Born in the colonial years of Hong Kong, Shan Luk chose to study psychology in her first

degree, hoping that it might answer the many questions about life, mind and existence.

Throughout the years, she continues her search for these answers.

With her talents in working with a vast diversity of materials, she started sewing during her

teenage years (grandmother being a self-taught tailor, mother being a seamstress), and

moved on creating jewellery and accessories. In recent years, she focused on porcelain,

glass and metal as creative media.

Since her first solo exhibition held in 2019 (supported by ADC), the concept of healing as

represented by ju china mending technique became a signature of her work.

藝術理念

縫補的過程也是自我反省和療癒的過程。

2016 年接連的手術帶給我身體及心靈的挑戰,也促使我藉此機會去捕捉我對破碎與修復瓷

器那不完美且樂觀看法。

2019 年的個人藝術展覽,我展示了修補自己和修補物件之間的聯繫。在準備的過程中,通過

重複的製作、故意的破碎和漫長的修補過程,讓隱藏的傷口重現,重新體驗痛苦,並開始癒合

過程。

最初將玻璃藝術和瓷器修補作為創意媒體的探索,純粹是出於我的個人興趣。在使用這些媒

介的時間越長,我就越意識到它們如何分別代表著東西方文化的對立和互補。

這個發現旅程從威尼斯穆拉諾島跟Lucio Bubacco大師學習玻璃藝術開始,然後延續於跟王

振海(王老邪)大師學習中國古代瓷器修補技術“鋦瓷”。王大師是非物質文化遺產代表性傳承人

,不僅教授了我鋦瓷的技術,還打開了我在香港殖民地的成長過程中所忽略的中國文化的視

野。

打開了這扇門之後,我開始深受中國文化的啟發,及後研究不同的瓷器製作及修補方法和不

同文化中涉及的美學選擇及價值觀的差異。在藝術方向的探索,竟與我早期對心理學的興趣,

以及我在青春期經歷的文化及身份困惑如此的密切相關。

Venus Fly Trap or Higher than an Angel

GREY WALLS GALLERY