Solo Exhibition 個展
Presented by HART HAUS, Hong Kong
Solo Exhibition by Florence Yuk-ki Lee
Curated by Danson Wong｜ Produced by Jackson Kwong
Chapter I
2026. 3.14 - 4.7
Chapter II
2026. 4.18 - 4.26
Supported by Hong Kong Arts Development Council
由香港 HART HAUS 呈獻
李鈺淇個展
黃銘樂策展 ｜ 鄺俊軒製作
上篇
2026. 3.14 - 4.7
下篇
2026. 4.18 - 4.26
由香港藝術發展局資助
每個時代都重寫童話，並決定誰能成為主角，誰的幸福被認可。
如果香港有一則屬於自己的童話，它將是什麼樣貌？
藝術家李鈺淇延續對 「地方感」 (Topophilia) 的長期探索，
透過實驗動畫將香港城市景象與童話概念進行轉化為一場 「異童話」 的變奏：
海洋書寫城市歷史的時間，天空表述情緒的狀態；
這兩條藍色軌跡在展場中交疊，使城市的敘事浮現於潮水與航線交會之處，形塑一個未完成、持續被改寫的「異童話」空間。
如果香港有一則屬於自己的童話，它將是什麼樣貌？
藝術家李鈺淇延續對 「地方感」 (Topophilia) 的長期探索，
透過實驗動畫將香港城市景象與童話概念進行轉化為一場 「異童話」 的變奏：
海洋書寫城市歷史的時間，天空表述情緒的狀態；
這兩條藍色軌跡在展場中交疊，使城市的敘事浮現於潮水與航線交會之處，形塑一個未完成、持續被改寫的「異童話」空間。
Every era rewrites its fairy tales, deciding who takes center stage and whose happiness is validated.
If Hong Kong had its own fairy tale, what would it look like?
Florence Yuk-ki Lee continues her long-term exploration of “topophilia” through experimental animation,
transforming Hong Kong’s urban imagery and fairytale structures into an "Altered Fairytale”
— where the ocean chronicles the city’s historical time and the sky articulates emotional states.
These two blue trajectories intersect within the exhibition space,
where the city’s narrative unfolds at the meeting point of tidal waves and flight paths,
shaping an unfinished and continually rewritten "Altered Fairytale”
— a space suspended between urban landscapes and inner terrain.
If Hong Kong had its own fairy tale, what would it look like?
Florence Yuk-ki Lee continues her long-term exploration of “topophilia” through experimental animation,
transforming Hong Kong’s urban imagery and fairytale structures into an "Altered Fairytale”
— where the ocean chronicles the city’s historical time and the sky articulates emotional states.
These two blue trajectories intersect within the exhibition space,
where the city’s narrative unfolds at the meeting point of tidal waves and flight paths,
shaping an unfinished and continually rewritten "Altered Fairytale”
— a space suspended between urban landscapes and inner terrain.
Florence Yuk-ki Lee has long centered her practice on the concept of “topophilia,” approaching "place" as an affective construct shaped by movement, memory, and perception. In this exhibition, she transforms Hong Kong’s urban imagery and fairytale structures into an "Altered Fairytale” — where the ocean chronicles the city’s historical time and the sky articulates emotional states. Drifting schools of fish, disappearing coastlines, and intersecting flight paths unfold as fluid visual motifs. These two blue trajectories intersect within the exhibition space, where the city’s narrative unfolds at the meeting point of tidal waves and flight paths, shaping an unfinished and continually rewritten "Altered Fairytale” — a space suspended between urban landscapes and inner terrain.
The exhibition unfolds across three interwoven layers, structured around two new works, Where Sight Sinks into Starlit Eyes and Where We Drift Until the Sea Forgets Us. Taking the dual trajectories of “sky” and “ocean” as its axis, the exhibition reimagines and rewrites the city’s narratives through these two trajectories of blue, revealing the complexity and liminality of the city. Here, belonging is reimagined not as a settled identity, but as a practice of temporarily anchoring the self and its shifting emotions within the rhythms of the city.
The exhibition also looks back at the artist’s experimental animation practice over the past five years. Interlacing her works from different periods, the show constructs a continuous field of perception—an ongoing sensory dialogue with the city.
