歐宛汶 (藍田聖保祿中學)

Albino Rene Esther Wu (St. Paul's School (Lam Tin))


2019 年度入圍學生藝術家

Outstanding Student Artist of 2019 - Finalist​

2019 年度入圍學生藝術家

Outstanding Student Artist of 2019 - Finalist​s

「我希冀生活像揮灑在畫布上的顏料,感性的一面卻又出人意料,打動人心。」  

 

“I aspire to live a life like running paint on canvas — expressive, spontaneous and moving.”

“Appallment”. 2018. Digital print on paper, installation. 150 x 213 cm.  

一隻由 180 張照片形成眼的影像。似曾相識又讓人心寒,也莫名的滑稽可笑。恐懼對我而言是無色、顫抖、不安... 更是我不可或缺的一部份。懇請你也努力接受自己活在在光裡的影子。  

 

A hundred and eighty photographs form the shape of an eye. Some shots might be eerily familiar and some silly. A hundred and eighty photographs form the shape of an eye. Some shots might be eerily familiar while others to be silly. This is how I see fear - colorless, trembling, uneasy, haunting, breathless...and partially me. Acknowledge your shadow as you stay in the light.

 

陳曉楹 (中華基金中學)

Chan Hiu Ying, Janet (The Chinese Foundation Secondary School)


2019 年度傑出藝術學生領袖

Outstanding Student Art Leader of 2019​

「一位渴望在高中修讀藝術的學生,但她不能。」  

 

“The one who desires to study Visual art in her senior secondary elective, but she couldn’t.”

這份作品源自本人一個較離奇和超現實的夢境。不照鏡子,自己的肖像仍歷歷在目。自畫像表達自己也顯得如斯無趣。因此我希望利用畫作表達夢境,表達自己的「虛」。

 

 This painting is related to a surreal dream of myself. During those times when we grow up, I believed that everyone, including myself, is familiar with their own faces. In order to present a character in an interesting way, I choose to use a painting to depict the thoughts in my dream, bringing a “virtual” representation of the persona, me.

“思想帶領夢還是夢帶領思想  Thoughts Lead Dream or  Dream Lead Thoughts”. 2018. Oil on canvas. 80 x 60 cm.  

抽離女兒身份成為陌生的訪問者,帶出歷史事件的「實」。再以另一段片段重塑女兒的想法,展現「虛」。二人三個身份,使人物表達「實」、「虛」並重,更為完整。  

 

Jumping out from being a daughter of my mum, I became an interviewer, bringing in some historical facts in a “realistic” way. While the other video rearranges the feelings of daughter and presents her thoughts in a “virtual” way. Facts plus thoughts between two characters but three identities makes the presentation of characters more complete.

“母親·陌生人·女兒  Mother, Stranger and Daughter”. 2018.  Dual-channel digital video with sound. 4’50”, 0’28”.  

 

陳嘉瑜 (英華女學校)

Chan Ka Yu, Cathy (Ying Wa Girls' School)

 

2019 年度入圍學生藝術家

Outstanding Student Artist of 2019 - Finalist​

「通過藝術創作,我可以用文字以外不同的方式來 表達自己。 藝術對我來說就像是一個基於 我想傳達給觀眾的概念和信息的另樣世界。」

 

 “Through art creation, I can have means to express myself in  different ways that go beyond words. Art is like an  alternative world to me depending on concepts and  messages I want to deliver to the viewers.”

對於幼孩,「抓緊學習的機會」又是否剝奪他們「自由」的理由?  

 

In this modern world, education is crucial for people. The trapped baby in the book symbolizes the chained situation, telling a story of parents pushing their children to study while freedom is deprived. Whether it is more beneficial to grasp “knowledge” or “freedom” at this stage of life?

“Learning to grasp”. 2018. Ceramics and found object. 45 x 30 x 15 cm.  

