Samues' Summer AIR & Exhibitions 2022

Summer Residencies 2022 Artwork creation and exhibition portfolio Samues Leung

Content 003 - 019

Open Studio, AIR 3331 Iwamotocho Studio (22 Jul 2022)

020 - 033

Printmaking practice in SCUOLA In’tl School of Graphic (1-30 Sept 2022)

034 - 036

Art Installation, SCUOLA In’tl School of Graphic (23 Sept 2022)

037 - 042

Open Studio - SCUOLA In’tl School of Graphic (24 Sept 2022)

043 - 047

1st Pop up exhibition/art installation, Rio dei Mendicanti, Venice (26 Sept 2022)

048 - 054

2nd Pop up exhibition/art installation, Waterfront Liverpool, UK (10 Oct 2022)

055 - 060

3rd Pop up exhibition/art installation, Rochdale Canal, Manchester, UK (13 Oct 2022)

061 - 070

Snapshot - Venice, Italy 2022

071

Burano, Day trip to visit my painting location, 60 x 80cm Oil on canvas, 2015

072

About LEUNG Tat Sang Samues

2

Making of …. Artist in Residency (Jul 2022)

3

O P E N

S T U D I O

AIR 3331 Iwamotocho Studio

SAMUES LEUNG サミューズ・リョン 愛と希望のカタチ The Shape of Love and Hope Memories of Shadows

Friday, 22 Jul, 2022 Time: 12:00 p.m. - 6:00 p.m.

Admission: Free 〒101-0021 東京都千代田区外神6丁目11-14 Iwamotocho Studio 3-6-8 Iwamotocho, Chiyoda-ku, Tokyo

contact@samues.com / www.samues.com

5

Memories of Shadows The Shape of Love and Hope Artist Statement The beginning of a love can be a chance to encounter, a secret love, or a love at first sight. Starting from the romantic and growing with pure morning dew, how much the process requires persistence, dedication and commitment, or even vows to become a hope and expectation of love.

Hanging the lover's hope and commitment to love by an iron lock is the simplest and most romantic move for the lovers. Although the physical iron lock itself is extremely hard, the expectations of lovers may quietly fade over time, and promises may be forgotten in the past. In an impermanent life, memory can be a choice. As the shackle of commitment, although the key has been thrown into the water, can this hope to be realised? How many promise can be kept forever?

Inspired by the sight of lovers fastening metal locks to bridge railings as symbols of their commitment, I created this artwork using old iron locks as reference points. Employing linear copper wires as the primary medium, it captures the delicate nature of these sculptures, reflecting their form as they hang on the wall and interact with light.

This piece embodies the fading commitment of lovers, highlighting the fragility and vulnerability of their promises. Memories drift with time, transforming past hopes into fleeting moments of love and romance.

Ultimately, love can be eternal or an imperfect tale.

In Japan, in addition to buckling the iron lock as a wish, one of the cultures in the Tanabata Festival is to tie a kind of short paper tag with wishes on Sasatake to pray, which is divided into five colors, representing five elements of gold, wood, water, fire and earth, and each color also represents a variety of meanings. Hence, for my other 5 pieces of artwork creation, I used transparent film, applying black ink to brand out the shape lines of the iron lock to express the promises and prayers that have faded and forgotten, and they have become blurred; with the century-old poems on paper... the praise of love is a contrast, and that romance is eternal, and memory becomes unreal.

Samues Leung , 18 July 2022

影子的回憶 - 愛與希望的形狀 一段愛情的開始，可以是一個偶遇、一個暗戀、或者是一見鍾情。由 浪漫清純的朝露滋潤下開始，過程是多麼需要堅持、付出和承諾，甚 或是海誓山盟，變作愛的希望和期盼。

用鐵鎖扣掛著戀人的希望和對愛情的承諾，是最單純又浪漫的舉動。 作為許願的鐵鎖雖然堅硬無比，但戀人的期望或許隨著時間悄悄地無 聲消淡 ，承諾也許變作是過去的遺忘。無常的人生，記憶可以是一種 選擇。作為承諾的枷鎖，她的鎖匙雖然已被掉進水裏面，但這能保證 會實現嗎？能夠維繫的又有幾多地久天長？