藝術家李鈺淇長期以 「地方感」 (topophilia) 作為創作核心，關注地方如何在流動、記憶與感知之中形成其情感與敘事層次。在這次展覽中，李鈺淇透過實驗動畫將香港城市景象與童話概念進行轉化為一場 「異童話」 的變奏：海洋書寫城市歷史的時間，天空表述情緒的狀態。如游標般漂浮的魚群、消失的海岸線和交錯的航班，皆化為流動的視覺意象。這兩條藍色軌跡在展場中交疊，使城市的敘事浮現於潮水與航線交會之處，形塑一個未完成、持續被改寫的 「異童話」 空間。
本次展覽由三個層次共構，以兩組新作《把我的眼睛沉入你的眼睛》與《我們漂流，直到海洋遺忘我們》為軸心，分別從 「天空」 與 「海洋」 兩道藍色軌跡展開對城市故事的想像與重寫，呈現 「地方感」 的複雜性與流動性，並揭示了 「地方感」 不僅與歸屬感有關，更是著重於自我與情感如何在城市節奏中暫時安放。
同時，展覽亦回望藝術家過去五年間的實驗動畫實踐，使不同時期的影像彼此交織，持續構成一種關於城市的感知場域。
The Double Blue Trajectories of Sky and Sea
In Jungian psychology, fairy tales are seen as tools for navigating the deep-seated conflicts and desires of the psyche; mirroring the collective unconscious while exploring universal themes of growth, loss, and hope. Within this context, Lee collaborates with writer Jess Lau, employing AI-assisted processes to map recurring urban narratives of Hong Kong, weaving them with personal emotion and lived experience through experimental animation. Within this narrative, she transforms the city into two flowing blue trajectories — ocean and sky — tracing the drifting waters and ever-changing clouds.
The blue of the sky… evokes a city defined by movement and liminality, where people depart, return, or drift in between like clouds. It holds moments of passage, separation, and uncertainty toward the future. The blue of the ocean… carries deeper layers of memory. As a harbor city, Hong Kong has been shaped by the sea — from its origins in fishing and maritime trade to land reclamation and the continual reshaping of its coastline. The ocean is both the condition of the city’s formation and the force that compels its transformation. The imagery of fish suggests a mode of existence: adapting under pressure, shifting within currents, and seeking refuge amid instability — like the city itself.
These two blue trajectories intersect within the exhibition space, where the city’s narrative unfolds at the meeting point of tidal waves and flight paths, constructing multiple narrative layers between urban landscapes and inner terrain. The story of this place has never been linear, it more closely resembles an ongoing process of mutation, gradually taking shape through dispersal, deviation, and recomposition. Suspended between tide and wind, the city remains in a constant process of reshaping itself — this is the narrative core of Double Blue.
天空與海洋的雙重藍色軌跡
每個時代都重寫童話，並決定誰能成為主角，誰的幸福被認可。如果香港有一則屬於自己的童話，它將是什麼樣貌？
在榮格心理學中，童話被視為一種引導我們理解內心深處衝突與渴望的工具，這些故事無形中反映了集體潛意識，探索成長、喪失和希望等普遍主題，揭示人類內心的複雜性。在這脈絡下，李鈺淇與作家劉清華協作，運用 AI 技術整理出香港城市故事的普遍藍圖，並以實驗動畫媒介融合個人情感與生活經驗，塑造出一個屬於香港的「異童話」。在這個敘事之中，她將城市轉化為兩道流動的藍色軌跡——海洋與天空，捕捉不斷變化的水域和雲朵的游移。
天空的藍⋯⋯ 象徵著這座流動密集的城市，人們在此出發、返回，或在兩者之間如雲般漂移。天空因此承載短暫的停留與離別，也承載對未來的不確定；海洋的藍⋯⋯ 則保存著城市更深層的記憶。作為港灣城市，香港從漁港與航運的形成，到填海工程與海岸線的持續重塑，海洋既是建構城市的條件，也是使其不斷變形的力量。魚群的形象象徵著一種存在方式：在壓力中調整，在流動中變形，並於不穩定之中尋找棲身之處，如同城市本身。
這兩條藍色軌跡在展場中交疊，使城市的敘事浮現於潮水與航線交會之處，共同構出介於城市地景與心理空間之間的多重敘事層次。此地的故事從來不是線性的，它更接近一種持續變異的過程，在消散、偏移與重組之間逐漸顯形。置身於潮水與風向之間，城市始終處於調整自身形態的過程之中，這正構成《雙重藍》的敘事核心。
Fairy tales are never pure fantasy, but narrative forms that shift with history. Early folk tales emerged from survival and crisis, circulating through oral tradition. In the modern era, they were absorbed into education and family structures as narrative tools for sustaining social order. In contemporary culture, they have been reassembled by the market and transformed into cultural models that promote individual success. Across these shifts, fairy tales reveal a key characteristic: they can always be rewritten.
