Wallpaper 1.1
Wallpaper 牆紙, 2021
”Romantic, rude but refined, ritual”
Amy Tong 唐嘉欣 (HK)

Amy Tong is known for her abstract experimentation on possible scenarios. Her work is often a collage of idealised, multi-layered scenarios, expressing the emotional traces from her daily encounters with society. Treading around the realm of truth, rituals, and absurdities, Tong creates textured environments to explore the complexity of human emotions within surrealist settings.

唐嘉欣擅長以抽象實驗手法探討充滿可能性的多種情境。她的作品經常拼貼理想化並多層次的境遇，描繪在社會中日常遭遇的情感踪跡。遊走於真實、儀式、和荒謬的邊界，唐氏於超現實的框架下創造了富質感的環境，探索人類情感的複雜性。

Website | Instagram

—

Uncharted
Mixed media on canvas 帆布上的混合媒介, 2021
”decluttering, ascending, reconciliation, fused, dilemma”
BH (HK)

BH is a slashie mutant who is interested in observing various living forms and patterns, contextualising and recasting them with new suggested meanings through contemporary paintings. It is also a monologue process to identify his own form, understand the relationship between his own formation and other forms of relationships, as well as to navigate the impact and value of his existence to society. He believes everything is pigments.

BH 是變種斜槓男，跨界身份、雙重生活，喜愛用當代繪畫形式來重塑各種生命形態和模式，賦予新的場景和意義。這同時也是一種自我獨白，讓他識別和贖回自身的形態，以及探尋他的存在對社會的影響和價值。他深信任何事物取之所需用之恰當最終都可以成為畫材。

Instagram

—

Flower Bird Insect Fish
Acrylic on canvas 塑膠彩畫（帆布）, 2021
35 x 140cm
”Zentangle inspired art work”
Cindy Chan 陳樹貞 (HK)

—

琉璃
Ink, charcoal and colour on paper 水墨設色碳粉紙本, 2021
137 x 70cm
”Chinese Painting and Calligraphy”
Chui Pui Chee 徐沛之 (HK)

Born in Hong Kong in 1980, Dr Chui apprenticed under Mr Jat See-yeu and Professor Wang Dong-ling. After graduated from Queen's College, Hong Kong in 1999, Dr Chui took his first degree at the Department of Fine Arts of The Chinese University of Hong Kong (CUHK). He furthered his postgraduate studies at the Department of Chinese Calligraphy of China Academy of Art, where he obtained his Master of Arts and Doctoral Degree.

In 2012, Dr Chui received the Hong Kong Contemporary Art Awards - Young Artist Award, presented by the Leisure and Cultural Services Department. He also received the Award for Young Artist (Visual Arts) at the Hong Kong Arts Development Awards 2015 organised by the Hong Kong Arts Development Council. He was a finalist of The Sovereign Asian Art Prize 2015, 2018 and 2020. Some of Dr Chui’s artworks were collected by the Hong Kong Museum of Art, Ashmolean Museum of Art and Archaeology of University of Oxford and private collectors. Recent selected exhibitions: ‘Classics Remix: The Hong Kong Viewpoint’, ‘Dawn Chorus, Happen with HART’, ‘The 2020 Sovereign Asian Art Prize: Shortlisted Finalists Exhibition’.

徐沛之博士，1980年生於香港，師從翟仕堯老師及王冬齡教授。1999年於皇仁書院畢業，先後獲香港中文大學藝術系學士、中國美術學院書法系碩士及博士學位。

徐氏曾任香港中文大學專業進修學藝術及設計課程統籌，編寫書法文憑及書法創作與理論研究高等文憑等課程、香港科技大學兼任講師、香港中文大學、香港中文大學專業進修學院課程榮譽顧問，以及任職於中國嘉德（香港）國際拍賣有限公司中國書畫部。現為及香港浸會大學兼任講師、甲子書學會執行委員（學術）以及中國美術學院現代書法研究中心研究員。

徐氏於2012年獲康樂及文化事務署頒發「香港當代藝術獎」的「青年藝術家獎」，及後於香港藝術發展局舉辦的「2015香港藝術發展獎」獲頒予「藝術新秀獎（視覺藝術）」，並於2015、2018及2020年三度入選「傑出亞洲藝術獎」。徐博士的作品獲香港藝術館、英國牛津大學阿什莫林藝術與考古博物館及私人收藏。近年重要展覽包括：「原典變奏—香港視點」、「晨曦之聲」以及「2020 Sovereign傑出亞洲藝術獎」。

Instagram

—

Disintegration

10 Day Painting: Law of the Instrument
Sledgehammer on marble 大鎚, 2021
100 x 5 cm
10 Year Painting: War of Attrition (Work in Progress)
Concentrated hydrochloric acid on marble 大理石上的濃鹽酸, 2021-2031
”Temporality, Materialism (Metaphysical, not economic sense), Conciousness, Forces, Sisyphean”
80 x 5 cm
Damian Boylan (UK)

In Disintegration, comprising two parts (a completed work entitled ’10 Day Painting’, and an ongoing work entitled ’10 Year Painting’), the artist employs contrary processes to two similar, stratigraphic systems, to form a visual counterpoint.

In the former, the artist wields the sudden, brutish force of a sledgehammer, to obliterate the marble substrate. This once cohesive, unified structure, formed over vast swathes of time, now lays shattered, casting a shadow of its former self.

By contrast, in the ongoing work, ’10 Year Painting’, the artist employs the daily, cogitative ritual, of pouring concentrated hydrochloric acid onto the marble’s surface. As days become years, the acid continues to assert its attritive power, wearing down the monolith, microns (µ, 0.000000001 metres) at a time. While this substrate appears to remain intact, one may observe the subtle caustic action, insidiously working into the now, fault-like veins of the marble, gradually eroding the lustrous surface, and tearing its fabric apart, from within.

‘Disintegration’ forms a reflection on the nature of ideals; Is it better to watch something be destroyed in an instant, or to witness its slow, inexorable ruin?

—————

Damian Boylan's material centric, process driven techniques span the disciplines of painting, sculpture, new media & sound to explore themes pertaining to time and consciousness. With a background encompassing a Master’s degree (MEng) in the field of Aerospace Engineering, his work ties multifarious, recherché substances with rigorous theory, to form works that upend time-honoured technique, with self-conceived methodologies. British-born Boylan lives and works in Hong Kong, China.

Damian Boylan 以材料為中心、過程驅動的技術跨越繪畫、雕塑、新媒體和聲音等學科，探索與時間和意識有關的主題。 擁有航空航天工程領域碩士學位 (MEng) 的背景，他的作品將多種多樣的研究物質與嚴謹的理論聯繫起來，形成了顛覆歷史悠久技術的作品，並採用了自我構思的方法。 出生於英國的 Boylan 在中國香港生活和工作。

Website

—

Icon I Icon II Icon III
Mixed media on canvas 帆布上的混合媒介, 2021
52 x 42 cm
“Paradoxical, Metaxy, Sincerity and Irony at the same time”
Doris Ng 吳玳誼 (HK)

The series of three portraits are icons of what the artist looks up to with a vast chasm. Growing up in a religious context, Mother Mary and other female holy figures were regarded as the embodiment of one should inherit. In reality, it is the beauty, battle and darkness of the world from which shapes the artist.

—————

Doris Ng -mixed media artist at Hart Haus and Tung Nam Lou Art Hotel, Hong Kong. She specialises in symbols, bold colour and geometries composition to form rich textured visuals. Art trained since age 5, her brush is an extension to her body. She traveled and lived in various cities, inherited diverse cultural influences to address personal and social issues with multiple perspectives, translated in her artwork- painting, sculpture, photography and text-based expressions.

She also works extensively in art and cultural community projects with The Lok Sin Tong Benevolent Society Hong Kong, Hong Kong Planner Institute, K11 MUSEA Nature Discovery Park, HART, Aroma Office, HandsOn Hong Kong etc.

She co-founded LIN 𢆡 LIN ( social art initiative) and manages graffiti_nexus (graffiti and cultural connotation). Her exhibited work in 2021 includes 999000110112, Gate, Hang, Signage of Reflex I.

吳玳誼 -多媒體藝術家 ，現駐場 Hart Haus 和東南樓藝術酒店。藝術風格大膽用色，多層次畫面，讓觀衆自身體驗及解讀畫面上的綫索。自五歲接受藝術訓練，吳氏的筆猶如她肢體一部分。她多年居住在多個城市，深受不同文化和多角度探討個人情感和社會議題，作品結合繪畫，雕塑，影像和文字。其作品彰顯獨特風格。

吳氏從事文化項目及藝術教育，合作單位包括：九龍樂善堂，香港規劃師協會， K11 MUSEA Nature Discovery Park，HART， Aroma office，HandsOn Hong Kong 等。

2021展出作品包括 《999000110112》 ， 《閘》 ， 《掛》，《本能的燈箱 #1》，始2021年經營文化平台 Instagram @graffiti_nexus 街頭塗鴉與社區文化研習，始2021年聯合創辦藝術項目 LIN 𢆡 LIN 探討社會和身體禁忌議題。

Website | Instagram

—

The Unknown 未知
Oil on canvas 油畫（帆布）, 2021
“Diving into the unknown is incredibly daunting, yet the most courageous act one could live for”
Deborah Leong 梁令怡 (MO/US/HK)

The idea for “The Unknown” was fabricated during Deborah’s 14-days quarantine in her hometown, Macau. Rarely in her life has she experienced company of the self at such a repetitive pattern, frequency and intensity. Prior to this piece, there were countless failed attempts in developing an image of herself irrespective of mediums. In “The Unknown”, she chose to work directly on a blank canvas with solid oil painting sticks. Each stroke simulates direct reflex of her feelings towards herself, as expressed in lines, colors and composition. Action is passive and dependent on her connection with the self at the spot and timing of each stroke varies from seconds to hours of sitting and staring in stillness. This expressive method brings her back to her childhood days, drawing in crayons without complex thoughts, processes and plans, the most precious and beautiful gift she has safe kept into her adulthood.

