2017年度入圍學生藝術家

Outstanding Student Artist of 2017- Finalist​s

畢若嵐 (福建中學 (觀塘) ) Bih Yeuk Nam, Evelyn (Fukien Secondary School (Kwun Tong) )


2017年度最傑出學生藝術家

Best Outstanding Student Artist of 2017

躲在顔色裡融化。

Hide in the colour and melt.

兔子和熊的故事 A Story about the Rabbits and Bears

 

畢若嵐作品 Artwork by Bih Yeuk Nam, Evelyn:

以兔子和熊之間的故事諷刺現今社會各種病態的現象,例如過度信賴資訊,取笑努力為大家帶來幸福的人⋯希望能藉着這個經過包裝的童話世界,喚醒大家心中的信念。

 

The story of the rabbit and the bear satirises the various pathological phenomena of the present society, such as over-reliance on information, making fun of people who try to bring happiness to everyone... I hope through this packaging of the fairy tale world, I can awaken the hearts of the viewers. 

兔子和熊的故事 A Story about the Rabbits and Bears

2016
牛皮紙,馬克筆紙 Kraft paper, marker paper
21 x 15 cm each 

以動物象徵現今人類因社會主流價值觀下而造成的不安全感。

These animals symbolized the insecurities created by the mainstream values.

沒有安全感的動物們 Animals That Are Not Safe

2016
布料 Cotton

21*15 cm, 20*17 cm, 17*19 cm, 14*22 cm

用身體和日常用品合併而成的拼圖,表達自己一些不能用語言描述的感情和想法,同時探究自己心底隱藏的情感。

 

I use daily objects to create a body puzzle in order to ex- press myself.  During the process, I explore the thinking and speechless emotions in my mind. 

失去的童年 Lost Childhood
2015
亞克力膠板,紙 Acrylic sheet, paper
15 x 15 cm each

陳菁鈴 (中華基督教會銘基書院) Chan Ching Ling, Elaine  (CCC Ming Kei College)


2017年度入圍學生藝術家

Outstanding Student Artist of 2017- Finalist​

 

我腦子被啃出了好大一個坑。

I got a massive hole in my head.

城市遺址 The Abandoned

陳菁鈴作品 Artwork by Chan Ching Ling, Elaine:

參考了攝影師阿爾弗雷德·艾森施泰特的作品「世紀之吻」。主要表現同性戀在經過十數世紀的歧視與逼害後,終於爭取到與世人平等、愛人的權利。作品希望為之慶祝之餘,亦使人反思性別與相愛之間的必然性。 

This poster design was inspired by the legalisation of same- sex marriage in the United States.  After years of suffering and discrimination, homosexuals can finally enjoy the right to love as other human beings.  The poster makes a reference to the famous photograph “Kiss of the Century” by Alfred Eisenstaedt to represent the joy and victory which is shared by the LGBT community. 

“LOVE WINS” 海報設計 “LOVE WINS” Poster Design

2016
電腦繪畫紙本 Digital painting on paper
61 x 43 cm each 

作品由時下各種荒謬的行為反思現今人類為滿足欲望而倒退的道德底線。並以“食人”為構想,展現未來人類為了滿足欲望──食欲而拋棄道德的醜態。藉此使人反省當我們滿足自身欲望時,所接受的事物是否合乎道德?

This drawing tries to express different ridiculous behaviors and aims to reflect how people nowadays try to fulfill their desires regardless of moral. And finally come up with some reflections on the conflicts on fulfilling one's desire and the righteousness of act we have done or accepted.

“變態” “Metamorphosis

2016
針筆與鉛筆紙本 Technical pen with pencil on paper 

60*43 cm

作品為香港鬧市當中的廢置樓宇。黑白代表舊時代,而彩色則代表新時代。透過黑白與彩色的對比,表現新舊時代的交替。 

In this work, I recorded the abandoned buildings in Sham Shui Po, Tai Kok Tsui and Cheung Sha Wan.  Through using black and white colour to introduce the past and using colour to show the modern, people can manifest the efforts of previous generations.  These traces no one knows about show how their hard work has built up today’s Hong Kong. 

城市遺址 The Abandoned
2017
數碼影像紙本 Digital print on paper
13 x 18 cm 

張穎詩 (保良局蔡繼有學校) Cheung Wing See, Kitty (Po Leung Kuk Choi Kai Yau School)


2017年度入圍學生藝術家

Outstanding Student Artist of 2017- Finalist​

 

在無常的人生中,

我是誰、你是誰,重要嗎?

Who are we in the impermanence of life.

