Exhibition at ZOEE SELECT, PMQ
S310, Block A, PMQ, 35 Aberdeen Street, Central
EXHIBITION DATE 展覽日期
2021.03.06 (SAT) - 03.28 (SUN) 1pm — 6pm
Opening Reception: 2021.03.13 (SAT) 1pm — 7pm
*With a Sound Meditation Session led by Sheeta Ng
Zoe Siu 蕭俞
Stephanie Ho 何謹言
Participating Artists 參展藝術家
Geeio Yuen 袁浩霖 (@geeio)
Glary Wu 胡愷昕 (@wuhoiyan.glary)
Kwong-Shing Lau 柳廣成 (@cowcowtony)
Livy Leung 梁凱雅 (@livyleunghn)
Lok-Yee Suen 孫諾怡 (@slydrawing)
Marine Snow 海洋雪 (@marinesnow_psychologist)
Tsang Waiyi 三三 (@lightime_blossoming)
UUendy Lau 劉景雯 (@uuendylau)
Clinging to your chest, I find
The best meaning of stillness
A girl must protect her curious self
From the ravenous clutches of boredom
While being wary
Of the beast that is called excitement
But I can only try
Wade through each day
Through its gentle, rolling slopes
Through what I thought I knew and what I have yet to know
As I chart this honest path
You will still be able to hear the canvas
Until words end. "
Having experienced emotional illness along with many of her friends in the creative industry, Curator Zoe believes that illness is simply a part of life, even if it is one that few acknowledge. Zoe was touched by an encounter with clinical psychologist Marine Snow in 2019, who repetitively depicts the eyes of mental illness patients. Through this exhibition, Zoe hopes to help a friend going through a rough phase in life this year, the same way Marine Snow's drawings prompted her to recall her own journey of recovery.
Eight artist-friends convey their experiences on their respective canvases, giving shape to thoughts and feelings that defy linguistic explanation. These works provide insights into the relationship between people and objects as the artists see them, as well as documenting the artists’ journey of self-discovery through artworks and zines. The exhibition title references Zhuangzi's “Between People” to affirm the meaning of art by explaining the usefulness of the useless. Curator Stephanie also wrote a poem to reveal the intimacy shared between the artists and viewers through their works.
We invite everyone to slow down, find rest and explore our inner state here, when everything around us asks us to be restless.
Geeio Yuen 袁浩霖
放過自己吧 - 房二 / Do not pretend you are alright - cell two, 2021, acrylic on canvas, 80 x 80 cm
不要把自我埋葬 / Try to remember who you are, 2021, acrylic on canvas, 20 x 20 cm
作為一名設計師，Geeio曾與眾多國際品牌和公司合作方面，當中包括生活精品店及活動代理機構。而作為藝術愛好者，他亦熱心參與本地藝術界。專注於繪畫和素描等媒介，他曾參加了數個藝術展覽和項目，其作品在Milk X、字花和等尊等出版物中廣泛報導。 Geeio亦以藝術家的身分與多個品牌合作，包括植村秀x容祖兒x袁浩霖「Find Your True Flow」和K-11 設計月 「Live Portrait or Chalk 2.5 Case」等項目。
Geeio的標誌性計劃《Nice to meet you》是他第一次背包旅行到訪印度後於2012年開始。這項目是由一千幅肖像所組成的故事，包括了他曾相遇的朋友、家人和陌生人。該項目首次亮相後，即受到眾多媒體的報導，Geeio受TEDx Hong Kong Salon的邀請於2016年成為「ARTFUL IS LIVE！」的客席藝術家。
The best way to know Geeio is to let him draw a portrait of you.
A multidisciplinary creative graduated from Birmingham City University, with an array of experiences in illustration, product design, graphic design & exhibition design, Geeio is driven to raise question with arts and use design as solutions.
As a designer, Geeio has diverse experience working with brands and companies worldwide, ranging from lifestyle boutiques to event agencies. As an art enthusiast, Geeio is a keen participant amongst the local art community. Focusing on the medium of painting and sketching, he participated in several art exhibitions and art projects over the years and his artwork has been widely featured on publications such as Milk X, Flowers Des Letters Magazine and Precious Magazines. Geeio also collaborated with brands as featured artists, such as Shu Uemura x Joey Yung x Geeio Yuen “Find Your True Flow” and K-11 – Design Month “Live Portrait or Chalk 2.5 By Case”.
