2024 年度入圍學生藝術家
Outstanding Student Artist of 2024 - Finalists
(排名按英文姓氏序 In Alphabetical order)
2024 年度入圍學生藝術家
Outstanding Student Artist of 2024 - Finalist
陳美喬 CHEN Meiqiao
沙田蘇浙公學 Kiangsu-Chekiang College (Shatin)
我一直認為我是一位在茫茫人海中平平無奇的普通畫家。希望我的作品可以給大家帶來一些快樂幸福和希望！
I always think I am just an ordinary artist that can be found anywhere. I create artworks that aims to bring light to the world. Thus, I hope to deliver happiness or hope from my works, even though the effect may be small.
"Beyond School 學校之外"
學校雖為學生生涯相當重要的一環，但並不是全部。 這份作品的受眾為被學業所困的學生，通過描繪放學路上所見的彩色雲彩和巨大的海洋生物來表達學校與成績並不是一切，而世界很大，人生路還很長，不妨慢下來，看看學校以外的世界。
As students, my friends are often overwhelmed by different kinds of pressure from school. Therefore, I drew the rainbow coloured clouds I see everyday after school and the huge and marvellous creatures under sea to deliver the message that school is only a small part of our lives and sometimes, it is better for us to put away our identity as students to look at this beautiful world beyond school.
"Beyond School". Acrylic on canvas. 122cm x 81cm
"Passing the Torch 傳遞火炬"
這件作品旨在探討人性與善的雙面性。作品中以火比喻善意，善可以帶來溫暖也可以帶來災難，正如同火焰一般。故事中的火帶來光明與文明，但同時也因被利用或濫用而惹來火災與災難。火神被激怒，但最後相信人們的善意並留下了最後一個火種。我想借此表達人們應從惡意手中保護自己，但不應放棄傳遞善意。
Passing The Torch I wanted to discuss humanity and duality of kindness, as such a great quality can bring both happiness and disasters. fire represents kindness, it can bring civilisation and hope but also can be used for evil purposes.I hope to express that we should remember to protect ourselves from malice, yet never give up of passing the torch of kindness.
"Passing the Torch". Animation. 2_29 seconds. 16:9
2024 年度入圍學生藝術家
Outstanding Student Artist of 2024 - Finalist
關智遠 KWAN Chi Yuen
東華三院吳祥川紀念中學 TWGHs SCGaw Memorial College
從小開始學習繪畫，並對古代神話，奇幻生物和電影抱有濃厚興趣，最喜歡的藝術家之一是金子一馬。
I started drawing since I was a kid, I don't like to be as same as others so I always prefer finding some movies or games which are interesting but not very popular to look for inspiration, such as monsters in Shin Megami Tensei, artist put his own understandings into the original myth and fairy tales to create a brand new image, Which is the way I'm following. Also I watch different movies to train my taste personally but not similar to most of people.
"The Shadow 影子裡"
作品的草稿是我在又疲累又煩躁的情緒下定下來的，畫的是一個上班族在結束一天的工作後累得直接坐在了巷子的樓梯上。不過比起工作本身，在別人面前偽裝自己才是會讓人身心俱疲的主要原因，但是為了不被視為異類這都是必須做的事。當我們離開了人群後才能脫下面具，享受片刻身心合一的舒暢。
This project shows a office worker who is tired and sitting on the stairs in the back alley.In the morning of a day,people put on a mask and act like the character that others want them to be,because they don't want to be like a outsider,but they know that it is not what they actually are,so they can just show their tiredness when nobody can see them.
"The Shadow" 2023 . Marker Pen. 297 x 420mm
"Courageux 勇者無懼"
這個作品是一幅以莫內的早期的作品"日本人"為基礎所繪製的作品，不過我在看到和服上表情堅毅的武士便決定把畫中的女人改成了一個拿着武武士刀(不過當時沒有查好資料畫成直的了)的骷髏頭人，有一種就算是死亡也無法停止他勇往直前的決心。
The project is based on a paint that Claude Monet’s created in his early stage called”La Japonaise”,and I changed the woman into a skullike creature who was holding a katana,and the word from the back means“brave”because I believe that brave is the most important behavior of a semerai,even until death.
"Courageux". 2023. Acrylic on paper. 420 x 594 mm
"Death and Reborn 死與新生"
作品是以連環圖的形式表達，名稱是"死與新生"，故名思義是關於人在死後與新生之間的事情，而場景的沙漠則是在暗示死亡在心理意義上所象徵的荒蕪。死神參考西方的宗教傳說中代表死亡的灰馬騎士，放映機的枝條就像寄生蟲一般已經深入體内難以根除。而最後出現的櫻花的花詞為"新生"，而且櫻花盛開的時間很短，如同人類的生命雖然短暫卻很美麗。 我常常會在不同時候想象自己因事故死亡的樣子，想多了就開始對死後的世界產生了興趣，於是便以自己想象中的死後世界發展出了這個作品。
This work is represented in the form of a comic strip which is talking about the world after death and the way to Newborn.I usually think that maybe I will die in a random accident because I always see such accidents which kills hundreds of people and I feel even I can be dead in those dangers,at the same time I started imagine what will happen after I die,this question leads me create this work.
