《更衣紙偶》(著衫公仔)系列結合懷舊玩具和流行文化偶像。以懷舊紙偶手法重塑《秋天的童話》的船頭尺、《上海灘》的許文强和《花樣年華》的蘇麗珍等經典角色，讓觀眾重拾昔日電影的難忘場景。除了熟悉的香港文化，《雜錦卡式帶》系列是他少年時代沉迷流行音樂的回憶。 Billy Joel 的 《Uptown Girl》和 Cyndi Lauper 的 《Girls Just Want To Have Fun》等都是八十年代風靡一時的樂曲。
A: Initially, I was drawn to the landscapes up North that seemed vastly different from the extreme urban density in Hong Kong Island and Kowloon. At first glance, the Northern region feels both agrarian and industrial in nature, which reflects the agricultural activities that have existed here for centuries and the logistical pressures due to its close proximity to Shenzhen across the border. With ongoing plans to develop many parts of the rural North into a “Northern Metropolis”, I wanted to document the changing landscape of the North and ask questions about the nature of development and our relationship with land.
I started going up North in early 2021 most of my weekends. What started as an inquiry into Hong Kong’s land development would eventually reveal other events such as the eviction and demolition of villages to make way for new development, finding meaning from the objects which I’ve scavenged from the rubble of demolished villages, and encounters with overlooked myths and neglected histories beyond the colonial gaze. They ask broader themes about the notion of territory and the meaning of time, memory, home and land in a city that is ever changing.
This also led me to think about the huge disparity between the way Hong Kong is often portrayed and its actual reality. Hong Kong’s extreme urban density is well represented in photography, but this urban density only consists of a tiny fraction of Hong Kong’s actual land use. Much of Hong Kong’s land consists of country parks, villages, brownfield sites, or farming fields - but not the kind of images that are often represented such as skyscrapers crowding around Victoria Harbour or the dense streets of Kowloon or Central, which altogether reinforces the myth about Hong Kong as a crowded city that lacks land.
As an image maker and architect, I’ve always wondered about this disparity in representation and wanted to look at this “other” side of Hong Kong that in turn shapes its extreme density. Everything I’ve photographed for this series attempts to show this neglected side, revealing subject matters beyond the colonial gaze about Hong Kong.
A: I remember one time standing on top of the rubble of a demolished village in the middle of the night. It was eerily silent and I was the only person there. It felt apocalyptic almost, as if the people who once lived there and all the activities that happened in the village were transported into another city worlds apart. The darkness of the night became this medium for me to imagine what life was like before, as if the objects left behind in the rubble would fade back to life.
This event gave me the idea to collect objects from the rubble and photograph them against a black backdrop in my studio. The backdrop removes these objects from the context in which I found them, giving viewers room to imagine what life was like before in a way that felt similar to finding objects from the rubble in the middle of the night.
These images become more like text than photographs; they are more suggestive than descriptive, maybe even meditative. They give viewers room to imagine and interpret these objects on their own terms with their own personal memories and interpretation. They ask broader questions about the nature of objects and the memories which we attach onto them.
Buildings and objects are physical, but we tend to forget that we attach layers of emotions and memories onto them. When we talk about heritage and the loss of destruction that is happening across our city, perhaps it is ultimately not the physical building that we’re fighting to protect, but the identity and memories which we impart onto them.