金錢掛帥的城市中,港人永遠背負無形的經濟壓力。富戶人家享受著繁華光景的同時,低下階層卻只能力爭上游,為生活奔波。

 

 Even money has so much to do with how we live our lives, does it really matter if we have no money? Backpack symbolizes heavy pressure and struggles from the lower class. At the back, contrast is created by depicting the leisure life of the rich to emphasize indifference of the superiors towards the homeless people.

“Striving for a Living Life”. 2018. Cardboard and hemp rope. 70 x 60 x 40 cm.  

 

陳諾 (民生書院)

Chan Nok (Munsang College)


2019 年度最傑出學生藝術家

The Best Outstanding Student Artist of 2019

「我喜歡觀察生命中的被忽略的一面。它們的細節十分吸引我:那些情感,光與影,植物的脈搏。觀察使我進入反省和思考的狀態。我希望可以給這些小細節一個轉變及新的意義。」

 

“I love to observe the unnoticed and overlooked ones in life. It is the small details that attract me the most: the emotions, light and shadows, plant details. Observing them leads me to a deep thinking and questioning process. I would love to give these precious pieces a transformation and a new meaning.”

我觀察著人類的存在。事實上,儘管大家都在人群中,每個人都是一個孤獨的個體。  

 

I observe people’s existence. Each individual is in fact lonely and exists in solitude even though we are in a crowd.

“Crowd”. 2018. Chinese ink on paper. 25.5 x 38.5 cm (a set of four).  

觀察並描繪出植物的花紋及脈搏使我進入一個孤獨的狀態。我喜歡在分析和分解植物結構時提出不同的問題,它們提醒著我所有的思想都源自於根底。  

 

Observing and drawing the plants’ detailed patterns and networks lead me to a solitude state. I like to think and raise questions while observing and deconstructing the plants; they reminded me that all thoughts originate from the root. 

“Deconstruction”. 2018. Chinese ink on paper, digital print on paper. 18 x 13 cm (a set of nine).

抬起頭,去發掘那些生命中不被注意,被忽略的細節。這些細節令我想到空間之間的聯繫。  

 

Look up and observe the unnoticed, overlooked details in life. Seeing these details reminds me of the connection between spaces.

“可見,不可見。  Seen, but Unseen”. 2018. Digital print on paper.  15 x 15.7 cm (a set of forty), 14 x 19.5 cm (18 pages).  

 

陳鹿華 (李寶椿聯合世界書院)

Chen Luhua (Li Po Chun United World College of Hong Kong)


2019 年度入圍學生藝術家

Outstanding Student Artist of 2019 - Finalist​

「我深深地被顏色和形狀,以及藝術可表達的力量吸引。我希望能成為一個平面設計師,因此作品多數都是 平面的,並且重點敘述身為青少年的個人經歷和掙扎。」  

 

“I am a young artist that is attracted to colors and shapes, and the power of art to convey message. With a hope of being a graphic designer in the future, my works are mostly two dimensional, and highly focusing on my personal experiences and struggles as a teenager.”

「福建 2018」源於我參觀福建傳統村落的經歷。 我看到現代西方建築如何取代著傳統土樓建築,以及青年人如何不願意留在村里繼承傳統技藝。 在現代化的侵略下,我為逐漸失去的土著文化而感到悲傷和無能為力。 受到包豪斯運動、德國藝術家奧斯卡施萊默的啟發,我以圖形和機械的方式描繪了村里的日常活動,傳達出一種獵奇和格格不入的感覺,這正是我去那裡時所感受到的。  

 

Fujian 2018 is drawn from my experience of visiting a traditional village in Fujian. I saw how modern, western architecture are replacing the traditional Tulou style of building, and how youth are unwilling to stay in the village to inherit traditional skills. I felt really sad and powerless about the loss of indigenous culture under the invasion of modernization. Inspired by German artist, Oskar Schlemmer, who was part of the Bauhaus movement, I depicted the daily activities in the village in a graphical and mechanical style to convey a sense of bizarreness and awkwardness, which were exactly what I felt when I visited there.

