2020 年畢業於香港中文大學藝術系藝術碩士。2017年獲得國立臺北藝術大學美術系藝術學士（主修版畫），並曾於2012年獲得香港浸會大學視覺藝術院文學副學士。過去曾於2019年獲得「才藝發展獎學金」，2018年獲得「2018 創作卓越獎」，2017年獲得「第15屆桃源創作獎」首獎，2017年及2015年兩次獲得「廖修平版畫獎」等等。過去重要展覽經歷包括：《MAKE _ART NOT WAR [T/F] 》，奧沙，香港(2020)，《物歸原主》，元創方，香港(2020)，《彼岸的遺民：1950-1995》、《天工開物・物換星移》，憲光二村，桃園，臺灣(2018)，《迷宮與蠟翼​》，國立中央大學藝文中心，桃園，臺灣(2018)，《2018 創作卓越獎 – 不會飛的豬》，關渡美術館，臺北，臺灣(2018)，《第15屆桃源創作獎》，桃園展演中心，桃園，臺灣(2017)等等。

過去一直關注身體和城市空間的問題，曾利用個人身體作為創作媒介，以自身的身體建制介入創作反映個人與社會之間的關係，亦透過創作探索人在城市中生存的方式及城市規劃所製造出空間的規範性。

回顧過去成長經驗，大學主修版畫。近年作品特別關注印刷術的脈絡和本質，包含複數性、間接性、精準、勞動生產程序、文化生產、知識傳播等概念，重新定義版印藝術（Print and Making Art）。作品常以版印裝置的形式呈現，透過版印配合影像、錄像、文字、聲音、檔案等跨媒介創作，嘗試推進版畫在當代的界限和認知，並發展個人獨特的「量化」創作語言，暗示具有精準的、複數性的勞動生產過程。

在創作研究中，期望發展出一種以文化研究與藝術生產並行的另類版印藝術實踐。近年作品深入關注印刷文化生產、身份認同及土地關係等香港文化問題作研究型創作。透過研究檔案和歷史文獻，與社會、政治、經濟、文化等問題連結，探討在現代化發展觀、資訊監控、同質化意識形態、大敘事前設認知背後，即將消失、被忽略或已消逝的弱勢聲音，並以「重構」的方法，重新建構、再現和詮釋當代的文化主體。

 

He graduated from The Chinese University of Hong Kong with a Master of Fine Arts in 2020, received his Bachelor of Fine Arts (major in Printmaking) from Taipei National University of Arts in 2017 and Associate Degree of Arts (Visual Arts) from Hong Kong Baptist University in 2012.
He has obtained the “HKSAR Government Talent Development Scholarship” in 2019, “2018 Outstanding Art Prize” in 2018, the first prize of “The 15th Taoyuan Contemporary Art Award” in 2017, “LIAO SHIOU-PING Printmaking Award” in both 2015 and 2017, among others. His significant exhibitions included: “MAKE _ART NOT WAR [T/F]”, Osage, Hong Kong (2020), “Matters Toward Incorporeality”, PMQ, Hong Kong (2020), “The Opposite Survivors: 1950-1955” & “Things Changed with Stars Shift”, Hsian Guang Second Village, Taoyuan, Taiwan (2018), “The Labyrinth and Wings”, National Central University Art Center, Taoyuan, Taiwan (2018), “2018 Outstanding Art Prize – Pings Don’t Fly”, Kuandu Museum of Fine Arts, Taipei, Taiwan (2018), “The 15th Taoyuan Contemporary Art Award”, Taoyuan Arts Center, Taoyuan, Taiwan (2017), among others.
He pays close attention to the human body as an art form and the issues of city spaces. He used his own body as a medium to represent the relationship between the individual and society. He explores the city discipline by studying the ways of living in a city and the public spaces created by urban planning.

