Futuristic Ink by Galerie Ora-Ora

EXHIBITION ORGANISER 主辦單位

CURATORS 策展人 Hung Keung 洪強 Henrietta Tsui-Leung 梁徐錦熹 EXHIBITION COORDINATOR 展覽統籌 Odetti Tse 謝穎君

VENUE SPONSOR 場地贊助

CATALOGUE SPONSOR 圖錄贊助

FESTIVAL ORGANISER 文化節主辦單位

FESTIVAL SPONSORS 文化節贊助商

FESTIVAL PARTNER 文化節合作伙伴

SUPPORTED BY 支持

We would like to thank the Hong Kong Culture Festival for their generous support, which made this exhibition possible. 我們衷心感謝「香港文化節」的慷慨支持，使是次展覽得以順利舉行。

策展人語 CURATORIAL STATEMENT

In the 1950s and 1960s, due to various historical factors, Hong Kong had a different cultural environment from other neighbouring countries. When we examine the development of ink painting from the perspective of inheritance and innovation, we may perceive three separate directions: The first is a traditional, linear direction; there are countless representatives under this category. The second is building on the traditions to create a different and new vision, embodied by representative figures such as Lui Shou-kwan, Wucius Wong, Liu Guo-song and other masters of the past. The third is a non-traditional, non-inherited route. It may be described as the fusion of Chinese and Western styles, represented by artists such as Kan Tai-keung, Kwok Mang Ho (Frog King), Chu Hing Wah and so on.

In recent years, I have become more interested in this third direction, for example: Mr. Chu Hing Wah went to England to study nursing, returning to Hong Kong to work as a psychiatric nurse; this path provided him with rich creative themes. Another example: Mr. Kan Tai-keung’s role and status in the design and art world has affirmed the close link between art and design. He began his career as a contemporary design master, inheriting his father’s tailoring skills before studying art courses at CUHK in Hong Kong; he represented a unique cultural and economic background, and made complementary achievements in art and design. Besides Kan’s significant contribution to the innovation of design, he has also adapted different design languages and symbols within art. The power of Chinese culture

is clearly displayed as it is reincarnated within Kan’s product design. Due to Kan’s vast audiences, his contemporary artworks and designs are created with flexibility, showcasing the influences of both Western and Eastern visual expression. Chu and Kan’s artworks represent the Hong Kong style of artistic creation, which is “non-traditional” and “non-inherited”, but still embodies both Eastern and Western cultures. As well as presenting these new directions for the show, the founder of Galerie Ora-Ora and of the Hong Kong Art Gallery Association, Henrietta Tsui-Leung, has been continually curating exhibitions revolving around contemporary and conceptual ink in Hong Kong. Artists at these exhibitions are dealing directly with the modern world. When reflecting on the possibilities of the “inheritance” and the “non-inheritance” of ink and wash, our artists are also called upon to respond to the organic, media-saturated world of present-day generations. With “Futuristic Ink”, we focused on the “nontraditional” in order to discuss the possibilities of ink. What is the non-traditional and non-inherited route? It can be a route where the artist doesn’t follow traditional means of practice in Chinese painting techniques, and furthermore develops their own painting philosophy. In some cases, the artists may have begun their artistic careers in different media, away from water or ink. Some of them are professionals in graphic design, some majored in computer science, and many of them practiced Western media while studying visual arts in school. Gradually, they found themselves forming a subtle connection with Chinese culture, which subconsciously has always been a natural, and also crucial aspect in their artistic practice. When addressing the development of contemporary ink art, we previously may have defined it as the bringing forth of the new. It is the combining of the heritage of history and contemporary identity. With fresh eyes, perhaps we may assume that when water and ink is no longer the “object”, it has become the “subject.” When ink is no longer merely a tool for writing and telling stories and becomes the main character in the story, new phenomena emerge. Hence, the layering of the traditional wrinkle method leads to the precise arrangement of stainless steel and iron; dots of ink that

could have portrayed flowing water are transformed into light and images; delicate line ink drawings and fine brushwork of figures become the immediate connection between fingers and mobile touch screens. And the interpretations flow in the opposite direction too: anonymous MTR passengers may become the overlapping images of the Thousand Buddha Caves; or perhaps father/son interplay becomes the theme of a work of art; and machinery becomes the conceptual method to scroll back in time and space. In a world such as this, we can witness the growing and wilting of plants while viewing the beauty of nature and chasms and valleys may be represented through digital printing and type settings. The ten artists participating in this exhibition have brought new perspectives on the interpretation of ink for themselves and the audience, regardless of whether ink is presented as the “object” or the “subject.” Through this exhibition, we not only presented the interpretation of water and ink by ten different artists but we also explored the moment in which each artist found their personal connection with ink itself. Now that we realise how ink has permeated different layers of culture, perhaps this can provide more opportunities to further study the development of contemporary ink. Those who share our interest in ink may now be more inspired. As each artist realises their own interest in ink and extends their own artistic skills, they now better understand the unique characteristics of water and ink. In our present society, diversity and openmindedness will only bring about a richer interpretation of the meaning behind ink.

HUNG KEUNG, Scholar & Digital Media Artist

在50、60年代, 由於歷史及種種不同環境因素的關係, 香港相對其他鄰近的地區營造出不一様的文化氣質; 假設我們用承傳與創新的角度去看水墨畫發展時, 或可見到三條較明顯的脈絡: 第一條是傳統的缐性發展方向，代表人物如恆河沙數。第二條是𠄘繼傳統但開創了不同的新視野的方向，代表人物如呂壽琨，王無邪及劉國松等大師前輩。第三條是亦非傳統亦非承傳卻是中西共融，其中較有代表性的藝術家有靳埭强，敦孟浩 (蛙王) 及朱興華等等前輩。近年較引起我興趣去研究的是第三條脈絡, 例如: 朱興華先生年輕時曾到英國讀完三年普通科護理,畢業回港當上精神病院護士，朱氏所見所聞成為他豐富的創作題材。又例如: 靳埭强先生在設計界及藝術界的角色及地位亦啓發了我們如何在邀請藝術家的時候緊扣着這主題方向。靳氏是人所共知的當代設計大師，在早期的創作生涯裏，他先繼承父親的巧手裁縫技藝，從而進入設計行業，之後在中大校外進修部修讀藝術課程，在香港這獨特的文化及經濟背景下，令他在設計及藝術方面都有相輔相成的成就。在設計創作上，除了在中西共融之創新方面作出巨大的貢獻外，在藝術上靳氏亦推陳出新，應用了不同的設計語言及符號，將其融匯於藝術領域之中。同樣的，我們也可以從其設計作品，見到了不少表現中國文化特色, 巧妙地融合了設計及藝術加以再創造的能量。正是因為靳氏的接觸面及觀眾羣不只限於藝術受眾，所以其設計及藝術作品都有一種當代的融創性及靈活性，視覺的表現張力亦西亦中！朱興華及靳埭强的表現方法及創作內容正代表了香港那一條 “非傳統，亦非承傳” 卻是 “中西共融”的體現。是次展覽的策展方向除了秉承了方由美術及香港畫廊協會創辦人——梁徐錦熹女士一貫對香港當代水墨的策展方向之外，此次展覽更試圖以當今世代的有機性及媒介性等特性為視點去理解水墨“承傳”及“非承傳”之間的可能性，這議題亦反映了我們邀請畫家的方向。首先，是次展覽嘗試以上文提及的第三條脈絡作實踐並討論當中的可行性。何謂 “非傳統又非承繼”？就是藝術家本身未如前兩條脈絡的前人們以學習傳統中國藝術為先，再進一步實踐自己對水墨畫的理念及方向。反而，

