九十三個人，各自關在家裡畫畫。畫完之後，才發現很多人都畫了同一座城市。有的人畫中環的街角，有的人畫灣仔的老建築，有的人畫電車駛過莊士敦道，有的人畫霓虹燈下的人影。他們沒有討論過要畫什麼，沒有收到任何主題指示，更沒有坐下來開會說：「不如我們這次一起畫香港吧。」但當所有畫掛在牆上，你看見的，是同一座城市的許多種面貌。

Ninety-three people, each painting in their own space. When they finished, many of them realized they had all been painting the same city. Some painted street corners in Central. Some painted old buildings in Wan Chai. Some painted trams rolling down Johnston Road. Some painted figures under neon lights. They never discussed what to paint. They weren’t given a theme. No one said: “Let’s all paint Hong Kong this time.” But when all the paintings went up on the wall, what you saw was many versions of the same city.

從觀塘到西源里：一座美術館的落腳 | A Museum Finds Its Home

2024年，一新美術館告別了觀塘，落腳西營盤西源里一號。新館的第一次展覽，他們做了一個大膽的嘗試——不策劃主題展，而是向全香港的畫家公開徵件。「那時候我們也不知道會怎樣，沒有想過會繼續辦下去。」館長在開幕時回憶。但展覽一開，反應出乎意料地熱烈。許多藝術家告訴館方，他們很需要這樣一個平台——不分資歷、不限主題、只看作品。於是，館方決定給它一個正式的身份：雙年展。每兩年一次，讓香港畫家有一個值得期待的舞台。

In 2024, Sun Museum bid farewell to Kwun Tong and settled at 1 Sai Yuen Lane in Sai Ying Pun. For its inaugural exhibition, they tried something bold — no themed show. Instead, they opened the call to all Hong Kong painters. “We didn’t know how it would go. We never thought it would continue,” the director recalled at the opening. But the response was overwhelming. Many artists told the museum how much they needed a platform like this — no hierarchy, no theme restrictions, just the work. So the museum gave it an official status: a biennial. Once every two years, a stage for Hong Kong painters to look forward to.

梁家俊 Angryangry
堅尼地城 Kennedy Town
針筆紙本 Technical pen on paper
2025
56.5 x 75.2 cm

一家三口的畫緣 | A Family’s Artistic Bond

在眾多入選者中，有一個特別的故事。88歲的黃滿南是今次最年長的參展者，年輕時以繪畫戲院廣告畫為職業，退休後三十多年未曾提筆，近幾年才重拾畫筆。他的女兒黃寶明瞞着父親報名參賽，結果父女雙雙入選——父親的《追昔》與女兒的兩幅作品《父母——父親》、《父母——母親》一同展出。

黃寶明的兩幅作品探索父母截然不同的性格——以畫筆記錄家庭記憶，也成為本屆展覽中最溫暖的註腳。

Among the selected artists, there is a special story. 88-year-old Wong Moon Nam is the oldest participant. He worked as a cinema poster painter in his youth, but had not picked up a brush for over 30 years after retirement. He only resumed painting in recent years. His daughter Wong Po Ming secretly submitted an application for her father without telling him — and both father and daughter were selected. His work “Reminiscing” is exhibited alongside her two pieces “Parents: Father” and “Parents: Mother.”

Wong Po Ming’s works explore her parents’ contrasting personalities — using her brush to document family memories, becoming one of the warmest footnotes of this exhibition.

黃寶明 WONG Po Ming
左 Left: 父母——母親 Parents—Mother；中 Middle: 父母——父親 Parents—Father
塑膠彩布本 Acrylic on canvas
2024
60 x 40 cm

黃滿南 WONG Moon Nam
右 Right: 追昔 Reminiscing
油彩布本 Oil on canvas
2025
60 x 45 cm

畫家與病痛：沈平的左手奇蹟 | The Artist and Adversity: The Miracle of SHEN Ping’s Left Hand

在展覽眾多的作品中，有一幅畫的筆觸特別與眾不同——不是因為它畫得多精細，而是因為它帶著一種粗獷而真摯的力量。那是畫家沈平的作品。

沈平是香港畫壇的重要人物，幾十年來用畫筆記錄這座城市的每一條街、每一個角落。但幾年前，一場中風讓他的右手無法再握筆。對於一個畫家來說，這幾乎是毀滅性的打擊。但他沒有真的放下畫筆。他開始用左手重新學習繪畫，像是回到了學畫的最初，從零開始，一點一點地摸索。技法變了，媒材也換了，但他畫的還是香港——那些熟悉的街市、海傍、小巷中的生活氣息。

這次展出的作品，便是他用左手完成的新作。畫布上，筆觸不再精巧細緻，卻帶著一種更直接、更真實的力量——那是一個畫家面對身體的限制，仍然選擇繼續畫下去的證明。

Among the many works in this exhibition, one stands out for its distinctive brushwork — not because of its technical refinement, but because of its raw, unpolished sincerity. This is the work of artist SHEN Ping.

