你有沒有試過，把「stressed」倒過來拼，會變成「desserts」？

一個字母不多，一個字母不少。只是順序改變了，意義就完全翻轉。這正是「迴語」（Semordnilap）的力量——在顛倒與重組之間，舊的結束成為新的開始。

香港藝術學院與澳洲皇家墨爾本理工大學合辦的藝術文學士畢業展2026，就以《迴語》為主題。 34位應屆畢業生，用50件作品——包括8件陶瓷、27幅畫作、7輯攝影作品及8件雕塑——回應這個關於轉變的命題。

Have you ever noticed that when you spell “stressed” backwards, it becomes “desserts”?

Not a single letter added or removed. Just the order changed, and the meaning is completely transformed. That is the power of “Semordnilap” — a linguistic phenomenon where reversal becomes a pivot, and endings become new beginnings.

The Bachelor of Arts (Fine Art) Graduate Exhibition 2026, jointly presented by Hong Kong Art School and RMIT University, takes “Semordnilap” as its theme. Thirty-four graduating students present fifty works — including eight ceramic pieces, twenty-seven paintings, seven photography series, and eight sculptures — responding to this proposition about transformation.

推介原因 WHY IT MATTERS

每年一度的藝術文學士畢業展，是香港藝術學院的重點展覽，也是本地當代藝術新星誕生的舞台。 今屆畢業展以「迴語」為題，邀請觀眾走進一種「過渡狀態」——當一種現實告一段落，另一種現實尚未展開的縫隙之間。正如展覽主題所說：「讓每次結束成為下一個起點。」

展覽展出34位畢業生的50件作品，媒介涵蓋陶瓷、繪畫、攝影與雕塑，展現了這屆畢業生群體的多元聲音。 香港藝術學院院長麥陳淑賢教授指出：「課程強調媒介的多樣性，彰顯了這屆畢業生群體的多元聲音。同學們來自不同年齡層與背景，在交流與討論中相互啟發。」

The annual Bachelor of Arts (Fine Art) Graduate Exhibition is a highlight of Hong Kong Art School’s calendar and a launchpad for emerging local contemporary artists. This year’s exhibition, themed “Semordnilap,” invites visitors to step into a state of transition — the threshold where one reality draws to a close and another has yet to begin. As the theme suggests: “so that every ending may become the starting point of a new departure.”

The exhibition features fifty works by thirty-four graduating students across ceramics, painting, photography, and sculpture, showcasing the diverse voices of this graduating cohort.Professor Barley Mak, School Director of Hong Kong Art School, noted: “The programme emphasises the diversity of media, underscoring the multiplicity of voices within this graduating cohort. Bringing together students from diverse age groups and backgrounds, the programme fosters dynamic exchange and meaningful dialogue.”

尹穎琳 WAN Wing Lam
One Bid, One Bite
2026
參與式混合媒介裝置 Mixed media, installation
尺寸不定 Dimensions variable 

江卓穎 KONG Cheuk Wing
The Distance Between Me and Utopia 
2026 
絲網印刷，手造紙，手工書，彩色RA4沖印 Silkscreen on handmade paper, handmade book with color RA4 print 
手造紙：450 × 300 cm，Handmade paper: 450 × 300 cm；手工書：20 × 20 × 70 cm, Handmade book: 20 × 20 × 70 cm 

冼心渝 SIN Sum Yu
Exit
2025 
壓克力，不鏽鋼，鋁，馬達
Acrylic, stainless steel, aluminum, motor 
20 × 220 cm 

重點一覽 HIGHLIGHTS

梁思雅：《Truth Mining #102》——13.55千克碎紙的重量 | LEUNG Sze Nga, Cecilia: “Truth Mining #102” — The Weight of 13.55kg of Shredded Paper

梁思雅是今屆畢業展的學生籌委會主席，她的創作植根於多年的社會服務經驗。 她的參展作品《Truth Mining #102》，核心媒介是一堆重達13.55千克的碎紙——那些曾經寫滿敏感資料、記錄著無數隱藏與被忽視的生命故事的文件，在完成使命後被送入碎紙機，成為埋藏人生的容器。