「潛入未知是一個人可以為之而活，最恐懼也最勇敢的行為」

「未知」的靈感來自於梁令怡在家鄉澳門進行的十四天隔離。這段日子不斷重複的生活模式、自我對話的頻率和強度是她生命中的少有經歷。在「未知」成為一個作品之前，不論透過什麼媒體她也無法以自畫的形式把影像勾畫出來。對於「未知」，她選擇直接在一塊空白的畫布上用固體油畫棒進行創作，每一筆都是直接反射、都模擬了她對自己的感覺，以線條、顏色和結構來呈現。每一筆都是被動的，取決於畫者跟自我臨場的聯繫；靜坐凝視，下筆的頻率從幾秒鐘到幾小時不等。這種富有表現力的方法讓她回到了用蠟筆繪畫的童年時代，不用複雜的計劃和過程就可以恣意畫畫。這對她來說，是她成年後最珍貴、也最美麗的體驗。

Deborah creates large-scale paintings. Her work channels notions of energy buried in subtle ordinary living, symbolized by inner fights and consistent struggle to find herself. Deborah often presents settings that explore the universal themes of hope and notions of dream.

梁令怡擅長創作大型油畫。她的作品傳達了隱藏於平凡生活中微妙的能量概念，象徵著自己內心的矛盾以及尋找自我的旅程。梁令怡的作品經常呈現探索希望的普世主題和對夢想的追求。

Website | Instagram

—

better luck next time
Mixed Media on sneaker 球鞋上的混合媒介
”ridiculous, sneaker art, social status, up-cycling, trend”
KC Wong 黃家銓 (HK)

KC Wong, A multi-discipline artist, KC Wong has been involved in illustration & animation production, visual merchandising and art creation. KC has worked on commercial visual communication projects with companies in both Hong Kong and China. KC is the founder of “Sick Sick Creation"" - a creative agency focusing at story-telling, as well as brand building.

KC brings a depth of experience in visual communication to his creations, with a BA (Hons) in Design and Visual Communication (Hong Kong Polytechnic University, 2003), and qualifications in Advertising Design and Computer Art and Design."

多元設計師及獨立短片導演，從事設計及藝術創作近20年，KC由視覺營銷，產品展示，品牌推廣，大學兼職導師，插畫及動畫製作都曾涉獵，與各大小品牌，媒體合作，積極展示其多變的創作。除了突破傳統商業的展示模式，他更將之傳譯為生活化的設計思維， 出任香港浸會大學持續教育學院兼職導師，主理＜時尚商品展示設計＞ 課程。近年創辦了悉式創作，主張以的story-telling方式呈現及建立品牌形象。

Facebook | Instagram

—

"It may not be enough to look at surface I love. Or parts adjacent."
Title borrowed from a line by Rosmarie Waldrop 作品標題引用自 Rosmarie Waldrop
mixed media on paper and wooden boards 紙、木板上的混合媒介, 2021
”poetry, text-image, culture, desire, queerness?”
Nicholas Wong 黃裕邦 (HK)

Nicholas Wong's poetry collections include Crevasse (Kaya Press, 2015) and Besiege Me (Noemi Press, 2021)

黃裕邦，本地詩人，詩集包括《天裂》（Kaya Press，2015）和《Besiege Me》（Noemi Press，2021）

Instagram

—

Studies; Say Your Piece
projector installation, paper, recycled styrofoam, ink 放映裝置、紙張、回收發泡膠、墨, 2020-21
”architectural, interactive, socio-cultural, analytical, black and white”
Sierra Chiao (HK/US)

Sierra Chiao is a senior at Wellesley College, Massachusetts, studying art, computer science, and a little philosophy. She spends her time thinking about digital and physical spaces, and can't ever seem to get enough sleep. Here she presents the study of two publics – the visual forms of public housing communities, and the characteristics of a community's public forum – the latter of which, she invites your active participation with. Her home is Hong Kong and the people within it.

Sierra Chiao 是馬薩諸塞州威爾斯利學院的一名大學生，學習藝術、電腦科學和一點哲學。她思考數字和物理空間，似乎永遠無法獲得足夠的睡眠。她在這裡展示了對兩種公眾的研究—公共住房社區的視覺形式，以及社區公共論壇的特徵。她邀請您積極參與後者。她的家是香港和當中的人。

Instagram

—

The winter recital
oil on canvas/linen 油畫（帆布和亞麻畫布）, 2021
93 x 61 cm
Underneath Muddy Waters
oil on canvas/linen 油畫（帆布和亞麻畫布）, 2021
100 x 50cm
”surreal, expressive, immersive, subconcious, kinetic”
Vickie Li 李敬儀 (HK)

Vickie Li, a hong kong based artist, continues her works in the portrayal of preserving innocence within a desire for power. Rooted in her artistic process and spiritual practice, she presents her first exhibition of abstract figurative paintings of memories— a state of mind, feeling or thought—told anew. The artist’s interests are in the objects a child might physically collect and recollect when developing new experiences. In this series, flowers and shells became the motifs that govern Li’s style. These immersive paintings are visual narratives born through her imagination and dreams.

香港藝術家李敬儀持續描繪在權力的渴望中保持的純真。植根於藝術過程和精神實踐，她的抽象畫從視覺上表現和重組記憶—心境、感覺或思想。她的興趣在於小孩會回憶或收集的東西，當中她用視覺敘事中的無限想像力美化和吞噬它們。她身臨其境的畫作誕生於夢想和超現實的風景。

Instagram

—

untitled_excesstears_tg_tst_1
acrylic, oil, ink and reflective pigment on canvas, 90 x 60 x 4.5cm; 油畫（亞麻畫布）, 2021
”Zukunft, tragedy, glitch, 念想, anthropocene”
Wu Jiaru 吳佳儒

WU Jiaru (b.1992) obtained her BA in Fine Arts and English Language from Tsinghua University in 2014, and her MFA from the School of Creative Media at City University of Hong Kong in 2017. She experiments with imagined spaces and social norms in forms of installation, moving images, sculpture, painting, image synthesis. Wu’s practice covers topics including literature, mythology, romantic relationships, technology and futurology, etc. Wu Jiaru currently works and lives in Hong Kong.

吳佳儒2014年於清華大學獲藝術與英語學士雙學位，並於2017年取得香港城市大學創意媒體碩士學位。她以裝置、雕塑、繪畫、渲染圖像等形式實驗於想象空間與社會現象之間。其作品涵蓋廣泛，包括文學、神話、羅曼蒂克關係、科技和未來學等。

Website | Instagram

—

Ephemeral Eternity
Upcycled dress 升級再造的長裙, 2021
”Textile, fluidity, upcycling art”
Yasmina Viale-Fraine (FR)

Hong Kong–based fashion designer and textile artist Yasmina Viale-Fraine layers dying, hand-beading and embroidery to create whimsical, raw depictions through wearable art, soft sculpture. Like many textile artists, she started off by creating fabrics that were purely practical use. It is only in the past few months that she has changed her approach and become more liberal and curative with her art. For her, textile art is a means of answering questions regarding the altered state of naturals on one hand, and in the other hand upholds the experiences of contemporary female life through an ancient art form.

香港時裝設計師兼紡織藝術家 Yasmina Viale-Fraine 將染色、手工串珠和刺繡分層，通過可穿戴藝術和軟雕塑創作奇幻而原始的描繪。像許多紡織藝術家一樣，她最初創作純實用的布料；但在過去的幾個月裡，她改變了創作的方法，以藝術變得更加自由和治愈。對她來說，紡織藝術一方面是回應自然狀態的改變，另一方面通過古老的藝術形式來維護當代女性的生活體驗。

Instagram

—

Lin𢆡Lin
Installation, video, prints, texts 裝置、影片、印刷、文字, 2021
”Socio-cultural”
Doris Ng 吳玳誼 (HK) & Yasmina Viale-Fraine (FR)

Once upon a time, we didn't hide our nipples, so did branded dolls til the 60s.

LIN 𢆡 LIN is a social art initiative co-founded by Doris Toi-yee Ng and Yasmina Viale-Fraine.

As artists, we want to open dialogue for the sexualisation of nipples. Unwanted dolls are our medium.

‘There is a link to how we see dolls that we see ourselves’, we observed.

There is a paucity in diversity and realistic body anatomically correct dolls we need to address

The human body is presented in a way that may change the perspective of the audience’s view on oversexualised body features through dolls.

These playful and zesty visuals and texts expose the social convention on how nipples are perceived.

—————

Lin𢆡Lin is a social art initiative co-founded by Doris Toi-yee Ng and Yasmina Viale-Fraine. The human body reality is presented in a way that may change the perspective of the audience. Our art project begins with acquiring unwanted dolls that are nipples embellished. We use facts, playful and zesty visuals to expose the social convention on how nipples are represented.

Lin 𢆡 Lin 是由吳玳誼和 Yasmina Viale-Fraine 共同創立的一項社會藝術計劃。人體現實的呈現方式可能會改變觀眾的視角。我們的藝術項目開始於購買帶有乳頭裝飾的回收布偶。我們使用事實、俏皮和熱情的視覺效果來揭示社會如何表達乳頭。

Instagram

Work Title 作品名稱

Untitled 《無題》
Mixed media and embroidery on canvas 混合媒介和畫布上的刺繡
200 x 130cm
2021

Do memories take up physical space? Why do we remember so clearly some things and some people but completely dismiss others? With this work the artist explores some of her own memories and questions the relevance they have on her life as well as the accuracy of her recollections.

記憶會否佔用物理空間？ 為什麼我們如此清晰地記住一些人和物，卻完全忽略了其他事物呢？ 這個作品中藝術家們探索了自己的一些記憶，並對她自己的生活，以及回憶的準確性提出了疑問。

Artist Biography 藝術家介紹

Ane Alfeiran (MX)

Ane is a self-taught Mexican artist who, from a young age, found an escape in art and a forum in which to express her feelings, hopes and fears. As someone who continues to travel the globe, Ane draws on inspiration and technique from the different cities and cultures she has experienced. Ane takes us into the emotional world of each of her subjects, making each painting stand out with its own individual story. Through a deep personal connection present in her compositions, she aims to stimulate the viewer’s feelings and imagination and encourage them to create their own interpretation of what the art means to them.