這個作品以懷舊鐵鎖作為參考物件和故事；使用幼細的銅枝作為主要 的媒介，是表達和特出這些雕塑的脆弱形態和她在裝掛在牆上，在燈

光下浮現的倒影。這樣表達那曾幾何時的承諾，和她們的虛幻和脆弱。 記憶隨着時間的飛逝，以往的希望已是剎那對愛情的祈願和短暫的浪 漫。是不完美的故事。

在日本，除了喜歡扣上鐵鎖作願之外，在七夕節時最重要的習俗之一 就是在笹竹上綁上寫著心願的短冊祈願。而短冊也不是隨便拿一張寫 上心願就好，短冊一共有分成五種顏色，代表著五行的金木水火土， 且每個顏色也都有代表各樣的含義。我在另外五個作品就使用了透明 膠片，借用灰黑的油彩烙印出鐵鎖的形態線條，以表達退變了、淡忘 了的承諾和祈願，她們變得模糊不清；與和紙上的百年古詩…對相戀 的讚美，是一個反差和對比，恍似是浪漫是永恆，而記憶變得虛幻。

Memories of Shadows 『愛と希望のカタチ： The Shape of Love and Hope』 愛の始まりは、偶然の出会い、片思い、または一目惚れかもしれま せん。 ロマンチックで清純な朝露の潤いから始まり、過程はその感情に対 しどれだけの意志、献身、約束、あるいは海誓山盟、過ごしてから 愛の希望と期待に変わるか。 恋人の希望と愛への約束を鉄の錠で掛けるのは、最も単純でロマン チックな表現です。願いを祈るに使う鉄の鎖は極めて硬いが、恋人 の期待は時間とともに静かに消えていく、約束も過去の忘却になる かもしれない。 気まぐれな人生、恋の選択を放って置くと記憶しか残れない。

また、約束の鎖として彼女の鍵は水に投げましたが、これで本当に 実現できるだろうか? その将来はどれくらい長く保てるのか？ この作品は懐古の鉄鎖にテーマした物語です。幼い銅技を主要な媒 体として、彼女の壁に飾ってられたように、彫刻の脆弱な形態を照 明の下で浮かんだ反射を表現し、特出した純粋な姿を鑑賞して欲し い。 昔につけた二人の結びは、素敵で脆弱的な幻のように表現しました。 記憶は時間が経つにつれて消える物、刹那の愛情や願いも一瞬で短 いロマンスになり、完璧ばかりではないだ。 日本では、鉄錠を締めて願いの習慣があり、七夕の笹竹に願いを書 いた短冊を縛って祈るという最も重要な習慣もある。短冊は勝手に どんな紙を使っても良いではなく、短冊は全部で五つの色に分けら れ、五行の金木水火土を表し、それによる様々な意味が含められた です。 この作品で私は透明なフィルムを素材のベースに使い、灰黒の油彩 で鉄鎖の形線を烙印し、退変、忘れた約束と祈りを表現する。変化 続く形はうまく模索できないくらい表現したい。 和紙の百年古詩と比べ...恋への賛美は対照であり、恋のロマンスは 永遠だが、記憶は幻だ。

Reference photos images of vintage/old door locks for artwork creations

9

The entire view of setting and exhibiting interior 20 pieces of wire sculptures Lost & Found series: #1-5 Forgotten Love series: #1-5 Unknown beauty series: #1-5 Lost Love series series: #1-5 2022, Iwamotocho studio Dimension variable

10

Lost & Found #1

Lost & Found #2

Forgotten Love #1

Forgotten Love #2

Lost & Found #3

Forgotten Love #3

11

Lost & Found #4

Forgotten Love #4

Lost & Found #5

Forgotten Love #5

Unknown beauty #1

Unknown beauty #2

Lost love #1

Lost love #2

Unknown beauty #3

Lost love #3

12

Unknown beauty #4

Unknown beauty #5

Lost love #4

Lost love #5

To love without being love 2022, Mixed media art installation on wall /interior view Dimension variable

13

To feel desire and unwanted 2022, Mixed media art installation on wall /interior view Dimension variable

14

To dream and chase such dream 2022, Mixed media art installation on wall /interior view Dimension variable

15

For a heart and soul seeks love 2022, Mixed media art installation on wall /interior view Dimension variable Reference phot o of the lock