再「回」 Echo

張穎詩作品 Artwork by Cheung Wing See, Kitty:

生活中的無常衍生出無數的機會。就像這無型的雕塑,在不同燈光下都有不同輪廓鮮明的影子。所以無常並不可怕;可怕的,卻是無法作出決定。 

 

I wish to show that the impermanent things in our lives is what creates countless and unthinkable possibilities for us to explore.  Like a shapeless mass in my installation, life can be morphed into anything, and the different shadows of the installation can represent the opportunities life could offer.

 

無常與機會 Casted Opportunities

2016
裝置藝術 Installation
150 x 150 x 150 cm 

時間的摧殘,使我改變。但過去一去不返,從我遺落的碎片中,請觀眾想像未打破前的樣子吧!

 

I could not be the same person as I am right now, but the broken pieces, or my future self will be reminiscent of the person I was. I wish to bring attention to the passage of time by prompting the audience to try to rewind time and view the sculpture as a whole, only to find that it is impossible to truly imagine it, thus showing the feeling of frustration and wistfulness that impermanence and time elicit from us.

 

是我嗎? Reminiscence

2016
陶瓷 Ceramic

Size variable

如果能記得已消失的人或東西,他們還存在嗎?我們的記憶,能夠穿越死亡嗎?

This piece relfects my questions on something's permanence which now I pose to my audience: Does our remembrance of something truly causes it to transcend its death? Or is our memories just a fleeting light, an echo, that would be forgotten and fade out in the endless abyss of time?

 

再「回」 Echo

2016
數碼影像珍珠板 Digital print on foam board
59*42 cm 

蔡聏 (新加坡國際學校) Ernestine Chua (Singapore International School (Hong Kong))


2017年度入圍學生藝術家

Outstanding Student Artist of 2017- Finalist​

 

擅長寫實與跨界創作,醉心於探尋,渴望突破界限。

A multi-disciplinary artist of numerous reference points playing with boundaries to produce a surreal reality.

超現實組合 Infuse, 朦朧的星雲 Nebulous

蔡聏作品 Artwork by Ernestine Chua:

橫街窄巷,隱於美食與慾望之中,城市足跡,隨味蕾而驛動活絡。

 

Consolidate displays initially hidden city influence in culture, only when found it’s stark. Exectured with pigmented colours that deviate sight from maps, teetering on the boundary of reality and artificialness.

 

交織與纏繞 Consolidate

2016
塑膠彩布本,數碼影像紙本

Acrylic paint on canvas, digital print on paper

31*31 cm

人體結構與鋼骨水泥的有機結合,都會喧囂與心靈純真的時空碰撞。 

 

Infuse consist of uni ed human anatomy and city architecture that create a literal and metaphoric representation of the way the city tarnishes one’s purity and perspective. 

超現實組合 Infuse
2016
電腦繪畫紙本 Digital painting on paper

45 x 59 cm

「朦朧的星雲」勾勒出混沌情感與迷茫衝動,對青少年身份認同的衝擊。透過冷色調,重塑了青少年經常經歷的苦悶, 以及擁有的模糊思維。我以水底下的生活和液體形狀比喻這 段麻煩時期的不穩定和無定性。 

“Nebulous” displays literally the metaphorical chaos of emotions, replicating the struggles of riveting the indeterminate identity common amongst adolescents.  Composed in muted cool tones, the colours replicate the somewhat dull and blurry train of thought often experienced.  The components of underwater life and liquid shapes are a metaphor for the unstable and shapeless nature of this troubling time. 

朦朧的星雲 Nebulous
2017
混合媒介布本 Mixed media on canvas
105 x 102 cm 

方芍瑤 (協恩中學) Fong Cheuk Yiu, Rachel (Heep Yunn School)


2017年度入圍學生藝術家

Outstanding Student Artist of 2017- Finalist​

 

不在乎的事可以完住不在乎,在乎的事也可以很在乎。灑脫中又帶點莫名其妙的執著。

Care the things I care, and ignore the things that I don't care. Free and easy but also with some inexplicably persistent.

那個房間,那張椅子 That Room, That Chair

方芍瑤作品 Artwork by Fong Cheuk Yiu:

在小時候,我總喜歡待在她的房間玩耍、看電視,而她則是坐在藤椅上織毛衣給我和弟弟。每一針毛線都代表著我們之間的愛和回憶,即使那房間已經不再存在,我們之間的回憶 卻是實在的。 

 

At the time of my childhood, I always liked to stay in her room to play, watch TV, and she was sitting on a rattan chair to knit a sweater for me and my brother.  Every needle of yarn represents the love and memories between us.  Even the room no longer exist now.  The memories between us is everlasting. 