Ane 是個自學成才的墨西哥裔藝術家，年輕時已發現從藝術中尋找到歸宿解放、表達到她的感受、希望與恐懼。她周遊列國，所體驗的種種不同文化啟發她現在繪畫採納轉化的技巧。畫中主題要角每每引人入勝、領導每個人進入其情感世界，每幅畫就能獨立講述一個故事。透過作品結構所表現的深層個人連繫，Ane 希望能激發觀眾情感和想像、鼓勵大家創造和演繹藝術的意義。

Work Title 作品名稱

Artist's Dining Table
Acrylic, enamel on canvas, plastic glove, vinyl sticker, clay, resin, sweet potato, plastic grape 塑膠彩，畫布上的搪瓷，塑料手套，乙烯基貼紙，黏土，樹脂，地瓜，塑料葡萄
85cm x 152cm
2017

It’s like any other Wednesdays, she goes to work at 9a.m as usual. Made a coffee, stared at Instagram for an hour for the latest trend then start off work by checking her email. Lunch is the regular block of cheese washed down with a glass of freshly squeezed lemonade. Follows by the routined work of hassling people and replying more emails. Work finishes at 6pm. Then she goes home, fixes dinner, stares at it, goes to bed. The day starts again.

有如其他星期三，她如常早上九點上班。她煮了咖啡，盯著Instagram一小時了解最新潮流，然後查看電郵開始工作。午餐是普通的芝士塊，隨後是一杯鮮榨檸檬汁。接著是催促人們和回覆更多電郵等的例行人作。工作於下午6時結束。然後她回家，準備晚餐，盯著它，上床睡覺。 一天又開始了。

Artist Biography 藝術家介紹

Amy Tong 唐嘉欣 (HK)

Amy Maria Tong is known for her abstract experimentation on possible scenarios. Her work is often a collage of idealised, multi-layered scenarios, expressing the emotional traces from her daily encounters with society. Treading around the realm of truth, rituals, and absurdities, Tong creates textured environments to explore the complexity of human emotions within surrealist settings.

唐嘉欣擅長以抽象實驗手法探討充滿可能性的多種情境。她的作品經常拼貼理想化並多層次的境遇，描繪在社會中日常遭遇的情感踪跡。遊走於真實、儀式、和荒謬的邊界，Tong 於超現實的框架下創造了富質感的環境，探索人類情感的複雜性。

Work Title 作品名稱

Nothing needs to be carried away 《什麼也不用帶走》
Suitcase, trolley, paint, plaster, silicone, coating, spray 手提箱，手推車，油漆，石膏，矽樹脂，塗料，噴霧
2021

I started Project Declutter to say goodbye to the past and flush away the unnecessaries and bygones and hence I transform, reconstruct and repaint all the sleeping objects into new forms. Later on I realised mankind was just a passenger of our own life: we didn’t carry anything into this world and hence we couldn’t carry anything leaving this world. An empty luggage represents the lightness when you are able to offload all the weights of life. The question is whether our memory will stay behind or follow, hop on or hop off ?

我一直都在思考和研究生命中事物的斷捨離，如何說再見，如何撕走所有的不必要，如何只 剩下最簡單的「本來無一物」，那放手的留下來的又可不可以賦予新的意義和型態。後來我 發現我們都是生命的過客，我們不停的往生命的行李安装和卸載東西，結果什麼也帶不走， 和我們來這個世界的時候一樣。一個空的行李代表著跌宕過後生命的輕和捨去的沈重，問 題是我們意識中的意義還跟隨著嗎?

Artist Biography 藝術家介紹

BH (HK)

BH is a slashie mutant who is interested in observing various living forms and patterns, contextualising and recasting them with new suggested meanings through contemporary paintings. It is also a monologue process to identify his own form, understand the relationship between his own formation and other forms of relationships, as well as to navigate the impact and value of his existence to society. He believes the best way to characterize himself would be the egg itself.

BH是變種斜槓男，跨界身份、雙重生活，喜愛用當代繪畫形式來重塑各種生命形態和模式，賦予新的場景和意義。這同時也是一種自我獨白，讓他識別和贖回自身的形態，以及探尋他的存在對社會的影響和價值。他深信任何事物取之所需用之恰當最終都可以成為畫材。

Work Title 作品名稱

The Cast of Bittersweet 苦中作樂
Plaster, Reisin, Silicone 石膏，樹脂，有機矽
2021

Everyone in the year of 2020 learns how to find space and the positive responses during the environmental challenges and difficulties. I believe the flip side of bitterness is always sweetness and hence the negative space of a positive resistance would be beautiful.

2020至今是叫人困惱的一年，大家都在環境的挑戰當中尋求正面回應和適時的生存空間。 百味紛陳，人們自然會在苦難中自得其樂，負空間也有其美麗之處，看你怎麼看。

Artist Biography 藝術家介紹

BH (HK)

BH is a slashie mutant who is interested in observing various living forms and patterns, contextualising and recasting them with new suggested meanings through contemporary paintings. It is also a monologue process to identify his own form, understand the relationship between his own formation and other forms of relationships, as well as to navigate the impact and value of his existence to society. He believes the best way to characterize himself would be the egg itself.

BH是變種斜槓男，跨界身份、雙重生活，喜愛用當代繪畫形式來重塑各種生命形態和模式，賦予新的場景和意義。這同時也是一種自我獨白，讓他識別和贖回自身的形態，以及探尋他的存在對社會的影響和價值。他深信任何事物取之所需用之恰當最終都可以成為畫材。

Work Title 作品名稱

Let’s talk about the weather 《談天氣》

“Every child is an artist. The problem is how to remain an artist once we grow up.” 

– Picasso

When “work from home” became the norm, my friends regularly post photos of Hong Kong’s sunny sky on our social media group. It’s quite a nice way to keep in touch with friends when we run out of interesting things to say. The rainy days brought back my childhood memories of this subtropical city. Back then we had to line up and walk home from school. We created our own Songkran Festival on our way every day. Armed with a few umbrellas and training in the meditative Zentangle technique, I tried to visit that feisty child within.

在家上班的朋友每天在群組裡貼上風和日麗的天氣照片互相問候，代替循環不息日出日落的話題。雨季來了，喚起濕漉漉的童年回憶，那時排隊放學步行回家，一班小學生天天在路上自製潑水節。現在隨手拿起一把雨傘，藉著隨意的禪繞畫，洗滌心靈，釋放心中的頑童。

Artist Biography 藝術家介紹

Cindy Chan 陳樹貞

Cindy Chan is a film veteran with solid and diverse experience in international film institutions. She also started nurturing the next generation in films schools Hong Kong in these years. With her film knowledge, Chan applied her concept and skills into artwork, creating a unique direction of Zentangle inspired arts and meditative oriented direction. She recently participated at the Hong Kong Affordable Art Fair in 2018 and 2019 consecutively.

陳樹貞是一位電影學者，多年來工作和學業都是關於電影，本科、碩士及博士均主修電影，曾任職於香港國際電影節及當香港電影資料館口述歷史特約採訪員，曾任教於台灣及美國電影學院，專注研究電影工業發展歷史。近年深受禪繞畫的啟發，創作以冥想為主導的畫，在嚴肅的學術研究外，重拾孩童創作的樂趣。

她分別於2018年和2019年參加了Hong Kong Affordable Art Fair。

Work Title 作品名稱

Tree of Life 《生命樹》

Zentangle drawing

Artist Biography 藝術家介紹

Cindy Chan 陳樹貞

Cindy Chan is a film veteran with solid and diverse experience in international film institutions. She also started nurturing the next generation in films schools Hong Kong in these years. With her film knowledge, Chan applied her concept and skills into artwork, creating a unique direction of Zentangle inspired arts and meditative oriented direction. She recently participated at the Hong Kong Affordable Art Fair in 2018 and 2019 consecutively.

陳樹貞是一位電影學者，多年來工作和學業都是關於電影，本科、碩士及博士均主修電影，曾任職於香港國際電影節及當香港電影資料館口述歷史特約採訪員，曾任教於台灣及美國電影學院，專注研究電影工業發展歷史。近年深受禪繞畫的啟發，創作以冥想為主導的畫，在嚴肅的學術研究外，重拾孩童創作的樂趣。

她分別於2018年和2019年參加了Hong Kong Affordable Art Fair。

Work Title 作品名稱

Heliocentrism
Butane, brass and compressed air on wood panel 丁烷，黃銅和木板上的壓縮空氣
2021

Artist Biography 藝術家介紹

Damian Boylan (UK)

Damian Boylan became a scientist, and completed a Master’s degree (MEng) in Aerospace Engineering, long before turning to art. Those early beginnings pervade his work, which is multidisciplinary in range, including Painting, Photography, Videography and Sound. His methodology is more akin to scientific investigation. Boylan experiments with fundamental physical phenomena, and expands upon them, presenting the result to the viewer as art. The intent of his work is about something fundamental and perpetual. In essence, it is an unearthing of the very building blocks of this universe.

Damian Boylan 是個在香港居住了 10年的藝術家。他是個擁有正式數學及科學訓練背景、航空航天工程碩士畢業生。 設計強項範疇包括複合材料，空氣動力學，有限元分析（FEA）和計算機輔助設計（CAD）。他的多媒介藝術創作廣泛地研究物理現象與物理化學的相互作用影響。

Work Title 作品名稱

Hanging 《掛》
Ink, Acrylic 水墨，塑膠彩
68 x 138 cm (Set of two 兩幅畫)
2021

Incorporating Chui’s exceptional calligraphic quality and Ng’s rich colour composition, the artwork is a daring attempt for both. The pair began painting the Hong Kong household staples- salted fish and dried bok choy, only ending up with a monk holding a hanger and a landscape with King Kong in the sky. The absurd visuals recount what happened when the two collide- a rare harmony. This is the first collaborative work between Doris Ng and Pui Chee Chui, featuring the artists’ distinctive styles. This collaboration is influenced by their pair up in the curation of the Hart Haus’ Ur Resilience art journey, where the two confront their art practice and search for common/ conflicting elements in their life and artmaking process since 2021.

