ART COLLECTION 藝術珍藏展
It is a great pleasure for us at Bank of China (Hong Kong) (“BOCHK”) Private Banking to document our new Contemporary Art Collection in this catalogue. 2012 is the Year of Dragon and also marks the 100th anniversary of Bank of China. During this auspicious time, we celebrate the launch of our Private Banking Services. BOCHK Private Banking values and cherishes local creative talent. For this collection, we commissioned and invited a number of local artists and foreign artists who are based in Hong Kong to create their unique pieces for us. By blending the sophisticated contemporary western art forms and techniques with Chinese art, these talented artists reinterpret Chinese art traditions in very innovative ways, giving life-force to these art pieces in a 3-dimensional manner. Chinese ink paintings of trees appear on a clear plexi-glass birdcage. A series of curves and comma forms made of woven threads of steel appear swift and fluid, tracing a silhouette of the majestic Dragon. These exhibits respond to two concepts which are at the core of our business. The first, “East meets West”, manifests Hong Kong’s uniqueness of social diversity and our devotion to offer professional and quality services to customers from Hong Kong, the Mainland and overseas. The second is the Chinese philosophy “Tian Yuan Di Fang” – literally “round firmament and square earth”. It symbolises prosperity, stability and sustainability of the society – a representation of BOCHK’s dedication to solid development and striving for excellence. With all these values in mind, BOCHK Private Banking endeavours to become your trusted partner to provide you and your families with long-term wealth management and estate planning solutions. We hope this exquisite collection of art will bring you joy and pleasure at all times. You are cordially invited to visit our Private Banking Centre and join us to have a closer and personal experience with all these masterpieces. Bank of China (Hong Kong) Private Banking November 2012
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FOREWORD 前言 二零一二年是壬辰龍年，適逢中國銀行百年華誕紀念，在這喜慶吉祥的日 子，中國銀行（香港）（「中銀香港」）特別為高端客戶推出私人銀行服 務。藉中銀香港私人銀行成立之際，我們精心挑選了一系列當代藝術珍品 於私人銀行中心展出，並將之收錄在本畫冊中。 中銀香港私人銀行大力支持香港藝術的發展，我們特別邀請了多位本地藝 術家及定居香港的外籍藝術家，為我們創作一系列當代藝術珍品。他們糅 合嶄新的西方當代藝術技巧，重新演繹中國傳統藝術，為這些藝術珍品賦 予豐富多姿、立體強勁的生命力，包括意境清幽的山水景致置身於透明方 形鳥籠內；以鋼絲編織而成的一系列豆形雕塑，靈巧利落，呈現出飛龍在 天的姿態。這些藝術珍品圍繞兩個核心概念：一、融匯中西、和諧包容的 精神，這既是香港特色，也符合中銀香港致力為香港、內地及海外客戶提 供專業、優質的金融服務，積極建設和諧社會的理念；二、「天圓地方」 ── 繁榮安 定 與 持 續 發 展 的 中 國 傳 統 哲 學 觀 ， 這 與 中 銀 香 港 致 力 於 穩 健 發 展、追求卓越的宗旨源於一轍。中銀香港私人銀行亦秉承這一宗旨，透過 為客戶度身訂造長遠的、穩健的財富管理規劃，成為客戶及其家人的可靠 伙伴。 我們衷心希望本畫冊能帶給您賞心悅目的藝術體驗，更歡迎您親臨中銀香 港私人銀行中心，與我們共同欣賞這些珍品。
中國銀行（香港）私人銀行謹啓 2012年11月
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I write with gratitude to Bank of China (Hong Kong) Private Banking for supporting talented Hong Kong artists in their artistic developments and for providing them this special platform and opportunity to exhibit their work at its prestigious office. It is truly encouraging to see their art inaugurate the Private Banking’s opening and we feel as thrilled as the artists that their artworks make the founding pieces for a corporate art collection that is strong, interesting and full of promise and potential. For a long time, Hong Kong has lived with the infamous title of a “cultural desert” but it is a misconception. Hong Kong people are cultured in a subtle way. The local art scene is thriving with young and passionate Hong Kong born-and-raised artists and Hong Kong is the host to several reputable international art fairs. Our museums require a reservation system and entry regulations to manage the increasingly large amount of people eager to see its highlight exhibitions. Moreover, every year we witness masses of passionate book-lovers bursting into book fairs, and there are often crowds at theatres, concerts and art gallery exhibition openings. It is evident that there is adequate demand as well as supply for art and culture. In my opinion, it would be more accurate to describe Hong Kong as a diamond in the rough. Our local artists possess a number of strengths and qualities, which set them apart from their Asian contemporaries. First, they create with a global perspective. Hong Kong’s cosmopolitan and open-minded environment allows artists to have constant interaction with people and cultures from all over the world. At the same time, they are exposed to diverse, high quality and innovative art, designs and creations. Therefore, they have much higher standards for their own art, and are very motivated to push their concept, technique and style to ever greater excellence and maturity. We are pleased that this collection is represented by Hong Kong artists, and proud to have involved not only those who are established and renowned, but also the rising stars. They all created high quality artworks that illustrate the strengths and aspirations of Hong Kong, China and the Bank. Each of them also pursues a subject or a cause that is close to their hearts, which will surely entice viewers in a meaningful and inspiring conversation. I hope you enjoy this collection and I look forward to connecting with everyone again in the near future. Henrietta Tsui Founder and Director
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FOREWORD 前言 這系列藝術珍藏對於香港藝術家來說是一個十分難得的展覽平台和機會， 為此，Galerie Ora-Ora 對中國銀行（香港）私人銀行深表感謝。能夠看 到銀行對本地藝術如此支持，挑選出他們的作品來為私人銀行的成立而組 成一個既精彩又有發展潛力的藝術珍藏，實在令人感激又振奮。 一 直 以 來 香 港 被 喻 為 「 文 化 沙 漠 」 ── 這 實 在 是 一 個 誤 解 。 本 地 藝 術 正 在 蓬勃發展，出現眾多充滿熱誠的年輕藝術家；香港也舉辦多個大型國際藝 術博覽會。近年的特設藝術展覽需要預售門票及編排入場時間，方可應付 越來越多的參觀者。愛書人熱切地期待一年一度的書展，會場內外總是人 山人海，水洩不通。至於劇院、音樂會及畫廊展覽開幕裡，也可見得香港 人踴躍參與。明顯地，香港對於文化藝術供求相應，形容香港為一顆未經 雕琢的寶石會更為貼切。 本地藝術家比起其他亞洲地區的藝術家也持有幾項優勢。第一，是他們的 國際視野。在香港這個文明和開放的國際都會，藝術家能輕易接觸到多國 人事與文化，所以他們具備特別深遠的眼光和觸覺。此外，他們有機會見 識國際級的藝術、設計及產品，使他們對創作的要求也相對提高。無論是 概念、技巧或風格都勇於自我挑戰及提升，把作品的水平續步推向更高、 更成熟台階。 我們很高興能見證並參與這香港當代藝術品珍藏的誕生。當中包括成就卓 越仍不斷創新的傑出藝術家，也有大膽嘗試卻心思細膩的一眾新星。他們 以各具特色的風格道出香港、中國與中銀香港的特點和目標，一邊探索個 人關注的題材，一定能讓觀者得到啟發與反思。 請細心觀賞享受這些藝術品，希望繼續與各界交流。
徐錦熹 創辦人及董事
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COLLECTION 珍藏展
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Contemporary artists Mok Yat-San and Man Fung-Yi are recognized for their exquisite sculptures and their interest in abstractism and existentialism. Their work often explores traditional Chinese philosophies such as “Yi Jin” or “Yin Yang”, leading viewers to seek for the original, primal and intrinsic essence of life and the cosmos. When viewers look at the artworks by Mok and Man, they are usually drawn into a state of serenity and contemplation.