"Death and Reborn" 2023 . Marker pen、粉彩. A3 size x 10 sheet, A4 art book with 25pages
2024 年度入圍學生藝術家
Outstanding Student Artist of 2024 - Finalist
黎思慧 Lai Si Wai Phoebe
保良局董玉娣中學 Po Leung Kuk Tang Yuk Tien College
將自己內心的想法投放於作品身上往往更令人深刻，亦是如此令我更有動力、熱情去創作更多作品，充實自己。
Transform the insights in my heart and convey them to viewers are always the priority for me. It will deliver a stronger message and impress viewers way more without a doubt.Thanks to this thought, I get more motivation and passion to create, draw and design more artworks, so as to enrich myself.
"Constraint of College 學校的限制"
從中四開始，隨着學校越來越多的功課及測驗考試，都令我倍感壓力，於長達十多年的學校教育之中，有時真的感到非常疲累及迷茫。畫中以兩種截然不同的物料表現我個人的學業壓力，而畫中素描部份，穿校服的人正是我自己，躺臥在黑暗之中，眼神空洞無力，頭髮亦被膠紙、鐵夾及橡筋拉扯着，而腳則被萬字夾鐵鏈鎖起，畫中的文具刻意結合現實中的刑具，進一步呈現學業給予我的壓力。
Starting from form 4, more homework, assignments and quizzes are assigned for us to complete. Compared to junior form, I feel like I have way more to bear on my shoulders. During the years of schooling, I sometimes find myself exhausted and losing in both motivation and direction. In the artwork, I used two different materials to manifest my academic stress. In the pencil sketching part, the girl who wears school uniform is me, being upside down and lying down in the darkness. Having empty eyes while my hair is stuck and pulled by clamps and tapes. Meanwhile, my legs are locked by chains of clips. I combined stationaries and torturing instruments on purpose, so as to emphasize the pressure that school brings to me.
"Constraint of College" 2023. Acrylic and pencil on canvas. 91 x 61 cm
"Infinite Copies 無限複製"
本作着眼於香港嘅教育制度，希望引起所有學生共鳴。香港學校除了着重學生學業成績外，亦非常注重學生品行，期望學生能夠完美無瑕。這令我聯想到學校就如工廠，完美學生彷如商業世界中的產品，被人無限複製。許多學校都忽略多元的教學方法，令學生失去個人成長、發展。本作借學生產品化的概念，以模型的形式比喻學生被無限複製，最後賣給形形色色的人及地方，如學生畢業一樣，他們就如產品般被賣出社會。
The focal point of this artwork is the education system of Hong Kong. I hope to resonate with all Hong Kong students. Hong Kong schools consider students’ academic results and success, as well as conduct. Schools expect students to be flawless, impeccable and perfect. For me, schools are similar to factories at this point. Students are just like products in the commercial world, being copied and copied. Many schools neglect diversified learning. This sadly limits the personal growth and development of students. With the concept of product-like students and the form of gundam model, students are presented as products. They would eventually be sold and sent to the cruel society after graduation.
"Infinite Copies" 2023. 3D work and graphic design.19 x 29 x 6 cm
"ldeal vs Reality 理想與現實"
畫中講述學生畢業後於社會中的理想與現實。畫中分別有紅綠二色，望以混亂的畫面呈現出社會中理想與現實兩者的衝突。紅色畫面上，刻意使用車、錢浪及豪宅等元素，象徵大眾認為成功、有錢的既定印象，藉此表達畢業生對社會理想但毫不現實的憧憬。綠色畫面上，畫上了高樓大廈、被封上的出口、電腦及上下反轉的白領，期望以此表達社會現實的一面，無止境地工作，最後為的可能只是在香港這個細小而繁榮的城市買一個單位。
This artwork focuses on the ideal and reality of society after students’ graduation. Two different colors, red and green are utilized. With the chaos of layers, the clash of ideal and reality is well-presented. On the red layer, elements like cool car, gorgeous mansion and money waves are used to represent the typical impressions of being rich and successful. What I hope to show is the ideal, but unrealistic yearning of fresh graduates. On the green layer, skyscrapers, locked exit, computer and upside down workers can be found. I hope to convey the cruel reality of society. Nonstop working and worksing, maybe the only reason to work is just to buy a flat in this flourishing, little city called Hong Kong.
"ldeal vs Reality" 2024. Marker on paper. 59.4 x 84.1 cm
2024 年度入圍學生藝術家
Outstanding Student Artist of 2024 - Finalist
林佳穎 LAM Kai Wing
寶安商會王少清中學
Po On Commercial Association Wong Siu Ching Secondary School
我自幼學習中國畫，希望通過藝術啟發他人，推廣中國傳統藝術，讓更多人欣賞水墨畫，將藝術的快樂帶給人們。
I have learnt traditional Chinese painting since I was 6 years old . This art form allows me to capture the essence of nature and establish spiritual connection. I have developed a deep appreciation for the style and the variation of ink in traditional Chinese painting.It is my sincere hope that my artwork can inspire others and bring joy to everyone.
