「模稜結構 — 陳安琦個人作品展」" Structural Ambiguity – Works by Angel Chan "

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前 言

2021 年澳門全藝社策劃的「女性．主意」——女藝

包括了盤骨、脊椎、骷髏骨等。

術家專題展覽系列之第二部份是「模稜結構」——陳 安琦個人作品展。是次展覽的英文題目「Structural

這些作品的結構感強烈，同一形狀的高跟鞋被不同

Ambiguity」（又稱結構歧義）是指英語中一個句

的排列建構成一個個彷彿獨立自主的形態，但獨立

子某一部分在結構上可用一種以上的方式解析，因

性只是假象，它們每一件都是被既有的潛規則所限，

句型結構的多重性而導致句意不明或雙重意思，稱

就是高跟鞋本身。作品語帶相關的地方，正是整體

為「結構歧義」（Structural Ambiguity）。例如：

結構的合理性和細節內容的多重性，最終捕獸器不

「She meets a man in high-heel shoes.」 她 究

全然是捕獸器，而是由高跟鞋建構而成的器具，表

竟是穿著高跟鞋去見一個男人？還是她去見一個穿

現出來既有戀物情意，又有批判意味。

高跟鞋的男人？這種句法結構所產生的模稜兩可， 與陳安琦的創作手法有吻合之處，於是筆者以「模

這過程正正展現了陳安琦於個人藝術路上的蛻變。

稜結構」為題，看陳安琦用高跟鞋拼合的瓷製骨骼，

作為女性，她詰問，高跟鞋到底是一種美化的工具

並從其造型結構與引伸意義的多重性來解讀。

還是一種詛咒？它的美終究是建基於它帶來的痛楚， 這種矛盾引發了創作初期的疑問，然後她透過對藝

陳安琦出生於香港，2015 年畢業於澳門理工學院藝

術與造型的研究，把製造矛盾的實體內化成藝術創

術高等學校學士學位，主修陶藝，後又畢業於台北

作的一部分，也是她自己的一部分。她用高跟鞋造

教育大學藝術與造型設計碩士學位。陳安琦是次展

型製作的捕獸器或食人花、盤骨和脊椎是如此的絲

出六套陶瓷作品，以高跟鞋為創作元素。陳安琦從

絲入扣。流行文化中理所當然的物件，被她透過象

創作初期就對高跟鞋情有獨鍾，之前於澳門創作了

徵符號的抽離從痛苦中釋放出來，但她捉住了其扭

一系列手捏成型的高跟鞋陶瓷作品，後來捨棄了高

曲的核心，轉化成表裡相稱的藝術品。

跟鞋的外觀花樣，從外在實體轉化成符號，以石膏 模具翻模高跟鞋的造型，再重新拼合成各種形狀，

策展人

包括捕獸器、有牙的食人花，或人體的不同部位，

郭恬熙

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Preface

In 2021, AFA Macau curates "Femininity in Art”, the second part in a series of thematic exhibitions by female artists, "Structural Ambiguity" is a solo exhibition of the work of Angel Chan. “Structural Ambiguity", the title of this exhibition, refers to a part of a sentence in English that can be parsed in more than one way, resulting in uncertainty or double meanings due to the multiplicity of sentence structures, known as "Structural Ambiguity". For example: "She meets a man in high-heel shoes.”

Does she meet a man in high-heel shoes? This syntactic structure produces an ambiguous meaning that is in line with Chan’s creative approach. Therefore, I have used the title “Structural Ambiguity” to look at Chan's porcelain skeleton assembled with high-heeled shoes, and interprets it in terms of its stylistic structure and the multiple meanings it evokes.

Born in Hong Kong, Angel Chan graduated from the Macao Polytechnic Institute in 2015 with a Bachelor's degree in Fine Arts, majoring in ceramics, and later graduated from the Taipei University of Education with a Master's degree in Art and Plastic Design. Chan exhibits six sets of ceramic works, using high heels as a creative element. Angel Chan has been a fan of high heels since the early days of her career, and has previously created a series of hand-kneaded ceramic works of high heels in Macau. Later on, she abandoned the appearance of high heels and transformed them into symbols, using plaster moulds to re-mould the shapes of high heels, and then reassembled them into various

shapes, including an animal trap, a cannibal flower with teeth, or different parts of the human body, including the pelvis, spine and skull.