Embroidery of Invisible Dragon is a contemporary abstract portrayal of the classic mythical creature. The “dragon” is constructed from multiple parts: a head made in bronze and its body in woven metal threads. Though the materials are tough in structure, the “dragon” is not rendered as fierce or masculine. Rather, metal threads are woven into irregular comma forms with smooth and round edges. As light penetrates into the metal lattice, it creates fascinating shimmers and shadows which give viewers a spectacular visual experience. At the same time, the mythical creature appears to be weightless and gentle, exuding liveliness and spirituality. Moreover, the artwork is a contemporary interpretation of the Chinese iconology of the dragon. Traditionally, the dragon symbolizes power, fortune and change, as well as prosperity, stability and reliability, which are qualities attributed to the Bank of China (Hong Kong) Private Banking. However, Mok and Man’s dragon has the embroidery element to add a touch of femininity and grace, which raises social awareness on gender issues and rearticulates the significance of the female in traditional and contemporary Chinese culture.
當代藝術家莫一新與文鳳儀經常以優雅精緻的抽象雕塑探討不同的中國傳統觀念和 理論，如「虛、實」的概念、存在主義、「易經」或「陰陽理論」。細味他們作品 之時，觀眾經常會感受到作品所帶來的片刻寧靜，而雕塑所道出的意義更會漸漸地 帶領觀眾去領略生命及宇宙中最原始、最核心的根源。
E M B RO I D E RY O F T H E I N V I S I B L E D R A G O N 龍 ‧ 錦 ‧ 繡 M O K YAT- S A N & M A N F U N G - Y I 莫 一 新 、文 鳳 儀 Brass and stainless steel 黃銅及不銹鋼 510 x 265 cm 2012
〈龍‧錦‧繡〉以當代抽象的手法重新呈現經典神話生物── 龍 ──的面貌。在 處理這個作品時，莫一新與文鳳儀把「龍」分成不同的部分:用青銅製作的頭部及 以金屬絲編織的龍身。雖然作品採用堅固的物料，但並没有把龍表現得兇猛或剛 陽。相反，金屬絲交織形成的不規則結構看來細膩、平滑。光線滲入時使雕塑變得 閃爍迷人，為觀眾呈現一個更立體的視覺觀感，更使作品充滿神秘、輕柔，凸顯龍 的生命力和靈性。 於中國傳統文化背景當中，龍不單止象徵威武、吉祥、變化，還有與中國銀行（香 港）私人銀行吻合的繁榮和穩定。莫一新與文鳳儀創造的龍包含了刺繡元素，為龍 注入了女性特質，呈現出一份細緻妍麗的感覺，藉此重新道出女性於傳統及當代中 國社會文化中不可或缺的地位。
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Hong Kong artist Kum Chi Keung is famous for creating site-specific installations, exploring the interaction between humans and their surroundings, and innovations on Chinese ink art. Inspired by the architecture of Hong Kong, Kum created Flourish specifically for this art collection to serve as an allegory of Hong Kong’s buildings, citizens, livelihood and beliefs. In Flourish, Kum used an electrical drill pen to inscribe pine trees on a series of green marble towers which are reminiscent of the high-rise buildings of Hong Kong. He designed the pine trees to entwine and encircle each tower, symbolizing the flexibility and adaptability of the Hong Kong people. At the same time, these trees mimic the form of a dragon gracefully circling over Hong Kong, representing the identity of the Hong Kong citizens and emphasizing their vitality, honour and dignity. Together, the pine trees and the dragon reflect Hong Kong people’s spirit of survival and resilience towards tough challenges in their urban lives.
Flourish is also a symbolic representation of the intimate relationship between Hong Kong people and their urban space, where they influence and evolve with each other over the years. As a whole, the artwork is charged with optimism and makes a symbolic blessing towards the prosperity and continuous development of Hong Kong.
FLOURISH 盛 KUM CHI KEUNG 甘志強 Green marble 綠雲石 266 x 176 cm 2012
香港著名藝術家甘志強一向以場域特定的裝置藝術及其超卓獨特的新水墨風格見 稱。甘志強經常透過他的作品去探索人和社會環境之間的互動交流，以啟發我們 對社會、政治、以及自身的種種思考。〈盛〉是甘特別為是次藝術珍藏創作的作 品，靈感來自香港獨有的城市面貌，反映香港人的生活與信念。 甘志強利用電筆，於一系列形如香港建築物的綠雲石上描繪出茂盛的松樹。他讓 松樹的枝幹優雅俐落地環繞石柱，宛如游龍盤踞香港修長矗立的高樓大廈上。作 品中，松樹柔韌伸縮的形態喻意香港人靈活多變的處世技巧。另外，松樹能抵禦 寒冬，飽經風雨後仍屹立不倒，代表香港人頑強的生命力。松樹展現出的龍的形 態則是香港人充滿活力的寫照，亦道出了香港人獨特的身份，帶出我們為此身份 所感到的榮耀。 香港人和所處的城市空間不斷相互影響，隨著年代和社會氣候而改變。〈盛〉象 徵了香港人與城市之間不可分割的關係。作品欣欣向榮，生機勃勃，是對香港繁 榮和發展的一個祝福。
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Over the past decades, Kum Chi Keung has been tirelessly exploring new possibilities to redefine his unique motif, the birdcage. His art always catches the viewer’s attention with its interesting form, sublimity and surprising creativity. In Bonsai 3, Kum delicately infuses the traditional Chinese ink painting into a contemporary sculpture. It consists of an unconventional birdcage constructed with plexiglass panes which are embellished with extremely refined and transcendental paintings of Chinese pine trees. Kum employs the skill of a traditional Chinese snuff bottle painter and paints the trees from the inside of the birdcage. There is surprising visual harmony in the combination of the traditional motif with those contemporary materials, and this work demonstrates Kum’s sophisticated and smooth incorporation of the old and the new, as well as the East and the West. Kum’s birdcage is analogous to the spirit, history and social livelihood of the Hong Kong people. The Hong Kong cityscape is similar to a birdcage – confined, compressed, and oppressive – yet it provides a massive source of experiences and possibilities for the people living inside. On the other hand, the pine trees symbolize vitality, fertility and longevity. Kum combined these two symbols in Bonsai 3 to represent the spirit of the Hong Kong people, of their ability to remain lively and positive towards the future regardless of their living conditions. This artwork provides avid art-lovers fresh contemporary perspectives on Chinese ink art, and also stimulates viewers to re-examine their lives in relation to their surroundings.
