蜃曲 Mirage Harmony
香港由羣山與離島交織而成。作品通過意象化的手法重構香港十八區的山島面貌，將每區具代表性的山島轉化為富質感的山水畫面，並布置在獨立空間之上。借鑑香港三大收藏 虛白齋、至樂樓及北山堂中明末清初畫家黃向堅《尋親圖》系列中多變的視角及誇張變形的山石造境，以設色與白描的過渡，營造出交錯及遠近不一的時空結構，最終建構成一組具「連續」空間關係的山水長卷。
每區的山水空間能獨立成章，尺寸根據各區實際平方面積的數據按比例形成，並裝裱於有色有機玻璃方柱的頂端。方柱由多塊有機玻璃層疊組成，其高度對應着香港每區人口密度的百分比，形成參差錯落的建築群組。面對維港天際線，建築結構倒映着當代都市景觀，與靜謐的山島形成時空疊印。
Hong Kong is in essence a mosaic of hills and islands. In this work, the distinctive landforms of the city’s 18 administrative districts are each metaphorically reconstructed into a pictorial landscape for installation in a dedicated space. Taking reference from the varied perspectives and stylised rocks and mountains in the reunion paintings portrayed by the late Ming and early Qing painter Huang Xiangjian in the three preeminent collections, namely Xubaizhai, Chih Lo Lou and Bei Shan Tang, the installation juxtaposes disparate spatial-temporal scenes at varying distances and links them together with the use of colours and lines to form a landscape handscroll that is “continuous” in terms of time and space.
Independently formed and mounted on top of coloured plexiglass pillars, the landscapes for the districts are different in size to correlate proportionately with their respective area. Formed by blocks of coloured plexiglass stacked atop one another, the pillars are different in height to correlate proportionately with their respective population density to resemble a cluster of buildings that are variant in height. When set against the skyline of the Victoria Harbour, the reflective architectural construction superimposes the contemporary cityscape on the tranquil hilly islands across time and space.
按此觀看香港十八區的面積和人口密度
Click here to see the area and population density of the 18 districts of Hong Kong
香港由羣山與離島交織而成。作品通過意象化的手法重構香港十八區的山島面貌，將每區具代表性的山島轉化為富質感的山水畫面，並布置在獨立空間之上。借鑑香港三大收藏 虛白齋、至樂樓及北山堂中明末清初畫家黃向堅《尋親圖》系列中多變的視角及誇張變形的山石造境，以設色與白描的過渡，營造出交錯及遠近不一的時空結構，最終建構成一組具「連續」空間關係的山水長卷。
每區的山水空間能獨立成章，尺寸根據各區實際平方面積的數據按比例形成，並裝裱於有色有機玻璃方柱的頂端。方柱由多塊有機玻璃層疊組成，其高度對應着香港每區人口密度的百分比，形成參差錯落的建築群組。面對維港天際線，建築結構倒映着當代都市景觀，與靜謐的山島形成時空疊印。
Hong Kong is in essence a mosaic of hills and islands. In this work, the distinctive landforms of the city’s 18 administrative districts are each metaphorically reconstructed into a pictorial landscape for installation in a dedicated space. Taking reference from the varied perspectives and stylised rocks and mountains in the reunion paintings portrayed by the late Ming and early Qing painter Huang Xiangjian in the three preeminent collections, namely Xubaizhai, Chih Lo Lou and Bei Shan Tang, the installation juxtaposes disparate spatial-temporal scenes at varying distances and links them together with the use of colours and lines to form a landscape handscroll that is “continuous” in terms of time and space.
Independently formed and mounted on top of coloured plexiglass pillars, the landscapes for the districts are different in size to correlate proportionately with their respective area. Formed by blocks of coloured plexiglass stacked atop one another, the pillars are different in height to correlate proportionately with their respective population density to resemble a cluster of buildings that are variant in height. When set against the skyline of the Victoria Harbour, the reflective architectural construction superimposes the contemporary cityscape on the tranquil hilly islands across time and space.
按此觀看香港十八區的面積和人口密度
Click here to see the area and population density of the 18 districts of Hong Kong
從左至右：離島、屯門、元朗、荃灣、葵青、北區、中西區、南區、大埔、深水埗、沙田、油尖旺、灣仔、九龍城、黃大仙、東區、觀塘、西貢
From left to right: Islands, Tuen Mun, Yuen Long, Tuen Wan, Kwai Tsing, Northern, Central and Western, Southern, Tai Po, Sham Shui Po, Sha Tin, Yau Tsim Mong, Wan Chai, Kowloon City, Wong Tai Sin, Eastern, Kwun Tong, Sai Kung
From left to right: Islands, Tuen Mun, Yuen Long, Tuen Wan, Kwai Tsing, Northern, Central and Western, Southern, Tai Po, Sham Shui Po, Sha Tin, Yau Tsim Mong, Wan Chai, Kowloon City, Wong Tai Sin, Eastern, Kwun Tong, Sai Kung
