Building Making Buildings 樓樓起樓樓
That summer my grandfather took me to travel back to our ancestor’s village in Taishan and we had a great time together. Today I am sitting inside my own apartment on the 16th floor; occasionally I still miss the little house I used to live back at the village.
Why did you choose to work with glass for this installation?
The glass location was assigned by MTR. I found traditional sand blast glass etching technique a very interesting process which one can easily find in most Chinese restaurant and I would like to revive that sculpture technique to a higher artistic level in the MTR project. Notice my glass etching was done on both sides of the glass, some area of the glass was painted with colors and some area was left blank deliberately so to allow existing architectural scene from outside of the station to be seen the picture plane.
How would you like passengers to interact with your work as they pass by?
Passengers can enjoy my work from both inside the station and outside. When the art work being view from inside the station the large glass etching seems as if it is lit up by light since it is back lit by sunlight outside. In certain time of the day, the low angle sunlight will project various shape of the glass painting onto the opposite wall creating an interesting display of light and shadow inside the terminal where the passengers can enjoy while riding on the escalators. When viewing the work at night from the exterior corridor, the artwork would be lit up by the artificial lighting from inside the station creating a very warm feeling.
The etching on the glass depicts different architecture scenery. It ranges from small huts, Chinese traditional village house, and modern skyscraper. The work reflects the architectural development and transformation of the nearby area in Tseung Kwan O can could use as a visual aid depicting the drastic change in the area.
Edged & sand blasted glass panels
Po Lam MTR Station