一場藝術之旅，二十五年耕耘。本次展覽匯聚逾90件作品，從巨型龍窯陶瓷裝置到私密繪畫記憶，呈現從創意探索到獨特藝術聲音的成長軌跡。

Celebrate a 25-year artistic voyage in this exhibition, featuring over 90 works—from a monumental ceramic kiln installation to intimate painted memories—that map the journey from creative discovery to unique artistic voice.

推介原因 WHY IT MATTERS

香港藝術學院二十五周年壓軸展覽以「藝學啓航 • 25載璀璨」爲主題。展覽匯聚超過70位來自學院不同課程的在學學員以及不同年份的校友藝術家，共同展出逾超過90件藝術作品，涵蓋陶瓷、繪畫、攝影、雕塑及多媒體藝術。展覽更將特別展出由8位畢業於不同年份的校友聯合創作的「龍窯紀錄展覽」項目，該項目以陶瓷、回憶及屯門青山龍窯為主題，呈現一件約8.4米長的陶瓷藝術裝置，為展場加增添一份充滿地區回憶的藝術氛圍。展覽中的所有作品不僅是個人藝術創作的成果，更是學院25年教學與實踐的集體見證。每件作品背後反映了學院教育的核心價值：兼顧藝術創作的知識與技巧，以及人文價值、美感體驗和個人獨特性。展覽中呈現的多樣化表達方式，充分體現了學院對培養具有國際視野、關懷本地與創新意識的藝術工作者的承諾。

“Hong Kong Art School 25th Anniversary Exhibition” is themed “25-Year Voyage of Brilliance”. It gathers over 70 alumni artists from various programmes and graduating years, along with current students, to showcase more than 90 pieces of artwork spanning ceramics, painting, photography, sculpture and multimedia art. The exhibition will also feature a special presentation of “The Dragon Kiln Documentary Exhibition” programme, jointly created by 8 alumni who graduated in different years. Centered around ceramics, memories, and Tuen Mun Castle Peak Dragon Kiln, the project presents a ceramic art installation approximately 8.4 meters long, infusing the venue with an artistic ambiance rich in local reminiscence. These works are not only the result of individual artistic creation but also stand as a collective testament to 25 years of teaching and practice at HKAS. Each piece reflects the core values of the school’s education – emphasising not only artistic knowledge and skills but also humanistic values, aesthetic experiences and individual uniqueness. The diverse expressions presented in the exhibition demonstrate the school’s commitment to nurturing artists with an international perspective, local responsibility and innovative awareness.

重點一覽 HIGHLIGHTS

1️⃣ 伍寶蓮、蔡思齊的繪畫作品
藝術家伍寶蓮的創作以其童年回憶和成長歷程為靈感泉源，從個人經驗出發，細膩地探討微觀民生歷史在當代城市中的意義。她的繪畫作品《The Rooftop》不僅是對自身過往的追溯，更深刻地反映了社會文化歷史與城市發展之間的複雜張力。透過超現實的手法，她重構記憶與夢境，將看似矛盾的色彩和構圖巧妙融合，引導觀者進入一個既私密又具有公共性的情感空間。繪畫作品《Refuge and Prospect》由 Jay Appleton 提出的 Prospect-Refuge Theory 探討環境美學——為何某些地方讓我們感到美麗而扣人心弦。藝術家蔡思齊在英國求學時首次接觸到這個理論，並瞬間產生共鳴。該理論主張，美感常在「展望」（如山頂、塔樓等提供視野的高點）與「庇護」（如樹木、遮蔽物等可供隱藏的元素）交會之處湧現。自此，這套觀念成為他的參照與靈感來源，影響從他的視覺感受一直到他如何選擇居住空間等各種決定。這幅以該理論為名的作品，描繪的是他家屋頂的景致——一個令他一見鍾情的視野。不出所料，它與 Appleton 的論述相契合：在開闊的眺望與安全的庇護之間取得平衡，帶來既本能又美學的共鳴。

Paintings by Noelle Ng Po Lin and Anthony Choy
Artist Noelle Ng Po Lin draws inspiration from her childhood memories and personal growth, using her own experiences to delicately explore the significance of micro-histories of everyday life within the contemporary city. Her painting The Rooftop is not only a retrieval of her personal past but also profoundly reflects the complex tensions between socio-cultural history and urban development. Through surrealistic techniques, she reconstructs memory and dreams, skillfully blending seemingly contradictory colors and compositions to guide viewers into an emotional space that is both intimate and public. The painting Refuge and Prospect engages with Jay Appleton’s Prospect-Refuge Theory, which explores environmental aesthetics—why certain places strike us as beautiful and compelling. Artist Anthony Choy first encountered this theory while studying in the UK and felt an immediate resonance. The theory posits that aesthetic appeal often emerges at the intersection of “prospect” (vantage points like hilltops or towers that offer a view) and “refuge” (elements like trees or shelters that offer concealment). This framework has since become a key reference and source of inspiration for him, influencing everything from his visual perception to his choices in living spaces. This painting, named after the theory, depicts the view from his rooftop—a vista he fell in love with at first sight. Unsurprisingly, it aligns with Appleton’s thesis: achieving a balance between open prospect and safe refuge, creating an instinctive yet aesthetic resonance.

