From a Distance 視乎距離
Stephen Wong 黃進曦
Preface 序言
Nowadays, collectors, art lovers and investors alike are focusing their attention on the next generation of contemporary art. Their interest is not only with understanding how contemporary art evolves and adjusts in a vacuum, but also how art interacts with and reflects on society and mass culture. As a result, artists are also increasingly introspective on how their works are perceived by the public and where their works will stand to integrate in the evolving community. In the endeavor to bring our friends the avant-garde aspects of art development, Galerie Ora-Ora is proud to present as part of our Art Futures - Stephen Wong and his latest series called “From a Distance”. There is an old saying, “One’s personality determines his fate”. From that perspective, Stephen possesses an innate characteristic that has seen him to most of his goals he sets his heart to. Throughout the preparation of this series and show, Stephen has proven himself to be one of the most organized young artists I have met. Just as an example, during the conception phase of this show months ago, rather than simply describing his thoughts over a couple of phone calls, Stephen chose to spend sleepless nights producing an extensive proposal, which in itself could already be an art piece. Even at this preliminary stage of production, his pitch and drive emanated diligence and maturity with insightful description of requirements, target effects and desired outcomes, masterful angles including media, perspective, impact, innuendos and packaging. From that meeting onwards, I was convinced Stephen is a man on a mission – To be firmly established as a leading multi-disciplinary contemporary artist. Though it is common for up-and-coming young artists, blessed with a plethora of material and directions to experiment, to be multiple disciplinary in their expression, Stephen is distinguished by his maturity, clarity and focus. As you will find from his works, Stephen knows where his artistic direction is, and he researches and works hard to attain it.
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In this “From a Distance” series, viewers’ attention are drawn to Stephen’s determination to get close to nature and demonstration of his enjoyment over the creation process ‘en plein air’. Through the inspiration of a world renown artist, David Hockney, Stephen aims to relive Hockney’s spatial experience by painting locations in Hong Kong that are dear to his heart. Stephen also flew to United Kingdom to specifically search for sites that Hockney painting at. Stephen’s efforts to distant the viewers’ relationship with and contemporize their perspective of nature by exhibiting his landscapes in a pixelated form are commendable. His unique reprise to plein-air landscape painting with pixel-like effects on his canvas is unique amongst his contemporaries and firmly establishes a signature style of his own. This show is truly a result of both Stephen’s hard work in research and execution. I see much potential in his development and encourage you to take close study of his progression. 現時，無論是藝術愛好者、收藏家或投資者，都將注意力集中於新一代的當代藝術作品。他們的興趣，早已 不限於了解當代藝術的自我發展及調整，而是藝術品跟社會及大眾文化的互相影響動及對照關係。因此，當 代藝術家亦愈加反思－－大眾如何解讀自己的作品，作品又同時能否融入正在不斷改變的社會中。Galerie Ora-Ora一直以為各界友好提供前衛藝術的最新發展為己任，所以誠意向大定推介新晉藝術家黃進曦及其最 新的「視乎距離」系列。 俗語有云：「性格決定命運」。如果根據這觀點，黃進曦的確天生是那種心之所向，就是志之所在的人。從 他籌備新系列及這次展覽得知，黃進曦可說是在我所認識的新一代藝術家中，最有組織能力的一位。 例如，這次展覽還是在構思階段時，便已知道黃進曦並非那種打幾次電話，隨便說些簡單概念的人，因為他 早已花上幾個不眠不休的晚上，想好了林林總總的方案，這本身已經可以稱得上是一件藝術品。即使在這如 此初步的階段，已足以表現出他是一個既努力，又成熟的人，更難得的是他對藝術要求、目標效果、預期結 果等各方面，都能準確析述，而且對媒體、角度、效果，影射、包裝等都有自己的一套。因此，從最初的會 議開始，我已深信黃進曦能完成使命的人－－終有一天必成為一位獨當一面的跨界別當代藝術家。 在這個年代，各種材料及方向都充滿了無限的可能性，所以嶄露頭角的年輕藝術家都可以很容易在不同藝術 界別中表達自己，但黃進曦與眾不同的地方在於他的特質－－既成熟，又明白自己，而且同時能專注發展。 正如你會從其作品中發現，黃進曦很清楚自己的藝術方向，並會努力鑽研如何實現它。 當你欣賞過這個「視乎距離」系列，一定會被黃進曦決定走入自然，享受戶外創作所吸引著。由於受到世界 知名藝術家David Kockney所啟發，黃進曦希望體驗David Kockney的空間經驗，而他先選擇香港為繪畫 地點，這也可說是他的心臟所在，之後他還飛到英國，特別探索David Kockney所繪畫的地點。 黃進曦希望透過其點描風景畫，拉遠大家跟自然的關係，從而參透出他的觀點，這其實十分值得讚揚。他故 意到戶外寫生，之後而以點描方式重現在畫上，這種堅持在同年代的藝術家中可說是獨一無二，而且也建立 成自己的獨特風格。這次展覽正正顯示了黃進曦的努力鑽研及執行的成果。因此，我對他的未來寄予無限信 心，而同時鼓勵大家花時間慢慢細賞他的進步。