To rewrite the fairytale is to reclaim the right to narrate. When existing stories can no longer accommodate lived experience, rewriting becomes a means through which overlooked emotions and marginalised forms of existence re-emerge. These fragmented versions no longer seek coherence or closure, but remain within rupture, acknowledging uncertainty and incompletion. This is the core of the exhibition theme — the altered fairytale.
Double Blue seeks to reinterpret the cityscape through the lens of "Altered Fairy Tale," loosening the rigidity of established reality and expanding perceptions of the city. Lee constructs a world devoid of fixed protagonists or predetermined endings, where fish, clouds, tidal waves, faint shadows, and urban silhouettes come to life through motion and metamorphosis. Within this space between dream and reality, viewers are invited to rethink the nature and future of the city while experiencing the diversity of Hong Kong's urban stories. This endeavor represents not only a metamorphosis of form, but also a profound emotional response to the moments where language fails.
童話從來不是純粹的幻想，而是一種隨歷史不斷變化的敘事形式。早期的民間童話圍繞生存與危機，在口述中流動；進入近代之後，它逐漸被納入教育與家庭結構之中，成為維持秩序的敘事工具；到了當代，它又被市場重新組裝，轉化為鼓勵個體成功的文化模型。在這些轉變之中，童話展現出一種關鍵特質：它始終可以被改寫。
改寫童話，是一種重新奪回敘事權的方式。當既有的故事無法容納現實經驗，人們便透過改寫，使被忽略的情感與邊緣的存在重新浮現。這些被拆解與重組的版本，不再追求完整與穩定，而停留於裂縫之中，承認故事的不確定與未完成，這正是展覽主題「異童話」的核心。
《雙重藍》希望透過「異童話」的方式重新詮釋城市景觀，鬆動固化的現實秩序，並拓展對城市的感知。李鈺淇為香港異童話篇章建構出一個拒絕定型主角與結局的世界，讓魚、雲、潮水、微弱影子與都市輪廓，在游移與變形中獲得生命。在這個融合夢幻與現實的空間中，觀眾得以重新思考城市的本質與未來，並體驗香港城市故事的多樣性。這不僅是形式的重塑，更是在語言失效時，情感對現實的深刻回應。
Exhibition Floorplan
Where Sight Sinks into Starlit Eyes
This is an altered fairytale that begins in the sky…
Inspired by a line from Adonis — “When I drown my eyes in your eyes, I glimpse the deepest dawning" — Lee transforms this act of gaze into a visual narrative in flight. Where are we heading? The eyes looking out through the window are also looking back at one another, recalling memories and sensing a future yet to be named. The work, presented as a form of an animated installation modeled after an airplane cabin window, places viewers in a passenger position, gazing outward from a first-person perspective: the ascent into the sky, passing through layers of clouds, gliding above a flickering cityscape, and finally touching down in an unfamiliar destination.
The “eye” becomes a window where space, time, and distance converge, reflecting how emotions are extended, displaced, and held in suspension within the experience of flight. What one sees from high above is not only the landscape, but also a form of gaze in motion: an emotional and perceptual state suspended in the currents of feeling and memory, a practice of sensing that hovers between looking, encountering, and weightlessness.