“福建 2018”. 2018. Oil on canvas. 55 x 70 cm.

我受到電車問題和其矛盾的道德概念所啟發,思考著數學和生命的重要性的關係:我們是否可以用數字去計算生命?這個作品用一個立體,抽象的方式去表達這個問題,但它依舊是一個開放的闡釋。這是因為我個人並沒有一個準確的答案,也質疑是否會有一個「正確」的答案。因此,我用了拆散的算盤作為數學計算的象徵,塑料人像代表生命,去呈遞了兩者之間的關係。  

 

I was inspired by the conceptual ethical dilemma of the trolley problem, which questions about the relationship between mathematics and significance of life: whether we can use numbers to count lives. This piece addresses this problem in a 3D abstract way, but it is also open for interpretation. Because personally I don’t have an answer and I doubt if there is a so-called “right answer”, therefore, I merely presented the dilemma and pointed out the conflict with decomposed abacus as symbol of mathematical calculation and human figures as life.

“算命  Calculating Life”. 2019. Wood, bamboo,  plastic figures, paper, foamboard and brass.  75 x 14 x 12 cm.

 

張明霞 (德瑞國際學校)

Jasmine Hodgson (German Swiss International School)


2019 年度入圍學生藝術家

Outstanding Student Artist of 2019 - Finalist​

「我對香港住房條件著迷,並因而刺激我的藝術作品。我試圖通過這種透作方式表達生活空間如何塑造我們的生活,無論好壞。」  

 

“My fascination with housing conditions in Hong Kong acts as a stimulus for my artwork, through which I try to portray the ways in which our living spaces shape our lives, for better or for worse.”

石膏製作的房子探索了香港的居住性質。雖然香港大規模生產的房子導致了長期冰冷和空虛的氣氛,但是玩具屋內的不完美表明家庭應該是一個不完美和個性的地方,因為這是令生活變得個人及獨一無二的原因。  

 

Plaster houses explores the nature of residence in Hong Kong. Although Hong Kong’s culture of mass-producing houses leads to an atmosphere of coldness and emptiness, the imperfections within the dollhouse casts express that home should be a place of imperfection and individuality, because that is what makes it personal to those living in it. 

“Plaster Houses”. 2018. Plaster, wooden board and spray paint. 210 x 30 cm.

「Stack」是對香港住房短缺的評論。為了最大限度地利用土地,城市的每個角落都已經被高聳的住宅樓所包圍。由於缺乏土地,過渡性低層住房的想法已經被放棄去向高處發展。這通過亞克力盒子遞減的尺寸來顯示,亦表達了大規模生產房屋的影響。

 

 “Stack” is a sculptural commentary on Hong Kong’s shortage of housing and how. In order to maximise the use of land, every corner of the city has been saturated with towering residential buildings. Because of the lack of land, the idea of transitional low-rise housing has been abandoned to build upwards. This is shown through the decreasing scale of acrylic boxes, which displays the impact of the mass production of homes. 

“Stack”. 2019. Acrylic board, light Installation. 30 x 30 x 40 cm.

 

甘朗然 (民生書院)

Kam Long Yin, Brian (Munsang College)


2019 年度入圍學生藝術家

Outstanding Student Artist of 2019 - Finalist​

「小時候,我喜歡觀察身邊一切能令我了解世界的基本。 每次坐在巴士上,我透過玻璃窗欣賞著不同區域的風景。 這些觀察容許我更一層地幻想著城市的開端以及它的建築。 自此,我開始建立我對發掘『城市』的興趣。」  

 

“When I was in primary school, I liked to observe everything around me that is fundamental for us to understand the world. Every time I sit on a bus, I look through the windows, and appreciate the landscapes in different districts. These kinds of observations allowed me to imagine more about a city from where it forms to the architecture there. Since then, I have developed my passion in exploring the topic ‘city’.”

