在舞台土飄蕩的身軀，無力地隨光影跌宕，稍不留神，腳下踏空，就在沉重身影快要墜下之際，瞬間又回復凝
於半空中.....
這麼驚心動魄的場面，正是陶藝家潘輝煌和他的兩位創作伙伴所精心設計的舞台佈局。在這個神秘詭異的黑暗世界裡，眾多造型酷似舞者在扭動身軀的陶盟，在若明若暗的光影之間晃動，猶如魅影，一幕一幕看似相同，
卻又從不重複地在持續演出中，你愈走近它，便會愈被它所吸引、牽動。
The English title of the exhibition ‘Minding the G(r)a(s)p’ is a triple entendre—gap, gasp, grasp. It is a way to draw attention to the space between seeing and knowing in the exhibition viewing experience. The gasp is the surprise when the audience discovers new narratives or ideas when they are able to look beyond preconceived notions related to the seven mid-career artists/artist collectives on view in the exhibition. The exhibition’s curator Celia Ho proposes to the audience to approach each work individually, in order to grasp the significance and context behind each one of them.
Featuring two local artists, Carol Lee Mei-kuen and Trevor Yeung, the exhibition shows their unique travelogue of gleanings. Working in different media, Lee and Yeung both take inspiration from a wide variety of exotic plant gathered during their travels and re-express them in personalised artistic forms. Involving botanic observations and discoveries of natural origins, the transformation process creates new artistic idioms and opens up a universal panorama.
在舞台土飄蕩的身軀，無力地隨光影跌宕，稍不留神，腳下踏空，就在沉重身影快要墜下之際，瞬間又回復凝
於半空中.....
這麼驚心動魄的場面，正是陶藝家潘輝煌和他的兩位創作伙伴所精心設計的舞台佈局。在這個神秘詭異的黑暗世界裡，眾多造型酷似舞者在扭動身軀的陶盟，在若明若暗的光影之間晃動，猶如魅影，一幕一幕看似相同，
卻又從不重複地在持續演出中，你愈走近它，便會愈被它所吸引、牽動。
Elaine Wong was awarded a scholarship from the Hong Kong Arts Centre in 2013 to attend a short course on culture, graphic design and fine arts in New York. She received her Bachelor of Arts (Fine Art) in painting from the Royal Melbourne Institute of Technology University in 2014. Currently, she is pursuing Master of Fine Arts at the School of Creative Media of the City University of Hong Kong. Elaine is the founder of Altermodernists, an independent art group in Hong Kong that is devoted to the documentation of artists’ creative processes. Her works are characterised by the transformation of observed social and related human behavioural phenomena, often enhanced with audience participation. They can be regarded as a presentation of the response to her experience in the society through moving images, installations and media projects.
以陶瓷觸及陶藝的邊界
陳翹康視當代陶藝為革新陶泥這一種傳統物料的實驗場域，所以他的作晶經常跨越雕塑、陶藝、聲音等多個媒介。是次展出的作品《廬山》打破了一般觀眾對陶瓷藝術的既定概念，藝術家以一組機動雕塑作品，嘗試超越陶藝的創作框架。