《把我的眼睛沉入你的眼睛》
這是一則從天空開始的異童話⋯⋯
靈感來自阿多尼斯的詩句：「當我把眼睛沉入你的眼睛，我瞥見幽深的黎明」。李鈺淇將這句凝視轉化為一段飛行中的視覺敍事：我們將前往何方？那雙凝視窗外的眼睛，也在回望彼此、召喚回憶、感知尚未命名的未來。作品以動畫結合機艙舷窗般的裝置形式，觀者如同坐在座位上，透過第一人稱視角凝視窗外：飛機升空、穿越千變萬化的雲層、俯瞰閃爍城景，直至抵達陌生之地。
「眼睛」成為空間、時間與距離交疊的窗口，對應著情感如何在飛行的經驗中被延展、錯置與暫留。在高空中看見的，不只是風景，而是一場流動中的凝視：一種懸浮在情緒與記憶的氣流裡，關於觀看、交會與失重的感知練習。
Where We Drift Until the Sea Forgets Us
This is an altered fairytale that begins beneath the sea…
Drawing upon Hong Kong’s marine history and ecological memory, Lee draws on the archetype of The Pied Piper of Hamelin, telling a story of drift from the perspective of fish. They swim through pressure and urban noise, yet can no longer find a space to dwell. A half-human, half-divine piper plays an inaudible melody, guiding the schools of fish away from a place once familiar yet can no longer hold them. They drift with the sound, slowly receding from the city, like memory withdrawing from the body. As the fish disappear, the sea falls silent. The tides continue to rise and fall, yet no longer respond. The city still faces the sea, yet the sea no longer looks back.
At the end of their drift lies another sea — one not yet occupied. Lost species resurface, and the water returns to its lucid depth. This is the moment when the sea becomes the sea again, where fish move as if they had never left.
《我們漂流，直到海洋遺忘我們》
這是一則從海底開始的異童話⋯⋯
以香港的海洋史與生態記憶為背景，李鈺淇借用〈花衣魔笛手〉的原型，從魚的視角敘述漂流故事，在壓力與噪音之間游動卻已無法棲居。一位半神半人的魔笛手吹奏無形的旋律，引導魚群離開熟悉卻已無法停留的地方。牠們隨聲漂流，緩慢地遠離城市，如同記憶從身體中退去。當魚群消失，海逐漸變得沉默。潮汐依舊來去，卻不再回應，城市仍然面向海，而海已不再回望。
漂流的盡頭，是另一片尚未被佔據的海洋。消失的物種重新浮現，水恢復為透明的深處。這是回到海成為海的時刻，那兒的魚在游動，如同從未離開。
Sprout beneath my skin - After Dark
This is an altered fairytale that begins after dark…
Street lamps filled with bouncy balls remain unlit, suspending light in a state of stillness. Plastic toys and bubbled acrylic windows hover between play and detachment, surface and enclosure, carrying fleeting traces of childhood joy. Gestures in charcoal and oil pastel introduce a softer presence, sketching a quiet vitality beneath synthetic materials.
Beneath the night sky, vulnerability and emotion begin to grow in silence — like seeds sprouting beneath the skin, carrying a subtle awareness and a faint, glimmering desire.
《在我的皮膚底下發芽 - 夜幕之後》
這是一則從黑夜開始的異童話⋯⋯
一盞盞填滿彈力球卻未點亮的街燈，將光線凝固於懸浮狀態；塑膠玩具與泡狀壓克力窗則在遊戲與疏離、表像與封閉之間徘徊，承載著兒時愉悅卻短暫的瞬間。炭筆與油粉彩的筆觸注入了柔軟的姿態，在合成材質之下，勾勒出一種靜默的生命存有。
夜幕之下，脆弱感與情感悄悄生長，像種子在皮膚底下悄悄發芽，帶著流動的自覺與微光般的渴望。
In the Forest of Heart
This is an altered fairytale that enters a tunnel of time…
Looking back on the past five years of her practice, Lee transforms the everyday into the fantastical, capturing fleeting moments of inspiration within ordinary scenes and awakening the memories long held within the viewer. Reality and imagination, immediacy and recollection, intertwine and overlap through subtly shifting frames.
Dreamlike in atmosphere, the exhibition becomes an endless passage through time, guiding us to wander through an inner forest—moving among memory, emotion, and faint glimmers of light.
