Works

ⓟ = painting ／ ⓓ = drawing ／ ⓘ = installation ／ ⓥ = video ／ ⓞ = other

蒙塵風景
DUSTY LANDSCAPE
2016

虛構的電影海報和劇照，雖然看起來不那麼恐怖，但都源於我研究恐怖電影以來的一些歸納和推算，又或者最異常的都源於日常，正如虛構總是植根於現實那樣。

十七本沒有名字的書。都是康拉德《黑暗之心》不同版本的封面。諸多版本的設計，皆企圖以外在風景，來論釋和象徵一個抽象的內在意象。我如是蒐藏，重繪這些著魔的風景。

另一組作品，與帕索里尼最後一部電影《沙勞》有關。牆上是施虐者與受害者的肖像。我把電影中的地毯複製出來，邀請觀眾在其上，閱讀帕索里尼離開前寫的最後一首詩歌。

海報、書封、肖像、片末字幕，既是輪廓，既是核心，也是剩餘。只因為在極外與極內的中間，有太多東西，我無法觸碰。

For Dusty Landscape Ho Sin Tung turns her attention to Horror movies. These drawings, although milder in tone, disrupt the familiarity of the densely-knit fabric of day-to-day life, exposing its inner abnormality.

There are 17 books with no names. They are all duplicates of different existing editions of Joseph Conrad’s Heart of Darkness. The heart is such abstract idea, yet different designers across the world attempted to capture its essence with landscapes. By re-painting these covers, The artist creates her own collection of haunted landscapes.

Ho Sin Tung also pays homage to Pier Paolo Pasolini’s Salo, or The 120 Days of Sodom. She creates portraits of the torturer and the tortured, and replicates the carpet in the film. Audiences are also invited to read Pasolini's last poem which is made into a film end credit with the closing music of Salo.

Film posters, book covers, portraits, film credit... They are all outer layers of a unspeakable inner core. It's a way to caress the untouchable.

Film Posters & Film Stills
10 seperate works
ⓓ

黑暗多心
Heart(s) of Darkness(es)
Acrylic on wood
a set of 17
ⓟ

最後派對
Last Party
ⓘⓓⓥ

installation views

Last Party: The Bishop, the Duke, the Magistrate, the President
最後派對：公爵、主教、法官、總統
Color pencil on paper
a set of 4, 46 x 46 cm each
2016

Last Party: Them (female)
最后派對：她們
Color pencil on paper
Set of 9, 23 x 23 cm each
2016

Last Party: Them (male)
最后派對：他們
Color pencil on paper
Set of 9, 23 x 23 cm each
2016

伊卡洛斯聳聳肩
ICARUS SHRUGGED
2015

木心在《文學回憶錄》裏，如此解讀希臘神話中，伊卡洛斯以蠟翅飛離迷宮墮海的故事：

「彌諾陶洛斯，象徵欲望。建築師代達羅斯，即製造迷樓者，象徵制定倫理、制度、道德、條例者。迷樓，象徵社會，監囚人，人不得出，包括婚姻、法律、契約。建築師也出不來，作法自斃。唯一的辦法是飛。飛出迷樓。然而飛高，狂而死。但伊卡洛斯的性格，寧可飛高，寧可摔死。

...何必計較宗教家、哲學家、藝術家，歸根結柢是一顆心。都是伊卡洛斯，都要飛高，都一定會跌下來的。」

In his "Literary Memoirs", the artist and writer Mu Xin offers his own interpretation of the Greek myth of Icarus, the boy who flew out of the Labyrinth borne on a pair of wax wings and then crashed into the sea:

"The Minotaur symbolizes desire. Daedalus, the architect who built the Labyrinth, symbolizes the formulation of ethics, systems, morals, rules. The Labyrinth symbolizes society, the things that confine us and from which we cannot escape, including marriage, laws, contracts. The architect himself has become a victim of his own creation. The only way out is to fly. To fly out of the Labyrinth. But flying too high results in madness and death. It was Icarus’ nature to prefer to risk death in order to soar ever higher.

... Why quibble about whether someone is a theologian, a philosopher or an artist—in the end they are all of one mind. They are all Icarus, yearning to soar into the heights, and certain to come crashing down."

宋冬野四重奏
Miss Dong Quartet
ⓓ

無中生有的那個有
That Something Out of Something
Out of Nothing
ⓘⓞ

十七年的重量
The Weight of Seventeen Years
ⓘⓞ

三三不盡的情事
The End(s) of the Affair(s)
ⓟ

UA黃埔，一九九三年八月六日
UA Whampoa, 6th August 1993
ⓓ

明天你會為我綁馬尾
"Tomorrow you will wear a ponytail
for me."
ⓥⓘ

揮手如溺
Not Drowning But Waving
ⓓ

綠光
The Green Ray
ⓥ

吾友烏有
HONG KONG INTER-VIVOS FILM FESTIVAL
2012

《吾友烏有》是對香港國際電影節的致敬、戲謔，與借題發揮。以二十八部虛構的電影建構出一個小型的電影節，為他們畫劇照、寫簡介、設計海報並拍攝預告片。

Inter vivos，意指生者之間。生者都在席上，而亡者在另一邊成了一台戲。

“Hong Kong Inter-vivos Film Festival” is an imaginary film festival consists of 28 imaginary films, in which the artist creates drawings of the imagined film posters and film stills; write the synopsis and film the trailers.

The Latin term "inter vivos" can be directly translated as “between the living” – for the dead is on the stage and not among us.

電影海報
Film Posters
ⓓ

4.
經典修復
Classic Restoriette
ⓓ

黑眼狗
Black Eyed Dog
ⓓⓘ

1.
大屍班
Masterpiss
ⓓ

5.
捷克專題
Czech Republic Goes Public
ⓓ

電影預告
Film Trailers
ⓥ

2.
影迷監你玩
Hai Gum Gala Presentation
ⓓ

6.
假的真得了
Mocumentary
ⓓ

電影節節目小冊子
Film Program Booklet
ⓞ

3.
太前衛
The Advance Guard
ⓓ

7.
安德魯・庫爾展望展：無今生有來生
Andrew Khur Reprospective:
You Only Die Twice
ⓓ

影訊
Festival News
ⓞ

日頭彌留
DON'T SHOOT THE MESSENGER
2010

展覽源自一個日常的場景：想見一個人，但那人已經不在。不論是死別還是生離，都日復一日地遙遠非常。今次繪畫的對象，有早逝的演員，有書本裡死去的人，有天災戰患裡罹難的眾人。曾經他們或者成為容器，承載過切身的喪失經驗，但今天他們不但替我命名那些不能宣之於口的名字，他們自己也成為哀悼本身。

An exhibition inspired by one of life's common situations: the desire to see some one, but that person is nowhere around. No matter whether they've been taken by death or, though alive, have simply moved on, they remain forever distant. The subjects of my painting include actors or actresses who died young, fictional characters who perish in novels, and all those who have been killed by natural disaster or on the battlefield. Perhaps they once carried within them the grief of personal loss, but today they are not only my substitute for those whose names will never be spoken, they themselves have become the subject of mourning.