Henrietta Tsui, Founder and Director of Galerie Ora-Ora 徐錦熹, 奧拿‧奧拿創辦人、董事
Words from Stephen 進曦的話
We all know that there is distance between human and nature, and between human and technology. Technology can minimize the distance between human and nature but at the same time, it creates aloofness between nature and us. Sketching in the wilderness allowed me to feel nature directly. What I painted was records of my experience. For my sketches, themes were mostly trees, mountains, valleys, etc with very expressive patches, which came out very well when I used my projector to help create the pixelated effect of my final works. Although there was a distance or separation between the subject matter and me, be it the mountain or tree, I felt close to them as I could see them in real life. When I returned to my studio, I superimposed my sketches on to canvases with a projector and then painted on them using pixellike strokes, or ‘pointillist’ strokes. While I felt the proximity to the places I visited which formed the subject matter of my paintings, I also felt the distant I created when I used the pixelated way to paint my works. My last “Virtual Game Landscape” series was a reflection of my daily visual experience, expressing that images of virtual reality have dominated modern society. People are used to being in contact with the virtual landscape, viewing various locations and cities in a virtual reality world through their computer screens. The frames of the computer screens resembles windows, but instead of inviting you to go outdoors, they keep you contently indoors. Technology allows us to access remote scenery and places instantly at our fingertip, but at the same time creates a window or wall that distances us and these places. In the “Virtual Game Landscape” series, all the images I painted came from video games, the composition or use of colours in the paintings tended to be passive and the works did not seem to be close to my heart. Rather, it was a series completed with a strong achievement in concept. After my recent reflection, I believe that visual experience could be created instead of just being a passive reaction. I also want to construct the composition of my paintings, instead of using “preset” images to achieve the concept. This is my starting point of my latest series. Some months ago, I brought a documentary on David Hockney painting landscapes in Yorkshire, United Kingdom. I was deeply impressed and inspired by him. This contemporary master returned to nature to paint and sketch on his canvases and no longer relied on photographs as a starting point. He trusted his eyes and hands and completed his works with high levels
of energy and liveliness. Honestly, I enjoyed his outdoor landscape paintings series much more that his previous works. During this period of creation, I explored and reached numerous outdoor locations and natural scenery, including Ha Pak Nai, Shing Mun Reservoir, Wu Kau Tang, Tai Mo Shan, Plover Cove Reservoir and other places in Hong Kong, and Yorkshire of the UK and felt immensely satisfied and fulfilling. I am grateful to all the friends who accompanied me during these excursions and trips. This series of works that I now present to you are not just the achievement of a concept, but a collection of fond memories to me. I would like to thank Henrietta for giving me the opportunity and space to showcase these works. Over the past 6 months or so, our numerous conversations have helped consolidate my creative thinking immensely. Last but not least, I would like to thank Chow Chun-fai for his writing in this catalogue, and his giving of valuable comments and opinions while my works were in progress. 