第三條脈絡的藝術家們，由於種種不同的時代背景，縱然對傳統中國藝術或中國文化有著不同程度的熱忱，本身投入藝術或創作的起步點往往因應不同的學習環境及機緣而 “非水非墨”。當中有以學習設計專業為先的，也有的本科專業是以電腦科技，更普遍的是本科一直從事西方媒界的藝術新生代，在創作生涯的某一瞬間，發現自己的藝術創作方向原來不知不覺間已經與一直在自己身上流著的中華文化因子發生了極之微妙的聯繫。其次，在談及「當代水墨」的發展，或許除了以推陳出新的概念定義丶內容演繹丶歷史承傳及當代定位外，我們也許可以再假設，當水和墨已經不再是「客體」時，換另外一個角度，變成了「主體」。當水墨變成了故事中的主角，而不單純只是書寫及傳達故事的工具時，那麼傳統皴法的層次感可能變成了不銹鋼與鐵之間的空間感；墨點或許可以變成流動的水影、光影及影像；細緻的人物白描工筆亦應可以變成了手指與手機屏幕之間的速食關係；地鐵車廂𥚃的平民百姓也許可以變成了如千佛窟的重曡分布，千人一面；又或者當父子對弈般的互動變成作品的主題；當機械摩打設備可以成了捲軸時空的概念手段。如是者，觀賞林泉之美的同時也可以見證植物的實時成長與枯萎；胸中的丘壑亦可以透過當代數碼打印及書刊排版概念而重新呈現。我們期待，今次展覽的十位藝術家，無論是以水墨為「客體」或「主體」，都會為藝術家自己及觀眾帶來一個新的水墨詮釋方向。所以，是次展覽我們除了介紹了十位不同藝術家以不同的媒介演繹他們對水與墨的解讀外，同時，我們也想趁此機會，想了解一下他們與水墨那一𣊬間的聯繫。從中我們或許可能會窺探到，水墨概念其實已經不知不覺間滲透入不同的文化層面，這也可以為從事當代水墨藝術發展研究方面提供多一個選擇。當今對水墨有興趣的同好或會帶出更有趣味的啓示。認識本身的興趣及延伸本身的專業，再了解到水丶墨的特性，可能更加配合當今那種多元多層面的生活文化模式，無論以任何角度去切入水墨創作，都會不斷地為水墨詞境上的闡釋提供更豐富的解讀面。洪強，學者及多媒體藝術家

策展人語 CURATORIAL STATEMENT

Since the 1950s, Hong Kong has played a vital lead role in the modernizing of Chinese ink. The city’s accomplishments in establishing a variety of ink movements and in bringing generations of new artists to the public’s attention have been rightly celebrated in previous exhibitions. Hong Kong has built a reputation for incubating and inspiring many well-known modern ink artists such as Huang Yongyu, Lui Shou-kwan, Wucius Wong, Liu Guo-song and many more. But now that we have entered a new era of digitisation in Hong Kong, with young people actively voicing their demands and expectations on social, economic, and political issues, there are new questions on the agenda. What will Hong Kong art’s contribution be to this fresh spirit of open dialogue? Are we going to restrict ourselves to conforming to the rigidity of classical artistic practice? Or are we ready to be open-minded and embrace a wider spectrum of creativity and selfexpression? “Futuristic Ink” is an exhibition that promotes limitless possibilities and uninhibited imagination. Artists have harnessed diverse media, and been inspired by a variety of concepts: the thread that links them together is their interest in our traditional philosophy, artistic practice, literature and heritage. I believe the future of ink art creation is an inclination towards broader interpretations of our traditions and culture, inviting us, and particularly the younger generation, to relate to our past in a new and thought-provoking way.

自1950年以來，香港一直在現代中國水墨領域扮演重要的領頭角色。在亞太水墨研究會舉辦過的展覽中已經清晰地展現了香港在引導多次水墨運動和推廣年輕藝術家方面的輝煌成就。香港在培養和激勵藝術家方面久負盛名，當中包括著名當代水墨藝術家黃永玉、呂壽琨、王無邪、劉國松等多位名家。審視當前，香港已經進入了一個數碼化的新時代。新一代們積極地就社會、經濟和政治等議題發出自己的聲音，不禁將一系列新的問題提上議程：在這一充滿活力的開放對話空間下，香港會對於藝術做出何種貢獻？我們是否將自己限制於傳統藝術訓練的枷鎖中？亦或我們已經準備好以開放的態度去擁抱更廣闊的創造和自我表達的空間？「墨啟未來」當代藝術聯展將會推動藝術創作無限之可能性和無拘束之想象。藝術家們在創作中運用了多樣的媒介並受不同的概念作啟發。正是藝術家們對於我們文化中傳統哲學、藝術實踐、文學和文物的強烈興趣將傳統和現代結合在了一起。我相信水墨藝術發展的未來趨勢將是對於我們傳統和文化更廣義地解讀。上下五千年的文明邀請了我們，特別是年輕的一代們，將其做引人深思的新解讀。梁徐錦熹，當代水墨藝術專家

HENRIETTA TSUI-LEUNG, Contemporary Ink Specialist 7

區德誠 A U ,

B E N N Y

Based in Hong Kong, Benny Au is the Design Director of Amazing Angle Design. He dedicates himself to exploring new design possibilities for everyday life. He specialises in graphic design, branding, publication and exhibition curatorial work. In 2003, Au founded miniminigallery at his studio, where designers and creative units from around the world are invited to show their works. With his rich experience in the use of print techniques and paper with graphic design, Au has acted as consultant to various paper companies in Hong Kong. From time to time, he is invited to judge and speak at international design competitions and seminars. Au’s works are collected by museums and galleries worldwide, and have received numerous local and overseas creative awards. In 2012, Au was named by Time Out Hong Kong as one of “The Design Hot 25 – the 25 Hong Kong Designers You Need to Know”, and he was named as one of Hong Kong’s Ten Outstanding Designers in 2008. Au is currently a member of Hong Kong Designers Association, Tokyo Type Directors Club and Japan Graphic Designers Association. Amazing Angle Design 設計總監，致力從日常生活中尋找新的設計方向，並專注於平面設計、品牌、書籍及展覽策劃項目。2003年於工作室開設 miniminigallery，定期邀請世界各地的設計及創意單位參與展出。

GAZE 凝 2016 Inkjet printing on clear polycarbonate sheets 聚碳化二亞胺面噴墨印刷每件 70 x 100 cm each (A set of two 一組兩件)

Benny對紙張和印刷於平面設計的運用經驗豐富，曾擔任香港多間紙業公司之顧問。此外，亦不時為國際性設計比賽及講座作評選委員及演講嘉賓。作品被國際多間美術館收藏，並屢獲本地及海外之設計獎項。2012年獲香港 Time Out 雜誌選為「The Design Hot 25 - 你必須要認識的25位香港設計師」之一，2008年獲香港傳藝中心頒發十大傑出設計師大獎。現為香港設計師協會、東京字體指導協會及日本平面設計師協會會員。

You worked with inkjet printing for the show, and your expertise in ink and paper is a vital part of your design and consulting career. How did you first become interested in ink and what has been the greatest change in your design style over time?

