李珮瀅，出生於2000年，是一位香港藝術家，致力於從真實的情感和個人經驗中創作抽象作品。

李氏的靈感通常來自音樂或聲音、自然環境和個人心理。 李氏用自己的情感來回應這些事件，並以其獨特的抽象圖案標記和結構將其誠實地反映在畫布上。

色彩和情感

在藝術學校期間，李氏開始研究像具體派藝術家這些抽象表現主義的畫家。她開始探索主要的人類情感。紅色（2019），是一幅紅色的肖像畫，帶有豐富的筆觸痕跡，同時保持了相當人物的形象。在這件作品中，她設法使自己的瘋狂情緒變成現實。

灰色一號（2019）是一件大型混合媒體拼貼的油畫布本作品，她在這開始探索更深入，更曖昧的情緒。她把現成的日常物件和病歷正本為放到畫布上，開始了她對多媒體資料的研究興趣。

各種藝術媒介中抽象的可能性

她於的每幅作品都是自動的誠實的即時反應。她通過聲音進行試驗，並深入參與各種對她重要的事物。她通過各種材料探索抽象的可能性。她著手於一系列在不同表面上以木炭，墨水，丙烯酸，家用油漆，乳膠和油彩等。她的畫作以自由和強烈的情感參與為基礎。

李氏的作品是思想情感的回饋，它將思想轉變為流暢而強烈的繪畫痕跡，從而創造出抽象的視覺。她的作品反映了整體性的思想，該思想通常只包含一個或幾個元素。將她的靈魂與身體聯繫在一起，並創造了一些新事物。

抽象聲音：腦海中的音樂

李氏會在工作室裡播放音樂時工作，並參考自己製作的圖像（例如印刷品和照片）作為輔助材料。她試圖將情感轉化為視覺語言。她作為作曲家和表演者，創作音樂，並在畫布上創造出獨特的視覺效果。通過描繪音樂的敘事和力量、表現動作的律動，在畫布上情感的深度和維度。繪畫和音樂對她來說都是源於同一本質的「時間性」語言。繪畫作品本身也是給觀眾的視覺音樂體驗。

 

Lee Pui Ying, Hiya (b.2000), is a Hong Kong artist whose commitment to producing abstract work from genuine emotion and personal experience.

Lee’s inspiration usually comes from music or sound, natural environment and personal mental identity. Lee reacts these events with her emotion and honestly reflected them on the canvas with her unique abstract pattern marks and structures.

Color and Mood

During art school, Lee began to study abstract expressionists like Gutai artists. She began to explore primary human emotions by Red (2019), a red tone portrait with expressive heavy brush marks while maintaining a rather figurative image. In this work, she managed to put her madness into her work.

She began to explore deeper and more ambiguous emotions with Grey I (2019), a large mixed media collage on canvas. She used ready-made materials and her medical records as the context in this work, which started her interest in multi-media materials.

Possibility of Abstraction in Various Art Medium

She began to develop every work as an automatic drawing and instant reaction in 2019. She experiments with sound and to engage deeply with the events that mattered to her. She continues to explore possibilities in abstraction by various materials. She embarked on a series of abstract drawings and painting in charcoal, ink, acrylic, household paint, latex and oil on different surfaces. Her paintings were anchored in freedom and intense emotional engagement.

Lee’s works are automatic action-reaction which transforms minds into smooth yet strong marks to create an abstract vision. Her works reflected the idea of wholeness, which consisted of only one or a few elements, connected her soul and body and created something new.

Abstract Sound: Music in her Mind

Lee works while music playing in her studio and referencing her self-made images such as prints and photographs as supporting materials. She attempts to translate emotion into visual language. The artist, as the composer and performer, composes her music and creates a unique vision on the canvas. By depicting the musical narrative and the power, the flow of the movement, to express the depth and dimension of emotions on canvas. Paintings and Music to her, are both durational piece from the same nature. The paintings themselves, are also visual musical experience to the audience.