這作品描繪了一個城市發展:繪製於兩個木塊上,一個與主題共鳴的自然和基本建築材料。在我們的世界裡,城市發展是無止境的。通過未完成圖的紙,我鼓勵觀眾使用他們自己的創造力來繼續他們心中的場景。扭轉街區的佈局連接兩個城市,就像我們的世界是由不同的發達國家和發展中國家組成一樣。結合我之前對建築的想像,我的繪畫講述了現代主義和創造力。這張圖讓我有機會調查我們的城市和它的發展。  

 

This artwork depicts an urban development, drawn on two wooden blocks, a natural and basic building material that resonates with the subject matter. In our world, urban development is endless. By leaving the drawings unfinished, I encourage the audience to use their own creativity to continue the scenes within their mind. Reversing the arrangement of blocks connects the two cities, in the same way that our world is formed by different developed and developing countries. A combination of my previous imagination of buildings, my drawing speaks of modernism and creativity. This drawing provides me an opportunity to investigate our city and urban development. 

“Reverse”. 2018. Chinese ink on wood. 50 x 50 cm (a set of two).

這作品是我針對重建維港和啟德舊區的設計。它也展示出建築,空間和運輸如何構造出一個大都市。我希望有一天我們的城市可以變得更宜居,讓所有人可以舒服和諧地一起居住。我一直都有千萬個新想法在腦海中,而這個作品容我把它們逐一紀錄成圖像。  

 

This work depicts my design on redeveloping the Victoria Harbour and the areas near Kai Tak. It also shows how architecture, spaces and transports constitute a metropolis. It is hoped that one day our city can be more liveable, allowing everyone here to live comfortably and harmoniously with each other. I always have thousands of new ideas in my mind, and this artwork allows me to record them down one by one through pictures.

“Cos Mo Port”. 2019. Chinese ink on wood.  45.5 x 55.5 cm (a set of two).

林煒峰 (可道中學)

Lam Wai Fung (Ho Dao College)


2019 年度入圍學生藝術家

Outstanding Student Artist of 2019 - Finalist​

 

「每件作品都是我由心創作的作品。每一筆、每一個步驟都帶着我的靈魂與喜悅。」

 

 “I create with all my heart. Every step and stroke of my works carry my spirit and joy.”

高難度的 BMX 運動一向被視為街頭運動。運動員不停突破難度,不停突破自己極限。希望透過這份作品向一班極限運動員致敬。

 

BMX is a sport with high difficulties. It has long been regarded as a street sport. This piece of work is to pay tribute to athletes who continuously breakthrough all kinds of difficulties and their own limitations.

“Respect”. 2019. Sculpture. 145.0 x 122.0 x 97.5 cm.

林穎 (馬鞍山崇真中學)

Lam Wing (Ma On Shan Tsung Tsin Secondary School)

 

2019 年度入圍學生藝術家

Outstanding Student Artist of 2019 - Finalist​

 

「喜歡看動漫,想畫出各種人物形象。」

 

 “I love watching animations.  I want to depict the lives of different types of people.”

雖然香港是一個發達城市,但是在城市的小巷或者不為人知的街頭都隱藏著人們所看不到的貧窮人士。而這個作品就是為了展示表面繁華和貧窮情況的對比,以雞籠狀井網,宣紙和一些剪出來的人物針筆繪圖製成一個香港地圖,來顯示那種反差和對比。  

 

Although Hong Kong is a civilised urban city, there are many underprivileged people in Hong Kong. The artwork wants to show another sight of Hong Kong. It is a collage in a shape of a HK map. It is mostly made of chicken-wire, rice papers and some figurative drawings. Those figurative drawings show the daily life of HK elderly scavenger.

“假像.香港社會”. 2018. Installation. 75 x 85  cm.