"Panda Commodification 熊貓商品化 "
人們為了利益而把熊貓商品化，以告誡人們保育大熊貓。
In this artwork,I explore how humans treat pandas as products in order to gain advantage. The pandas are fragile and sick because of the immune treatment and panda diplomacy. Hence, some of them become keychain and some are lying on the ground .
"Panda Commodification" 2023. Mixed media. 80cmx85cmx50cm
"Futuristic Flower 未來之花 "
未來世界的環境受到嚴重污染，人類研發了機械花去吸引蝴蝶，以捕捉蝴蝶成為標本。
The futuristic lotus is made up of electric wire and gear which will attract a lot of butterflies in the future. Due to serious pollution, the butterflies will become endangered species in the future . Hence, scientists will invent electronic flowers to attract them and take samples.
"Futuristic Flower" 2023. Chinese Painting. 100cm x 100cm
" Unity of Man and Nature 天人合一"
作品呈現人們在大自然中「躺平」，追求內心的平靜，擺脫快節奏的生活，享受大自然的寧靜和優美，與自然融為一體。
People are lying flat and sleeping in nature, pursuing inner peace and freedom. They can escape from the hustle and bustle of the city , reaching a state of unity of man and nature.
"Unity of Man and Nature" 2024, Mix media, 33x33x85cm
2024 年度入圍學生藝術家
Outstanding Student Artist of 2024 - Finalist
劉曦雯 LAU Haymann Olivia
保良局蔡繼有學校 Po Leung Kuk Choi Kai Yau School
在我的作品中，我試圖以觸動我的事物，連結過去和現在，並打造一條聯繫人內心和記憶的橋來探索童年的意義。
Fascinated by retracing memories and bridging the past and present, my approach explores alternative interpretations of childhood memories by incorporating sentimental objects. In a recent piece titled "Growing Up”, I used repetition and transformation techniques like photography, inverting, printing, and cyanotypes to contemplate the impact of technology on our collective memories; raising questions about authenticity and preservation. As I continue to explore, I strive to create portals that invite viewers on personal introspective journeys, forging a connection to the ever-shifting landscape of memory.
"Transformation"
無論是從青春期到成年，還是從初中到高中，變化都是不可避免的過程，在人生的不同階段都會出現多次。「蛻變」探討了寧靜和內省的主題，邀請觀眾一起探索自我反思帶來的力量。
Whether it is the transition from adolescence to adulthood, or the transition to High School, change is an inevitable ongoing process that occurs multiple times throughout one’s life. “Transformation” explores the themes of tranquillity and introspection, inviting viewers to explore the transformative power of self-reflection.
"Transformation" 2023. Acrylic on plywood. 90 cm x 102 cm
"Eternal Desk"
香港的工作文化中蘊含著激烈的競爭。這種永恆的勞動編織成一個永恆的循環，其中對成功 的追求和來自工作的壓力交織在一起。因此，這令我思考：我們是否注定渴望從這種無休止的 掙扎中解脫？
Within the fabric of Hong Kong’s work culture lies an environment of intense competition. This everlasting toil weaves itself into a perpetual cycle, where the pursuit of success and the pressures of work intertwine. Thus, this raises the question: Are we destined to forever yearn for liberation from this unending struggle?
"Eternal Desk" 2024. Acrylic on plywood. 30 cm x 45 cm
"Growing Up"
在數字化的時代，為了減少雜物，許多物品都被電子化，非物質。「成長」通過多階段的轉換， 將一個三維的布偶轉化為一系列二維圖像。這個過程涉及到拍攝、壓平、編輯、顛倒和最終印 刷。通過對氰版印刷中失真的操控，描繪了物品從人類心中逐漸消失進入深淵的過程。這種逐 漸的消解反映了「成長」不可避免地與我們珍惜的童年物品分離的過程。
In the age of digitization, the importance of object tangibility often fades as items are transformed and compressed into the intangible realm of digital files, all in the pursuit of decluttering. “Growing Up” explores this phenomenon through a multi-stage transformation, taking a three-dimensional teddy bear and translating it into a series of two-dimensional images. The process involves photographing, flattening, editing, inverting, and ultimately printing. Through the manipulation of distortion in cyanotyping, ‘Growing Up’ portrays the gradual erasing of the object from the human mind into the abyss. This gradual dissolution reflects the concept of ‘growing up’ and the inevitable detachment from our cherished childhood possessions.
"Growing Up" 2024. Cyanotype. 14.8 cm x 21 cm for each print
2024 年度入圍學生藝術家
Outstanding Student Artist of 2024 - Finalist
劉恩霖 LAU Yan Lam Jasmine
沙田崇真中學 Shatin Tsung Tsin Secondary School
習慣寫實，而渴望能更天馬行空；偏好單色調，而嚮往大膽的用色。
Accustomed to a realistic style, I aspire to push myself to think outside the box; Adopting a monochromatic tone frequently, I was captivated by the expressive use of colour.
