帝都 The Empire | NEONSIGNS.HK 探索霓虹
生神仙 Celestial Fortune Telling
Diaoyu Islands / Senkaku Islands Belong to Birds & Fishes 釣魚臺/尖閣列島是屬於鳥和魚的
Towards a Brighter Future Through the Valley of Darkness in HK Art Centre
Towards a Brighter Future Through the Valley of Darkness (Cattle Depot)
Photo by: Li Wai On
Shadow Building 影子大廈
The Empire 帝都
The Empire is a commissioned project, presented as part of the My Neon City series of Mobile M+: NEONSIGNS.HK.
Celestial Fortune Telling 生神仙
“Celestial Fortune Telling” is a small mobile temple hosted by visually impaired artists who are rumored to have supernatural power. It inherited I Ching’s 64 hexagrams based on traditional Chinese tradition, and also embraced the spirit of Dadaism from modern art tradition. The on-site “living gods” will guide the lost crowd of contemporary art worshipers away from misfortune, exploring their artistic divine future.
Wood, sculpture, turtle shell, coins, clock, paint, & lights
333 cm (H) x 251 (W) x 86 (D)
Senkaku Islands / Diaoyu Islands Belong to Birds & Fishes 釣魚臺/尖閣列島是屬於鳥和魚的
Everyone has heard of Senkaku /Diaoyu Islands but most of us might not even aware of its exact location, and only a handful of us have actually physically been there. How much do we really know about this place remains very little yet nationalism from both sides has fueled the mind of the people with images and ideas about this faraway lands.
The islands has transformed from the home for birds and fishes into the symbol of political desire, power, and control. The installation inside this room was inspired by media control center from the military suggesting the media are being manipulated and there is always a secret observer hidden behind the struggle between two species. The videos were inspired by actual elements that could be found on Senkaku Islands; birds, fishes, lighthouse, etc. triggering our imagination towards this faraway land of utopia.
Cardboard, light panels, keyboards, & paint
Aichi Triennale 2013, Nagoya, Japan
Towards A Brighter Future Through The Valley Of Darkness 為了光明前程必須經歷的黑暗
What is the most impressive memory of your parent? Going to the playground together? The food your mother cooked? Or being beaten up by your parent? The trace of physical punishment already long faded away yet a large amount of abusing words still buried deep inside the child’s mind and become a wound that will not heal. Parent hit us in order to train us to become proper and not to do wrong things, yet this method of upbringing often lead to other side effects due to physical punishment according to psychologist. The damage on the soul might hurt more than the damage on the physical body. This installation dedicated to those who lived through the dark generation of physical punishment and finally arrived at the brighter future. This project was possible with research from the help of Against Child Abuse Ltd.
Lemon grass waxed children clothing, toys, hanging strings, & light bulbs
Public Art HK Scheme, Hong Kong Art Centre atrium
Accidental Aliens 意外的外星人
Many artists in Hong Kong often comes and goes without having the proper recognition they deserved. Their contribution to the society often gone unrecognized and maybe will only be recognize after they are dead. This installation involves the artists building a brick wall, the visitors were invited to use a sledge hammer to destroy the wall at the opening night. Other viewers who come later can look at the work through the glass panels that always remain closed suggesting ‘work in progress’. Green colored tape underneath the brick pile and on the corridor suggesting a terrible art accident might have happened.
with Jaffa Lam
500 bricks, cement, & sledge hammer
Jockey Club Creative Arts Centre, HK
Windows to Childhood 童年窗户
When exactly did childhood end?
Maybe, it’s when the child first recognizes the concept of childhood,
It will disappear immediately.