《在心的森林裡》
這是一則走進時光隧道的異童話⋯⋯
回望過去五年的創作，李鈺淇將日常化作奇幻，在平凡景象中捕捉轉瞬即逝的靈感，喚起觀者心中各自封存的記憶。真實與想像、即時與回溯，在每一幀微妙而持續變動的影像間交織、重疊。
如夢似幻，將展區化為一條無盡的時光隧道，帶領我們漫遊心中的森林，在記憶、情感與微光中遊走。
Work List 作品清單：
1.
Where Sight Sinks into Starlit Eyes
2025
6-channel colour animation installation with sound
3 min 37 sec, Dimension variable
Watch Excerpt Here
(Full screening link available upon request)
《把我的眼睛沉入你的眼睛》
2025
六頻道彩色聲音動畫裝置
3 分 37 秒，尺寸可變
觀看節選片段
(如欲觀看完整影片，歡迎電郵索取放映連結)
Where Sight Sinks into Starlit Eyes
2025
6-channel colour animation installation with sound
3 min 37 sec, Dimension variable
Watch Excerpt Here
(Full screening link available upon request)
《把我的眼睛沉入你的眼睛》
2025
六頻道彩色聲音動畫裝置
3 分 37 秒，尺寸可變
觀看節選片段
(如欲觀看完整影片，歡迎電郵索取放映連結)
2.
Where We Drift Until the Sea Forgets Us
2026
Single-channel colour animation installation with sound;
Site-specific fishnet installation hand-woven by local Hong Kong fishermen
3 min 50 sec
Watch Excerpt Here
(Full screening link available upon request)
《我們漂流，直到海洋遺忘我們》
2026
單頻道彩色聲音動畫裝置
由香港本地漁民手工編織的場域特定裝置(魚網)
3 分 50秒
觀看節選片段
Where We Drift Until the Sea Forgets Us
2026
Single-channel colour animation installation with sound;
Site-specific fishnet installation hand-woven by local Hong Kong fishermen
3 min 50 sec
Watch Excerpt Here
(Full screening link available upon request)
《我們漂流，直到海洋遺忘我們》
2026
單頻道彩色聲音動畫裝置
由香港本地漁民手工編織的場域特定裝置(魚網)
3 分 50秒
觀看節選片段
(如欲觀看完整影片，歡迎電郵索取放映連結)
3.
Sprout beneath my skin - After Dark I
2024
Acrylic bubbled window, bouncy balls, plastic toys, LED-light strip
53 cm (Radius), 20 cm (Depth)
《在我的皮膚底下發芽 - 夜幕之後 I》
2024
泡狀壓克力窗、彈球、塑膠玩具、LED燈帶
53 cm (直徑)，20 cm (深)
4.
Sprout beneath my skin - After Dark II
2024
Acrylic bubbled window, bouncy balls, plastic toys, LED-light strip
53 cm (Radius), 20 cm (Depth)
《在我的皮膚底下發芽 - 夜幕之後 II》
2024
泡狀壓克力窗、彈球、塑膠玩具、LED燈帶
53 cm (直徑)，20 cm (深)
Sprout beneath my skin - After Dark I
2024
Acrylic bubbled window, bouncy balls, plastic toys, LED-light strip
53 cm (Radius), 20 cm (Depth)
《在我的皮膚底下發芽 - 夜幕之後 I》
2024
泡狀壓克力窗、彈球、塑膠玩具、LED燈帶
53 cm (直徑)，20 cm (深)
4.
Sprout beneath my skin - After Dark II
2024
Acrylic bubbled window, bouncy balls, plastic toys, LED-light strip
53 cm (Radius), 20 cm (Depth)
《在我的皮膚底下發芽 - 夜幕之後 II》
2024
泡狀壓克力窗、彈球、塑膠玩具、LED燈帶
53 cm (直徑)，20 cm (深)
5.
Sprout beneath my skin - After Dark III
2026
Acrylic bubbled window, bouncy balls,
plastic toys, LED-light strip, wired glass,
pastel and charcoal on paper
110 x 70 x 25 cm
《在我的皮膚底下發芽 - 夜幕之後 III》
2026
泡狀壓克力窗、彈球、塑膠玩具、LED燈帶、鐵絲網玻璃、紙本粉彩及炭筆
110 x 70 x 25 cm
6.
