余淑培出生於香港，現居奧斯陸。嘗試在現實生活不斷轉換角色或身份。慣常採用身體作媒介，包括自身，或借用／聘用他者的身體或發言或任何技能，創造特定情境打破旁觀者的被動性。作品簡單得像一場遊戲，牽引人與人之間的複雜關係。過去的創作關注在女體和身體文化，逐漸轉移至人類基因工程的議題、基因技術如何調整我們對身體的理解和認知。

2018年畢業於香港浸會大學視覺藝術學科，現於挪威奧斯陸國立藝術學院修讀純藝術碩士(2021畢業)。曾參與本港及歐美多個聯展，包括1a 空間（香港），Para-site 空間（香港），百呎公園（香港），Listhus 空間（冰島）；A Place 空間（佛羅里達州）；遊工房藝術空間（日本），斯沃琪和平飯店藝術中心（上海）等等。

Yu Shuk Pui Bobby is a visual artist who was born in Hong Kong and is now living in Oslo. Her conceptual artworks, sculptures, and performances create scenarios that break audience passivity by borrowing/hiring others’ bodies, their utterance or skills. She often transforms roles / identities / appearance in her daily life. Her works act as simple games, ‘dragging’ complicated interpersonal relationships. Her interest in the female body and gender politics has recently led to research into scientific fortune telling using big data, and the idea that genetic engineering offers possibilities to determine the future—and the risks these subjects hold.

Bobby received a BA from Hong Kong Baptist University. She is currently studying MFA at Oslo National Academy of Fine Art (2021). She has exhibited her works at Listhus Gallery (Iceland); A Place Gallery & Studios (Florida); Youkobo Art Space Gallery (Tokyo); Swatch Art Peach Hotel (Shanghai); Parasite,100ft. Gallery, starprojects, 1a Space, Tomorrow Maybe Gallery (Hong Kong). Bobby has completed residencies at 3331 Art Chiyoda (Tokyo), 435 Art Studio (Taiwan), Listhus Space (Iceland), and Athena Standard Residency (Athens).

向外的群體合作與個人的「選三哲學」

每一次我創作，我會想像自己與觀眾在建立一個親密關係。我的創作以自身經驗為基礎，建立一個特定情境去連結觀眾，並在這個情景下邀請觀眾成為作品的參與者。我關注的觀眾是每一次計劃／委託項目的工作人員，同僚，甚至於藝術圈以外的朋友。我會邀請他們一起參與我的作品的製作過程，以團體合作的形式下，延續一段集體療傷的合作關係，建立一個開放而輕盈的社群。

關於我的生活模式，這兩年我的體力逐漸下降，不能像以往每天在工作室埋頭苦幹，藉此我尋找一個長遠而靈活的工作模式。

現在每天我只會做大約三件事。從以下六項範疇中每天選出三項：

（1）工作（包括研究，計劃，財政管理，寫作，談判，展覽及創作）
（2）養生（去偏遠又便宜的超市買菜，煮出營養均衡的料理，睡眠及冥想）
（3）運動（身心運動，散步也算）
（4）朋友（所有好玩的活動，包括去看朋友的展覽，出席聚會等等）
（5）打掃（打掃家裏及工作室）
（6）學習（低耗能的研究活動，包括看電影及動漫，學習新事物等等）
這樣我就不會要求自己必須一天之內專注在某一個領域，而是有辦法令自己每天有意識地及持續地工作，而且，處理其他範疇的事情。

而在籌劃一個展覽或創作計劃，會根據以下的階段去調整自己的生活節奏：

• 前期研究
• 構思概念
• 核心研究
• 測試材料
• 撮寫作品簡述
• 撰寫財政預算表
• 採購材料
• 佈展
• 整理相片記錄
• 宣傳
• 撤展

以上幾乎所有階段都可以用我之前提出的「選三模式」來貫徹，除了構思概念及佈展，我會花兩三天時間全神貫注地工作。有時候完成佈展後生病，只要生病，我就不能創作及用腦袋思考，我會翻開買下的書，最近的書單是 Dread: The Dizziness of Freedom (Juha van’t Zelfde) 和 When Fact is Fiction: Documentary Art in the Post-Truth Era (Nele Wynants).

About Communal Collaboration, and my ‘Pick Three Philosophy’

Once I create a work, I imagine that I am building an intimate relationship with the audience. My practice is based on my own experience, creating a specific scenario to connect with the audience and inviting them to be participants as well as part of the work. The audience I concern is the people working on each project/commission, my colleagues and even friends outside the art circle. I invite them to join me in the process of artmaking, then to extend as a collective healing partnership in the form of communal collaboration, and to build an open and light-hearted community.

For my lifestyle, my physical strength has been declining over the past two years and I cannot work as hard as I used to in the studio, so I am looking for a long-term and flexible work pattern.

Now I only do about three things a day. Three of the following six areas are chosen each day.

(1) Work [including research, planning, financial management, writing, negotiation, exhibition and artmaking]
(2) Well being [going to a remote and inexpensive supermarket to buy food, cooking nutritious and balanced meals, sleeping and meditating]
(3) Exercise [physical and mental exercise, so does walking]
(4) Friendship [all fun activities, including going to friends’ exhibitions, attending parties, etc.]
(5) Cleaning [cleaning the house and studio]
(6) Learning [low energy research activities, including watching movies and anime, learning new things, etc.]

In this way, I do not force myself to focus on one area in a day, but rather work consciously and consistently every day, and to manage areas.

When I plan an exhibition or creative project, the rhythm of my life is adjusted according to the following stages:

• Preliminary Research
• Conceptualisation
• Core Research
• Testing Materials
• Writing project statement
• Working on budget plan
• Procurement of materials
• Exhibition installation
• Organising photographic records
• Promotion
• Dismantling

Almost all of the above stages can be followed by my ‘Pick Three Model’ mentioned above. Sometimes when I am sick after finishing an exhibition, I cannot create or think, so I open the books I have bought. My recent book lists are Dread: The Dizziness of Freedom (Juha van’t Zelfde) and When Fact is Fiction: Documentary Art in the Post-Truth Era (Nele Wynants).