Under.Line Projects (2022-now)
Under•Line (Electric edition) at Grotto SKW set a new start for the project in 2022, before its journey to Lademoen Kunstnerverksteder at Trondheim, Norway. In September, the series continued its expeditions to Barcelona presenting in Tangent Projects, and to Lisbon in November, as one of the exhibitions in Lisbon Art Weekend at PADA gallery.
Curated by Jamsen LAW
For detail of the project: www.nprojekt.net
Under•Line (Electric edition) at Grotto SKW set a new start for the project in 2022, before its journey to Lademoen Kunstnerverksteder at Trondheim, Norway. In September, the series continued its expeditions to Barcelona presenting in Tangent Projects, and to Lisbon in November, as one of the exhibitions in Lisbon Art Weekend at PADA gallery.
Curated by Jamsen LAW
For detail of the project: www.nprojekt.net
New series of work:
Expandable foam, wool and found objects
2022
Barcelona Edition
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Expandable foam, wool and found objects
2022
Barcelona Edition
Lisbon Edition
New series of works that createed during the 9-days of residency at PADA Studio in Barreiro, Portugal
The negotiation between human and nature:
The boundary, in form and material, is set by the human to not overthrow by the power nature. Trying to build or create the boundary to cope with the constant change in nature.
New series of works that createed during the 9-days of residency at PADA Studio in Barreiro, Portugal
The negotiation between human and nature:
The boundary, in form and material, is set by the human to not overthrow by the power nature. Trying to build or create the boundary to cope with the constant change in nature.
Perth Edition
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Under•Line (Electric edition) at Grotto SKW, Hong Kong
Seeds of Remembrance
La Plata, Argentina
La Plata, Argentina
Ground to A Halt
Plaster, wood, light bulb, borrowed mat and used water bottle
Dimension variable
2022
Packed and Ready
Plastic wrap, light and tools
Dimension variable
2022
Felt The Pinch
Mattress, felt, polyurethane foam, wool, rope
Dimension variable
2022
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Seeds of Remembrance marks a beginning of the third travelling series of nProjekt. Different from the previous two artist-centric series, Under•Line and Non-Solo, it is a theme- and process-driven project designed to evolve through a two-month residency. It was arranged to come into being at a place far away from both artists' home city, where is simply at the opposite end of the globe. The climate, the population density, the speed of living, road traffic and many others are plain different from home.
Seeds of Remembrance is a metaphor of easy-to-carry and -store sources of life, which keep memories, identities and potentials of their origins. It proposes conversations about how art and artefact, which represent memories, histories, melancholies, and contentments, could be collected, displayed, preserved and reproduced, intentionally or unconsciously, for the existence of what they represent. It also suggests a search of nutritions for growth and adaptation, developing new roots and varieties.
Curated by Jamsen Law
Presented by nProjekt
Hosted by Residencia Corazón
Supported by Hong Kong Arts Development Council
Staff of Residencia Corazón - Juan Pablo Ferrer, Rodrigo Mirto & Catalina Poggio (Curatorial Advisor)
Plaster, wood, light bulb, borrowed mat and used water bottle
Dimension variable
2022
Packed and Ready
Plastic wrap, light and tools
Dimension variable
2022
Felt The Pinch
Mattress, felt, polyurethane foam, wool, rope
Dimension variable
2022
Seeds of Remembrance marks a beginning of the third travelling series of nProjekt. Different from the previous two artist-centric series, Under•Line and Non-Solo, it is a theme- and process-driven project designed to evolve through a two-month residency. It was arranged to come into being at a place far away from both artists' home city, where is simply at the opposite end of the globe. The climate, the population density, the speed of living, road traffic and many others are plain different from home.
