HKFOREWORD18 by 10 Chancery Lane Gallery

HKFOREWORD18 INTRODUCING NEW ART FROM HONG KONG

香港起動18

HKFOREWORD18 BY KATIE DE TILLY

HKFOREWORD, started in 2012 to search new talent in Hong Kong and offer support to the development of our local artistic community. In the seven years since it’s initiation, we have seen a wonderful and diverse mixture of talents and, as well, have watched these artists move forward into successful careers. They are all recent Bachelor’s and Master’s students or graduates from Hong Kong universities. The exhibition offers an introduction to some of the creative processes of this young group of artists as well as insight into their generation. This exhibition proposes a foreword to the next chapter of Hong Kong’s visual artists. 10 Chancery Lane Gallery is extremely proud to experience the works of all the artists from the graduation shows but we have narrowed down the selection to 9 young talents. Their diversity and complexity demonstrates an interesting array of ideas. This exhibition presents an opportunity for the leading artists, of the future to showcase their creative abilities as they launch their professional careers. It’s also an opportunity for potential collectors to spot the latest talent, and for curious members of the public to see the newest trends in art. But what do the exhibits tell us about emerging trends? What are the obsessions and interests of a new generation of artists? And what impact will they have on the world? We invite you to experience HKFOREWORD18 first hand. The work on display at this year’s exhibition demonstrates the students’ keen awareness of and engagement with the world around them. The world into which our graduates are emerging is very complex. Asking and exploring difficult questions is at the heart of the arts, and creative thinking helps us, as a society, to frame the challenges of our time.

《香港起動18》姬蒂 ·天利

《香港起動》於2012年起至今，旨在發掘具才華的年輕藝術家，並致力推動本土新興藝術。踏入《香港起動》第七年，10號贊善里畫廊展出過不少創新而多樣化的作品，見證這些藝術家走進成功的藝術生涯。《香港起動》為初出茅廬的學士及碩士學生提供機會。此展覽介紹了他們的創作靈感和對現今社會的剖析與見解，並為這些年青藝術家寫下新的章節。 10號贊善里畫廊非常榮幸可以於各大院校的畢業展中體驗不同作品，經過多番商議，最終挑選出九位本地應屆藝術系畢業生參展。今屆將展出包括錄像、油畫、攝影、多媒體及雕塑裝置藝術等作品，其多元化而複雜的靈感構成一系列有趣的作品。本次展覽不但為新晉藝術家提供展示創作能力的機會，開創他們未來藝術家生涯的道路，同時收藏家亦可藉此發掘人才，讓藝術愛好者去了解最新的藝術趨勢。但到底展品想呈現新興的趨勢是什麼；新一代藝術家的痴迷和聚焦是什麼；他們對為世界帶來什麼影響？ 10號贊善里畫廊誠意邀請您親身體驗《香港起動18》。今年展覽展出的作品展示了藝術家們對周遭環境和世界的敏銳觸角與連繫。藝術的核心是透過提出和探索難題，並用創造性思維去構想我們正在面臨的時代的挑戰。

AU MAN KIT 區文傑

Department of Fine Arts, Hong Kong Art School & RMIT University Au Man Kit uses different media such as painting, photography, installation and video in his artworks. Having a background in a family-run Chinese restaurant, Au’s artworks are influenced by the circadian of the restaurant environment in Hong Kong. Au believes that daily life is the subliminal force that drive his thoughts, emotions and most importantly, his artistic practice. Au hopes to rediscover himself and express the conflicts in his life through his artworks. of art. Artist statement: “I believe that the banality in our lives affects our thoughts. Similarly, every thought in reality impacts an imaginative young man.” As an artist and the son of a restaurateur, the expectations of opposing identities subconsciously affected my daily thoughts, emotions and to a larger extent, my artistic gesture. Creating art and running a restaurant seems discrete, but the fusion of the two identities have made my current self possible. The series of artwork “Enthrone” is about a young “loafer” on learning to be a successful person. The young master shows self doubt and helplessness as he steps into society for the first time through the interactions between space, time and different individuals. The ignorance and cynicism of bystanders serve as a foil to the altruism of the young master in search for happiness through his “hobby”. The installation is the crown of “enthrone”. Hence, allowing the “daydreamer” to reflect on one’s ideology and reality. 香港藝術學院，皇家墨爾本理工大學藝術家區文傑使用繪畫、攝影、裝置和錄像這些不同的媒體進行創作。擁有家庭經營中餐廳的背景，區氏的作品受到香港不分晝夜的餐廳經營環境所影響。區氏認為日常生活是驅動他的思想，情感以及最重要其藝術實踐的潛意識力量。區氏希望通過他的作品重新發現自己並表達他生活中的衝突。藝術家作品自述：「我深信我們日常生活的經歷，都會影響到我們的想法。同樣地，各種現實的思緒也會影響一位天馬行空的少年。」作為一個創作者及一個大廚的兒子，多重身份衝突在潛意識中影響我平日的思緒、情緒以及創作題材。藝術創作與經營餐廳看似遙不可及，但兩者的交織造就今天的我。「登基」這系列的作品是關於一名「不務正業」的少主在學習如何做個成功的人。片中透過空間、時間和不同人的互動，展示對個人身份的迷惘及剛踏出社會的無力感。以旁觀者的不解及冷嘲熱諷襯托少主自得其樂的「興趣」。而裝置藝術則是登基的證明。從而，令這位“白日夢者”反思自身理想與現實情況。 Well I guess this is growing up (Top) 2017, Full 1080p Video 06’ 00” Edition of 3 + 1AP As I keep chopping (Bottom) 2017, Chopping board Size variable

