Sandra Chung

Knitted Accessory Design - Necklace

2012-02-09T22:58:00.002+08:00

Knitted Accessory Design - Necklace

Black 1 | Yarn, metallic thread | various size

Black 2 | Yarn, metallic thread | various size

Flower is Flower

2012-02-09T22:48:00.001+08:00

Title: Flower is Flower

Ink on chinese paper | 20cm x 30cm

In process:

My Portfolio

2011-10-10T18:04:00.000+08:00

En pointe, installation

2011-08-04T00:48:00.003+08:00

My latest video installation work for Broad Agenda Exhibition

She works with her hands in delight

2011-07-28T14:36:00.002+08:00

"She works with her hands in delight." Proverbs 31:13

CUHK MAFA Association 香港中文大學藝術文學碩士同學會

2011-05-30T00:52:00.002+08:00

CUHK MAFA Association 香港中文大學藝術文學碩士同學會

The First CUHK MA Fine Arts Graduation Show

BROAD AGENDA 3-24.7.2011/ 10am-5pm

Opening ceremony | 開幕典禮
2.7.2011 Sat 2pm
CUHK Art Museum Gallery 1(Central Campus)
中大文物館展覽廳1(大學本部)

Forum | 座談會
16.7.2011 Sat 3-4.30pm
Lecture Theatre 1, Institute of Chinese Studies, CUHK (Enter through Art Museum Gallery 1)
中大中國文化研究所1號演講廳（經文物館展覽廳一地下）

Guided tours and forum inquiries | 導賞服務及座談會查詢
Solomon Yu 余迪文先生
solomontyu@gmail.com 9801-1289

Campus shuttle service | 穿梭校巴
University MTR Station – Central Campus
港鐵大學站－大學本部

文化成長對於藝術發展的意義

2011-03-28T00:13:00.001+08:00

要閱讀當中「文化」，「人性」及「宗教」對藝術的關係，就要先從「文化」方面入手。若說「文化」是自然的，人都是生活在自然環境之中，人為了適應環境而不斷變遷。因此「文化」受人的影響，由人們的思想發展而形成。活在今天的社會裡，正正體現出不同的「文化」被接收，理解再進化一直到「形成」階段。我們是否正走向「穩定性」？從杜威的《藝術即經驗》論，他認為每個視覺體驗，都會喚起一個認知和理解。這些都是構成知識及文化的過程。為了探索藝術和視覺文化，是否應從「自然」出發呢？

Dance

2011-02-17T11:54:00.007+08:00

(Part)

Dance, 2011
Ink on Chinese paper
70cm (H) x 263cm (W)

舞，水墨設色，

高70cm X 闊 263 , 2011

Ink Colour Bop Ink Art Exhibition: Ink Colour Workshop

2011-02-17T11:50:00.004+08:00

Thanks everyone who have participated to the workshop.

ENROLLMENT FOR THE WORKSHOP IS FULL. THANK YOU FOR YOUR SUPPORT!
***************************************************

工作坊簡介

色彩生活, 從報紙到水墨 - 色墨工作坊

墨.記是次水墨工作坊以日常生活物料的可能性作為基礎。與參加者探索這些日常素材結合水墨和宣紙的可能性。我們每天都有機會遇到大量被遺棄的東西，也許沒有注意到報紙其實能成為一個很好的創作物料。工作坊將引領學員運用報紙上特有的鮮明的印刷品顏色結合現代水墨去製作如山川石塊等紋理。學員更可自備其他材料如布，珠，植物，包裝紙，塑料包裝袋等廢棄材料進行創作。
在這次工作坊，參加者將參與運用不同材料，結合中國水墨製作一個水墨浮塑。並於最後展示個人作品。

導師: 蔡海鷹及鍾雅珊

蔡氏受訓於香港嶺海藝術專科學校、香港中文大學校外進修部及獲廣州美術學院獲碩士學位。曾任西江大學(中國)美術系講師。1996年入選為市政局「藝術家留駐計劃」藝術家；2000年為美國維蒙特創作中心留駐藝術家；2001年為香港理工大學駐校藝術家。曾獲當代香港藝術雙年展市政局藝術獎、港澳台美術作品展銅獎、德國Kunstation Kleinsassen Gallery Liebau獎、美國自由人基金會留駐計劃及觀摩交流獎學金、荷蘭「歐洲國際東方美術大展賽」及第九、十屆全國美展優秀作品獎。

鍾雅珊在墨爾本皇家墨爾本理工大學修畢紡織設計學位後回港，現於香港中文大學修讀藝術碩士學位。作品曾在墨爾本，柏林及香港等聯展。

日期及時間
1月16日
(星期日下午2時至4時)

時間：2小時
名額: 15-20人
**工作坊參加者可自備材料及用具

費用: Free
報名登記
電郵:inknotes@gmail.com

Workshop Introduction

Color of daily life - from Newspaper to Ink

Everyday objects and materials are reflections of contemporary life. In this workshop, we will explore with the possibility of integrating these material with Chinese ink and Xuan paper.
Imagine the vibrant colors of printed matter becoming the colors of nature. Everyday, we come across so many abandoned printed matters. People may not notice the dynamic colors and textures on materials. In this workshop we will introduce techniques to integrate daily materials with Chinese ink and Xuan paper and to explore the possibility on texture making with these materials.
The abandoned material has now become our color palette. Participants would like to perpare their own found objects, such as fabric, beads, plants, packaging, plastic bags, etc. In this workshop, participants will appropriate different materials to combine with Chinese ink to create a collaborative sculptural piece.

Instructor:

Choi Hoi-ying

Choi received his art training from the Linghai Academy of Art in Hong Kong; the School of continuing Studies, the Chinese University of Hong Kong; and obtained his Master's degree from the Guangzhou Academy of Fine Arts.

He was a lecturer at the Fine Arts Department, Xi Jiang University, China.

He has won numerous awards including the Hong Kong Urban Council Fine Arts Award; Bronze prize in "The New Millennium Art Exhibition of Hong Kong, Macau and Taiwan Artists"; Outstanding Award by the 2000 "International Asian Art Exhibition" in Holland; by the 9th and 10th Chinese National Art EXhibition in China; by Kunstation Kleinsassen Gallery LiebauGermany; and Freeman Fellowship, Vermont Studio Center.

Sandra Chung

Chung is a Hong Kong, China Textile Artist. She is currently a grad student at Master of Fine Art in The Chinese University of Hong Kong. She had lived and studied in Melbourne, graduated from RMIT University with a Bachelor of Textile Design. Sandra has exhibited in group shows within Melbourne, Berlin, and Hong Kong. She makes all of her pieces by hand, working within chinese ink, paper, yarn and fabric.

Duration: 2 hours
Number of participants: 15-20 persons only

Date and time:
2-4pm, 16 Jan 2011 (Sunday)

Workshop fee: FREE

Seats: 15-20
**Participants are welcome to bring their own equipment and materials.

