE OF BILLOWING TREES, Gallery Exit,Hong Kong Happily Ever After , Blindspot Gallery, Hong Kong Academy of Visual Arts BA (VA) Graduation Exhibition 2017, Kai Tak Campus, HKBU,
Hong Kong
2015Exhibitor of HKTC exhibition 2014(青見展翅計劃)

Award
AVA Award special mention, HKBU AVA BA Graduation Exhibition 2017

Residences
2018 Gil Artist Residency 2018 , Iceland

高雄藝術博覽會 2018

English Version

鄭虹
鄭燕垠

2018年11月30日至12月2日
駁二藝術特區P3-06
台灣高雄市鹽埕區大勇路1號

鄭虹走進霧裏去炭枝﹑鉛筆布本, 18 x 18 cm2018

a.m. space將會在2017高雄藝術博覽會展出鄭虹鄭燕垠的作品 。

生活的一半時間在虛幻中,遇上空氣回到清澈時,
我追逐一些儲存時間的想法,
那時候的光線,着眼的某個景物,
讓一切靜止,成為永恆的地方,
凍結著所有時刻,讓空間在時間的停頓中不斷伸延,
凝望的時間變成可被延伸的寂靜。

鄭虹藝術家自白

鄭虹是個都市的漫遊者。她熟習城市的角落尋覓自己呼吸的空間。以極簡的構圖,將都市風景記錄下來。她的作品聚焦在充滿個人情感的地點,透過減去法發掘出城市在黑夜中的美感。在作品中,光和影在建築物上的交錯成為了主角。
探討文字和圖像在符號化過程中的斷裂。運用不同「符號」引發游離感,在最熟悉的事物中揭露不熟悉:光線的投放折射,城市的景像解體,日常生活的寧靜節奏 。她以這些符號指向逃離城市的捷徑。鄭虹構想的土地,多半是她熟悉的地方。刻意地把畫面的細節除去,重新發現熟悉中的陌生感,幻想空間中有一對對逃生門。這些幻想對能帶她離開現實無能為力的時刻。走入混沌迷糊 。對鄭虹來說,這些空間蘊涵杳無人煙﹑時間停頓的荒謬性,她卻堅信這地方存在的可能性。

鄭燕垠腳毛山油彩布本, 70.5 x 60.5 cm2018

鄭燕垠則以繪畫作為思考與觀看的方式。鄭氏用色大膽,流動多變地營造畫面,不同筆觸粗細、拼貼、層次幾乎能在作品中找到,情感顯露於畫面之中。對於藝術家而言,畫家主宰畫面,在營造畫面的過程中實際上是製造一個場境與世界,將不同的元素細緻考慮與安排,才能製造出藝術家心目中的「大千世界」。藝術家希望觀眾能進入這些場境與作品,從這些場境與世界中游盪並詮釋,在作品間找到彼此的聯繫。

「凡事都有邊界,只在乎什麼形式表達。[…] 對我而言,這是改變觀看的方法,也是將現實物件連繫到我的畫作中,繪畫者作為一個中介人,則嘗試將現實與虛構的聯想連接過來。而這次,則購買了一堆恐龍玩具,令繪畫的過程更生趣。」

鄭燕垠藝術家自白

藝術家視繪畫為其中一個表達方式,其心態是流動的,亦不會堅執於繪畫的世界中。鄭燕垠利用繪畫來觀察世界,能讓她接觸不同的事物,例如繪畫期間會收集不同的模型與玩具,研究與觀察當中的結構與用色,然後套用到繪畫之中。依循這種思路,藝術家將繪畫視為一種圖像再現時,聯繫到影像的思考與分析中。

About the artists

鄭虹鄭燕垠
生於1993年,畢業於香港中文大學(文學士),主修藝術。作品於高雄藝博2017展出。2017年獲得出爐藝術新秀獎和嘉圖創作獎。2018年參與寶藏巖國際藝術村駐留計劃。鄭虹希望在城市中找到可以逃離的捷徑。她相信沒有親眼所見的事,就算聽起來很荒謬,也願意去相信飄渺的可能性。

更多藝術家資訊

於2017年畢業於香港浸會大學視覺藝術系,並於畢業展獲得特別提名獎。她透過繪畫、油畫及實驗攝影等作品展示出她對日常生活及大自然的觀察。鄭熱愛以各種生活體驗為題,從她的作品中可窺探出一種藝術家對新事物持有的開放態度。

更多藝術家資訊

傳媒聯絡
王俊昇
✉  amspace@artmap.com.hk
✆  +852 56254709
☏ +852 25479898

作品

鄭燕垠左右左左右油彩布本, 15.5  x 15.5 cm 一組四件2018


Art Kaohsiung 2018

Chinese Version 中文

CHENG Hung 鄭虹
CHENG Yin Ngan  鄭燕垠

30 November – 2 December, 2018

Booth P3-06
The Pier-2 Art Center, Yancheng District, Kaohsiung, Taiwan

CHENG Hung, In to the mist (cover), Charcoal, pencil on canvas, 18 x 18 cm, 2018

a.m. space proudly presents the works of CHENG Hung, CHENG Yin Ngan in Art Kaohsiung 2018.

