ODYSSEY IB DP EXHIBITION
C A N A D I A N I N T E R N AT I O N A L S C H O O L O F H O N G KO N G | 2 0 1 8
W E L C O M E
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O D Y S S E Y Ever since Homer’s epic poem The Odyssey told the story of warrior Odysseus’ ten-year journey home from Troy, Odyssey has been the term used to describe any epic journey. Looking back at this year’s graduating class, many great and varied journeys have been made. For some, their journeys started as far back as 2004 in Pre-Reception at CDNIS, for others, more recent. A journey is often fraught with many obstacles, experiences, opportunities to challenge oneself and grow. Each of these talented students may have paved their own journey to get here today, however over the past two years they have made it together. They have made their experience intensely creative and thrilling, and after long last, they’ve done it! This year’s graduating DP class have been thrown countless tasks allowing them to get where they are today; the course work for the IB is by no means an easy path. The course asks them to investigate artists, experiment with a huge variety of media and techniques, deconstruct artworks and examine artistic innovations. I am so incredibly proud of each of them for their determination, grit and insatiable positivity. They have shared countless moments with each other and made lasting memories.
Even though they have created their own pathways to get here, a rich tapestry has been formed, filled with a comradery and kinship that comes with taking a course that is so intensely personal. Every day they were asked to share their feelings, their hopes, their ideas and beliefs, to create works that speak about themselves as artists. The works you see here are a testament to the people they have become. The bonds that have been made through this course have laid the foundations for the rest of their lives. In this exhibition, our students have examined many varied concepts and ideas, and what you see here is only a small fraction of the work that has been actually been created in the studios. They have had to curate their own exhibitions to showcase the best of their works; and what a showcase! To my graduates: I want to wish you all the very best and to say a massive congratulations and well-done for your dedication and insatiable energy that you have given to all aspects of this course; it has been a fantastic two years together. Well done Alison, Amber, Audrey, Bianca, Cade, Catharina, Cherie, Florence, Jacelynne, Kyra, Loren, Mercedes, Nicola, Nicole, Sophia, Tiffany L, Tiffany W and Venus.
Dan Neville Visual Arts MYP/ DP teacher
The Mahakala and Avalokiteshvara, 2016, Graphite
Tibetan Mandala: The Avalokiteshvara in Buddhism, 2016, Mixed Media
Frye’s Bird Cage, 2017, Mixed Media
Gripping Flesh, 2017, Acrylic on Canvas
The Bonobo Inside Me, 2017, Graphite and Charcoal
TIFFANY WONG
Media Control, 2017, Acrylic on Canvas
One of the most formidable weapons in any political arsenal is censorship. From political oppression imposed on Buddhist groups by the Tibetan government, to sociocultural boundaries set by society regarding sex, I have used art to explore the oppressive nature surrounding social issues prevalent in society today. When members of oppressed and marginalised groups tell me about their experiences, I try to integrate it into a broader framework of what I have learned from others in similar circumstances. After observing the often black and white nature of oppression, I developed a mostly monochromatic color scheme to reflect this reality. The ubiquitous imagery of the human form in my series of artworks embraces the concept of sexual exploration, defying the societal norm of conservatism.
Confinement, 2017, Digital Photography
Embrace Me, 2017, Acrylic on Wood
Painted, 2017, Mixed Media
Amalgamate, 2017, Collage
BIANCA CHEUNG A tree. As beautiful as a tree may be, we don’t see the underground myriads of endless roots. Without these roots, that are buried deep into the bare earth, this beauty would cease to exist. Yet, these roots that are seen through the surface of our eyes, remain oblivious. We only see what seems to be, a flawless facade. In much of the same way, a beauty usually hidden inside of us, is like the roots of a tree.
Self-Sabotage 1, 2017, Acrylic on Canvas
My work explores the varying perceptions on the idea of “beauty”. Through a visual focus on distorted and imperfect human features, I seek a quiet, uncertain beauty that is often hidden beneath the surface, and is neither visible nor easily understood.