Workshop Registration:
email: inknotes@gmail.com

Ink Color bop exhibition

2011-02-17T11:46:00.003+08:00

「墨.記」繼2008年展覽後, 這次以«色墨如今»為題, 於藝術公舍舉行第二次展覽。

蔡海鷹老師及其學生組成的「墨.記」, 其作品以臨摹古典山水技法為出發點, 混合印刷物料, 利用拓印、拼貼、雕塑等技法跟水墨融會而成。

「墨.記」懷古人暢遊山中暢飲吟詩作畫的情趣, 移師今日貳拾丁方的斗室, 延續其餘音雅興。從日常生活得到啟迪, 展覽作品描述時下現象, 對生活中人事物的妙想:隨著舞步迴旋、遊走於中環新舊夾雜的殘象、被大樓盤雄據得只剩一罅山、或被雪藏了的山水等, 都旨在嘗試伸延水墨, 探求現代城市生活中人與環境的融合與衝突。

是次展覽蔡老師將回顧三十年創作水墨的歷程, 展出四個不同階段的作品: «向大師致敬»、«天地往來»、«本土素材.當代物料»和«心象.形式的自由表現»。由向歷代古典大師學習, 至走進大自然實地寫生, 再結合當代物料寫維港風情, 到今天不受任何形式規範的自然情感流露。

Following its last exhibition in 2008, Ink Notes will hold its second exhibition at the Artist Commune.

Ink Notes is formed by Mr. Choi Hoi Ying and his students. The group experiment with integrating traditional ink brushwork with printed materials and contemporary techniques including rubbing, collage and sculpture.

The era of the Chinese scholar drinking, writing poetry and painting among the hills may be long past, but the spirit lives on today, albeit within the concrete confines of an apartment block. Taking inspirations from our surroundings and reflecting on contemporary phenomena and everyday objects, whether it is following the swirls and rhythms of dance, journeying through the old and the new in Central, catching a glimpse of a sliver of mountain in between skyscrapers or deep-freezing a landscape, the works attempt to test the boundaries of ink art and to explore man’s relationship with his environment in modern urban life.

In this exhibition, Mr. Choi Hoi Ying will also present a mini-retrospective, comprising works selected from each of the four phases of his 30-year career in ink art: "Tribute to the Masters”, "Journey between Heaven and Earth", "Local Landscape and Contemporary Materials" and "Free Expressions of the Abstract and Form". The four phases range from learning the traditional techniques of classical masters, life sketching of nature, integrating ink brushwork with contemporary materials to depict local landscape, to the present where the manifestation of feelings are unconstrained by any rules or forms.

展期： 2011年1月9日至 1月27日中午12時至8時
Exhibition: 12nn-8pm, 9 to 27 Jan 2011

開幕: 2011年1月9日下午2時至4時 (星期日)
Opening: 2pm-4pm, 9 Jan 2011 (Sunday)

藝術家對談: 「香港色、物、料對話」2011年1月9日下午4時至6時
客座嘉賓:
香港現代水墨畫會會長派瑞芬女士
水墨畫家陳成球先生

Artist dialogue: “Between ink
and contemporary materials”: 4pm-6pm, 9 Jan 2011 (Sun)
Guest speakers:
Ms. Nina Pryde, Chairman of Hong Kong Modern Ink Painting Society
Mr. Chan Sing Kau, Chinese ink painter

場地查詢 : 2104 3322 / m63@artist-commune.com
Venue Enquiry：http://www.artist-commune.com/

展覽網頁Exhibition Website: http://inkcolourbop.blogspot.com/

參展者：
蔡海鷹、陳婉婷、鄭捷偉、趙駿騏、鍾雅珊、許婉君、劉若霖、
劉美延、利國良、李舜明、岑苑樺、譚慧心、謝月娜、俞立云、
黃淑琪、胡寶娟

Participants:
Choi Hoi Ying, Monica Chan, Clive Cheng, Keith Chiu, Sandra Chung, Jenny Hui, Joy Lau, Yvonne Lau, Lee Kwok Leung, Ming Li, Ferna Shum, Iras Tam, Tse Yuet Na, Percy Yu, Wong Suk Ki, Carol Woo

http://www.facebook.com/event.php?eid=139978236057780

Too Fast to Knit, Too slow to dance- Part 2

2011-02-17T11:39:00.004+08:00

This is the 2nd half of the presentation after the dance performance.

Too Fast to Knit, Too Slow to Dance

2010-12-10T23:16:00.003+08:00

Too Fast to Knit, Too Slow to Dance

Life is a complex experience; it can be a physical sensation of feeling or touching and a conscious subjective experience of emotion that interacting with the external influences. How does a situation affect and relate to my personal experiences? How could this situation interacting with my internal emotional feeling and external outcome? Which is associated with my personality, disposition, motivation and expression. Finding the understanding between my cognitive and non-cognitive emotions, and to experience my body and mind thought completely transform into a new “character/personality”. How can I approach language of art also with sensuality and sensibility, but at the same time release my expressive emotion and tendency towards the concept of existence?

Too Fast To Knit, Too Slow To Dance

2010-12-09T23:53:00.006+08:00

Too Fast To Knit, Too Slow To Dance is a performance art that blends with knitting and dancing to explore the internal and external expression that generally refers to movement of the body.

Knitting is a method to combine a piece of thread with two needles into a piece of fabric. It fulfills the basic human need for clothing for protection against the environments. It is a repetition and time consuming process which takes time to create a heart warming production for the loved one. This is related to issues of spiritual, emotional and social interaction in the creation of fabrication, which is known as the internal expression. While knitting is a beloved avocation, we are also suffering on its long-term fabrication process, which reflect the idea between love and abhorrence.

Dance, an expressive of release and transform internal spirit and emotion into a physical movement. It presents seductive, acerbic and sophisticated narratives.

Through the expression of body movement, this helps to reinforce the body and spiritual connection, to improve both the mental and physical well being of exceptional. Through the studying of the dance and unravel movement. We are able to “talk” to our body and to understand the basic need by personal mind. We are communicated between human, body, thinking, mind and emotion.

The external environment affects the body and mind interaction, it gives a change in movement. Movement contains a symbolic function and as such can be evidence of unconscious process. It reflects personality.

During the performance, I was dressing in traditional ballet tutus that I designed, knitted and sewn. I have chosen ballet, since it have been a long-term practice and training of my personal interest. Playing Beethoven’s Sonata Op.24 No.5 Spring 2^nd movement for Violin and Piano, which has given tenderness and sensitive emotions. In the beginning, I knit a long piece of fabric for 2 minutes, it lets me to slow down, talk with my body, while I sit down and knit with my soul. Dance, knit and unravel the tutus layer to express the contradiction of mind connection. I unraveled the tutus to release my spirit from the long-term emotional suffering that comes from the extremely exhausted process of knit. It explores the communicative, physical, mental, emotional, and artistic aspects of dance as a medium of human expression and interaction.

The tutus have been made in 5 layers, which combined with knitted fabric and tulle. It made up of thousands of tiny stitches within 5 meters yarns which represents the physical existence of time toward it creation moment. It took me one week to knit this fabric and has been used for the first/surface layer of tutus. And bottom layers are made of tulle, which based on the traditional method of the ballet tutus process. This costume has been used to transmit story and ideas in performance, regarding to the border of the long term suffering of training and practice.

My experience of "body talk" is combination of internal spirit and external emotion expression. I am interested on how this physical movement forced me to slow down and reflect on the mental and physical well being of individuals. I want to audience to experience that so at on point in the piece. My body and mind were interacting with the sonata, the movement reflects my personality, which contains a symbolic function and as such can be evidence of unconscious process and to experiment with new ways of being.