"Masked 卸下、再戴上"
When all others continue wearing their masks, are you willing to be the first one to take yours off? When there isn’t anyone with you, can you follow your heart and take the first step towards changes?
當旁人仍然戴著口罩，你願意率先將它脫下嗎？當其他人選擇維持現狀，你會跟從内心的想法去作出改變嗎？
"Masked" 2023. Oil on canvas. 62 x 208cm
"Beyond The Screens 屏幕之外"
While our eyes are glued onto the tiny screens, there are also people who have a different focus, and I try to capture them in my portraits.
在我們的視線總是定格於那一方屏幕的同時，也有人選擇將目光放在其他地方，於是我嘗試捕捉這些身影。
"Beyond The Screens" 2023. Poster colour and pencil on paper.
Set of 16, each in 22x17x1.5cm
"Hands of Discord 剪和揼"
In this piece, the v-sign represents “peace”, while the clenched fist implies “war”. When the majority wants to avoid war, why would war still be provoked? However, regardless of the side you are supporting, bruises and wounds still occur.
「剪刀」代表和平，「拳頭」代表戰爭。聯想起以前一大群人猜包剪揼，無論有多少人出了「剪」，終會被「揼」打敗。那麽在現實世界裏呢？然而，無論你支持哪一方，傷痕都是無可避免的。
"Hands of Discord" 2023. Plaster, wood, paper, clay, acrylic paint and color paper
65x65x19cm
2024 年度入圍學生藝術家
Outstanding Student Artist of 2024 - Finalist
李慧儀 LEE Wai Yee
保良局何蔭棠中學 PLK Celine Ho Yam Tong College
我從小熱愛繪畫，經常創作不同類型的作品，例如插畫、動畫等，也積極使用不同媒介創作，包括紙雕和針筆畫。
I have been passionate about painting since I was a child, so I often create different types of works, such as illustrations, comics, animations, etc. I also actively use different media to create, including pens, watercolors, acrylics, paper sculptures, etc. In addition to daily creations, I also pay attention to different Artists like Little Thunder and Penso.
"Robot Life 機械式人生 "
作品中描繪了學生須聽從學校的指令像編了程的機械人般學習，聽從父母的話温習，被剝奪了自由，使他們積聚在不同的壓力下，失去了兒時對生活的想像、好奇、熱情，變得如同冰冷的機械人一樣只會聽從指示行動。我將自己現在的生活或其它學生的生活代入這幅畫中，表達了不滿現今香港教育制度的強烈壓迫，學生要承受不同方面的壓力，例如學業、家庭、朋輩，於高年級學生中尤其明顯，這會扼殺學生的創意力、想像力和對生活的熱情，使他們變得麻木只會跟從指令學習。
The work depicts that students must follow the instructions of the school to study like programmed robots, and do revision according to the instructions of their parents. They are deprived of their freedom, causing them to accumulate many pressures and lose their childhood imagination, curiosity, and passion for life. I put my current life and lives of other students into this painting to express my dissatisfaction with the strong oppression of the current Hong Kong education system. Students have to bear pressure from different aspects, such as academics, family, and peers, especially among senior students. Obviously, this will reduce students' creativity and imagination for life, making them numb and only follow instructions.
"機械式人生" 2024. 針筆、木顏色、水. 59.4 x 84.1 cm
" Give our Home Back！還我們家園！"
作品中描繪了由海洋中的魚類、珊瑚、以及天空中的鳥類，這三種生物化身為巨大的形象向人類世界宣示「把我們的家還來」、「不要填海」等意念，突出現今世界對海洋和空氣造成的污染極之嚴重，是時候採取適當的措施保護環境，拒絕侵擾大自然的家。
The work depicts fish, corals in the ocean, and birds in the sky. These three creatures transform into huge images to declare to the human world "Give our home back" and "Stop reclamation" It highlights that the pollution of oceans and air in today's world is serious. It is time to take appropriate measures to protect the environment and refuse to intrude on nature's home.
" Give our Home Back！" 2023. 針筆. 29.7 x 42 cm
"Fantastic Christmas夢幻聖誕節的奇妙世界"
作品中描繪了一場夢幻的聖誕節日， 於餐桌上出現了奇妙景色，具聖誕特色的食物，例如聖誕樹蛋糕、薑餅人、聖誕杯子蛋糕，都紛紛有了生命和樣貌，活動起來慶祝聖誕節。
The work depicts a dreamy Christmas. Wonderful scenes appear on the dining table. Food with Christmas characteristics, such as Christmas tree cakes, gingerbread men, and Christmas cup cakes, all take on life and appearance, and they are activated to celebrate Christmas
"夢幻聖誕節的奇妙世界" 2023. 針筆、木顏色、馬克筆. 29.7 x 42 cm
2024 年度入圍學生藝術家
Outstanding Student Artist of 2024 - Finalist
梁皓婷 LEUNG Ho Ting
九龍文理書院 Cognitio College (Kowloon)
我喜歡觀察不起眼的小昆蟲，尤其家中常見的飛蛾。它們沒有蝴蝶華麗，但卻散發著樸素魅力。這讓我聯想到香港的基層經歷，透過感受自然啟發了我。
Observing common moths and other inconspicuous insects brings me joy. Despite their lack of flamboyance compared to butterflies, they possess a subtle and charming beauty. This connection reminds me of my grassroots experience in Hong Kong, where the appreciation of nature has been a profound source of inspiration. Through these observations, I've learned to find wonder and inspiration in the seemingly ordinary, fostering a deeper connection with both the natural world and my own roots. These experiences continue to inspire me on my journey of self-discovery and connection with the world around me.