「無山見山」、「無水見水」中的概念——無中生有，感悟到大自然成長中存在的狀態意義。從而以鐵片為原點，透過銹蝕的自然化學反應來營造我心中的山水意象。

My interest in ink originated from one session of ink graffiti class during my secondary school. I like the pureness of the ink colour, which allows me to focus on the nature of objects. Regarding art creation, I try to seek a metaphysical mental state instead of focusing on the unification of different design styles. I also try to grasp all these fleeting moments of sentiment. There is no doubt that all creative techniques are a gateway to the world of self-perception. In the exhibition – “Hong Kong Design Legacy and Beyond – The 70 Fruitful Years of Kan Tai-keung” (2012), I responded to the concept of “There is no mountain but to see mountain” and “There is no water but to see water” from one of Kan’s ink posters. I realised the significance of nature from nature, so I started with iron sheets, using corrosion to create the landscape in my mind. 此次展覽中，您運用噴墨印刷等技術進行創作，同時您對於墨和紙的專業是您從事設計和資訊事業中很重要的一環。您最初是如何對墨產生興趣？多年來，您設計風格最大的轉變又是什麼？我第一次對水墨感興趣是在中學時期美術堂的水墨塗鴉。我喜歡它純粹的色調語言，它能使我專注地凝視事物的本質。

Previous page 前一頁 A MICROSPACE STORY 微空間故事 2014 Offset printing, mixed media 膠版印刷，混合媒介 Various sizes 尺寸可變

創作上，我從不在意設計風格的統一，而是著意探求一種形而上的精神狀態，並試圖抓緊瞬間即逝的感悟。所有創作的手法，無疑是作為通往屬於自我感觀世界的橋樑。 2012年「香港設計傳承跨越——靳埭強七十豐年展」我回應靳叔作品所做的習作中，從他的一對水墨字體海報

THERE IS NO MOUNTAIN 無山見山 2012 Mixed media 混合媒介 70 x 100 cm

陳家祺 C H A N

K A

K E I

Chan Ka Kei graduated with a BA in Visual Arts from the Camberwell College of Arts in the UK in 2000, later graduating with a Masters in Visual Arts from Baptist University in 2013. He also spent one year at the Chelsea College of Art and Design in the UK in 1997, and at the Hong Kong Polytechnic University. Chan is based in Chai Wan and works as a freelance graphic designer, having been active as a graphic designer in media and advertising, including seven years as a print designer at Turner Broadcasting System (2006–2013) and three years as an art director at Hakuhodo Hong Kong (2003–2006). During his career he harnessed his visual arts training to design logos, advertising, magazine layouts and TV formats. He has put his design capabilities to use on computer games, product packaging, children’s books, and varied corporate communications strategies. Chan is Finalist.

1998

IDN

Design

Competition

陳家祺2000年從英國 Camberwell College of Arts 藝術系本科畢業，2013年從香港浸會大學藝術碩士畢業。他也曾經在英國 Chelsea College of Art and Design 和香港理工大學學習。陳目前主要在香港柴灣工作，作為一位自由職業平面設計師。他積極參與平面媒體和廣告的設計工作，曾於 Turner Broadcasting System 任職平面設計師（2006-2013年），並於 Hakuhodo Hong Kong 任職藝術總監（2003-2006年）。

人面－ 354＊ 2016 Print on rice paper 宣紙印刷每件 36 x 104 cm each (A set of two 一組兩件)

在其作為平面設計師的職業生涯過程中，陳掌握了設計商標，廣告，雜誌排版和電視版式等的專業範疇。除此範疇，他也涉獵電腦遊戲，產品包裝，兒童書，公司傳訊策略等的設計運用。陳曾參與1998年IDN設計比賽的決賽。

A mobile phone is both modern and universal – you have used the mobile phone to create images of people for the exhibition. This is the result of several years of practice. What was it that made you dedicate your time to work in this way? How is it different from your style of working before? Do you think your recent works are somehow connected to ink art? Why? I have been working with a computer to create images since I was studying at university. I was drawing, doing photography and scanning images. Playing around with them on the computer and creating vivid images. After a couple years, I was concentrating on single line drawings to study Chinese style line drawing (白描) in an alternative way. I was looking for a way to do a lot of quick sketches in different situations. With a mobile device, I could make quick sketches anywhere and anytime, hiding myself from the target. I found it so interesting how new technology could simulate the brush pressure to capture human facial traits with

lines. So sketches made through this modern process are actually made with a traditional eye.

手提電話不僅現代同時也具有國際性——此次展覽中您運用手機創作出人的形象，可以看出這是多年練習的成果。是什麼啟發到您去用這種方法創作？目前展出的繪畫風格和您之前的風格又有什麼不同？我在大學時期初次接觸到電腦。當時使用電腦的繪畫軟件結合攝影作品和掃描圖片在電腦拼貼製作了一系列色彩豐富作品。其後，我的興趣開始集中在傳統繪畫，探索白描人物繪畫。作為練習，就運用智能電話這種新媒介，智能電話所提供帶壓力的筆觸可以讓我隨時隨地作速寫練習找出新科技與傳統繪畫并行之處。

This page 此頁 BULL FIGHTING 鬥牛 1995 Ink, photoshop 水墨，photoshop 27 x 7.8 cm

Next page 下一頁人面－ 354＊ 2016 Print on rice paper 宣紙印刷每件 36 x 104 cm each (A set of two 一組兩件) Detailed view 細節圖

鄭哈雷 C HEN G, HA LLEY

Halley Cheng was born in Hong Kong in 1986 and graduated with a BA (Hons) in Fine Arts from the Chinese University of Hong Kong. In 2013, he received his Masters from the Hong Kong Baptist University. Cheng’s works include painting, mixed media, installation and video. He recalls the city dweller’s attention to objects, textures and information that may have been forgotten in the pressures of metropolitan life. Targets have included Hong Kong schools in watercolour and hyrdraponic works. Solo shows in Hong Kong have been entitled “Game Theory” (2011), “Cerulean” (2010) and “Ghostliness – Halley Cheng” (2008). His group exhibitions include Art Asia Miami 2011, “The Spirit of Ink – 12 Hong Kong Artists,” Sotheby’s Hong Kong Gallery (2013), START Art Fair, Saatchi Gallery, London (2014) and Art 15 London (2015). Cheng has also exhibited at Art Basel Hong Kong in 2013 and 2016. Cheng has been awarded numerous prizes including the Asian Contemporary Art Show Young Artist Award – Grand Prize (2012), Jakarta Art Award (2010) and Philippe Charriol Competition Winner (2006). 鄭哈雷1986年出生於香港，2009年畢業於香港中文大學文學士（榮譽）學位，主修藝術；並於2013年畢業於香港浸會大學視覺藝術碩士學位。鄭哈雷在藝術創作中運用多種不同的媒介，他的創作回顧了對物件、質感等的關注，這些往往是城市人因為生活的壓力所忽視的主題。