The Corinthian Order, 2017, Marker on Tracing Paper
The Reiteration, 2017, Graphite on Tracing Paper
The Strength of the Elemental, 2017, Oil with String on Canvas
The Abstractive Transformation, 2017, Paper Cut
Demolition, 2016, Watercolour on Paper
KYRA JOHNSTON My interest in depth and layers have been prominent my whole life. Being aware of my surroundings has allowed me to develop curiosity, awareness, and understanding. The oblivious state is detrimental to self-growth. In my past two years, I have explored how concepts of movement, emotion, and depth, can be expressed through layers. I have experimented with double exposure, acrylic, glass, string, laser cut and more. My pieces reflect the ways in which I use creativity to integrate different media to create a complex idea. My more recent works look at the idea of layering within one media and its impact on the surrounding composition. The Element of Illumination, 2017, Mixed Media
Influence, 2017, Photography and Card It’s What’s On The Inside That Counts, 2016, Pen and Ink
Residual, 2017, Pen and Graphite
Overworn, 2016, Pen and Ink
Internal, 2018, Laser cut Wood
C A D E H O LT E T
External, 2017, Laser cut Wood
After living in 8 countries and travelling to many more throughout my life, I’ve realised that the cultures I’ve immersed myself in and places I’ve been have shaped my character and my view of the world. This was the source of my inspiration; the sources of influence in my life shaping who I was. In this exhibition I use a range of media to express myself, including pen and ink, photography, digital manipulation, and laser cut wood. My pieces have a central focus, specifically the influences within my own life, whether they are social, cultural or locational. More recently I’ve examined the linear forms within maps to create visually interesting and detailed pieces. The inspiration for this concept came from contemporary artist Ed Fairburn.
Tangled Thoughts, 2018, Acrylic and Ink on Paper
My Bedroom, 2018, Acrylic and Ink on Paper
Blanket, 2018, Watercolour and Ink on Paper
Confliction, 2017, Digital Painting
AUDREY LOW I’m not very good with words, I speak in casual manner and write in the same fashion. Unpolished vocabulary and unnecessary rambling, is, to some extent, a reveal of my true awkward nature and self-doubt. When I create art, I am able to leave those worries at the back of my mind, and simply enjoy the process of presenting myself in a way that I’m much more comfortable with. This is what art means to me, a way of communicating ideas and even stories that are able to connect with audiences on a deeper level. The main focus of my artworks are on the feeling of solitude, both as an exterior force as well as more personal experiences. I also really like plants, if you can’t tell. Abandoned City, 2017, Marker and Ink on Paper
Morphed, 2018, Acrylic, Paper on Foam Core
Surveillance, 2016, Acrylic on Canvas
Barred, 2018, Digital Manipulation
Suffocated, 2017, Video (Still)
The 5th Generation, 2017, Mixed Media on Foam Core
Masked, 2016, Acrylic on Papier Mache
NICOLA HO Identity is phenomically, yet mindnumbingly malleable. Whether one perceives their identity as being a static or dynamic work in progress, the collective works attempt to grasp the perpetual struggle we all face regarding self-perception. Specifically, recurring themes of technology and their effects on one’s consciousness of themselves is explored. Whilst identity is a rather idiosyncratic concept to explore, I hope my take on the story can encourage others to self-reflect. You might simply view my works on a superficial level, a sympathetic level, or even catch glimpses of yourself within my pieces. Whichever path you pursue, I hope you accept that identity is complex. It is a never-ending labryinth of highs, lows, and discovery that make up an intricate, yet distinctive individual: you.
Centre of Zen, 2017, Graphite and Acrylic on Card
Who Am I, 2017, Mixed Media
The Subconscious, 2017, Watercolour
Continuous, 2017, Graphite and Pen
Hong Kong Dim Sum, 2017, Acrylic on Foam Core
TIFFANY LEUNG Cultural identity is what shapes many aspects of my life. My work is informed by my ancestry, environment, community and lifestyle. It’s about the layers of life which have helped build my own character. My exhibition explores the notion of experiencing life through a Hong Kong lens in the search of selfidentlty. I’ve worked with symbols and imagery that express moments that are unique to me. Through the production of my work, I’ve discovered many things about myself and my life. Culture can be anything you want it to be, but most imporantly, it is the way we interact with each other that influences how great a culture is.
Slight, 2016, Wood What Now? 2018, Digital Illustration
Reach, 2017, Pen and Ink
Spiral, 2017, Digital Animation (Still)
Pathway, 2017, Acrylic on Paper
LOREN CHAN
Breathe, 2016, Animation (Still)
To me art is about finding beauty and expressing it through creation. I took the art course because I was intrigued and excited to explore what I see as an artist. I first came across this concept at the beginning of my journey; I had chosen to create works based off the beauty of geometry - another topic that I had been interested in for a while. I came across the notion of geometric simplification, a technique used by animators and game designers to simplify objects into polygons. Intrigued, I decided to try the technique for one of my works. When looking for the object of simplification, I realised the stunning amount of everyday objects that had a surprising amount of complexity and detail to it, inspiring myself to create geometric forms and works that represent a deeper concept.