CHAN KA WAI, WINNIE 陳嘉慧

Academy of Visual Art, Hong Kong Baptist University Chan Ka Wai Winnie started to explore ink after her first lesson of Chinese painting course and became fascinated by the possibilities of ink. Chan experimented many different ways of ink use including ink wash on Xuan paper and employing non-traditional painting materials with ink. The technique of “splashed ink” intrigued Chan the most and she believes splashed ink is an accidental effect through a process of improvisation. Artist Statement: The splashed ink technique has no rule, but the uncertainty embedded in it features the spontaneity of chance, a certain naturalness, as well as, unpredictability. Due to these qualities, I am able to look for new possibilities in my painting in a bid to explore new expressions for abstract art. Through the crashing and flowing of the ink and water, my work features an abstract quality of “instability”, revealing kind of figurative forms. I am fascinated by this quality because it allows my paintings to oscillate between abstraction and figuration. 香港浸會大學視覺藝術學院藝術家陳嘉慧在她的第一堂中國繪畫課程後開始探索水墨，並對水墨的可能性著迷。陳氏嘗試了許多不同的水墨技巧，包括宣紙染墨和於水墨畫上使用非傳統顏料和墨水。其中“潑墨”的技巧最令陳氏感興趣，她認為潑墨是一種通過即興創作而達到一種偶然的效果。藝術家作品自述：潑墨沒有任何規則，但不確定性中蘊涵了偶然性、自然性和不可預知的特性，從中發現新的可能性，便能構成抽象繪畫的無限性。我傾注於水與墨之間，在宣紙上碰撞、流動，展現出多變的特質，繼而形成某種具象的物態。這種變化，使作品流連於抽象與具象之間。

Symbiosis (Diptych) 2018, Ink and acrylic on paper 180 x 97 cm each

CINDY 楊詠琳

Academy of Visual Art, Hong Kong Baptist University Cindy is a dedicated painter that uses her artworks to express her state of mind. She invites audiences to peek into her imaginary world; her artworks are subjective to viewer’s interpretation. Cindy’s paintings are her own Alice’s Wonderland luring us to explore the fantasies within. Artist Statement: This is an imaginary picture of what the world would be like when I am strolling in the evening time at 6 p.m. There is not a clear message that I want to tell my viewers through these paintings, but it is rather a vision I would like to show. I want these paintings to be big enough that when people step closer all they can see is one part of my paintings. I want viewers to feel involved in these scenes allowing the paintings to function as a gateway to dreams. They attempt to get beyond, to be mythic in some way. I try to paint about everything I am interested in things I read, see, imagine, think about and fantasize about. Although I use photographs as reference, I don’t want to replicate them, rather create a dreamscape for viewers to get in.