那個房間,那張椅子 That Room, That Chair
2015 - 16
塑膠彩布本,毛線,藤椅 Acrylic on canvas, yarn, chair
275 x 183 cm 

她是我童年中不可缺少的一部份,她的離去也代表我必須面對人生中的黑暗,也是我童年的終結。西方文化認為把信綁在氣球放上天去世的親人便能收到我們的訊息。我很想告訴她我已經長大了,可以從她的死亡裏釋懷。可是回憶就係毛線一樣綑綁著我,原來我並沒有想像中那樣堅強,

 

She is an indispensable part of my childhood, but also my first family dead. Her leave not only means that I must face the darkness of life, but also the end of my childhood. Western culture believe that the letter tied to the balloon will be able to receive by our family who passed away. I really want to tell her that I have grown up and can be relieved from her death. However, the memories between us is just like the yarn stoping the balloons to fly, the .I am not as strong as I imagined. Should I continue to be addicted to my memories or should I be relieved?

 

回憶與信 Memories and Letters

2016
氦氣球,毛線,紙 Helium ballons, yarn, paper

Size variable

Gian Miguel de Guia Del Valle

(地利亞修女紀念學校 (百老匯)) (Delia Memorial School (Broadway))


2017年度入圍學生藝術家

Outstanding Student Artist of 2017- Finalist​

 

因為迷戀和好奇心,我嘗試基於這文化再創作, 再透過作品教育茫然的。

With an overwhelming infatuation and curiosity over this one culture, here are my attempts on recreating artworks that I hope will educate the ignorant.

Underneath

Artwork by Gian Miguel de Guia Del Valle:

這件作品圍繞著歷史資料。我決定在戲劇性的光線下,將有關日本「軍國主義」的重大事件重現,意圖說明一個醜陋的過去可以變得美麗。 

 

This piece revolves around historical information.  I’ve decided to recreate these significant events in ‘militaristic’ Japan in a dramatic light to show that an ugly past can be made beautiful. 

Flight of Japan
2015
塑膠彩布本 Acrylic on canvas
21 x 60 cm each 

甚麼導致「女性化」?被教育的看法,就是這樣。這些背包專門用於男性族群,以打破社會上有關的性別的固有牆壁。 

What makes something ‘girly’?  Taught perception, that’s what.  These bags are exclusively for the male demographic to break down these ‘gender exclusive’ walls that society has taught us. 

Dream of Feminism
2016
塑膠彩及刺繡布本 Acrylic and embroidery on canvas
41 x 25 cm, 11 cm radius, 18 x 18 cm 

Japan is known for its beauty, exquisite taste, being simple yet extravagant. But it's also infamous for pornography. Here is where the two worlds meet by in a subtle manner.

Underneath
2016

Fashion design

何厚熹 (荃灣聖芳濟中學) Ho Hau Hei, Matthew (St. Francis Xavier's School (Tsuen Wan))


2017年度入圍學生藝術家

Outstanding Student Artist of 2017- Finalist​

 

我討厭一些沉悶的事。因此我喜歡以有趣的方式表達不同資訊。

I hate boring things, so I like to present some information in a funnier way.

交友有甚麼原因 What are the Reasons for Making Friends

何厚熹作品 Artwork by Ho Hau Hei, Matthew:

每個人都希望有朋友。然而,人為何希望交友?我透過訪問身邊的人,了解對他們來說朋友擔當甚麽角色,令他們從中獲益。以不同物件來比喻,讓大家清楚明白交友是一件多麼美好的事。 

Everyone hope they have friends.  Why people want to make friends?  I talk about the advantages of makings friends in this book, to let you know how good it is to make friends. 

交友有甚麼原因 What are the Reasons for Making Friends
2015
色紙,毛線 Construction paper, yarn
14 x 20 cm 

在現今社會中,有不少人把禮議、外貌、成績等做到最好,以塑造自己成一個完美的形象。他們可能希望得到認同,或是在事業上給人一個良好形象,因此人們只把好的展示出來,把不好的收起。我認為這卻不能為人帶來快樂,人們會因此無法一個做真正的自己。因此我希望透過這動畫說明人與人應該真誠地相處,才能為人帶來快樂。

 

Nowadays there are some people do well in their etiquette, look and result. To make them have a best image. they hope they can get someone’s identification. Or having good image on their work. So people only show their good things to others, but not the bad one. I think that will make people unhappy. It is because they can be their true selves. so I use this animation to talk about people should be honest when they get along with others. So that they can be happy.

 

狐狸面具 The Fox's Mask

2016

動畫 Animation

4'19"

在這動畫中講述我曾被家人所束縛,無法做自己喜歡的事。直至認識到兩人,這兩人是我最友好的朋友。他們經常和我玩,在與他們相處時,我漸漸掉棄我假的形象,真真正正做回自己,做自己喜歡的事。因此我希望透過這動畫向他們表達感謝之情。

 

Nowadays there are some people do well in their etiquette, look and result. To make them have a best image. they hope they can get someone’s identification. Or having good image on their work. So people only show their good things to others, but not the bad one. I think that will make people unhappy. It is because they can be their true selves. so I use this animation to talk about people should be honest when they get along with others. So that they can be happy.