甘志強於過去的數十年裡一直努力不懈地為他的創作探索新的可能性。他的作品 經常以獨特、創新的形式，抓住觀眾的注意力。除了形式上的突破，甘亦不斷革 新，反覆定義他一貫的主題 ── 鳥籠。於〈盆景(三)〉這作品中，可見他把中國 傳統水墨畫的精髓融會於當代雕塑，展現出嶄新的水墨面貌。 作品是亞加力膠片組合成的別緻的鳥籠。藝術家以鼻煙壺壁內繪畫的技術，利用 油性筆從膠片的內面描繪出脫俗的松樹。中國山水畫的氣韻活現於當代感強烈的 透明鳥籠上，形成一件糅合傳統和當代、中國和西方特色的雕塑，給觀者營造出 意想不到的陌生又和諧的感覺。
BONSAI 3 盆景（三） KUM CHI KEUNG 甘志強 Permanent ink, acrylic sheet, brass hook 油性顏料、 壓克力膠片、 銅掛鈎 22 x 22 x 32 cm 2011
鳥籠即樊籠，跟香港人的精神、歷史和社會面貌非常相似。香港跟鳥籠一樣，給 人一種密閉、擠壓的感覺。但這狹窄的城市偏偏擁有龐大的可能性，給城市裡的 人形形式式的經歷與體會。松樹象徵生命力和長壽。甘志強特意把鳥籠與松樹結 合，以代表香港人不屈不撓的精神，無論生活環境如何，仍然對未來保持一個堅 忍又積極的態度。這件藝術品不僅為藝術愛好者提供中國水墨畫的現代觀點，同 時亦激發起觀眾對生活與周遭環境的重新審視。
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Contemporary digital artist Anat Givon likes to create stories through her camera lens. This commissioned piece, A New Dimension, is based on photographs of the “reflections within reflections” found on the exterior walls of the Bank of China (Hong Kong) headquarters. A spectacular piece of architecture, the Bank of China Tower is, to residents and visitors alike, a symbol of the Bank and of Hong Kong itself. Photographing the building from all angles captures the infinite stretch of reflections which represents the Bank’s century-long influence on Chinese society; while the unceasing back and forth of light making the reflections is similar to the Bank’s ongoing success at a mutually beneficial relationship with its local and global clients. The photographs were then digitally edited and enhanced with colours and patterns to express a sense of strength, power, flexibility and boldness – precisely the distinguishing qualities of the Bank. It is an innovative portrait of the Bank’s corporate identity and Givon also hopes to inspire viewers to reconsider their relationship with the city and its architecture.
A NEW DIMENSION 新領域 A N AT G I V O N Digital print 數碼印刷 150 x 150 cm 2012
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當代數碼藝術家 Anat Givon 擅於透過相機鏡頭來訴說不同的故事。這件委託作品 的製作由Givon拍攝中國銀行（香港）總行的玻璃幕牆開始。建築物本身別具特色 的設計和架構一早為香港市民和遊客留下深刻的印象，成為中銀香港及香港的象 徵地標。Givon從多個角度拍攝中銀大廈，精心捕捉外牆與其他建築物玻璃窗來回 反射的倒影。倒影的延續性比喻中銀香港一百年來與社會和市民的共同發展，而 來回的反射亦貼切地表現出中銀香港與客戶之間持續的供求關係。 Givon把照片修改編輯，加強顏色及線條圖案，為作品增添中銀香港所具備的特 質：全力以赴、大膽創新及靈活多變。〈新領域〉無疑是一幅新穎又別出心裁的 肖像畫，而Givon更希望觀眾能透過作品悟出新的視野角度去重新探索自身與城市 及建築的緊密關係。
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Stephen Wong has a distinctive style of creating a pixilated image on canvas. In his earlier works, he developed the method of projecting his sketches onto canvas, then painting it using a pointillist-like technique. This imitation of computer screenshots makes his landscape paintings an indication of the relationship between us, technology and nature: thanks to technology, we can easily become familiar with the images of faraway sceneries, but most of us are often lacking in direct experiences with natural landscapes.
“We all know that there is distance between human and nature, and between human a n d t e c h n o l o g y . Te c h n o l o g y can minimize the distance between human and nature, but at the same time, it creates aloofness between nature and us.” Terrace, a commissioned painting for this art collection, shows Wong’s passionate attempt at celebrating the relationship between man and nature. The work is an appreciation for the beauty and intelligence of the terrace fields. Historically, Chinese people suffered from the scarcity of flat arable land, especially near Sichuan. The terrace field, which is flat land built upon flat land onto the sides of mountains, was their ingenious solution to collaborate with nature for bettering lives. Wong celebrates this by illustrating a range of rice plants in vivid colours and in addition, subtly embedded an auspicious element: look closely at the waters and one will be able to make out a curvaceous shadow. What may be a greater blessing for vitality, perseverance and harvest, as well as an apt symbol for the Chinese people than having a dragon flying over their land?
科技視訊發達的世代，我們隔著螢光幕欣賞過無數外 國風景名勝。然而，這種間接的互動其實沒有拉近我 們與大自然的距離。這是藝術家黃進曦一直關注的科 技社會的專屬問題。他的早期創作多數把寫生稿投射 到畫布上，然後以點畫技巧完成，模仿電腦出現的虛 擬世界。憑著細膩的觀察力，他的風景畫反映時代， 闡述自然經驗與人工經驗之間的角力，展現鮮明的個 人風格。
「 我 們 跟 大 自 然 有 著 距 離；我 們 跟 科 技 也 有 著 距 離 。科 技 可 以 拉 近 人 和 大 自 然 的 距 離 ，卻 又 會 使 人 和 大 自 然 的 關 係 益 發 疏 遠 。」
黃進曦期望藉著委託作品〈龍躍梯田〉，與觀者分享 梯田帶給他的啓發。中國自古以務農為主，可是國土 的地形山多平地少，特別是近四川一帶的地區。農 民為了克服地形，於崎嶇不平的山上開闢一層層的平 地，成為梯田。黃採用非現實的鮮艷色彩描繪品種豐 富的水稻，目標就是要突顯梯田── 這個人類憑著文 明智慧主動與大自然結合共融的美麗結晶。最後，如 果細心觀看的話，不難發現一道蜿蜒的陰影，含蓄地 暗示著人類的生命力與毅力，又向人、大自然與中國 人送上豐收與長壽的祝福：天上飛躍的祥龍。
TERRACE 龍躍梯田 STEPHEN WONG 黃進曦 Oil on canvas 油彩布本 150 x 150 cm 2012
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Orange or Black is a commissioned piece by Halley Cheng that reflects the complex nature of currency and its significance and relationship with banks. Cheng deliberately constructed the painting with a combination of abstract brushwork, colours and forms to visually describe the structure and dynamics of currency. The thick orange and brown border represents gold; its large area simultaneously representing abundance as well as the impact of gold on the Bank and our currency system. Flicks and slashes of black suggest a rapid, strong, flexible and stable flow of currency. As for the striking strokes of green, they symbolize an explosion of energy and the efficiency and innovation of the Bank’s services.
Orange or Black provides viewers with alternative perspectives towards the significance of financial institutions. This skillful composition of colours and brushstrokes leads our mind to linger between the abstract and the symbolic and gives the imagery a layer of meaning beyond the painting itself. Instead of a simple realistic representation, this abstract painting has a greater power to stimulate our imagination and open up creative thinking patterns.