Seeds of Remembrance is a metaphor of easy-to-carry and -store sources of life, which keep memories, identities and potentials of their origins. It proposes conversations about how art and artefact, which represent memories, histories, melancholies, and contentments, could be collected, displayed, preserved and reproduced, intentionally or unconsciously, for the existence of what they represent. It also suggests a search of nutritions for growth and adaptation, developing new roots and varieties.
Curated by Jamsen Law
Presented by nProjekt
Hosted by Residencia Corazón
Supported by Hong Kong Arts Development Council
Staff of Residencia Corazón - Juan Pablo Ferrer, Rodrigo Mirto & Catalina Poggio (Curatorial Advisor)
物。物。物。地
Reclaiming Little Things –
A Non-Solo of Lee Suet Ying in association with John Aiken, Ho Siu Kee and Jaffa Lam
李雪盈 聯同 莊藝勤 何兆基 林嵐
An exploratory exhibition series
探索展覧系列
curated by Jamsen Law
羅琛堡策劃
Art making is a way
Exhibition making is another
Non-Solo highlights multi-layered exploration and dialogues, not solo would do
Art making is a learning process
learning from the medium, learning from the subject matter
most importantly, how a person thinks and feels
artistically processes the surroundings
創作係一種方法，展示係另一種。多層次嘅探索同對話，唔係一支公
創作亦係一種學習，通過媒介，通過題材；甚至體會，人係點樣思考同感受，理解周遭
Live Performance link:
https://youtu.be/NDyL8CaOT5k
Reclaiming Little Things –
A Non-Solo of Lee Suet Ying in association with John Aiken, Ho Siu Kee and Jaffa Lam
李雪盈 聯同 莊藝勤 何兆基 林嵐
An exploratory exhibition series
探索展覧系列
curated by Jamsen Law
羅琛堡策劃
Art making is a way
Exhibition making is another
Non-Solo highlights multi-layered exploration and dialogues, not solo would do
Art making is a learning process
learning from the medium, learning from the subject matter
most importantly, how a person thinks and feels
artistically processes the surroundings
創作係一種方法，展示係另一種。多層次嘅探索同對話，唔係一支公
創作亦係一種學習，通過媒介，通過題材；甚至體會，人係點樣思考同感受，理解周遭
Live Performance link:
https://youtu.be/NDyL8CaOT5k
Wished to be stronger
Wished to be calmer
To move on, to let them return to nature
A rebuild from the ground up, for fantasy and security
夠硬正，就好。
淡淡然，就好。
隨緣，由佢哋回歸自然
從底到頂，由頭嚟過
想像吓，搵返個安全感
Karin Weber Gallery
Wished to be calmer
To move on, to let them return to nature
A rebuild from the ground up, for fantasy and security
夠硬正，就好。
淡淡然，就好。
隨緣，由佢哋回歸自然
從底到頂，由頭嚟過
想像吓，搵返個安全感
Karin Weber Gallery
Untitled
Latex, gelatin bioplastic, wood, bronze
乳膠，生物塑膠，木，銅
30cm x 30cm x 5cm
2020
Latex, gelatin bioplastic, wood, bronze
乳膠，生物塑膠，木，銅
30cm x 30cm x 5cm
2020
Sculpture as a medium for me is more about the process. At the beginning, there will be a process of intimacy with different materials, the materials response/react to my action and convert to different form and shape that contain a particular moment or emotion. The outcome of creation will then be installed in the actual time and space. The representation of the work allows me to reassess the work and its relationship with the substantial space in a rather detached distance, the work will keep transforming and emerging, and may continue to expand and develop to a new possibility during the process of installation.
