書寫繪畫 Writing Painting 2010-now






雖然語言為聲,文字為圖,但兩者關係並非絕對任意,語言符號亦不毫無意義。此外,約定俗成的文化因素,令哪個是文字符號,哪個是圖象,變得難以釐清,故W.J.T. Mitchell提出兩者是「辯證詞藻」關係,而非單純的二元對立。我運用文字與圖象的方向,在於兩者之間的來回往返,繼而離開非此即彼的劃分概念。








When phonemes are being transcribed, language comes into material existence. Regardless of the means of transcription (e.g. pencil or paints) or on what the transcription is made (e.g. paper or canvas), the markings of writing are no different from that of painting. That is why to write is to materialize. The main focus of my painting is on space instead of time. The layering of canvas, acrylic paint, transparent acrylic board and silk composes a symphony of “dense analogue symbols”. The relationship between these symbols in my paintings often carries subtle nuances.


Though sound and visible marks or appearance of letters are two distinct spheres in terms of linguistics, the relationship between the two is not arbitrary, and linguistic signs are by no means meaningless. Besides, the boundary between word and image is sometimes blurred as a result of social agreement or convention. That was why W. J. T. Mitchell brought forward his theory of the “dialectical trope” instead of binary opposition of word and image. My approach to the use of both words and images is to shuttle between both ends of the word/image opposition, thus breaking free from the aforesaid binary opposition.


Chinese characters are in themselves pictograms and symbols, and the order of words in the Chinese language is totally different from that of phonetic languages. The inclusion of Chinese characters into the realm of visual art has its own particular cultural context. With highly varied shapes and meticulous composition, Traditional Chinese characters (used in Hong Kong and Taiwan), either as a whole or as components alone, embody rich layers of meanings and inspire imagination. Furthermore, with the myriad ways of arranging characters in the Chinese language, the appearance of characters in pictorial space serves to relax the usual word order and further opens the possibilities of reading to enable even more outcomes in the game of generating multiple meanings.


Nonetheless, today the Traditional Chinese writing system has become a minority (as it is overshadowed by Simplified Chinese that is used in Mainland China and parts of South-east Asia). I have come to realise that the language that I studied and speak, and in which I read and write, is confined to drifting between islands (of Hong Kong and Taiwan). I have also realised that the memory, understanding of and emotional attachment to the shape of Traditional Chinese characters are a precious cultural identity and experience. Words are kept alive only in everyday life, while my paintings live in a world of words.





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Reading a Poem from Lau Yee-ching

Reading a Poem from Lau Yee-ching


Wandering at Kowloon City I





Meeting Late I

Meeting Late II

Hand Shaking – to Wong Xiang-yi





《窗花》Window Grilles



《念你如昔》Still Miss You After All These





《紅玫瑰與白玫瑰》Red Rose and White Rose



《百花深處》Bai Hua Shen Chu




My City (Black, White, Red)





Red Paper

Future, at Variance with Memories




Xi -xi “Marvels of a Floating City” and
Dung Kai-cheung “Atlas: The Archaeology of an Imaginary City”


The Solitude of Making Art


《城╱鄉》City / Village


《玫瑰的名字》The Name of Rose





《路上風景》Landscape Along the Road





Xi-xi “Marvels of a Floating City”

Long-distance Relationship

Say ___ to the New Year Together


《說來難盡》It’s Hard to Say