鄭哈雷的委託作品〈橙或黑〉繽紛、抽象、現代。精心構思的畫面要表達的是： 貨幣流通。橙色與棕色代表黃金。它所佔範圍最大，反映出黃金於銀行體制中舉 足輕重的影響力。活潑的黑色筆觸代表貨幣快速流動，表示一個良好貨幣體系應 有的特點：穩健與靈活流通。視覺上最突出的青色與橙色成對比，代表爆發的力 量，表現出中國銀行(香港)私人銀行非常有效率而且不斷創新進步的優質服務。 〈橙或黑〉為觀眾提供新的角度去審視金融機構的重要意義。藝術家發揮巧妙的 顏色應用、筆法和構圖，帶領觀眾的思想徘徊於抽象的符號與意義之間。鄭哈雷 選擇了一個抽象不寫實的呈現方式，讓觀眾有更多的想像空間，有機會培養更富 創造性的思考力。
ORANGE OR BLACK 橙或黑 HALLEY CHENG 鄭哈雷 Oil on canvas 油彩布本 150 x 150 cm 2012
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A second artwork by Anat Givon to celebrate the Bank of China (Hong Kong) headquarters, Regeneration showcases the magnificence of its architecture and symbolizes the Bank’s outstanding achievements. This piece is a digital tapestry comprised of repetitions of one single photograph of the Bank of China Tower rendered in jewel-like colours. Givon skillfully arranges the darkest patches at the edges so that the pink, orange, yellow and blue really pop out to meet our eyes. Together, the irregular abstract forms echo the Tower’s geometric architectural beauty, letting viewers see this city landmark in a fresh new way. Inspired by qualities associated with the dragon, the unusual composition of photographs in Regeneration is designed to convey a sense of strength, integrity and solidity. At the same time, it signifies the Bank’s ability to reinvent itself according to changing times, and to maintain its integrity by staying true to its solid foundations. Givon’s Regeneration is an artwork that celebrates the Bank’s spirit, ethics and its status as an established symbol of Hong Kong.
R E G E N E R AT I O N 復 興 A N AT G I V O N Digital print 數碼印刷 180 x 100 cm 2012
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同樣出自 Anat Givon 手筆，取材自中國銀行(香港)總行的作品〈復興〉以藝術家 鮮艷又俐落的風格表揚中銀香港的傑出成就。她把一幀中銀大廈的照片以不同的 尺寸重新組合，形成活潑有趣的抽象畫。深色的部份被放在圖形的外側，令畫面 中心明亮如寶石的色彩加倍奪目。幾何圖案因此更鮮明突出，與棱角分明的中銀 大廈互相呼應，教觀者用一個新的藝術角度去欣賞這個香港地標。 此外，考慮到龍與中銀香港和香港的關係，Givon特別設計的圖形旨在傳達實力、 誠信和穏固的特質。圖像重建的手法則代表中銀香港在不斷變化的社會及金融氣 候下，堅守宗旨時也勇於推陳出新，與時並進，繼續作為香港繁榮和穩定的一個 象徵。
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Halley Cheng finds inspiration from his surroundings, whether it be architecture, landscapes or little moments from everyday life. This commissioned painting, Leaf, was created in response to a small plant which he came across during a trip to the Shek Pik Reservoir in Hong Kong. A brightest and richest green that sprouted from the middle of a grey rocky land. What attracted Cheng was not only its beauty, but also its survival and its dignity. It was a symbol of life and hope. Cheng intensifies this inspirational green plant in his painting by making it peek through a pile of grey rubble. Such a composition accentuates the plant’s defiantly positive life force in the face of a harsh environment. Cheng hopes everyone can learn from the plant’s example: live with courage and pursue one’s goals no matter what the circumstances. Furthermore, this wonderful painting reminds us that pleasure and strength are easily found in the small things in life, if only we allow ourselves to see them.
鄭哈雷的創作靈感來自他日常生活中接觸到的風景或建築物。這幅為中國銀行（香 港）私人銀行特別創作的〈葉子〉源於他在香港石壁水塘遊歷時所見的一株小植 物。鮮艷的一片綠色傲立荒涼的岩石中間，奇蹟地長得非常茁壯。他驚嘆植物的生 命力，也在它身上看見生機和希望。 在畫作裡面，他把顏色對比增強，突出葉子的綠色去表達植物不屈不撓、積極生存 的精神。藝術家希望透過這個作品鼓勵大家，面對逆境時仍然要堅守自己的目標與 信念。同時，此作品亦提醒我們不要忽視微不足道的事情，多從生活上的細節中尋 找驚喜與快樂。
LEAF 葉子 HALLEY CHENG 鄭哈雷 Oil on canvas 油彩布本 140 x 110 cm 2012
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Stephen Wong is interested in the relationship between people, technology and nature. To him, these are critical elements in terms of our existence and our position in society. In this commissioned piece for the Bank, Wong’s choice to depict the setting of a golf course is symbolic. Since the sport represents a sense of nobility, Wong saw the subject very fitting to the Bank’s stance and clientele. In The Golf Course, Wong deliberately identifies the background, mid-ground and foreground to intensify the field’s sense of depth and width, so that the golfer appears comparatively small and insignificant. Yet, the golfer continues to walk confidently towards his final hole. The scene is an allegory to our relationship with nature: even though humans are small in size, we still serve an important and at times dominant role. Wong is also sensitive towards colour within his landscapes. Using mainly lush and vivid greens, the viewer is able to appreciate all the details of the golf course when viewing the artwork from a close range. However, when viewed from a distance, the shape of a dragon, which Wong has cleverly hidden into the landscape, appears. This is similar to the structure of the Bank and of Hong Kong as a city: they are both comprised of small individual units that make up a grander whole; and each of them is powerful, brave and full of energy like the dragon.
THE GOLF COURSE 高爾夫球場 STEPHEN WONG 黃進曦 Oil on canvas 油彩布本 50 x 110 cm (x3) 2012
黃進曦認為於現代社會，大自然及虛擬現實對於人的定位及其存在意義是息息相 關的，而他一直從創作中探討箇中的關係和影響。 構思〈高爾夫球場〉時，黃特別挑選了象徵文明和高尚的高爾夫球為題材，因為 它代表人與大自然的互動，而且緊貼中銀香港的立場及客戶群。黃進曦把畫面結 構安排成遠、中、近景，以加強景深和球場的遼闊。這種效果是要使畫中人顯得 格外渺小。然而，面對彷彿廣闊無際的球場，高球手的氣勢半點不減。他仍然充 滿信心，志在必得的向著最後一桿走去。這個畫面是要表現出人在大自然當中渺 小卻帶有主導性的角色。 黃進曦對顏色的運用相當敏感，畫面以豐富的綠色作為主色調，近看時可以清晰 地看到球場的每個細節，遠看方可發現他巧妙地隱藏於高爾夫球場中的一條龍的 外形。這跟中銀香港及香港這個城市的結構非常相似。他們都是由個別的單位組 成一個宏偉的整體，亦同時表現出龍的特點：威武、勇敢和充滿活力。
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In many of his works, Joe Joe Ngai demonstrates his concern for humans and their intrinsic nature and value. Working mostly with found images, he imagines each of them in a different story. Then he reorganizes them into surprising images with completely new meanings, such as exemplified in this commissioned artwork Flower Specimen.
“The topic of identity and existence always intrigues me and my work tends to address this issue.” Ngai decided on making an oil painting, because its longstanding and influential status in Western art history makes it a suitable comparison to the banks’ role in civilization and societies. He painted many colourful flowers and butterflies, and arranged them into a bright stereoscopic collage-like painting. It has a sense of abundance and vivacity that evokes an active market where different currencies are brought together, circulated and exchanged. Paradoxically, these seemingly lively flowers and butterflies are referred to by Ngai as “specimen”. It betrays the fact that these natural creatures have been pulled from their original habit, altered, artificially positioned and framed, deprived of the original state and value of their being. This painting thus poses Ngai’s question on how social norms, standards and responsibilities can affect an individual’s sense of identity, value and their perspectives towards life.