 

---

音樂謂抽象

 

我的作品是把音樂，轉化為抽象視覺語言。

古典音樂和抽象繪畫對我來說是同一回事。它們無法分離或單一論述。對我來說，它們是一門非常重要的語言。我做繪畫和音樂來表達自己，因為我可以通過它們更好地表達自己。
我的創作方式和靈感是由音樂作為原點。特別來自古典音樂，我也自行創作古典曲目。自身作為作曲家和表演者，創作音樂，並在畫布上創造出抽象視覺效果。通過描繪音樂的敘事和力量、表現動作的律動，在畫布上情感的深度和維度。繪畫和音樂對我來說都是源於同一本質的「時間性」語言。繪畫作品本身也是給觀眾的視覺音樂體驗。

我的畫是一種持續的視覺體驗，人們可以隨時間觀看它們。 幾乎就像畫布上的旅程一樣。這是對我的心情或狀態的真實反映，是聲音與我之間進行對話的表演。 透過身體律動, 由色彩和質感轉化在畫面上。

在研究階段，我會選定某幾首曲目。我十分鐘情德國及俄羅斯作曲家們張力夠大、夠厚實的曲目。我每日聆聽古典音樂， 不單以純享受的心情，我更以工作及學習的態度去感受他們。我會首先認真聆聽音型和當中的情感，把我獲得的感受先以一兩句形容。然後我會閱讀有關樂章的論文，了解包括他的歷史、作曲家創作時期之生平和當期社會環境等資料，進一步理解樂曲的故事。

進行創作時，我會在播放音樂時工作，並參考自己製作的圖像（例如印刷品和照片）和自作樂目作為輔助材料。我試圖將情感轉化為視覺語言。

一直以來，自從我開始做抽象畫，都強調和重視「自己」、作品的敘事性，和強調表現細節。企圖把樂曲中每分每秒的亮點都畫下來。他們是由多次的 automatic drawing 而組成的，繪畫、思考、繪畫、思考。是放任自己和整理思緒，兩種方法的結果。這個過程一直都將進行「加法」，或只進行「加法」。繪畫像書寫一樣，像作曲一樣，越寫越長。很多的線條、筆觸，很多的碎碎念。不停的在說話，不停地提供訊息。

在香港，專心只做抽象藝術的藝術家實在是少數。利用抽象藝術表現音樂更是寥寥可數。在這樣大環境之下，某程度我也算是異類。

 

日常流程

我的日常流程，是半嚴謹、半隨心的。心靜不下來，畫面亦靜不下來。我，正在尋求出路。
在工作室裏，思考或其者放空的時間其實比真正下筆工作/繪畫多。我會在工作室中放空腦袋、聆聽欣賞古典音樂，看書或者練習樂器。我會嘗試完全放空、只留有想像、情感和感覺，不被其他事情打擾。一切都隨感覺進行，有一點放任自己。也會用音樂作為出發點，進入未知的想像。

我的流程，是為了擺脫過於急速、過於理性，這種限制性的思維，開創可能性。

我認為心情和噪音很影響我的創作。 我是一個情緒化的人，容易惹惱。 一點不好的心情會毀了我的一天。

我創作的抽象繪畫是私密的。 它需要一種穩定或更和平的心情或狀態，去更加專注於如何通過律動和標記來形象化它們。

 

 

Music as Abstraction

 

My work is to transform music into abstract visual language.

Classical music and abstract painting are the same thing to me. They cannot be separated or discussed individually. For me, they are a very important language. I do paintings and music to express myself, because I can use them to better express oneself.

My method and inspiration are based on music, especially from classical music. I also compose classical pieces by myself. As a composer and performer, I create music and create abstract visual effects on the canvas; by depicting the narrative and power of music, and expressing the rhythm of action, the depth and dimension of emotion on the canvas. Painting and music are both derived from the same essence of ‘temporal’ language for me. The painting itself is also a visual music experience for the audience.