人跟自然有著距離，人跟科技也有著距離，科技可以拉近人和自然的距離，人和自然又因為科技隔開了一段 距離。 走到野外環境中寫生，直接地感受自然，筆下所畫的都是在其中的體驗。寫生題材多數集中畫樹林，畫山 谷，畫起來面塊表現較強，亦能配合之後用投影機作點描的效果。 我跟畫的對象，那山那樹，隔一段頗遠 的距離，但因為肉眼所見，感覺很近。回到工作室，把寫生稿的影像由投影機投射至畫布，眼和那影像接近 零距離，用點描筆觸一點出發至整體完成作品，感覺卻又很遠。 上一個系列“電玩風景畫”是平日視覺經驗的反映，表現虛擬影像已是現今社會的主宰。人們習慣接觸虛擬 景觀，隔著螢光幕可以看到一個個真實地方的擬像。螢幕的框架是一扇窗，不過它不是吸引你到窗外，而是 安於室內。科技令我們可以見到距離很遠的景象，但同時令我們跟景象間，就是隔著這一扇窗。由於電玩風 景系列的畫稿是來自既有的螢幕畫面，構圖用色等都傾向被動，作者與作品間並不親切，反而是概念本身成 就作品。 近來在想，視覺經驗應該可以被創造的，不單是一種被動的反應。我亦想由自己去建立構圖，不再將就既定 畫面去成就概念，這就是做新系列作品的出發點。數個月前，買來一隻大衛霍尼 ( David Hockney) 在英國 約克作風景寫生的紀錄片，受他啟發。這位當代藝術巨人回歸自然，不再依靠照片作畫，每日帶著數張大畫 布出外寫生，他信任自己的眼和手的表現，完成的作品極富活力。 老實說，我喜歡他這批風景寫生遠多於 他之前的作品。 這段時間四出寫生自然風景，感覺很實在。踏足過下白泥、城門水塘、烏蛟騰、大帽山、船灣淡水湖等地， 亦去過英國約克那邊。在此多謝一班曾伴隨我去寫生的朋友，完成的作品除了闡述了有關距離的概念外，隱 藏了很多記憶在裡頭。 感謝Henrietta給予我展示這批作品的機會和空間，在這半年來我們的對話鞏固了很多我創作上的思維。 感謝 周俊輝為這書撰文，在我進行這批作品時給予很多意見和肯定。 Stephen Wong 黃進曦
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Struggle Between Natural and Virtual Experience – Stephen Wong’s Paintings 自然經驗與人工經驗的角力──黃進曦的繪畫
Painting is originally the “reproduction” of reality. Among various categories of painting, landscape painting demands emphasis on the recreation of reality. By sketching or painting at outdoor locations, artists deliberately immerse in nature to feel and experience it instead of just viewing with their eyes. Placing a landscape painting on the wall at a home is in fact so contradictory to nature. People gave up nature to pursue civilization, but eventually want to place a piece of painting that reminds them of it. Stephen Wong’s early works emphasized the artificiality of his landscape paintings, by using the images found in video games or on the Internet as his sketches, and then created his landscape paintings. These images are so alienated from reality, as people living in modern cities often experience nature indirectly, perhaps through image transmission, or from the media. He purposely highlighted the strangeness of places he painted where he had not visited. He completely relied on artificially created images, made use of such his re-interpretation to paint the forests or buildings on the other side of the world. The struggle between natural and virtual experiences not only became the concept behind Stephen’s works, but also changed his tools. His works can be treated as the records of the struggle. Therefore, things commonly found in his works include game labelling, timing numbers, etc. indicating the source of the virtual experience. In his other work, “Video Game Landscape Life Drawing Tour”, Stephen sarcastically acted as a tour guide and led a group of artists into a video game centre in search for artificial landscapes from video games as subjects of their paintings. The focus of the project was on how different artists found their landscape amongst numerous screens, and not on the final work itself. Meanwhile, the computer and video games became the sketchbooks of the artists. This should not be regarded as a replacement of craftsmanship by technology, but rather as a new extension of the artists’ skills, observations and soul. The merits of these paintings relied on the composition, choice of colours and the execution of the pieces as these ‘landscapes’ were all based on virtual reality. Here comes the new development of the struggle between natural and virtual experiences. After the