Are You Hungry? 2018, Pen and Ink
Balance of the Hens, 2017, Ink, Graphite and Watercolour
Shadow Puppet, 2017, Graphite and Conte
Fallen, 2017, Acrylic on Canvas
CHERIE YU My work is a reflection of the problematic issue regarding the mistreatment of animals. It highlights the ignorance many in our scoiety have regarding the well-being of animals. Growing up in an environment where acceptable standards for the treatment of animals is often questionable, I struggle to understand how people commit these acts of abuse. Throughout my journey, the artworks I’ve created have been a process of self-discovery to reveal the underlying truth of how animals are taken for granted, hoping to convey that all animals, no matter what type, should be valued. My exhibition promotes that kindness and respect should transcend all types of living organisms, no matter how big or small.
Detached, 2017, Acrylic on Paper
Making in China, 2017, Pen and Ink
Child Soldiers, 2017, Watercolor and Ink
The Show, 2017, Pen and Ink
To Unknown, 2016, Graphite
ALISON YU Comfort Zone, 2016, Digital Painting
Before and After, 2018, Watercolor and Ink
People always told me how “dark” some of my works are. Guns, violence, suicide, a horrific young girl looking like Annabelle hanging in the middle of the stage. But my point is to show how dark our world can be, even for children. Scrolling through Facebook, I could sometimes see posts about Hong Kong students succumbing to academic pressures. In my works, I attempt to depict the emotional impact on these children struggling to survive in the local educational system. Through further research, I’ve realised how children around the world face other difficulties but in a different context. Through my work I record these issues in a visual medium, but twist what it is like in reality. Hopefully my exhibition may leave a deeper impression and raise awareness to people around me.
Hybrid (Yellow and Pink), 2016, Arcylic and Ink on Paper
Foreign, 2017, Arcylic on Wood
1997, 2016, Acrylic and Marker on Foam Core
Origins, 2017, Acrylic and Ink on Canvas
CATHARINA HELLMANN In its most basic form, cultural identity means “a sense of belonging”, I took this as inspiration for my works, which stem from my own cultural identity, or lack thereof. I began with my own identity and soon shifted to the cultural identity of my home - Hong Kong. Hong Kong’s rich history and unique diversity served as a catalyst for my works. I focused on Hong Kong’s relationship with China shown symbolicaly through floral symbols, hand motifs as well as elements from their national emblems and flags. Many of my works use acrylic and pen. The two work harmoniously with one another to produce clean lines and rich colors.
Jade, 2018, Acrylic and Ink on Wood
Rock Paper Scissors, 2017, Digital Painting
Home, 2017, Digital Painting
Processor, 2017, Digital Painting
Broken Memories, 2018, Digital Painting
Inside, 2016, Pen and Ink
JACELYNNE MAK Is thriving and dreaming only for the realms of childhood? For so long I have relished my memories. I have compared them against the present and realised the underlining dullness that our existence is when we grow out of that childlike mindset.
Out of Reach, 2017, Digital Painting
The artworks I’ve created are based on the theme of childhood memories. To do this, I’ve used a common symbol, the Capsule Machine. When I was young I always collected these toycontaining capsules, alowing my vivid imagination to run wild. But as I grow older, I buy them less frequently as they have somehow lost their significance. My exhibition explores the opportunisitic nature of childhood and how fleeting it is.
Intertwined, 2017, Acrylic and Graphite on Paper
The Amalgamation of the Past and Present, 2017,Graphite and Ink
Confinement, 2017, Mixed Media
Home, 2017, Acrylic and Tissue on Board
Reminisce, 2017, Indian Ink and Acrylic on Paper
Evanesce, 2018, Digital Photography
One and the Same, 2017, Digital Photography
VENUS CHU All of my works share the same core visual motif of architectural structure. Examining the urban areas of Hong Kong, with inclusion of Chinese text, I focus on the juxtaposition between the Chinese and Colonial architecture that make up Hong Kong’s heritage and identity as a city. I seek to find a balance between chaos and order, which mimics Hong Kong and China’s architectural style. I have also incorporated my own cultural identity throughout the many works displayed. Furthermore the occasional use of Chinese characters amplify the intended message being conveyed by including traditional Chinese proverbs and characters, which set the context for my exhibition.
Imprisonment, 2016, Acrylic on Canvas
The Ring, 2017, Oil on Canvas
The Bangle, 2017, Oil on Canvas
Vase, 2017, Digital Illustration
Covered, 2017, Acrylic on Canvas
NICOLE WONG IB Visual Arts is one of the most time consuming, life sucking subjects you will ever take in your high school career, but I’ve never regretted my decision of taking it, and I enjoyed every single moment. I honestly never thought I could come this far in my art career. I remember struggling to paint a sphere two years ago, and now I can do all this… It still fascinates me how much I’ve improved as an artist. I‘m eternally grateful for this experience with my fellow art students, to develop and discover new skills and constantly being inspired by each other. P.S. I’d like to give a special thank you to Mr. Neville, who has guided me for 3 years and shaped me into the artist I am today.
