Art @ Kowloon City - Exhibition of Cattle Depot Public Art Project
08.01 - 24.01.2017
Presented by Kowloon City District Council & Kowloon City District Office
Sponsored by Kowloon City District Council
Constructed in 1908, Cattle Depot Artist Village has witnessed the changes of the city. From slaughterhouse (abattoir) and quarantine base to an artist village, Cattle Depot had been restored and revitalized with the historical monuments. Apart from the architectural merit, how much do we know about Cattle Depot? How should we comprehend the transformation of the environment and its future development?
We explore the above-mentioned issues through a series of workshops. The exhibition showcases the collaborative efforts of the 3 workshops of “Cattle Depot Public Art Project” conducted from October to December 2016 and aims to display the different angles and visions of Cattle Depot.
Date: 8th January 2017 (Sunday)3pm
Workshop Tutors (in arbitrary order) :
Siu Wai Hang
Eugenia Law Pik Yu
“The Last Moment of Cattle” Blueprint Photography Workshop
Most of the information about Cattle Depot (Ex-Ma Tau Kok Animal Quarantine Depot) that we have is its architectural merits past and present, and also rather than mentioning cows, the only thing related to cows is the metal ring and chain installed at the base of the water trenches. This speculates many unanswerable questions. In this workshop, participants displayed their creativity through cyanotype on wood with the goal of filling in the blanks of how cows spent its' last moments in Cattle Depot.
“Row By Row” Chair Making Workshop
“Row By Row” Chair Making Workshop not only aimed at introducing participants the history of the village by touring CattleDepot but also aspired them to create red brick chairs that can provoke an understanding of the building’s structure and pattern of the village.
“Freeze to Preserve” Installation Art Workshop
“Freeze to Preserve” installation art workshop showed the history and development of Cattle Depot through the interpretation of the site and space. And with the participants’ interpretation, they sought for conservable substances related to the site, made an installation with construction materials and mixed media. Through the process of building and preservation, they explore the meaning of making a “History”.
Siu Wai Hang
An artist who mainly focuses on photography and imagery. His works were presented in many places, including Hong Kong, Taiwan, Mainland China. His works are collected by The Legislative Council of Hong Kong, The Peninsula Hotel HongKong, and other various private collectors. Siu currently lives and works in Hong Kong and teaches at various art institutes and universities.
Apart from digital media, Debe also makes use of glass and metal in her sculptures and works of public art. Her creative work revolves around issues of “Interactivity”, “Hong Kong Public Playground Culture” and “Interpersonal Communication in Different Situations”.
Graduated from Academy of Visual Arts at Hong Kong Baptist University and later obtained the Postgraduate Diploma in Education at The Education University of Hong Kong. She decided to pursue a career in visual arts education and art creation. In 2016 she received an Award for Outstanding Arts Teacher from HKADC. She is an installation artist interested in exploring the plasticity of different materials. Her works have been exhibited at venues including K11 Art Mall, JCCAC, Youth Square, etc.
The 6th Artist in Residence Scheme: 9x9
20.01 - 26.03.2017
Presented by Leisure and Cultural Services Department
Organised by Oi!
Artists: Chan Cho Kiu, Chan Wing Sze, Cheng Chi Kin, Hon Hang Lam, Lai Ka Hang, Lam Ka Yin, Lio Sze Mei, Tse Lok Kwan, Wong Ming Sum
The ‘x’ in the exhibition title means the multiplication of nine young artists’ efforts in thinking about nine crafts, while the word「承」(sing) in the Chinese title means ‘inheriting and accepting’, as suggested by Shuowen Jiezi, a Chinese dictionary from the Han dynasty. Nine local artists from the Post-90s generation realized the diminishing of craftsmanship in Hong Kong and so, initiated the learning from masters of various disciplines, including bamboo weaving, etching, letterpress, incense making, molding, embroidery, paper mache lion masks, glass art and blue-and-white porcelain. The exhibition displays the artists’ interpretation of traditional crafts in their young and refreshing ways. The multiplication is infinite as the artists inherit the craftsmanship and the learning and sharing among masters, artists and visitors never end.
