劉菁兒是香港從事混合媒介雕塑、雕刻配以跨媒體及大型空間裝置的藝術家。畢業於香港藝術學院（RMIT），主修雕塑。她的作品擅長突破物料慣性，發明「可持續再生」物料，現時以木屑倒模木雕刻、運用物料與氣氛重新雕塑空間。以不同媒體雕刻、光影氣氛及觀眾融入，創作混合媒介雕塑及空間裝置。

畢業後獲得Reaching Out Scholarship 到日本交流體驗工藝及大地藝術，作品曾獲2018年香港人權獎評審獎，曾在Affordable Art Fair Young Talent 展出，2016 年獲得台北藝術自由日作品優選獎，2015獲「高級文憑最佳作品獎(雕塑)」 。作品在瑞士、台灣、香港及澳門展出。

她的創作關注城市中觀察到的⾃然⽣態，以⾃然暗喻⼈及社會的狀態，亦喜歡探討超⾃然與神秘⼒量。對她⽽⾔⼀種相反的特質是可以回應相⽣牽引的狀態。在她的作品中，有古⽼意象及雕刻⼯藝的特質，創作中思考傳統的雕刻的突破性，並連接多媒體、觀眾及氣氛，雕刻整體空間。她的雕塑創作是不斷變形的，思考當代實體與虛擬變幻的時間平衡點。

Cathleen Ching Yee Lau is a Hong Kong-based artist who devotes to develop her artworks with a new concept in sculpting space. She engages in mixed-media sculpture, cross-media, and large-scale installation.

Cathleen graduated from the Hong Kong Art School (RMIT), majoring in sculpture. Her works are explored to breaking through the inertia of materials and constantly inventing “sustainable and renewable” materials. She is now molding and carving wood with inverted sawdust material, re-sculpting space with attention to materials and atmosphere. Create mixed-media sculptures and installations with different media carvings with new materials, light and shadow to present another sight of atmospheres, and through the audience integration.

Cathleen received the scholarship program in her Bachelor’s degree, Reaching Out Scholarship which took her to Japan in order to experience Japanese culture extensively. She has exhibited multiple works, awarded Directors Choice Award  2018 Human Rights Art Prize, and also exhibited in Affordable Art Fair Young Talent 2018. In 2016, she awarded with Selected Artwork Prize in Taipei Art Free Fair, and in 2015  awarded “The Best Art Work (Sculpture) ”. Her works have been exhibited in Switzerland, Taiwan, Hong Kong, and Macau.

Her artworks always presenting the characteristics of antique imagery and carving techniques. Her works are about to question but inherited traditional carving sculpture, and connect with multi-media and audience in order to create the atmosphere to the overall space of carving. Thus, Thinking about the balance between the contemporary entity and contemporary virtual change on a form is one of the ironic elements in her sculpture.

水狀變態式

人
人的活動
人際關係的網絡
出現
消失
一件事
就是
雕塑空間
然後
壓縮空間

Aqueous Morphology

Human
Human activity
The network of human relationships
Appearance
Disappearance
Something
is
A sculptural space
and then
A compressing space

由於我是做立體創作的，在去年疫情最嚴重之時，我無法返工作室進行創作，在家中畫素描，但畢竟不是自己最想練習的方式，所以想辦法如何在家中進行木作。
於是我用最容易找到的鉛筆做木作練習，寄托雙手和內在的燥動。由於房間不大，我媽媽有潔癖，所以我在自己房間內處理基本雕刻雛型，但只能坐在地上的膠袋裡雕刻，安撫了自己一段時間的迷失。

As I am a sculpture artist, when the pandemic was at its peak last year, I was not able to go back to my studio, so I did sketching at home, but after all, it was not the way I wanted to practice, so I thought of ways to do woodwork at home.
Subsequently, I used the most available wooden pencils for my woodworking exercises, to satisfy my hands and calm my inner turmoil. As my room was small and my mum is a clean freak, when I worked on the basic carving prototypes in my own room, I had to sit on the floor and carve in a plastic bag, soothing myself for a while.