Installation | 裝置
Diurna
Year of production: May 2021
Type: Installation, 298.5 x 266 cm
Media: Photochromic Paint
Diurna is a site-specific painting on an exterior wall of TKM Gråmølna based on a quote by 17th century British writer Tryon Thomas: “Let the night teach us what we are, and the day what we should be“.
The photochromic paint interacts with the extended daylight during this time of year, showing a range of changing colours, with objects that block out the sun leaving an imprint in a matter of seconds. Chan’s work is a form of communication that goes beyond the written word, when it interacts with people seeking out the sun and registers ephemeral traces of resurgent life on the streets during an ongoing pandemic.
Click here to watch the Video Documentation.
Get In Touch | 觸感
Year of production: Dec 2020
Type: Interactive Audiovisual Installation
Media: Himalayas singing bowls, Micro-controller, conductive materials.
The world we live in discourages touch and interaction among people. Physical touch was what we familiarised with, yet it becomes strange at this moment. Instead of exploring the human relationship, maybe we should explore the inwards. While the electricity goes through the conductive materials, they become one; when we touch and connect them, it makes us become one and activate the meditative sound.
Click here to watch the Video Documentation.
Reflected 31 times, and then? | 三十一次 回塑，然後？
History turns into history when time passes through.
Fell into frustration and kept looping about how could be the way out for the current protest from a dilemma. People sacrificed but justice does not come. Time slipping out, will the protest turn into a memorial event like the 4th June 1989 Tiananmen Square Massacre?
Maybe that is not yet the end, we will see.
There was a 10-meter-tall, plaster-made statue known as ‘Goddess of Democracy’ created during the 1989 Tiananmen Square protest. It has been treated as the signature icon of the movement. Time passes, the nature of the yearly events decays and changes, protests become parades, the reveals of truth become a sharing session, fighting for justice become many memorial silence moments.
With the idea of data degeneration, this project is about a loop of reviewing this piece of history. A small scale of ‘Goddess of Democracy’ has been re-created and scanned over and over, they all have been printed as another statue. Data lost and has been regenerated through the process.
Year of production: 2019 – 2020
Dimension: 20cm (H), 100cm (W), 100cm (L)
Material: PLA 3D-printed objects, plaster
Exhibited in Oh Hell Yea Humanity, 22-25 Oct , 2020 .
Akademirommet, Kunstnernes Hus, Oslo, Norway.
Click here to watch the Exhibition showreel.
Exhibited in ‘Link Will Follow’ in Trondheim Open, Nov 2020
Galleri KIT, Trondheim, Norway
Click here to watch the Video Documentation.
Haruki Murakami chose to speak up for Hong Kong. In his speech in 2009, Murakami went on to compare humans to eggs. “If there is a hard, high wall and an egg that breaks against it, no matter how right the wall or how wrong the egg, I will stand on the side of the egg.”
The wall is going to fall one day, democracy will come to us. Wish the glory belong to Hong Kong.
“Water Revolution”, a movement with no leader, people stand for themselves independently. No one in the city will forget this summer, our young people , mainly in colleges or even high schools, holding hands together with 2 millions citizens, to show the world a glimpse of light in dark.
FIVE DEMANDS NOT ONE LESS
210 x 60 x 70 cm
depends on the site
村上春樹曾經說過，雞蛋與高牆，我們永遠站在雞蛋的一方。
歷史將作見證，我們永不會忘記這年暑假，年輕人跟二百多萬香港市民，攜手向世界展現黑暗中的𥌓光。
被消失的生命，換取裂縫裡的生機。
高牆終會倒下，民主將會降臨。
願榮光歸香港
五大訴求 缺一不可
210 x 60 x 70 cm
視乎場地而定
Seize the days in a normal living |
數算我們的平凡日常
Sep, 2016
“Seize the days in a normal living” is an installation using the wild berries in Fall of Finland and some second-hand clothes are linens, pillowcases and with daily housework purposes. Making the pattern on clothes likes a housewife’s daily activities in a peaceful life. The piece attempted to raise a peaceful, normal, and yet stereotyped feminine life, which is definitely not common in Hong Kong.
香港是一個生活節奏急促的城市,人們為著生計每天疲於奔命;
在芬蘭郊區的生活卻是很平實,亦很「平常」。“數算我們的平
凡日常”是一件對生活反思的作品。日常家務簡單如煮食、洗
濯、編織,看似平凡但卻絕不輕易。
Naomi Chan has been to Finland to pursue her first one-month Artist Residency in Arteles Creative Centre in September 2016. The below video go through her sharing and some clips of her works.
Location: Arteles Creative Centre, Hämeenkyrö, Finland
This project is supported by the Arts Development Fund of the Home Affairs Bureau, the Government of the Hong Kong Special Administrative Region.
Present Moment | 當下
April, 2013
This is an audiovisual interactive installation about time space and mediation. 7 boxes were hanged as a sequence to represent a timeline.
Audiences have to stay closed to the mirror box to trigger the response. Life movements captured from the mirror box were transformed into shadows in abstract and chaotic images with a time delay at the left side. For the right-hand side, a still plain white box is about the future.
Standing in front of the mirror box, reflection with double image creates a depth. It implied a meaning of time is extending to another dimension at the moment of now. It is an alternative way of thinking about the time-space since, in our physical world, time is just linear form, but in the spiritual world, different moments of time are coexist or represent in a way far beyond a line.
“當下”是一件關於感受時間的互動媒體裝置。在感知的過程中，同時也用另一種形式展示著時間。當觀眾靠近代表當下的一面玻璃鏡箱，一連串代表自身過去的身影就會投射在左邊的五個箱子，每個並列的箱子就如跳字鐘上的數字，每十秒、每分鐘、每十分鐘、每一小時、每十小時地更新。右邊代表未來的，則是一個白哲的箱子。
這是一個需要用心感受的作品
以生命起始的數字 並列的箱子是時間線的節錄
冥想練習中 我們尋找並且感受自己 專注現在
不回溯過去 不空想未來
緊貼現在 眼眶裡只有當前的你
能勉強擠進眼眶盡處的過去 只是混沌裡的黑影
不用在意 過去就留待別的人去審閱
然而 未來 亦是一個空白的箱子
審視著時間線上最接近現在的這個空間
實在的是 我們精神領域裡
在當下的一刻 時間正往另一個角度延伸著
18th IFVA (Interactive Media) – Finalist
Video Vending Machine |
錄像自動販賣機
May, 2009
Purchase a piece of sky in a movie you like.
Video Vending machine is an interactive video installation about consumption preference and new experience of a perspective upon the basic unit of videos. In the vending machine, sequences of pixels are the goods. After inserting coins, people can select one of the movies clips out of 20. One of the pixel sequences from the selected movie will e removed from the video.
And then, there will be two instant outputs from the device. The first one is a printed card, which can be folded up to be a pixel cube, and the colour of the pixel cube is referring to the sequences of pixels. The second output is a colour animation of the selected pixel sequence that can be checked out on the website of the Video Vending Machine.The checked out path will be printed on the card once so that only the buyer of the sequences of pixels can check out the colour animation on the web with that path.
Award: 15th IFVA (Interactive Media) – Special Mention
Connect-ed | 連 . 結
Sep, 2008
Mixed media installation