CHENG Hung is proficient in exploring every corner in the urban city for locations for gasping for breath.  She captures the cityscape with minimal compositions.  Her works focus on the intermediate between empty spaces and personal places.  With the technique of subtraction, Cheng develops aesthetics of the nocturnal city.  The lights and shadows become the protagonists of the story in her charcoal installations.  She explores the disintegration between text and images in the process of symbolization.  She uses images as symbols to incur the sense of alienation, to expose the unfamiliarity in the scenery she deems the most familiar with.  Through symbolism, She hopes to find a shortcut to escape from the city.
The constructed lands in Cheng’s works are mostly the places she is familiar with.  She deliberately removes the details in images, and further rediscovers the foreignness in familiar places.   In her fantasy, she can escape the impotent moments in reality and walk into a chaotic confusion, which is far away from reality.  Despite the absurdity of being God-forsaken and timeless, Cheng has infinite faith in the possibility of such spaces.

CHENG Yin Ngan, Haha mountain, Oil on canvas, 70.5 x 60.5 cm, 2018

CHENG Yin Ngan suggests, ‘there are borders in all matters. It only depends on how the borders are presented.’ Thus, the artist treats painting as a way of expression. Her state of mind is fluid and not limited to the world of paintings. Her state of mind is fluid and not limited to the world of paintings. She observes the world through painting, which allows her to make contact with different matters. For example, she collects different models and toys for her paintings. She studies the structures and colors of them and applies to the painting. We can say that the artist uses paintings as a reincarnation of images.media contact:

Press Relations
Wong Chun Sing
✉  amspace@artmap.com.hk
✆  +852 56254709
☏ +852 25479898

About the artists

CHENG HungCHENG Yin Ngan
(b.1993.HK) graduated with the Degree of Bachelor of Arts from the Chinese University of Hong Kong (Major in Fine Arts). Her works were exhibited in Art Kaohsiung 2017. She was awarded Fresh Trend Art Award and Grotto Fine Art’s Creative Award in 2017. She completed the artist residency program in Treasure Hill Artist Village in 2018.

More artist information

(b.1995.HK) graduated from the Academy of Visual Arts,Hong Kong Baptist University in 2017, and was awarded special mention prize at the AVA BA Graduation Exhibition. She visualizes her observations in daily life and nature with oil painting, drawing and experimental photography. She is now open to new experiences and seeks chances to travel, varying the experiences and environments that are reflected in her work.

More artist information

Artwork

CHENG Hung, In the old studio in Kwai Chung, Charcoal on canvas, 91 x 91 cm, 2018
CHENG Hung, At some of the nights (cover), Charcoal, pencil, typewriter on notebook, 18 x 23 cm, 2018
CHENG Hung, In the tunnel of last year, Charcoal on canvas, 62 x 82 cm, 2017
CHENG Hung, The Darkness around the corner, Charcoal on canvas, 145 x 110 cm, 2018
CHENG Hung, Light , Charcoal on canvas, 27 x 35 cm, 2018
CHENG Hung, In to the mist (page 16, 17), Charcoal, pencil on canvas, 18 x 18 cm, 2018
CHENG Hung, Inside, outside, Charcoal, pencil on canvas, 61 x 81 cm, 2018
CHENG Hung, Automatic sensor light at the staircase, Charcoal, pencil on canvas, 146 x 110 cm, 2018
CHENG Hung, In the middle, Charcoal, pencil on canvas, 110 x 72 cm, 2018
CHENG Hung, Sitting on the ground seeing the stone above me, Charcoal, pencil on canvas, 105 x 120 cm, 2018
CHENG Yin Ngan, Happy tree friend I, Oil on canvas, 100 x 100 cm, 2018
CHENG Yin Ngan, Happy tree friend II, Oil on canvas, 130 x 130 cm, 2018

CHENG Yin Ngan, Left, right, left, left, right, Oil on canvas, 15.5 x 15.5 cm x 4, 2018