preference and assurance on the benefits of natural experience, we could see that Stephen decided to embrace nature and go outdoors to do his painting sketches. He searched around for his ideal places to do sketches. But, artificial experience was not “defeated” in this battle. Sketching was just one part of the painting process. Stephen took photos of his sketches, projected the images in the studio through a projector, and painted pixel by pixel onto the canvas. This is how the works were created. Although the sketches were made by the artist himself, the composition, the colour, the lines, the lighting and shading, the proportion of size of the paintings were results of the influences of camera, computer processing and the light from the projector. The pixelated painting approach of his new works reminded us of the impressionist or neo-impressionist landscape paintings, but more obviously, it created a contemporary look to them, which reflected pixels we see from digital cameras, computers, projectors and other new painting tools. 繪畫最初就是現實的重現，風景寫生在眾多繪畫類型中，是一個特別強調重現現實的類別。藝術家刻意走進自然環境內，不單用眼睛，而是用整個身 體感受自然，再把現實感受重現在畫中。把一幅風景畫掛在家中，原來就充滿矛盾，人在文明生活中離開了自然，為寄託對自然的情懷，以人工的手 法把它凝固在牆壁上。 黃進曦早期的繪畫是強調風景畫的人工性，他把電動遊戲或網絡流傳的圖像作為草圖，然後繪畫成風景畫。這些畫面都是陌生的，正如現代城市人對 大自然的經驗通常是間接的，或憑圖像傳播，或從傳媒認識。黃進曦更刻意加強陌生感，故意描寫一些自己沒有到過的地方，完全憑藉人工的電動圖 像，以一個已被消化再詮釋的圖鑑，來繪畫地球另一邊的樹林或素未謀面的建築物。 這場自然經驗與人工經驗之間的角力成為黃進曦作品的理念，亦改變其繪畫工具，以至完成品也可視為這場角力的紀錄。在其繪畫作品中常見的陳置 在風景周圍的遊戲標籤與計時數字，暗示著人工經驗的來源，以貫徹表現其概念。另一作品《電玩寫生團》扮演團長帶領一班藝術家到電玩店在眾多 螢光幕內尋找人工風景作寫生，帶半點譏諷而重點已落在不同藝術家如何覓得畫面的整個過程，而非完成品本身。電腦及電玩成為速寫簿，這不應視 之為科技取代手藝，而是手的技藝、眼的觀察、以至心靈都藉新工具得以另一方法作伸延。畫作優劣除取決於藝術家的手藝外，在這框架下更重要的 反而是圖像的選擇而非營造的能力，因構圖、色彩、線條、明暗分佈、比例大小等都已在原來的人工圖像作了定案。 這場自然經驗與人工經驗之間的角力有新發展。自然經驗的作用被受肯定，在黃進曦新的作品中可以見到他決定走到自然之中作寫生。搜盡奇峰打草 稿，腳踏實地親歷其景還是不二法門。人工經驗卻尚未在這場角力中敗陣，因寫生只是過程，寫生稿還是被拍攝下來，在工作室經過投影機，默默 逐點逐點在畫布上被描寫成最後作品。草圖雖由藝術家自己落實，然而其構圖、色彩、線條、明暗分佈、比例大小等因攝影機改變，及因電腦處理改 變，再被投影機的強光改變。新作品逐點的手法，或許令人想起藝術史上印象派或點彩派的風景畫，但更令人聯想起數碼照相機、電腦、投影機等等 繪畫工具。 Chow Chun Fai 周俊輝 August 2011 2011年8月
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Forest in Shing Mun Reservoir , Oil on Canvas, 74 x 92 cm, 2011 城門水塘樹林, 油彩布本, 74 x 92 cm, 2011
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Ha Pak Nai, Oil on Canvas, 90 x 121 cm, 2011 下白泥, 油彩布本, 90 x 121 cm, 2011
Mountains of Shing Mun Reservoir, Oil on Canvas, 60 x 80 cm, 2011 城門水塘群山, 油彩布本, 60 x 80 cm, 2011
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Peak of Tai Mo Shan , Oil on Canvas, 70 x 86 cm, 2011 大帽山頂, 油彩布本, 70 x 86 cm, 2011
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Trees in Yorkshire Dales , Oil on Canvas, 92 x 129 cm, 2011 英國約克樹景, 油彩布本, 92 x 129 cm, 2011 Trees in Yorkshire Dales 2 , Oil on Canvas, 91 x 121 cm, 2011 英國約克樹景2, 油彩布本, 91 x 121 cm, 2011
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Plover Cove Reservoir, Oil on Canvas, 23 x 152 cm, 2011 船灣淡水湖, 油彩布本, 23 x 152 cm, 2011
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Trees in Yorkshire Dales 3 , Oil on Canvas, 66 x 90 cm, 2011 英國約克樹景3, 油彩布本, 66 x 90cm, 2011
Hill in Yorkshire Dales , Oil on Canvas, 100 x 150 cm, 2011 英國約克山景, 油彩布本, 100 x 150cm, 2011
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Tap Mun , Oil on Canvas, 60 x 70 cm, 2011 塔門. 油彩布本, 60 x 70 cm, 2011
和黃進曦 遠距離的三問三答
Interviewing Stephen Wong from a Distance 20
Born in 1986, Stephen Wong graduated from the Chinese University of Hong Kong in 2008, majoring in Fine Art. Many people know Stephen because of his previous “Video Game Landscape” painting series. In the present solo exhibition, although his works are still highly stylistic landscape paintings, they are no longer paintings based on virtual landscapes from video games anymore. Instead, Stephen actually went out hiking to various locations in HK and UK to reach out to nature. Using ‘distance’ as a theme, he wanted to explore, “how far in fact was the distance between nature and him?” I then interviewed him from a distance, i.e. over the telephone about the exhibition. Such distance may allow me to understand the meaning of his works.