Photos by: Dunet Chan

welcome

2010-11-05T00:12:00.003+08:00

Leg warmers design

2010-11-04T00:27:00.003+08:00

A pair of knitted fair isle pattern leg warmers design.

Bookcover Design

2010-11-04T00:20:00.003+08:00

A knitted fair isle pattern design for a book cover.

Clutch bag Pattern Design

2010-11-04T00:17:00.002+08:00

Welcome

2010-11-03T11:17:00.001+08:00

Knit swatches Design

2010-11-02T01:26:00.004+08:00

These are my little old pieces that i made when i was studying in the uni.

Inspired from the Australian aboriginal art.

design work from uni

2010-09-13T23:36:00.005+08:00

how amazingly to find ur old master pieces when u cleaned up your old desk?

These are the little creations that i made long times ago in the uni.

Two of my new design works

2010-09-11T22:28:00.010+08:00

knitting machine works

A flower that looking forward to grow

2010-07-03T00:32:00.007+08:00

期待成長的花朵
毛線，金屬絲，玻璃，木.
直徑22.2 cm 高34.2cm

要成為一朵美麗的花，需要愛。必須為她付出精神和時間，給予她成長過程中需要的關懷及愛護。

A flower that looking forward to grow
Cotton yarn, wood, glass and wire
Diameter 22.2cm Height 34.2cm

Love alive inside in a beautiful flower. It takes you with love, it
needs you to concern, and it fills with your soul.

Pre-view of my new artwork

2010-06-29T19:20:00.006+08:00

it is not quite finished... perhaps, i would like to share the processing....

期待成長的花朵
毛線，金屬絲，玻璃，木.
直徑22.2 cm 高34.2cm

要成為一朵美麗的花，需要愛。必須為她付出精神和時間，給予她成長過程中需要的關懷及愛護。

A flower that looking forward to grow
Cotton yarn and wire
Diameter 22.2cm Height 34.2cm

Love alive inside in a beautiful flower. It takes you with love, it
needs you to concern, and it fills with your soul.

Art n Connectors exhibition

2010-06-27T22:44:00.002+08:00

第一屆香港中文大學藝術文學碩士課程學生將於2010年7月2日至9日假香港視覺藝術中心舉行課程預展「藝.接龍」。

來自不同背景、不同專業的一班創作人經過一年互相砥礪磨鍊和不少腦袋擊撞，促成今次的預展。是次展覽將展出20多位創作人的最新作品。

接龍意指建立關聯，透過創作人以多元角度，探討專題，並利用不同媒介，包括攝影、錄像、展演、社區藝術項目、玻璃、陶瓷、多媒體裝置、雕塑和繪畫等，與廣泛大眾連接。無形的訊息，透過有形的作品，與同樣多元的觀眾互相扣上，傳遞往還，此乃接龍。

地點: 香港視覺藝術中心展覽廳
中環堅尼地道7A(香港公園內)
日期: 2010年7月2日至9日(7月6日星期二休館)
時間: 早上10時至晚上9時(7月9日至下午6時)

開幕酒會: 2010年7月1日(星期四)晚上7時至8時半

與創作人談天:
地點: 香港視覺藝術中心展覽廳
日期: 2010年7月3日(星期六)
時間: 下午3時至5時

-------------------------------------------------

The first cohort of MA in Fine Arts students from The Chinese University of Hong Kong will open its show, "art n connectors" on July 2, 2010 at the Hong Kong Visual Arts Center.

The exhibition will showcase works of more than 20 artists that reflect diverse practices, skills, professional experience, and personal background. Differences have worked for rather than against these practitioners in a group setting — bringing new light, excitement, and possibilities that enrich each other's art practices, approaches, and ways of thinking.

It is Art that's the Connector (another name for elbow bump, a unique way of greeting by touching or tapping elbows) as much as these art practitioners are the connectors who want to reach all walks of life, extraterrestrial included, through their plethora of practices, issues interested, and medium deployed ranging from painting, sculpture, installation, ceramics, glass to performance, photography, video, and community projects.

So come elbow bump us!

Venue: Exhibition Hall, Hong Kong Visual Arts Center, 7A Kennedy Road, Central (inside Hong Kong Park)
Date: Friday, July 2 – Friday, July 9, 2010; closed on Tuesday, July 6, 2010
Time: 10am-9pm; July 9, 2010 10am-6pm

Opening Reception: Thursday, July 1, 2010, 7-8:30pm

Meet-the-Artists Session:
Venue: Exhibition Hall, Hong Kong Visual Arts Center
Date: Saturday, July 3, 2010
Time: 3pm-5pm

後悔

2010-06-11T23:40:00.001+08:00

所為不值得，只是做了一些令你後悔的事。既然如此，就想想那些事情會給你動力，帶給你生命。

改革開放30年　﹣從傳統走進當代之中國畫

2010-06-01T22:57:00.002+08:00

My 2 nd term thesis for Art theory

改革開放30年　﹣從傳統走進當代之中國畫

自中國改革開放30年來，中國的文化和藝術進入多元化的新紀元。為了趕上社會經濟急速的發展，中國不得不開放自由市場，提倡社會現代化。在資訊交通帶來的方便之下，大量引進西方的文化資訊和科技。與此同時，藝術家們亦開始面對來自西方文化的衝擊。在人們一片高呼突破傳統文化，推動文化革命的大氣候，開拓新徑的同時，卻又面對中國現代化而又不能西化的壓力，引起藝術家們在這片空間探索的挑戰，一方面要保留中國數千年的深厚文化思想，一方面卻要學習西方的智識。重新將中國畫革新和定位便成為了藝術家們的主流方向。當代中國畫創作的風格和技巧，足以見證了中國繪畫近30年來的發展歷程。

傳統的中國水墨畫在中國已有千多年的歷史，有著悠久的文化沉澱，是中國特有的筆和墨的創作，是人和自然，社會，民族思想與歷史的結合。古代文人畫家多為擁有深厚文化智識修養的士大夫，他們的作品強調個人情操的表現及詩畫藝術的結合。中國畫追求的是精神境界，文人畫家所追求的是品格情操的表現。藉著描繪悠遠的山川和無盡的溪水，實際上是反映文人畫家深厚的學術修養和品格情操，以表現自己深遠閒靜的生活志向和抒情意趣。

在西洋畫尚未傳入中國之前，我國只有以水墨為媒介的中國畫或水墨畫。在中國的美術史中，一直以水墨畫為主流。及後至七十年代之後，西洋油畫漸漸興起，並與水墨畫平分春色。中國畫在發展的同時，又如何承傳傳統文化？運用現代新技術的同時，又如何借鑒傳統文化？這都是當代藝術家們要思考的問題和挑戰。　

水墨的精神境界

水墨是一種媒介，是畫家思想品格的風格體現。水墨的精神境界–「氣韻生動」，必須俱備線條，點和墨，包含內在的節奏規律，強調每一筆都流露畫家的精神意境，因此它最能體現中國傳統文化的精神。潘天壽指出：「中國畫要講詩情畫意，講境界、格調，要表現高尚的情操。這也就是思想哲學性。將中國畫看成玩弄筆墨是不對的。在思想上無所追求，無所寄托，不講精神境界，畫格總是提不高的。」傳統中國畫表現共分四個層次包括「形」，「象」，「意」，「情」。「形」是第一個階段，是未定形的第一筆；接著是「象」，是事物的外型，觀者能辨認的輪廓；然後是「意」，即主題，意景；最後是「情」，便是作品的感染力。