One of Geeio’s signature projects - “Nice to meet you” started in 2012, immediately after his return from his first backpack journey to India. The project is a story written with a thousand of portraits of everyone he encounters, including friends, family and strangers he met. Soon after its debut, the project received numerous media coverages and Geeio was invited by TEDx Hong Kong Salon in 2016 as one of the guest artists for “ARTFUL IS LIVE!”.
Glary Wu 胡愷昕
Flock of the Ethereal Mind, 2021, gouache, colored pencil, graphite on paper, 21 x 29.7 cm
Mountain Me, 2021, gouache, colored pencil, graphite on paper, 21 x 29.7 cm
我喜歡樹、太陽和山，會被大自然的可能性吸引，不同天氣、時分和季節他們都會變裝，我們只需細心觀察，放下那屬於城市的節奏。《Mountain Me》正是將行山的過程和心態套用在我們探索自己的旅程上：留意自己的呼吸和情緒，欣賞自己的美麗和溫柔。《The Nature Theatre》記錄了一次看日落的場面，各人在山上席地而坐，安靜地等待夕陽西下，那時彷彿我們都被連結了，內心有着相同的溫度和重量。《Flock of the Ethereal Mind》呈現了一個超越現實、觸碰到靈魂的世界，是一種沉醉着做自己喜歡的、擁抱夢想的狀態，猶如畫中的小孩，真誠的寫出自己的世界觀。
The pieces on exhibition for the "Use of the Useless" series are, perhaps, a self-reflection, or an essential step/status in life.
I love the trees, the sun and the mountains and am attracted by nature's possibilities - different weathers, hours of the day, and seasons give them different outfits; we simply need to patiently observe, letting go of the tempo of the bustling city. "Mountain Me" encompasses the mental journey during hikes, projecting it onto our journies of self-exploration. "The Nature Theatre" capsulates a scene of a sunset, and how everyone took their seats on a hill, quietly waiting for the sun the sink, and the intangible thread connecting the same warmth and weight in our hearts. "Flock of the Ethereal Mind" presents a hyper-reality, touching the realm our souls are in, the plane we enter when we are in the zone doing what we're passionate about, just like the child in the painting, presenting his own unfiltered world view.
Glary Wu’s work transforms and defamiliarizes the conversant things through painting and drawing, as a language to connect and shorten the distance between oneself and the society. She often starts with her particular observation on something minor and inconspicuous, while taking reference from novelist, sociologists, photographs she took, and strangers met in daily life. The interaction within various fields of studies, with poetic notion allowing emotional interpretation on existence and absence, are involved.
Kwong-Shing Lau 柳廣成
Useful or not?
There is a mismatch between the needy and the needed
Where one projects their own hopes and expectations onto another
And passes judgement too easily
Without care for what the other can do.
Blame falls upon the needed when this arrangement inevitably fails
Blame that forces them to find fault in themselves where no real fault exists
In reality the needed do not exist to serve the wrong people
Even if some insist on the contrary
One can only hope that the relationship between the needy and the needed is a happier one elsewhere
For nobody can fully define for another what it means to be.
他曾於字花、明報、Breakazine、號外、新活水、等平台發佈專欄畫作，參與漫畫合集《熱帶季風》、 《Comic O》、《宅時代》等。除漫畫外，他亦積極創作逾十部動畫短片，曾於影院、時代廣場等平台播放。他近期專注於創作個人漫畫作品，如於法國、比利時出版的《Fantaisie ordinaire》、台灣出版的《被消失的香港》、荷蘭出版、全球發售的《Cube Escape: Paradox》及正在進行的《Unknown Brothers》。
Spending his childhood in Kyoto, Japan, Lau's early works were deeply influenced by the local manga culture. He has published and serialized more than ten short comics on different platforms, such as MDecomics, Ani-Wave. His creative direction showed some drastic changes after participating in French Angoulê International Comics Festival in 2017.
He has widely published his column paintings on publications such as Zihua, Ming Pao, Breakazine, City Magazine, Fountain, and participated in the comic collections Monsoon, Comic O. Lau is also active in producing animated short films with more than ten animated short films screened in cinemas and Times Square Hong Kong. Lau’s recent projects focus on creating personal comic works, such as Fantaisie ordinaire published in France and Belgium, The Lost Hong Kong published in Taiwan, Cube Escape: Paradox published in the Netherlands and available for global sales, and an ongoing project Unknown Brothers. Pencil is the usual medium in Lau's creative practices. Its characteristic brushstrokes help emphasize the comic’s atmosphere, and explore the possibilities of the languages of comic.