16

For a heart and soul seeks love 2022, Mixed media art installation on wall/interior view Dimension variable

17

Home sweet home series /Eidai Bridge / 永代橋 Dedication for Ken and Sanae 2022, Wire Sculpture in Box, Chinese poetry, Ink on rice paper, 25 x 25 x 5cm

18

Home sweet home series / Goh Gallery Dedication for Mumu and Lulu 2022, Wire Sculpture in Box, Chinese poetry, Ink on rice paper, 25 x 25 x 5cm

19

Printmaking practice in SCUOLA International School of Graphic Artist in Residency (1-30 Sept 2022)

SCUOLA International School of Graphic, Venice. Since its foundation in 1969, the SCUOLA has welcomed artists and students worldwide. It has also established affiliations and engaged in collaborative projects with international universities, museums, guilds and biennales.

20

21

SCUOLA Printmaking facilities and interior photos

22

SCUOLA Printmaking facilities and interior photos

23

24

Exterior photo taken in Venice downtown

Drypoint is an intaglio printmaking method that involves scratching an image into a plate with a pointed tool. These lines create a burr that holds ink, meaning that the print reveals the drawing.

Intaglio printmaking is the opposite of relief printmaking as it is the positive marks that are printed rather than the areas that are left behind. It’s easier than etching as it requires less specialist equipment and no chemicals or acids. Drypoint plates can be made in copper, zinc or plastic. To use Drypoint Plastic as it is easy to draw into and a drawing can be traced through it!

Exterior photo taken in Venice downtown

26

Knowing the news of the death of the Queen Elizabeth II on September 8, of course, I like countless people who admire her, they will feel heartache and sadness.

I happened to start painting with the ink transferred techniques in the workshop, so I took this opportunity to make border prints of the Queen Elizabeth II. The process is very simple but beautiful, and it can also be used to express my heartfelt respect for the Queen.

27

28

Castello, Venice 2022, 1/10 Woodcut printing, due colors on paper, 22x 15cm

29

To develop the artwork installation in SUCOLA, I attempted to replicate all wire sculptural locks images (Total 20 pieces of which I have created in my Residency in AIR Chiyoda previously in Jul 2022) for printmaking on small Japanese “blessing wood-board” for hanging presentation.

Etching the locks images on Zinc plates which are softer than copper and more easily modified by scraping, burnishing and drypoint techniques.

30

31

32

From left to right: Julie Lapping, USA Karen Day e-Hutchinson, UK Alessi a De Bortol i, Manager of SCUOLA, Venice Deirdre Kell y, Residency Artist of SCUOLA, UK

33

Art Installation Place: SCUOLA, Cannaregio, Venice Date: 23 Sep 2022

Inspiration from the blessing plate hanging in Japanese temples

34

35

36

Open Studio Place: SCUOLA, Cannaregio, Venice Date: 24 Sep 2022

37

38

39

Etching work, plates, printmaking process and material showcase

40

41

42

1st Pop up public exhibition Art Installation Place: Rio dei Mendicanti, Venice Date: 26 Sept 2022 Japanese wooden wishing board/plate usually to be hung in tempo, but here in Venice, I intended to hang my printmaking plates on the bridge in front of a Church (Chiesa di San Lazzaro Mendicanti) as a pop-up public exhibition.

44

45

46

47

2nd Pop up public exhibition Art Installation Place: Waterfront, Liverpool, UK Date: 10 Oct 2022

48

49

50

51 51

52

53

54

3rd Pop up public exhibition Art Installation Place: Rochdale Canal, Manchester, UK Date: 13 Oct 2022

55

56

57

58

59

60

Snapshot in Venice

61

62

63

64 64

65 65

66

67

68

69

70

Burano , Samues Leung 60 x 80cm Oil on canvas, 2015

Burano, Venice, Italy, 2022

71

About LEUNG Tat Sang Samues Samues Leun g grad uated from Macquarie Unive rsity, Sydney. He founded the State-of-the-Arts Galle ry in 2003 and has been working as visua l art-worker since 2009. He learn t western painting in Singa pore, LaSa lle College of the Arts and Nanyang Academy of Fine Art in 2013. He received his Master in Fine Art (MFA) with distin ction from the Roya l Melbour ne Institute of Tech nology (RMIT Unive rsity) in 2016 and was the Artist in Resid ency in Art Chiyo da 3331 Tokyo, Japan in the same year. He gaine d his another Master prog ram in Arts and Cultu ral Enterpr ises by Central Saint Martin Desig n College, Unive rsity of Arts Lond on in 2018. In addition, Samues has take n various certificated courses including interior design, modern art creation, modern painting in Hong Kong Arts School and Art Manage me nt & Curatorship.