在魏凱畧的作品當中，總看得出他對人與其本質和本 性的關注。他擅於選擇並堆疊不同的圖像，拼湊成一 個全新的整體。在他眼中，毎一個獨立圖像的背後都 是一個截然不同的故事，而新圖像又有一個全新的含 義。
「身份和存在主義的話題總是令我著 迷……所以我的作品往往環繞討論這一 類 型 的 題 材 。」
是次委託創作，魏凱畧考慮本身的概念題材之餘，特 別選用了西方藝術史上一向地位崇高的油畫，配合銀 行在社會文明和發展上的重要位置。另外，魏凱畧繪 出色彩絢爛的鮮花和蝴蝶，模擬拼貼藝術，悉心安排 圖案，製造層次。畫面鮮明立體，色彩澎湃，感覺多 元化而且充滿生機，令人聯想到一個活躍的市場上各 國貨幣的流通與交換。 特別的是，畫中的花朵雖然綻放，蝴蝶亦張開翅膀， 魏凱畧卻把畫命名為〈花卉標本〉，表明牠們的鮮艷 和活力被框著、被定格，強調當中人工處理的過程。 這些過程改變了牠們存在的本質，把牠們從自然環境 中分割。魏凱畧讓他的畫體現出自然原始與文明之間 的角力，以此討論社會準則、標準、責任等的人為規 範如何影響一個人對自身存在與價值的看法。
FLOWER SPECIMEN 花卉標本 JOE JOE NGAI 魏凱畧 Oil on canvas 油彩布本 50 x 120 cm (x3) 2012
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Mosaic, as suggested by its name, is a composition made up of many elements. With the world map as the source of inspiration, Odetti Tse created this painting for the Bank of China (Hong Kong) Private Banking to represent its diversity and international status. Using light and vivacious colours, she constructed a collective space and a harmonious world – a symbol for positivity and hope. The Bank, similar to a mosaic, is also a composition. It is built from its vision and ideologies, the teamwork of its employees and the partnership and support from its customers. The assortment of blocks in varying sizes and colours represent the different units and components of the Bank. No matter the size or colour, each square plays an equally important part within the mosaic. Without the support of its neighbour, the structure of the mosaic is weakened and incomplete. This not only reflects the significance of the Bank’s teamwork and support system, but also symbolizes the Bank’s unity and integrity.
畫如其名，〈馬賽克〉是一幅由不同元素組成的作品。為了表達中銀香港的多樣 性以及其國際上的地位，謝穎君從世界地圖取得靈感，運用淺色系顏色為主調， 以大小不一的顏色方塊拼湊出一幅活潑的地圖。作品呈現希望與積極，亦製造出 一個集體的空間，表達一個和諧的世界。 中國銀行(香港)私人銀行並不是一個獨立的個體，而是和〈馬賽克〉一樣，是由多 個部份組成的結晶。當中除了基礎成份如眼光、遠見、概念和信念，還有員工、 團隊合作及與客戶的夥伴關係，全都是非常關鍵的。畫中不同顏色、形狀及大小 的方塊代表中銀香港中各個單位和部門。不論大或小，顏色深或淺，每個方格都 是同等重要，就如毎個員工及部門都是中銀香港不可或缺的部份。如果少了這種 互相支持，馬賽克的結構就會被削弱，變得不完整。這不僅反映了中銀香港的團 隊精神及其支援系統的重要角色，同時也標誌著中銀香港的統一性和完整性。
MOSAIC 馬賽克 ODETTI TSE 謝穎君 Oil on canvas 油彩布本 50 x 120 cm (x3) 2012
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Heavily influenced by popular culture and Pop Art, Joe Joe Ngai is an artist who often addresses the relationship between identity, society and nature. In this commissioned painting Parrot, Ngai is working with one of his favourite characters to tell a story: animals. Parrots are known to be one of the most intelligent members of the animal kingdom and at the same time they are a very popular pet in the human world. As one of few species that exist in the daily lives of the both worlds, the parrot is a suitable subject to elucidate the relationship between human and nature. Raised in an urban society, Hong Kong people’s lives are heavily influenced by, and revolve around, man-made standards. Most people know very little about the world outside “civilization”, and often they neglect the value of nature. Through this artwork, Ngai would like to bring the idea of nature into an environment that is built entirely based on man-made ideas to question not only our position within nature, but also the connection of our idea of life and life itself. The parrots are in a very human arrangement, plus the collage-like appearance makes the overall image very dramatic and strongly evocative of a movie poster. The boldness of colours gives a sense of strength, courage and power. The parrots appear interconnected, while the parrot in flight brings a sense of ambition and progress to the painting. Very interestingly, this may be the artist’s witty portrait of the Bank and its team of dedicated staff.
魏凱畧喜歡以藝術去表現他對身份、社會和大自然之間的關係。對流行文化和波 普藝術著迷的他用色大膽，構圖鮮明，而且經常借用動物來訴說屬於人類世界的 故事。 他以鸚鵡作為為中國銀行(香港)私人銀行特別創作的作品題材，除了因為牠是最聰 明的動物之一，也考慮到牠作為人類寵物的受歡迎的程度。用以強調人與自然世 界的關係，也是合適不過。
PA R ROT 鸚 鵡 JOE JOE NGAI 魏凱畧 Oil on canvas 油彩布本 90 x 180 cm 2012
在城市裡生活的我們受著種種人為標準所規限，很少人知道「文明」以外的世 界，往往忽略了大自然的珍貴。〈鸚鵡〉的意念是將大自然帶入我們建構的人造 環境中，反思人在自然界中的地位，並連接我們理想的生活及生命本身。 魏凱畧設計的姿勢及整體構圖，竟使畫中鳥兒看似人類電影海報裡的主角。奪目 的色彩，鸚鵡彷彿剛強又堅毅的表情，牠們之間看得出的緊密聯繫，還有翱翔天 際，積極追求理想的鳥兒……這是藝術家描繪中銀香港及其傑出團隊的一幅幽默的 肖像畫。
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The most distinguished feature of Ng Sai Kit’s Found Landscape series is its emphatically vertical and narrow compositions which echo the characteristics of our living spaces in Hong Kong. The already crowded city is constantly invaded by more buildings and the public retreats into ever-narrowing spaces. In some of Ng’s works, glass exteriors of buildings display infinite reflections of their surrounding architecture, streets and scenery, creating the illusion of Hong Kong reverberating in a confined, interwoven space. Ng’s photography also draws on the multiple visual perspectives that are unique to Chinese landscape painting. In most of his compositions, he employs a classical Chinese landscape technique: intensification of the sense of height, depth and width, resulting in depictions of a city where every dimension of space seems to be intertwined in an urgent density. Human figures appear in miniature proportions, as if they are characters in a labyrinth. The intersection of macro and micro views brings a sense of mystery to the scenery, creating scope for the audience to imagine the story. In another series of photos of the Hong Kong countryside, Ng forsakes the single perspective from which we observe reality and portrays nature through multiple layers of black, white and grey visuals. Distance between mountains and fields is abridged or lost, while spatial dimension gains a sudden ambiguity – the viewer feels displaced from the real world as they know it.