 

真正色彩 True Colour

2016 動畫

Animation

3'55"

何嘉永 (東華三院辛亥年總理中學) Ho Ka Wing, Karen (TWGHs Sun Hoi Directors' College)


2017年度入圍學生藝術家

Outstanding Student Artist of 2017- Finalist​

 

我用藝術,表現我的世界。

Exploring my world with art.

咎「郵」自取

何嘉永作品 Artwork by Ho Ka Wing:

香港政局黑暗腐敗皆因政治當權人的無能。然而這一切皆是港人咎由自取,部份人的不聞不問讓我們難以改變現狀。因此我用復古郵票的方式重新演繹八個香港政壇人物,諷刺他們的昏庸愚昧,並有寄至各人心中,嘗試喚醒他們對政治問題的關注。 

 

The situation of HK political developments- on its way to the dark times and declination- is owing to the incompetence of HK officials and the bureaucrats.  Hong Kong citizens are shouldering the consequences of their indifference towards political issues; the vicious cycle keeps running and building more obstacles to minimise the possible change to the current circumstances.  In view of it, I would like to evoke the resentment of recipients (HK locals mostly) and try to ignite their inner outrage to protest against the unreasonable ruling and dictatorship of Hong Kong governance in the form of vintage stamps with 8 iconic HK of official images. 

 

咎「郵」自取
2016
塑膠彩水松板 Acrylic on cork board
40 x 30 cm each 

昔日公堂審判罪人以狀紙總結其罪狀,啟發我以狀紙的方式展現一班無德無能「政狗」的弊病,公審他們的政治過失及問題。我刻意用再造紙製作「狀紙」,寓意這些「政狗」同樣需要回爐重造,以解決香港混亂的政局。另外作品中我加入四位「政狗」的專屬二維碼,讓人們能透過掃描獲得我分享的資訊,帶出真正公審的意味,亦能將電子科技與人手製物融合,讓大眾看見另一種新的視野境界。

The recycled paper illustrates some ignorant politicians should be re-educated which alleviates the chaos of the politics in Hong Kong. 

政紙 Zheng zhi
2016
紙,中藥,綿線,繡花線

Paper, chinese medicine, cotton thread, embroidery thread
39 x 28 cm each 

郭芷菁 (香港華人基督教聯會真道書院) Kwok Tsz Ching, Shakti (HKCCCU Logos Academy)


2017年度入圍學生藝術家

Outstanding Student Artist of 2017- Finalist​

 

其實搞藝術係認識人嘅藉口。 我想知你諗乜。傾下?

Unfinished. Let's chat and add meaning to the pieces.

日記 Diaries

郭芷菁作品 Artwork by Kwok Tsz Ching, Shakti:

Choose a way to interpret this artwork: 

A. Ask “Shakti”. See when will you catch “Shakti”, then you will hear what does this artwork mean to “Shakti” at that time.

 

B. Think of someone you hate. Think of some people you can’t stand. Imagine that each of them has a diary! 

 

C. I wonder when you see this artwork, how much the strings are tied? At the start, the string curtain fully blocks the diaries. Now, the strings are tied and you can see the diaries. What happened? Will the diaries show more of themselves later?

 

D. Create your own version of this artwork, and see what you think during the process of making. 

日記 Diaries
2016
裝置藝術 Installation
30 x 100 x 150 cm 

Choose a way to interpret this artwork:

 

A. Ask “Shakti”. See when will you catch “Shakti”, you will hear what does this artwork means to “Shakti” at that time.


B. “Our bodies are received by us from our parents” is a significant motto in Chinese filial piety. Is it a constrain? But I see lots of blank spaces in this artwork. There are only the shell-like skull and root-like brain white matter.

 

C. The cross-section image of the brain. Too scientific? Destroyed the mystery of the mind? I used a traditional religious artmaking method to create this piece…I tried.

 

D. Print out photos of your parents. Put them into a shredder. Who will put their parents’ photo into a shredder? Umm…they will probably change their mind after creating something beautiful out of the paper strips.

