Sin Man Yeung’s works are mostly based on regenerating existing objects into a new format. One of her representative works is a project called “Street Monster” (2016). It is a series of works personifying street objects via different mediums. Each object itself was the major role of the whole work, they got their own character and appearance. The artist created a platform for those surroundings performed as a storyteller, and the audiences as readers correspondingly. Apart from drawing, Sin Man also creates her work on the streets. There are more than 10 pieces of street objects in Hung Hom, for example, mailbox, chess desk and railings — all with facial and body expressions applied to them. The exaggerated illustration style contributes to a large contrast between real and unreal, which captures people’s attention. Moreover, she transforms her individual project into a social engagement project: number of stickers were printed with basic facial features for the citizen to create their own “monsters” around the street. The project generated a small community of people who could see the world from another point of view. The artistic project shows how Sin Man personifies objects around us into numerous kind of presentations. Other than Street Monster, she also applied the theme of personification on her other works—”Traffic Light Brothers” (2018), a picture book with a story about a traffic light in Mong Kok. “Little Things” (2016), sculptures that transform different household items into small creatures. Sin Man wants people to apply emotions into non-living matters, as it creates a linkage between us and the surroundings.
楊善雯，就讀於香港浸會大學視覺藝術系學士學位課程。創作媒介主要圍繞鉛筆、水彩、陶瓷、以及多媒體裝置藝術 。她擅長以另一個角度去觀察周遭事物，以藝術創作去重新定義以及思考其價值。其中，「The Speaking Chair 」(2018年) ，以及「憐憫街燈 」(2018年) 就是以擬人法的手法為題，通過與死物之間的對話，讓人思考物件本身與自身的關係，更進一步探究生命本身的意義。
They gently flicker and echo with the city.
As if a long-lost light against the dark, silently repairs the tired heart.
When we are lost, the lights are always on, the road construction work is always in progress.