結合徐沛之卓越的書法和吳玳𤦌豐

John Fennell (US)

What I notice here, especially just in this space, and in some of the exhibits I've been to, you know, there's an interest in the conceptual (art), a big interest in conceptual (art). The studio where I've been working is less conceptual and more painterly. It has more to do with the location than anything else. And where I live is opposed to major trends in American art. Because I think in American art, what we're seeing is a lot of conceptual work. We're also seeing a lot of painterly work, and we're seeing a resurgence of the figurative work. And so presently, you know, art is almost anything, you know. There are so many different avenues for which an artist can pursue work. I don't think that's much different here. In general, when visiting the galleries here, I'm seeing work from across the world. And that's very exciting, I've seen, of course, because of the nature of China. And that's happening in New York, too. But Chinese painters are quite in vogue in capturing a lot of Mainland China, and they're capturing a lot of interest of the public. So, but I see that here, too. So those trends remain the same that I'm saying. But in general, you know, I mean, there's like in here, there's just such a variety of different kinds of work that's going on. And I think that generally reflects the market, generally reflects the trends in American art.

There’s a Mexican born artist, and there is one from the UK, from the United States, from Singapore, from all over. so that's, I think, a real asset to the organization that you're seeing, that you're accepting people from all over. I think that's really good. Because, you know, the more we learn from each other, I think, and the better of art in general, and more creative we become by learning from other cultures. What I've sensed, you know.

I've been a landscape painter for a long time, and I've been interested to see what kind of new work that I could find within myself. In this direction that I've taken here, there's a certain, whether it's partly me, partly this, this environment or whatever. But my work has taken a different term that I'm producing some works that are fresh to me, that are different for me. I'm not sure they're good. But I know that there's a different direction. And maybe I feel a sense of freedom here to be able to do that. So that is a very positive direction for me that I feel a new sense of creativity and I'm not locking myself. I'm just allowing that, weather HART Haus, weather Hong Kong, whether my own sense of creativity, combining together to do that. Something's happening, I know. I appreciate that I've enjoyed meeting people in that center.

I'm used to working on my own in my own studio, and then going out to talk with people around when I feel like it. But in this case, people are very respectful of other artists. And so, if I'm, you know, if I'm concentrating, if I'm working, nobody bothers me. So that's good. Now, do I wish sometimes that I had one of those other spaces along the side? Yes, I do. But there are benefits also of being in the social space. I think, bringing in the public in as many ways as you can would be very beneficial for both the artists and for HART Haus Itself. And I think for recognition among other art organizations, I think the more you can open yourself up to the public into the art, into the art community that would be beneficial. And that's what I mentioned about bringing in other working artists to talk with the group here. Because of that, it fosters a communication, you know, between HART Haus and other working artists. And other working artists could come to get to see here and see what other people are doing. And those are, I think good things for everybody, for the community, for the city or HART Haus.

我留意到，特別是在這個空間裡，在我參加的一些展覽中，人們對概念很感興趣。我工作的工作室沒有很強調概念性，更多的是繪畫性。我不知道這是不是和地點的有比較大的關係。我住的地方是美國主流藝術的對立。我認為在美國藝術中，我們看到有很多概念性的作品，還有很多繪畫作品，以及具象作品的復興。所以現在，藝術幾乎是任何東西。藝術家有很多不同的途徑去追求他們的藝術創作。我覺得在這裡也是這樣。總的來說，當我參觀這裡的畫廊時，我看到了來自世界各地的作品。這非常令人興奮。我們能看到很多中國的特點。在紐約也能看到多樣化的作品，但是中國畫家更熱衷於捕捉中國大陸的場景，也吸引了很多公眾的興趣。在這裡我也看到類似的趨勢。這些趨勢和我說的一樣差不多。但總的來說，這裡有很多不同類型的作品在進行。我認為這大體上反映了市場，反映了美國藝術的趨勢。

這裡有出生在墨西哥的藝術家，也有來自英國、美國、新加坡、世界各地的藝術家。所以，我認為這是一個組織真正的資產。你可以接觸來自各地的人。我覺得這很好。因為我們彼此學習得越多，藝術在總體上會越來越好。我們通過學習其他文化而變得更有創造力。我已經感覺到這些變化。

我一直在畫風景畫，也很想看看我能在自己身上找到什麽樣的新作品。在我的這個方向上，有一種確定的感覺，一部分是我，一部分是這個環境或者其他什麽。但我的作品采用了不同的風格，我創作了一些對我來說新鮮的作品，不一樣的作品。我不確定它們是好是壞，但我知道有一個不同的方向，我能在這裡感受到一種自由的感覺。所以這對我來說是一個非常積極的方向，讓我感受到一種新的創造力，而不是把自己封閉起來。我希望將不管是 HART Haus、香港，還是我自己的創造力結合在一起。這已經開始並正在進行。我很喜歡在那個中心認識不同的人。

我習慣於在自己的工作室裡獨自工作，只有在我喜歡的時候，我才出去和周圍的人交談。而在這裡，人們非常尊重其他藝術家。我在專心工作的時候，沒有人打擾我，這很好。如果你問我，我是否偶爾會希望有一個其他的藝術空間，我會回答是的，我會。在社交領域也有好處。我認為，通過盡可能多的方式讓公眾參與進來，對藝術家和 HART Haus 本身都是非常有益的。我認為你越能向公眾開放，進入藝術領域，進入藝術社區，就越能獲得其他藝術組織的認可，這將是有益的。這就是我提到的邀請其他藝術家來這裡和我們交流的原因。正因為如此，它促進了 HART Haus 和其他藝術家之間的交流。其他藝術家可以來這裡看看其他人在做什麽。我認為這對每個人、對社區、對城市、對 HART Haus 都是好事。

Yasmina Viale-Fraine (FR)

I’m Yasmina. I'm a fashion designer specialized in occasional wear. I do mostly bridal and evening wear, all bespoke and hand made In Hong Kong.

I decided to join HART a few months ago, because it's an artistic place. And I thought as a designer, you infuse some arts in your, in your design. You're not necessarily an artist, but you infuse arts in your design. And I thought that could be a good place to collaborate with other artists, young or old painters, sculpturers, photographers, whatever. Design is all about all of those.

So, after coming to HART, I had the occasion to collaborate with some of my artist friends. I had the occasion to work with Michele (Michele Chu), for instance, who got to me initially just for a fabric as a fabric consultation. We got along. And I quickly understood that she needed some help in fabric knowledge. And one idea after another, I found out myself. And I proposed my help in helping her in her project. And it was really interesting. I had another occasion with Noemie (Noemie Clavier). She's a multi-art artist, multi-medium. And it's all about embroidery that we make more conceptual. I'm an embroidery artist myself, and I had a lot of fun working with those two girls. And a third one called Cindy (Cindy Chan), a specialist in Zentangle. And we mixed our two odds, the fashion and the Zentangle that we showcased in a few days at HART Haus.

A typical day at a HART Haus is that first, I start quite early in the morning. It's quiet. I meet cockatoo, I have my tea. But I mostly take some time to observe my environment, which is part of my inspiration. It's HART Haus. I'm looking enough. I have a big window, from which I can see those cockatoo birds, trees, buildings. That is a typical landscape in Hong Kong. As a Parisian, I find some common point, places as well. And it depends on the days, either I do pattern making, either I sew, or I'm just drawing. Sometimes I'm just spending my time talking with my neighbors, which is also an inspiration. And every time. It leads to nice ideas and collaboration.

I like to add that, I was expecting a diversity of profile when I joined HART Haus. I'm very nicely surprised to have such a diverse audience in terms of artists, calligraphers, painters, cultures. And I really wish. It's really inspirational on a daily basis, even though I don't work with them every day. I wish to do some collaboration later and to share knowledge and fun all together.

我叫Yasmina。我是專門設計宴會服裝的時裝設計師。我主要在香港做定制和手工制作的新娘裝和晚裝。

我幾個月前開始加入HART，因為那是一個充滿藝術氣息的地方。我認為作為一個設計師，需要在設計中注入了一些藝術。你不一定是藝術家，但你可以在你的設計中注入藝術。我認為那是一個和其他藝術家合作的好地方，年輕的或年長的畫家、雕塑家、攝影師等等，涉及到設計的方方面面。

所以，在來到HART之後，我有機會和一些藝術家朋友合作。例如，我認識了Michele（朱凱婷）並和她一起工作。她一開始找我是來咨詢一種布料。漸漸地，我們相處得很愉快。我很快意識到她需要一些布料知識方面的幫助。於是我去搜集資料並給她很多建議，並幫助她完成她的項目。這真的很有趣。我還認識了Noemie（Noemie Clavier）。她是一個多元藝術家，多元媒體方面的。我們一起研究刺繡並使其更概念化。我自己也是一名刺繡藝術家。我和這兩個女生一起工作有很多樂趣。還有一位叫Cindy（陳樹貞），是禪纏藝術家。我們把各自的特長結合，在HART Haus展示了我們的服裝和禪結藝術。

在HART Haus，我日常的一天一般是這樣的。我早上很早就開始工作，周圍都很安靜。我會看看鳳頭鸚鵡，喝杯茶。然後，我通常會花一些時間觀察周圍環境，這是我靈感的一部分。在HART Haus裡，我仔細觀察四周環境。我有一個大窗戶，從那裡我可以看到那些鸚鵡、樹、建築。這是香港的典型景觀。作為一個巴黎人，我也在這裡找到了一些共同點。另外，我每天的工作內容可能會不一樣。我可能在做樣板、或縫紉、或畫畫。有時我只是和鄰居聊天，這也是一種靈感來源。每一次都能帶來了很好的想法和合作。

我想補充一點。當我加入HART Haus時，我期待有一個多元化的環境。我很驚訝有這麽多背景不同的觀眾，有藝術家、書法家、畫家，來自不同文化背景，正如我所期待的那樣。雖然我不是每天都和他們一起工作，但這真的給我的每天都帶來靈感。我希望以後能實現一些合作，一起與他們分享知識和樂趣。

Yasmina Viale-Fraine (FR)

I’m Yasmina. I'm a fashion designer specialized in occasional wear. I do mostly bridal and evening wear, all bespoke and hand made In Hong Kong.