and me. I chose to indulge, and then released myself afterwards. Those memories would reappear to me close to my heart, and yet afar.
Q: Why is the theme of the exhibition “from a distance”? Is there any special meaning to you?
The trip to the UK inspired me a lot. I think sketching and painting outdoor ‘en plein air’ is the foundation of landscape paintings. To me, the scenery in the UK was beautiful and captivating, and was ideal for sketching. I really want to go back again sometime. As I said, it is important to consider the elements of our environment when we paint. I regret that I have not taken bigger canvases. When I return there, I will certainly bring them. It would be of great pleasure to paint on larger canvases there.
Wong: The concept of distance was explored in the last “Video Game Landscape” series, but it was at a different level. In the last series, I painted landscapes of a video game interface, where in the game, I drove to different places around the world and enjoyed the scenery of each city. I delivered the message that to me, these sceneries seemed more real to me than the actual places, which I mostly have never visited. The purpose of making those works were to explore the underlying relationships between controlling and winning the game versus being controlled by the rules of the video game, and how to master every move of the game. My role was “passive”, and the sense of ‘distance’ was generated between the real and the virtual world. However, in the present series, my role became “active” -- I actually went into nature. I made sketches in Hong Kong and in the UK. I then took photos of the sketches and superimposed those images onto the canvases and painted in a pixelated form. The sense of distance was generated when I projected the images of sketches onto the canvases. It was a kind of conversion on a technical level, which involved an intentional human interaction between the object painted and the painting. Meanwhile, when I repainted my sketches using point-like strokes, I became more and more subjective with more emotional involvement instead of merely focusing on the strokes, colors, lines or proportion, but the expression of my feelings. Therefore, the distance was between the world
Q: When did you decide to paint the landscapes in Hong Kong and the UK? After completing the series, is there any difference between the two places to you regarding the content, artistic expression and others? Why? Wong: Sketching outdoor in Hong Kong was natural to me, as I do this quite often, but the reason I went all the way to UK to sketch and paint ‘en plein air’ was due to the fact that I was truly inspired by David Hockney and his works. I admired his technique, his subject matter, but more importantly, the emotional impact to me. It could also be because HK used to be a British colony. Anyway, you can easily distinguish notable differences between my works from HK and those from the UK. Especially in terms of colors, the landscapes paintings from HK are relatively paler with greyish tones, whereas the paintings from the UK are done with much more vibrant colors. It was certainly my choice to come out with such color tones. However, it was really my observations that provoked certain feelings, which affects the choice of colors and compositions etc. It was not a deliberate move from my part to paint HK with paler colors than UK.
