Honours Project

The works of Wu Hoi Yan (Glary) transforms and defamiliarizes the familiar through painting and drawing, her works function as a language to connect and shorten the distance between oneself and the society. She often starts with her observation on something minor and inconspicuous, while taking reference from novelist, sociologists, photographs she took, and strangers she met in daily life. The interaction within various fields of studies, with poetic notion allowing emotional interpretation on existence and absence, are involved. Her practice reconsiders the general knowledge on forms and structures of paintings while experimenting the possibility of materials, pushing the limits of each story’s presentation and display approaches. Referencing to ontology, she is interested in the possibility of personal emotions, understanding and languages applied to found objects. Glary is interested in combining flat pictorials with daily objects that have a unique function, weight, texture and form.

Glary emphasizes the unexpected accidents made in the process, short conversations or unnoticeable objects that exist in daily routine could become elements of her work. Recently, she is focusing on broadening her painting practice in order to reconsider the nature of painting and the notion of objects-as-sculptures. Through depicting elements from the flat area to outer space as a canvas, she creates communication from the inside to the outside of a painting.



胡愷昕透過繪畫將熟悉的事情陌生化,以作品作為語言,連結自身與社會。她以日常生活中最容易忽視的細節作為靈感,並融合小說家、社會學家、甚至是陌生人和鏡頭下的人物,擦出不同領域之間的火花,將各種存在與不存在的情感都演繹出來。

胡愷昕重新思考傳統繪畫中的既定形象和結構,研究不同物料的可塑性,嘗些跨越作品表達及展現方法的限制。她受實體論(Ontology)所啟發,對物件存在情感,擁有思考及語言能力的想法很感興趣。她的作品融合了繪畫與日常物件,從而創造出獨特的重量、質感和型態。她強調創造過程中無法預料的偶然性,重視日常生活的細節和物件,甚至是短暫的對話,都是她創作的元素。

近期,她進一步擴闊了繪畫的技巧,重新思考繪畫的本質和「物件為雕像」的概念,並利用油畫的特性,令作品從平面延至立體空間,創造出另類的風格。

Home Address: Unknown
住址不詳

Paintings: coloured pencil, oil pastel, tissue paper, thread, light clay, colour paper, stickers, tape, oil on canvas and wood
Objects: (Left) tape, colour paper, thread, artificial turf; (Middle) tissue paper, acrylic, cardboard box; (Right) ceramics, wood panel

畫:色鉛筆、油粉彩、雪梨紙、線、輕黏土、色紙、貼紙、膠紙、油彩布本及木本
物件:(左)膠紙、色紙、線、人造草皮;(中)紙巾、塑膠彩、
紙皮箱:(右)陶瓷、木板

Paintings: 120 cm × 110 cm, 170 cm × 121 cm, 80 cm × 110 cm Object: Size variable
2019

When I was twelve, I decided to create something for cheche (my childhood domestic helper) as we parted:

Being brought up by cheche who left home to Hong Kong, as a ‘employer’, I felt her shift of ‘home’:

A home through a screen, so close but too far away
A home through complex relationships, with her acting as my mother
A home through her spirit, connecting with others on the same path

Outside the contract, inside our homes treading carefully on blurred lines.

Cheche離開那年,我十二歲。我說過要為她做一份作品:

我由一個異鄉過港的姐姐「湊大」。作為一個「僱主」,我理解到Cheche對「家」的浮變:

在屏模上的家,親密但遙不可及;
在關係上的家,她飾演我的母親
在心靈上的家,她與淪落人共存。

合約之外,各家之內—— 有一條糢糊且不可越過的界線。