Where We Drift and the Currents Fall Silent
2025
Charcoal on paper
100 × 70 cm / 110 × 80 cm (framed)
《我們漂流，直到海不再回應》
2025
紙本炭筆
100 x 70 cm / 110 x 80 cm (裝裱尺寸)
7.
Where sight sinks into starlit eyes - 02'24"
2026
Archival Giclée print on Hahnemühle
German Etching paper
91 × 26.9 cm / 100 × 37 cm (framed)
《把我的眼睛沉入你的眼睛 - 02'24"》
2026
德國哈內姆勒蝕刻紙本
典藏藝術微噴
91 × 26.9 cm / 100 × 37 cm (裝裱尺寸)
8.
Crystals of Memories: A Shape of Home
2026
Archival Giclée print on
Hahnemühle German Etching paper
44.5 × 34.5 cm / 40 × 50 cm (framed)
《彈彈波之家》
2026
德國哈內姆勒蝕刻紙本
典藏藝術微噴
44.5 × 34.5 cm / 40 × 50 cm (裝裱尺寸)
Where We Drift and the Currents Fall Silent
2025
Charcoal on paper
100 × 70 cm / 110 × 80 cm (framed)
《我們漂流，直到海不再回應》
2025
紙本炭筆
100 x 70 cm / 110 x 80 cm (裝裱尺寸)
Where sight sinks into starlit eyes - 02'24"
2026
Archival Giclée print on Hahnemühle
German Etching paper
91 × 26.9 cm / 100 × 37 cm (framed)
《把我的眼睛沉入你的眼睛 - 02'24"》
2026
德國哈內姆勒蝕刻紙本
典藏藝術微噴
91 × 26.9 cm / 100 × 37 cm (裝裱尺寸)
Crystals of Memories: A Shape of Home
2026
Archival Giclée print on
Hahnemühle German Etching paper
44.5 × 34.5 cm / 40 × 50 cm (framed)
《彈彈波之家》
2026
德國哈內姆勒蝕刻紙本
典藏藝術微噴
44.5 × 34.5 cm / 40 × 50 cm (裝裱尺寸)
9.
You build a home in my heart
2026
Archival Giclée print on Hahnemühle
German Etching paper
30.5 × 40 cm / 40 × 50 cm (framed)
《心之所》
2026
德國哈內姆勒蝕刻紙本
典藏藝術微噴
30.5 × 40 cm / 40 × 50 cm (裝裱尺寸)
You build a home in my heart
2026
Archival Giclée print on Hahnemühle
German Etching paper
30.5 × 40 cm / 40 × 50 cm (framed)
《心之所》
2026
德國哈內姆勒蝕刻紙本
典藏藝術微噴
30.5 × 40 cm / 40 × 50 cm (裝裱尺寸)
10.
In the forest of heart
2026
Archival Giclée print on Hahnemühle
German Etching paper
30.5 × 40 cm / 40 × 50 cm (framed)
《在心的森林裡》
2026
德國哈內姆勒蝕刻紙本
典藏藝術微噴
30.5 × 40 cm / 40 × 50 cm (裝裱尺寸)
In the forest of heart
2026
Archival Giclée print on Hahnemühle
German Etching paper
30.5 × 40 cm / 40 × 50 cm (framed)
《在心的森林裡》
2026
德國哈內姆勒蝕刻紙本
典藏藝術微噴
30.5 × 40 cm / 40 × 50 cm (裝裱尺寸)
11.
Where sight sinks into starlit eyes - 02'30"
2026
Archival Giclée print on Hahnemühle
German Etching paper
36 × 24.7 cm / 42 × 30 cm (framed)
《把我的眼睛沉入你的眼睛 - 02'30"》
2026
德國哈內姆勒蝕刻紙本
典藏藝術微噴
36 × 24.7 cm / 42 × 30 cm (裝裱尺寸)
Where sight sinks into starlit eyes - 02'30"
2026
Archival Giclée print on Hahnemühle
German Etching paper
36 × 24.7 cm / 42 × 30 cm (framed)
《把我的眼睛沉入你的眼睛 - 02'30"》
2026
德國哈內姆勒蝕刻紙本
典藏藝術微噴
36 × 24.7 cm / 42 × 30 cm (裝裱尺寸)
12.
