Last year is the year when I re-examined the way I create independently. I spent half a year organising my thought. Eventually I am clear about the reason I carry on making art. Is it because I love photography that is why my medium is photography? I spent time on re-organising myself and rethought, to me, what photography is. Somebody told me, compared to photography, he concerns more about the existence of the present moment. Whenever I took pictures I remembered what he said. In the end, at a particular moment, taking picture is more important.
It has been quite sometime when I tried to avoid photographing what I saw with my naked eye. To those what I am good at. Recently I stopped picking up any kinds of creative practice and re-organised my value of life which once was questioned. More or less it is a lack of self-affirmation.
I met different kinds of people here. Even when I get back to Hong Kong I still remember those moments created by cause and consequence principle. Some of the images were gone because of the x-ray. I did not bring along my Hasselblad with which I am familiar. You have to build up relationship with your camera, though. And it takes time. The Hasselblad that I have been using is already a part of me. Instead I brought along a Rolleiflex which made me come across those guys. The camera brought their memories back. When I talked about photography with them, the smiles on their faces were warm. Some of the pictures didn’t survive which made me a bit sad for a while. Those moments are always on my mind. Once in a while when I thought of them their faces pop up. I wish I could always see photography as such.
2024
This photography series was created in a scrap metal yard originally used as a location for a film shoot. On first encounter, the yard suggested the image of a naked figure seated on a large metal claw, set against a barren expanse of scrap and discarded materials.
Around six months later, the yard was scheduled to close. By then, the metal piles had diminished significantly, as most of the material had already been transported to Africa.
The photographs document the last phase of this yard before its disappearance.
Tomorrow is the last day to visit the exhibition
“The Orbit of Hope”- Illumination
Sculpture installation
2025.9.18-12.28 @wma_hk
People need old symbols to grasp new things—but not to repeat old wisdom. Instead, we excavate buried, unfinished hopes. For Benjamin, memory is not nostalgia but revelation: fragments of the past flare up to illuminate the present. In a dark church in Italy, a glowing crucifix once suspended time for me. That light, later understood through Benjamin, became a flash of memory beyond linear time—an awakening that can surface at any moment in life.
The contemporary monument connects past and present. My work treats *light as the monumental*, symbolizing the immortality of memory. Like Benjamin’s angel of history, the sculpture faces the past yet is carried into the future. Made of fragile materials, it commemorates what is unfinished and weak rather than heroic and complete. By transforming photographic portraits into spatial forms, I build a personal monument—one that refines buried memory into a revelation of the now, lasting one day longer than eternity.
Curated by @franklamyin
Creamic technician @grass_vender
Video by @youngjoey32
Exhibition: The Orbit of Hope｜展覽：希望的引力
As city skylines obscure and angularise the contours of the sky, starlights become harder to see. Since ancient times, stars have guided humanity, serving as both navigational markers and symbols of our hope and aspiration. Today, these celestial motifs remain woven into the fabric of everyday life—be it in striving for academic accolades, savouring Michelin-starred cuisine, or seeking esoteric guidance in astrological signs. All of these reflect a shared human focus on hope.
Curated by Frank Lam, “The Orbit of Hope” is the debut exhibition for WMA’s biennial theme, “Hope”. Showcasing works by four Hong Kong artists—Jess Lau Ching-wa, Rocco Sung, Simon Wan, and Jil Wong—the exhibition explores the symbolic significance of stars and the distance between individuals and their hopes. Drawing on Newton’s law of universal gravitation, the show likens the dynamic between humanity and hope to invisible forces that pull us forward, guiding us along the trajectory of aspiration.
Using methods derived from astronomy—observation, documentation, analysis, and transformation—the artists invite visitors to rekindle a longing for the night sky. Together, we trace the origins of hope, following the subtle rhythm of gravity, gently piecing together scattered light and dreams.
The exhibition opens at 6pm on Thursday, 18 September. We look forward to welcoming you.
📌Exhibition Details 展覽詳情
> Opening at 開幕時間
2025.9.18 (Thu 四) 6 - 8pm
Kindly RSVP 敬請預約 (in bio)
> Exhibition period 展覽期間
2025.9.19 - 12.28
12 - 8pm (Tue-Sat 二至六)
Register 敬請預約 (in bio)
隨着城市高樓日益林立，天空的輪廓愈發幾何化，星光逐漸變得難以被你我捕捉。自古以來，星星不僅是人類導航的路標，更承載着每一個人的期許與希望。時至今日，它早已化作日常：無論是文憑試的摘星狀元，還是米芝蓮的星級滋味，抑或是指引眾人命運的星座啟示，無一不是我們對希冀的凝望。
是次WMA雙年度主題「希冀」的首個展覽「希望的引力」由林彥鋒策劃，邀請四位香港藝術家劉清華、宋志新、尹子聰與黃祖兒，透過作品探討星星的象徵意義，以及我們與希望之間的距離。展覽啟發自牛頓的萬有引力定律，並以此隱喻人與希望之間的牽引和線索，視它為路標引領我們進入希望軌跡。
展覽參考天文學中常用的方法——觀測、紀錄、解構、轉化，貫穿藝術家的作品，喚起觀眾再次仰望星空的渴望。讓我們追溯希望的起點，依着引力的脈動，逐步拾起散落的星光與冀望。
展覽將於9月18日（四）下午6時開幕，期待與大家見面。
Visual design: @thosehere
