CHENG Tsz Tung, Jennifer
鄭芷彤

CHENG Tsz Tung, Jennifer practises mixed media. In the past two years, she did several projects about the 'circulation' of space, culture, personal emotions and social phenomenon. The shape of circle constantly appears in her mind, and it reminds her of different cycles in her surroundings. The shape of a circle is an important element in her works, which functions as a magical and endless path. She often thinks about the relationships and cycles in life, and the continual questioning helps her create her works. 'If humans are dots on the path of a cycle, where are our positions? What is circulation? Is the path we believe "right"? Where is the starting point and the end? Are we trapped?' She wants to observe and find out the circulation of different 'lives' by experimenting with different creations to learn how the cycle works.

鄭芷彤的實踐基於混合媒介。在過去的兩年裏,她完成了多項與空間、文化、個人情感和社會現象的「循環」相關的的項目。圓的形狀一直縈繞在她的腦海中,使她想起周遭的不同週期。圓形是她作品中的一項重要元素,是一條神奇且無盡的軌道。她經常反思生命與週期間的關係,而持續的反思使得她創作自己的作品。「倘若人類是循環軌道上的點,那麼我們又處於何等位置?甚麼是循環?我們所相信的道是『正確』的嗎?起點與終點又在何方?我們是被困住了嗎?」她渴望透過嘗試不同的創作以觀察並找出不同「生命」的循環以及了解循環中的原理。

Walking Machine
行走中的機器

Video installation
錄像裝置

12 min 14 sec

Sensing is a crucial element for creating artworks. What if the artist's senses go missing? Walking Machine is an examination of CHEUNG Tsz Tung, Jennifer's emotion and attitude by disassembling her viewpoint into multiple ways of seeing through a mirror. To get into the mirror, she relocates herself as an outsider and projects this character on society via a camera.

Through filming, reflecting and narrating, the changing of the characters and visions of CHEUNG demonstrates the contradiction between machine and people, subjectivity and objectivity, optional and compulsory. The intention of the work is to find emotions from the indifference of CHEUNG herself and finally bring out the question, 'who is the real machine?'

「感知」是創作的過程中一個很重要的元素。如果藝術家缺少了感知能力會怎樣?《行走中的機器》是對鄭芷彤的情感和態度的一種審視,把她的視角透過鏡子拆解成多重的觀看方式。為了進入鏡子中,她把自己重新定位為一局外人,並通過鏡頭把此角色投射到社會中。

透過拍攝、反映及敍述,角色和鄭芷彤視野的轉換,作品中展示了機器與血肉之軀、客觀性與主觀性和任意性與強制 性間的矛盾。作品的目的是嘗試從無情中找到感情,並最終帶出一個問題——「究竟誰是真正的機器?」