Symmetry, 2018, Ink on Paper
Heritage, 2017, Digital Media
Psalm 103:13-18, 2017, Acrylic on Canvas Genesis, 2017, Digital Media
Transcendence, 2017, Acrylic on Card
Recourse, 2017, Acrylic on Canvas
Delibration, 2018, Mixed Media
MERCEDES HIEB During the DP art course, I have focused my art towards nature, religion and man’s relationship with the two. I use my art to investigate the infinite ways in which people are able to express themselves, or even find themselves through morality and the fear of mortality. More specifically however, I have used my art to investigate myself and my heritage. Visual expression has always been a central aspect of my life. Since the day I learnt to use a pencil, it seems as though I never put it down.
The Heavenly Hierarchy, 2017, Mixed Media
As an artist since birth, I have experimented with every medium imaginable. A particular hotel in Rio, was fortunate enough to have four-year-old Mercedes create an “uncommissioned piece” on one of their walls; Sharpie on Wallpaper truly is a timeless combination.
Faces of a Geisha, 2017, Mixed Media
Elements, 2017, Color Pencil
Deformaties, 2016, Pen and Ink
Anonymous, 2017, Pen and Ink
Hand Study, 2017, Mixed Media
FLORENCE FRICKE These past two years of IBDP art have been a challenge, yet all the hard work put into it has been extremely rewarding. This has been a valuable experience as I learned to push myself, refine my artistic abilities and create works that I never imagined possible.
White Temple Mandala, 2017, Color Pencil
I have seen myself grow as an artist and am extremely grateful for all the support received from my teachers, peers and family. This exhibition is the perfect way to commemorate and say goodbye to this two year process.
A Hand of Salvation, 2017, Mixed Media
Joy of Moving, 2018, Mixed Media
Nirvana, 2017, Acrylic on Paper
Eclipse, 2016, Mixed Media
Sublimation, 2017, Watercolour and Colour pencil
Breaking, 2017, Conte
AMBER NOH Since I was a child, I have romanticised concepts and objects that cannot be reached or embodied. I would think about toys that my parents would not let me buy over and over again fantasising them further. The fact that it is impossible made those things to be even more attractive. This is why I found the concept of utopia romantic; humanity forever longs for it, but it will never happen. The word ‘utopia’ itself addresses that its lack of existence as the literal translation means ‘region in which it does not exist’. My artworks explore utopia in various aspects. Inspired by Eastern utopian fairy tales and counter-image utopia of Thomas More, the pieces revolve around whimsical fairy tales and social issues.
The Game and the Player, 2017, Digital Animation (Still)
Light Up, 2017, Oil and Chalk Pastel
Sagittarius, 2017, Oil Pastel
My World 2.0, 2017, Digital Painting
Drowning, 2017, Digital Painting
Child of Avalokiteśvara, 2017, Digital Animation (Still)
SOPHIA KEE Through this body of work, I chose to explore themes of my own childhood, using representations of the self and of the environment in order to portray events, emotions and other elements that contributed to my experiences. I was born in Australia, but moved to Hong Kong before starting school. Being of Chinese ancestry but not otherwise having any sense of cultural belonging, I struggled to fit in, particularly in regards to identity and language. This experience is often the basis for my works as it was a major influence on me at the time. ​Creativity, not necessarily alone through visual arts but also through music, literature and theatre, has also been a key element of my childhood, appearing in almost all time periods throughout my life. As such, I try to represent these in a visual manner in my body of work.
U S V I S U A L A R T D E PA R T M E N T
It takes a small army to put this show together. Without some very special people none of this could ever happen. The graduating class of 2018 would like to thank the following people: The 9th floor warriors: the CDNIS Administrative Team. The arts are a much loved and celebrated department in these school walls, and we would like to thank our administrators for their constant support and dedication to the arts. To every teacher and classroom assistant that has helped nurture the best from each of us. You are our inspiration and mentors every step of the way.
To our parents and families who have constantly supported us. Our dreams are finally becoming a reality and we cannot thank you enough for all you have done. A special shout-out goes to the miracle workers of the Art Department, Yukiko Wong and Iris Chang. We thank you for the countless hours and sacrifices you have made to make us look so amazing. Finally, this exhibition would have never come together if it not were for William Lam and the Facilities Team. They move mountains for us and we are always so grateful.
Invitation and Catalogue Design – Nicole Wong Catalogue Production editors – Iris Chang, Daniel Neville and Catharine Ho Student Pages – Individual Students
CLA SS OF 2018