There is a strong sense of structure in these works, with the same shape of heels being arranged in different ways to form what appears to be an autonomous form, but the independence is only an illusion; each of them is bound by an established subterfuge, the heels themselves. It is the rationality of the overall structure and the multiplicity of details that make the work so relevant, and the final trap is not just a trap, but an apparatus constructed from high heels. The expression is both fetishistic and critical.

This process demonstrates the transformation of Angel Chan in her own artistic journey. As a woman, she interrogates whether high heels are a tool of beauty or a curse. This contradiction led to initial questions, and then through her study of art and modelling, she internalised the contradictory entities that created them as part of her artistic work, and part of herself. Her traps or cannibal flowers, plate bones and spines made in the shape of high heels are so intriguing. Objects taken for granted in popular culture are released from their pain by her symbolic abstraction, but she captures their twisted core and transforms them into artworks that match their appearance.

Curator Alice Kok

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令人著迷的美麗與痛楚 1 ——關於陳安琦的陶藝創作 2 文 | 游原一（台灣藝術評論者）

美麗是需要代價的，一雙高跟鞋，讓灰姑娘獲得度

家內心世界的心跡，它們化為藝術家承載自我意識

鞋而著的美麗，也令灰姑娘的姊姊付出削足適履的

的重要載體，擔當著自我內省與他者關照的交流媒

代價，灰姑娘因它變成公主，女孩因它成為女人。

介，成為陳安琦詮釋個體生命和創作思想的視覺圖

穿著高跟鞋的外表看似高調漂亮，但明眼人都知那

徵，用以揉合自身生命經驗及藝術創作表現，創造

內裡都是歪斜變形的，身材比例因高跟鞋而變好，

出一種涉及女性身體的維度顯現。然而，如何在白

身體卻因此產生後遺症。女人用傷害換取美麗，該

骨之中看見美麗，讓二者得以相互映照，係陳安琦

身心所付出的傷損程度是否足以承受其所換來的美

不斷思量和實驗的美學課題，她採取一種清晰易懂

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麗？還是如同《紅舞鞋》 的女孩一般，最終仍無

且簡約單純的素白造型來傳遞情感，透過模擬真實

法 承 受 只 能 砍 去 雙 腳？ 因 此， 女 性 那 糾 結 於 美 麗

之現象來建構這些巧緻又病態的骨骼意象，令觀者

與創傷之間的矛盾心理感觸，引起藝術家陳安琦

得以觸發對於美麗和痛楚的具體聯想。就該視覺表

（1993~）的創作意念。陳安琦以親身成長經歷反思

現型式而分，陳安琦所演繹的高跟鞋形象有幾：一、

自身在追求女性形象的心路歷程中，高跟鞋之於她

構成化的高跟鞋：陳安琦經由對高跟鞋與人體骨架

的意義和價值，而察覺到「身體」係換取美麗的代

間 的 造 型 聯 想， 例 如〈 骸 〉（2021）、〈 標 本 〉

價籌碼。基此，陳安琦以高跟鞋為探索自身創作之

（2021）拼裝出一種複合式的概念投射。二、病徵

路的立足點，將受高跟鞋支配的身體狀態視為創作

化的高跟鞋：她擬仿高跟鞋後遺症所產生的身體病

切入點，通過人體骨骼及高跟鞋形象的仿擬手法，

症，如〈承〉（2020）以鞋型增殖塑造出脊椎因擠

在這些層疊拼裝且脆弱易碎的白骨鞋上，揉入她對

壓而扭曲成 S 型的視覺外相。三、表徵化的高跟鞋：

現實結構和女性意象的態度立場，並圍繞著女性特

用高跟鞋的意符解釋她對女性身體文化現象的個人

質、醫學病徵及社會價值等關鍵詞來整合其思考脈

觀點，譬如〈噬〉（2017）、〈食人花〉（2021）

絡，藉此表述一則在當代消費社會裡關於女性身體

等作品。整體言之，陳安琦通過創作尋覓自身價值

的寓言故事。

定義的同時，與其生活經驗綑綁的物件元素（高跟 鞋）則成為她彰顯個體和集體價值的直觀途徑所在，

這些白骨鞋反映出外在世界的形影，也記錄著藝術

再經陳安琦對該物件符號的多重解析和概念轉譯後，

1 本文係根據筆者〈那雙白骨鞋的美麗與痛楚－讀陳安琦的自虐之詩〉（2021）一文增添修改而成，該文首發於陳安琦 2021 年於台灣陶 博館個展。 2 在此所指的陶藝創作是以陳安琦〈自虐之詩〉（2017-2021）該系列作品為評述範圍。 3 安徒生童話，該內容描述的是一位穿著紅舞鞋的女孩被強迫持續跳舞的故事。