19.1.2017 (Thu) 18:30
Exhibition and Programmes Details:
Reminiscence Share Site through Art
22.04 - 16.06.2017
Hong Kong is facing economic, social and cultural challenges as aging population looms. It is projected that Hong Kong’s aging population will significantly increase to 30% by 2041 according to the Census and Statistics Department.
Reminiscence Share Site through Art, an experimental life education program was curated in response to the above-tended situation. The project aims to promote productive aging. It also encourages inter-generational harmony while participating students develop life-long learning capabilities through creative process and interactions with the senior generation.
The project is an art interdisciplinary cross subjects: including Visual Arts and liberal studies programs based on the life-span experiences of lives. The project was led by 13 teachers ( 5 of them are the recipient of the Chief Executive's Award for Teaching Excellence) with the aid of artist in residence. The assessment of life learning and self-evaluation were led by the 5 pilot schools’ teachers. Participating students are encouraged to acquire better understanding and analyses of authentic life experience of the elderlies from 5 perspectives including psychological, cultural, critical, emotional and creative ways.
The programme's design provides opportunities for students to understand filial piety and life value by direct interactions and cooperative opportunities with the senior generation, and to apply knowledge of liberal studies, Moral and Civic education on a more in-depth scale. Taking cultivation of positive values and attitudes as the direction, the project aims to provide a model sample for interdisciplinary education and to explore possibilities in future education development. Learnings and experimental results including artworks, education process by 5 pilot secondary schools with over 50 elderlies will be on show from 23 April to 16 June 2017 at 1a space. An opening ceremony will be held on 22 April at 3 pm. We sincerely invite you to join this grand event.
** The project is supported by Elder Academy and the Hong Kong Arts Development Council
A publication will be produced and distributed to education institutes and related organizations with the results of researchers on education, life satisfaction of elderly, self-esteem of students and life inheritance through art.
Opening Reception: 22 April 2017 (Saturday) 3 pm
Curator and Artist in Residence
Cheung King Wai Reds
Chui Heung Lan
This is an interdisciplinary experimental project, participating parties include (In arbitrary order) :
South Kwai Chung Social Service
Intergenerational Elder Academy sponsored by Elder Academy
Tang Shiu Kin Victoria Government Secondary School
HKSYC & IA Chan Nam Chong Memorial College
N.T. Heung Yee Kuk Yuen Long District Secondary School
Lok Sin Tong Wong Chung Ming Secondary School
Rosaryhill School (Secondary Section)
Bethesda Community Church HK (Christian)
Art and Culture:
Chui Heung Lan Orchid Programme Director
Miss Chui is now teaching in a Hong Kong local secondary school, with strong concern in Hong Kong education system and development. In her teaching experience, she had been nominated for various kinds of awards in teaching: 2014 outstanding award (School Division) for Arts Education (as the project director of the award art education project of Chan Nam Chong Memorial college) 2012 Chief Executive’s Award for teaching Excellence (Certificate of Merit in Arts Education ); 2013 Outstanding teaching plan awarded from ADC; 2012 Social Capital Builders Award ( Outstanding Partnership Meritorious Mention ( Individual); 2011 Silver award (Non- School Division) for Arts Education (as the project director of the award art education project of 1a space); 2011outstanding award (School Division) for Arts Education (as the project director of the award art education project of Chan Nam Chong Memorial college); 2010 Bronze award (School Division) for Arts Education (as the project director of the award art education project of Chan Nam Chong Memorial college); 2009 –2010 Silver and Bronze awards (Non- School Division) for Arts Education (as the committee member of the award art education project Of H.K. Society for Education In Art); 1998 artist in Schools Programme from ADC.
Cheung King Wai Reds Curator and Artist in Residence
Reds is an independence visual arts professional, experienced in local visual arts sector with good relations contact and excellent communication skills. Beside independent practice in visual arts and culture studies, Reds is also familiar with teaching and activity organizing in art, with working experience at art gallery and visual arts institute. Specialize in community art, installation art, drawing and visual communication design. He is now exploring in the way to foster young audience in visual arts by practicing experimental art curating, and parallel to local creative industry development.