Currently, Samues works as Art Consulta nt. His proje cts have been implemented in public area s of real esta tes, comme rcia l buildin gs and Govern me nt Department in Hong Kong and mainland China including five major landscape sculp tur es as his signature works, including the large scale of perman ent art insta llatio n: “Fish-1989” for Drainage Services Department in 2019. He has worked on a new residential developmen t proje ct, appo inte d by Hong Kong Housing Authority, to design and build an architectur e sculp tur e. This sculp tur e has been insta lled in mid of 2021 to celebrate the festive and glory of the Hong Kong film industry.

For art making practice s, Samues has explored how an appr ecia tion of the beau ty of Japanese aesthetics and aspects of Zen philosoph y that may be used to consider ideas of impermane nce in the art making process of fine art context. His practice has develope d in using a number of diffe rent materials to create characterful and detailed paintings and sculp tur es that draw inspiration from nature as well as his persona l experien ces. Through his research, the Zen related concept such as Wabi-sabi and Minimalism that encapsulates the idea of redu ndancy and the ideolo gy of solitu de are explored and expressed in diffe rent media and contexts by exploiting various processes and materials to the fullest. Samues has exhibited in Tokyo, South Kore a, Singa pore, Melbour ne and Hong Kong.

Academy E xchang e a nd Sympo sium: Seou l National Unive rsity ( South Korea) , 2014 Art Sch ool, RMIT Un iver sity, (Melbou rne), 2015 Solo exhibition: Art of Impermanen ce, 3331 Ar t Chiyo da Gallery (Tokyo), 09/2016 Line on boa rd, 3331 Ar ts Chiyoda G allery ( Tokyo), 1 0/2 016, Tropical scener ies in Nishikicho Studio (Tokyo) , 10/2016 Ope n S tud io in Nishikicho Studio (Tokyo) , 11/2016 The Art In and Out in Atelier-Mura Galle ry (Tokyo ) 0 5/2 017 The Shape of Love a nd Hop e, (P art 1) , Iwamotocho Studio, (To kyo) 07/2022 The Shape of Love a nd Hop e, (P art 2) , SCUO LA INTERNAZIONALE DI GRAFICA VENEZIA , Venice 09/2022 The Shape of Love a nd Hop e, (P art 3) , Pop-up Site Specific Art in stallation, Venice 09/2022 Gro up exh ibitio n: Passageway, The Gallery of Hong Kon g A rt School, Ho ng Kong Arts Centre, (HK ), 06/201 5 Burn ing, Site Specific on roof top in Wanchai (HK), 1 2/2 015 “Dear Rhett” Castle Depot, (HK) 09/2016 One to Origin , Jao-Tsun g – Academy ( HK) , 01/2017 Beyond the Jo urney, RMIT University, MFA Gra duate Exh ibitio n, Pao G alleries, HK A rts Ce ntr e, (HK), 09/2017 The Art of Re sistance, (HK) 10/2019 Affo rdable Art Fa ir Melb ourne, Austr alia, 09 /20 19 “Reprod uction of Light”, 26 th Art Ta ipei, Taiwan, 1 0/2 019 The Feminin e A wakens – Art Exh ibitio n @ Pao Galler ies, HK Ar ts Cen ter , 11/2019 Artist in Re side nce: AIR 333 1, Nishikicho Studio, Tokyo, Japan , 01/08 to 2 0/1 1, 201 6 AIR 333 1, Iwa mo tocho Studio, (Tokyo, Jap an, 07 /20 22 SCUO LA Inte rnational Gra phic Design School, Ve nice , Italy 09/2022 The Sch ool of Visual Art, New Y ork City, 11/7 to 15/8, 2 023 La Port Peinte, Ar t Center, Burg ndy, France, 09/2024 Glasgow Sculpture Studio, UK, 07/2025

72

73

www.samues.com Email: contact@samues.com

74