受諸父母 Given by Parents

2016

雕塑 Sculpture

5*50*50 cm

郭蘊蕎 (協恩中學) Kwok Wan Kiu, Rachel (Heep Yunn School)


2017年度入圍學生藝術家

Outstanding Student Artist of 2017- Finalist​

 

巨蟹獅子座-矛盾 溫柔又暴躁;內向又外向。

Cancer-Leo: a combination of contradiction Soft and irritable; introvert and extrovert

放空 Daydreaming

郭蘊蕎作品 Artwork by Kwok Wan Kiu, Rachel:

每當我聽不懂課堂內容,我便會走神放空,溫習時也是。我經常都會從思考午飯叫什麼外賣到思考這個世界有沒有平行時空。 

 

放空的感覺很放鬆,就像上游泳課時不聽老師的指示,自己浸在水中放空一樣。浸泡照片的水的顏色越深、影像越模糊,思緒便越亂、越深。 

When I don’t understand the lesson or my own revision, I will start daydreaming.  I always start with thinking about what I’m going to eat for lunch, end with thinking about whether there really is a parallel universe. 

The feeling of daydreaming is relaxing, just like when I am having swimming lesson; I ignore the teacher’s instruction and oat in the water to daydream. 

In the work, when the colour is getting deeper and the image become more blurred, this means that my mind is getting deeper and deeper. 

放空 Daydreaming
2016
數碼影像紙本 Digital print on paper
18 x 13 x 5 cm each 

這個作品是把我平日拍下來的照片組成的一個系列。似乎很無聊,卻是我一個又一個瑣碎的回憶。以下是其中一個: 22:52-有一晚因為在學校趕視藝科的功課而忘記了吃晚飯,回到家附近便去了唯一還在營業的快餐店,喝了這杯味道不怎麼樣的「綠茶荳奶拿鐵」。看見杯底的時候突然想拍張照片,那時候的時間是22:52。

This work used some of my daily shots to form a series. All of them are my memories even they seem meaningless. Here is one of the stories: 22:52- One night I forgot to have dinner because I stayed at school and busy with my Visual Arts homework. When I backed home, the only restaurant still opening was the fast food restaurant. I ordered a cup of “Green tea soy milk latte” which not really tasted good. When After drinking this I suddenly want to take a photo of it, the time at that moment is 22:52.

搵橋 Rachel's Daily Shot
2016
數碼影像紙本 Digital print on paper

40*30 cm

Leah Putnam (啟新書院) (Renaissance College)


2017年度入圍學生藝術家

Outstanding Student Artist of 2017- Finalist​

 

Personal self-discovery, conveyed through the themes of fear, escapisms, serenity and dreams.

Underneath

Artwork by Leah Putnam:

This composition emphasises the themes of personal insecurity.  It focuses particularly on legs and thighs, because I have always felt self-conscious about the bottom half of my body. 

Thunder Thighs
2016
Mixed media
45 x 64 cm 

Is based on mythical character; The Sandman. The concept of dreams is based on the escapism from reality, and the tranquility of being away from actual life problems and conflict.

 

Sandman

2016

Colour pencil on wood

81*61 cm

This artwork represents adolescence.  The bird is a symbol of migration, flocks of birds migrate to different habitats when seasons change.   I will soon be ‘migrating,’ along with other ‘flocks’ of people in Hong Kong. 

Baby Bird
2017
Mixed media
60 x 60 cm 

羅薇 (地利亞修女紀念學校 (協和)) Luo Wei, Grace  (Delia Memorial School (Hip Wo) )


2017年度入圍學生藝術家

Outstanding Student Artist of 2017- Finalist​

 

不同的味道盛載不同的感受,豐富得猶如人生般。

Different flavours contain different feelings, as rich as human life.

「甜」– 童年, 「苦」– 香港 "Sweet" – Childhood, "Bitter" – Hong Kong

羅薇作品 Artwork by Luo Wei:

鞦韆烙印著我童年時的回憶,甜美的時光最適合以糖來表達。糖可塑性高,加入不同份量的水、顏料或膠水,形態千變萬化。然而,單色、形狀簡約的白方糖才最切合作品主題,重現童年時候天真、單純的自己。 

 

Swings engrave my childhood memories.  Those sweet old days are best expressed by sugar.  With different amount of water, paint or glue, sugar is highly mouldable and ever-changing.  However, only the mono-colored, simple-shaped white sugar cubes could perfectly t the theme of this artwork, reproducing my childish and pure self back in those days. 

「甜」– 童年 “Sweet” – Childhood 2016
雕塑 Sculpture
26 x 18 x 21 cm 

三年前發生的「雨傘革命」,是因為香港大眾市民想擺脫苦澀生活而出現。作品採用了「雨傘革命」的圖片及苦瓜造型的雕塑。苦瓜,有人說苦,有人說甘,它的外型獨特和紋理複雜,最能形象化表現香港人「苦」的現況。 

3 years ago, the ‘Umbrella Revolution’ took place when the majority of Hong Kongers struggled to overcome bitterness in life.  This artwork adopts the photos of the Revolution through bitter melon sculptures. Bitter melons, some people say bitter, some say sweet; its complex texture visualises Hong Kong people’s hardships ideally. 