Alice Lindman (啓歷學校)

Alice Lindman (Kellett School)

 

2019 年度入圍學生藝術家

Outstanding Student Artist of 2019 - Finalist​

 

「對於我來說,藝術是一種表達方式。它使我能夠深入研究自己的身份,更深一層地道出我內心的慾望和目標,以及現今社會。」  

 

“ For me, art is a form of expression.  It allows me to delve deep into my identity, conveying my inner desires and goals for myself, and society at a grander scale.

我關注被收養的妹妹。她和我的家人沒有遺傳關係。但這並沒有限制我們對她的愛,反而讓我們更多地欣賞她。畫面上妹妹附近的水加強了團結的形象,因為它如何塑造了每個人體。  

 

I care about my younger sister who, being adopted, does not share my family’s genetics. However, this does not limit our love for her, instead causing us to appreciate her more.  The water surrounding my sister in the painting reinforces the image of unity, due to its involvement in shaping every human body. 

“Variations and Similarities”. 2019. Oil on canvas. 110 x 85 cm.

我相信通過肖像能夠展示一個人的自我價值。怪誕的圖像代表了我們這一代人對自己的恥辱; 而將這些肖像與玫瑰的色彩和愛的象徵形成鮮明對比,我突顯了一種榮譽感,以及每一個獨特身份的重要性。  

 

Believing in one’s self worth is displayed through the portraits, with the grotesque images signifying the shame our generation has for themselves. Contrasting these portraits with the colours and the symbols of love through the roses, I highlight a sense of honor, and the importance of every unique identity. 

“Self Identity”. 2019. Chinese ink, watercolour and gold leaf on paper. 180 x 120 cm.

 

文凱盈 (恩主教書院)

Man Hoi Ying (Valtorta College)

 

2019 年度最傑出學生藝術家

The Best Outstanding Student Artist of 2019

「藝術是我的家人,陪伴著我成長。生於一個不完整的家庭, 繪畫和創作陪我渡過童年低落的時光。自此我的生活便離不開創作, 開始發掘不同的媒介,探索不同的風格。」  

 

“Art is my family, it has kept me company as I grew up. Raised in a broken family, drawing and creating crafts has helped me get over the downs in my youth. Since then, my life has been  inseparable from creating art. I then started to discover various  art medias, delve into different art styles.” 

每段生命的開始,我們都經歷過一段柔弱的胎期。當胎兒成長時,母親與孩子之間的免疫關係逐漸增強,現實中陰暗的一面也繼而被早熟的胎兒吸收。新人類無法避免地生存在痛楚與苦難之中。反生育主義的哲學提出人類不出世為更好的選擇。當胎兒意識到自殺是唯一可以拜託束縛的方式,它成為了一個死產嬰兒,生為死者。

 

In the beginning of every life, we had all undergone a delicate fetal stage. As a fetus grows, the immunological relationship between the mother and the fetus strengthens, factual reality of the numerous dark aspects in life is continuously received by the premature fetus. New human lives inevitably contain pain and suffering. The philosophical reasoning in anti-natalism concludes that it is better for human beings not to be born. Realizing that suicide is the only way to liberate from the bondage in life, the fetus became a stillborn baby, born dead.

“胎死腹中  Stillborn”. 2018. Acrylic on glass, lichen in  wood boxes, digital printing in frames, 3-D printing PLA.  21.5 x 15.0 x 7 cm (a set of five), 32.5 x 23.5 cm (a set of two).

童年是我們能肆意無懼地表達自我的無畏階段。孩子們簡單的世界裡,有著超乎想像、與眾不同的夢想:他們對未來不設限。但隨著時間推進,這些純真的孩童慢慢成為講求實際的大人。為了賺取生計,夢想被社會牢牢困住。成人現實的嘴臉,和還有希望和夢想的孩子們之間有著極大的落差。  

 

Childhood is the boldness stage where we could express ourselves fearlessly. The simple minds of children have distinctive dreams beyond anyone’s imagination: they see no limitations to what they could be. However, as time goes by the pure child turns into a utility adult. Dreams are firmly restricted by society, as people have to work for a living. The sharp contrast between the looks of parochial adults and the dreams and hopes of unthinkable children is then unfolded.