A TREE IN JORDAN VALLEY PARK, MAIN ENTRANCE 佐敦谷公園門口的一棵樹 2016 Ball pen, charcoal, copic sketch, colour pencil, acrylic on wood 原子筆、炭筆、酒精麥克筆、木顏色、壓克力木本每件 190 x 270 cm each (A set of three 一組三件)

在香港舉辦過的個展包括有「Game Theory」（2011），「藍」（2010）和「鬼王：鄭哈雷作品展」（2008）。他參加的群展包括有美國Art Asia Miami（2011），蘇富比香港藝術空間「一墨相承：香港藝術家十二人展」（2013）和英國倫敦START Art Fair（2014）。他的作品也於香港巴塞爾藝術展會（2013）展出。鄭哈雷獲獎無數，其中包括香港青年藝術家大獎（2012）、Jakarta Art Award（2010）和夏利豪基金會藝術比賽冠軍（2006）等。

You have been working with horticultural themes for many years now. What first inspired you to document and record plant and natural life, and how have your style and methods evolved over time? Are your plants somehow in relation/connected to ink art? Why? Plants regularly appear in my paintings, but I was not focusing on them as a subject until the end of 2012. I asked myself: “How do I put my own image into my artworks?” Just like God created humans by following his own image. I later painted some trees in their original size. I thought that those trees could represent me. The contrast between my tree paintings and traditional Chinese painting is scale. In Chinese painting every single object, including man, is universal in nature. Xu Bing’s work “Mustard Seed Garden Landscape Scroll” is an attempt to prove it. In the end I chose to paint the trees with their original scale, forcing myself to honestly face the subject of my painting.

您運用園藝主題創作已經有多年，是什麼啟發到你令你想記錄植物和自然生命？多年來，您的創作風格和方法如何隨著時間改變？有意識地開始繪畫植物始於2012年末，之前植物只是間歇性在我作品中出現。我讀書時問自己：“如何將自己的形象放進作品裡?” 就像耶穌根據自己的形象做人。我是一個從來不畫自畫像的人，一開始我用自己的影像做了些攝影作品，後來畫了些原大的樹，我才覺得那些是自己。被繪那些樹都是平平無奇，但並非隨意找來，而是實在介入過，存在於我生活。每一棵樹我都在不同季節天氣觀察過，整合了一個感覺才去繪畫，每次觀察我都有不同的收穫，每棵樹歷時一至兩年才完成，可以說這五棵樹同時記録了我近幾年繪畫上的一些轉變。樹的原大比例凸顯了物件的普世性特質，創作的過程也令自己忠實地再現畫裡的主體。

This page 此頁 PLANTS VS SCHOLARS 植物大戰文人 2010 Ball pen, pencil, charcoal, oil on wood 原子筆，鉛筆，炭筆，油彩木本 61 x 122 cm Detailed view 細節圖

Next page 下一頁 THE CARNIVOROUS ISLAND 嚥人島 2016 PVC pipe, glass container, submersible pump, nutrient solution, vegetables, human teeth, charcoal, acrylic, linen canvas 聚氯乙烯膠喉，玻璃缸，潛水泵，營養液，菜，木炭，牙齒，壓克力，純綿畫框 210 x 110 x 11 cm

何冠廷 H O

K W U N

T I N G

Ho Kwun Ting was born in 1988. After attending secondary school in the UK, he returned to Hong Kong to take an Associated Degree in Visual Arts at Hong Kong Baptist University, before graduating with a BA (Hons) in Fine Arts from the Chinese University of Hong Kong. Ho is influenced by Patrick Caulfield, Chinese delineative paintings and Chinese philosophy. His works have included metal sculptures in the shape of traditional Chinese landscape painting. In September, 2016 his work was shown at the “Nurturing Creativity” exhibition at The Rotunda in Exchange Square. In 2015 he was shown at “Chinese Lines – Exhibition of Chinese University of Hong Kong Fine Arts Department Alumni Association” at the Dokzaal Gallery, Amsterdam.

OUTSIDE THE WINDOW 窗外 2013-2014 Mild steel and stainless steel, coating 低碳鋼及不鏽鋼、塗層 84 x 64 x 20 cm Courtesy of Alisan Fine Arts 藝倡畫廊版權所有 WHAT’S IN THE BAG? 背包放啥 2016 Stainless steel, mild steel and lacquer 不鏽鋼、低碳鋼及涂漆 40 x 50 x 80 cm CASSETTE 6 - FIND THE RED 卡式• 六尋紅 2015 Stainless steel and mild steel 不鏽鋼及低碳鋼 50 x 50 x 15 cm Courtesy of Alisan Fine Arts 藝倡畫廊版權所有 CASSETTE 7 BLUEPRINT - LISTEN TO THE EMPTINESS OF RED 卡式• 七藍圖- 紅聽 2015 Paint on acrylic 丙烯酸上色 70 x 38 x 5 cm

In 2007, he was awarded the Sustainable Design Award, Schumacher Centre for Technology and Development, UK. In 2012 he received the Culture Corner Art Academy Fine Arts Award, Chinese University of Hong Kong. 何冠廷1988年出生於香港。自英國中學畢業之後，他回到香港在香港浸會大學修讀視覺藝術副學士，並於2013 年取得香港中文大學藝術文學士。何冠廷深受Patrick Caulfield、中國繪畫和中國哲學的影響。他的金屬雕塑作品涵蓋了中國傳統山水畫的形狀，嘗試將二維的表現轉移到三維的空間中，同時保留線條的典雅古樸之感。 2015年他參加在荷蘭阿姆斯特丹舉辦的「《中國線條》香港中文大學藝術系系友會二零一五阿姆斯特丹作品展」；他於同年還參與了香港藝術中心舉辦的「呂壽琨水墨傳奇四十年」展覽。何冠廷於2007年獲得 The Schumacher Centre for Technology and Development 頒發的 Sustainable Design Award；2012年獲得香港中文大學藝術系展頒發的文苑藝術創作獎和2013年獲得香港中文大學藝術系展頒發的莫氏立體創作奬。

“What’s in the Bag?” and “Outside of the Window” make references to your childhood and student life. How has your attitude to art and your style changed since your student days at Baptist University and Chinese University – what was the biggest turning point? My attitude to art changed greatly when I was studying Chinese Philosophy, especially Taoism, at The Chinese University of Hong Kong. Taoism stimulated new thoughts towards nature and elements in the world, leading me to build up my early style using a minimalist pattern of air (Qi) and water in Gongbi creation. My early painting, “Piao”, expresses my belief in love and how it relates to elements of nature.