「苦」– 香港 “Bitter” – Hong Kong
2016
水晶膠、蠟、肥皂、彩色打印透明膠片 Crystal glue, wax, soap, colour-printed transparency
45 x 45 x 10 cm 

我個子不高,在大眾審美觀中並不完美,每當我看見身材高挑的人,心裏壓抑著嫉妒,總是酸溜溜的。作品以繪畫形式表達出這種不能為外人道的感受。

My height is not in line with the popular aesthetic standard, whenever I see tall and slim persons, my heart always feels jealous, feels sour. This artwork paints my feeling, a feeling to be kept inside myself.

「酸」– 嫉妒 “Sour” – Jealousy
2016
數碼影像紙本 Acrylic on canvas board

66*51 cm

辣、熱力、高溫、全球暖化。人類在溶解中,等待救贖?等待死亡?

Spice, Heat, High Temperature, Global Warming. All humankind are melting down. Are we waiting for salvation? Or death to come?

「辣」– 熱力 "Spicy" – Heat
2016
數碼影像紙本 Sculpture

22*18*22 cm

潘家強 (聖士提反堂中學) Poon Ka Keung, Leo (St. Stephen's Church College)


2017年度最傑出學生藝術家

Best Outstanding Student Artist of 2017

 

我是一個介意別人眼光的人,我卻希望透過藝術能反映自己的故事。

I do mind how the others judge me. Art can tell us story.

追夢者 -我夢你聽 Dream Chaser-Listen my dream

潘家強作品 Artwork by Poon Ka Keung:

夢想在以金錢掛帥的香港一文不值⋯因為很現實地有時候夢想是掙不到錢,除非你是少數亦幸運地成功的人,但屬絕少部分人。就在這個主流思想的影響下,我曾一度迷網過自己的堅持值不值得⋯因此我透過用藝術既形式記錄我的夢想。 

 

Dreams are worthless in Hong Kong as it is a money-oriented society.  Realistically, it is hard to make money with your dreams only unless you are part of a small number of lucky people.  Under the in influence of this mainstream thinking, I was once wondering if my insistence is worth it or not... so I recorded my dreams in the form of art. 

追夢者 - 我夢你聽 Dream Chaser - Listen my dream
2015 - 16
裝置藝術 Installation
90 x 90 x 195 cm 

爸爸有一個奇怪的習慣,收集他認為對環境目的有用的任何東西。即使我們的餐桌被這些物品佔據。我嘗試在拾荒的過程中明白爸爸多一點,亦盼望能夠喚醒爸爸對於一家人「同 枱食飯」的觀念。枱上的烙印就像曾在我腦海裡一家人食飯的情境,但現在只成印在我心裡的回憶。 

Dad has a strange habit to collect anything he thinks is useful for environmental purpose.  Even our dining table was occupied by those items.  I have been trying to understand him more in the process of scavenging.  At the same time wishing to rouse the concept of having dinner together on the same table like many years ago.  The imprint implies my memory of having meal with my family in the old days.  However, it is only an imprint in my mind. 

同枱食飯 Family Dinner
2015
裝置藝術 Installation
43 x 33 x 52 cm 

魏焫 (聖保祿學校) Wei Ruo, Rose (St. Paul's Convent School)


2017年度入圍學生藝術家

Outstanding Student Artist of 2017- Finalist​

 

以旁觀者的角度,用藝術去道出身邊所看到的事物。

Exploring the world as an observer, I hope to talk about incidents around us through the use of art and design.

重。構 Re.Structure

魏焫作品 Artwork by Wei Ruo, Rose:

人類的虛榮心下,隱藏著一個個血腥的真相。從皮草被人類利用的那一刻起,這就是一個殘暴的開端。這件作品模擬了從獵物身上奪取皮毛的過程,從而帶出華麗的皮草背後不人道的一面。我亦希望觀眾的參與能加深大家對皮草工業的認知。 

 

Tearing the fur coat off from the hanger reveals a disgusting scene with fresh and blood sticking on a rib cage.  The removing of garment resembles a skin-peeling process, taking away the gorgeous appearance and digging into countless stories and encountering of hunted fur animals.  This artwork is inspired by hunting-related articles, in which some was caused by human’s selfishness and vanity.  Allowing the audience to interact with this art piece, I hope to speak for the animals and raise more awareness on the tragedy behind fur production. 

