A House Caught Between Two Oppositions 夾在相對之間的家 Recycled wood, motors, rubber band, 2008 _______________________________________________________________________________________________
World Building
Wood, photographs, TV monitor & three videos, Goethe Institute, HK 2008 ___________________________________________________________________________________________
Message to the Future Message from the Past 給未來的消息來自過去的消息 Recycled woods and plants, 211(L) x 102(W) x 264cm(H), Hong Kong Victoria Prison, 2007
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? I built a wooden cabin out of recycle wood completed with a garden inside the tiny cell. Inside you can contemplate and reflect quietly then write a postcard addressing to your future self, I will mail it back to you in the future.
White Out 白化, 2007 Wood, photographs, & White Out, 100(H)x 35(W) x 80cm(H), 2007
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.
Shadow Building 影子大厦 Recycled cardboards, adhersive tapes, TV monitor & DVD player, artist commune, 2007
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.
Family Production 家庭作業 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 2005
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.
Wood & metal wiring 334(L) x 468(H) x 30(D)cm Para/Site Art Space, HK 2003
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.
When Is The Exact Moment Dreams Become Reality?夢想是由何時開始變成真實的？ Wood and paint450(W) x 360(H) x 120cm(D), Hong Kong Art Centre, HK 2002
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.
Mosaic tiles, coloured plastic sheets, lighting, plastic figurines, & wood 115(L) x 64(H) x 13cm(D), 2002
Every time I tell my friends from aboard that I live in HappyValley, they burst out laughing. It sounds like a bunch of happy people living in a valley. I like to look out from my window at night, to see the many different living units stacked up on top of each other, all broadcasting different stories live. A familiar sight but not familiar people; real happiness may only exist for those who enter the Happy Valley Racetrack, as they enter with their dreams of happiness.
Drift City [Building Making Buildings Workshop] 遊離都市 [樓樓起樓樓エ作坊]
Steel tables, wooden blocks, glues, & markers 1800 (L) x 50(W) x 100cm (H)
Hong Kong Art Biennial, Hong Kong Museum of Art, HK 2001
DriftCity [Building Making Buildings Workshop] is an art installation about an imaginary urban environment. This project attempts to react towards the fact that ordinary citizens cannot construct their own homes inside the city. The audience use the wooden blocks prepared in advance by the artist to construct their ideal building. Each sculptural building, represents each individual's dream whilst joining together to create a city that is truly representative of everyone. DriftCity [Building Making Buildings Workshop] was first shown at G.O.D. Art Space; it was later selected for the Hong Kong Art Biennial and on display inside the Hong Kong Museum of Art. During this period, there was more than 5,000 viewers who participated in the construction of the work.
Painted mild steel rod 800(W) x 100cm(H), Visual Arts Centre, HK, 2000
Imagine you are now standing alone at the harbor front of Tsim Sha Tsui East, and beyond the harbour stands many tall buildings from Hong KongIsland. Colorful lights emanated from the windows of these tall buildings and illuminates the dark night; the warm breeze of the ocean just caressed your face, you can feel it but you cannot 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 perceive their city by touch.
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 2000
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.
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, 2000
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.
The Horror恐怖事 Card boards and adhesive tapes500(L) x 60cm(H), Underneath Eastern Corridor Highway, HK 1999 _______________________________________________________________________________________________
White Wash白牆 Plastic figurines, cork landscape, chalks, chocolate, marbles, & lighting 855(L) x 224(W) x 15cm(D)West Space, Melbourne, 1999 _______________________________________________________________________________________________