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白骨鞋蛻變成她連結其女性藝術家之身分與轉嫁身

作品氣質裡，賦予藝術家提高自我女性意識強度之

體痕跡特質的重要媒介，而這些本身已具有案例示

目的，意即，這一雙雙白骨鞋係陳安琦尋找自我價

意成分的白骨鞋，更被藝術家組合成可以間接陳述

值及身體權力的提問心得，係女性藝術家在面臨社

事件的紀錄標本，以隱隱然的姿態烘襯著美麗與痛

會規訓價值後的自我省思。她以女性語境與主體自

楚這一情況的整體氛圍。

覺的敘事視角，剖析女性明知追求美麗是需代價的 前提，依舊堅持探求美麗的掙扎心境，展示出女性

讀陳安琦的陶藝創作有幾點值得留心是，第一，她

對於自我主體定義的能動性，使她的創作建立在一

的創作雖然不免映照出在大社會背景裡所積累的女

種自我賦權（empowerment）的認知態度上進行

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性標準形象的集體潛意識， 可是陳安琦卻無意重

本色演出。

申有關在該潛意識背後的父權凝視一事，僅是誠實 面對自己內心愛美的困惑，全憑一股「要靚唔要命」

一段知其不可而為之的身體經驗，讓陳安琦用真誠

的直白訴求，重新諦視其個人對於美麗及痛楚的情

的肉身感悟把傷疼揉進土裡，將該體會細心捏塑成

感體驗和價值評判。再者，她行使高跟鞋符碼組裝

一段深摯溫柔的身體宣言，她在高跟鞋上履行一場

聯想之措施，把自身日常體驗轉化為具有普遍性的

私語獨白，書寫其個人的人生閱歷及軀體語言，以

社會身體經驗，細膩的將個體自傳性的敘事特質延

白骨鞋為識別象徵模塑出她所關心的女性軀體，表

伸改變成一種具備群體社會性的思考特徵，並利用

明她對於社會生活的感性觀察及自我生命經歷的理

高跟鞋的形象視角觸發觀者對於社會文化現象的思

性心得。對於陳安琦而言，「女為己悅而容」5 係重

辨機制，讓觀者重新審思世人對於社會制度現象及

要的，女人不但學習如何成為女人，更是透過自己

觀看話語框架的慣性態度，進而譜寫藝術家在現實

成為自己理想中的女人，更深切的說，她的創作述

世界中所面臨的處境和自我身體的真實感受。其三，

說的是女人的美麗與傷害，也是女人的倔強與脆弱，

從運用媒材的外在能量及表達情感的內在精神來

更是一種即使再痛也要堅持美麗的共同經驗。

說，陳安琦的白骨鞋體現出藝術家自我內在編碼與 外在時尚文化符號的聯繫干係，在一縷都會性格的

4 在此指的是有關陳安琦創作中男性觀看、父權制度等面向之討論，而陳安琦的創作是否已擺脫這些凝視情形仍需持續觀察她日後創作發 展方能判斷。 5 在此之意係女人是為了自己愉悅而打扮自己，而不同於「女為悅己者容」所謂的女人是為喜歡自己的人而打扮自己的概念。

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Fascinating beauty and pain1 - Angel Chan’s pottery art2 Text | You Yuan-yi (Taiwan Art Critic)

Beauty comes at a price. A pair of high-heeled shoes allows Cinderella to gain the grace of fitting perfectly into it, but it also makes Cinderella's sister pay the price of cutting her feet in order to fit in. With a pair of high-heeled shoes, Cinderella becomes a princess, and a girl becomes a woman.

The appearance of wearing high heels looks elegant and beautiful, but the discerning people know that the inside is in fact skewed and deformed. The proportion of the body becomes better thanks to the high heels, but by the same token, the body carries the sequelae as well. Women trade bodily hurt for beauty. Is the damage done to the body and mind worth the beauty they have earned? Or is it just like the girl in “The Red Shoes”3 who can't bear the pain anymore and decides to cut off her feet? Therefore, it is this questioning of women's ambivalent psychological feelings entangled between beauty and trauma that arouses the creative ideas of artist Angel Chan (1993~). Chan uses personal growth experience to reflect on the meaning and value of high heels to her in the pursuit of a female image, and realises that “body” is the price bargaining chip in exchange for beauty.