此次展出的《背包放啥》和《卡式• 七藍圖- 紅聽》都和您的孩童時期以及學生時代有強烈的聯繫。您從就讀浸會大學到中文大學以來，對於藝術的態度和藝術創作的風格之最大的轉捩點是什麼？我對於藝術的態度最大的改變是當我在香港中文大學修讀中國哲學理論時，其中對我影響最深的是道教的文化。道教的理論激發了我對世界，對自然的看法，激發我早期創作的靈感，運用工筆的技巧創作出極簡的圖案以表現空氣和水。我早期創作的畫作——《瓢》，表達了我對於愛的堅定信念，以及它與自然元素的緊密關係。

PIAO 瓢 2012 Ink and colour on paper 紙本水墨 50 x 133 cm

熊輝 H U N G

F A I

Hung Fai was born in Hong Kong in 1988 and graduated from the Fine Arts department of the Chinese University of Hong Kong in 2013. He is primarily devoted to the field of contemporary Chinese ink art, harnessing a range of media to present works on both paper and canvas. He deconstructs elements of traditional Chinese paintings and reconstructs them conceptually in experimental, transformative ways. Hung’s solo exhibitions include “The Departing Landscape – Hung Fai Ink Project” in 2016 and “Movement – Hung Fai” in 2014. His works have also been shown at Art Basel Hong Kong (2016), Art Taipei (2015), Ink Asia (2015) and Fine Art Asia (2015). Awards include the Certificate of Merit at the Twelfth National Exhibition of Fine Arts, China (2014), the Certificate of Merit, Hong Kong Art Prize (2013), Wucius Wong Creative Ink Painting Award (2013). His works are collected by the M+ Museum for Visual Culture, Hong Kong and the Hong Kong Museum of Art. 熊輝1988年出生於香港，2013年畢業於香港中文大學文學士（榮譽）學位，主修藝術。他醉心於當代水墨創作，在紙及畫布上展示多元化的作品。透過解構傳統水墨媒介中的不同元素，以更實驗性、創新性手法來重塑繪畫。熊輝曾舉辨個展「山水重構——熊輝水墨計劃」(2016 年)和「變法——熊輝」(2014年)。其作品亦曾於「香港巴塞爾藝術展」(2016年)、「台北國際藝術博覽會」(2015年)、「水墨藝博」(2015年)、「典亞藝博」 (2015年)等展出。

THE SIX PRINCIPLES OF CHINESE PAINTING TRANSMISSION VI (WITH HUNG HOI) 《繪畫六法-傳移模寫》之六（熊海合作） 2016 Ink and colour on paper 水墨設色紙本每件 68.5 x 136.7 cm each (A set of twelve 一組十二件) Courtesy of Grotto Fine Arts 嘉圖現代藝術版權所有

他亦榮獲不少獎項，如第十二屈全國美術作品展覽—— 港澳台、海外華人展區優秀作品奬 (2014年)、香港藝術大獎優異獎 (2013年)、王無邪水墨創作獎 (2013年) 等。其作品更獲香港 M+ 視覺文化博物館及香港藝術館等收藏。

Your collaboration with your father, Hung Hoi, provided two memorable works in the “Futuristic Ink” exhibition. What have been the breakthrough moments in your career journey as an artist so far? How has your father’s influence impacted your style? I think the series “Transformation,” created in 2012, was a major breakthrough. It deconstructs ink paintings away from the traditional integration of paper, water and ink. Through reconstruction of relationships between these three elements with new techniques, new meanings and more possibilities become available. This initiated a unique and systematic language of art in my ink works. My favourite deconstruction technique takes place in the folded combination of xuan papers. The diffusion of ink among different layers is allowed to reproduce, accumulate and fade. This expression of deconstruction or construction of ink is distinct from that of traditional brushwork.

您和父親熊海的合作為「墨啟未來」展覽提供了兩件令人難忘的作品。在您從事藝術生涯以來，最大的突破是什麼？您父親的創作如何影響到您自己的風格？我認為2012年所創作的《變》系列是個重要的突破。該系列先從媒介的特性入手，把傳統水墨媒介的元素解構為紙、水、墨三者。再透過概念把三者的關係重組，以新的表現手法、賦予其新的意義和可能性。這讓我能有系統地建立自己對水墨媒介獨特的藝術語言。例如我常用的解構手法就愛運用宣紙的摺疊空間，以墨水筆、配合濕透的宣紙，讓水墨滲透分層、令其複製、累積或消散。其概念所呈現的解構或重組、就有別於傳統毛筆的表現形式。

This page 此頁 TRANSFORMATION Ⅳ《變》之四 2013 Ink on paper 水墨紙本 138.5 x 68.5 cm

Next page 下一頁 THE SIX PRINCIPLES OF CHINESE PAINTING TRANSMISSION VI (WITH HUNG HOI) 《繪畫六法-傳移模寫》之六（熊海合作） 2016 Ink and colour on paper 水墨設色紙本每件 68.5 x 136.7 cm each (A set of twelve 一組十二幅) Courtesy of Grotto Fine Arts 嘉圖現代藝術版權所有

洪強 HUNG KEUNG

Hung Keung was born in 1970 in Yunnan and moved to Hong Kong at the age of three. He studied at the Swire School of Design, Hong Kong Polytechnic University; Chinese University of Hong Kong and Central Saint Martins College of Art and Design, London for an MA in Film and Video. He obtained his PhD in Zurich, Switzerland and the University of Plymouth, UK. He is currently Assistant Professor at the Hong Kong Polytechnic University. Hung’s creative process harnesses a range of media, including interactive performance, moving images, photography, experimental ink painting, installation and writing. Hung had solo exhibitions at Art Basel Hong Kong, Manchester Chinese Arts Center, UK, Cinema Pacific and Jordan Schnitzer Museum of Art (JSMA), USA. He is the recipient of the Prize of Excellence at the Hong Kong Arts Biennial (2001), and “Secretary for Home Affairs Commendation Scheme Award – Person with Outstanding Contributions to the Development of Arts and Culture” from the Secretary for Home Affairs, HKSAR. 洪強1970年出生於中國昆明省雲南市，3歲時來到香港。他先後就讀於香港理工太古設計學院 (1990–1992)、香港中文大學藝術系（1992–1995）和英國倫敦中央聖馬丁藝術及設計研究院畢業，主修錄像及電影藝術（1996– 1998）。並於瑞士蘇黎世藝術大學取得哲學博士學位。他目前為香港理工大學設計學院的助理教授及「燕老米的雅實驗室」（imhk lab）之創辦人。洪強的創作實踐包括對於多種媒體的運用和研究，通過他的作品，洪強深入試驗了觀眾和移動影像之間錯綜複雜的關係，將觀眾、他個人的試驗和新媒體藝術三者融合並創造出一個與時間和空間之間動感的對話。