這些碎片既是媒介，也是訊息。在展場中，它們將被轉化為承載無聲敘事的裝置，在「隱匿」與「顯現」的張力之間，逼視觀眾去感受那些曾被保存、又被刻意抹去的集體記憶痕跡。

LEUNG Sze Nga, Cecilia, chairperson of this year’s Graduate Exhibition Committee, draws her creative practice from years of working in social services. Her exhibited work, “Truth Mining #102,” uses 13.55 kilograms of shredded paper as its core medium — documents once filled with sensitive information, recording countless hidden and overlooked lives, now shredded and transformed into vessels for buried stories.

These fragments serve as both medium and message. In the gallery, they become an installation carrying silent narratives, exploring the tension between what is hidden and what is revealed, inviting viewers to confront collective memories that were once preserved and deliberately erased.

梁思雅 LEUNG Sze Nga, Cecilia
Truth Mining #102
13.55千克碎紙 13.55kg shredded paper

莫揮：《Block H, Mid-Level, Block 3, Tsui Lai Garden》——一扇回收木門的告解 | MOK Fai: “Block H, Mid-Level, Block 3, Tsui Lai Garden” — Confession on a Recycled Wooden Door

年屆六旬的莫揮，有一個未曾實現的童年夢想：出戰澳門賽車。他著迷的不是速度，而是賽車劃破空間的美感。六十年來，他從未踏足賽道，反而成了一名牧師，在教會事奉長達35年，陪伴過無數家庭經歷風浪。

如今，他拿起畫筆，用一扇回收木門作為畫布，以原子筆、油彩和乳膠漆，訴說那些難以改變的人生憾事。作品名為《Block H, Mid-Level, Block 3, Tsui Lai Garden》，他將35年事奉生涯中相遇的故事，悉數揉合進這扇木門的紋理之中。他希望透過作品傳達的信念是：人與人復和，人與自己復和。

At age sixty, MOK Fai carries an unfulfilled childhood dream: racing in Macau. He was drawn not by speed, but by the beauty of cutting through space on the track. In sixty years, he has never once stepped onto a circuit. Instead, he became a pastor, serving in the church for thirty-five years, walking alongside countless families through storms.

Now, he picks up his brush and uses a recycled wooden door as his canvas — with ballpoint pen, oil paint, and latex — to tell the story of life’s irreparable regrets. His work, titled “Block H, Mid-Level, Block 3, Tsui Lai Garden,” weaves together the stories he has encountered over his thirty-five years of ministry into the texture of the door. His message: reconciliation between people, and reconciliation with oneself.

莫揮 MOK Fai
Block H, Mid-Level, Block 3, Tsui Lai Garden
原子筆、油彩、乳膠溙、回收木門 Ball pen, oil, latex on used wooden door panel

何佩欣：《未竟之生》——那些未曾盛放的生命 | Ho Pui Yan: “A Lift Left Unfinished” — Flowers That Never Bloomed

何佩欣的創作以攝影與錄像為主，核心在於透過創作解決自身的存在焦慮。 她從職場重回校園進修，四年的學習時光對她來說是一段能暫時逃離現實的幸福旅程。如今即將重回現實，她希望將對未來的希冀與「未知」帶回創作中。

她的參展作品《未竟之生》，將鏡頭對準自然界中那些「未有機會盛放」的植物。它們始終保持著一種初生或未出生的姿態，看似年輕，但唯有等到周遭其他植物陸續凋謝時，觀眾才會赫然明瞭其生命早已定格。作品精準地投射出創作者在人生轉折點上的試探與省思。

Ho Pui Yan works primarily with photography and video, using creation to address her existential anxiety. She returned to school after working, and her four years of study were a period of temporary escape from real life. Now, as she is about to return to reality, she hopes to bring the “unknown” back into her life and creative practice.