FOUND LANDSCAPE CENTRAL, HONG KONG 香港中環 NG SAI KIT 吳世傑 Archival digital inkjet print 收藏級數碼噴墨打印 127 x 59 cm 2003
吳世傑〈Found Landscape〉系列作品在形式上最大的特點是直立狹長的畫面構 圖，勾劃出香港城市獨有的景觀與空間特徵。香港不斷出現密集地向上發展的建 築物，一般香港人唯有擠進越趨狹小的空間。在吳世傑部分作品中，建築物的玻 璃外牆從不同的角度反射出旁邊其他建築物、街道或風景，突顯出城市空間的交 錯複雜，還產生空間能無限延伸的錯覺。 吳的作品亦參考中國山水畫的多個透視點── 散點透視── 的特色。作品中經常 同時出現山水畫中獨有的所謂「三遠」的空間處理 ──「高遠、深遠、平遠」， 在市區內故意捕捉多層次的空間格局。另外，他幾乎把畫面的每個角落都填滿， 進一步强化這城市複雜又壓迫的空間感。作品中雖然常有人物出現，但他故意營 造超細比例或是如謎一樣的位置安排，亦讓宏觀與微觀的景深交錯，增添了畫面 的故事性，製造很多惹人猜想的部份。 另一系列在香港郊外拍攝的作品，吳摒棄了真實世界中我們看景物時的單點透 視，呈現異樣的視覺現實。畫面中，遠近距離不一的山脈與植物透過多層次的黑 白灰度的呈現，造成景物之間距離感的迷失。真實世界的空間感頓時變得曖昧， 使觀衆如同突然在現實世界中被抽離一樣。
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Presenting ink in the form of a video is a recent artistic leap for Cindy Ng: for many years her main choice of medium was rice paper. She moved from paper onto successful experiments on canvas, a material which allowed her much greater flexibility and control over the effects of light, shadow and the sense of threedimensional space. However, she wanted to better demonstrate one of the reasons she is obsessed with ink: its natural motion and dynamic. Therefore, Ng soon found herself turning to one of the most modern art forms as a means to portray another that is one of China’s oldest and most traditional.
“Over the past ten years, the motivation of my art is to document the beauty of ink. Ink is abstract, graceful, an expression of the literati’s artistic conception.”
I N K WA L K 0 1 2 0 1 0 散 步 0 1 2 0 1 0 C I N DY N G 吳 少 英 Video ink 錄像水墨 8 minutes 30 seconds 8分鐘30秒 2010
In the video artwork Ink Walk 012010, brushstrokes come alive: viewers have the chance to watch the flow of energy and emotion of Chinese ink. They are mesmerized as the soft, fluid ink makes its natural course across the screen, creating a contrast of black and white reminiscent of the “Yin Yang” symbol. Then water flows in, disrupting the play of those opposite colours and melts them into endless nuances of grey. Overall, there is a captivating sense of serenity and harmony as screen, water and ink find evolution in their union. This work not only demonstrates the excitement between a collision of forces, but it emphasizes on synergy, union and a balanced and new outcome, which is very much a vision of the contemporary Asian “East meets West” spirit. The variety of medium in Ng’s body of work is itself a reflection of the flexibility and adaptability of Chinese ink. As contemporary artists continue their search for innovative mediums and styles to best express themselves and their subject, the Chinese tradition of ink will see no boundaries for its transformation.
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錄像是吳少英呈現水墨的延續。以往的作品她都以宣 紙和畫布作為媒介。由紙到畫布，本來已是她創作中 的一步躍進。畫布讓她控制水墨時更得心應手，她能 更靈活地呈現光、影及三維的空間感。之後，為了更 生動地顯示水墨的動態和生命，吳少英開始投入錄像 藝術，期望讓觀眾欣賞到水墨瞬息萬變的流動過程。 專注個人藝術發展的同時，她把現代化的錄像與傳統 中國水墨給合的作品也革新了水墨藝術的呈現形式。
「多年來的創作動機只是想紀錄水墨的 美 。水 墨 抽 象 、優 雅 ，是 文 人 意 境 的 表 達 。」
錄像作品〈散步012010〉中，吳讓水墨的筆觸活現 於螢幕上，柔和地、無間地伸延流動，使觀者安靜、 屏息、著迷。「散步」比喻水墨流動的隨性和詩意， 而吳少英進一步在視覺層面上闡述著中國的陰陽哲 學及宇宙觀：相互對立的事物如何相得益彰、相輔相 成。隨著清水緩緩流入畫面，水與墨隨著自然定律分 解又融和。原本簡單的黑白對比，演變成多層次的 灰。錄像與水墨的配搭，不止表現出傳統與現代碰撞 的火花，更加強調著融合與和諧，還有中西合璧的文 化涵意。 吳少英的錄像、攝影、宣紙與畫布作品，展現出當代 藝術家大膽嘗試跨媒介、跨文化的水墨表現方式。相 信傳統水墨藝術將會有更多跨領域、跨時代的蛻變。
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A RT I S T S 藝 術 家
HALLEY CHENG 鄭哈雷 Halley Cheng was born in 1986 in Hong Kong, and graduated from the Fine Art Department of The Chinese University of Hong Kong in 2008. Cheng’s practice in Chinese ink, watercolour, and oil painting has made him an outstanding and all-rounded artist. In his artistic career, Cheng has received numerous awards. He was the winner of the Philippe Charriol Foundation Art Competition (2006); shortlisted in the Hong Kong Arts Centre 30th Anniversary Award Competition (2008), and received the Jakarta Art Award (2010). Cheng has also exhibited in many international art fairs including ART HK, Art Asia Basel and a group show of contemporary Hong Kong art in London. His works are widely collected and he holds a successful auction record at Sotheby’s.
生於１９８６年香港，２００８年畢業於香港中文大學 藝術系，鄭哈雷擅長中國畫、水彩及油畫，是一位優 秀及全面的藝術家。由修讀藝術開始以至畢業後，鄭 哈雷獲獎無數，其中包括：夏利豪基金會藝術比賽冠 軍殊榮 ( 2 0 0 6 ) 、入圍香港藝術中心三十周年藝 術獎 ( 2 0 0 8 ) ，及雅加達藝術獎 ( 2 0 1 0 ) 。他 亦 參 與 過 不少國際性的藝術博覽會，包括 ART HK、 Art Asia Basel、在倫敦一個以香港當代藝術為主題 的聯展，並且於2009年蘇富比的秋季亞洲當代藝術 中拍賣。
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A N AT G I V O N Born and raised in Israel, Anat Givon came to Hong Kong as a photojournalist in 1995 to report on the period leading up the 1997 handover ceremony. Since then she has made Hong Kong her permanent home. After years of working for an international news agency covering the Middle East and Southeast Asia, Givon now utilizes her photography and photo-editing skills in a very different direction. Exploring the world of photography and digital art, professional constraints are replaced by complete artistic freedom. Givon is now able to express a personal and subjective point of view, resulting in unusual and highly original imagery, seasoned at times with elements of surrealism and humour.