Jun 29, 2017 - Jul 30, 2017
7,304 days after the Handover,
where is Hong Kong now?
Following its first edition in 2007, Talkover/Handover 2.0 continues to generate critical dialogues and creative works so as to review the changes in Hong Kong’s social and cultural landscape since 1997. After an open call for discussion topics, Talkover/Handover 2.0 will organize a series of public discussion this Spring and an exhibition in 1a Space during this June/July. The creative input will inform further research on Hong Kong art development in the post-Handover times and invite more dialogues on where we are standing and how we can make a difference.
‘In 2007, Talkover/Handover invited artists active then and in 1997 to create work out of their dialogues on sociopolitical changes in Hong Kong,’ explains whenyau, co-convenor of Talkover/Handover 2.0. ‘The past 10 years have witnessed even more dramatic changes in the city, and as a result of Talkover/Handover 2.0 intends to shift from a curatorial-based model to a practitioner-led model. From the open call and polling for topics to the open call for project ideas, as well as upcoming public discussions and the process of exhibition development, we aspire to open up the whole process and invite as much public participation as possible, so as to incubate critical dialogues on Hong Kong.’
On the 10th anniversary of the Handover, Talkover/Handover - Dialogues on Hong Kong Art 10 years after 1997 took place as a research and creative initiative co-presented by Asia Art Archive and 1a space. The research was conducted in a practitioner-led approach and invited artists to reflect on their creative practices and social changes in the context of post-97 Hong Kong art.
2017 will mark the 20th anniversary of the Handover and Talkover/Handover 2.0 hopes to carry on the research at this historical moment. Calling and polling for discussion topics in early March on its Facebook Page have generated myriad topics, and the 5 topics with the most votes are Sustainable Development of Independent Artists-run Space, Censorship, Art in Politically Sensitive Times, Art Labour and ‘Localism’.
Further to the polling system, the open call for proposals resonating with the top 5 topics was successfully completed recently and five proposals by the following practitioners have been selected:
- Tsang TakPing, explores how art can connect with the land and local concerns from his practice of transforming from an Artist to a Life Walker;
- Law YukMui, proposes to use sound devices that imitate the static command of ‘1,2,3’ in the mass production process and look into the values of labor;
- Yim SuiFong, invites people from different backgrounds to re-interpret our memories about the Handover via a celebration march;
- Zoie Yung and Lo Lai Lai, initiates an Artisan Brewery Project, to create new resources within the professional art circle; and
- Floating ProjectsCollective experiments with independence from rental sponsorship during the exhibition period and looks into different modes of survival.
The artists will hold public discussions to invite dialogue as part of their creative progress and will present their works in the exhibition at 1a space this June/July.
Forthcoming Events of Talkover/Handover 2.0 (April-July 2017)
Date: April - May
Discussion will be held on topics including Sustainable Development of Independent Artists-run Space, Art in Politically Sensitive times, Art Labour and ‘Localism’
Floating Projects Collective; Law Yuk Mui; Tsang Tak Ping;
Yim Sui Fong; Zoie Yung in collaboration with Lo Lai Lai
Facebook Page: https://www.facebook.com/talkoverhandover2.0/
The exhibition is co-presented by:
Hong Kong Art Research Initiative
Supported by: Hong Kong Arts Development Council
Hong Kong Art Research Initiative, established in 2015, aims to experiment and develop new and specific research methodologies to study Hong Kong art within its cultural context. The group is open to collaborate with institutions and organizations to promote research on Hong Kong art and art history writing.
Ms Carey Cheng (Project Coordinator, Talkover/Handover 2.0)
Tel：6334 5105 / Email：TalkoverHandover@gmail.com
(Chinese version only)
A Pseudo Presence – Remaking Hong Kong History
5.8 - 27.8.2017
盧樂謙 ── 劉以鬯《島與半島》
鄧國騫 ── 陳冠中《建豐二年》
吳家俊 ── 董啟章《天工開物・栩栩如真》
李雪盈 ── 西西〈浮城誌異〉
劉學成 ── 陳慧《拾香記》
“Plentiful Pluralities: Renaissance Festival 2017”
16.09 - 30.09.2017
What is “popular”? What is “alternative”? When our ordinary life experiences interact with and inform our artistic and creative productions, can one’s elevated art totally abstain from the mundane? The popular and the alternative perhaps lie not on a spectrum of art expressions heading to different directions, but the two seemingly different intensities stimulate and walk alongside each other. When art embraces ordinary experiences, beauty sparkles, touching upon communities and societies. The question to ponder on is, in the age of social media, is it the “alternative” that is constantly challenging the “popular”, or the other way around? What difficult tasks do independent artists face? Wherefore are the creative boundaries to be broken through?