PRACTICE AND CULTIVATION: BODHISATTVA SERIES 修行與修持: 無相。佛像。系列 2014-2016 Paper, pen, ink, ink stone, etc. 紙, 筆, 墨, 硯等 Dimensions variable 尺寸可變

洪強曾經於藝術巴塞爾香港、英國曼切斯特中國藝術中心等地舉行個展。他也參加過其他國際性群展如澳大利亞 Bendigo Art Gallery 展出的 INK REMIX；芬蘭 Pori 藝術博物館展出的 East Asian Video Frames - Shades of Urbanization 等。他同時獲得香港藝術雙年展藝術獎（2001）、香港當代藝術雙年獎的成就獎（2009–2010）以及民政事務局局長嘉許計劃表彰其在藝術文化發展方面做出的傑出貢獻。

The “Bodhisattva Series” radiates spirituality. What was the moment when you decided to dedicate your life to being an artist – was that decision linked to the spiritual dimension of life? It was two separate moments of deciding to be an artist and using the concept of Buddhism within my artwork. I wanted to be an artist when I first learnt how to draw during my childhood. And then, I met some seniors during my secondary school time and I was strongly influenced by them to become an artist. I still remember back in the day, I had no idea how to choose between two concentrations: graphic design and fine arts. I visited Kan Tai-keung regarding my dilemma and asked him about the differences between the two disciplines. I still remember the answer he gave to me thirty years ago.

Previous page 前一頁 PRACTICE AND CULTIVATION: BODHISATTVA SERIES 修行與修持: 無相。佛像。系列 2014-2016 Paper, pen, ink, ink stone, etc. 紙, 筆, 墨, 硯等 Dimensions variable 尺寸可變

This page 此頁 BODHISATTVA 01 2016 Figure, ink and paper 佛像，水墨，宣紙 Dimensions variable 尺寸可變

I started using elements of Buddhism within my artwork two years ago. I used to love painting very much, but there came a stage when I realized that paintings no longer provided a clear direction for me within my artistic practice. I then focused on using video and mixed-media as my main medium. But the magic moment for me happened when I was at the Bodhgaya Museum in India. I realised what inspires me most is when I use my fingers, dipped in ink, to “draw” on the paper directly. That feeling is a simple dialogue between the Buddha and myself, without any modification or editing. It’s because of this touching moment that I decided to continue exploring other possibilities in this direction. 此次展出的《修行與修持: 無相。佛像。系列》流露出宗教的靈性。是從何時開始您決心投入藝術創作生涯，成為一名藝術家？這個決定和您的宗教追求又有何關聯？其實我立志做藝術家和決定以佛法的概念做創作是兩個不同的階段。基本上做藝術家這個大方向是由我剛學會畫畫開始，就已經非常想做了。再到中學時期，在機緣巧合之下認識了某些前輩，受到他們的影響就令我做藝術家的決心更加堅定。記得當年，我很猶豫，不知如何在設計和藝術創作這兩者之間做選擇。我還記得因為這

個原因我去了靳埭强的辦公室，鼓起勇氣向他請教兩者之間的分別，他當年給我的答案，過了三十年之後，我依稀記得。而至於以佛法為創作方向，這應該是兩年前的事了。說來也奇妙，我曾經非常喜歡畫畫。但畫到某一個階段，畫畫不足以給予創作內容以明確的方向，所以我主力以錄像和數碼媒體做創作。但神奇的是，當我在印度菩提迦耶博物館時，我發現令我觸動最多的是手指沾染墨汁後與紙張直接的對話。那一瞬間的感覺，沒有修飾，沒有剪輯，不通過軟件，就是簡單地令我與佛像對話。正因如此，我決定繼續朝著這個方向去探索還有沒有其他的可能性。

劉學成 LAU

HOK

S HIN G

Lau Hok Shing graduated with a BA (Fine Arts) from the RMIT University in Melbourne in 2005 and a Masters Degree in Fine Art at RMIT in 2007. He was selected as one of the highlighted artists by the Hong Kong Art Promotion Office for its “Artists in Neighbourhood Scheme II 2008”. Lau now works both as an independent artist and lecturer at Hong Kong Baptist University. Lau uses sculptural form to present his ideas; his three-dimensional pieces include work with ready-made materials, which explore personal subjects and which draw extensively on Chinese history and literature. Lau’s solo shows have taken place at venues including Gallery EXIT in 2014 and TEDA Contemporary Art Museum in Tianjin in 2011. His work was shown at Art Basel Hong Kong in 2013 and his selected group exhibitions include Fine Art Asia 2015’s Temptation of Nature Installation Project at the Hong Kong Convention Centre, and the Underdog show in Madrid in 2015 for Herrero de Tejeda.

1998年從香港聖保羅書院畢業後，劉學成赴澳洲墨爾本於 Swinburne University of Technology 取得平面設計文憑（2001），之後於香港藝術中心藝術學院取得藝術文憑（2003），并於澳洲皇家墨爾本理工大學取得純藝術學士學位（2005）與純藝術碩士學位（2007）。2007年被選為香港藝術推廣辦事署「藝遊鄰里計劃」的推介藝術家之一，2008年於美國波特蘭參與駐場藝術創作, 2010至2014年次多於韓國參與藝術家進駐計劃。劉學成目前是獨立藝術家和香港浸會大學的講師。

I’VE SOMETHING TO SAY YET I SAY NOTHING 欲說還休 2016 Various media 混合媒介 Dimensions variable 尺寸可變

劉學成運用雕塑的形式去表達其創作理念，他運用立體的物件，包括日常生活中已有的材料探索個人相關的主題。他深入地描繪中國歷史和文學，他的雕塑和繪畫展示了當代藝術中的詩意元素。劉學成曾經於安全口畫廊（2014）和中國天津泰達當代藝術博物館（2011）等地舉辦個展。並且也參與群展包括有香港巴塞爾藝術展（2013）、典亞藝博（2015）等。

Your work with wood and resin re-imagines shan shui painting as an installation. When was it that you realized that your woodwork could be linked with the ink tradition? And what were your earliest experiments with art? In my solo exhibition “Poem. Imagine” in September 2006, I selected 12 beloved Chinese poems and reinvented them with contemporary methods. My main focus that year was on studying scholars’ stationery of the Ming Dynasty and their shapes, materials and uses. It was a turning point for me, and a real connection to ink from that period. In 2007, not only did I persist with the series of scholars’ stationery, but also considered and developed the series of work “Tabletop Garden.” “Tabletop Garden” is an artwork not just for visual appreciation, but it also requires human interaction. It is a part of a person’s living memory. Upon the work, marks and clues of a person’s life were left behind and so is the person himself. 您運用木和樹脂進行創作是對於山水畫以裝置藝術形式出現的新演繹。是什麼時候令您意識到您運用木進行的藝術創作和水墨傳統有緊密的關係？以及您最早進行的藝術實驗是什麼？ 2006年, 主要研究明代文人文房清供的使用方法，探究其造形和物料應用以作為創作的參考。将作品再配以相應的詩詞，以當代的物料再次演繹，成為一系列細緻精巧的作品。 2006年九月的「詩前想後」展覽中，選取吾鍾愛詩詞十二首為創作引子，用當代藝術手法令詩中意境再現當世，令觀者能從作品中進入詩境，領略古人遺風。 2007年，不僅持續創作文房系列，更再次審視，加以發展，發展成《案上園》作品系列。在研究和創作的過程中，從室內文房清供到案頭賞石，到園林山石，再到兩者結合的盆景，最後發展成作品