"卑微的空殼"
作品中小孩出生於基層家庭中，在社會中卑微地生活着，他們面上不起眼的樣子，如飛蛾追光的行為一樣，受困於社會的不公之中，再掙取追求都無法改變，只能係他們背後默默忍受痛苦。
The work depicts a child born into a grassroots family, living a humble life in society. Their ordinary appearance is like the behavior of a moth chasing the light, trapped within the injustices of society. No matter how hard they struggle, they cannot change their situation, and can only silently endure the pain behind the scenes.
"卑微的空殼" 2022. 立體雕塑. 75x42.5x66.5
"燼"
作品中以雜物及旺角基層街道的霓虹燈象徵基層， 繁華的高樓，燈光如螢火蟲般的城市夜景，代表上流階層 作品中想表達人(孩子)生活於重視物質的社會，渺小的飛蛾(死亡)漸漸變大(靠近)，最後突然來臨的大火將社會上的一切，金錢，階級等價值化為灰燼。
The work uses discarded objects and the neon lights of the Mong Kok's street to symbolize the grassroots. The prosperous high-rise buildings and the city's nightscape, with lights like fireflies, represent the upper class. The work aims to convey that a person (a child) lives in a society that values materialism. The small moth (death) gradually grows larger (gets closer), and the sudden arrival of a great fire will reduce all the values in society, such as money and class, to ashes.
"燼" 2023. painting. 80x100 cm
"破繭重生"
這個描述是關於一個以飛蛾結繭為中心的影像，在影像中透過不同的生活片段展現自我價值和生活的美好。飛蛾結繭的形象象徵著蛻變和突破，在片段中帶領觀眾回憶起生活中的美好瞬間，並打破了香港城市灰暗和社會壓迫的氛圍。 而這些生活小片段則是生活中的點滴美好，不管一個友善的舉動還是一個美麗的風景，都可以勾起觀眾的回憶並喚起他們對生活的價值的思考。
The artwork is centered around the imagery of a moth cocoon, using various life moments to showcase the beauty and value of life. The image of the moth cocoon symbolizes transformation and breakthrough, guiding the audience to reminisce about the wonderful moments in life and breaking away from the gloomy and oppressive atmosphere of Hong Kong's city and society. These small snippets of daily life represent the little joys and pleasures that we encounter - whether it's a kind gesture or a beautiful landscape, they can trigger the audience's memories and inspire them to reflect on the meaning and value of life.
"破繭重生" 2023. Painting. 90x135cm
2024 年度入圍學生藝術家
Outstanding Student Artist of 2024 - Finalist
凌海殷 LING Hoi Yan
民生書院 Munsang College
真理是甚麼？我渴望探索人類選擇背後的奇幻色彩。
What is the nature of truth? I yearn to explore the fantasy behind human choices.
"Where do we came from? What are we? Where are we going?"
這件作品揭示了一個以宗教為中心的新世界秩序正在形成，一位全能的救世主掌管著普羅大眾。
This piece depicts a new world order revealing around religion, where an omnipotent saviour rules over the common folk.
"Where do we came from? What are we? Where are we going?" 2023-2024.
Acrylic on canvas.90cm x 50cm
"Blood Halo
(a headpiece & an animal skin with a map)"
該作品複製了先前作品中"救世主"所戴的頭飾，此頭飾乃是適合"和平"光輝先驅者所佩戴的權力象徵。
This work is a replica of the headpiece shown in my previous piece in which the 'saviour' wears. A symbol of power fit for the glorious harbinger of 'peace’.
"Blood Halo (a headpiece & an animal skin with a map)" 2023-2024.
3D mixed media (paper mache, arcylic paint and marker). Life size
"Divine Testimony"
一種新世界秩序所使用的語言，一種統一的象徵，在其統治下所有生靈皆是"平等"的。這種通用語𢑥成為了統一溝通的媒介。
A language used by the new world order, a symbol of unification under which all beings are 'equal', communication under one universal jargon.
"Divine Testimony" 2023-2024. 3D Paper-cut. 53cm x 30cm x 3cm
2024 年度入圍學生藝術家
Outstanding Student Artist of 2024 - Finalist
劉朵傾 LIU Duoqing Isabella
保良局蔡繼有學校 Po Leung Kuk Choi Kai Yau School
在她的作品中，劉朵傾的目標是去探索人與自然、人與人之間的關係。她的創作源自於我們在宇宙面前的渺小，這種既令人欣慰又令人恐懼的觀念。透過她作品中生動的色調和流動性，渴望、連結和驚奇佔據了中心位置。
Through her work, Liu Duoqing’s explores the relationship between human and nature, between human and human. Her creations stem from the simultaneously comforting and terrifying notion of our insignificance in the universe. Through vivid hues and fluidity in her work, longing, connectedness and wonder take center stage.