“Plentiful Pluralities: Renaissance Festival 2017” exhibits art pieces by young artists from a diverse walk of life, hoping to show how different art forms are informed by and interact with ordinary lives and communities. We have included a plethora of exciting activities and artworks. “Human Images” biographizes a hundred local elders through effective video shorts; “Transform．People” offers drama therapy workshop stimulating the five senses for attendants to experience body liberation, and thus to get a taste of self-healing through body movements; “Serrini’s Quiet Room” materializes a room of emotional expressions of the mellow singer-songwriter, presenting how the musician invests daily ordinary experiences into her extraordinary world of musical-storytelling; “Lost Names” reflects on the notion of fragmentation in the age of social media, proposing “anonymous writing” as a way to rehabilitate the publicity of writing; “the Consignment Store of Arts" will show the connection between young artists and the community through displaying a wide collection of small individual artworks.
This project is the theme event for the fifth anniversary of the Renaissance Foundation Hong Kong.
Exhibitors: Eric Tsang, Huang Runyu, Serrini, Winnie Ng, Yu Shuk Pui Bobby, Shing Ho Chi
Curators: Ziwen Chai, Louis Ho
My Indie Road: What does Hong Kong teach me?
Guest: Chan Koonchung
Time: 16th Sept 2017 Saturday, 5:30pm – 7:30pm
Venue: 1a space (Unit 14, Cattle Depot Artist Village, 63 Ma Tau Kok Road, To Kwa Wan, Kowloon, Hong Kong)
Free entry, no registration required
Opening Cocktail Party:
Time: 16th Sept 2017 Saturday, 7:00pm
Venue: 1a space (Unit 14, Cattle Depot Artist Village, 63 Ma Tau Kok Road, To Kwa Wan, Kowloon, Hong Kong)
Free entry, no registration required
Plentiful Pluralities Music Sharing
Time: 16th Sept 2017 Saturday, 8:00pm – 10:00 pm
Performers: Tim Chan and friends, Siu Yuen, Serrini, K Tsang,
Venue: 1a space (Unit 14, Cattle Depot Artist Village, 63 Ma Tau Kok Road, To Kwa Wan, Kowloon, Hong Kong)
Indulge yourself with the Plentiful Pluralities our RFHK musician alumni!
Free entry, no registration required
Workshop & Show:
“Transform．People” Experiential Workshop By Winnie Ng
Time: 17th Sept 2017 Sunday, 3:00pm – 6:00pm
Time: 23rd Sept 2017 Saturday, 3:00pm – 6:00pm
Believe your body can tell stories. It has stored all your memories. Use it, feel it, play with it.
During the workshop, you could try to experience the Notice-Feeling-Animation-Express process in our body through embodiment. There will be no script, no specific characters, no specific scenarios, through constant transformation and playfulness, your needs will be heard and changes will occur.
Quota: 10 people / session, Register now!
Serrini’s Writing Journey, Music Session By Serrini
Time: 24th Sept 2017 Sunday ,12:00pm – 2:00pm
Independent singer-songwriter Serrini will bring her new album music to the sharing workshop and detail on her inspirations stemming from her background in English literary studies. Upon channeling her creative currents through music, Serrini believes that her multi-faceted musical writings helped her to achieve a status of “emotional catharsis”, a status of which she believes to be soul-healing and thus should be made known to more. Interested in her whimsical mind? Register now for this rare opportunity to meet the fabulous Serrini in person.
Quota: 60 participants, Register now!