I decided to join HART a few months ago, because it's an artistic place. And I thought as a designer, you infuse some arts in your, in your design. You're not necessarily an artist, but you infuse arts in your design. And I thought that could be a good place to collaborate with other artists, young or old painters, sculpturers, photographers, whatever. Design is all about all of those.

So, after coming to HART, I had the occasion to collaborate with some of my artist friends. I had the occasion to work with Michele (Michele Chu), for instance, who got to me initially just for a fabric as a fabric consultation. We got along. And I quickly understood that she needed some help in fabric knowledge. And one idea after another, I found out myself. And I proposed my help in helping her in her project. And it was really interesting. I had another occasion with Noemie (Noemie Clavier). She's a multi-art artist, multi-medium. And it's all about embroidery that we make more conceptual. I'm an embroidery artist myself, and I had a lot of fun working with those two girls. And a third one called Cindy (Cindy Chan), a specialist in Zentangle. And we mixed our two odds, the fashion and the Zentangle that we showcased in a few days at HART Haus.

A typical day at a HART Haus is that first, I start quite early in the morning. It's quiet. I meet cockatoo, I have my tea. But I mostly take some time to observe my environment, which is part of my inspiration. It's HART Haus. I'm looking enough. I have a big window, from which I can see those cockatoo birds, trees, buildings. That is a typical landscape in Hong Kong. As a Parisian, I find some common point, places as well. And it depends on the days, either I do pattern making, either I sew, or I'm just drawing. Sometimes I'm just spending my time talking with my neighbors, which is also an inspiration. And every time. It leads to nice ideas and collaboration.

I like to add that, I was expecting a diversity of profile when I joined HART Haus. I'm very nicely surprised to have such a diverse audience in terms of artists, calligraphers, painters, cultures. And I really wish. It's really inspirational on a daily basis, even though I don't work with them every day. I wish to do some collaboration later and to share knowledge and fun all together.

我叫Yasmina。我是專門設計宴會服裝的時裝設計師。我主要在香港做定制和手工制作的新娘裝和晚裝。

我幾個月前開始加入HART，因為那是一個充滿藝術氣息的地方。我認為作為一個設計師，需要在設計中注入了一些藝術。你不一定是藝術家，但你可以在你的設計中注入藝術。我認為那是一個和其他藝術家合作的好地方，年輕的或年長的畫家、雕塑家、攝影師等等，涉及到設計的方方面面。

所以，在來到HART之後，我有機會和一些藝術家朋友合作。例如，我認識了Michele（朱凱婷）並和她一起工作。她一開始找我是來咨詢一種布料。漸漸地，我們相處得很愉快。我很快意識到她需要一些布料知識方面的幫助。於是我去搜集資料並給她很多建議，並幫助她完成她的項目。這真的很有趣。我還認識了Noemie（Noemie Clavier）。她是一個多元藝術家，多元媒體方面的。我們一起研究刺繡並使其更概念化。我自己也是一名刺繡藝術家。我和這兩個女生一起工作有很多樂趣。還有一位叫Cindy（陳樹貞），是禪纏藝術家。我們把各自的特長結合，在HART Haus展示了我們的服裝和禪結藝術。

在HART Haus，我日常的一天一般是這樣的。我早上很早就開始工作，周圍都很安靜。我會看看鳳頭鸚鵡，喝杯茶。然後，我通常會花一些時間觀察周圍環境，這是我靈感的一部分。在HART Haus裡，我仔細觀察四周環境。我有一個大窗戶，從那裡我可以看到那些鸚鵡、樹、建築。這是香港的典型景觀。作為一個巴黎人，我也在這裡找到了一些共同點。另外，我每天的工作內容可能會不一樣。我可能在做樣板、或縫紉、或畫畫。有時我只是和鄰居聊天，這也是一種靈感來源。每一次都能帶來了很好的想法和合作。

我想補充一點。當我加入HART Haus時，我期待有一個多元化的環境。我很驚訝有這麽多背景不同的觀眾，有藝術家、書法家、畫家，來自不同文化背景，正如我所期待的那樣。雖然我不是每天都和他們一起工作，但這真的給我的每天都帶來靈感。我希望以後能實現一些合作，一起與他們分享知識和樂趣。

Amy Tong (HK)

I joined HART Haus because an artist friend of mine introduced me to the studio, and then I joined HART Haus.

In addition to being an artist, I also do freelance design, brand building, and sometimes teach yoga. I think it's all part of my income as an artist, and it also motivates me to do more outsourcing work. When I'm not feeling inspired, I will do a little yoga or do some handstands which helps me think more clearly.

I don't really understand what experimental means. Does it refer to an artist who will try anything or anything. I also like to try different media and express what I want to say in different ways. So I think I should also be an experimental artist.

My favorite medium is to paint by mixing some paint. If it's a sculpture or art installation project, I'll try different materials and media.

I felt that if I didn't do art, I would be in a crazy state. Because I think art is the best way to express myself, and many things can not be done by way of life or speech. I think it's not so straightforward to express these ideas or these ideas through art. After joining HART, I also had many new opportunities. For example, in the exhibition of Mind Project, they found me to join this joint exhibition through HART Haus. In the exhibition of Mind Project, they invited several HART artists such as Tap Chan and Wu Jiaru to participate in it, so HART gave us a lot of opportunities. And then there was Happen With HART with Sharu Binnong Sikdar last year, where there was a great exhibition area at H Queen's to show an art installation that we collaborated on.

I think HART gives us a lot of opportunities to meet different artists and try different things. Before I entered HART, I mainly focused on painting, but after I came here, I saw many people doing different things, so I wanted to attempt to use different media. I like the idea of Social Studio very much, because I think there will be more inspiration. There are many different artists working in the same venue and I feel that the vitality will influence each other to some extent. Sometimes we suddenly realize that several people are working on the same topic, or that several of us have similar ideas.

我加入HART Haus是因為之前我有一個藝術家朋友，他介紹我去加入這個工作室，之後我就加入了HART Haus。

除了做藝術家以外，我也有做特約的設計，品牌創建，以及有時會教瑜珈。我覺得這些都是補助我做藝術家的收入，以及它們也有激勵我做更多的藝術品。就是沒什麼靈感的時候，我就會做一點瑜珈，或者做一些倒立的動作，這會幫助我在想事情的時候思路更清晰。

我也不是很明白「experimental（實驗性）」的意思是什麼。是不是像是什麼都會嘗試一下，或者什麼都會試驗一下的藝術家？我也喜歡嘗試不同的媒介，用不同的方法去表達自己想說的東西。所以我應該也是experimental的藝術家。

我比較喜歡的媒介，畫畫就是油或者混合一些顏料這樣子。但是雕塑的話，或者藝術裝置的工作我就會想試不同的材料以及媒介。

我覺得如果我不做藝術的話，就會呈現一個瘋癲的狀態。因為我覺得藝術是最能夠表達自己的方法，以及很多東西是不可以由生活當中，還有講話的方式去做出來。我覺得通過藝術去做這些構思出來或者做這些想法出來，會沒有那麼直白。加入HART之後，也有很多新的機會。像是Mind Project這個展覽，他們就是通過HART Haus找到我去加入這個聯展，他們找了幾個HART的藝術家參加，例如陳沁昕和吳佳儒。所以HART給了我們很多機會。然後還有去年和Sharu Binnong Sikdar一起去做HAPPEN with HART，那在H Queen's有一個很好的展示區域去展示我們合作的一件藝術裝置。

我覺得HART給了我們很多機會去認識不同的藝術家以及嘗試不同的東西。我進HART之前也是比較專注於畫畫多一些，但進來以後看到很多人在做著不同的事情，那我就想向更多的媒介發展。嗯，我很喜歡匯舍這個想法，就是我覺得如果有很多不同的藝術家在同一個場地裡面做事會有更多靈感，以及我感覺到那些活力多少是會互相影響的。就是可能有時候我們會突然發覺，咦，原來有幾個人都在做著同樣的主題，或者想法很相似。

Ane Alfeifan (MX)

My name is Ane Alfeiran, I'm a Mexican artist based in Hong Kong, I grew up surrounded by art and making art. My mom is an artist, so I was always involved in the arts and looking into museums, different artists and art history. So, I grew up. I guess being an artist myself. I've traveled the world quite a lot because of different works I've done. I lived in Beijing before and then moved to Hong Kong and became a full-time artist about three years ago which is when I started putting my full efforts into my art and concepts to express what I wanted to express.

I chose to work at HART, because I was looking for inspiration and a community. Being an artist is a very lonely job, sometimes. You are very into your thoughts and into your artwork. And sometimes you forget to actually communicate with other people. And being a HART really helps with building a community, and bringing inspiration from other artists that you're working with, and expanding your sense of mind and your inspiration into completely different areas that you wouldn't think of if you're not in such close contact with other creatives. So, I thought it was a very good opportunity to learn from other artists and have a community and something to look forward to seeing every day.

I think the arts and culture atmosphere in Hong Kong is changing daily. From 8 years ago when I arrived in Hong Kong to now, the art community has evolved and changed a lot, I think it's still evolving, and it's still a long way to go. There is a lot of money in Hong Kong, which has brought art into the community and into the city. And there's new art, first, new galleries, that have come up in Hong Kong in the last eight years. However, I think, in the sense of a more underground and art community to develop emerging and new artists that are coming from university, there is still a long way to go. And there's still a lot of spaces needed. But you can always find some art in Hong Kong. It's something that you live with every day. There's a lot of street art. A lot of communities. It is just… we just need to look for them and not stay in the mainstream art markets.

Being a Mexican artist myself, I like to promote Mexican art. And I try to bring some of the Mexican styles, arts and colors into my own creations. And merge them with the cultures that I've known and experienced throughout my years of living abroad and travelling. I also support a lot of Mexican artists and try to help them as much as I can. However, it's difficult, I am a new artist myself. And so, it's a challenge. However, I've helped out a lot of Mexican artists to break into the Asian market. But last year, with Covid, it has been proven very difficult to create new projects and create new experiences for artists from Mexico to come to Asia. So hopefully in the next few years, we are able to do some more collaboration with Mexican artists.