2️⃣ 盧婉嫻、林文枝的陶瓷作品
藝術家盧婉嫻的陶瓷作品《蜂窩瓶》以大自然為靈感，運用不同色調的陶土拼合出蜂窩的獨特紋理。從創作中感受自然界的建築美學，與大地連結的同時也是時間與生命的印記。藝術家林文枝的陶瓷作品《碎形》通過解構和重組石膏模具，呈現出如何在破碎與完整之間找到平衡，並探討形狀和形式之間的關係。在傳統製作中，分模線是需要被修整的痕跡。藝術家選擇保留並刻意放大，使它們成為作品的主要特徵。當我們將注意力放在這些通常被隱藏的細節上時，那些原被視為瑕疵的痕跡，轉化成為獨特的視覺語言。

Ceramic Works by May Loo Yuen Han and Lam Man Chi
Artist May Loo Yuen Han’s ceramic piece Beehivessel takes inspiration from nature, using clays of different tones to piece together the unique texture of a honeycomb. Through her creation, she contemplates the architectural aesthetics found in the natural world. This connection to the earth also serves as an imprint of time and life. Artist Lam Man Chi’s ceramic work explores the balance between brokenness and wholeness, and the relationship between shape and form, through the deconstruction and reassembly of plaster molds. In traditional ceramic making, seam lines are traces to be removed and smoothed away. The artist chooses to preserve and intentionally amplify them, turning these lines into the primary feature of the work. By focusing our attention on these usually concealed details, traces originally perceived as flaws are transformed into a unique visual language.

3️⃣ 黃永欣、何淖嵐的雕塑作品
“This is not a paper” 這句子中，符號系統被重新編寫後，在藝術家黃永欣的雕塑作品中被重複連結成圖像，以近乎霸道的姿態再現，直接粗暴地衝擊着觀者的感知，其載體已被扭曲。藝術家何淖嵐的雕塑作品《安全地帶》使用勞保手套，將自我最日常建構安全感的手部姿態以一紅一白編織成安全帶，將其設置在空間內，與外相隔。

Sculptural Works by Paul Wong and Ho Cheuk Nam
In the work This is not a paper, the system of signs is rewritten. In artist Paul Wong’s sculptural work, these signs are repeatedly connected to form images, re-presented in an almost domineering manner that directly and forcefully impacts the viewer’s perception, their carrier is now distorted. Artist Ho Cheuk Nam’s sculptural work utilizes industrial safety gloves. The most mundane hand gestures we use to construct a sense of security for ourselves are woven into a safety belt, using one red and one white glove. This belt is installed within a space, creating a separation from the outside.

4️⃣ 余加希、何永良的攝影作品
在《日常迴響：於確定與不確定之間》中，黑白影像是藝術家余加希探索城市記憶的核心。以針孔相機拍攝，他以緩慢而凝視的方式捕捉歷史建築與日常空間的瞬間，無色的影像帶出距離與永恆感，使平凡場景化為光與影、存在與消逝的冥想。這些照片《Untitled》超越紀錄本身。柔焦、灰階與長時間曝光暗示記憶的易變，使城市成為集體意識中不斷移動的影像。透過這種類比視角，藝術家思考記憶與遺忘的張力，引導觀者感受時間靜默的流動。《妖怪的另一個世界》：歷險、迷彩、火山口。方向、偽裝、能量。煙花、象形文字。神話、鶴形山、真空、妖怪。這是一個去連接空間的地方。圓點像波一樣移動。最終的視覺效果代表着這個地方本身，同時藝術家何永良也讓觀眾思考其中隱藏的意象。

Photographic Works by Eric Yu Ka Hei and Pater Ho
Echoes of the Everyday: Between Certainty and Ambiguity, black-and-white imagery is central to artist Eric Yu Ka Hei’s exploration of urban memory. Using a pinhole camera, he captures moments of historical architecture and everyday spaces with a slow, contemplative gaze. The colorless images evoke a sense of distance and timelessness, transforming ordinary scenes into meditations on light and shadow, presence and disappearance. These Untitled photographs transcend mere documentation. Soft focus, grayscale tones, and long exposures suggest the malleability of memory, rendering the city a shifting image within the collective consciousness. Through this analogue perspective, the artist contemplates the tension between memory and oblivion, guiding viewers to feel the silent flow of time. Walk The Tightrope: adventure, camouflage, crater; direction, disguise, energy; fireworks, pictographs; mythology, tsurugatasan, vacuum, yokai. This is a place for disconnecting from space. Dots move like waves. The final visual effect represents the place itself, while artist Pater Ho also invites viewers to contemplate the hidden imagery within.

小貼士 TIPS

本次展覽呈現超過90件作品，記錄從學員到成熟藝術家的成長旅程，誠邀您一同見證學院二十五載的藝術探索之路。

Celebrate 25 years of artistic discovery at this exhibition, showcasing over 90 works that trace the journey from student to accomplished artist.

---

香港藝術學院二十五周年展覽 Hong Kong Art School 25th Anniversary Exhibition

日期 Dates
2025.12.10 – 2026.1.8

展覽時間 Opening Hours
上午10時至下午7時半 *展覽開放時間將因應壽臣劇院節目調整。
10:00a.m. – 7:30p.m. *Exhibition opening hours may be adjusted according to Shouson Theatre programme.

地點 Venue
香港灣仔港灣道2號香港藝術中心地下至四樓賽馬會展廊 、 三樓張靜蘭實驗畫廊
Jockey Club Atrium, G/F – 4/F & Diana Cheung Experimental Gallery, 3/F, Hong Kong Arts Centre (2 Harbour Road, Wanchai, Hong Kong)

圖片提供：藝術家、香港藝術學院、香港藝術中心｜Courtesy of the artists, Hong Kong Art School, Hong Kong Arts Centre