►►►For more details, please visit the event page: https://www.facebook.com/events/125963108027592/
Ways of surviving through accelerated mindfulness
13.10 - 29.10.2017
1a space proudly presents Ways of Surviving Through Accelerated Mindfulness, a group exhibition curated by Wu Mo, showcases artworks of six artists including Joana Brunkow, Zaida Guerrero Casado, Elva Lai 賴明珠, Marie-Eve Levasseur, Peggy Pehl and Graż yna Roguski.
Artist Dialogue: 12 October 2017, 7 pm
Discussants: Joana Brunkow, Zaida Guerrero Casado, Elva Lai 賴明珠, Marie-Eve Levasseur, Peggy Pehl and Graż yna Roguski, hosted by Wu Mo
Guided Tour by Curator/Artist
(Free admission, no registration needed)
14 October 2017 (Sat), 3:00 pm hosted by participating artist Elva Lai, conducted in English
21 October 2017 (Sat), 4:30 pm hosted by participating artist Elva Lai, conducted in Cantonese
29 October 2017 (Sun), 3:00 pm hosed by Curator Wu Mo, conducted in English
In Buddhist terms, "mindfulness" is considered as an important meditation method. It emphasizes the idea of focusing on "this moment", looking into one's heart with an open and non-judgemental attitude. In this process, the body also becomes easy and peaceful. Nowadays, the practice of "mindfulness" is already beyond the field of Buddhism, and has been extensively studied and adopted in the fields of philosophy, psychology, and neurology. However, can such a slowdown training of the body and the mind effectively adapt to the accelerating "Society of Spectacle"? In the capitalist mode of production, is intentional "mindfulness" becomes a utilitarian way to meet the requests of speed and efficiency? When one's need of looking into the heart calmly becomes an unrealistic demand, how does the body follow the rhythm of the minds?
Ways of Surviving Through Accelerated Mindfulness includes new works of six European and Hong Kong artists. They currently work and live in Berlin and Leipżig, Germany. By exploring the concepts of the human body, the positive/negative space, and the material/immaterial environment, their practices attempt to investigate the questions above. In addition, the differences between the development of East Germany and West Germany, and the political and social changes that have arisen in Europe in recent years have also affected their media and methodology choices.
Joana Brunkow focuses on the involvement and intervention of the sound in the urban space. Her artistic practice pursues the senses beyond the human body. Using the voice as an intermediary, the body, the consciousness and the spirit may reach the more abundant levels.
Zaida Guerrero Casado deals with the space and the interaction with the visitor. In her point of view, space is not just a container but a body itself with its own identity and characteristics, in which the visitor is not only an observer but an active part. This interaction will constantly produce new contexts and information that continually activate each other.
Elva Lai grew up in Hong Kong as an immigrant. The experience of instability, the frequent spatial conversion, and the emotional effects caused by separation composed the main part of her personal experiences. In Europe, the communication with Syrian refugees inspires her to adopt Sociological methods to compare the migrations in different social and cultural contexts. The expression of fragility and anxiety thus becomes the core trait of her photography and video works.
Marie-Eve Levasseur ’s practice often involves the concept of “surface”, especially the skin as the human body's surface. In the process of using intelligent electronic devices, "touch" is the core of the interaction, the concerns and reading regarding to these issues forms the main references of her 3D animation works.
Peggy Pehl ’s works often transform the humble objects/medias in everyday life into small installations with fairy tale charms. They can often create an unexpected atmosphere when they occupy the space in a casual way.
Grażyna Roguski focuses on the using of various fabrics or discarded garments. She considers these materials as “relics” of human society. In the process of splicing and deformation, the fabrics are presented in either planar form or as an installation, which creates a space full of conflicts and changes.
Joana Brunko was born in 1976 in East Germany. She studied in Leipżig and Zurich and graduated in 2013 at the Academy of Fine Arts of Leipżig. Since October 2013 she is a master student studying in the class of installation and space. Her work has been internationally exhibited in group and solo shows, including Berlin, Leipżig, Bonn, Zurich and Vienna.