皮草出售中 Garment on Sale
2017
裝置藝術 Installation
Size variable 

在現今社會中,女性的內在美經常因外在條件而被他人忽略。因此,醜化外表在我的設計中成為了一個很重要的元素。我希望當女性使用這些飾品設計去遮蓋大眾所認為有吸引力的身體部分的時候,她們能感受到當中所給予心靈上的保護。

Women are often judged by their appearances more than their ability or inner beauty. Therefore, inspired by the Dulong face tattoos, uglification was an important element adapted to my work. Hoping to bring attention to factors outside of outer beauty, a collection of removable tattoo fashion pieces was designed. Through using the fashion pieces to cover up female body parts that are seen attractive, I hope that this coverage could psychologically bring protection to women in facing the environmental judgements towards them. Magnified floral designs are included to my collection; the destructed flowers symbolizes the virtues of some famous females.

重。構 Re.Structure
2017
飾品設計 Accessory Design

Size variable

我們總是喜歡幻想,期望人類能與大自然有一段美好的關係。然而,真實卻是如此的不唯美。我把這個幻想塑造成一件衣服,將它安置在兩位模特兒身上並完成了兩輯照片。照片所呈現的反差感,道出了我所幻想與我所看到人與大自然的關係。

Our relationship with the nature has always hoped to be in harmony, but ends up to be flawed. The set up consists of the displaying dress and 2 sets of documentary photos, where two models wear the dress in 2 styles and effects.The photos records the contrast between my perfection on man and human relationship and how it appears in actual situation. Textile designs were adapted directly from daily objects to imitate the nature related patterns. Medium of fashion piece was also chosen to show the direct contact between the sculpted nature and human beings.

理與想 In Your Dreams
2017
時裝設計,數碼影像紙本 Fashion Piece, digital print on paper
Size variable 

楊可兒 (路德會西門英才中學) Yeung Ho Yi, Coco  (Gertrude Simon Lutheran Evening College)


2017年度最傑出學生藝術家

Best Outstanding Student Artist of 2017- Finalist​

 

只是對攝影執迷而不悔。

Just obsessed with photography.

逼-逼到沙甸魚咁逼 Crammed – A can of sardines

楊可兒作品 Artwork by Yeung Ho Yi, Coco:

參考了攝影作品「東京擠壓」,用廣東話俗語車箱「逼到沙甸魚咁逼」來做一個微型食物世界,反映返工放工的勞累的有限空間的逼。 

Taking inspiration from ‘Tokyo Compression’ and the Cantonese idiom ‘Packed as sardines’, the photos illustrate a miniature food world we are living in, how we are tiredly cramming into limited living space after work. 

逼-逼到沙甸魚咁逼
Crammed – A can of sardines
2017
數碼影像紙本 Digital print on paper
43 x 33 cm each 

豆腐雖然係一大舊但通常檔主都會切到一磚磚來買雖然一磚五元好像好平,但其實知道成本再分拆來賣是否真的平呢? 

Although tofu is normally made on a at wooden plate, it will be sold in small portions.  It certainly looks cheap for $5 each, but knowing its cost of input and being sold individually, do you still consider it as cheap at all? 

逼-劏
Crammed - Partitioned
2017
數碼影像紙本 Digital print on paper
43 x 33 cm each

用食物做連結用一般糧尾窮人才會吃的食物(腐乳)去做象徵意義,反映他們生活素質有多廉價和密及壓迫嘅食物,從而反映房屋問題。 

Using food as the metaphor, the inferior ones that we only consume at the end of the month reflect our low living quality, and the packed ones represent the crowded housing problem. 

逼-細到豆腐潤咁細
Crammed - A piece of dehydrated
2017
數碼影像紙本 Digital print on paper
43 x 33 cm each

葉昕 (李寶椿聯合世界書院) Yip Yan, Anthea (Li Po Chun United World College of Hong Kong)


2017年度入圍學生藝術家

Outstanding Student Artist of 2017- Finalist​

 

I fall feverishly, hopelessly and stubbornly in and out of love with everything, without much thought, quite often.

逼-逼到沙甸魚咁逼 Crammed – A can of sardines

葉昕作品 Artwork by Yan Yip, Anthea:

This artwork's intention is to show the contrast between childhood and adulthood. Childhood is a time of joy, hope, and carefree dreams. As we slowly grow up, society teaches us to leave our dreams behind and we move towards living a monotonous life in adulthood: repetition, boredom, conflicts and complications. I want the audience to not only feel nostalgia for the past, but to also realise that life can still be exciting, playful and joyous if only we allow ourselves to.

 

Broken Links

2017

Installation

200*300 cm

My intention is to focus on the conflict of identity and how we all try to control who we want to become, and how we need to realise we have no control over the evolution of our identity. I chose this because it is very relevant to adolescence, since it is the time where we question ourselves most. I personally have experienced this too. I want the audience to realise that identity is something malleable and constantly changing – we are not able to control it.