土生土長於以色列的藝術家 Anat Givon 的前身是足跡 佈滿中東及東南亞的資深國際新聞攝影記者。1 9 9 5 至１９９７年她來採訪及報導回歸前後的香港，從此留 下來定居。近年來，她把攝影編輯技巧應用於不同的 領域上。攝影與數碼藝術讓她的眼光擺脫新聞報導的 限制；取而代之的是完全的創作和表達自由。透過藝 術，Givon可以表現出主觀或客觀的態度，其作品充 滿幽默感及超現實主義的特徵。
KUM CHI KEUNG 甘志強
MAN FUNG-YI 文鳳儀
Kum Chi Keung was born in 1965, Hong Kong. He earned his Certificate in Fine Arts at Hong Kong’s First Institute of Arts and Design in 1991. In 1995, Kum used birdcages to make his first installation work, which marked the beginning of his unique style that he continues to develop today. It all started with his vision of the birdcage as an ever-growing cell, opening up endless possibilities and inspiring him to reflect on the relationship between human, environment, nature and society.
Man Fung-yi is one of Hong Kong’s most acclaimed artists today. In 2009, she was the first and only female artist to be included in Sotheby’s inauguration of their Hong Kong Contemporary Art section. Apart from her recent and popular woven sculptures, she also makes embroidery with burning incense sticks and has a background in ink art and Chinese studies from her years at The Chinese University of Hong Kong. She is also active in Hong Kong’s public art projects and has won many local and international awards.
Kum was awarded numerous prizes including Contemporary Hong Kong Art Biennial Exhibition Urban Council Fine Arts Award (1996), Hong Kong Arts Development Council Fellowship for Artistic Development (1999), and he was shortlisted for The First “Artists in the Neighbourhood Scheme” (2001). His works are widely exhibited in Hong Kong, Monaco, Australia, Canada, Germany and America. Many of them are collected by Hong Kong Museum of Art, Hong Kong Heritage Museum, K11 Art Mall, Auction at Sotheby’s 2009, Shanghai Museum, Deutsche Bank, Bank of China (Hong Kong), Louis Vuitton and private collectors from Hong Kong and abroad.
Man Fung-yi has exhibited in New York, Paris, London, Sweden, Barcelona, Beijing, Japan, Korea and Taiwan in over a hundred shows. Recently there are The Art of Dress Exhibition presented by Louis Vuitton at Hong Kong LV Espace and Singapore LV Espace (2012), Hong Kong Sculpture Biennial (2012), Art Asia Miami (2011), Art Taipei 2011 (2011), a solo exhibition Woven Sentiments at Galerie Ora-Ora (2010) and more. Her work has been auctioned in Hong Kong and Singapore, and is widely collected by corporations such as Resorts World at Sentosa in Singapore, International Financial Centre in Shanghai, as well as private collectors and museums in Hong Kong, China and Japan, such as Hong Kong Heritage Museum and Hong Kong Art Museum.
甘志強生於１９６５年香港，１９９１年畢業於大一藝術 設計學院（藝術文憑畢業）。１９９５年他首次利用鳥 籠創作了第一件裝置作品，開拓專屬甘志強的藝術風 格。一切始於鳥籠的基本形態：他視它為一個細胞的 組合，不斷成長延伸，演變出無限的可能性，以至他 把人與人、環境、自然及社會之間的關係均收納為創 作靈感。 甘志強獲獎無數，當中包括香港當代藝術雙年展市 政局藝術奬（１９９６）、香港藝術發展局視藝發展奬 （１９９９），並入選第一屆藝遊鄰里計劃。他的作品於 香港、摩納哥、澳洲、加拿大、德國、美國等地廣泛 展出，並為香港藝術館、香港文化博物館、K11購物 藝術館、蘇富比拍賣２００９、上海美術館、德意志銀 行、中國銀行（香港）、Louis Vuitton等大型機構及 世界各地私人收藏家珍藏。
文鳳儀生於1968年，是香港最傑出最有代表性的藝 術家之一。2009年她成為蘇富比首個香港藝術部份 的唯一一位女藝術家。她曾經在香港中文大學修讀藝 術和中國文化研究碩士，站在香港新水墨藝術發展的 前線，也活躍於本地公共藝術項目。近年她的創作除 了〈編織親密〉雕塑系列，還有用線香作的女紅刺 繡，作品備受本地及海外藝界的關注，獲得無數獎 項。 文鳳儀參與過逾百個展覽，她的藝術品出現在紐約、 倫敦、巴黎、瑞典、巴塞羅那、北京、日本、韓國 等。近期的大型展出包括路易威登於香港及新加坡路 易威登藝廊主辦的〈藝裳〉(2012) 、〈香港雕塑雙年 展〉(2012)、〈邁阿密藝博會〉(2011)、〈台北國 際當代藝術博覽會〉(2011)、〈思織物──文鳳儀個 展〉Galerie Ora-Ora (2010) 等等。她的作品曾在香 港和新加坡拍賣，藏家包括新加坡聖陶沙酒店、上海 國際金融中心、香港藝術館、香港文化博物館、多個 私人藏家、以及中國和日本的美術館所委託及收藏。 43
M O K YAT- S A N 莫 一 新 Contemporary artist Mok Yat-San is one of the most active members of the Hong Kong art community. Since 2005, he has been teaching in the Fine Arts Department of The Chinese University of Hong Kong. He has also participated in many local public art projects. Mok specializes in sculptures that are often environmentally-aware. His major group exhibitions include Hong Kong Sculpture Biennial (2012), The Legacy & Creations - Ink Art vs Ink Art at Shanghai Art Museum (2010), BRIC Exhibition at Phillips de Pury & Company in London (2010), Yi Pai – Century Mentality Exhibition in Beijing (2009), Beyond the Body Exhibition in Miami (2008), Hong Kong International Arts and Antiques Fair (2008–2010), and Hong Kong International Contemporary Art Fair Exhibition (2007). His artworks are collected by the Hong Kong Museum of Art, the Hong Kong Heritage Museum, the Hong Kong Central Library, the Hong Kong Airport Authority, plus various international hotels, schools, private corporations and many private collectors. Mok has also won numerous awards and his artworks are publicly displayed in over twenty locations.
莫一新是香港最活躍的藝術家之一。自2005年起，他 任教於香港中文大學藝術系，也參與多個香港的公共藝 術項目。他的創作以雕塑為主，作品經常帶有強烈環 保意識。莫曾參與許多大型展覽，包括〈香港雕塑雙 年展〉（2012)、於上海美術館的〈承傳與創造──水 墨對水墨〉展 (2010) 、 英國倫敦 Philips de Pury & Company 的〈BRIC〉展 (2010) 、 於北京的〈意派 ──世 紀思維展〉(2009)、 於邁阿密舉行的〈Beyond the Body Exhibition〉（2008）、 香港國際古玩及藝 術品博覽會（2008 - 2010）及香港國際當代藝術博覽 會（2007）。他的作品為廣泛收藏，藏家包括香港藝 術館、香港文化博物館、香港中央圖書館、香港國際機 場及多所酒店、學校和企業。莫一新獲獎無數，他的作 品現於超過二十個地方公開展覽。
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C I N DY N G 吳 少 英 A native of Macau, Cindy Ng currently works and resides in Beijing. With a strong interest in Ink Art, Ng has explored presenting ink in many mediums and art forms including video, photography and performance. Ng has exhibited in many galleries and museums all over the world, including Taipei Fine Arts Museum (1996), Amerasia Bank Gallery in New York (2004), Seattle Art Museum (2007), and Me Photo Art Gallery in Beijing (2010). Her works have also been widely exhibited in important international exhibitions including DREAM BLOWERS at Red Zone Gallery in Geneva (2012), The 26th Annual Los Angeles IFPDA Print Fair in USA (2011), and Time Unfrozen: From Liu Kuo-sung to New Media Art in Taipei. In 2006, she was awarded with the Jury Recommended Work at the 10th Media Arts Festival in Japan.