水墨現代化

中國畫家在技巧上只用筆墨兩種主要工具及材料，創作觀念受儒家道德倫理和道家哲學的影響，畫面追求「天人合一」。意謂筆墨落在宣紙上要虛實分明，黑與白之間存在着相融性，兩者之間有混合而一的平衡。中華民族亦是一個相融性甚高的民族，我國不斷吸收外族文化，並將其融合消化，就正如中國畫的精神境界。

隨著時代的變遷，中國當代的都市生活節奏改變了人們的生活態度和生存環境。在都市背景成長下，以當代人的理解來闡釋水墨畫隱含的傳統精神，探索繪畫的現代化，重新認識和評價中國傳統的美學價值與意義，嘗試在承傳傳統的基礎上拓展當代藝術形態。至於現代化是過程，而現代性則是條件。

如何處理傳統和當代兩者之間的關係？　

五四運動之影響

中國經歷了幾千年的傳統文化，尤以1919年以青年學生為主的五四運動最值得人反思。因為五四運動使中國人的人生哲理，心中的「道」逐漸破碎失落，引發中國知識青年反思中國傳統文化。五四運動促進了新文化運動，反封建思想，喚醒中國人的精神，並探索自強，強國之路。
五四運動以後，西方文化及藝術作品大量引入中國。中國藝術家獲得很大的發展，借鑒西方藝術改革中國藝術成為當時的「潮流」。如何從西方學習得來的繪畫基礎上，結合中國傳統的因素？中國畫要如何突破和發揚光大亦成為一個重要的爭論焦點。

85新潮帶動中國藝術現代化

上世紀80年代，是中國藝術史上受西方藝術思潮影響最深遠的10年。「85新潮」運動是中國20世紀藝術史上最重要的藝術活動之一，它完全改變了西方對中國藝術一直以來的觀念，並引領中國進入國際藝壇上。這一時期，引進大量西方現代藝術的觀念與繪畫技巧。受西方現代文化思想的影響下，開始了中國藝術走向現代的試驗。藝術家們尋求創作上的突破，渴望離開傳統觀念的限制進行藝術創新。中國藝術變革的進程中，波普藝術、裝置藝術、行為藝術、影像藝術等多種西方藝術，成為中國藝術「現代化」借鑒的主流因素。

「85新潮」後中國藝壇百花齊放，呈現出多元化發展的趨勢，並真正擺脫了原來較為單一的創作模式。中國畫亦開始了「現代水墨」的創新發展。

現代水墨藝術探索

現代水墨藝術是由十七世紀的石濤的「一畫論」為起點，強調個人風格，認為作品必須通過藝術家本身對大自然的觀察及體驗，再把作者的真實感受表現於畫中。他的「一畫論」對後世產生了直接影響。

中國畫的變革開拓了現代水墨畫的探索和發展。一些從西方留學回國的藝術家，將從西方學到的繪畫表現手法及思想融入中國畫，如徐悲鴻認為中國畫應不斷改良及創新。在他的一篇《中國畫改良論》的論文中提到「古法佳者守之，垂絕者繼之，不佳者改之，未足者增之，西方畫之可采之入者融之」。他的畫作充分利用畫面每一個位置，分割黑與白的面積，構圖更有一種現代平面設計的風格。林風眠更成功地把中西繪畫結合在一起，將色彩和水墨的結合。吳冠中致力國畫現代化的理論，在水墨中尋求傳統繪畫，以對比色，虛實及西方的抽象理論，探索形式美。趙無極更直接將油畫的技法運用在水墨畫上。

從傳統走進當代

改革開放30年來，隨著中國社會的發展，科技進步和國際社會的影響力和地位的提高，中國藝壇逐步放棄了參考西方現代藝術。中國藝術家正反思身為中國人內在的自身價值，並重新在中國傳統文化藝術進行探索。
這改革開放30年正是中國經濟高速發展的時期，也是中國畫藝術高速發展的30年，社會的面貌有了歷史性的改變。藝術家們獲得了一個更自由開放的多元探索空間。當代的藝術家已不再滿足於視覺的表現，他們尋求的正是不同元素廣闊藝術的可能性。一些非視覺的元素如時間，音樂，植物和動物更成為當代藝術的新元素。
當代水墨是現代水墨的延伸，水墨若要成為一種承載藝術觀念的創作媒介，就必須加入水墨精神，有水墨的元素。藝術家正不斷由這方向尋求，嘗試用不同的材料混合水墨當中，努力實現傳統中國畫的當代形態。　
中國畫的現代化是時代變遷的過程，記錄了當代流行的元素。雖然如此，要現代化也必須要有傳統的依歸，沒有傳統的根基，就沒有今天的我們。藝術文化是要累積得來的，要承傳，理解和消化傳統文人畫的風格意念，才能更加以創新和突破，為新一代藝術健立更鞏固的根基。　

參考資料：
1. 吳冠中:《畫裡陰晴》，（山東：山東畫報出版社，2006年）
2. 吳冠中：《畫外文思》，（北京：人民文學出版社，2005年）
3. 周憲：《文化現代性與美學問題》，（北京：人民大學出版社，2005年）
4. 徐中約：《中國近代史﹣1600-2000中國的奮鬥》，》，（北京：世界圖書出版公司，2008年）
5. 張桐瑀：《影響中國繪畫進程的100位畫家》，（海南：海南出版社，2004年）
6. 吳冠中：《筆墨等於零》，載吳冠中：《皓首學術隨筆‧吳冠中卷》(北京：中華書局，2006)，頁23-24。[原載《明報月刊》(1993)]
7. 李小山：《當代中國畫之我見》，載《當代中國畫之我見討論集》(南京：江蘇美術出版社，1990)，頁3-8
8. 徐悲鴻：《中國畫改良論》，載郎紹君、水中天編：《二十世紀中國美術文選‧上》(上海：上海書畫出版社，1999)，頁38-42。[原載《繪學雜志》，第1期]1920年6月)]
9. 萬青力：《也談當代中國畫》，載萬青力：《畫家與畫史──近代美術叢稿》(杭州：中國美術學院出版社，1997)，頁57-63。
10. 呂壽琨：《水墨畫的將來》，載呂壽琨：《水墨畫講》(香港，1972年序)，頁1-37。
11. 薛永年: 《提升境界與格調推動中國畫創新發展》，《中國藝術報》2007年4月20日
12. 傅京生/陶宏/曹俊：《批評家張曉淩:中國將迎來偉大的文藝復興》，《中國文化報》2009年06月02日
13. 《筆墨緊隨絢麗時代》，《文匯報》2008-12-28

An old thesis

2010-05-20T01:54:00.005+08:00

Below is a thesis that i have written years ago when i was in the uni. Glad to have find the hard copy that have been packed in a box with lots of dusts covered... guess where i have kept it all these years? This was under my bed. ha ha..
And this thesis took me 2 nights to have typing again into computer.

Are there aesthetic links between fashion and art?

