1997年出生，馮靖嵐在2020年畢業於香港中文大學藝術系。她的作品涉及多種媒介，例如繪畫，錄像和裝置，並以探索個人和集體回憶、空間、景觀和地圖語言為特色。

目前她是藝術團體 “GO.A.WAY “的成員之一。

Born in 1997 and live in Hong Kong, Fung Ching Laam obtained her Bachelor of Arts (major in Fine Arts) degree from the Chinese University of Hong Kong in 2020. Fung’s art practice revolves around cartography, personal and collective memory, and the production/reproduction of space and everyday life. She works across mediums such as collage, drawings, video, and site-responsive installation. 

Currently she is a founding member of the artist collective GO.A.WAY

對自己和外界閱讀的行動

將自己創作進行中時的狀態形像化。自己、外界與實踐中不斷互相影響。
最近自己是在一個發酵醞釀的狀態，一種積極的等待。我就像與關注的東西被吸進一個洞穴，往往極小部分會重見天日。我是一個專注力不足的人，對很多事情都想學習和了解。創作過程很慢和間斷的，我不停否定和確立，一些想了好一陣子的想法可以一下子推倒重來，甚至另起爐灶。我創作沒有公式，只有不能預算的結果，過程大多是不安、折騰、煎熬的，沒有完結。有幾點歸納了我近來創作時看重的東西。

– 轉換環境在創作中是重要的。創作活動並不只是在工作室中產生。
近來喜歡觀察城市、工地的環境，在街上找一些脫離秩序的狀態。我不知道結果會否是一份實在的作品。
– 珍惜一些無法翻譯和模糊的地方。
我可能還沒想到我要做什麼，我就開始動手一直做、一直做。先做出來，不用急着弄清楚。
– 生活和工作經驗都有可能是創作的養份。
有些作品動機來自工作，例如之前做加工及產品包装令自己常用塑膠創作。
我最近有點迷上彈墨。在家人介紹下開始我做了一份散工，在裝修工程開始前在破爛工地中，在沙地、地磚面和牆壁上彈墨綫。將空間測量、定位和分割。
– 構思: 會用很零碎的文字組織。如果是合作的項目，就以對話為主。

（不能創作）
– 工作之後的疲態。尤其是二月中到三月份是我接不同兼職和工作最頻密的時候，腦袋空閒，身體卻很忙碌。當創作並不是自己的收入來源時頗吃力。雖然創作上有想法但在工作過後主要在休息。
– 疫症一開始網上授課時不適應，很缺乏空間和創作環境。
– 在社會運動中我不以藝術學生參與，停下了創作。在2019年的暑假起我不由得参與其中，在那時候腦袋被運動充斥着，情緖起伏大，很多晚看新聞直播入睡。

The Action of Interpreting Yourself and the Outside World

Visualising the state of one’s creation in progress. Self, the outside world and practice are constantly influencing each other.
Recently I have been in a state of development, a kind of active waiting. It’s like I and things that I concern both get sucked into a cave, and often very little of it comes back to light. I am a person with a lack of concentration, who wants to learn and understand many things. The creative process is slow and intermittent, I am constantly denying myself and reconfirming, and some ideas that I have been thinking about for a while can be overturned at once, or even start something else from scratch. There is no formula for my practice, only unpredictable results. The process is mostly unsettling, tiring and torturous, with no end in sight. There are a few points that summarise what I have been concerning in my recent work.

– A change of environment is important in creative practice. Creativity does not only take place in the studio.
Recently, I enjoy observing the city and construction sites, and looking for disorderly patterns on the streets. I don’t know if the result will be a solid piece of work.
– I value something untranslatable and ambiguous.
I may not have thought through what I was going to do, but once I start working and keep doing it. Make it first, without rushing to figure it out.
– Life and work experience could be nourishment for creativity.
Some of my artistic projects are motivated by my job, for example, I used to work on processing and product packaging, so I often used plastic in my projects.
I’ve recently become a bit obsessed with builder’s ink maker. A family member of mine introduced me to a casual job in a crumbling construction site, before a construction project began, I snapped ink lines on sand, brick surfaces and walls, in order to measure, position and divide the spaces.
– Ideas: I organise my thoughts in fragmented text. It will be mainly conversational for collaborative projects.

(Cannot make art when – )

– I am exhausted after work. Especially from mid-February to March, when I work part-time and take on jobs most frequently, my mind is free but my body is busy. It is difficult to create when art is not my source of income. Although I have creative ideas, I mainly rest after work.
– At the beginning of the pandemics, I started taking online classes, I felt uncomfortable with the lack of space and creative environment.
– During the social movement I did not participate as an art student and stopped creating. I couldn’t help but get involved in the summer of 2019, when my head was filled with movement and my emotions were fluctuating that I fell asleep watching live news broadcast many nights.