生於澳門的吳少英現居北京。她熱衷研究水墨藝 術，經常利用不同媒界如錄像、攝影及行為藝術來 探索水墨的可能性。吳的作品於世界各地的畫廊和 博物館展出，當中包括臺北市立美術館（1996)、 紐約第一銀行畫廊（2004)、西雅圖藝術博物館 （2007)及北京的東磊畫廊（2010)。她的作品亦 出現於國際展覽中：日內瓦 Red Zone Gallery 的 〈 DREAM BLOWERS 〉(2012)、洛杉磯第二十六 屆IFPDA Print Fair（2011）及臺北市立美術館的 〈白駒過隙‧山動水行── 從劉國松到新媒體藝術〉 （2010)。2006年吳的作品入選日本第十屆新媒體 藝術祭評審委員會推薦作品，又一次見證了她卓越的 成績。
NG SAI KIT 吳世傑 Born in 1957 in Hong Kong, Ng Sai Kit has practiced photography since the 1980s. He set up “THE WORKSHOP” with other photographers at that time and he is also one of the founders of the photography studio “Out-Focus Group” at Jockey Club Creative Arts Centre. Between 1993 and 1999, he participated in the editorial of eleven issues of a non-periodical visual culture publication which was produced by “THE WORKSHOP” and sponsored by the Hong Kong Arts Development Council. In 2010, Ng participated in the group exhibition City Flaneur: Social Documentary Photography at Hong Kong Heritage Museum. Ng’s works are collected by different organizations which include Hong Kong Heritage Museum and the Bibliothèque Nationale in Paris, France.
吳世傑於1957年生於香港，從八十年代初開始從事 攝影創作。當時他與其他攝影師一同成立了攝影工作 室「THE WORKSHOP」，後來成為位於賽馬會創意 藝術中心的「失焦」工作室的創辦人之一。於19931999年間, 吳在香港藝術發展局的資助下，於「THE WORKSHOP」發行了十一期不定期視覺文化刋物。 隨後在2010年，他在香港文化博物館的〈城市漫遊 者── 社 會紀實攝影〉展覽中參展。吳的作品被不同 機構收藏，當中包括香港文化博物館及法國巴黎的法 國國家圖書館。
JOE JOE NGAI 魏凱畧 Born in Hong Kong in 1975, Joe Joe Ngai left his hometown at the age of twenty-two to explore England’s capital, London. He dived into various professions such as fashion and hairstyling, eventually realizing that his true calling was to be an artist. He began as a self-taught artist but soon enrolled in a foundation course at Byam Shaw School of Art at Central Saint Martin’s and he received further training at Goldsmiths College, University of London. After four years of fine art training in two of the best British art institutions, Ngai returned to Hong Kong and actively showed his works in many exhibitions at home and abroad. His first solo show was at Galerie Ora-Ora in 2009. Visually Ngai is deeply inspired by the pop movement, and conceptually he likes to explore the topics of identity and existence.
1997年，22歲的魏凱畧離開他的出身地 ── 香港， 遠赴英國首都── 倫敦。他投身不同類型的工作， 曾當過時尚助理及髮型設計，後來發現最想追求的原 來是藝術。經過一段自學的日子，他終在２００１年正 式展開藝術家生涯。他首先入讀現屬 Central Saint Martin’s 的 Byam Shaw School of Art 修讀基礎 課程，隨後於倫敦大學Goldsmiths College獲得更鞏 固的美術訓練。在兩所名學院學習和經歷了四年時 間，他於2005年回流香港，於不同的畫廊及展覽展 出他的作品。他曾參與超過十個聯展，並於2009年 在 Galerie Ora-Ora 舉辦了他的首個個展。視覺上， 魏的風格深受波普藝術的影響，而概念方面，他則沉 迷於人的身份、價值和存在的問題。
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ODETTI TSE 謝穎君 Born in 1986, Odetti Tse graduated from the University of Western Ontario with a Bachelor’s degree in Visual Arts in 2008. With a particular interest in the relationship between colours and forms, she developed her own unique style through her background in painting, photography and digital art. Tse began her creative career as a graphic designer in Toronto before moving to Hong Kong in 2009. She continued with in-house design until becoming a gallerist. Currently managing a gallery full-time, Tse continues working as a freelance designer and commissioned artist.
出生於1986年，謝穎君2008年畢業於西安大略大 學，擁有視覺藝術學士學位。謝對色彩與形狀持有濃 厚興趣，作品用色獨特，再加上她於油畫、攝影及數 碼藝術方面的背景，造就了她的個人風格。2009年 移居香港前，謝在多倫多是一位平面設計師。回到香 港後，她首先擔任過企業內部設計師。目前，她除了 全職管理一間畫廊的營運及設計工作，也是一位自由 設計師和委託藝術家。
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STEPHEN WONG 黃進曦 Born in 1986, Stephen Wong gained his BA in Fine Arts from The Chinese University of Hong Kong in 2008. Since his early years, he already demonstrated an interest in the relationship between human, nature and virtual reality. Upon graduation, Wong participated in many group exhibitions including No Between (2011), Tasting Hong Kong: Hong Kong Toy (2010), Haven’t you Heard (2010) and Stretched Connotations (2010). Wong had his first two solo exhibitions in 2011, Someone Bending the Machine: An Exhibition Responding to the Artworks of Chow Chun Fai, followed by From a Distance at Galerie OraOra.
黃進曦於1986年生於香港，2008年畢業於香港中文 大學（文學士），主修藝術。黃的早期作品已經以探 索人、大自然及虛擬現實之間的微妙關係為主。畢業 後，黃參與過很多聯展，例如2011年的〈自以為〉、 2010年的〈品味香港：香港玩具〉、〈聽到嗎？〉、 以及〈Stretched Connotations〉。2011年見證了他 首兩個個展：〈有人屈機：一個回應周俊輝作品的展 覽〉，以及於Galerie Ora-Ora舉辦的〈視乎距離〉。
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C H I E F E D I TO R 主 編
Henrietta Tsui 徐錦熹
E D I TO R 編 輯
Odetti Tse 謝穎君
TEXT 文章
Annie Fung 馮安怡 Rebecca Liu 廖鎧熒
C O P Y E D I TO R 文 字 編 輯
Rebecca Liu 廖鎧熒
DESIGN設計
Odetti Tse 謝穎君
P H OTO G R A P H Y 攝 影
Aron Fotographie System
PUBLISHER 出版人
Ora-Ora International Limited
ADDRESS 地址
Galerie Ora-Ora, G/F, 7 Shin Hing Street, Central, Hong Kong 香港中環善慶街7號地下
TELEPHONE 電話
+ 852 2851 1171
PRINTED 印刷
Hong Kong, October 2012 2012年10月印於香港
ISBN
978-988-18648-7-1
All rights reserved under Bank of China (Hong Kong) Private Banking and Ora-Ora International Limited. No part of this book may be reproduced or utilized in any form or by any means, electronical or mechanical, including photography, recording or by any information storage or retrieval system, without permission from both parties.