In contemporary culture, fashion is a representation of the social activity. Performances and functions are getting more important in fashion. When we take a closer look in fashion, there is a link between fashion and art. In many studies, research in fashion and art shows that their visual impact is interacting with the art movement. Artwork is a response of the social attitude, an emotional context and an interaction of people and things in the surrounding environments. The outcome of aesthetic value is under action through the social movement. Art is a form of thinking, and is a continual inspiration and reflection. It is necessary to understand the social, cultural and political influence onto artworks. It is also about connections between world and the art, between art and fashion and between the fashion and the world. When we see fashion as a form of visual art, we can find out the links between fashion and art through the study of art history and fashion. However, aesthetics is a thought if art not fashion and fashion itself is a result of aesthetics. If we agree that art is a thought, fashion is an aesthetic result. When we analyze the aesthetics of fashion, discussion on the aesthetic value of art should always come before fashion.

Before we talk about the aesthetic links between fashion and art. We should firstly understand the meaning of aesthetics. What is aesthetics? The Oxford dictionary defines aesthetics as “a branch of philosophy dealing with the nature of beauty, art, and taste and with the creation and appreciation of beauty; a particular theory or conception of beauty or art: a particular taste for or approach to what is pleasing to the senses and especially sight.” This rises up with the following questions: what is the philosophy on aesthetics? What is the theory beyond this? What is inside this? Is there any social influence on it? What is its link between fashion and art? With these questions in mind, I would like to investigate the aesthetic sense of fashion and art through the relationship between fashion and art.

What is art? Art is a way to explore the unknown, to develop a new concept and to create the world anew, as art requires something the eye cannot decry. However, art does have the influence through art history. An artwork doesn’t seen to be a new concept, since it could be influenced by the previous artworks through art history rather than through art theory. Meanwhile, art history helps artists to develop new ideas based on the art historical theories. A question should be asked in this point – how was art involved into the history? The linkage of paintings is generally a response to the society. Artists paint from their point of view and take consideration on social, political and philosophical context from the world. When we look at a painting we could generally found the cultural effects within it. An artwork could be considered as a historical context. The cultural movements of social, political, ideological concepts change the values of the artworks. The aesthetic value of an artwork is given under conception on people’s mind. When the post-modernism art began on the late 1960s, the aesthetic value has moved to another stage. There are numerous conceptions of art, which bring together the received theories on form, position and method through the processes. Art is no longer based on what you have seen, but what is in your mind. In art history, artists do paintings based on what is seemed, what is known and what is learned. The artist is in possession of what he knows without having to pay attention to it. With an opened mind, the unknown from the social experience of living in the modern world is transformed in a new aesthetic value. An artwork is being looked in a different ways in terms of having a new standard of works. As a result, post-modernism widened creativity and conception of art and fashion.

Fashion is a hybrid of many layers and purposes, which form an interesting connection between aesthetic and social consideration. Everything in fashion is connected with the world, and the world of aesthetics. One can understand how fashion has played an imperative role I the action of philosophy, ideology, artistic and sculptural action, to achieve its aesthetic value. In another way, fashion is a communication of clothing, and an interpretation of designers’ aesthetic values. The cut of clothing is an action, the transformation from a fabric to a garment is an action and the presentation of a garment is also an action. Fashion is a tool that allows us to fill our creative void; visual codes for human expression are important and the ability to express oneself through fashion should never dismissed. It’s also interconnected to so many facts of design: accessories, clothing, film, music and the built environment. However, could fashion considered as visual art from its visual aspects on clothing. Image is a projection of art object in the mind, or projection of the mind in an object. If so, the answer is quite clear – the image deriving from the visual context of fashion is itself a form of art. The images that the eye can record are limited and the imagination that has been given rise is not. Nevertheless, there is a subtle difference between art and fashion. According to Lori Simmons Zelenko in an interview with Diana Vreeland in 1981, Vreeland insists that “Fashion is not art, Art has to do with something spirituelle [sic]. It is a very remarkable, extraordinary thing. Art is and fashion isn’t. Fashion has to do with daily life, and it has a physical vitality, while the vitality of art is not.”(Zelenko 1981:88)

Bring it closer to 1990, the art critic Michael Boodro suggests the relationship between fashion and art in his article, “Art is art and fashion is an industry… There is a longstanding, genteel tradition – an ideal, at least – that art is a creation of individuals burning bright with lofty inspiration, that art is above commerce, that art, for its own sake or for any other reason, is the big, important thing… Fashion is not art. Fashion is frivolous and unimportant…”(Boodro 1990:120-3) Although fashion and art are seem to be working in different dimensions, their similarities can be seen upon their aesthetic values and conceptions. Boodro declares that “With fashion and art both becoming more pervasive elements of contemporary life, it is inevitable that they will continue to cross over each other’s boundaries… Though the connection has grown close, there are still inevitable differences between the two. Art is typically private, the creation of an individual. Fashion is public, a collaboration between designer, manufacturer, and wearer and then between wearer and viewer. Art requires time, contemplation, and thought. Fashion is instantaneous…”(Boodro 1990:127)

Fashion is denied to be art, because fashion has its commercial nature. The commercial value does not appear on an artwork. Art is created from its own world, and it takes inspiration freely from the world. It is in the clear place, the open place that something appears that was not there before. Art is not commercial based, but a communication to the commercial areas, since it contacts to the society through the artistic theory. Moreover, fashion is a visual arts community in the society. It approaches to art by taking inspiration from an artwork. Fashion is simply copying art; fashion designers in this moment are taking an artistic message into their design. Art often inspires fashion designers to search for the creative impulse. For instance, fashion designer Sonia Delaunay used her artistic theory on fashion, in terms of the textile design under the influence of Cubism. Boodro also admits that “the inspiration and motivations of both artists and clothing designers can be strikingly similar,” recognizing that “fashion proved that it too could appropriate its own past – not only mocking a classic but showing its continuing versatility and relevance.” (Boodro 1990:123) While art is looking at the social communications, fashion is taking inspiration from art. Today art and fashion are still arguing their reflection on each other’s activity.

The primary aesthetic value in both fashion and art includes colour, lines, shapes, forms, arrangement, texture and pattern. The idea of leading fashion and art together in their feature of interactions of images and ideas of objects and artwork can help to understand the aesthetic features between fashion and art. The work from the artists is focusing on its visibility and the message giving from the artwork. In fashion, designer is focusing on the transformation from a cloth into a three-dimensional “sculpture”. The function of clothing is to provide visual interest and to have a message behind the garment. In addition, clothing is a communication contacting people and the environments. Expression of social and cultural has put on an action of natural forces in both fashion and art. Everyday photographs in advertisement, television, newspaper articles, films, music, and magazines are linked together as an adjective of inspiration for a design. It is not surprising to say that fashions are aesthetic products and products of everyday expression. Any theory of fashion will necessarily include aesthetic components.

Here the attention is focused on the continued inspiration that art has given to fashion. To mark the boundaries between fashion and art, one significant different is their different outcomes. Art has to do with something totally spiritual from the artists’ minds, whereas fashion is a reflection from daily life that has given to the designer. Meanwhile, art is totally spiritual, an exploration from the unknown; on the other hand. Fashion is totally non-spiritual; it has to contact the surrounding environment for a known world. It is very important to know that fashion is a form of visual art, and the relationship between fashion and art aesthetic value. According to fashion designers Viktor Horsting and Rolf Snoeren comment on fashion: “Fashion doesn’t have to be something people wear, fashion is also an image.” We can see the visually influence of fashion as art. While we are interested in the relationship between fashion and art, fashion has made an appropriation form for art and the outcomes of clothing for gender. The innovations of clothing are all within the universe of art. The aesthetic value is pointing towards the theme of fashion.