《案上園》。而《案上園》不僅是一件可供欣賞的藝術作品，是需要人去參與的，是參與者生活的一部份，作品上需要留有與人生活過的痕跡，是與參與者共存過的痕跡。

This page 此頁 TABLETOP GARDEN 案上園 2008 Various media 混合媒介 Dimensions variable 尺寸可變

Next page 下一頁 I’VE SOMETHING TO SAY YET I SAY NOTHING 欲說還休 2016 Various media 混合媒介 Dimensions variable 尺寸可變

吴少英 NG, CINDY SIO IENG

Ng Sio Ieng Cindy was raised both in Macau and Hong Kong. Later she went to London and studied ancient Chinese paintings in the British Museum’s Chinese Painting Study Room. In 1996, she moved to Taipei to continue her studies in contemporary ink painting, holding a solo exhibition at the Taipei Fine Art Museum. She has lived and worked in Beijing since 2008. Ng’s creative principles stem from the aesthetics of the Song Dynasty. For many years, she has attempted to liberate ink from its subservience to the brush, working with video, photography and interactive technology. She has held solo exhibitions at the Orient Foundation Museum, Portugal, Today Art Museum, Beijing, Seattle Art Museum, the Taipei Fine Arts Museum, and the Ju Ming Museum, Taiwan. Ng has been collected by the Taiwan Museum of Art, the Guan Shanyue Museum of Art, Shenzhen, the Hubei Museum of Art, the Peninsula Hotel, Paris and Bank of China (Hong Kong). 吳少英出生於澳門，90年代初曾遊學倫敦，並於倫敦大英博物館的中國書畫藏品館硏究室修讀館內的中國藏畫。1996年移居臺灣繼續研究當代水墨，同年在臺灣的臺北市立美術館舉行個人畫展。2008年至今於北京創作和生活。她的主要創作理念來自宋代美學，以創新不離傳統為原則，保留傳統水墨深遂的根源，以當代的思維和現代媒材去闡釋水墨之境。她曾經於葡萄牙里斯本東方基金會博物館、北京今日美術館、美國西雅圖藝術博物館、台灣臺北市立美術館和台灣朱銘美術館展示出其不斷創新的意欲，將水墨以錄像、攝影、宣紙與油畫布作媒材，也嘗試最新的媒介如互動技術，用跨媒介的水墨表現方式，證明水墨有其自身的獨特本質。

INKWALK 1300, 1301, 1303, 1304, 1305, 1306 2013 Print on silk 絲面印刷每件 98 x 360 cm each

吳少英曾於多個群展展示其作品，如上海當代藝術博物館、澳洲悉尼新南威爾斯大學藝術館及布里斯班博物館和北京中國國家博物馆。她的作品被台灣國立美術館、深圳關山月美術館、湖北美術館、巴黎半島酒店和香港中國銀行等機構收藏。

You are showing work in video and photography. What was it that made you evolve as an artist to work with these methods – was it an easy transition? A key turning point came in 2005, when I began to capture moving ink on video. My first video work, “The Flow of Life”, received an award, encouraging me to pursue video art further. “Inkwalk 201503” showed a flow of ink points looming in various shapes, until drops of ink slowly dissolve onto the horizon in the rhythm of calligraphy. Ever-changing clouds, mountains and rivers appear throughout, accompanied by music. I’m now bringing video ink a stage further with “Takizo Rapids”, bringing people to the abyss of the world – it is the embodiment of wild ink.

此次您展出的是影像以及攝影相關的作品。是什麼觸發到您去運用這種形式創作？這次藝術表現形式的改變，是自然而然就產生的嗎？從2005年始少英用影像紀錄動態的水墨，第一個影像作品《混噸》獲選葡萄牙第二屆黑白影音藝術節最佳實驗影像，此榮譽鼓勵她繼續創作影像至今。展覧展出錄影作品《散步201503》仍以水墨為主，用流動描象的墨色去詮釋書法。影片開始是流動的墨點若隱若現似的構成碑帖上龜裂的痕跡，然而淡淡的墨色緩慢地呈視地平線上遼闊雲層的律動來意涵書法裡的一“橫”。水和墨在千變萬化之間，煙嵐、雲霧、山川盡在眼㡳。隨著音樂的演奏，畫面上的墨漬由點繼續擴散和蔓延到書寫的線。新作《瀧》把人帶到深淵的世界裡。如果說過去她的《散步》系列的影像作品表現溫和的水墨，那麼新作便是狂野水墨的具體化表現。

This page 此頁 INKWALK 1300《變》之四 2013 Print on silk 絲面印刷 98 x 360 cm

Next page 下一頁 TAKIZO RAPIDS 瀧 2016 Video 錄影 8:08 minutes 分鐘

吳森枝 N G

S U M

C H I

Ng Sum Chi Tristan graduated with a BA in Visual Art from Hong Kong Baptist University in 2014, which included time at the Tunghai University in Taiwan and the Università per Stranieri in Perugia, Italy. Ng creatively uses varied materials in his art, including resin. By exploring and experimenting with different materials, he seeks to recreate and interpret the connection between nature and himself, highlighting the grace of the natural aesthetic. Ng has exhibited his work at the Transit Exhibition in Nagoya in 2013, Ostrale 012 in Dresden, Germany in 2012, Hong Kong Contemporary at The Excelsior in 2014, Ink Asia 2015, the Affordable Art Fair, Hong Kong in 2015 and 2016 and more. His awards include winning the Hong Kong Baptist University Hall 10th Anniversary Logo Design Competition in 2011, the HKSAR Government Reaching Out Award in 2013 and “A Closer Look in Hong Kong” in 2016. In 2014 he was an Artist in Residence at the Royal Academy in London. 吳森枝於2014年獲香港浸會大學視覺藝術院頒視覺藝術（榮譽）文學士學位，其中包括於台灣東海大學和意大利佩魯賈University for Foreigners的學習經歷。吳森枝極具創意地在藝術創作過程中運用各種媒介，其中包括樹脂。透過不斷地探索和對不同的媒介進行探索，吳森枝嘗試再創作和理解自然與其自身的關係，并突出自然美學的魅力。他曾經於日本名古屋「Transit Exhibition」（2013年），德國「Ostrale 012」（2012年），「當代香港」（2014年），香港「水墨藝博」（2015年）和香港「Affordable Art Fair」（2015，2016年）。

ASSEMBLE & DISPERSE 2015 Resin, ink and rice paper 樹脂, 墨, 宣紙每件 30 x 90 cm each

他曾於2014年入圍香港視覺藝術獎（前身為香港當代藝術獎）及藝術創庫基金舉辦的《初試啼聲2》藝術計劃。同年前往英國倫敦作駐留藝術家，作品於英國皇家藝術學院展出。2016年，作品獲選於「Young Talent Hong Kong」展出。

You have worked with a variety of materials in your career as an artist, and your abstract images in resin were a key part of the “Futuristic Ink” show. When did you first realize that resin and other materials could be part of the ink story? Was this a point of mental breakthrough?