Transparent paint on window glass
Mild steel, brass sheet, mirrors, wooden louvers, infrared activated fans, & musical movements
331(W) x 200cm(H)
Para/Site Art Space, HK
(with Tim Li)
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
The Light of Industry 工業之光
140 cm (W) x 100 cm (H)
Family Production 家庭作業
Family Production summarized my thinking about the red, white, and blue plastic sheet material which is also a kind of exploration over the topic on the spirit of Hong Kong for the past 5 months. I want to make a piece of work that represents the special quality of Hong Kong. The multi purpose prefabricated metal bar and the durability of red, white, and blue plastic sheets represents the character of flexibility and practicality of Hong Kong people. The shinning plastic beads drapes down to form a metaphorical time tunnel which connects the past with the present. Families after families are being constructed, though they are temporary yet all of them are great to the individual. Red, white and blue plastic sheets remind me of the cottage industries of the 1960s and 1970s. Be it assembling plastic flowers or stringing beads, everybody, young and old, male and female, every member of the family partook in the assembly line, striving to make a living. This was how our family is constructed.
30,000 plastic beads, fish wire, metal modular bars, red white blue plastic sheet, & paint
500 (L) x 300(W) x 440cm(H)
HK Heritage Museum, HK
Message to the Future Message from the Past 給未來的消息來自過去的消息
A philosopher once said the only freedom that ever exists is the freedom to choose whatever to think inside our mind. The memory of our past might not be what really happened. What are the things you wanted to change in your memory? What message do you have for your future? The wooden cabin are made of recycle wood completed with a garden inside the tiny cell. Viewer can contemplate and reflect quietly inside by writing a postcard addressing to themselves, the artist will mail the postcard back to the writer in the future.
Recycled woods and plants
211(L) x 102(W) x 264 cm(H)
Hong Kong Victoria Prison
When Is The Exact Moment Dreams Become Reality? 夢想是由何時開始變成真實的?
We all dream about having a place or space of our own. 'Home' firsts exists as a tiny concept in the mind, it continue to mutate and transform into different things as we grow. Is it the shape or location or is it the various characters inside that are attracting us, causing us to endlessly chase after it? The 12 houses represented in the project revealed our endless projection towards the idea of 'home'. Upon entering, one encountered the view of an endless tunnel, which looked as if you could go inside but in fact could not. This situation is similar to the idea of entering a home, for although they are visible to our eyes, our physical body cannot penetrate them.
Wood and paint
450 cm (W) x 360 cm (H) x 120 cm(D)
Departure & Return 離開與回來
The number of divorce cases increased rapidly during the year 1981 to 2001 in Hong Kong. In 2001, the number was 13,425 compared with 2,062 in 1981. The concept of home is constantly being broken down into smaller fragments. The ideal home is like a utopian illusion that is unreachable. This project is composed of many little house sculptures purchased from furniture stores and then randomly sawn into wooden pieces and composed into a screen. This curtain of fragments creates a spectacular display of light and shadow, provoking the viewer to think about various issues relating to families.
Wood & metal wiring
334(L) x 468(H) x 30(D)cm
Permanent Installation, Graduate House,
The University of Hong Kong
Para/Site Art Space, Hong Kong
Our House 我們的家
Leather briefcase and painted wooden blocks
35(L) x 23(W) x 8.5cm(D)
World Building 造世界
Wood, photographs, TV monitor & three videos
Goethe Institute, HK & collected by private collector
Copper, wood, sand, & grenade
A House Caught Between Two Oppositions 困於兩個相對之間的房子
Recycled wood, motors, rubber band
150cm(L) x 61cm (H) x 15cm (D)
Perfect Family 完美家族
concrete, liquor & alcohol mini bottles
Skyscraper House 摩天大廈旁的小屋
Recycled wood & brass
A For Apple . A For Atomic 蘋果 . 原爆
Galvanized stainless steel and gold
22(L) x 21(W) x 14.8cm(D)
Shadow Building 影子大廈
Tall buildings are the basic structural component of the city of Hong Kong and we spent most of our life inside the space of buildings. Our personal history becomes the story of the buildings and its stories in return become our own personal history. The image of this project was taken from windows of the home of the artist, using drawings drawn on the glass of the windows to explore various issues of city, buildings, and living.