By looking back at his past growing experience, in addition to the study in printmaking, his recent works pay extra attention on the essential and contextual printing concept: plurality, indirectness, accuracy, labour production procedure, cultural production, and diffusion of knowledge. After his redefinition of “Print and Making Art”, his works usually appear with a form of printmaking installation. He always combines printmaking with different crossed-media in his creation while trying to push the perspective and boundary of contemporary printmaking even further. He developed his own unique “Quantification” art language. This language of creation is to insinuate an accurate and duplicate production process in labouring operation.

With his research-based art practice, the recent works expressed serious concern on his questions of Hong Kong culture such as printing-cultural production, identity, land relationship, etc.. His creative method of cultural studies combined with artistic production is expected to develop an alternative printmaking art practice. Through the intensive research, he creates works by the use of archive and history documents in social, political, economical and cultural aspects. Looking through the name of civilisation and modernisation, information monitoring is usual while a set of homogenised ideologies and grand narratives is afoot. His art creation is to excavate the fading, neglected, or disappeared among marginal voices to reconstruct, recreate and reinterpret the subjectivity of contemporary culture.

 

---

 

在生存與創作需要之間的取捨方法

 

翻查資料
透過上網、閲讀、看電影/影片，實地視察等，對某個主題或議題加深認識。我形容我的創作方法是研究型創作，在着手創作前需要大量時間翻查資料，以充實我對該問題的認識和思考角度，甚至我認為我的研究工作比實作需要更長的時間處理，因此我很難是一位高產量的藝術家。

寫筆記、畫圖、寫作
我會把研究的資料進行整理，習慣以筆記、畫圖和寫作方式整合，作為我創作的前期工作。

實作
我雖然是版畫訓練背景，但我的創作媒介多樣，我會嘗試多種形式，為了配合我關注的問題而選擇最適合的媒介，因此我曾使用的媒介有繪畫、版畫、雕塑、裝置、錄像、攝影、文字、行為等。

裝置呈現
裝置的展覽形式對我來說亦非常重要，我不滿足於單個圖像或藝術物件的呈現狀態。習慣以裝置形式呈現能讓我有更大的空間發揮，觀眾亦能在裝置中有更切身的空間性感受。

影響創作狀態
我相信藝術創作是非常感受性的工作。在日常生活/生存需要之外，要付出更多的行動力，而行動力可能是來自對創作需要的渴望，對藝術的信仰，旁人的激勵，對想法/觀念所燃起的熱情，或對藝術這條路的不認輸/心有不甘。
所以創作是受着情感主導工作的狀態，個人情緒、與人的關係、社會環境、世界的變化，都會影響創作的行動力。
當然，這種情感與行動力的爭扎，總是在質問着我對藝術創作本質上的思考，我會經常自我反思：我為何需要成為藝術家？我作為藝術家能做到什麼？
生活逼人，為了生活而不斷接散工，收工後身體和精神狀態已耗盡，試問能分配給創作的時間還有多少？
當然，在搭巴士地鐵時寫下幾句文字想法，睡前在紙上畫幾筆圖，睡醒時看看書、上網看資料，令自己感覺還在活着，還有創作的動力，維持着創作狀態。

 

 

The Choices between Survival and Creative Needs

Searching for information
I gain a better understanding of a subject or issue through the internet, reading, films/videos and field research. I would describe my practice as research-based, before I start to make art, I spend a lot of time going through materials in order to enrich my knowledge and perspective on an issue. I even think that my research work takes longer to process than the actual work, so I can hardly be a productive artist.

Note-taking, drawing and writing
I will manage my research materials, and I am used to integrating them in the form of notes, drawings and writing as a preparation for my work.

Artmaking
Although I come from a printmaking background, I work in a variety of media. I experiment with a variety of forms and choose the most appropriate medium to suit my concerns, including painting, printmaking, sculpture, installation, video, photography, text and performance.