“妄想家  Delusional Dreamer”. 2018. Acrylic and clear sealant  on canvas. 50 x 70 cm (a set of two).

 

吳清鴻 (梁文燕紀念中學(沙田))

Ng Ching Hung (Helen Liang Memorial Secondary School (Shatin))

 

2019 年度入圍學生藝術家

Outstanding Student Artist of 2019 - Finalist​

「我對藝術充滿熱愛,對雕塑和陶器的藝術活動非常感興趣。我相信自己會盡力發展想像力和創造力。」  

 

“I am insanely in love with art, and really interested in the art activities on sculpture and pottery. I’m sure that I will try my best to develop my imagination and creativity.”

作為一名中六學生,在 2019 年的公開考試面前,我的父母總是嚴格地對待我,像章魚一樣把我綁起來。  

 

As a F6 student who are facing DSE in 2019, my parents always treat me strictly. They tie me up like an octopus.

“束縛  Tie Me Up”. 2018. Acrylic on canvas. 80 x 110 cm.

目前,越來越多的父母過多地保護自己的孩子。 很遺憾,他們沒有機會了解「現實世界」。  

 

Nowaday, more and more parents are being overprotective to their children. It is such a pity that the children do not have the opportunity to know what the “real world” is.

“溺愛  Spoil”. 2018. Gouache on paper.  43.0 x 29.6 cm.

伍家惠 (李寶椿聯合世界書院)

Ng Ka Wai, Moon (Li Po Chun United World College of Hong Kong)

 

2019 年度入圍學生藝術家

Outstanding Student Artist of 2019 - Finalist​

 

「作為一個藝術家,我對於文化和全球化如何重塑政治深感興趣。通過我的作品,我希望可以挑戰和刺激觀眾的初始思想和信仰。」  

 

“As an artist, I am fascinated by how culture and globalization can reshape the integral aspects of politics.  Through my work, I hope to challenge and provoke viewers’ initial thoughts and beliefs.”

在 Lauren DiCioccio 的啟發下,我製作了徽章來代表聯合國可持續發展的目標。我希望展示現代全球體系如何不強制性地通過意識形態來賦予權力。刺繡不僅對模仿童子軍徽章至關重要,而且還體現了意識形態如何與政治權力完全融合。  

 

With inspiration from Lauren DiCioccio, I manipulate badges to represent the UN Sustainable Development Goals. I hope to show how the modern global system allows power through ideology rather than coercion. Not only is embroidery essential to mimic boy scout badges, but it also embodies how ideology is precisely integrated into political power.

“Ideology”. 2018. Fabric, felt, embroidery and  digital print on paper. 120 x 120 cm.

當今現代資本主義社會中的超消費主義導致了非環境和無拘無束的生活方式,而這些生活方式正在損害地球和個人的福祉。 我希望用視覺的效果讓觀眾了解這個全球性問題的重大影響,並反思他們在社會中的個人角色和足跡。  

 

Capitalist society, emphazises hyper-consumerism in today’s modern, has lead to non-environmental and unrestrained lifestyles that are damaging to the earth and the wellbeing of individuals. Through my visual representation, I hope to allow the viewer to understand the grand impact of this global issue and to reflect on their individual roles and footprints in society.

“Transfixed”. 2019. Digital print on paper. 50 x 50 (a set of four)

當今現代資本主義社會中的超消費主義導致了非環境和無拘無束的生活方式,而這些生活方式正在損害地球和個人的福祉。 我希望用視覺的效果讓觀眾了解這個全球性問題的重大影響,並反思他們在社會中的個人角色和足跡。  

 

Capitalist society, emphazises hyper-consumerism in today’s modern, has lead to non-environmental and unrestrained lifestyles that are damaging to the earth and the wellbeing of individuals. Through my visual representation, I hope to allow the viewer to understand the grand impact of this global issue and to reflect on their individual roles and footprints in society.