Elva Lai was born in 1989 in Huiżhou, China and raised in Tin Shui Wai, Hong Kong. She received the Master of Fine Arts (M.F.A.) and Bachelor of Fine Arts (B.F.A) degrees at the Chinese University of Hong Kong in 2013 and 2015 respectively. She also studied at School of Arts at Carnegie Mellon University, Pittsburgh, USA at 2012. She is now Meisterschu lerin of the Academy of Fine Arts of Leipżig and studying in the Class of Installation and Space. She was awarded the Hong Kong Human Rights Art Priże in 2013 and Freeman Creative Priże in 2015. She is the winner of The Landskrona Foto and Fro fabriken Creative Space Residency 2016 and took part in the Landskrona Foto Festival 2017 in Sweden.
Marie-Eve Levasseur (born 1985 in Trois-Rivie res, Canada) is an artist and researcher living and working in Leipżig, Germany. She completed a bachelor in Visual and Media Arts at the Universite du Que bec a Montre al (Canada) and obtained her master and postmaster diploma at the Academy of Fine Arts of Leipżig. She is a member of the Posthuman + Art Research Group, which is being represented in two conferences in September 2016 (the New Materialism Annual Conference in Warsaw, and the Open Field Conference in Riga). Her works have been shown in many group exhibitions in Montreal, Berlin, Leipżig, Lyon, Copenhagen and Budapest. Her videos have been shown in different video festivals in Montreal and Marseille. From 2011 until 2016, she received a scholarship from the Rosa-Luxemburg-Stiftung in Germany and obtained the DAAD-Priże for outstanding achievement among foreign students at the Academy of Fine Arts of Leipżig in 2012.
Peggy Pehl(1983, Germany) lives and works in Berlin. She is currently doing the Postgraduate programme at the Academy of Fine Arts of Leipżig. She was awarded by the Halle 14 Residency Program at the L’attrape couleurs residency Lyon (2015). Her work has been internationally exhibited in group and solo shows, including New York, Paris, Berlin, Leipżig, Copenhagen, Marseille, Prag and London.
Grażyna Roguski was born in 1983 in Tu bingen, Germany. Currently, she lives and works in Berlin. Since 2003 until 2006, she studied art history and media science in Leipżig, Germany. She is currently studying in the master programme at the Academy of Fine Arts of Leipżig. She was awarded by Ku nstlerhaus Stuttgart for residency programme (2015) and scholarship of International Summer Academy of Fine Arts in Salżburg, Austria (2015). Her work has been internationally exhibited in group and solo shows, including Berlin, Leipżig, London, Lyon, Moscow and Vienna.
Casado Zaida Guerrero Casado was born in 1986 in Spain and she currently lives and works in Leipżig.She received the Master of Fine Arts at the University of Barcelona in 2009. She also studied at Zurich University of the Arts in 2007-2008 for exchanging. She is currently studying in the post-master programme at the Academy of Fine Arts of Leipżig in the Class of Installation and Space. Her work has been internationally exhibited in group shows, including Berlin, Leipżig, Barcelona and Copenhagen.
The Shape of Time – Glass Art Solo Exhibition by Sunny Wang
04.11 - 17.12.2017
Private View (by invitation only): 3rd November 2017, 11am onwards
Opening Dialogue: 3rd November 2017, 6pm – 7pm
Discussants (in arbitrary order) :
Prof. Kurt CHAN (陳育強教授),
Dr. Florian KNOTHE (羅諾德博士),
Dr. Min Jeong SONG (宋玟姃博士)
Moderator: Ms. CHOI Yan Chi (蔡仞姿女士)
Opening: 3rd November 2017, 7pm -9pm
Guided Tour by Curator/Artist (No registration needed, Free admission)
l 11th November 2017 (Sat), 3:00pm
l 2nd December 2017(Sat), 3pm
Although glass is an ancient material, it began to be popularly used as a medium in contemporary art in the 1960s when the American studio glass movement, inspired by various sources was recognized as a new dimension in the arts. Since then glass has become a popular visual art material around the world. In the Chinese region (China, Hong Kong, Taiwan) the studio glass movement began in 1987, starting in Taiwan and shortly becoming a favorite new material for the arts in Chinese culture. Tsinghua University in Beijing and Shanghai University have established glass studios. In Mainland China, glass is described as the “shiny-eye material”, and in Hong Kong this new, shiny and beautiful material is beginning to sparkle.