If people want to participate more in art in Hong Kong, I would suggest them to just look for it. There are always exhibitions, always art performances happening in Hong Kong. Go to galleries. and if you're more interested in actually creating art, there are a lot of programs available. And they're not as widely known as maybe in other mainstream cities. But in Hong Kong, if you look for it, you can always find something. But first start by supporting the arts and getting yourself into the art community by meeting artists, find places like HART that have collaboration with artists, or just by going to galleries and gallery openings. You can always meet new people that can point you in the right direction of how to get involved into the artwork.

我叫Ane Alfeiran，是一個住在香港的墨西哥藝術家。我在藝術和藝術創作的環境中長大。我母親是一名藝術家，所以我總是參與藝術和參觀博物館、了解不同的藝術家和藝術史。我是在這樣的環境中長大的。我認為自己是個藝術家。因為我做過很多不同的工作，常常在世界各地旅行。我之前住在北京，然後搬到香港。大約三年前成為一名全職藝術家，這是我全力投入我的藝術和概念、表達我想要表達的東西的開始。對，大概是這樣。

我選擇在HART工作，因為我一直在尋找靈感和藝術社區。藝術家有時是一份很孤獨的工作。你過分關注自己的思想和藝術作品，有時候會很容易忘記人與人之間的實際交流。而HART切實地有助於建立一個社區，讓成員從其他藝術家那裡獲得靈感，並將每個人的思維和靈感擴展到完全不同的領域。如果你沒有與其他創意人員如此密切的接觸，你是不會想到這些領域的。所以，我認為這是一個很好的機會，可以向其他藝術家學習，成為一個社區的一員，每天都能看到一些新的東西。

我覺得香港的藝術和文化氛圍每天都在變化。從8年前我來到香港到現在，藝術界已經發生了很大的變化。我認為它還在不斷發展，還有很長的路要走。香港的經濟發達，把藝術帶進了社區和這座城市。在過去的八年中，香港出現了新的藝術，新的畫廊。但是我認為，對新型的、更地下的藝術社區的發展和來自大學的新藝術家來說，還有很長的路要走，而且還需要很多空間。但在香港，藝術隨處可見，每日可見。這裡有很多街頭藝術，很多社區，需要我們去發現它們，而不只是停留在主流藝術市場。

作為一名墨西哥藝術家，我喜歡推廣墨西哥藝術。我也試著把一些墨西哥風格、藝術和色彩融入到我的創作中，並將它們與我多年在國外生活和旅行中所了解和經歷的文化融合。我也支持很多墨西哥藝術家，盡我所能幫助他們。然而，對於新晉藝術家的我，這不是一件容易的事，這是一個挑戰。盡管如此，我還是幫助了很多墨西哥藝術家打入亞洲市場。然而去年的新冠疫情讓墨西哥藝術家到亞洲創作新項目、創造新體驗變得非常困難。所以希望在接下來的幾年裡，我們能夠與墨西哥藝術家進行更多的合作。

如果你想在香港更多地參與藝術，我會建議你去發現、去尋找這些藝術。香港有很多展覽和藝術表演。他們可以去美術館。如果你對藝術創作很感興趣，這裡有很多課程，雖然這些課程不像在其他主流城市那樣廣為人知。但在香港，如果你用心去找，你總能找到。首先你要支持藝術，讓自己通過認識不同的藝術家而進入藝術社區，找到像HART這樣與藝術家有合作的地方，或者也可以去參觀畫廊和參加畫廊的開幕。你總是可以遇到新的人，他們可以為你指明正確的方向，告訴你如何參與藝術創作。

Pui Chee Chui 徐沛之 (HK)

I got my undergraduate degree in the art department of Sun Yat-sen University. At that time, I had to learn everything as my school required. I, for myself, concentrated on calligraphy. At that time, I paid much attention to the training of calligraphy. One year after graduation, I went to the calligraphy department of China Academy of Fine Arts to further study calligraphy. After having studied for a master's degree at the China Academy of Art for three years, I returned to Hong Kong to work. But at the same time, I continued my doctoral study with Professor Wang Dongning in the Calligraphy Department of China Academy of Fine Arts. Finally, I got my PhD after a long time of study. And then I had such jobs as arts administration and arts education administration. After doing this for a few years, I went to the painting and calligraphy department of the auction house. During that period, I gradually learned some techniques of famous paintings in the process of identifying well-known paintings and calligraphy. And I had the urge to draw at that time. After two years in the job, I decided to quit my job to become a full-time artist. And I wanted to concentrate all my efforts on painting. In fact, if you do calligraphy creation, you may be able to do it after work. While if you want to paint, it's really hard to paint by squeezing time. After a few years of being a full-time artist, I focused on painting, and I made more paintings.

Like most full-time artists, I also have the problem that my income is unstable. I cannot decide when my work will be available for sale or when a collector will come to you to buy your work. Sometimes I get paid and sometimes I don’t. Actually, it depends on the market outlook. I think most artists are not full-time. They are usually faculty members and they will earn money as a teacher to make a living. I think people in all walks of life face different difficulties and challenges, which is a painful process. In such an environment as Hong Kong, what matters most is income. Second, it is also important for full-time artists to find ideal space to create and place their tools. An ideal working space is very necessary, but,you know, in Hong Kong land is desperately in shortage. After coming to HART Haus, these problems are all solved.

What’s more, my motivation, efficiency and morale of creation have been greatly improved for I own a stable creative space. If I want to do some big paintings or big calligraphic works, it goes much better. For me, the creation environment has improved a lot, so the level of my works has also improved a lot, which is really a great help for my own artistic development.

In fact, I always hide at my desk or in my seat and keep doing my work. Compared with other Hausians, I may communicate less when I work here, because I am also busy. But I've also done some collaborative work, or collaborative exhibitions, which have been quite interesting for me. For example, I did a cooperative exhibition with Dan in HART Hall (now HQ Hall) last time, and the effect was also quite good. So for me, there is also a little different inspiration and I firm my future creative direction. There is nothing bad but good, so to speak.

我在中大藝術系念本科。因為學系的關係，我們什麼都要學。那我自己就比較集中於書法。當時是比較集中於書法那個訓練。那過了畢業一年之後，就去了中國美院的書法係，是真的認真地深造書法。那念了三年的碩士，接著就會到香港工作。但同一時間也在中國美院的書法系繼續念博士。那時候就跟著王東寧教授，很辛苦地完成了博士學位，之後繼續做藝術行政的工作，藝術教育的行政工作。那做了幾年之後，就進了拍賣行的書畫部，在那段時間裡，因為要鑑別這個繪畫以及書法，在那個在我們鑑別的過程中，我就會順帶學習一些好畫的畫法。所以那時候想畫畫的衝動是比較大的。工作做了兩年之後，我就決定辭職，全職做藝術家。那希望多集中在繪畫上，因為其實如果做書法創作，可能上班之餘也可以勉強做到。但是如果想畫畫的話，工作之餘其實真的很難去畫畫，所以就做了幾年全職藝術家之後，就集中在繪畫的創作了，繪畫創作的作品也多了。

其實大部分全職藝術家面對的困難都是收入不穩定，因為你不能控制你的作品什麼時候可以出售，又或者有些藏家不知道什麼時候會過來找你委託製作藝術作品，所以收入是有時會有，有時就要等一下了。那就很看那個市場的氣氛以及市道。通常我想大部分全職藝術家其實都未必全部全職的。他們大部分都有些教職，通常都是教職。那教學上的學費會幫補一下生活這樣子。我想各行各業面對的困難、挑戰都不同，但一定不會舒服到哪裡去，在香港這個環境裡面。所以最主要還是收入。第二就是全職藝術家要找一個足夠的空間去做創作以及擺放他們的工具，其實也是很重要的。所以一個理想的工作空間是非常重要的，但是你知道香港那個土地問題是相當嚴重的。我來到HART Haus基本上就解決了這方面的問題，而創作的動力，效率以及士氣都得到大大的提升。

因為有一個穩定的創作空間，所以以前一直想做，又或是計劃想做，出來效果不理想的情況就基本上解決了很多。變成了想做一些大的畫或者大的書法作品的時候，就...順利很多。就是對我來說，其實那個創作環境改善了很多，而我覺得創作作品的水準也提高了很多，以及那個規模也大了很多，所以非常有幫助，對我自己的藝術發展來講。

我自己的創作狀態其實都是躲在自己那張桌子或者躲在自己的座位上一直做一直做，比起其他Haus的人，在這裡工作的情況，我可能交流會相對少一些，因為自己也比較忙。但是也有做一些合作的作品，或者做合作的展覽，這方面也帶給了我蠻有趣的經驗。比如上次在HART Hall（現HQ Hall）的位置和Dan一起做一個合作的展覽，出來的效果也相當地好。所以對我來說也有一點不同的啟發，也堅定了往後的一些創作方向。所以就是有好無壞，可以這樣說。

Doris Ng 吳玳誼 (HK)

When I was young, I read a lot of books about drawing. At most, three or four days a week in a very traditional studio, I did a lot of traditional drawing and painting. When I was a child, I always thought I was going to be a painter. However, when it came to college course selection, the mainstream education in Hong Kong did not provide students a chance to fully understand what an artist is. So I saw that my prospects were very narrow, and I decided to go into banking and finance and management, and then spent the next 10 years working in non-artistic fields, traveling between Southeast Asia and Australia and mainland China. It wasn't until around 2017 that I returned to live in Hong Kong that I had the opportunity to re-engage with art in my spare time. But then I had a serious illness, which gave me a lot of time in bed to reflect on my life and then I decided to go back to doing art full time.

I think the art education in Hong Kong now, compared to the time when I was a child, (maybe in the 1990s), I think there is definitely something different. I think today's children are exposed to a wide range of art. However, most of the paintings I drew when I was young were figurative or simple imitation and at that time I just underwent some skill training. There weren't a lot of interdisciplinary or a lot of different artists that we saw at HART Haus. Therefore, in HART Haus, I am honored to participate in many HUMBLE HART projects, to get in touch with the public or children, and even some audience who participate in art activities. In this case, I'll see some of the audience come over and still be surprised. And they would think,"Ah, so there is such a place in Hong Kong. So this is what artists really do." Although I noticed that the public would still be unfamiliar with what the real art industry is or how the art world works, compared to the period when I was growing up in the '90s, I think it's definitely more publicized.

