翻開女性衣櫥內的秘密 | THE ART OF FASHION AND OVERCONSUMPTION

凱倫偉伯畫廊呈獻六位駐香港藝術家的聯展「第二層皮膚」，探討我們選擇的衣服所含的複雜性以及在當今時尚服裝背景下的呈現。時裝歷史悠久且紮根於女性的製衣實踐中，它一直是個人自我表現和陳述的載體。近幾十年來·高度發展的時裝業引起了不少的爭議，帶出可持續性和人權的問題。

Karin Weber Gallery is excited to announce ‘Second Skin’, a group show by six Hong Kong-based artists which examines the complexities inherent in our own wardrobe choices and the wider context of today’s fashion world. Historically rooted in the profoundly female practice of dressmaking, fashion has always been a vehicle for individual self-expression and personal statements. In recent decades, the highly evolved fashion industry has attracted more controversy, with sustainability and human rights equally top of mind.

參展藝術家圍繞時裝來探討個人的主題，如炫耀式消費、身份認同和身體物化，同時還強調了由大眾消費機器導致的更廣泛的社會問題，而當今時裝似乎已經變得如此。隨著時裝業不斷發展，越來越多人希望解决當前的一些難題。「第二層皮膚」透過藝術家各式各樣的物料，提供了一個變革中的世界的創意快拍。就如時裝系列季度的快速轉換，「第二層皮膚」將在展覽的中途呈現出新作品。

The participating artists engage with individual themes around fashion, such as body shape, fetishism and personal choices, whilst also recognizing the broader societal issues arising from the machine of mass consumption much of today’s fashion appears to have become. In recognition of the ever faster turnaround of seasonal collections, ‘Second Skin’ will introduce new works into the show at its half way point.

李慧嫻的陶瓷作品《天生購物狂》與《全店$50-製衣迷思》強調了時裝業鼓勵的過度購物，及製衣工人所面對的嚴峻工作環境的爭議。

Rosanna Li’s ceramic figures Shopping Spree and All At $50 – The Myth Of the Garment Industry, highlight the controversy of excessive shopping encouraged by the fashion industry coupled with the harsh labour conditions faced by garment workers.

李慧嫻，《一條裙子四季穿——秋天》，高溫陶、釉下彩、木、塑膠，20 x 12.5 x 14厘米，2021年

李慧嫻，《一條裙子四季穿——春天》，高溫陶、釉下彩、竹、塑膠，19 x 12.5 x 17.5厘米，2021年

過度消費是本次展覽中幾位藝術家都感興趣的話題。李慧嫻的陶瓷作品《天生購物狂》與《全店$50-製衣迷思》強調了時裝業鼓勵的過度購物，及製衣工人所面對的嚴峻工作環境的爭議。街頭藝術家高哼用購物袋製造的《嘢》寫上了「DressTolmpress」的字。高氏還將在畫廊空間中，使用一塊二手全身鏡子和二手雜誌來建造一個試身室。馬穎汶將她小時候戴著的羊毛手套轉變為成人版本，探索身份認同和文化根源的主題。

Overconsumption is a topic of interest shared by several artists in this exhibition. Rosanna Li’s ceramic figures Shopping Spree and All At $50 – The Myth Of the Garment Industry, highlight the controversy of excessive shopping encouraged by the fashion industry coupled with the harsh labour conditions faced by garment workers. Street artist Go Hung’s In Practice, an object cast from shopping bags, features the statement “Dress To Impress.” Go will also create a fitting room in the gallery space, adopting a second hand full length mirror and used
magazines for his process. Mandy Ma explores themes of self identity and cultural roots by transforming woollen hand gloves she wore as a child into an adult version.

李慧嫻，《全店$50–製衣迷思》，高溫陶、釉下彩、紙、炳稀(鞋子)，30 x 25 x 10厘米，2021年

李慧嫻，《天生購物狂》，釉下彩、紙，30 × 25 × 10厘米，2021年
Rosanna Li, Shopping Spree, glazed stoneware, handmade shopping bags, 30 x 25 x 10cm, 2021

街頭藝術家高哼用購物袋製造的《嘢》寫上了「DressTolmpress」的字。

Street artist Go Hung’s In Practice, an object cast from shopping bags, features the statement “Dress To Impress.”

唐忠信的《遺失誘惑扔棄》將女性內衣轉變成色彩鮮豔的乳膠,有力地詮釋女性的身體及生活。陳子雯的雕塑由合成彈力纖維和膨脹泡沫製成,以其有機、擬人化而不受社會規範約束的形態直視觀眾。何幸兒精緻的版畫從傳統衣服製作的紙樣中汲取靈感，通過製衣的工藝讓觀眾們完整地了解到時裝的起源。

Jonathan Thomson’s Lost Seduced Abandoned transforms women’s underwear into colourful latex in a powerful statement on female bodies and womens’ lives. Ceiling hung, flexible sculptures by IV Chan are made of lycra and expanding foam, confronting viewers with their organic, anthropomorphic formations free from societal clothing norms. June Ho’s delicate prints draw inspiration from the traditional process of tailoring clothes from paper patterns, bringing viewers full circle to the origins of fashion through the craftsmanship of clothes making.