For the landscape paintings I did of Hong Kong, there was no trace of any cityscape or old buildings, which are the iconic views of HK. I painted scenic landscapes in different parts of rural Hong Kong. Hong Kong is a city with not just the hustle bustle or the historic old sides, but also our beautiful landscapes. Q: What do you think are the differences between your previous works and the latest ones? Is it intentional or not? Wong: Instead of saying that my painting techniques are evolving continuously, I really feel that I am painting with a clearer, more seasoned and more exact way. At university, I did a lot of conceptual pieces, and after graduation, I learned much more about technical control of art. Thus, I became more and more interested in the concept related to manipulation and control and quite a few of my works were about this theme. Eventually, the idea of ‘distance’ evolved, which is the indulgence in different environments, and the relationship between active and passive involvement. As I mentioned before, I am becoming increasingly active in determining the different elements of my works, and I am able to control the distance I want to have with my subjects. Compared with the previous works, I think I have substantially improved in skill and technique using this pixelated way to paint. My style of pointillism or ‘pixelism’ painting works very well with my idea of distance and it also allows me express a contemporary atmosphere, and I am more confident in developing this style ahead.
生於86年的黃進曦， 08年從香港中文大學畢業，主修藝術。很多人認識他的，或者是其「電玩繪畫風景」系列，到了這次個展，呈現出來 的是同樣有自己風格的風景畫，但不再「電玩」了，而是真的到香港及英國寫生，而且以距離為主題，但究竟這個距離有多遠？還是其實 不過是……不如和黃進曦透過電話作一次「遠距離」的談話，或者就是因為有著距離，所以更能明白箇中點滴。
問：為何以「距離」為這個展主題？對你有何特別意義？ 黃：其實距離感這概念，在上一個「電玩繪畫風景」系列中也有觸及，但和這次展覽所標示的距離感，有不同的層次。之前是想說在電玩 的介面中的風景，即是駕車到不同地方，欣賞世界各地的風光，一切看來比真實更實，而作品想探討的就是背後的控制與被控制關係，人 們在跟著電玩的遊戲規則去玩遊戲，忙於控制每一個操作功能去玩那個電玩。這是從電玩畫面的角度，去看這世界不同地方的風景，我的 角色是「被動」的，而距離感是因為從真實到虛擬之間而出現的。 不過，這次的畫就不同了，我的角色是「主動」的──我去走入自然，在香港及英國兩個地方寫生，之後用投景機投射出來，我再畫出 來，距離感是因為我用投景機將影像投射出來，之後才再畫出來，這是技術層面上的一種轉折，令被繪之物與作品有著一種很明顯而人為 的距離；同時，我在寫生的時候，用投影機投射出來時，以及一點點畫出來的時候，就是一步步從客觀變得主觀，我自己情感的投入，以 及對筆觸、用色、線條、比例等方面，會是有著更強的主動性，又或是「我」在畫之中所表現出來的感覺。因此，所謂距離，是我和世界 的一種拉鋸，我自己選擇投入多些，之後再用其他方法走出來，再重現的時候，會有一種似近而還，像遠又近的感覺。