Where sight sinks into starlit eyes - 02'29"
2026
Archival Giclée print on Hahnemühle
German Etching paper
36 × 24.7 cm / 42 × 30 cm (framed)
《把我的眼睛沉入你的眼睛 - 02'29"》
2026
德國哈內姆勒蝕刻紙本
典藏藝術微噴
36 × 24.7 cm / 42 × 30 cm (裝裱尺寸)
Where sight sinks into starlit eyes - 02'29"
2026
Archival Giclée print on Hahnemühle
German Etching paper
36 × 24.7 cm / 42 × 30 cm (framed)
《把我的眼睛沉入你的眼睛 - 02'29"》
2026
德國哈內姆勒蝕刻紙本
典藏藝術微噴
36 × 24.7 cm / 42 × 30 cm (裝裱尺寸)
13.
Where sight sinks into starlit eyes - 02'31"
2026
Archival Giclée print on Hahnemühle
German Etching paper
36 × 24.7 cm / 42 × 30 cm (framed)
《把我的眼睛沉入你的眼睛 - 02'31"》
2026
德國哈內姆勒蝕刻紙本
典藏藝術微噴
36 × 24.7 cm / 42 × 30 cm (裝裱尺寸)
Where sight sinks into starlit eyes - 02'31"
2026
Archival Giclée print on Hahnemühle
German Etching paper
36 × 24.7 cm / 42 × 30 cm (framed)
《把我的眼睛沉入你的眼睛 - 02'31"》
2026
德國哈內姆勒蝕刻紙本
典藏藝術微噴
36 × 24.7 cm / 42 × 30 cm (裝裱尺寸)
14.
Where We Drift Until the Sea Forgets Us - Visual Script
2025
Charcoal and oil pastel on paper
100 × 70 cm / 110 × 80 cm (framed)
《我們漂流，直到海洋遺忘我們 - 視覺劇本》
2025
紙本炭筆及油粉彩
100 x 70 cm / 110 x 80 cm (裝裱尺寸)
Where We Drift Until the Sea Forgets Us - Visual Script
2025
Charcoal and oil pastel on paper
100 × 70 cm / 110 × 80 cm (framed)
《我們漂流，直到海洋遺忘我們 - 視覺劇本》
2025
紙本炭筆及油粉彩
100 x 70 cm / 110 x 80 cm (裝裱尺寸)
15.
Where We Drift Toward the Calling Tide
2026
Charcoal, pitt pastel and oil pastel on paper
65 × 50 cm / 75 × 60 cm (framed)
《魔笛手的召喚沒有回聲，只有流向》
2026
紙本炭筆、Pitt粉彩及油粉彩
65 × 50 cm / 75 × 60 cm (裝裱尺寸)
Where We Drift Toward the Calling Tide
2026
Charcoal, pitt pastel and oil pastel on paper
65 × 50 cm / 75 × 60 cm (framed)
《魔笛手的召喚沒有回聲，只有流向》
2026
紙本炭筆、Pitt粉彩及油粉彩
65 × 50 cm / 75 × 60 cm (裝裱尺寸)
16.
Where We Drift Beyond All Return
2026
Charcoal, pitt pastel and oil pastel on paper
65 × 50 cm / 75 × 60 cm (framed)
《魚群回到未被命名的水》
2026
紙本炭筆、Pitt粉彩及油粉彩
65 × 50 cm / 75 × 60 cm (裝裱尺寸)
Where We Drift Beyond All Return
2026
Charcoal, pitt pastel and oil pastel on paper
65 × 50 cm / 75 × 60 cm (framed)
《魚群回到未被命名的水》
2026
紙本炭筆、Pitt粉彩及油粉彩
65 × 50 cm / 75 × 60 cm (裝裱尺寸)
17.
Plastic Heart I
2024
Street lamp, bouncy balls
Dimensions variable
《塑膠之心 I》
2024
街燈、彈球
尺寸可變
Plastic Heart I
2024
Street lamp, bouncy balls
Dimensions variable
《塑膠之心 I》
2024
街燈、彈球
尺寸可變
(Exhibition Views)