楊善雯
楊善雯
YEUNG Sin Man
Previous Works
YEUNG Sin Man

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。

Traffic Light Brothers

2018

Picture Book/ Illustration

29.7 × 21 cm

Traffic Light Brothers, (2018), a picture book with a story about three traffic light brothers inside in Mong Kok are having an argument about who is in charge of the traffic road.

Street Monster

2017

Street art stickers on street object; Stickers with simple facial expression

Size variable

Street Monster, (2017), street art stickers (Cardboard and paper printed with color), interactive stickers. There were more than 10 pieces of street objects inside Hung Hom like a mailbox, chess desk and railing, stuck with several facial and body expressions. Apart from creating individually, the artwork also called for the action of the citizen. A number of stickers were printed with basic facial features for the citizen to create their own “monsters” around the street. The purpose is to light up the city.

憐憫街燈
Anonymous Light

2018

Drawing. Watercolor, color pencil, crayon.

55 cm × 67 cm

憐憫街燈努力地發光極安守本分 城市中心 愉快聲音 誰來為我熄燈
‘Pity anonymous light, silently run through the night. Centre of the city, shining in our heart softly. But when you get tired, who will turn off the lights gently?’

The Speaking Chairs

2018

Sound and Light Performance. Wooden chairs.

15 minutes

The artwork is about creating a theatrical performance by a bunch of living chairs. Using different animal sounds (e.g. elephant, gorilla, lion) as a blue map to reproduce the imaginary sound of different chairs (by the friction between the chair and the ground). The inconstant flash light and the shadow of the chairs create an atmosphere that walking in to a space full of magical chairs. The work could be interpreted as human domination over others species (animals, nature,etc.). We sit on a chair, because we think it is how the chair should be. What if we could hear the voice of it, how should we react on it? Would it redefine the relationship between us and the others?