 

Failed Control

2017

Video

39''

My intention is to show the intensity of the emotions we feel when we are adolescents.  We are often lost in a mix of unidentifiable emotions, and this causes us to feel anger very strongly (usually towards ourselves).  I also want to portray how adolescence is a time of impulse and snap decisions, and that we usually do not think things through.  This is shown through me creating most of the work by impulse while feel- ing an intense emotion. Inspired by Basquiat. 

 

Impulse & Ire
2017
Spray paint, cardboard, net, acrylic, CD, aluminium, oil pastel

80 x 100 cm each 

袁金枝 (香港兆基創意書院) Yuen Kam Chi, Angie (HKICC Lee Shau Kee School of Creativity)


2017年度最傑出學生藝術家

Best Outstanding Student Artist of 2017

 

不同的問題在不同時間出現,每次有新的定義產生。而我能做的就是念著那一刻。

I have a lot of question to ask,and it makes me comprehend things differently.In the end,all I can do is to be conscious.

男生 我 價值 Boys Me Value 

袁金枝作品 Artwork by Yuen Kam Chi:

對男生的喜歡是不安。我對性的恐懼和喜愛心的矛盾,歸根究底就是因為我不能理解男生這個物體。但我卻對他深深著迷,他能引發我心中最美好的幻想,但同時卻不停提醒我那些最不堪入目及令我最厭惡的一面。他是一面鏡子,使我可以用第三者角度看著自己,及在別人的目光下尋找自己的價值位置。 

Romantic love is a deadly phobia to me.  I am afraid of sex but am obsessed with the thought of it at the same time.  It’s because I don’t understand what boys are, and what this boyhood is.  I don’t comprehend him.  However, I’m so addicted.  It’s because he gives me the most enchanting fantasy, and he also reminds me of my ugliest and frightful side.  He is a mirror, which make me look at myself as a third person. He helps me discover myself and my values. 

男生 我 價值 Boys Me Value
2016 - 17
陶瓷 Ceramic
150 x 150 x 200 cm 

作品一定要有意義嗎?你想看到知道什麼?我可以告訴你什麼?要是我告訴你這只是因為我喜歡所以就做了你會不會討厭我?其實作品一定需要有一個客觀的簡介嗎?簡介是客觀的嗎?我真的不知道。

Why an art work have to mean something?What do you want to see?What can I tell you?If you knew that this is actually just what I want to do,it doesn't mean anything,will you hate me?Why there always have to be a description?dose it really even objective?I just don't know.

(     ) (     )
2016 - 17
紙本 Books

Size variable

感謝我的親姐姐,她有一次喝醉了.

 

令我知道一個人醉了,可以讓理智消失到什麼境界.

 

她站也站不起,幾乎睡在街上,我和我媽媽幾乎是崩潰這求她站起來回家再睡,

她又胖又重,我和老媽只好求助街上的人,一起抬她回家.

把她抬到家裡,她硬是要睡在地上,我幾乎崩潰忍不住大聲嘶吼痛哭起來.

我不知道我在哭什麼.(最可恨的是她根本不知道自己做過些什麼.)

我很難醉,我討厭喝酒.我討厭毫無理智的狀態.

但我無論如何,也想醉一次,我不是想要報復我姐,

而是我真的很想知道我失去理智的樣子,會是怎樣.

我會不受任何的規矩,失去理性,那會是最真的我嗎?

另外,其實有些問題已經困擾我很久了.

那些問題我只能問自己,

而我決定利用這次機會,

問自己.((而在這之前,我想先觀察一下別人的醉態.

 

為了觀察別人.

我去了,蘭桂坊.

我告訴我媽我去同學家裡做小組討論

雖然我姐給了我喝酒的壞印象,

但我一直以為酒吧是一個很浪漫的地方.

果然想象是最美好的,

蘭桂坊很臭,

很多人,

很吵,

總之我不喜歡這個地方.

哪裡的人似乎都很享受那種氣氛,搖搖蕩蕩,吵吵鬧鬧.

卻只有拿著手機的我,

置身事外.

我托我姐買了兩支紅酒,三支燒酒,(我真的很難醉)

本子了夾了一些字句,讓我的姐姐問我問題.

相機也準備了.

萬事俱備只欠東風.

 

儘管到最後,

我問自己的那些問題都沒有得到答案.

就算得到了答案,又能如何,我的生命,

我對於畫畫這回事情的看法會否就此改變?

不理性的狀態, 其實是自身最自然的狀態.

沒有掣肘,沒有編排,並不美麗.

但是是最真實,沒有編輯過的我,

所說的話.

 

我十七歲, 喝醉了

2016

Video

17"51"