Livy Leung 梁凱雅
日出以前 / Before Dawn, 2021, soft pastel on paper, 23 x 28 cm
窗外的太陽 / The Sun Outside the Window, 2021, acrylic, soft pastel on wood panel, 27 x 20 cm
梁凱雅生於1996年，畢業於香港浸會大學（文學士），主修視覺藝術。 認為現實過於完整而乏味，所以經常留意日常零碎的畫面，錯置的物件，作自我娛樂。 創作以繪畫和物料探索為主。她喜歡繪畫能讓人留有含糊的狀態，放任意識遊走於有與無之間，既可依靠感覺而行，憑空想像、又隨時能喚來理性，整理畫面。 而透過與物料互動，則讓她能表達不想直白的情感種種。兩種手法分別給予她具象與抽象的敘事體驗，從而建構一個屬個人幻想卻又與現實相連的空間。
Leung Hoi Nga Livy was born in Hong Kong in 1996. She graduated with the Degree of Bachelor of Visual Arts from the Academy of Visual Arts, Hong Kong Baptist University. She focuses on drawing, painting and material exploration, these mediums provide her different experiences in making interesting narratives. Drawing and painting allow her to explore the interplay between consciousness and unconsciousness. While the use of materials helps her to express the ineffable emotions. Mismatched elements in daily life always intrigue Livy to construct a world between reality and her personal fantasy. She recomposes her thoughts towards different incidents happening around her and amplifies her imaginary world as a form of expression and self-indulgence within her art practice.
Lok-Yee Suen 孫諾怡
淚 / Tears, 2020, wax pastel, watercolor on paper, 24.5 x 17.5 cm
感謝淚 / Thank You Tears, 2020, wax pastel, watercolor on paper, 24.5 x 17.5 cm
Ever since my son Yau-Mik learnt to walk, we have taken some adventures together through the mountains and the seas, wandering in nature. Every trip feels novel yet familiar to him. We are all children of the motherland, who share an intrinsic connection with Nature. My son’s presence reminds me again and again of this truth and inspired me to create this storybook.
This illustration book is a gift for my son, as well as a gentle reminder to adults. We seemingly have forgotten the presence of Nature. I wish we can all rediscover this special relationship in a comfortable way. She will accept all your emotions, heal your mind and soul and provoke your imaginations...Please love her dearly!
Unlike any academic book or functional text, this is a story about the connection and love between a little boy and the spirits of the woods (Nature). The surreal plots leave readers more rooms for imagination and thoughts. A child’s world is always unexplainable and full of surprises. Let’s become children again :)
Contemporary painter based in Hong Kong. The artist sorts through thoughts and emotions via the process of painting.
Lok Yee did a number of solo exhibits based on various themes such as "Damsel", "Attached/Detached" and "Escape?" etc.
After her first child, she made motherhood a part of her art. Her latest work is presented in the form of a picture book for the first time — "The Secret of Trees", published in 2021.
Marine Snow 海洋雪
治療中的昏暗 / The Grey, 2021, poster color, pastel, tissue paper, 32 x 39.5 cm
治療後的色彩 / The Colour, 2021, poster color, pastel, tissue paper, 32 x 39.5 cm
― 艾米莉 迪金森
這三幅畫作描述精神病患者接受治療後，從抑鬱到釋懷的蛻變過程。抑鬱帶來無盡的絕望、徬徨無助及嚴苛自責，自殺成為唯一出路 (《治療前的漆黑》)。隨着心理治療觸及心中每一道細膩的情感，處理執念及逃避行為 (《治療中的昏暗》)，生命從此滋養出希望、智慧及成長 (《治療後的色彩》)。
Hope is the thing with feathers,
That perches in the soul,
And sings the tune without the words,
And never stops at all.
― Emily Dickinson
The three paintings depict how the mental state of an emotional sufferer changes from depression to calmness. When the sense of hopelessness makes suicide seemingly the only way out ("The Dark"), psychological treatment provides a platform for every unsettled emotion to process and crystallize ("The Grey"), eventually leading to the state in which life is newly enriched with insight, hope, and growth ("The Colour").