“Transfixed”. 2019. Digital print on paper. 50 x 50 (a set of four)

 

岑朗軒 (英皇佐治五世學校)

Shum Long Hin (King George V School)

 

2019 年度入圍學生藝術家

Outstanding Student Artist of 2019 - Finalist​

「這一系列作品透過重慶大廈來突出描繪重要地方的過程,沒有過於抽象而被誤解,也沒有因太直接而失去的想像空間。」  

 

“This series of works uses Chungking Mansions to highlight the process of portraying places of such importance as not too abstract as to misinterpret it, while not too literal as to be void of imagination.”

與弗蘭茲卡夫卡小說的無名主角相似,「the trial」中奇異的平凡雕塑探索了重慶大廈幽靈般的性格;沒有名字,沒有文件,他們可能會消失得無影無踪。  

 

Similar to the nameless protagonists of Franz Kafka’s novels, the eerily plain sculptures of “the trial” explore people of Chungking Mansions’ ghosts-like nature; without names and without papers, they could disappear without a trace.

“the trial”. 2018. Ceramics. 15 x 7 x 7 cm each.

通過提供零碎的體驗:一系列的小插圖、幾個聲音片段。所有這些都經過粗略編輯,刺激觀眾的想像力,並促進他們對建築物的理解。這實際上是一個複雜的內部社會網絡的外觀和政治運作。  

 

By providing a fragmented experience: a compilation of vignettes, several clips of sound. All crudely edited together, variations provides tools to stimulate the audience’s imagination and to foster an understanding of a building.  That is in fact a façade to a complicated web of inner social and political workings.

“variations”. 2019. Single-channel digital video with sound. 9’29”.

 

謝旻蒑 (民生書院)

Tjia Man Yan (Munsang College)

 

2019 年度最傑出學生藝術家

The Best Outstanding Student Artist of 2019

「因為我擁有緊張和頑固的性格,使我經常強迫自己 去滿足他人。 生活中不同的角色和責任只會讓我極其難受。 直到,我發現藝術製作是一種自我治療的過程, 讓我探索自己和周圍世界的不同方面,將人們聯繫在一起。」  

 

“Being so stressed and stubborn all the time, different roles and responsibilities in my life just tore me apart as I forced myself to satisfy others. Until I found art making as a kind of self-healing process. Art is a way for me to explore different dimensions of myself and the world around me as it bonds people together.”

「Doppelgänger」是一個德語單詞,意思是生活在同一個世界的「雙胞胎陌生人」。在我的生命中,我也遇過我的雙胞胎陌生人。這個陌生人和我有著相同的面孔,但表現得完全不同。「她是誰?」我想知道。「她從哪裡來?」我很疑惑。但沒有人回答我的問題。她日復日地走近我。  

 

“Doppelgänger” is a German word meaning “Twin Stranger” of a person living in the same world. I have experienced my twin stranger in my life too.  This stranger shares the same face with me but acts differently.  “Who is she?” I wonder. “Where does she come from?” I doubt. But there is no one answering my questions. Day by day, She walks closer and closer to me.

“Doppelganger”. 2018. Acrylic on canvas. 89.5 x 60.0 cm (a set of two).

「請寫上你的角色,選擇一些問題來回答, 一同來嘗試尋回昔日的美好回憶。」在建立個人檔案庫之後, 我才發現自己與家人一直以來缺乏溝通。因此,我希望藉此修補彼此的關係,並重新連繫我們的回憶和感受。  

 

Write down your role, pick some questions to answer, and try to retrieve our happy memories in the past.  After building my archive, I found that I had little conversations with my family members. Therefore, I’d like to do a project to repair our relationships, reconnect each other via our memories, and share our feelings.