I think first of all, it does not only apply to art. Everything is a state of mind. There's nothing particularly mysterious or difficult to access. You can't plan too much or think too much, in fact, as long as you make the first step, you will find art and many other things which seem to be very distant and obscure are nothing but the commonplace things. Everyone in daily life, regardless of class, will come into contact with them and even can create them. As soon as you pick up a pen or talk to someone about it, you're making art. Sometimes you don't even have to go anywhere in particular to do it, even if you're at home, you're painting something on your wall, or even if you're in the kitchen you're baking a cake. When you're trying to motivate the whole thing or decorate the whole thing, you are actually making art.

其實那時候，我小時候讀過很多關於畫畫的書，甚至一個星期內放學以後，曾經有三至四天在很傳統的畫室中做很多傳統的素描、油畫這樣子。那小時候我一直都以為我會成為一個畫家。但是到了大學選課，可能因為那時候，香港的主流教育並不是可以讓學生完全了解其實藝術家是怎樣的一個職業。我會看到我的前景很狹窄，所以那時候我在大學選科時念了銀行及金融還有管理，之後那十年就是在從事與藝術無關的行業，在東南亞以及澳洲、中國大陸之間遊走。直到2017年左右，我回到香港居住，才有機會可以在業餘時間再次接觸藝術。接著因為一個病，所以讓我在床上有很多時間可以反思自己的人生，這樣才重新全職做藝術工作。

我覺得香港今時今日的藝術教育時，跟我小時候...我說的可能是90年代，我覺得絕對是有不一樣的地方的。我覺得現在的小朋友接觸到的藝術面是比較廣闊的。我們小時候畫的絕大多數都是具象的或者模仿式，訓練的都是技巧上的工夫。並沒有太多像是現在的跨學科，或者我們在HART Haus 見到很多不同領域的藝術家這樣子。因為在HART Haus，我很榮幸可以參與很多HUMBLE HART的項目，接觸到真正的大眾或者小朋友，甚至不同的觀眾去參與一些與藝術有關的活動。在這裡，我會看到一些觀眾過來之後，還是會覺得很驚訝。「啊，原來香港有這樣的地方。原來藝術家真正的工作是這樣子的。」雖然我看到現在的群眾過來還是會覺得，不熟悉什麼是真正的藝術行業或者藝術界是怎樣運作的。但是相比起我小時候的90年代，我覺得絕對是多了宣傳的。

我覺得首先，不是只有藝術，所有東西都是心態以及一個心境，並沒有說哪些東西是特別神秘或者難以接觸的。很多東西都沒辦法計劃太多或者想太多，其實只要踏出第一步去試，去做，就會發覺藝術或者很多看上去很遙遠、很高大上的東西，其實只不過就是所有人在日常生活中，不分階級，會接觸到的東西，或者可以達到，可以做到的事情。其實只要你拿起筆，或者跟人講一下，甚至根本上藝術並不需要特別去哪裡做，甚至你在家裡，你在自己的那幅牆上畫些東西，刷一些東西，或者你在廚房，甚至烤一個蛋糕，你會有心去促使整件事或者佈置整件事，其實這個已經是你生活上的藝術點滴了。

Sharu Binnong Sikdar (HK)

My name is Sharu. And I'm half Indian, half Filipino. And how did I come to HART Haus is that I was actually recommended by one of the colleagues that I worked with. And they said that I could apply for HART Haus because I can have my own studio space. So, I applied for it. And I'm grateful that I was able to get in. And now I have my own studio space, and it's really nice because I get to work with so many different artists from different fields and get to see how they work. And it's a really nice community space.

After I graduated from scratch, I wanted to try out different experiences, so I actually joined nonprofit and also profit organizations to learn how each system and how they work. And also, I worked with a smaller company. She is also a designer, installation artist. I've learned a lot from her. There's always so much to learn, and I got to see how the art system works. In this community, I realize that in Hong Kong, the art community is so small that once you meet someone, you will get to network with another person. I think that's a good thing about Hong Kong and its art community.

HART Haus as a community art space, is good in terms of how each artist is actually able to collaborate with each other, like that happened with HART that I did with Amy (Amy Tong), where we were in HQ Hall. And we were able to do an installation together. I found that experience really rare, because you wouldn't really have that type of opportunity. At the same time, able to use art as a community. To reach out to the community to engage to different…to engage with the public, that art is not always so high end, that it is very approachable. And I've learned a lot in terms of teaching and in terms of how to convey art as a message. To help and as well as to create.

At the same time, in terms of balancing work and as well as creating art right now, I am still struggling on it. But I'm getting the hang of it slowly because you need to have a schedule like in terms of timetable. Because after graduating from school, you don't have a proper time schedule already made for you. You always have to be prepared and on the go and always have something on your list of what to do. I think that's the thing that would be harder, because you always need to be efficient. If not, then you'll just end up procrastinating. So right now, I'm getting the hang of how to balance them together. But it is still a struggle.

I think what's important for an art organization is the people involved and how they all work as a community. How each branch of different groups is able to help each other in different fields and able to connect their expertise or knowledge to help each other, as well as a good system for how to help those in terms of community wise, educational wise, and as well as creating. I do think there is a lot to do in Hong Kong. I do see some changes in terms of reaching out to the public. But it is still because people are still skeptical about art that it is too commercial. But we just need more promotion and more marketing and as well as more people to love and understand art, from the artist perspective, but also in a more understanding way.

我叫Sharu。我有一半印度血統，一半菲律賓血統。我的同事推薦我來HART Haus。他們說我可以申請HART Haus，給自己一個工作室。所以，我申請了。我很感激我的申請通過了。現在我有了自己的工作室，這真的很好，因為我可以和很多不同領域的藝術家一起工作，看看他們是如何工作的。這是一個非常好的社區空間。

畢業後，我想嘗試不同的經歷，所以我加入了非營利組織和營利組織，學習每個係統是如何運作的。而且，我在一家小公司工作過。她也是一名設計師和裝置藝術家。我從她身上學到了很多。我覺得總有很多東西需要學習。我也看到了藝術係統是如何運作的。在這個圈子裡，我意識到在香港的藝術圈子其實很小。你認識了圈子裡的一個人，你就會很容易認識圈子裡的其他人。我認為這是香港及其藝術界的一個很好的地方。

HART Haus是一個社區藝術空間，它讓每個藝術家能夠相互合作，就像我和Amy（Amy Tong）在HQ Hall一起做了一個裝置藝術作品。我覺得這樣的經歷很珍貴，因為這樣的機會不多。這樣的機會能夠把藝術當作一個社區，去接觸社區，接觸不同的人，接觸公眾。藝術並不總是那麽高端，而是很容易接近的。我學到了很多關於教學以及如何將藝術作為一種信息來傳達，幫助和創造。

同時，在平衡工作和創造藝術方面，我仍然在努力。但是我慢慢地掌握了竅門，合理安排時間。從學校畢業後進入社會，沒有人會為你指定時間表。你必須時刻做好準備，隨時待命。總會有很多事情等著你去做。這對我來說有點困難，因為這要求我始終保持高效率。如果做不到，事情只會一拖再拖。所以現在，雖然我還是很糾結，但是我正在學習如何平衡它們。

我認為對一個藝術組織來說，最重要的是參與其中的人以及他們作為一個社區的工作方式。不同群體的每個分支如何能夠在不同的領域互相幫助，如何將他們的專業知識或經驗聯係起來互相幫助，以及如何在社區層面、教育層面和創造層面幫助大家，這些是一個好係統的標準。我認為在這方面，香港還有很長一段路要做，但我確實看到了在公眾拓展方面有了變化。歸根結底，人們仍然對藝術持懷疑態度，認為它太商業化。我們可以做更多的宣傳和營銷，讓更多的人熱愛和理解藝術，從藝術家的角度，也以一種更理解的方式。

xNicholas Wong 黃裕邦 (HK)

Hello, everybody. I am Nic. So who am I? It's pretty complicated. Now I teach literature and creative writing and some poetry stuff at a university. I've been writing English poetry in Hong Kong, mostly in English and sometimes in Chinese, for about a decade. And I constantly had works to publish which are written in English, but the main market is in the United States. I also have a work of Chinese version published in 2016.

So why did I elbow my way into the art world? In fact, I don't think I am in the art world, and I just want to present my idea or inspiration through other media. Gradually I was getting bored with the size of a piece of paper or writing on a computer, so I wanted to try other things like color, materials, space, and see if I could make something else. In a way, I'm translating my own work through visual art.

If I am asked how my literary or creative background influences my artistic background. One of the main reasons is that after you've written a draft, you may have to let it go for a while and then change it, rewrite it, rewrite it, or edit it. I think the work I did in HART Haus, to some extent, was in line with this idea. For example, I have a canvas or a piece of paper, and I start from a little bit and then try to fill up the canvas or the blank of that paper. Maybe sometimes after you've done it, you have to remove something or rewrite something on the surface of the first layer, which is a endless cycle. Therefore, it is very difficult for any work, whether written or artistic, to reach its final destination. An artist can redo his own work of art at any time.

And what the interaction was like at HART Haus with the other people. Actually, I was a little nervous at first, because we all have different backgrounds, different cultures, different work backgrounds, different age backgrounds, different races. But after getting familiar with each other, we often see each other, which I think we all had a pleasant time with. Since I didn't undergo art school training, I needed their help from time to time. They would give you some directions, and then I would explore it further on your own. I think “community” is a good word which is just like my second home. I enjoy my work in a team. I usually write by myself at home. I write by myself, publish by myself, and talk to the editor by myself. Basically, I am very personal, even sometimes easy to be narcissistic or egoistic. Actually, I enjoy the company of my teammates. You can see other people drawing around, how much are left undone, and what they like or what they don’t like.