Based on this, Chan uses high heels as a foothold to explore her own creative work, and regards the physical state dominated by high heels as the entry point of her art. Through the imitation of human bones and the image of high heels, these layers of fragile bones are assembled. With these vulnerable “bone-shoes”, she blends her attitude and position on reality structure and female imagery, and integrates her thoughts around keywords such as feminine traits, medical symptoms and social values, thereby expressing a fable about the female body in contemporary consumer society.

These bone-shoes reflect the shape and shadow of

the external world, and record the inner world of the artist. They become a significant carrier of her self-consciousness, and serve as a communication medium for self-introspection as well as the care for others. They have become Chan’s interpretation of individual life and the visual signs of her creative thoughts, blending one's own life experience and artistic forms to create a dimensional manifestation involving the female body. However, the question of how to see beauty in the bones so that the two can reflect each other is an aesthetic subject of Chan’s incessant consideration and experimentation. She adopts a clear, easy-to-understand, simple and white model to convey emotions, and simulates realistic phenomena. Constructing these ingenious and pathological skeletal images allows viewers to trigger specific associations of beauty and pain. In terms of this visual expression, there are several imageries of high-heeled shoes that Chan interprets: 1. Structured high-heeled shoes: Chan uses the modelling association between highheeled shoes and the human skeleton, such as in “Skeleton” (2021), “Specimen” (2021) , assembling a composite conceptual projection. 2. Symptoms of high-heeled shoes: She intends to imitate the physical symptoms caused by the sequelae of high-heeled shoes. For example, “Sustain” (2020) uses the proliferation of shoes to shape the visual appearance of the spine that is twisted into an S shape due to compression. 3. Representational high-heeled shoes: Chan uses the meaning of highheeled shoes to explain her personal views on the phenomenon of female body culture. In general, while Chan seeks the definition of her own value through creation, the object element (high heels) tied to her life experience becomes her intuitive way to demonstrate the individual and collective value. And then through her multiple analysis and

1 This article is based on the author's “The Beauty and Pain of That Pair of Bone Shoes - Reading Angel Chan’s Poetry of SelfCriticism” (2021), which was first published in Chan’s solo exhibition in Taiwan Ceramic Museum in 2021.

2 The pottery creation referred to here is the series of works by Chan’s “Poetry of Self-Criticism” (2017-2021) as the commentary.

3 Andersen’s fairy tale, which describes the story of a girl in red shoes being forced to dancing continuously.

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conceptual translation of the object symbol, the bone shoes are transformed into an important medium for her to connect her identity as a female artist with the characteristics of transferring her body traces. These bone shoes, which already serve as examples, are combined by the artist into a series of specimens that documents the events indirectly, so as to subtly highlight the beauty and pain against the overall atmosphere of the situation at hand.

There are a few points worth noting in reading Chan’s pottery art. First, although her creation inevitably reflects the collective subconsciousness of the female standard image accumulated in the context of the society as a whole, 4Chan has no intention to reiterate about the patriarchy behind this subconsciousness. She just wants to face honestly the bewilderment of one's own beauty, relying solely on the straightforward appeal of “to be fashionable rather than comfortable”, and to reconsider one’s personal emotional experience and value judgment of beauty and pain. Furthermore, she uses the measures of high-heeled shoe code assembly associations to transform her daily experience into universal social and physical experience, and delicately transforms the extension of individual and autobiographical narrative characteristics into a group social thinking feature. She uses the perspective of high heels to trigger the viewer's speculative mechanism for social and cultural phenomena, allowing viewers to reconsider the world's inertial attitudes towards social system phenomena and viewing discourse frameworks. In so doing, she composes the artist’s situation in the real world and the reality of her own physical feelings. Third, from the use of the external energy of the media and the internal spirit of

expressing emotions, Chan’s bone-shoes reflect the relationship between the artist’s internal coding and external fashion and cultural symbols, giving it a ray of urban personality temperament. The purpose of the artist to increase the intensity of feminine selfawareness suggests that this pair of white boneshoes is Chan's questioning experience in searching for self-worth and physical power, and is the selfreflection of female artists after facing the value of social discipline. From the narrative perspective of female context and subject consciousness, she analyses the premise that women know that the pursuit of beauty is a price, and still insists on the struggling mood of pursuing it, showing women's initiative to define the subject of self, making her work a kind of self-empowerment. Such empowerment of the cognitive attitude reveals the true colours of the Self.