問：新作取材自香港及倫敦的風景，為何有這安排？完成所有作品後，你覺得兩個地方的作品在內容、藝術表現等方面有否不同？為甚 麼？ 黃：在香港寫生是很自然的事，因為我會不時在不同地方畫畫。但選擇到英國寫生，應該是之前看看過 David Hockney 寫生的作品，在 某程度是啟發我去英國寫生，不只是因為他的畫法，或者是某些內容，也可能是呈現出的某些感覺，令我想到英國寫生，這又或是因為香 港曾是英國的殖民地。不過，你也看到，就是在香港及英國兩地的作品有著很明顯的不同，尤其在用色上，香港的比較灰白，而英國的就 比較顏色繽紛。這當然是自己的選擇，但我在想，應該是環境使然，是環境令人有某種感覺，這種感覺催生出自己筆觸、用色、構圖的決 定，而不是故意將在香港的作品畫得灰白些，而英國的就繽紛些。 這次去了英國寫生，對我來說，是有著很大的啟發的。看到當地的環境，更令我誌為風景畫應該要以寫生為基礎，在個人而言，當地的風 景很吸引人，也很適合寫生，我真的希望可以再去，這也是我所說環境的重要性。我反而有後悔沒有帶大畫布，下次再去時，一定要帶大 畫布，可以畫更大的作品。 但倒過來說，我在香港的作品，並不是用城市或舊樓為內容，因為很多人都採用類似的題材，但我畫的是山水風景，或者有人會說郊外未 必能代表所謂香港的特色，但我認為香港這麼大，有很多不同的風景可以仍為寫生的內容，香港不只有能代表活力一面城市，又或是代表 歷史一面的舊樓，野外的風景也是香港風景的一部份。
問：你認為這次展覽的作品和以前的作品有何不同？這種不同是故意還是隨意？ 黃：與其說自己繪畫的方法是在不斷改變，不如說是更清楚，或更熟練較為貼切。例如，在大學時自己畫不少 concept art 的作品，而畢業 後自己在 technical control 上有更多的認識，從而令自己對「控制」這個主題愈加有興趣，所以之前不少的作品都是有關 manipulatation， 繼而逐漸發展成為距離──自己在不同,環境中的自主投入，以及跟環境的主動及被動關係，其實是一脈相承的，也如我之前所說，是我對作 品中將自己的自動性的增加，無形中也就是我如何去將距離的拉遠或近。 同時，如果和舊作比較，之前我也有用投影機投射寫生作品，之後我再一點一點去畫，我覺得自己在技術層面上是熟練了。不過，不單是 技術而已，也就是點描法，尤其是從英國回來後，我更覺得這種手法，至少對我來說，更能有一種配合我自己對距離這個主題的解讀，也 表現出當代感覺，所以我更對點描法有更大的信心。 Interview was conducted by William Tsang 由曾家輝訪問
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簡歷
Biography
Stephen Wong was born in 1986 and gained the BA in Fine Arts from the Chinese University of Hong Kong in 2008. 黃進曦生於1986年，在2008年畢業於香港中文大學（文學士），主修藝術。
Education 學歷 2005-2008 1998-2005 1992-1998
Studied in Fine Arts Department, CUHK 就讀於香港中文大學藝術系 Studied in C.C.C. Ming Yin College 就讀於中華基督教會銘賢書院 Studied in S.K.H. St. Thomas Primary School 就讀於聖公會聖多馬小學
Selected Exhibitions 參與展覽選錄 2011 No Between (Group show with Halley Cheng and Yolanda Yeung, Galerie Ora-Ora) 《自以為》聯展（於Galerie Ora-Ora） Someone Bending the Machine: An exhibition responding to the artworks of Chow Chun Fai(Solo exhibition)《有人屈機: 一個回應周俊輝作品的展覽》個展 2010 Tasting Hong Kong: Hong Kong Toy (Group show)《品味香港:香港玩具》 Haven’t you Heard (Group Show)《聽到嗎?》 Stretched Connotations (Group show)《Stretched Connotations》 2009 Hiking Arte (Group Show) 《臥遊》 Dwelling (Group show) 《斗室》 Artwork-colour the shadow shown in “Point-to-point, Site Specific art project” organized by Hong Kong Youth Arts Foundation 作品“為影子著色”展於香港賽馬會點對點社區藝術計劃（於屯門良景商場） Fotanian: Fotan Artists Open Studios 2009 《伙炭藝術工作室開放計劃2009》 2008 Bystander Somewhere (Solo exhibition, Cattle Depot) 《有人射厘》個展（於牛棚藝術公社A展場） New Trend (Group show, Cattle Depot) 《出爐2008》聯展（於牛棚藝術公社） 2007 Manifesto (Solo exhibition, Chien Mu Library of CUHK) 《酸言》個展（於香港中文大學錢穆圖書館展場） 2006 Piecemeal 2 (Dual exhibition with Roy Ng, Chien Mu Library of CUHK) 《碎料》雙人展（黃進曦、吳鋋灝聯展，於香港中文大學錢穆圖書館展場） Piecemeal (Dual exhibition with Roy Ng, Chien Mu Library of CUHK) 《碎料二》雙人展（黃進曦、吳鋋灝聯展，於香港中文大學錢穆圖書館展場） Selected work in the Department Exhibition, CUHK 作品 燈盒 入選香港中文大學藝術系系展 22