"Countdown"
這是一款帶有黑暗色彩的倒計時--它倒計的不是聖誕節，而是世界末日。每個格子裏都住著不同的動物，這些動物或因人類而滅絕，或瀕臨滅絕。倒計時的表面上畫了世界的表象：陸地、天空和海洋，四個角分別代表微生物、宇宙、科學發展和地獄。這作品強調氣候問題的緊迫性，呼籲人們立即採取行動。
An advent calendar given a dark twist - instead of Christmas, it counts down to the end of the world. Each compartment opens up to a different animal that has gone extinct or is critically endangered due to human activities, sculpted in fragile ceramics. On the front is a representation of the world: land, sky and sea, and the four corners representing microorganisms, the cosmos, technological development and inferno. The urgency of our climate is emphasized, calling for immediate action.
"Countdown" 2023. Acrylic, gold leaf, pastels, color pencils on wooden calendar, ceramics. 36.8 x 10.2 x 31.75 cm
"Two Points Converge In the Sea"
當我看到等足目虫竟然可以生活在水母體內，這罕見的共生關係令我驚訝，也是我靈感的來源。這本書由詩歌、漫畫和插圖混合而成。書中使用了海洋、沙子和水母的照片作為背景紋理，並用粘土製作了不同的造型，掃描後加入圖片中，以創造出多種多樣的海洋生物。通過這件作品，我想探討人類彼此之間、人類與世界上的生物以及與人類與周圍環境之間的聯繫。
I was inspired by the rare occurrence of a symbiotic relationship when an isopod lives within a Deepstaria jellyfish. This zine is created from a mixture of poetry, comics and illustration. The bitmapped textures used in the book are photographs of the sea, sand and beached jellies, and polymer clay was also sculpted and scanned to create a diversity of sea creatures. Through this piece, I touch upon our connections to each other, to the creatures of the world, and to the environments around us.
"Two Points Converge In the Sea" 2022. Digital illustration (Clip Studio Paint), marker, yarn, card, printed on munken and vellum paper. 21 x 21 cm (28 pages)
"Interwoven"
人類自認爲是地球上最重要的物種，卻忽視了構成生態系統的其他重要生物。水熊不到一毫米，卻有驚人的堅韌耐力；自認為是優越物種的人類的胎兒卻無比脆弱，通過二者的對比來挑戰"重要性 "的含義，希望使人們意識到我們與居住在地球上的其他生物之間的關係。背景由衆多符號組成，表達了人類和自然的不同側面--作品中的紅線將它們連成一個整體。
Humans are seen as the most important species, yet we overlook the essential creatures that make up our ecosystem. Through contrasting the hardy endurance of tardigrades and the fragility of a human fetus, the meaning of ‘significance’ is challenged, creating awareness of the relationship between us and the other creatures that inhabit our universe. The background is composed of numerous symbols expressing different facets of humanity and nature - the red yarn unites them into a single entity.
"Interwoven" 2023. Acrylic, fabric, thread, yarn, polymer clay and markers on canvas. 42 x 59.4 cm
2024 年度入圍學生藝術家
Outstanding Student Artist of 2024 - Finalist
高易 Nikola Gao
李寶椿聯合世界書院 Li Po Chun United World College of Hong Kong
我探索的主題廣泛而深入，例如時間和女權，並利用的媒介支持作品的意圖。
這是我為了慶祝女性經驗製造的時間膠囊。
Time, memory, and girlhood intertwine and shape my work. From universal issues such as the cyclical abuse of women to the personal recollections of growing up as a girl, each piece extends an insight of my personal experience. My choice of media supports the conceptual intentions for each piece. In celebration of the feminine experience, I offer you this, my very own time capsule.
"Omen 預兆"
本作品探討女性受虐的循環性質。一個女孩在路上看到被遺棄的女人，彷彿是對自己未來的預兆。女人的肉體被紅絲絨蛋糕替代，突顯了女性在社會上被當做消耗品的現象。女孩被陽光包裹著，但這象徵的是日出、新開始，還是日落、結束呢？
The artwork explores the cyclical abuse of women, where a young girl sees a discarded older woman as if it's an omen of her own future. The woman's flesh is replaced with red velvet cake, a typically feminine dessert. The replacement shows how women are treated as consumables and thrown out when it's no longer desired. Overall this work reflects a troubled social phenomenon in a raw fashion so that it hurts the audience while pushing the acknowledgement of the issue.
"Omen" 2023. 60x85x2. acrylic on wooden board
"My Time 我的時間"
像素動畫，展示了憂愁與時間兩者的關係，或者缺乏的關係。動畫的七個轉折點反映悲傷的階段，它開始平穩，然後加速，最終按死亡般的速度行進。當這一切結束後，你的心平靜下來，恢復最初的節奏，並等著下一輪憂愁的到來。
An experimental pixel animation, showing the relationship, or lack thereof, between grief and time. There are seven turning points, such are the stages of grief, experienced at different paces. It starts off stable, then quickens, then reaches a deathly march. When all this is over, your heart settles, returns to the original pace, and waits for the return of a new cycle.