Her exhibited work, “A Lift Left Unfinished,” turns its lens toward plants that “have not had the chance to bloom.” They remain in a state of being born or not-yet-born, appearing young — but only when other plants wither do viewers realise their lives have long been frozen. The work precisely reflects the artist’s exploration and reflection at a turning point in her life.

何佩欣 Ho Pui Yan
未竟之生 A Lift Left Unfinished
攝影 Photpgraphy

陳力喬：《Monster Building 2025》——日常記憶的拼貼 | CHAN Nick: “Monster Building 2025” — Collages of Everyday Memory

陳力喬把繪畫視為將內在思緒與情感顯現出來的方式。他認為，真正的文化敘事來自日常經驗與個人回憶，而非官方倡議的統一敘述。 在他的畢業作品中，他收集香港的現成物件，並將它們轉化為繪畫拼貼——以姿態、色彩與質感，回應這座城市含蓄而複雜的公共空間。

CHAN Nick approaches painting as a way to bring inner thoughts and feelings into view. He believes genuine cultural narratives emerge from everyday experiences and personal recollections, rather than structured promotions. For his graduation project, he gathers found objects from Hong Kong and transforms them into painted collages, using expressive gestures, colours, and textures to respond to the city’s nuanced public spaces.

陳力喬 CHAN Nick
Monster Building
2025
油彩布本 Oil paint on canvas
60 × 90 cm 

背景 BACKGROUND

香港藝術學院成立於2000年，是香港藝術中心的附屬機構。 學院與澳洲皇家墨爾本理工大學（RMIT University）合作，提供藝術文學士課程，強調媒介的多樣性——包括陶瓷、繪畫、攝影、雕塑與複合媒介。 自2000年以來，學院已培訓超過4,000名學員，超過八成的校友在藝術文化、設計創意產業及藝術教育領域中就業。 RMIT在藝術及設計範疇澳洲排名第1位、全球排名第19位。

Hong Kong Art School, founded in 2000, is a division of Hong Kong Arts Centre. The school offers a Bachelor of Arts (Fine Art) programme in partnership with RMIT University, emphasising diversity of media — ceramics, painting, photography, sculpture, and mixed forms. Since 2000, the school has nurtured approximately 4,000 students, with over 80% of graduates employed in art, culture, design, creative industries, and art education. RMIT is ranked #1 in Australia and #19 in the world for Art and Design.

區嘉偉 AU Kar Wai, Kelvin
Common Ground
2026 
手杖，混凝土，不鏽鋼，聲音錄音，喇叭 Walking sticks, concrete, stainless steel, audio recording, speakers 
尺寸不定 Dimensions variable 

小貼士 TIPS

「stressed」倒過來是「desserts」。壓力與甜點之間，只差一個轉身的距離。

走進展場，讓這34位年輕藝術家帶你重新審視——那些你以為已經結束的，或許只是還沒開始。

“Stressed” spelled backwards is “desserts.” Between pressure and sweetness, there is only the distance of a turn.

Step into the gallery and let these thirty-four young artists show you — what you thought was over might just have not yet begun.

香港藝術學院/澳洲皇家墨爾本理工大學藝術文學士畢業展二零二六 畢業展 《迴語》|
Hong Kong Art School / RMIT University Bachelor of Arts (Fine Art) Graduate Exhibition 2026 – “Semordnilap”

日期 Dates
2026.07.04 – 2026.07.20

時間 Hours
上午10時至晚上8時（每日）
10am – 8pm (Daily)

地點 Venue
香港灣仔港灣道2號香港藝術中心包氏畫廊（請使用升降機從5樓入場）
4-5/F, Pao Galleries, Hong Kong Arts Centre, 2 Harbour Road, Wan Chai, HK
(Please enter via 5/F using the lifts)

圖片提供：香港藝術學院，澳洲皇家墨爾本理工大學，參展藝術家 ｜ Courtesy of : Hong Kong Art School, RMIT University, and the exhibiting artists