10 Chancery Lane Gallery invites you to join us for the opening of
HKFOREWORD14, an end-of-summer exhibition showcasing recent works by seven young Hong Kong
artists. This exhibition marks the third iteration of the HKFOREWORD series organized by 10 Chancery
Lane Gallery, launched in 2012 with the aim to actively promote and strengthen relations between a new
generation of contemporary Hong Kong artists and local art institutions.
Artists in the show are recent Bachelor and Master graduates from Chinese University of Hong Kong, the
Academy of Visual Arts at Hong Kong Baptist University and the School of Creative Media at the City
University of Hong Kong. We are excited to exhibit a selection of works from Ivan CHAN, Max CHAN, Rita
LAM, Charlotte MAN, Shirley NG and Eric TSANG, Dino RIB.
CHAN Chi Hau (Ivan) (b. 1980, Hong Kong)
Ivan CHAN exists in a constant state of observation. A natural-born citizen of the concrete metropolis that is
Hong Kong, his lived reality is one of perpetual city development. Construction sites and condominiums make
promises of prosperity to the prudent property-buyer. Yet these futures hold as uncertain as the bamboo
scaffolding on which they are built. With light contempt, CHAN hijacks the form of the architectural model to
reveal both the futility and hopeful fiction of these imagined miniature constructions in his work Mirage
(Unrelated to Eyesight).
Architectural models are often used for the exhibition of new condominiums. However, a model cannot reveal
the actual surrounding scenery to homebuyers. People cannot know what scenery will be seen from the
windows of a high-rise condominium. Instead they are simply to imagine from its name. Certainly, names of the
condominiums may give buyers a hint with some even fabled for their views. The truth is, these descriptions are
overstated, or false. It is like describing a non-existent view to a person with visual impairment. Yet
simultaneously, these conjured names and visions of fantastical scenery permit dreams of one’s own.
CHAN Wang Max (b. 1991, Hong Kong)
Two decades living in Hong Kong has opened Max CHAN to the visible spectrum of urban change in Hong
Kong. He understands his city to be one of sensory exaggeration, supersaturated beyond point of natural
experience. CHAN digitizes his very own hyper-reality in Equivocation, a two-part photography series. Shooting
from an overpass bridge in Mong Kok, and the International Commerce Centre, the tallest building in Hong
Kong, he photographs each figure and watercraft individually. Working through an intricate post-production
process of collection and composition, he manipulates multiple raw images into a concise visual language of his
own. There is no coincidence that to ‘equivocate’, is to use ambiguous language so as to conceal the truth.
Collect the materials with photography. Analyze the systemization of randomness. Discuss the ambiguity in the
Rita LAM SHUK YI (b. 1977, Hong Kong)
Google is the ultimate search engine for so-called ‘spartan searching’, the term used to refer to quick, relevant
results obtained from simple input expressions. The same cannot entirely be said for a member of its
incorporate, Google Translate, a free, multilingual machine translation service. In her video installation Internal &
External, Rita LAM uses this unreliable translation method to raise immediate questions about the present-day
relationship between Hong Kong and China. In particular she recalls the proposed Moral and National Education
Curriculum, which when announced was received with much public frustration and ire. Using Google services as
her medium, LAM employs a neutral platform from which to externally voice a very personal, maternal concern.
Performing art is not an invention. Editing is the new means of invention. I want to create public awareness
over ideology and the internal consequences of the Moral and National Education Curriculum. Exploiting the
capricious nature of Google Translate, I hope to highlight the raging miscommunication between nations.
This is an external parody of a love affair.
MAN Wai Chi Charlotte (Hong Kong)
Charlotte MAN finds fascination in the fact that as humans, we spend at least one third of our life in bed.
Experimenting with long-exposure photography, she takes a portable LED light panel and black curtain to
friends’ houses and student hostels to shoot her current subject of choice: unmade beds. Playing with light and
shadow, form and structure, the artist trials her hypothesis that the unmade bed offers an intimate imprint of the
human landscape, reflecting personal habits and taste.
The decision of capturing a scene by camera is based on conscious observation. I create images by expanding
a single moment under long exposure in absolute darkness, to make the audience feel a sense of peace and
calm. To follow the shadowy contours of an unmade bed that tells secrets of their own character. Lines shaped
NG Wing Yee (Shirley) (b. 1990, Hong Kong)
Eating Alone is a thematic departure from Shirley NG’s previous artworks in recent years that drew from her
response to natural environments. The exhibiting work is founded on her innate curiosity surrounding the
responsive nature of human behavior, specifically in reference to the unobtrusive act of dining solo. Recognizing
that as a visually motivated life form our perception is heightened in response to the moving image that imitates
real life, the artist uses video as the point of audience interaction. As an installation work, NG’s allows the
audience to be a part of, or apart from, her artistic enquiry into the constructed limitations of our existence.
This installation reflects my views and perception of lone diners as both participant and observer. I have created
a typical Hong Kong snack shop, with a table against a partitioning wall. The seated audience faces two silent
videos of lone diners eating, facing the same wall. Audience participation is ensured either by taking the seat
between the separated ‘diners’, or through observing the happenings in the installation. The relationship
between the visible perspective and invisible perception is discernable through the moving images and actual
participation in the installation.
TSZ YEUNG TSANG (b. 1984, Hong Kong)
Eric TSZ, a photojournalist by day, toys with IKEA furniture in his photography-based installation work, Kamera.
Working collaboratively with his father, a furniture-maker by profession, he repurposes materials of mass
production to create a tripod of sorts, which is then used to capture blurred family portraits. The artist has
personalized far more than Swedish ready-to-assemble furniture in his work. TSZ aesthetically personalizes his
relationship with his father in the creative process, as they both come to terms with each other’s respective
By coincidence, I built a camera with my father. We went treasure hunting in IKEA, collecting bits and pieces.
Curiously, and in an unexpected way, it became a parent-child activity and together we went home to assemble
a drawer that takes blurred photographs. Considering the idiom, like father, like son, inherited resemblance is
retained, yet refused. I am finding, perhaps, the best family portraits are those where both familial likeness and
relationship are obscured.
Dino RIB aka WONG Lok Hin (Eric) (b. 1984 Hong Kong)
THERE’S A TIME AND PLACE (FOR EVERYTHING) is a performance-based video work by Dino RIB.
By means of visual immersion, RIB determines to engineer a spatially specific experience of time for his
unassuming audience. The work is based on the observance that time appears to decelerate and lag if for
example, you are talking to a person who speaks slowly. The artist devotes complete artistic attention to the
kinesics of walking, the human movement he considers to be the most fundamental. Grounding his aesthetic
decisions in conceptual rationale borrowed from Isaac Newton’s notion of absolute time and space, and Albert
Einstein’s lionized theory of special relativity, his work may also be conceived as a parallel exercise in the
creation and negation of virtual space and real space.
Time, space and perception are three major themes philosophers are concerned. Newton suggested the
existence of absolute space and time. For instance, absolute time could only be understood mathematical, and
what we perceive as relative time is based on the measurement of objects in motion. Space and time are
independent of any physical events, and therefore absolute. The occurrence of any physical phenomena is
merely acting on the stage of absolute space and time. Einstein invented the concept of space-time, which
suggested space and time to be relative, not absolute. Two spatially separated events occurring at the same
time would appear to have happened at slightly different moments, depending on the observer’s ‘location’.
From Newton to Einstein, it seems the truth of space and time is getting farther beyond the scope of our
perception. In an aesthetic sense, this work is an attempt to measure the gap between the two.