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About Galerie Ora-Ora 關於奧拿‧奧拿
Galerie Ora-Ora is an Asian Contemporary fine art gallery specializing in sculptures, New Ink works and the discovery of emerging talents. Privileged with exclusive representation of artists from Europe, America and the Pan-Asia Pacific region, we strive to share high quality artworks with art lovers for appreciation, investment and collection. Galerie Ora-Ora represents many internationally renowned artists, such as Huang Yongyu, Xu Hongfei, Man Fung-yi, Kum Chi-Keung, Halley Cheng, Hao Liang, plus many emerging New Ink talents. Based in Hong Kong, we are also an international platform for local artistic talents. With Ora-Ora meaning “from one era to another” or “eternity”, we believe that good quality art survives through generations. We believe that art has no frontiers and should be experienced by anyone in the world. Art is a lifestyle. Galerie Ora-Ora致力推動亞洲當代藝術，專營雕塑和新水墨作品，以及發掘藝術界的潛能。Galerie Ora-Ora代理一系列歐、美及泛亞太區的優秀藝 術家，例如中國大陸、台灣、香港、日本，韓國、菲律賓、澳洲、葡萄牙、法國、美國等十多個國家及地區，而且更享有其中一些有國際拍賣記錄的頂 尖藝術家的獨家代理權，包括黃永玉、許鴻飛、文鳳儀、甘志強、鄭哈雷，郝亮等，以及一衆新進新水墨藝術家。憑著這優勢，Galerie Ora-Ora能提 供高質素，又有創意，並具代表性的作品，供藝術愛好者欣賞、收藏及投資。作為一家建基於香港的畫廊，Galerie Ora-Ora非常支本土創作，希望能 為藝術家提供發揮藝術創作的空間，以及接觸國際舞台的機會。提到其品牌的解釋，Ora-Ora意指「由一個時代到另一個時代」或「永恒」。畫廊的宗 旨是好的藝術作品能夠經得起時間的認定而長存於世，並且深信藝術絕無界限，任何 人也應該能欣賞和分享。 藝術就是一種生活方式。
Address 地址
G/F, 7 Shin Hing Street, Central Hong Kong 中環善慶街7號地下
Telephone 電話
852 2851 1171
Fax 傳真
852 8147 1767
Email 電郵
info@ora-ora.com
Website 網址
www.ora-ora.com
Editor 編輯 Design 設計 Photography 攝影
Henrietta Tsui 徐錦熹 Odetti Tse 謝穎君 Stephen Wong 黃進曦 Lam Chi Ying 林之盈 Stephenie Sin 冼朗兒 Helene Wong 喜蓮
Contributor 協力
William Tsang 曾家輝
Translation 翻譯
Henrietta Tsui 徐錦熹 William Tsang 曾家輝
Printed 印刷 ISBN
Hong Kong, September 2011 2011年印於香港 978-988-18648-6-4
All rights reserved under Ora-Ora International Limited. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photography, recording or by any information storage and retrieval system, without permission from the publisher.