雕塑對於我來說是著重於過程的媒介。開始時物料與製作者之間會有一段親密的過程，物料回應製作者的行為及動作而轉化成載有某特定的時空與情感的形式或形狀。而當作品裝置在真實空間時，展現的過程容許我抽離地再審視作品與實體空間的關係，作品在這過程中或因不同的時空而轉變，從而意念得以延伸及發展。
雕塑對於我來說是著重於過程的媒介。開始時物料與製作者之間會有一段親密的過程，物料回應製作者的行為及動作而轉化成載有某特定的時空與情感的形式或形狀。而當作品裝置在真實空間時，展現的過程容許我抽離地再審視作品與實體空間的關係，作品在這過程中或因不同的時空而轉變，從而意念得以延伸及發展。
Visual design for the drama - ‘Guns and Flowers’
Director and playwright - Hope Chiang
Artworks in the drama
Homecoming
Video installation with wooden slingshot
錄像裝置，木制彈弓
Memory Hole
Video Installation
錄像裝置
Growing to be...
Latex
乳膠
Where are you?
Turf, soil, ready-made objects, cloth
草坪，泥土，現成物，布
Remember
Wood and bronze
木，銅
2020
Director and playwright - Hope Chiang
Artworks in the drama
Homecoming
Video installation with wooden slingshot
錄像裝置，木制彈弓
Memory Hole
Video Installation
錄像裝置
Growing to be...
Latex
乳膠
Where are you?
Turf, soil, ready-made objects, cloth
草坪，泥土，現成物，布
Remember
Wood and bronze
木，銅
2020
According to Chinese-American geographer Yi-fu Tuan mentioned in the book of Escapism, people look for stability, and the material environment that signifies stability, we are naturally drawn to familiar things in familiar places that we build bonds with. People escape from raw and threatening nature into the refinements of culture. The culture evolves to create civilisation, helps nurturing one’s sense of belonging toward the place, even the stability of civilisation is falling apart, they will still fight for the best to defend and maintain it, till the fire of hope died out.
Through the installation works, video imageries and reoccurring process, the places at different time are linked up, the surrounding influences our sense of bodily existence. To reimagine the homeland, the place we are living in.
'Our body tied by the sense to the environment, is place; our mind freed from such sensory ties, is space.‘ - Tuan Yi-fu, Space, Place, and Nature: The Farewell Lecture
人傾向於安穩，會在物質環境中尋求安定性，如美藉華僑人文地理學家 – 段義孚在《逃避主義》一書中提到，我們天性會被自己所建構的事物與環境所吸引，令我們逃離危險的原始自然世界，逃到一個完善的文化環境中。當文化演變成文明，會孕育出自身對地方的歸屬感，即使文明的穩定性在瓦解，我們仍會嘗試盡力挽救維護，直至希望盡失。
作品概念經由裝置，影像及過程的重現，嘗試把不同的地方連繫，環境影響著自身的身體經驗。重新想像家鄉，我們身處之地。
「我們的身體感知被環境所束縛，是為地方；我們的思想不受感知所束縛，是為空間」- 段義孚，空間，地方，及自然：告別講座
(Bankart Station, Yokohama, Japan)
Through the installation works, video imageries and reoccurring process, the places at different time are linked up, the surrounding influences our sense of bodily existence. To reimagine the homeland, the place we are living in.
'Our body tied by the sense to the environment, is place; our mind freed from such sensory ties, is space.‘ - Tuan Yi-fu, Space, Place, and Nature: The Farewell Lecture
人傾向於安穩，會在物質環境中尋求安定性，如美藉華僑人文地理學家 – 段義孚在《逃避主義》一書中提到，我們天性會被自己所建構的事物與環境所吸引，令我們逃離危險的原始自然世界，逃到一個完善的文化環境中。當文化演變成文明，會孕育出自身對地方的歸屬感，即使文明的穩定性在瓦解，我們仍會嘗試盡力挽救維護，直至希望盡失。
作品概念經由裝置，影像及過程的重現，嘗試把不同的地方連繫，環境影響著自身的身體經驗。重新想像家鄉，我們身處之地。
「我們的身體感知被環境所束縛，是為地方；我們的思想不受感知所束縛，是為空間」- 段義孚，空間，地方，及自然：告別講座
(Bankart Station, Yokohama, Japan)