I joined HART mainly because of the diversity, for artists here have different backgrounds such as designers, architects, ink painters, sculptors, artists of art installations. And I think the space and facilities are great. You can stay in a creative space 24 hours a day and do whatever you like. And all your needs will be satisfied by the management，instead I rent a place and pay the rent but gain nothing in return. I think there are a lot of different interactions between people here, whether it is the interaction of daily life, or the interaction of artistic decision-making, which is helpful to me.

Hello，大家好。我是Nic。那我的背景是怎樣的呢。還蠻複雜的。現在我在大學教書，教文學、創意寫作以及一些詩歌的東西，那就是教英文文學的。那我想我在香港寫英文詩，主要是寫英文詩，有時會寫中文，大約也有十幾年了。那有不斷地出版英文作品，但主要市場還是在美國。那也有一本中文譯本在16、17年的時候出版了。

那為什麼會去了藝術界呢？其實我並不覺得我自己在藝術界，只不過是想將那個創意或者靈感用別的媒體去...呈現出來。主要都是自己對一張紙的尺寸或者在電腦那裡寫東西已經覺得比較無聊，想試著用比如說顏色、物料、空間，去看一看自己可不可以做出其他東西。就是將自己的作品，某程度上，在視覺藝術那裡翻譯出來。

那如果你問我自己那個...文學或者創作背景怎麼影響我在做藝術的背景呢，就是那個做法，我會覺得因為其實最主要一個影響，是因為寫稿平時是要很精煉的，就是寫完一稿之後，可能放下一陣子之後就要改，再重寫，再改寫，或者編輯它。那有很多刪減的情況出現。我發覺我在HART Haus裡面做的作品，某程度上跟這個是一致的，因為不是說跟其他人，比如說有一個油畫布，有一張紙，由一點做起，填滿整個油畫布，那張紙的空白，可能有時候是做完之後，抽走一些東西，或者再做另外一些事情是重寫在第一層的表面上，不斷去做，不斷去做，不斷去致力於一個服務，這個是有時候寫稿，寫作品的那些編輯的技能這樣子。其實所以是沒有一個終點的，我覺得。就是任何一個作品，無論是文字還是藝術創作。其實一個作品達到終點，這個是很懸念的。任何時候藝術家都可以再重做，他自己的藝術作品。

那我覺得...另外如果你問我在HART Haus跟Haus其他人的互動是怎樣的。我覺得剛開始有一點點不習慣。因為大家都有不同的背景、文化背景、工作背景、年齡背景，對的，以及不同的種族。但是熟絡之後，大家經常見面，我覺得其實蠻暖心的。因為自己沒有藝術學校的培訓，變成其實很多事情他們都會幫上忙。就是問一下，就算他們幫不了你，或者指引你一個方向，接著再自己進一步地探索這樣子。我覺得「community」這個詞用得很好，好像是我的第二個家，像是團隊建設一樣。那我平時寫作也是自己一個人在家，就是自己寫完、自己出版，自己跟編輯談，基本上是一個很個人的、甚至是有時很容易很自戀或者很自我中心的一個創作過程。在這裡就變成了至少有其他人陪你。你可視化了，看見其他人在旁邊畫畫，他們畫了多少，或者不喜歡什麼，喜歡什麼這樣子。

那為什麼加入HART是因為我覺得...多樣化，不同的藝術家有很多不同的背景。有設計師，建築師，水墨畫（家），雕刻家，藝術裝置的藝術家，很多各種各樣的人。以及我覺得空間和設施都不錯。想要7天24小時隨時在一個創作空間，基本上都可以在這裡做自己喜歡做的事。以及管理會配合你，要怎麼樣，去做些什麼。就是不是說隨便租一個地方給你，你自生自滅這些，等於一個月之後就交租啊，之後就不理你這樣子，不是這樣子的。我覺得大家在這裡有很多不同的互動。無論是日常生活互動，甚至是藝術決策的互動都對我有幫助。

The Buoy (KR & US)

Jen : I remember I first encountered the HART studio catalogue or brochure at JCCAC. And I was attracted by it because of how it looked, because it looked really well made, but also because of the title, mostly. I was mostly interested in the word “social” in Social Studio, and I wondered what HART meant by that.

Marty: Well, in my case, one, of course the obvious difference is that we do not have our own, you know, separate little room with four walls, the color studio. But also, I feel like there is a bit more of an emphasis here on social outreach than other studios or other residencies I've done before. In those cases, often there was a desire to have a community outreach. But there was lack of an infrastructure to support that, whereas here I feel like there's more of an emphasis and an infrastructure to support those aims.

Jen: And also, I feel that other studio spaces are usually either not shared, or if it's shared, it's like two, three, four individuals, just like sharing the rent. Whereas here it's intentional about actually not only sharing the space, but also encouraging people to get involved in certain activities. And you know, going to other places and checking out different programs and such, which, I would say, is more intentional. I think, compared to other places or other studios.

Marty: I think it's good to have a confluence between the priorities, the state of priorities, or the intentions, or maybe even the mission, or other studio or residency. And to have that reflected in the way the artists work, or that the way that the artists want to work. And then, also, of course, like we just mentioned in HART Haus, to actually have the architecture, the physical architecture of the space, also supports those aims. So, I think having a mix between, you know, the way that the space is organized, the way that the organization functions, and then also having that be in sync with. What the stated, you know, aim or goal of the mission of the studio is.

Jen: Adding to that, I would say, communication between the stakeholders is really important. So, there's the artist and there's the art admin. Together we are making, or, like making our way forward, I would say. So, communication is the most important, I would say.

Jen: It has affected my artistic practice, because personally I'm more used to not having a studio where I was grounded in. I usually would work outside the studio with different people, different communities, different. environment and such. But for me being in HART, it kind of makes me think differently about my positioning. so it definitely has affected my practice in a way, Where I'm less descriptive with my work, but more I'm attempting to be more conceptual. Trying to address my stance, and also in relation to other studio members and art in general.

Marty: In my case, I would say that the way that we've organized our studio space also reflects. the, how do you say, the priorities of HART Haus, but also how we've seen, how we can utilize what we're given. You know, our studio is in an old passageway, so we're trying to use this fluidity of movement, to engage with people in unforeseen ways, which then can also reflect the goals of the place. So, keeping all of these in sync has really impacted how I think about the space where I work as well.

Jen: I think it's very important in general, to support emerging artists. In a way, I think art is about discovery, and exploration. I think it's easier for young minds to do that. So supporting them in general is very important, both in the education sense, but also in terms of expanding our own art world's boundary.

Marty: And continuing on that thought in how to support young artists, I think one way to do that is through exposing them to other people who have a say or a position that's sort of adjacent to ours as artists. You know, if that's working with docents, or it's working with, community members in a museum context, or somehow, like, you know, involving the scope of what art is. We reflected through the kind of social connections that are enabled from a studio space.

Jen: And I just thought of another thing, when we say young, I don't think it should be based on age, either. I think it should be young minds in terms of, like how one engages with the idea of art, or the idea of practice, the world and material, so on, and so forth.

Jen：我記得我第一次在賽馬會創意藝術中心上看到HART工作室的目錄或宣傳冊。它很吸引我是因為它的外觀和設計都看起來制作精美，當然主要還是因為它的標題。我最感興趣的是Social Studio（匯舍）中的“Social”這個詞，讓我想了解HART的內涵。

Marty：就我而言，第一，當然明顯的區別是我們沒有自己的的獨立空間或工作室。但同時，我覺得這裡比我之前做過的其他工作室或駐地更強調社交拓展。在這些情況下，我們往往有一種社區拓展的願望。但當時我們缺乏基礎設施來支持這些目標。而在這裡，我覺得有更多的幫助和基礎設施來支持這些目標。

Jen：還有，我覺得其他的工作室通常是不可以和別人共用的。即使是共用的，可能也就是兩到四個人共用。然而在這裡，它是有共同目標的，不僅僅是共享空間，而且還鼓勵人們參與某些活動，例如去不同的地方，看不同的項目等等。與其他地方或其他工作室相比，這是更有意願性和目標的。

Marty：我認為最佳的方法是找到幾個關鍵點的平衡，包括每個關鍵點的狀態，或者意向性、任務，或者其他工作室或住所，這些點之間有融合是最好的。我們可以將其反映在藝術家的工作方式上，或者反映在藝術家想要的工作方式上。然後，當然，就像我們剛才在HART Haus裡提到的，讓建築，空間的物理建築也支持這些目標。所以，我認為，要把空間的組織方式、組織的功能方式結合起來。

Jen：工作室的既定目標還有利益相關者之間的溝通，這非常重要。藝術家和藝術管理員一起前進。所以，我認為溝通是最重要的。

Jen：這影響著我的藝術實踐。因為就我個人而言，我更習慣於沒有自己的工作室。我通常會在工作室之外與不同的人、不同的社區、不同的環境一起工作。但對我來說，在HART，我對我的定位有了不同的思考。所以這確實在某種程度上影響了我的實踐。我對我的作品不太有描述性，而更多的是更概念化。我試圖闡述自己的立場，以及與其他工作室成員和藝術的關係。

Marty：就我而言，我想說的是，我們組織工作室空間的方式也反映了這一點，反映HART Haus的重點，還有我們看待、利用我們所得到的東西的方式。我們的工作室在一個老過道裡，所以我們試圖利用過道裡的流動，以不可預見的方式與人們互動，這也可以反映出這個地方的目標。所以，保持所有這些的融合真的影響了我對我工作的地方的看法。

Jen：總的來說，我認為支持新興藝術家是非常重要的。在某種程度上，我認為藝術是關於發現和探索的。我認為年輕人更容易做到這一點。所以總的來說，支持他們是非常重要的，無論是在教育方面，還是在拓展我們自己藝術世界的邊界方面。

Marty：此外，關於如何支持年輕藝術家的想法，我認為其中一種方式是讓他們接觸其他有一定話語權或地位的人，這些人與我們藝術家地位相近。例如和導賞員一起工作，或者是在博物館的背景下和社區成員一起工作，或者以某種方式，只要在藝術的範圍。我們通過工作室空間的社交關係印證了這一點。

Jen：我還想到了另一件事，當我們說「年輕」時，我認為它不應該以年齡來劃分。我認為應該是年輕的想法，比如一個人如何參與藝術的想法，或對實踐、世界和物質的的想法，等等。