Recycled cardboards, adhersive tapes, TV monitor & DVD player
Artist Commune, HK
White Wash 白牆
Plastic figurines, cork landscape, chalks, chocolate, marbles, & lighting
855(L) x 224(W) x 15 cm(D)
West Space, Melbourne
Transformation, Disapperance, Being Forgotten 轉化、消失、被遺忘
I want to express the frustration of not able to remember the detail in one’s life in this project. Those intimate moments that were once very close to the individual slowly slip away as one age. I joined the July 1st protest organized by the Para/site Art Space from the Victoria Park, then slowly wandered off from the protesting crowd. I went to the first apartment where I lived as a child, my kindergarten now turned into a commercial building, a public space in Tsim Sha Tsui where I used to hang out and rode BMX, an alley way where I wrote the proclamation to my first lover, and the restaurant my father used to take me before my parent was finally divorced. Old family photographs juxtaposed against current ones, this work mimic the pin-up notice board I used to work on inside my elementary school classroom.
Cork notice board, photographs, paper
White Out 白化
What will happen after 1997? The most frequently asked question when Hong Kong was approaching the end of the 99 years lease. Unchanged for 50 years should be the standard answer; although lost in thoughts was the more common response. The culture of the British Empire had once changed the daily life of Hong Kong people in the used to be fishing village, influences from China now are quickly wiping out any remaining marks of the Brits. What remain unchanged are transformation, disappearance, and being forgotten.
Wood, photographs, & White Out
100(H)x 35(W) x 80cm(H)
Standing Next To The Harbour Front Alone 一個人站在尖東海旁
Imagine you are now standing alone at the harbor front of Tsim Sha Tsui East, a piece of the ocean is in front of your feet, beyond the harbour stands many tall buildings from the coast of Hong Kong Island. Colourful lights emanated from the windows of these tall buildings and illuminate the sky of the dark night; the warm breeze of the ocean just caressed your face, you felt it but you couldn’t see it. If you are visually impaired, how would you go about perceiving the city? This project was specially designed for the visually impaired, allowing them to “touch” our invisible city.
Painted mild steel rod
800(W) x 100cm(H)
Standing Next to West Kowloon Alone 一個人站在西九海旁
Imagine you are now standing alone at the West Kowloon harbour front, a piece of the ocean is in front of your feet, beyond the harbor stands many tall buildings from the coast of Hong Kong Island. Colorful lights emanated from the windows of these tall buildings and illuminate the sky of the dark night; the warm breeze of the ocean just caressed your face, you felt it but you couldn’t see it. If you are visually impaired, how would you go about perceiving the city? This project was specially designed for the visually impaired, allowing them to “touch” our invisible city.
Wood & metal
778cm (L) x 257cm (H) x 122cm (W)
World History 世界歷史
A strange feeling stirred up inside me after I finished reading some history books on Colonial invasions and World War II. Under the pen of the historians the past almost becomes a movie script, yet these strange stories are actually a part of my history even before I was born. The upper level of this sculpture represents the form of the city I am now living in. The toy soldiers and the building represent the co-existence of war memory and modern prosperity. The lower horizontal black box represents my own personal history; it becomes the foundation of the city above. Inside, toys are stored that have been collected from different countries; it is innocent and naive. World history, personal memory and the present time all twisted into one thing, it is both ridiculous and romantic.
Toys, cork buildings models, painted wood, stationary, crystal ball, and Christmas lighting
720(W) x 100(H) x 10cm(D)
Young-Un Museum of Contemporary Art, South Korea
I was fascinated by the exceptionally beautiful Hong Kong skyline after dark. Yet behind this exceptional beauty exists some dark creatures that start to move about, even passing us by. Inside this sculpture lies six live poisonous scorpions, a large number of crickets, and some human figurines. The viewer engages in a kind of strange interactivity with the insects inside by peeping into the magnified peepholes. This project explores those fearful or curious feelings generated by those helpless citizens who live under the shadow of violence in the city.
Magnify glass, live scorpions, live crickets, toy figurines, cork landscape, painted plaster, wood, & lighting
400(W) x 100(H) x 13cm(D)
Tama Site, HK
Wood, aluminum sheet, brass wire, rubber band, & acrylic paint
10 cm (L) x 0.5 cm (W) x 60 cm (H)