王昱珊 WONG Yuk Shan

1995年生於香港,現於此地創作。2018年畢業於香港中文大學,主修藝術,副修中國語言及文學。 主要以中西繪畫、速寫、文字、錄像等作為創作媒介,探索人的處境狀態與關係距離,以及人在本質上之理性與感性混摻的複雜狀態。


Born in Hong Kong in 1995, where she currently works. Yuk Wong graduated from The Chinese University of Hong Kong in 2018, with a major in Fine Arts and a minor in Chinese Language and Literature. ​​

She mainly focuses on Chinese and Western painting, sketching, text, and video as the medium of creation, exploring the state of the human condition and relationship distance, and the complex state of the mixture of rational and emotional in human nature.

She focuses on ” Human beings ” and uses various media to create situational portraits and impromptu sketching to discover humans’ commonality from the perspective of their viewing style, psychological state, and behavioral interpretation.










時空/記憶/聲畫 - 重疊
結構/段落/敍述 - 錯置
因果/邏輯/時序 - 組合
剪接/氛圍/節奏 - 跳脫







所有事物大概都會走向終結,就算以為會永遠存在或殘留的,也會有消亡的一天。我傾向將那些曾跟自己產生過關係的事物/記憶/情緒/感覺,以各種形式記錄與表達下來, 不僅是為了證明其曾經存在,更是為了讓自己在存活下去的路程上免於麻木和習慣,也望能以這一代人之一的身份將痕跡留存下來。











Montage on a Whim


Reflections on Sketching to Digital Painting

In the digital age, various languages have undergone different transformations, and so has the language of painting.

My creation starts from sketching, calligraphy, and Chinese Ink Painting (Xieyi / Expressive style), and my paintings are based on the following principles: from observing and perceiving the existence of the object, understanding the relationship between oneself and the object, selecting and refining the spiritual aspect of the object beyond the physical form, capturing the thoughts and images that come to mind in a flash, and the decisiveness and expressiveness of the brushstroke.

From the above creation method to digital painting, I try to preserve and amplify the characteristics of these sketching languages, including the speed, strength and trajectory of the brush strokes, in order to present them on a more complete and readable and richer surface.

Under the language of digital painting, brushes of different sizes and textures are transformed into an Apple pencil, while the brushes are some selectable effect, making the painting marks into ‘trace effects’ rather than ‘traces themselves’. Although it can be regarded as a limitation of this medium to a certain extent, it also makes me reflect on the contemporary understanding of the language of painting:

Does a painting have to be a physical painting that can be touched by a canvas/brush/paint/scratch, etc., to become a painting? Moreover, after completing the digital painting, post-production work can be added to directly adjust the picture in terms of hue, saturation, brightness, etc. The process is like computer graphics execution. Can such post-production work be classified as part of painting?


Montage on a Whim

Superposition – Spatio-temporality / Memory /
Dislocation – Structure / Passage / Narrative
Combination – Causality / Logic / Chronology
Breakaway – Jump-cut / Atmosphere / Rhythm
Human Condition

My works are concerned with the human condition, mental and emotional state, and relationship distance, which leave a certain ambiguity and a grey area. By recording my own experiences, constructing virtual stories, and editing film clips, I attempt to evoke a collective experience of empathy and state of mind in my creations, thus exploring the inherent commonality of people.


Before it Fades to White

Memories are unreliable things that we can implant, rewrite, and unknowingly forget.

Sometimes when I look at the memos that I wrote down about and after dreaming, the content and layout of the words feel foreign to me, as if I were peering into someone else’s dreams. I have forgotten thousands of things so far, some of which I once thought was incredibly important, and some of which I wanted to forget but never could, but I can’t remember any of them now.

Everything will probably come to an end, and even those that I thought would last forever or remain will one day die out. I tend to record and express in various forms those objects/ memories/ emotions/ feelings that have been related to me, not only to prove that they once existed, but also to save myself from being numb and habitual while surviving, and hopefully to keep the traces as one of this generation.


From Figurative to Relatively Abstract

In my previous approach to the representation of objects in a more concrete way, I mainly relied on the appearance and form of the object to understand it. However, what I am asking now is what kind of spiritual state and appearance lies beyond the outline and beneath the form. Therefore, I attempted to depart from the limitations of the body to perceive the inner state of the object itself.

Besides, the creation of other mediums has also influenced the current process and direction of creation. From the past training/creation of calligraphy (from regular script to cursive) and ink and wash (from Gongbi to Xieyi), what is extracted is to remove the excess of brush strokes and select the part that can concisely present the essence of the object. This way of working is a process of subtraction in terms of behavior and refinement after omission in terms of the spiritual aspect of understanding and cognition of the object.


Creating and Living

Money is always needed to make a living: buying creative materials, food, transportation, rent, and … I used to think most about how to make more money every day. Still, when I started working full time, I lost my time and energy to organize my thoughts or ideas, so I was less perceptive to the details of life for a long time, and I questioned whether I had enough strength and confidence to continue my creative work.

Life is hard. When faced with the hardships of the society, I just want to live a good life and be a better human being. Drink more water, sit up straight, exercise well. Only when you live well can you achieve the championship of the world.