Installation
The form of installation is also very important to me, as I am not satisfied with the presentation of a single image or art object. I am not satisfied with the presentation of a single image or art object, but presenting it as an installation, which gives me more space to express myself and allows the audience to have a more embodied and spatial experience in the installation.

Influence on the state of creation
I believe that artmaking is very emotional. Apart from the daily needs, artmaking requires much more motivation, which may come from a desire to create, a belief in art, an inspiration from others, a passion for an idea/concept, or a persistency to the path of art.
This is why creation is a state of emotion-driven work, whereas personal emotions, relationships with others, the social environment and changes in the world, all influence the motivation of artmaking.
Of course, this struggle between emotion and motivation always questions my thinking about the nature of art: Why do I need to be an artist? What can I achieve as an artist?
Life is hard, and I am constantly taking many freelance jobs in order to make a living. Once I finish work, I am physically and mentally exhausted. How much time is left for artmaking?
Of course, I write down a few lines of ideas on the subway or bus, make a few sketches on paper before sleep, read books & information on the Internet when I wake up; so that I feel I am still alive and have the motivation to create and maintain my creative state.

 

 

---

《第一章》

2020年

香港 葵涌 大連排道

 

虛空的角落

荒涼的都市

苦幹的汗水

 

乾涸成為邊陲的魂魄

肉身消亡但纏繞著文明的記憶

 

拼版桌的微光

墨筒的運轉

切紙刀的倉猝

 

墮落在命運中糾纏

朝向迷濛的視野

追蹤那無止境的幻想

 

喘促的呼吸聲與慌亂的步伐交織

穿越了陌生的山嶺

沉鬱的土壤

死寂的湖泊

回眸著那熟悉的軀殼

 

美好的歲月流逝

繁榮時代不再複返

肢體衝突

病毒感染

強權壓迫

技術監控

這就是我們的未來？

瞬間被吞噬

失去了名字

失去了身份

失去了應有的氣息

 

《第二章》

他灌下了一罐油墨

身體充斥著燃油的厚度

滲透內臟與神經

氣管粘連著工作能量

一吸

一呼

吸進了生命的動力

呼出了一生的時光

 

《第三章》

我凝視著他的雙手

是烏黑色的

與那濕潤的瞳孔一樣

埋首寂靜地工作

注視著眼前的成品

一本

兩本

三本

動作重複無趣

卻見證著時代的生產

 

《第四章》

電油氣味沖擦著腦海

洗不掉頑強的價值

抹不掉知識的建構

這是難以忘懷的味道

烙印在記憶深處

如同廠內機器的聲音

獨特而熟悉

規律的

刻苦的

幻化成未來的肥料

 

《第五章》

鐵鎚敲打著釘子

一顆一顆鑽進木方結構

拼湊著前世代的祝福

成為了書架

成為了高腳椅

成就了穩妥的依靠

 

聽到嗎？

這是來自遠方的鐘聲

祖父正在敲打銅鐘

時候到了

肉身脫落化作塵土

但靈魂從未離去

意志和信念迴盪四周

等待迴返的時機

 

他在那裡呼喚

他掌握命運

他明白奔跑

他理解世界

但世界早已無法操控

 

《第六章》

當代媒體

資訊管理

科技技術

虛擬化

自動化

大數據

此霧霾在身旁環繞

看不清摸不透

即將舉手揮刀的邪靈

在牆角邊窺視

靜候你螢幕亮起的時刻

 

僅存的光線從窗戶裡冒出

孤絕的老態不及霓虹璀璨

是否已走到末路？

還是力不從心？

 

《第七章》

圖像在彈指間運轉

受控的身體意識

慾望乾枯的世代

 

我瞬間按下列印鍵

印忘卻了版

油墨喪失了承托

彌留在紙上

我未曾經歷加壓的痛楚

你說那裡值得懷緬

我説與其眷戀

何不回望我們走過的路

尋覓新的步伐

他天生擁有寬宏的性格

他的本性依舊

時代造就了我們的意識

更意識到我們造就了時代