Designers exchange ideas through the visual element alike an artwork. Lin, shape, point texture and color are the elements to define the aesthetic value. Definition can be given in two visually ways: linear definition, definition by line or edge; and surface definition, definition by surface. The function of line is to provide visual interest; lines can be straight, angular, or curved and can be manipulated via fabric and clothing. Surface definition, surface of clothing is the combination of colour and texture. The function of texture can be used to fill the surface, and if the surface appears unfilled it is often viewed as shape. Colour has three basic dimensions: hue, intensity, and value. The use of colour can be a companion in the natural world, the mood, and the cultural meanings and associations. The style of a garment is made of colour and structure of a fabric. To cut and form the three-dimensional shape of a garment, a designer himself must have his own aesthetic features that enable him to transform the nature of the clothing and to become the dimension of the body. The sculptural qualities of fashion make it different in the interpretation from art. In fact, fashions were approaches as visual art objects by a designer. Fashion is putting the expression from post-modern aesthetics as its dominant mode and also shares common stylistic characteristics with art history throughout its own history. With surrealism the new relationship between the object and the human body reinforces as a creation of a new ideal figure. Influenced by the surrealists, fashion magazines used the imagery of surrealism appears in fashion photography, accessories, clothing and other fashion items.

According to art critic James D.Carney’s theory of art in his art criticism “Style-relative Model of Art Criticism” (Carney 1991b: 15-22) he argues that an objects is art, art is an open concept, but art is working through art history, new objects are a development through art history rather than through art theories. (Carney 1991b: 272) He suggests seven key elements to understand the art world: Locate the Style, Descriptive Features and Structures, Primary Aesthetic Features, Value Features, Low-level Interpretation, High-level Interpretation, and Critical Judgment. Those seven elements have relationships amongst each other and they are leading each other approaching an ideal artwork.

“Locate the style” is generally classifying the artwork in the art historical style. “Descriptive Features and Structures” are the physical characteristics of the artwork, colour, shape, texture and lines. “Primary Aesthetic Features” is the stylistic representation and the structural of the object in the artwork. It is based on the art’s value features. “Value feature” is the form of basis judgment in an artwork. In Carney’s opinion, value feature has played the most significant role in critical judgment. An artwork’s style considers as the appropriate types of value feature because of its particular value within art history. Value feature is also working as a common aesthetic value in the artwork, which helps to reduce an artist personal opinion when an artwork is being judged. Carney insists that “Low-level Interpretation” is a visible subject-matter account in the very first steps, especially regarded as the primary aesthetic features. “High-level Interpretation” is an agent to maximize the aesthetic value for the viewer’s mind. Since artworks are valued as cultural agents of social and political theory change, the foundation of the high-level interpretation on the cultural function becomes more important. Through this idea, it brings artwork to the critical judgment. “Critical judgment” is an expression of the high-level interpretation. To judge the degree of aesthetic value in an artwork, high-level interpretation must link together to define the value features. The judgment expresses by assigning its relationship from a work to another.

The majority of these seven elements come from the art world, and they obviously appear in the fashion realm. This suggests that fashion objects and events are indeed essential parts of the visual art world. Fashion object is a final result of visual, meanings and functions. Therefore, a designer must have developed his knowledge base with an aesthetic inquiry.

Aesthetic response is a reflection on what you see and what you like. It is based on one’s personal likes and dislikes in a work. The way of looking is a result of thoughts and response. Response to the prevailing atmosphere reflects what they share to be the tone and imagery of the modern world, of majority living, of men penned in the cities and cut off from nature life-style. To justify the style, acknowledge theory of art history is used to conceptualize the common aesthetic value. Justification is not so much to produce works of art, as to make sense of the environment to accept the logic of the surroundings. In short, aesthetic value helps to find out the viewer expectation. It also finds out what satisfaction people desire. The viewer aesthetic response affects the visual appearance of clothing. Each society has it own way of looking at the world determined by needs, aspiration and attitude towards the unknown. Members of society, looking through the eyes of the artists, select certain images from the myriad possible aspects of the world.

Fashion is, in a way, addressing issues related to human unconscious desires and fantasies; cultural interpretations reflect on fashion’s intellectual and artistic implications; and, sociological interpretations are primarily concerned with fashion in terms of collective and group behavior. In conclusion, the aesthetic links between fashion and art works in the same direction upon people satisfaction. Factors such as society, culture and political changes added different volume to fashion and art aesthetic value; it also suggests that the factors approach the aesthetic value on fashion and art in the same way. As a result, fashion relies on art, and their aesthetic value comes in the same ways under same surroundings impacts.

References:

1. Boodre, Michael. 1990. “Art and Fashion.” Artnews, September: 120-7
2. Carney, James D. 1990b. “The Style Theory of Art.” Pacific Philosophical Quarterly, 72(4): 272-89
3. Collingwood, R.G. 1965. “The Principles Of Art.” London: Oxford University Press
4. Crouch, Christopher. 1999. “Modernism In Art, Design and Architecture.” New York: St.Martin’s Press
5. Davis, Fred. 1992. “Fashion, Culture, and Identity.” London: The University of Chicago Press, Ltd.
6. Gan, Stephen. 1999. “Visionaire’s Fashion 2001 Designers Of The New Avant-grade.” New York: Universe Publishing
7. Meecham, Pam and Sheldon, Julie. 2000. “Modern Art: A Critical Introduction.” London: Routlege
8. Onslow-Ford, Gordon.1964. “Painting In The Instant.” London: Thames and Hudson.
9. Read, Herbert. 1971. “Surrealism” London: Faber and Faber Limited.
10. Stangos, Nikos. 1991. “Concepts OF Modern Art.” London: Thames and Hudson Ltd.
11. Wilcox, Claire. 2001. “Radical Fashion.” London: Victoria & Albert Publications.

My artwork: dressing room

2010-05-10T12:38:00.004+08:00

My 3rd artwork from my MA fine art studies.

sorry for the bad quality of video.

My homework

2010-04-30T00:46:00.009+08:00

My final art critic class artwork in this semester.

How could we wear 160 pcs of clothes in 13.3 sec? it may take one or half a year for me to collect 160pcs, but it takes 80 years to collect 160 pcs of clothes 40 years ago when people were living in a period that allow people buying 2 garments only in a year because of the crop failure of cotton in China in 60s.

Think about how many clothes do you own? However, these 160 pcs are bringing me headaches and i m feeling exhausted on arranging my wardrobe each single morning.

This short video clip is a fashion loop which trying to make you feeling sick in having all these clothes flashing in a short time.

160 pcs of clothes have been divided into 24 frames per sec, which 1 clothes flashing in every 2 frames that ended up into 13.3333333333 sec

On presentation day, this video clip have been projected into a human body.
People have been invited to stand behind a black line in order to stay in a proper distance to have the clothes displayed on their body.

changing light

2010-04-01T01:02:00.003+08:00

My clothes

2009-11-05T11:08:00.008+08:00

Greeting~ THANKS for all your support given to my latest artwork:

TITLE: MY CLOTHES

I have tried to transform your clothes into a "sculpture" that wouldn't have the need to cut the clothes in order to increase their durability to be reused.