Previous page 前一頁 MOW 2015 Resin, ink and rice paper 樹脂, 墨, 宣紙每件 20 x 25 cm each (A set of two 一組兩件)

This page 此頁 ENDLESS ISOLATION 無止盡 2014 Resin, ink, acrylic and rice paper on canvas 樹脂，水墨，塑膠彩，宣紙布本 200 x 400 cm

While I was learning Chinese painting, I applied ink and water on rice paper layer by layer. In time, I realized that what I was controlling was water rather than ink. Painting layers of ink on paper inspired the idea of using resin to change the presentation of space. This was a breakthrough in my technique. Not only does it represent an understanding of Chinese material, but also a combination with Western painting. Now I am still exploring the possibility of different materials and subjects, especially with reference to Chinese culture. Now is the right moment to enjoy the combination of traditional materials and thoughts with

our modern life. 在您的藝術藝術創作中運用了無數不同的媒介，此次「墨啟未來」展覽中您運用樹脂營造的抽象畫面是此次展出的重點。是從何時開始令您想到樹脂的創作可以和水墨交織在一起？曾經是否有一刻令您產生精神性的突破？以往在學習中國水墨時，會混合水和墨，一層一層地繪畫在宣紙上。經過一定程度的練習後，就會發現在繪畫當中水的控制遠多於墨。同時，這重覆堆疊水墨於紙上的動作，讓我對表現多重空間於同一畫面的理解更立體和細緻。這概念是我創作以來的一大突破，它不但讓我更理解中國繪畫物料，也讓我嘗試結合西方繪畫。現在，我仍然就不同的材料和主題探索其可能性，特別是在中國文化當中。但我認為最有趣的是傳統物料和思想能在我們當代的生活中結合。 43

黃琮瑜 WONG CHUNG YU

Wong Chung Yu was born in 1977 and graduated from the Chinese University of Hong Kong with a Masters degree in Computer Sciences, before pursuing an MA in Digital Arts at The Camberwell College of Arts, the University of Arts London. He learned painting in the Department of Fine Arts at the Chinese University of Hong Kong, and studied under Wucius Wong, particularly focusing on the harmonization of digital technology with themes of Chinese art. Wong is active as a lecturer in the Division of Humanities, Design and Social Sciences of Hong Kong Polytechnic University. He has also received acclaim as a writer of fiction: noted works include the novels “Perhaps” and “The Lawra.” Solo exhibitions include “The Big Phantasm” at Hanart Gallery in 2011 and “The Garden of Winter Light (a space to linger)” in 2015/2016. His paintings and digital works have been collected by the Hubei Museum of Art, Hong Kong Museum of Art and the University Museum and Art Gallery of the University of Hong Kong. 黃琮瑜一九七七年生於香港，在香港中文大學完成計算機科學碩士課程，後獲英國文化協會獎學金赴倫敦藝術大學坎伯韋藝術書院完成數碼藝術碩士，以優等級別畢業。黃早年於香港中文大學藝術系習畫，專注當代水墨的探索，師從王無邪習畫，開拓了其藝術作品與科技融合的可能性。他將動態的圖片錄像與靜態的水墨畫結合，形成數碼科技與傳統水墨的對比，亦展現了兩者之和諧。在數碼藝術上黃琮瑜則致力開拓程式編寫及新媒體應用的可能，並着重數碼技術及中國文化的揉合，當中嘗試過的手法眾多，包括以實時隨機為特點的動畫製作、應用三維動畫處理山石造境、開發模擬水墨滲染的程式系統並發展成數碼作品等。

MOVIE MACHINE (NOW PRESENTS THE HOT MOVIE: A THOUSAND SUMMERS) 電影機 (本檔期火熱上映：千個夏) 2016 Electronic media, ink on paper 電子媒體，水墨紙本 100 x 160 x 180 cm

他曾舉辨多次個展，包括於漢雅軒展出之「大幻界 - 黄琮瑜數碼媒體及水墨畫展」(2011)。其作品更於澳洲昆士蘭Asia-Pacific Triennial of Contemporary Art（2013）及北京宋莊美術館媒體藝術節（2011）展出。黃的作品亦獲湖北美術館、香港藝術館及香港大學美術博物館博物館收藏。

“Memory of a Star” and “The Phantasm 5” involve technology and fantasy. When was the moment that you first realised that technology could be linked with the ink tradition in this way? Was there a moment when your attitude to your art became radically different? My wife first suggested integrating digital technology and visual art long before we were married, and the idea was later strengthened by Wucius Wong who made a similar suggestion in 2004 after I studied Modern Chinese Painting from him for one year. My first digital art work was finished in 2003, entitled “The Garden of Eden.” This work was created after I attended a digital art talk in early 2003. The talk surprised me by showing that art can be so broad. I recognized my knowledge and capability in computing. This encouraged me to try integrating digital technology and visual art. 作品《星塵夢》和《幻景圖5》融合了科技和幻想。您是從何時開始想到傳統水墨可以和科技相融合？曾經是否有一刻令您對於藝術的態度產生根本性的改變？將數碼科技與視覺藝術結合的意念來源於我的妻子及王無邪老師兩人的意見。在我還未與妻子結婚前，她已經認為我可以把電腦科學方面的技巧融入藝術創作中。這期間我跟隨王無邪老師研習現代水墨。這想法後來在 2004年又再從老師的口中被提到，便因而強化了自己的信念去開始這方面的創作。我的首件數碼作品完成於2003年，名為《伊甸園》。創作起因是因妻子在2003年初介紹我出席一埸數碼藝術座談會後，讓我恍然覺悟藝術領域之廣以及自己所掌握的科技知識其助力之大，使我正式嘗試把數碼科技結合視覺藝術。

This page 此頁 THE GARDEN OF EDEN 伊甸園 2003 Real-time random animation 實時隨機動畫

Next page 下一頁 THE PHANTASM 5 幻景圖5 2015 Ink on silk 水墨絹本 183 x 183 cm

CHIEF EDITOR Henrietta Tsui-Leung

主編梁徐錦熹

EDITORS Stephanie Ding Nicholas Stephens

編輯丁彦之 Nicholas Stephens

DESIGN Odetti Tse

設計謝穎君

EXHIBITION PHOTOGRAPHY Tung Tam

展覽攝影鄧明東

PUBLISHER Ora-Ora International Limited

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PRINTED Hong Kong, December 2016

印刷 2016年12月印於香港

ISBN 978-988-14286-1-5

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