香港浸會大學視覺藝術學院藝術家楊詠琳是一位專注的畫家，她利用她的作品表達她的心態。楊氏邀請觀眾窺視她想像中的世界; 她的作品對觀眾沒有既定的解釋，反而是根據觀眾主觀的想法而衍生的。楊氏的畫作是她自己創造的愛麗絲夢遊仙境，誘使我們去探索其中的幻想。藝術家作品自述：傍晚6時的遊走是我創作的開端，景色隨步伐改變，物件亦因而具不穩定性，形同飄浮。藉由六幅畫布併合，我意圖將當中所見所聞、將個人的想像和感受轉化成新的畫面，引領觀眾進入另一場幻景，能逐一細看又如親歷其境。

1800 VII (Top) 2018, Oil on canvas mount on wood panel 18 x 18 cm 1800 I - VI (Bottom) 2018, Oil on canvas 120 x 100 cm

JOSEPH, LEUNG MONG SUM 梁望琛

Department of Fine Arts, Chinese University of Hong Kong Joseph Leung Mong Sum is interested in exploring human sentiment in a contemporary context. Leung is currently producing research in the form of photo poetry and conceptual photography. He was recently selected as one of the finalists of the WMA Masters Photographic Awards 2017/18 and had previously been awarded the “Julian Lee Asia One photographic Awards 2016/17” and chosen as a finalist in the “First Smash 4 Art Project”. Artist Statement: “Eventually, Obsolete“is a body of work that surrounds an old CRT monitor manufactured in the year of 2000. The outdated CRT monitor was first dissected, with its internal parts and elements taken out. The elements of the monitor were then subsequently juxtaposed with various parts of the human body with a matching nature, creating individual pieces of works that stand as hybrids between humanity and technology. Through this body of work, I hope to provide a new perspective on how we should understand technology and ourselves under the zeitgeist of the digital era. 香港中文大學藝術系藝術家梁望琛對在當代環境中探索人類情感十分有興趣。梁氏目前正在以一系列詩歌式照片和概念式攝影的形式進行研究。他最近被選為2017/18 WMA大師攝影獎的入圍者之一，之前曾被授予「Julian Lee Asia One攝影獎2016/17」，並被選為「First Smash 4 Art Project」的決賽候選人。藝術家作品自述：在《過時》這一系列作品裡，我以一個在2000年製造的舊CRT顯示器作為起點，並延伸成不同的作品。我先將舊CRT顯示器作「解剖」，並將其內部部件取出。隨後，將顯示器的各部件與人體的各個部位，以相若的性質湊合並置，創造出一些人類與科技之間的合成物。透過這一系列的作品，我試圖帶出在這數碼時代底下，科技與人類的短暫性，從而提出一個讓人們理解兩者的新視角。 Untitled #1 (Left) 2018, Inkjet Print Hahnemühle photo paper, CRT monitor, plexiglass 60 x 60cm ; 22 x 30 x 17cm Untitled #2 (Top Right) 2018, Inkjet Print Hahnemühle photo paper, power cable, plexiglass 30 x 24 cm The Conciousness of the Millennium (Bottom Right) 2018, Inkjet print Hahnemühle photo paper, cable, electrical wire of the CRT monitor 100 x 30 cm

LI TAK YUNG, DORIS 李德蓉

Academy of Visual Art, Hong Kong Baptist University Li Tak Yung Doris creates her artworks in ceramic, glass, mixed media and many more. Li’s works are inspired by the relationship between human being and the world. Li explores the possibilities of clay and tries to seek an absolute balance between changing and keeping the characteristic of the clay. In her works “Needlework”, Li added clay to the Chinese needlework threads to create a new form of ceramic. Li won Sun Museum Award in Hong Kong in 2018. Artist Statement: Creation is my thinking and questioning towards daily life. My creations are inspired by the relationships that relate to people. Starting from the very beginning of our life, we have long established relationships with the rest of the world. Among the various relationships, I wonder how they affect each other and draw each other. In between, I wonder if there is an absolute balance or a perfect harmony. Or, will there always be an unavoidable existence of contradictions? I like to use clay as medium in my creation since clay always responds directly to my hands. The plasticity and unpredictable outcomes of clay can let unlimited possibilities happen. Also, clay can always cooperate with other materials undoubtedly. As clay can be mixed with other substances, it is so susceptible to external influences and changing its essence easily. But at the same time, it could remain some characteristics of itself. The property of clay is just so familiar to human beings. Everything we do is so easily affected by our surroundings. I use clay as a metaphor for human beings. 香港浸會大學視覺藝術學院藝術家李德蓉使用陶瓷、玻璃、混合媒體等創作了她的作品。李氏的創作受到人類與現今社會關係所啟發，探索了粘土的可塑性，並試圖在改變和保持粘土特徵之間尋求絕對的平衡。在李氏的作品「女紅」中，她在中國的針線刺繡上添加了粘土，以創造一種新的陶瓷形式。李氏在2018年獲得香港一新美術館獎。藝術家作品自述：我喜歡使用陶泥作為媒介，它總是直接地回應我的雙手，它的可塑性可以引起無限的可能性。它可以輕易配合其他物料使用，甚至混合其他物質，來改變它的本質。它是如此地容易受到外來的影響，就如人一樣，任何事也被周遭的事物影響著。但是，它被改變的同時，卻又稍稍地保留了自己。同時，我喜歡陶泥在窯中燒製的過程，它為陶泥所帶來不確定性，還有那些在窯中消失的物質，觸動我的神經。把不同的物料泥進淘泥之中，讓兩者融為一體，物料卻隨溫度上升而消失不見，留下陶土。我希望我的作品，從留下的部分看得見那些消失的部分，透過不完整，訴說一個完整的故事。