How often would you buy a new clothes? a day, a week or once a month? or would someone be kind enough to buy clothes for you? What do you find in your new clothes? When you have a new garment, what could you do with your old piece? Some say that your style represents your identity. What is your style? How can we live without our clothes? Day in day out, it is a necessity in our lives and it lives with our memories.

I can feel its touch and it takes my breath away. I give it life and I take it with me everywhere.

What do you remember about your clothes?

MY CLOTHES, 2nd hand clothes, stocking, 2009

Lines breath

2009-10-09T00:34:00.006+08:00

My New drawing

線息
Lines breath

2009

水墨設色紙本，　報紙
Ink and colour on Chinese paper and newspaper
92cm x 98 cm

個人與生活
環境交流的經驗
用簡單的線條
去尋找生活的痕跡
不斷反思，　追尋和探索
一種精神的力量

Showcase winner

2009-09-29T09:44:00.010+08:00

Today i have got an email for artslant.com, saying that I have been selected as a Showcase Winner in the Juried 4 September 2009 Showcase!

And my winning work will be randomly exhibited in artslant spotlight showbox on their Homepage.

Bravo! I am being so excited now.

http://www.artslant.com/global/artists/show/101398-sandra-chung

special time

2009-08-07T13:23:00.003+08:00

i like time and number!
this is a special day... once u miss it, you are not able to be there again in your life!
12:34:56, 7-8-2009...

This is the day with 1234567890.

HAVE FUN!

solar eclipse

2009-07-23T00:11:00.003+08:00

Wednesday, 22 July, 2009, 10:19:42, Hong Kong

Fishes

2009-06-09T01:21:00.002+08:00

Cheung Chau, Hong Kong

2009-06-09T01:16:00.001+08:00

Sunday green

2009-06-09T00:26:00.004+08:00

cut out piece

2009-03-01T22:27:00.004+08:00

Title: I dont understand a simple word, chinese ink drawing and dictionary cut out piece, 2009, 23X 23 X 4.5cm

I cut out the word carefully page by page from a dictionary with my free hand.
It took me about 3 days to get those pieces out from the dictorary. and this was killing my thumb totally... let get my fingers cross before i could see the result..

Process of the word:

final Piece:

Ink Drawing - Dissolve

2009-03-01T22:21:00.005+08:00

Titled : Dissolve, Chinese ink drawing, 2008, 70 X 49cm

Process of ink drawing - The Bark

2009-02-16T17:12:00.004+08:00

Process of the drawing

The final piece:

Title: The bark, chinese ink drawing, 2009, 55 X 52CM

Process of ink drawing - Seacoast

2009-02-16T16:55:00.005+08:00

Process:

Final Piece

Title: Seacoast, Chinese ink drawing, 2009, 84 X 65cm

my work on the web site

2009-02-13T16:55:00.006+08:00

Dear Sa,

We have added an image from your recent work to our front page media window which shows interest work from selective artists. We want to highlight excellent work such as yours on the site and the media window is a great vehicle for that. Congratulations!

http://www.myartspace.com/

This is a v.gd news to me!

法國五月節French May - France Touches Hong Kong

2009-02-10T17:44:00.008+08:00

Thanks Mandy for returning me photos from 2007 French May - France Touches Hong Kong.

These Hair Corsages are the pieces of my work created for her collection - Rockcoco. Inspired by Victorian's period.

door in hand

2009-02-10T13:31:00.003+08:00

Titled: Can i pass the door? chinese ink drawing, 2008

Uncountable Love

2009-02-10T12:24:00.004+08:00

Titled: Uncountable Love, chinese ink drawing, 2009

"And even the very hairs of your head are all numbered. So don't be afraid; you are worth more than many sparrows." (Matthew 10:30-31)

Through abstract of pattern, the use of lines, form and arrangement of space, they express the feelings and emotions and the sense of love.

Prayer

2009-02-10T12:16:00.005+08:00

Titled: Prayer, acrylic, 2009, 50X60 cm

I close my eyes when i pray,
I see the line in the dark.
where is the connection?

Water, flower installation 2

2009-02-10T11:49:00.007+08:00

Process of my art piece. I have been making as much roses as i could for the finally piece... Could u imagine what would it be ?

There have became a piece of installation art finally!

My final piece to "Ink Notes Contemporary Ink Painting Exhibition" in HK, 1-26 Nov 2008

Is art need to be beauty? to be functional?
I see art as a way to make life beautiful

Sketches

2009-02-10T11:40:00.005+08:00

HKU - Landscape, 2 hrs life drawing, 2008

Sketch

2009-02-10T11:34:00.007+08:00

Flower-2 hrs sketch, 2008, chinese ink drawing, 37X49cm

School work 2

2009-02-10T11:23:00.004+08:00

Another pieces of work from the uni. Total 25 pcs of pattern design. here are just part of the works.
This project aimed to create a set of homeware products inspired by the African's art using felt yarn to create a knit pattern.

Titled: Modern Abstraction, 2/22 wool yarn

School work

2009-02-10T11:13:00.007+08:00

while cleaning up my room, i found out my works when i was in the uni.
Reminded me my wonderful time in the uni.

Titled "Phoenix" , using 2/22 wool yarn, mesh, wire and other mix media.

This was a design project for entering the Red group of Montana World of Wearable Awards, New Zealand. Created 20 pcs of knitted patten. And finally selected one pattern to create a finished piece of garment.

Will upload the photo of the garment piece when i found it.

Last Drawing of 2008

2009-01-03T13:47:00.008+08:00

Last day of the year 2008, i have finally re-touch a little bit on this drawing.
Titled : The Peace
But i m stilling finding a way to built up more texture and the concept behinding it... this is the 2nd from the same collection. what can i find inside the raining?

In the same day, inspiration was suddenly came out from a X'mas tree flashing light decoration... then it have been turned as an abstract drawing with chinese ink.

My drawing

2008-12-17T18:35:00.008+08:00

My drawing to the Exhibition

See more on:
http://http://www.bluetenweiss-berlin.de/en/az9_01.html

Anonymous Drawings

2008-11-27T15:03:00.003+08:00

That's to good hear that my chinese ink drawings have been selected for the Anonymous Drawings No.9 Exhibition in Berlin.

december 20 & 21 / 2008

opening: december 19th / 7 pm

program:
Saturday, December 20, 7 pm:
FLIP Animation Screening / framed by FUKT 2008
bar & DJ
& presentation of FUKT - magazine for contemporary drawing #7

Sunday, 21 of December, 3 pm:
4th of Advent at Bethanien with hot wine punch and christmas cookies

Friday - Sunday:
Sale of Anonymous Drawings for a unit sales price of 150 Euro

opening hours: 12 - 7 pm

Kunstraum Kreuzberg / Bethanien

Mariannenplatz 2
10997 Berlin
Germany

anonymous drawings / concept and idea

A selection of about 300 Drawings by international artists will be presented anonymously on the scheduled evening: Every Anonymous Drawings show is preceded by an international open call for entries on the Internet. There are no specifications regarding the content of the works. The artist's anonymity can be lifted by means of purchasing a drawing for the symbolic unit salesprice of 150 EUR. The buyer can take his drawing right off the wall and s/he is then told the name of its author. The empty space the drawing leaves behind will be marked with the artist‘s full name.
The predefined unit salesprice of 150 EUR is not to be understood as a real market price but rather as a placeholder-fee for any possible amount of money. The exhibited drawings will be work of both established and lay-artists. Due to this fact blütenweiss asks the viewer him/herself to draw the line between Art and Non-Art. The participating artists agree to withdraw themselves and their usual pricing in favor of the subject: the drawing itself. Typical mechanisms of the art-market, like ricing, the artist's own ego, and predefined concepts of quality are turned upside down and questioned in an experimental way. A priori for the evaluation of the work is not the name and the biography of the individual artist, but the work itself.

http://www.bluetenweiss-berlin.de/en/anonymous.html

Weather Photos

2008-11-05T22:51:00.012+08:00

I m recently working on an international exchange photos project about weather with a Finnish artist - Riitta O.
Aim of the project is to communicate with each other, using photograph and sharing the feeling on how the weather affecting us.

