AN
EXHIBITION
CELEBRATING
THE
20TH
ANNIVERSARY
OF
HONG
KONG
ART
SCHOOL

Rebeka TAM 譚曉怡

簡介 Biography

Rebeka Tam was graduated from the Bachelor of Arts (Fine Art) programme, co-presented by RMIT University and Hong Kong Art School in 2008, with a major in Ceramics, and completed Master of Arts in Cultural Management at the Chinese University of Hong Kong in 2013.  Rebeka has been working as an art educator for more than 12 years, and active in leading several community arts projects for years. She believes that if an artwork could relate to “human experiences”, the dialogues, the reflection and feelings of the creative process would feed back to life.

譚曉怡,二零零八年完成澳洲皇家墨爾本理工大學及香港藝術學院合辦的藝術文學士課程,主修陶瓷;並於二零一三年於香港中文大學完成文化管理碩士課程。一直從事藝術教育及社區藝術相關工作多年,近年積極參與策劃多個社區藝術計劃及展覽,相信藝術就如一條紅線,創作若能回應「人的經驗」,便能把創作過程的對話、感受及反思回饋生活當中。

I love the corporality of ceramics; I hate it at the same time
I am fascinated by the flexibility of the experimental materials
While sometimes
the excess of corporality and technical aspect is frown upon
From time to time, it fills the moments when thoughts are floating in the void

Paradoxically, the corporality of ceramics
is exactly what connects people and work
To me, ceramics making is a process going through time
Wandering and conversing between corporality and void
Facing the turbulent and uneasy social situation
I choose to communicate with myself through the process of ceramics making
In fact I am also seeking for self-redemption

對於陶瓷的物質性,我又愛又恨
我陶醉於
實驗物料的可塑性
但有時
卻略嫌它太具物質性和技術性
實在得有時,填塞了思想在虛空浮游的瞬間

而吊詭地,陶瓷的物質性
又恰恰是連結人與作品最直接的橋樑
做陶,對我來說,是一種時間的沉澱
從踏實的物質性與虛空之間反覆游走、對話
面對紛擾難安的社會現況
我選擇以造陶的過程去作沉澱、對話
其實同時也在尋找自我的救贖

Walls, record a city’s “voices”, in the manner of putting up, tearing, painting or covering posts, or in form of images, drawings or texts, record the cycle of constructions and destructions as time unfolds reality. The conditions of those walls on streets, no matter filled with posts, torn papers, erasures or re-paintings, they are all traces of real social interactions. To observe carefully, those marks are always changing. And maybe one day, those marks would be buried and disappeared from our sight.
Perhaps, making art to me has become an act of unforgetting. And yet, ceramics, having its unique materiality, is a perfect media to help inscribe fragments of memory.

牆,記錄著這個城市裡的「話語」;以張貼、撕毀、塗寫、塗抺、圖畫、文字、及各種展現力量的方式,隨著時間記錄著建立和拆毁的循環。街道上牆壁的各種狀態,無論是被貼滿、剷掉、清拆、撕毀、或重新塗油粉飾、都反映著社會中互動的一種真實記錄。細心觀察這些互動過後的痕跡,時常都在變動著,而可能有一天,又會以另一種方式被消失掩蓋掉。

當下,創作,也許就是為了不忘記,以一種自己熟悉的方式,時刻記在心。而對於我來說,陶瓷正好是一種光明磊落的媒介;以陶土物質特有的印記,把記憶的碎片給記下來。

A Cleaned Wall #1
清潔的牆 #1

2020
Stoneware clays, papers
陶土、紙
35.5 x 21 x 2 cm

A Cleaned Wall #2
清潔的牆 #2

2020
Stoneware clays, papers
陶土、紙
35.5 x 20.5 x 1.5 cm

A Cleaned Wall #3
清潔的牆 #3

2020
Stoneware clays, papers
陶土、紙
25 x 25 x 1.5 cm

A Cleaned Wall #4
清潔的牆 #4

2020
Stoneware clays, papers
陶土、紙
26.5 x 26.5 x 1.5 cm

A cleaned wall #5
清潔的牆 #5

2020
Stoneware clays, papers
陶土、紙
25.5 x 25.5 x 1.5 cm

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