許芷瑋
Previous Works
HUI Gi Wai Echo

HUI Gi-Wai, Echo (b.1996) primarily creates works exploring our senses, especially sight and smell. Echo’s work investigates the boundaries of the senses and perception while crossing disciplinary lines into the realms of science. She is currently studying the limitations of our visual sense and makes use of optics and illusion to question reality. She often works with light, chemicals, images and moving images. Echo hopes to arouse discussion beyond normative sight using a sight dominated medium. 

Her work has been exhibited internationally in selected group exhibitions including Zone Out (South Korea, 2019), Tri-Pho (Hong Kong, 2018), Bak1 Dak1 Niu5 (Hong Kong, 2018), Invisible (Hong Kong, 2018), Plane Stories (Hong Kong, 2017), Fremd | HBKsaar Rundgang (Germany, 2017) and Photo Matters: Book and Print Festival 2016 (Hong Kong, 2016).

許芷瑋,1996生,作品關注感官,尤其對嗅覺和視覺最感興趣。許探討感官與感知的邊界,而近期作品利用光學和幻象探討視覺的限制出發,創作在藝術與科學之間遊走。作品形式多以光、化學品、影像、動態影像為主。許期望透過視覺主導的創作媒介去引起非常態的視覺感官討論。

許的作品曾於多個國家的團體展覽展出,包括Zone Out(南韓,2019)、三個景像(香港,2018)、北德鳥(香港,2018)、Invisible(香港,2018)、平面之上(香港,2018)、Fremd | HBKsaar Rundgang (德國,2017)、翻閱相像:攝影紙本藝術節2016(香港,2016)。

Yellowish Blue

2018

Video (no sound)

5 minutes

The complementary coloured light added on each other. They cancel out each other whereas the shadow captures it.

Technical statement

I staged two complementary coloured arti cal light source symmetrically for additive colour mixing. In the RGB colour system, the primary colour blue mixed with the complementary colour yellow would give the white light. The complementary colour of the light comes from our experience of negative afterimage left in the retina. Negative afterimage is a physiological phenomenon that a complementary colour of light is left in one’s vision after one’s eyes are ashed with light. It is the visual version of the psychologists called ‘after-sensation’. For instance, if one’s eyes are exposed to a yellow light, blue light would appear in the vision.

 

互補色的光重疊。 它們互相抵銷,影子卻留住了顏色。

技術陳述

「負後像」是一個視覺生理現像。當我們凝視光或影像,後像就會以互補色呈現。假設眼睛凝視黃色光源,眼前便會呈現藍色,即黃色的互補色。當外界刺激消失後,殘影繼續停留於視覺,心理學家稱此為「後感覺」。
我設置兩個互補色的光源,對稱地打在白幕上。互補色光源加疊後,原本的投射在白幕上的顏色會互相抵消,呈現白色。
對我來說,相機是參考了人眼的運作原理但簡化了的三原色光模式,因此相機成了眼睛感知顏色的延伸。

I Breathe In The Speed of Light 我以光的速度呼吸

2018

Single channel video (no sound), looping, breath

3 seconds

I breathe in the speed of light hence compose a new ‘white light’—the mixture of the full spectrum of visible colour. I intended to use my body as a source of light which is an unconventional light source. It only exists in the logic that uses a tricky mathematical formula to visualise my breathing. I sped up a one hour video of breathing by 10^3 times to become a 3-second video. The footage was then sped up by 10^4 times by multiplying the single frame layout into 10000 videos. We see colour while taking it for granted. Colour is a fact to most people. For me, colour means a light source of various wavelengths rejected by objects. Colour could be virtual and enormously affected by the external light condition. When the visual system is not that unshakable, I would like to create a ‘new colour spectrum’ to relearn whether visual sense and colour is as real as we imagined. 我以光速呼吸,並造了一個新的白光——由多種有色光組成的混合光。 我以我的身體作為光源,創造這道不能被人類視覺認知的白光。我以光速的邏輯為本,透過取巧的數學算式將我的呼吸速度可視化。我把一小時的呼吸錄像以十的三次方加速成為三秒的影片,然後將其複製一萬次,即再以十的四次方加速。最後,我的呼吸速度相等於光速。 我們大多認為顏色是理所當然的事實。然而,有另一個解讀是:顏色的出現是物體拒絕了某波長的光。 此外,顏色也可能是虛擬的,而且容易受環境光照條件影響。既然視覺系統並非那麼不可動搖,我便創造一個「新的色譜」,重新理解視覺和色彩是否如我們想像中一樣真實。

It Absorbs

2018

black paint, blue colored pencil, light

60 × 40 cm

I question the physical property of colour about reflection of light. I cover the surface of a blue colored pencil by black. The black color serves as the protection against the light rejection. The surface rejects specific wavelength of light to become colour. I would like to alter the cruel rejection situation by painting objects into black which is the material that absorbs all the light.

Dudweilerstraße, Saarbrücken

2018

Silver Gelatin Print 銀鹽照片

16 × 24 cm

People always need places to stay when they travel to a foreign place. I find a feeling of familiarity with my new home. This was a scene that appeared in front of my apartment. With an ambiguous distance, the scene is not very certain to me.

即使再多的遊歷,不斷在異地遊走,人卻總是擁有著一個住所。我努力在自己的據點找尋一份熟悉感。這是一個不斷出現在住處對面的畫面,因為一個曖昧的距離,而有著虛假又真實的畫面。

Deconstruction of Food 食物解構

2017

Video with sound, print photographs, porcelain powder

Set of 5 photographs: 14 x 19 cm , Video: 3 minutes 15 seconds

I molded the food with white porcelain, to take away the color, the taste and the smell of the food. I further process the molded food into powder, to destroy its remaining form. This is a process of elimination and deconstruction. This is an accusation as an anosmic person.

我先以白瓷土倒模食物,以去其色去其味去其香。接著,我把陶制食物磨成粉末,以去除其僅餘的形態。 這是一個減法和解構的過程。 作為一個失嗅者的控訴。