This impossible bodily experience has led Chan to a sincere physical perception with which she rubs the pain into the clay, carefully shaping the experience into a deep and gentle body declaration. It is as if she performs a whispered monologue on her high heels, writing her personal experience and body language. She uses bone-shoes as the identification symbol to mould the female body she cares about, showing her perceptual observation of social life and rational experience of her own life. For Chan, the reinvented truism “A woman dresses to please herself.”5 is important. Women not only learn how to be women, but also become their ideal women through themselves. More deeply speaking, her works speak of the beauty of women and the hurting, as well as women's stubbornness and fragility. Most of all, it is a common experience of persisting in beauty even if it hurts.

4 This refers to the discussion of male viewing and the patriarchal system in Chan’s work. Whether Chan’s has got rid of these gazes still waits to be defined by continuous observation of her work and development in the future.

5 The meaning here is that women dress themselves up for their own pleasure, which is different from the concept in the Chinese idiom that “women dress up to please those who like them”.

作 品 A rt work s

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噬 Devour 陶土 Ceramics 27.5 x 23 x 23 cm 2017

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噬 III Devour III 瓷土 Porcelain 16 x 50 x 35 cm 2018

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緒 II Complicate II 瓷土 Porcelain 12.5 x 17.5 x 13 cm 2020

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承 II Sustain II 瓷土 Porcelain 18 x 21 x 81 cm 2020

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承 III Sustain III 瓷土 Porcelain 17.5 x 25 x 83 cm 2020

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骸 Skeleton 瓷土 Porcelain 尺寸可變 Size Variable 2021

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食人花 Piranha Flower 瓷土 Porcelain 43 x 45 x 19 cm 2021

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標本 Specimen 瓷土 Porcelain 13.5 x 13.5 x 30 cm x 4 pcs 2021

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陳安琦 2015 年畢業於澳門理工學院視覺藝術系，主修陶藝。2013 年曾赴臺灣藝術大學雕塑系進行交流。現於臺北教育大學修 讀藝術與造型設計學系藝術創作組碩士學位。 個人展覽 ＼ 2021 2020 2017

「自虐之詩——陳安琦陶藝展」，鶯歌陶瓷博物館，台灣 「綺麗解剖——陳安琦陶瓷創作展」，金車文藝中心南京館，台灣 「危裳美艷——陳安琦陶藝展」，瘋堂十號創意園，澳門

群體展覽（部分） ＼ 2020 2019

2018

2016

2015

「ARTFEM 2020 第二屆國際女藝術家澳門雙年展」，婆仔屋文創空間，澳門 「澳門新女性當代藝術聯展——WO 門」，氹仔嘉模會堂，澳門 「亞洲當代陶藝展」，中國美術學院民藝博物館，杭州 「視覺藝術三十年校友聯展」，澳門理工學院，澳門 「維度與元素─深港澳女性當代藝術作品展」，羅湖美術館，深圳 「後浪—澳門全藝社十一週年 90 後會員作品展」，全藝社，澳門 IAC 國內展「陶響世代——探索臺灣當代陶藝」，臺灣藝術大學，台灣 「亞洲當代陶藝展」，弘益大學美術館，首爾，韓國 「啟航•跨越思路——澳門雕塑家作品邀請展（塞爾維亞）」，塞多米埃•科斯蒂奇畫廊（Čedomir Krstić）， 皮羅特（Pirot），塞爾維亞 「澳門•廣州兩地青年雕塑家邀請展」，澳門回歸賀禮陳列館，澳門 「兩岸四地﹙澳穗港台﹚雕塑交流展」，旅遊塔，澳門 「武漢澳門陶藝交流展」，湖北美術學院美術館，武漢 「秋土雕塑展」，瘋堂十號創意園，澳門 「第二屆廣東 ( 中山 ) 文化創意博覽交易會」，紅木文化博覽城，中山 「春木雕塑展」，瘋堂十號創意園，澳門 「景德鎮澳門陶藝交流展」，陶溪川美術館，景德鎮 「延續——陳安琦、黃凱欣、黃碧翠陶藝展」，青少年展藝館，澳門