SHEN Ping is a prominent figure in Hong Kong’s art scene, having spent decades documenting every street and corner of the city with his brush. But a few years ago, a stroke took away the use of his right hand. For a painter, this was a devastating blow. But he never truly put down his brush. He began learning to paint again with his left hand, as if returning to the very beginning of his artistic journey — starting from zero, groping his way forward bit by bit. His technique changed, his materials changed, but he still painted Hong Kong — the familiar markets, the waterfront, the quiet life of its back alleys.

The work exhibited here is a new piece completed with his left hand. The brushstrokes are no longer polished, but they carry a raw, direct power — a testament to an artist who chose to keep painting despite the limitations of his body.

沈平 SHEN Ping
維港之夜 Night at Victoria Harbour
塑膠彩布本 Acrylic on canvas
2026
70 x 35 cm

小人物的光：符聞一的兩幅畫 | The Light of Everyday Heroes: FU Man Yat’s Two Paintings

在展廳的一角，兩幅水彩畫靜靜地並排掛著。一幅是消防員，一幅是地盤工人。畫面上沒有驚天動地的場面，只有專注的身影和協作的姿態。符聞一的水彩技法十分克制——不賣弄色彩，不追求華麗，只是用最樸素的方式，把這些勞動者的身影留在紙上。每一筆都像在說：這些人值得被看見。

他選擇了用最溫柔的媒材——水彩——去畫最剛強的職業。那種反差，讓畫面多了一層溫度。

In one corner of the gallery, two watercolours hang side by side. One depicts firefighters. The other shows construction workers. There is no dramatic spectacle in these scenes — only focused figures and the quiet attitude of collaboration. FU Man Yat watercolour technique is restrained — he does not flaunt colour or pursue extravagance. He simply records these labourers on paper in the most unassuming way. Each brushstroke seems to say: these people deserve to be seen.

He chose the gentlest medium — watercolour — to portray the toughest professions. That contrast adds a layer of warmth to the image.

符聞一 FU Man Yat
左 Left: 整裝待發 Heroes in Action；右 Right: 齊心協力 United Efforts
水彩紙本 Watercolour on paper
2026
56 x 76 cm

建築師的畫筆：從專業到志業 | The Architect’s Brush: From Profession to Vocation

今次展覽中，多位建築師出身的參展者格外引人注目。劉浩昌是藝壇知名的藝術教育者，也是建築師；吳永順既是建築師，亦有多項公職；岑延威曾參與威尼斯建築雙年展策展。他們在專業工作之餘，從未放下畫筆。

館長說了一句話，讓我印象很深：「讀建築的很多人，小時候都喜歡畫畫——那條路，其實是從一支筆開始的。」這句話，好像也說明了這個展覽的意義。畫畫這件事，從來不是誰的專利。它可以從八歲開始，也可以從八十歲開始。

Several architects stand out among this year’s participants. Lau Hoo Cheong is a well-known art educator and architect; Vincent NG is both an architect and a public officer; TSENG Yen Wei, William, has curated exhibitions at the Venice Architecture Biennale. Alongside their professional work, they have never put down their brushes.

The museum director said something that stayed with me: “Many who study architecture loved drawing as children — that path often starts with a single brush.” That, I think, is the meaning of this exhibition. Painting has never been anyone’s exclusive domain. It can begin at eight or at eighty.

馬銓 MA Chuen
第三街 The Third Street
油彩布本 Oil on canvas
2026
91 x 61 cm

小貼士 TIPS

這裡沒有「學了幾年」的標籤，只有「畫了什麼」的答案。有人畫了一輩子，有人才剛開始三個月。但站在牆上的那一刻，時間不再重要。

There are no labels here saying “how many years studied.” Only the answer to “what did you paint.” Some have painted all their lives, some just started three months ago. But the moment their work hangs on the wall, time stops mattering.

第二屆西源里選畫展覽｜The 2nd Hong Kong Paintings in Sai Yuen Lane Exhibition

日期 Dates
第一期 Phase I：2026.06.26 – 2026.08.20
第二期 Phase II：2026.08.29 – 2026.10.18

展覽時間 Opening Hours
Tuesday–Sunday｜10am – 6pm
Closed on Mondays and Public Holidays

地點 Venue
一新美術館咖啡室及禮品店
香港西營盤西源里1號瑧蓺地下
Sun Museum Café & Gift Shop G/F, Artisan House, 1 Sai Yuen Lane, Sai Ying Pun, Hong Kong