The Clinical Psychologist who aspires to unveil the inner voices of the people with mental illnesses through her truthful sketches. From portrait drawing to eye-focused sketches, the artist is attracted to the most expressive feature encountered in her therapy room, where individuals open up and narrate their deepest life events. Withdrawn from the analytical mindset as a psychologist, she transfers the intense emotions absorbed onto paper, reflecting the matriculate details observed in their unique gazes and movement through line drawings. Viewers often find a sense of familiarity in her genuine and moody works. The artist hopes that her drawings can spread the message that we, as human, are all vulnerable and imperfect.
Tsang Waiyi 三三
同塵 / Reunion, 2021, ink on paper, 69.5 x 37.5 cm
They have no names, sometimes
useless and not existed
To out of every single canvas frame
Beyond the dazzling sun, overbearing
Those are whispers of the motherland and trees
But they are right here,
Incubated and still waiting for
Your loss of glory, shrouded
yet creeping around beautifully
Tsang Waiyi, 33 (in Cantonese “saam 1 saam 1”), a graphics designer, lives in Hong Kong.
She has been working on calligraphy creation, specially referencing traditional chinese Calligraphy as the foundation; to transform and incorporate it with imagination and thoughts. By indicating the structure of image, rhythm and solids and voids, she practises the diversity of changes in thoughts and emotions with details. The style created either soft and gentle,or hard and heavy, like winds. Her artworks have been mainly printing on paper, and published for circulation as prints and zines.In 2020, she founded Lightime Blossoming, a creative brand focusing on calligraphy, illustration and graphics design, and has started to create personal artworks.
UUendy Lau 劉景雯
The Indecisive Branch, 2020, digital print on art paper, 39 x 39 cm
The Impatient Leaf, 2020, digital print on art paper, 39 x 39 cm
Stone, Branch & Leaf is a series of visual poetry that takes inspirations from the unnoticed resources found in nature. It enquires into the natural world and reveals the value of the overlooked side. Each narrative encourages us to manipulate a quirky selection of natural objects and imbue them with distinct personalities – reflecting our humanity as we interact with the natural landscape. The series provokes alternative perspectives of how we can creatively and humbly learn from nature and be empowered through a series of speculative scenarios interweaving between reality and imagination, and between humankind and the earth.
The Unconfident Stone may be ordinary and dull hidden in the soil, like how we sometimes think we are perceived by others, and yet she stands out distinguishing herself from other substances with her unique shape, pattern and texture.
The Indecisive Branch grows with countless twigs, like us having multiple ideas and options in our minds, and yet he always points to the same, upward direction towards the sun.
The Impatient Leaf falls impetuously without clear directions in the wind, like us in the states of anxiety making irrational moves, and yet she stays calm and quiet after touching the ground.
Through a hybrid presentation of internal monologues, illustrations, short passages and hand-polished objects, the project weaves our imagination into reality, and it inspires us to develop personal connections and emotions with nature engaging different senses beyond visual context. It thus stimulates informal conversations about pro-environmental consciousness as well as our inner wellbeing and self-empowerment.
劉景雯 (UUendy Lau, UU) 是一位設計師和藝術家，以動物和大自然為主要創作靈感。畢業於倫敦大學金匠學院 (批判性設計碩士)，喜歡透過不同媒介進行藝術製作、研究和實驗性工藝，檢視人造物和自然環境的強烈對比，觀察藝術情感變化，反思人類與大自然之間的微妙關係。曾參與多個設計活動和展覽，與不同機構如 TEDx、香港海事博物館、Absolut Vodka等合作。曾獲得海外藝術駐留創作資助，包括NRCG （澳洲, 2018），PARADISE AIR（日本，2018），關渡自然藝術節（台灣，2017）和香港布魯塞爾設計交流（比利時，2013）等。
UUendy Lau (UU) is a designer-artist who creates projects that provoke alternative speculations on nature. The main theme of her work centres on ‘animals and the environment’, a universal and inclusive subject permeating all cultures, languages, lifestyles and beliefs. Upon her graduation from Goldsmiths, University of London in MA Design: Critical Practice, UU has directed her creations towards making discursive enquiries into unfamiliar juxtapositions between the environment and human-made inventions through the process of researching, designing and making.
UU has participated in many design events and exhibitions (e.g. TEDx, Hong Kong Maritime Museum, Design Trust, Absolut Vodka etc). She has also received artist grants on her overseas artist-residencies, including Northern Rivers Community Gallery (Australia, 2018), PARADISE AIR (Japan, 2018), Guandu International Nature Art Festival (Taiwan, 2017) and HK Brussels Design Exchange Programme (Belgium, 2013).