"Retrieve Our Memories". 2017 -18. Pencil on paper, post-it. 19 x 24 cm (a set of four), 54 x 39 cm (a set of three)

 

王學沂 (協恩中學)

Wong Hok Yi (Heep Yunn School)

 

2019 年度入圍學生藝術家

Outstanding Student Artist of 2019 - Finalist​

「作為一名舞者,我利用另一角度觀察世界。我揭露了在光鮮亮麗的舞蹈背後所存在的黑暗和痛苦。我更發現當中的刻板印象,社會規限和苛刻的審美標準與社會現今問題一致,並值得關注。」  

 

“Being a dancer, I has explored the world from different perspectives. She has explored the other side of dance behind the glamorous façade on stage. Her feelings towards dancing are full of love and hatred. By drilling deeper into the dancing world, she has even found the resemblance between dancing and social phenomenon - the stereotypes of beauty, the cruel standard of perfect and the fading of natural beauty.”

刻板的完美,一條條重疊的紅線令薄紗造成猶如高低起伏的小山丘,象徵了舞者在舞蹈生涯中遇上的高低起伏。一層又一層的紅色半透明薄紗在加疊後失去了當初的透明感,彷彿舞者為了符合大眾的標準而慢慢失去了自我。  

 

Stereotyped glamour, with multiple shades of red cotton threads crossing over symbolises stereotypes and ups and downs in dance. Several layers of light yarn cover up the transparency of the dress which shows how dancers cover up their own uniqueness to meet standards.

“Stereotyped Glamour”. 2018.  Wearable art. Size Variable.

舞蹈的愛與恨,光鮮亮麗的舞蹈背後有著複雜而纏綿的黑暗面。當中的愛恨交纏和高低起伏為舞者帶來更深一層的感受。由舞衣撕下的碎布所編織而成的障眼物象徵了舞者以愛和熱誠包容了舞蹈中的不完美而從此投入和沈醉當中。生活中的人們,又被什麼所蒙蔽從而全心投入呢?  

 

The Complexity of dance, despite the glamour and happiness of dance, love and hatred, pain and suffering do exist in dance. The blindfold is made with torn dancing costume which symbolises how dancers tolerate the imperfects with their love and passion towards dance. And you, what hide you from the reality?

“The Complexity of Dance”. 2019.  Single-channel digital video with sound,  acrylic on paper and installation.  Size Variable.

 

楊仟仟 (仁濟醫院王華湘中學)

Yeung Tsin Tsin (Yan Chai Hospital Wong Wha San Secondary School)

 

2019 年度入圍學生藝術家

Outstanding Student Artist of 2019 - Finalist​

「身於 00 後,心於 80 後。獨愛老玩意、老歌兒, 更愛於創作中舊情復熾。」  

 

“I am just a kid who is so nostalgic.  I love to draw the dated things since they are all classy and fabulous. Don’t let the age wrinkle our memory!”

香港老店歲月蹉跎,飽經風雨,到頭來也敵不過市場壟斷。大財團打壓小企業,如巨人踩死蝸牛般簡單。或許某個角落又有一間老店被消失。  

 

As the years rolled on, the metropolis development replaced the time-honored brands. An old business has its ups and downs. We can only say goodbye to the old shop. It becomes our memory after a farewell closure.

“終業蹶擇  Farewell Closure”. 2018. Acrylic on canvas.  90 x 70 cm. 

這是致給童真的故事:一群自我封閉的孩子在鐵皮鴨的引領下默默相遇。在天真爛漫的世界裡,他們能否再度找回童心?  

 

It is an old story: a group of children were suffering in a quiet and lonely night. One day, a tin toy duck who came from Neverland has broken the silence. Something has changed from the bottom of their heart. The kids put down their mask in the end, as if putting down their sadness.

“蒲公英的心窗  Dandelion Heart Seed”. 2019. Digital print on paper.  21.5 x 24.5 cm (32 pages).