Each individual groups are randomly match up, from different country.

here is the link of Blog photos that Riitta and I am doing:

http://blog.weatherphotos.org/?cat=804

Blurb About The Blog
In this blog, sets of 2 individuals use photographs to communicate with each other, sharing their feelings about the weather and its influence on emotion and mood. Combining photos from partners around the world, this blog references both weather and emotion, across geography and time. Two artists, one in NY, the other in Berlin, conceived this project for Transcultural Exchange. ( Project Description )

The Weather Photos blog is doing an on-site installation for Shanghai Zendai MoMA starting November 7 at No. 1000 Xiangying Road.

Ink Notes exhibition opening

2008-11-03T22:58:00.007+08:00

After a long period of work load, the opening was finally done.
We are so glad to have more then 100 people who came for the show.

《墨．記》現代水墨作品展 Ink Notes - Contemporary Ink Painting Exhibtion

2008-10-24T09:57:00.010+08:00

****************************
《墨．記》現代水墨作品展
以墨記事：活在都市．記情自然

《墨．記》現代水墨作品展，嘗試從視覺和意念上來一次新突破，旨在把中國傳統水墨和現代藝術結合起來。

十四位來自不同背景的參展者，生活在香港這個快速城市，狹窄的街道上，企圖從石屎群中挖出一點大自然的綠來。游離於五光十色的光影世界和黑與白的沉思中，借傳統技法和追求自然的水墨精神，用現代手法表現對都市生活、大自然的體會。

作品嘗試以精緻靈動傳統中國山水繪畫筆法、書法、渲染作為導引，注入活潑跳脫的拼貼、拓印、裝置等當代技巧。例如藝術家蔡海鷹以水墨裝置活躍於各大型展覽中，而這次《墨．記》展覽，蔡氏更首次大膽地以現代印刷色紙融入古老悠久的水墨媒材，構成秋山紅葉作品。

是次展覽除了筆墨實驗外，亦探討傳統和當代水墨的定位及相互間的關係，對水墨的未來發展提出疑問。

Ink Notes - Contemporary Ink Painting Exhibtion
In search of nature - Notes in ink

"Ink Notes - Contemporary Ink Painting Exhibition" attempts visual and conceptual breakthrough by uniting traditional Chinese ink painting and modern art.

Between the dancing colours of the modern and the simple black and white of the traditional, the 14 artists tease out nature from the narrows of this concrete and glass jungle and present their individual take on contradictions and harmonies between city and nature.

The works in this exhibition incorporate traditional brush techniques, calligraphy and ink dyeing, and modern methods such as collage, rubbing and installation. Mr. Choi Hoi Ying's bold use of modern colour print paper with traditional ink media exemplifies the fusion of the two.

Apart from exploring ink art techniques, this exhibition also questions the relationship between the traditional and the modern and the future development of ink art.

空間0811號展覽
墨．記

參展者
蔡海鷹
胡寶娟
鄭家欣
鄭捷偉
譚慧心
利國良
李舜明
陳婉婷
俞立云
鍾雅珊
謝月娜
黃淑琪
劉美延
岑苑樺

開幕日期
2008年11月1日(星期六) 下午5時至7時

展覽日期
2008年10月31日(星期五)至11月26日 (星期三)

　　
上海街視藝空間
油麻地上海街404號地下（油麻地地鐵站A1出口）　　
週二至週日下午1時至下午8時
週一及公眾假期休館

費用全免
如有任何查詢，請與廖小姐聯絡（電話：27702157，電郵：info@ssa007.org) 或瀏覽我們的網頁：http://www.ssa007.org

ARTSPACE 0811 EXHIBITION
INK NOTES

Participant Artist
Choi Hoi Ying
Woo Carol
Cheng Cecilia
Cheng Chik Wai
Tam Wai Sun Iras
Lee Kwok Leung
Li Ming
Chan Monica
Yu Perly
Chung Sandra
Tse Yuet Na
Wong Suk Ki
Lau Yvonne
SHUM YW Ferna

Opening
1 Nov 2008 (Sat), 17-1900

Exhibition Date
31 Oct 2008 (Fri) ~ 26 Nov 2008 (Wed)

Shanghai Street Artspace
G/F, 404 Shanghai Street, Yau Ma Tei (Yau Ma Tei MTR Station Exit A1)
Tuesday to Sunday, 1:00pm ~ 8:00pm
Close on Monday and Public Holidays
Free Admission
For enquiries, please contact Alice Liu (Tel: 2770 2157, email: info@ssa007.org) or visit our website: http://www.ssa007.org

Water, flower installation

2008-10-09T15:02:00.003+08:00

My ink roses installation for "chinese ink drawing exhibition"

Sandra Chung

Knitted Accessory Design - Necklace

Flower is Flower

My Portfolio

En pointe, installation

She works with her hands in delight

CUHK MAFA Association 香港中文大學藝術文學碩士同學會

文化成長對於藝術發展的意義

Dance

Ink Colour Bop Ink Art Exhibition: Ink Colour Workshop

Ink Color bop exhibition

Too Fast to Knit, Too slow to dance- Part 2

Too Fast to Knit, Too Slow to Dance

Too Fast To Knit, Too Slow To Dance

welcome

Leg warmers design

Bookcover Design

Clutch bag Pattern Design

Welcome

Knit swatches Design

design work from uni

Two of my new design works

A flower that looking forward to grow

Pre-view of my new artwork

Art n Connectors exhibition

後悔

改革開放30年 ﹣從傳統走進當代之中國畫

An old thesis

My artwork: dressing room

My homework

changing light

My clothes

Lines breath

Showcase winner

special time

solar eclipse

Fishes

Cheung Chau, Hong Kong

Sunday green

cut out piece

Ink Drawing - Dissolve

Process of ink drawing - The Bark

Process of ink drawing - Seacoast

my work on the web site

法國五月節French May - France Touches Hong Kong

door in hand

Uncountable Love

Prayer

Water, flower installation 2

Sketches

Sketch

School work 2

School work

Last Drawing of 2008

My drawing

Anonymous Drawings

Weather Photos

Ink Notes exhibition opening

《墨．記》現代水墨作品展 Ink Notes - Contemporary Ink Painting Exhibtion

Water, flower installation

改革開放30年　﹣從傳統走進當代之中國畫