Needlework 2018, Porcelain, embroidery hoop 26 cm x 26 cm x 4 cm each

PANG ON ON 彭安安

Academy of Visual Art, Hong Kong Baptist University Pang On On creates artworks in the form of glass blowing, Chinese painting, mixed media and installations. Pang uses dust to create a tower that is both elusive and luring. The transitory aspect of her work explores the subject of “time” as it is invisible yet important in everyone’s life. Pang transforms this invisible element in our lives into a visual object that reflects “time” bringing us into the moment of our invisible surroundings. Artist Statement: Dust is an embodiment of time. It appears and gathers at a place as time goes by. Through observing it, one is witnessing the passage of time and how much time has elapsed. Time is invisible while dust is visible. I use dust to visualise time through creating numerous small cubes of dust. The accumulation of the dust squares alludes to the continuous passage of time. I try to make the invisible visible by creating volume formed in space over time. 香港浸會大學視覺藝術學院藝術家彭安安創作的藝術品有玻璃雕塑、中國畫、混合媒體和裝置藝術。彭氏利用灰塵創造了一個既難以捉摸又引人入勝的高塔。彭氏的作品利用塵埃探討了「時間」這個主題，因為「時間」在每個人的生活中都是看不見但很重要的元素。彭氏將我們生活中這個看不見的元素轉為一個反映“時間”的視覺化作品，引領我們進入一個超越三維的多感官世界。藝術家作品自述：塵埃象徵時間，透過時間在一個空間停留。塵埃是時光的痕跡。透過觀察塵埃，便可知有多少時間穿梭。塵埃是可見的，時間卻是不可見的。我以塵埃視作時間，把塵埃轉變成細小的正方塊，而累積的塵埃小方塊好比時間不停的流逝。我嘗試將看不見的變成可以見到的，以塵埃的體積創造時間的空間。

Space of Time 2018, Dust, metal support Size Variable

RAY MOK 莫進輝 & RED WONG 王鎧鴻

School of Creative Media, City University of Hong Kong Ray Mok and Red Wong are both born and raised in Hong Kong. Mok and Wong practice photography and animation. They believe there are many other perspectives to show the beauty of Hong Kong. Mok and Wong use drone footages and animation to create a video installation that portrays not only the stereotype of the Hong Kong landscape but also the symmetric and surrealistic images that show us the hidden parts of the “Pearl of the Orient”. Artist Statement: We use our eyes to discover the beauty of Hong Kong. The music video “Iam Twisq” takes Hong Kong’s concrete jungle to re-create an urban playground by animating shapes, forms and colors extracted from drone footages. 香港城市大學創意媒體學院藝術家莫進輝和王鎧鴻都在香港出生和長大。莫氏和王氏均利用攝影和動畫創作。他們相信還有很多不同的角度能夠展示香港的美麗。莫氏和王氏使用無人機攝影的片段和動畫製作了一個錄影藝術裝置作品，作品不僅描繪了香港風景，還透過對稱和超現實主義的圖像，向我們展示了「東方之珠」的隱藏部分。藝術家作品自述: 《Iam Twisq》是一部重建香港建築面貌的抽象動畫。我們利用航拍拍攝一系列香港公共房屋和公共設施的照片，並從中抽取出不同形狀﹑形態和顏色重新組合，以重建出一個與「石屎森林」截然不同的「城市遊樂場」，表達出香港充滿節奏感的一面。

Iam Twisq 2018, 2D animation, 1920x1080, 02’ 43” Co-directed and animated by: Ray Mok & Red Wong Drone Photographer: Beeson Ho Music by: ISAN