"Perfect Monsters 完美的怪獸們"
理想像搭積木一般易建易毁。每塊積木都飾有文學或流行文化中對理想女性的描述，邀請觀眾構建他們的理想成形體。你想要怎樣的女人？既不太瘦也不太胖、眼睛像狐狸又像小狗、又嬌小又豐滿，一切兼具。女人隨機應變，隨時變成你喜歡的樣子。當你構建完你的完美怪物時，有人會摧毀她，並用你死去的愛人的肢體製造屬於他的玩偶。
Ideals are as easily constructed as they are destroyed. Each block illustrates the descriptions of desirable women from literature or pop culture and invites the audience to construct their amalgamation of ideals. What do you want in a woman? Not too thin, not too fat, eyes like vixens, but also like puppies, skinny but curvy, everything at once. When you finish constructing your perfect monster, someone will destroy her, and use the limbs of your dead lover to create his plaything.
"Perfect Monsters" 2024, 200x200cm, Installation, acrylic on foam blocks
2024 年度入圍學生藝術家
Outstanding Student Artist of 2024 - Finalist
黃芯渝 WONG Sum Yu
保良局董玉娣中學 Po Leung Kuk Tang Yuk Tien College
一直以來，我深信藝術能與別人溝通，給予觀眾思考空間。因此我希望大眾能透過我的藝術品重視香港問題。
I believe that art is a powerful way to have deep conversations between people and make them have self reflection. That's why I hope I can voice up my opinions through my artworks and the public can pay attention to the issues and phenomena in Hong Kong via them.
"Queue of Lo-Ting 盧亭之隊"
這幅作品描繪了香港人隨波逐流的待色，就像魚群跟隨著潮流和前面的人一樣。我也發現自己難以脫離群眾，被迫加入去盲目購買名牌商品。這幅畫諷刺了香港人的從眾行為，將他們繪畫為具有簡單思想但仍具有獨立行動能力的盧亭。希望這幅作品能鼓勵香港人堅守自己的價值觀並進行批判性思考。
It portrays the tendency of Hong Kong people to blindly follow the crowd, much like a school of fish following the trends and people in front of them. I, too, find it challenging to break away from the crowd and am forced to join in to blindly purchase branded items. This painting satirizes the conformity of Hong Kongers, likening them to fish with simple minds but still possessing limbs for independent movement. It is hoped that this artwork can encourage Hong Kongers to uphold their own values and engage in critical thinking.
"Queue of Lo-Ting 盧亭之隊" 2023. Acrylic on canvas. 91 x 61 cm
"A Day of Salty Fish 鹹魚的一天"
這份作品描述了一位學生重複而單調的生活，感到被困在家、學校和補習中心之間。這位學生被描繪成一條失去生氣、困於無盡循環中的鹹魚。這幅作品不僅反映了這位學生自身乏味的生活，也代表了香港每個中小學生的日常生活。通過結合平面繪畫和浮雕技巧，作品使主角在畫布上栩栩如生，旨在讓觀眾產生共鳴和同理心。希望這幅作品能引起大聚反思現時教育體系的制度，為學生提供更有意義和多元化的學習環境。
The artwork captures the dull and repetitive life of a student who feels trapped among three places: home, school, and tutorial centers. The student is portrayed as a hopeless salted fish caught in an endless cycle. This artwork represents the daily boring routine of every primary and secondary school student in Hong Kong. By combining flat drawings with relief techniques, the artwork brings the protagonist to life on the canvas, aiming to evoke relatability and empathy. It is hoped that this artwork can draw attention to the need for improvements in the education system, providing students with a more meaningful and diverse learning environment.
"A Day of Salty Fish 鹹魚的一天" 2023. Acrylic on wood. A set of six, 20 x 30 cm each
"Canned Dream 港夢盧亭"
這份作品是一個立體設計，描繪了香港狹小的居住空間。作品以家庭常見的食材「豉汁鯪魚」為靈感，創造了一個罐頭形狀的床，象徵著香港人所受到的壓迫的睡眠空間，就像一條條被困在罐頭裡的鯪魚，同時也意味著香港人對於擁有更好居住空間的夢想被困在這個小小的罐子裡。罐頭上標有生產商和成分等諷刺性細節，批評了創造納米樓的地產開發商，同時凸顯了香港政府在解決住房問題上缺乏有效措施。
It is a three-dimensional design that depicts the cramped living spaces in Hong Kong. Inspired by a common ingredient found in Hong Kong households, Fried Dace with Salted Black Beans, the can-shaped bed symbolizing the suffocating sleeping spaces endured by Hong Kong people and also implying that HongKongers’ dreams of having better living space are trapped in this tiny can. The can is labeled with ironic details such as the manufacturer and ingredients, criticizing property developers who create tiny apartments, and highlighting the lack of effective measures taken by the Hong Kong government to address the housing issue.