博覽會 ＼ 2019 2015

「台北國際藝術博覽會」，台北世界貿易中心一館，台灣 「新藝潮——國際藝術學院新進博覽」，澳門威尼斯人金光會展中心，澳門

收藏 ＼ 私人收藏於台灣及澳門 獎項 ＼ 2020 2017 2016 2015

2011

入選第 24 屆桃城美展 東方基金會造形藝術獎榮譽獎 入選澳門秋季沙龍 入選澳門秋季沙龍 澳門基金會獎學金 入選第 27 屆全澳書畫聯展

29

Chan On Kei, Angel Graduate of Bachelor of Arts and Diploma of Visual Arts in Macao Polytechnic Institute, majoring in Ceramics. In 2013, Chan studied in Taiwan University of Arts as an exchange student in the Sculpture Department. She is now studying in the Department of Arts and Design of Taipei University of Education for a Master’s degree.

Solo Exhibitions \ 2021 2020 2017

“Poetry of Self-Criticism: Ceramics Solo Exhibition by Chan On Kei”, Yingge Ceramics Museum, Taiwan “Gorgeous Anatomy – Porcelain Works by Chan On Kei”, King Car Cultural & Art Center, Taiwan “A Wear of Dangerous Glam – Ceramic Works by Chan On Kei”, 10 Fantasia - A Creative Industries Incubator, Macao

Group Exhibitions (Partial) \ 2020 “ARTFEM Women Artists 2nd International Biennial of Macao”, Albergue SCM, Macao 2019 “Macau New Woman Contemporary Art Exhibition-WM”, Carmo Hall, Taipa, Macao

“Contemporary Ceramic Art in Asia”, CAA Art Museum, Hangchow

“Visual Arts 30th Anniversary Exhibition”, Macao Polytechnic Institute, Macao

“Dimensions and Elements-The Contemporary Female Art Exhibition of Shenzhen, Hong Kong and

Macao”, Lo Hu Art Museum, Shenzhen 2018 “Surging Waves-Macau AFA 11th Anniversary Exhibition of Post-90s Generation Members”, Art for

All Society, Macau

IAC National Exhibition “Ceramics Generations-Exploring Taiwan Contemporary Ceramics”, Taiwan

University of Arts, Taipei, Taiwan

“Contemporary Ceramic Art in Asia”, Hongik University Museum of Modern Arts, Seoul, Korea

“Voyage • Beyond Boundaries-Macao Sculptors Invitational Exhibition in Serbia”, Čedomir Krstić Gallery, Pirot, Serbia

“Macau • Guangzhou-Intercity Young Sculptors Invitational Exhibition”, Handover Gifts Museum of Macao, Macao 2016 “The Inner-City Sculpture Exchange Exhibition 2016 (Macao, Guangzhou, Hong Kong and Taiwan)”,

Macao Tower, Macao

“Exchange Art Exhibition for Wuhan and Macao”, Art Museum of Hubei Institute of Fine Arts, Wuhan

“Autumn x Clay Sculpture Exhibition”, 10 Fantasia - A Creative Industries Incubator, Macao

“The Second Guangdong (Zhongshan) Culture Creativity Expo Fair”, Red Wood Culture Expo City, Zhongshan

“Spring x Wood Sculpture Exhibition”, 10 Fantasia - A Creative Industries Incubator, Macao 2015 “Exchange Art Exhibition for Jingdezhen and Macao”, Tao Xichuan art gallery, Jingdezhen

“To be continued – Chan On Kei, Wong Hoi Ian and Wong Pek Choi Ceramics Exhibition”, Art

Exhibition Pavilion for The Youth, DSEJ (Tap Seac Square), Macao Art Fairs \ 2019 2015

“Art Taipei”, Taipei World Trade Center Exhibition Hall 1, Taiwan “New Art Wave Expo”, Cotai Expo, The Venetian Macao, Macao

Collections \ Private Collection (Taiwan and Macao)

Awards / Grants \ 2020 2017 2016 2015

2011

Shortlisted for the 24th Art Exhibition of Chiayi City Honourable Mentions of Orient Foundation Art Award Shortlisted for the Autumn Salon, Fundação Oriente and Art for All Society Shortlisted for the Autumn Salon, Fundação Oriente and Art for All Society Scholarship, Macao Foundation Shortlisted for the XXVII Collective Exhibition of Macao Artists