WANG RUONAN 王若男

School of Creative Media, City University of Hong Kong Wang Ruonan studied creative media and she works with abstract videos and photography. This series of photographs recreates a sentimental still life that Wang uses to express a delicate sensibility of the heart. The photographic works are almost painterly evoking emotions of longing through her poignant chronicle. Wang is now exploring more possibilities of this visual narrative in multimedia artworks. Artist Statement: IMPERMANENCE is a series of photographs to describe the decline of the obvious in our daily lives. The photos depict very common daily life surroundings that seem like full of vigor, but the only life form, the flower, appears to be fading. Flowers as a metaphor expressing the finality of life. The decaying process serves as a contrast to the vitality, which embodies and reveals the omnipresence of death in our daily lives. The photos are photographer’s way of expressing the impermanence of life. 香港城市大學創意媒體學院藝術家王若男研究創意媒體藝術，並從事抽象錄影和攝影工作。這一系列的照片透過重塑了各種感傷的靜物，表達柔弱、感性、微妙的心靈感受。這些攝影作品通過那如畫般淒美的構圖喚起了人們對情感的渴望。王氏現正繼續探索行用視覺敘事式多媒體藝術作品的更多可能性。藝術家作品自述：照片描繪了非常普通的日常生活環境，似乎充滿生機，但“花”作為照片中唯一的生命體正在消亡。花作為隱喻，衰敗與生命力生成了對比，藉此體現生命的無常。

Photo 5 (Top left) 2018, Giclée print on Fantac photo paper 20.3 x 20.3 cm Photo 1 (Top right) 2018, Giclée print on Fantac photo paper 40.6 x 27.1 cm Photo 3 (Bottom left) 2018, Giclée print on Fantac photo paper 55.8 x 37.2 cm Photo 6 (Bottom right) 2018, Giclée print on Fantac photo paper 33.5 x 23.7 cm

WONG PAK HANG 黃百亨

Department of Fine Arts, Chinese University of Hong Kong Wong Pak Hang is inspired by modern life and habitation. He expresses himself through both digital and mixed media works including photography, video, painting and installation. Wong’s deep and genuine care for people led him to create a series of video works and photography that use people’s homes as a reflection of their lives. Wong believes we can all enter and understand someone’s life by peering into their personal surroundings. By panning through the homes of different individuals we not only feel their distinct nature but also the connectedness of everyone. Artist Statement: Where I live, a new construction has appeared up the hill from me while the old buildings below mine have been demolished. Newcomers have moved in while old dwellers have been relocated. I find life fluid and full of changes, you never know if things will change for the better or the worse. For the people who live here though, their daily lives do not undergo much change: they go to school, go to work, take the bus, buy groceries. I am interested in their daily lives, I want to enter their lives. What does their ‘real life’ entail? I visited ten friends’ homes, including my own. The photos present the homes in flat and straightforward ways. We can see the entire living environment and the traces of people’s lives. 香港中文大學藝術系藝術家黃百亨的創作靈感來自現代生活和居住環境。黃氏通過數碼和混合媒體作品表達自己，當中包括攝影、錄像、繪畫和裝置藝術。黃氏對人們的真誠關懷促使他創作了一系列錄像和攝影作品，透過人們的家作為對他們生活的反映。黃氏相信，通過凝視某人的日常個人環境，我們都可以進入並了解他們的生活。通過不同家庭環境的分鏡，我們不僅感受到了他們獨特的本性，而且感受到了與每個人的聯繫。藝術家作品自述：在我居住的地區，山上有些東西剛興建好，山下有些東西剛被拆卸，新的人遷來，舊的人被趕走。我覺得生活中很多事物都在轉變，人處於浮動的狀態，不知會往好處或壞處發展。可是對於在大多數人而言，每天又好像沒有多大分別，生活大多是重複而瑣碎的。我很好奇他們的一天是怎樣度過的，很想走進他們的生活，藉此尋問：所謂的生活究竟是怎麼樣的？

Habitation (Top) 2018 ,Single Channel Digital Video, Colour 14’41” Installtion shot (Bottom)

About 10 Chancery Lane Gallery 10 Chancery Lane Gallery was established by Katie de Tilly in 2001 in Hong Kong. Originally from the U.S., de Tilly was taken by the vast and important developments of art in the Asia-Pacific region when she moved there in 1994. The gallery focuses on art from China, South Asia, Southeast Asia, and Australia. With a strong interest in the origins and art movements of contemporary art from the Asia Pacific, the gallery works with regional curators to offer a diverse program of survey exhibitions with academic analysis and critical writing.

Installation view Wang Keping, Eternal Smile at 10 Chancery Lane Gallery

This booklet is published on the occasion of the exhibition HKFOREWORD18 at 10 Chancery Lane Gallery, Hong Kong in 2018.

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