"Canned Dream 港夢盧亭" 2024. Cardboard and printed banner. 120 x 60 x 40 cm
2024 年度入圍學生藝術家
Outstanding Student Artist of 2024 - Finalist
黃暐晴 Wong Wai Ching Liz
順德聯誼總會胡兆熾中學 STFA Seaward Woo College
b. 2006, Hong Kong.
她的興趣是探索人類和電腦之間的聯繫。將無形轉化為有形，透過觀察、傾聽和講述，讓想法變得生動起來。最近沉迷於將聲音融入作品中。
Her passion lies in exploring the intricate connection between humans and computers, and she's dedicated to making the intangible tangible. Having grown up in an internet-driven world, she takes immense pleasure in bringing digital life to the web. Through her work, she strives to give shape and form to her ideas, and her process involves keen observation, attentive listening, and powerful storytelling. Lately, she's been deeply fascinated with the art of fusing sound into her creations and pushing the boundaries of herself.
"生命之樹的律動"
交給電腦自我詮釋，玻璃線在可預測的擴散範圍內上下開枝，亂舞。突破操控者的想像。
During the development, I thought of the “Tree of Life” where everything cannot be controlled and through time, it moves even quicker and unexpectedly.
"生命之樹的律動" 2023. Multimedia (Blender). Dimensions Variable
"Although the heart has no shape, the words that are spoken do 雖然心沒有形狀，但説出口的話有"
很常想回應對方，但對方沒有提供一個機會。他勒索我的情感，報以心的形狀。心一楸，屏幕裂。我的聲音，你看見？
I often want to respond to him, but he does not provide an opportunity. He extorted my emotions and gave me the shape of my heart in return. My heart skipped a beat and my screen cracked. My voice, do you see it?
"Although the heart has no shape, the words that are spoken do "
雖然心沒有形狀，但説出口的話有" 2024.
Multimedia coding. Dimensions Variable
"Your hand in mine 直到交縫點被燙傷"
手同手之間唔同方向，有啲驚太涼，不過唔敢抓實怕你唔想。念念不忘必有迴響？
The hands are pointing in different directions, which makes me a little scared and cold, but I don't dare to grab it because I'm afraid you won't want to. Will there be reverberations?
"Your hand in mine 直到交縫點被燙傷" 2024. Multimedia (TouchDesigner)
Dimensions Variable
2024 年度入圍學生藝術家
Outstanding Student Artist of 2024 - Finalist
夏之淇 XIA Lily
賽馬會體藝中學 Jockey Club Ti-I College
人與事物之間有著千絲萬縷，我們穿透具象的關係，通過發覺內在的聯繫從而引起思考、聯想，如此微不足道的筆觸與線條卻依舊能承載千萬種思緒。
There are thousands of links between people and things, we penetrate the concrete relationship, through the discovery of internal links to cause thinking, association.
"Remedy 縫補"
阿茲海默症並不常見，他們返老還童，不自知，我們義無反顧的救治，縫紉，一針一線，他卻痛苦著，是救贖還是傷害，人性與認知間的矛盾構成了一絲微妙的關係，到底怎麼做才是正確的？
His blurred face was covered by an oxygen mask, and his head hung down awkwardly in tiny red lines that, as if trying to repair the split skin, were bound, one by one, into his body from the back in a gruesome way.
The weak old man is struggling, moaning in pain, and the red line represents us, referring to our "help" to the old man, sewing, but at the same time digging into his skin, making him painful, let go, hold on, how to do it right?
This work magnifies the so-called "harm". Unlike the former, the exaggerated red line makes people feel uncomfortable and inconsistent with the human form, forming a contradiction, thus expressing struggle and bondage.
"Remedy " 2024. mix media. 42 x 45 x 60cm
"Post Cibum 飯後"
紀念香港死去的璀璨燈火。
Commemorating the death of a city's most brilliant color.
Hong Kong night is always better than the day, in addition to relying on Hong Kong people, there are neon lights between the spark, silent midnight, only neon signs flashing, but still appear so lively, after the rain fog filled the city, the light emitted in the tube divergence, permeating the corner of every household, warm and cold good night.
"Post Cibum" 2023. oil paint /mix media. 100 x 100cm
"Dialogue 對話"
我對文字有一種特殊的感覺。與視覺藝術相比，我認為人與人之間只有透過文字才能進行心靈的交流，而黑白就像是一種比語言更隱晦內斂的表達方式。單字、字體、語氣和線條，都寫下來，這樣大概可以透露出一個栩栩如生的人。也許這種虛幻的想像並不符合現實，但這是文本中有趣的部分。
I have a special feeling for words. Compared with visual art, I believe that only through words can people communicate with each other from heart to heart, and black and white is like a more shy way of expression than language. When you want to speak and stop, it is better to write down words, font, tone and line, which can probably reveal a lifelike person. Perhaps this illusory imagination does not correspond to reality, but this is the interesting part of the text.
"Dialogue" 2023 . clay/ceramics