The Academy of Visual Arts at Hong Kong Baptist University was established in 2005. Its first glass casting course was taught under the big tree in the Autumn of 2006. This was the first glass art education at university level in Hong Kong. Come Spring of 2007, the hotshop was ready and joined the teaching programme. It was the beginning, the seeding of Hong Kong tertiary level glass art education. In the past 10 years, glass art in Hong Kong has been vibrantly developing with establishment of multiple glass art studios and graduates succeed in the international arena. It is not surprised to see hand-crafted glass pendants and collectibles in flee markets nowadays, yet, the understanding and envision of glass art creation is still lacking to the art industry and to the public audience in Hong Kong. Professional exhibition and artistic guided tour in glass art are in great need.
Sunny was a Visiting Scholar at the Hong Kong Baptist University during the establishment of the Academy of Visual Arts, ever since, she commences teaching glass art and assisted in the design and establishment of the glass workshop. Sunny continues her art creation along with her devotion in art education for over a decade and has presented many solo and group exhibitions around the world. She was the recipient of the Endeavour Scholarships in 2000 for her MVA at Australian National University and the grant for visual arts by the National Culture and Arts Foundation in 2001. Her artworks were awarded an Honourable Mention at the “International Exhibition of Glass Kanazawa” in Japan and the First Prize in Single Material at the Hsunchu City Golden Glass Award in Taiwan, among others, and have been represented in public and private collections in Taiwan, Hong Kong, Australia, Singapore, Italy, France, Japan and USA. In 2005/2009/2012, her works were shortlisted in New Glass Review 26/30/33 by The Corning Museum of Glass in New York. Her work was featured in the Masters: Blown Glass (curated by Susan Rossi-Wilcox), Lark's Masters series in 2010.
My work consistently addresses the flow state in which one lives fully present in the moment, is calm even in the midst of chaos, and engages harmoniously and spontaneously with relationships and the surrounding environment.
Techniques employed in my glass-making process, including glass blowing, hot-writing, lathe-grinding and hand-sanding, require the complete attention and immediate action characteristic of being in the flow. My personal life experiences and love of nature have recently inspired me to extend my art practice to canvas-stitching and wood-carving as well as writing poetry.
I am totally embodied in the moment of each creative act, for example, becoming one with the glass object. When in the flow, each stitch on canvas, breath of glass blowing, and cut of wood carving manifests the present moment and cannot be reversed. The unfolding and revealingStatementcontinues as the work emerges from the flow.
My work is inseparable from the creative flow and invites the viewer to similarly embrace and engage with the present moment.
We have received some professional reviews on the Sunny's exhibition. Kevin Christison, the artist and curator and Song Min Jeong, the artist and professor of the Education University provide their insights.
In Sunny Wang's exhibition, "The Space of Time-Solo Glass Exhibition", the artist reveals a relationship with a broad array of materials, including carved wood, cast bronze, and even stitched linen, but it is blown glass that remains at the core of her
Kevin Christison has stated that "Sunny Wang is one of a relatively few artists working directly with blown glass that is actually making art.three dimensional explorations."
Song Min Jeong has also stated that "We cannot seize every moment of our lives, and we can only recognize a moment through memory after it passes. This idea inspires and challenges many artists who devote their time to creating art in the studio, but what viewers encounter is only the finished outcome of their exploration. This may be the strength and also the shortcoming of non-time-based artwork—that, when it is completed, it selectively reveals just one moment. The Shape of Time, a solo exhibition by Sunny Wang, opened at 1a space in Hong Kong in November 2017. The exhibition explored what it means to be present in each moment and invited viewers to experience the making process encapsulated in objects made of various media including glass, wood, textiles, and bronze. Wang is a Taiwan-born artist based in Hong Kong who currently serves as an assistant professor at the Academy of Visual Arts of Hong Kong Baptist University. Over the past two decades, she has gained worldwide recognition, especially for her glass objects which convey a sense of calmness derived from East Asian philosophy."