My paintings are a continuous visual experience, and people can read them over time. It’s almost like a journey on a canvas. This is a true reflection of my mood or state. It is a performance of dialogue between the music and me. Through the rhythm of the body, colours and textures are transformed on the screen.

In the research phase, I will select certain repertoires. I love the strong and thick repertoire of German and Russian composers. I listen to classical music every day, not only with pure enjoyment, but also with an attitude of working and studying. I will first listen carefully to the sound patterns and the emotions in it and describe the feelings I get in one or two sentences. Then I will read the essays about the repertoire, learn about his history, the life of the composer during his creation, and the social environment at that time and further understand the story of the music.

When creating, I will work while playing music, and refer to my own images [such as prints and photos] and self-made music as supplementary materials. I try to transform emotions into visual language.

Since I started to make abstract paintings, I have emphasized and valued ‘self’, the narrative of the work, and the details of expression. I tried to draw the bright spots in the music every minute and every second. They are composed of multiple automatic drawings. It is the result of two methods: indulging yourself and organizing your thoughts. This process will always be ‘addition’ or only ‘addition’. Painting is like writing, like composing, the more you write, the longer you write. Lots of lines, brushstrokes, lots of broken thoughts. Talking non-stop, providing information non-stop.

In Hong Kong, there are really few artists who concentrate on abstract art. The use of abstract art to express music is rare. In such a big environment, to a certain extent I can be regarded as a different kind.

 

Daily routine

My daily process is semi-rigorous and semi-arbitrary. If my soul cannot be calmed down, the pictures cannot be calmed down. I am looking for a way out.

In the studio, there is actually more time for thinking than for real work/painting. I will empty my head in the studio, listen to classical music, read books or practice musical instruments. I will try to be completely empty, leaving only my imagination, emotions and feelings, without being disturbed by other things. Everything goes as I feel, and a little bit of indulgence. I use music as a starting point to enter the unknown imagination.

My routine is to get rid of restrictive thinking, and open up possibilities.

I think the mood and noise greatly affect my creation. I am an emotional person and easily annoyed. A little bad mood will ruin my day.

The abstract paintings I create are private. It needs a stable or more peaceful mood or state, to focus more on how to visualize them through rhythms and marks.

 

---

我上年曾在畫廊實習工作。特別是畫廊的工作，過於理性、過於急促。當時一邊實習、一邊上學，馬不停蹄。結果分身不暇，能創作的時間更短。我變得更加焦急，在工作室一直靜不下來。我在上面有提及，我的作品是絕對誠實的。越焦急、越想去成就一些東西，就會不自覺越大聲地說話。線條/畫面中有很多的雜訊，很多混沌。這種狀態令我幾乎無法進行創作。

工作空間也一樣，我習慣擁有私密的空間。疫症時間，我有大半年完全沒有工作室，所以每週只可以在客廳裏畫幾個小時。當時我清理客廳的空間。 我移動了沙發，以便可以在牆上工作，但是這樣做很煩人。但家中有太多的噪音和壞心情。 我只能在文檔上寫東西。 可以使用的材料和空間也非常有限。 當時那時我幾乎無法製作任何作品。

 

I had an internship in a gallery last year. The work of a gallerist is too rational and too hasty. I was working non-stop at that time. As a result, the time to create is shorter. I became more anxious and couldn’t calm down in the studio. As I mentioned above, my work is absolutely honest. The more anxious and the more I want to accomplish something, the louder I speak. There is a lot of noise in my pictures, a lot of chaos. This state makes it almost impossible for me to create.

The workspace is the same, I am used to having a private space. During COVID, I had no studio for more than half a year, so I could only paint in the living room for a few hours a week. At that time, I cleaned up space in my living room. I moved the sofa so that I could work on the wall, but it was annoying. But there is too much noise and bad mood at home. I can only write on the document. The materials and space that can be used are also very limited. At that time, I could hardly make any artwork.