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蟻穎琳於1986年出生及成長在香港,她於2008年在香港浸會大學視覺藝術院取得藝術學士畢業。她的作品主要圍繞自身經歷、香港風景和城市生活,以男女魚人為角式描繪日常生活中的溫馨趣怪之事。她善用顏料,以畫筆寫下男女魚人欲言又止的對話,令觀衆對日常小事和環境一一細味。

蟻穎琳現於香港居住及工作。她的近作曾展出於界自然基金會香港分會主辦的 《海洋的印記》(香港海港城美術館 2020)、亞洲藝術文獻庫的周年籌款拍賣會2020、《逢星期二》(香港賽馬會創意藝術中 2018)、《火腿 未,來式》(台灣高雄駁二藝術特區火腿藝廊 2017)、《獵犬號小旅行》(台灣高雄駁二藝術特區未藝術空間2017)、《 富德四重奏:駐樓藝術家作品展》(艺鵠 2014)、個展《不見不散》(YY9 畫廊 2015)、《魚人 閱讀時間》(艺鵠 2012)等。她的作品亦收藏於不同機構空間。


Born in 1986 in Hong Kong, Ngai Wing Lam was raised in Hong Kong and graduated with a BA from Hong Kong Baptist University Academy of Visual Arts in 2008. Painting is the main medium she works with, the stories of the Fish Man are inspired by the dreams she had and scenes plucked out from her surroundings. Landscapes of Hong Kong is her main element.

Ngai Wing Lam currently lives and works in Hong Kong. Her most recent exhibitions include the Tales of the Ocean (WWF-HK x Gallery by the Harbour 2020); Asia Art Archive’s annual auction 2020; Every Tuesday (Jockey Club Creative Arts Centre, Hong Kong 2018); The Voyage of the Beagle (WINWIN ART, Taiwan 2017); 火腿 未,來式 (HAM gallery, Taiwan 2017); Foo Tak Quartet Artists work showcase (Art and Culture Outreach, Hong Kong 2014); solo exhibition Until You Are Here (YY9 GALLERY, Hong Kong 2015); Reading the Time of Fish Man (Art and Culture Outreach, Hong Kong 2012). Her works are collected by different orginizations.








關於魚頭和夢境

來自明周文化 走進夢境 系列 3
文 陳伊敏 攝 周耀恩


我們隔着水一同呼吸 藝術家蟻穎琳的油畫代表作有一個魚頭人身的造型,以超現實主義的手法刻劃了一個個關於「男魚人」和「女魚人」的都市生活故事。「我畫的是人的故事,但人的表情太赤裸裸。魚頭給了我一份含蓄的意味。」創作的靈感源於她所思念的一對錦鯉魚。

蟻穎琳說她是個慢熱的人,而小時候亦是個寡言的孩子,大多數自己玩玩具。年幼時住舊蘇屋邨,雪櫃頂放了個小魚缸,五、六歲的她經常爬上去看那條經典橙白色的金魚,「好神奇地浮在水中央,口開合開合的,竟然和自己大不同!(人的腳在地上走路,用肺呼吸空氣)。我和魚對望着,彼此有眼睛有嘴卻一個在水裏,一個在陸地,感覺又遠又近。」作為獨生孩子,魚是童年的好陪伴。

這橙白色金魚在她二年級搬屋到新界時死了。後來她依然斷續養着魚,有一對錦鯉,從小學六年級開始養了八年。「我會和牠們就說話, 與牠們之間是一種有距離的愛,他們的嘴巴不斷在動,好像有很多說話要跟我說般。」

讀大學的時候,蟻穎琳有天回家,見到其中一條魚翻肚了。當時傷心不已,一度想將它做成標本。不久,另外一條也死了。

後來,她不斷夢見這兩條魚,各種夢境都在找牠們,有時身處一百層的摩天大廈,有時在人聲鼎沸的街市。總之,牠們在不同造型的魚缸中游動,夢境像劇集一樣主題連貫,而且往往醒來印象深刻。

直到2006年的一天,她心血來潮將這兩條錦鯉畫出來。從此,就再也沒有夢見了,也終於放下對兩條魚深深的思念。

「夢是情緒的表達,自我釋放,想像力的承載,沉澱思考的空間。」蟻穎琳自小多夢,小時甚至重複做同一個夢,自己是個嬰兒,從屋內爬去露台,跌了下樓,眼前一黑,只看到旋轉木馬不停轉。她從小學開始寫日記記錄夢見什麼奇特的事,「每次重溫夢境,都似乎了解自己更多了。」

夢中,她與逝去的阿公一起行街,一起吃飯,夢中的長洲被叫做「冰島」,夢中的日本藝術家村上隆卻做了壽司師傅, 在熱帶魚熱氣球上整吞拿魚壽司,邊飄邊派壽司,於是地面的人都瘋狂慕名而去接壽司⋯⋯ 她將這些情境記錄下來成為作品。而這每日上演的夢,一直是個源源不絕的靈感寶庫。






About fish heads and dreams

Dreams was my main topic when I was studying Visual Arts at Baptist University. I believe dreams representing our sensibility and subconscious are so mysterious. I always remember dreams in detail, usually they have storylines like a movie. So I studied movies and automatic poetry to learn how to tell stories. The two Koi I kept for 8 years. I love fish when I was small. I was the only child in my family and fish was my soul mate. Fish, living in water that I could not cuddle. Fish, mouth open and close that I never understood. They swim instead of feet touching the floor. These are what I think about fish, we love from a distance. I liked these two fish a lot but this is not the reason I paint with their heads. After they died, I dreamt of them frequently, like once a week. I searched for them in the dreams, from real estates, markets to unreal Skyscrapers floating in sky. I found them in irregular shaped tanks, open and close their mouths like telling me some important things. One day, I painted them (in realistic style) releasing my love for the two Koi "報夢者 | The Dream Teller". I haven't seen them in my dreams again.

Continuing my painting with the topic of story telling about dreams, I decided to use the two Fish faces as Fish Man and Fish Woman. They are my cast. About medium, I stick to painting so that I have the best feeling to express my feelings. How to tell a story is always my concern. "三個月光的晚 | A Night with Three Moons"  is a drawing images video, combined with a dream narrated in the form of poetry. It was the way at the beginning.

After that I focus on one specific moment and dialogue (titles) simply with brush and colour. I looked at the old master paintings, study how elements are constructed in a painting."草地上的太陽油 - 八仙嶺 | Sun Cream on the Grass - Pat Sin Leng" is an obvious style of that period. I paint the surreal Fishman in realistic style, I darken the colours. I want audiences to look at it - I am talking about life in Hong Kong or a real life as you and me.

I have many dream diaries. Dreams are a bit long and too private. Things happen around me, dialogues between me and my lovers, friends, family, become my main stories. Especially lovers' chatting." 三分鐘前的她 | The Three Minutes Before " and " 三分鐘後的他 | The Three Minutes After " is about the girl who didn't wait for the boy that always be lated. I used two separate canvas as I think they are not in the same timeline and for some lover topic I give them private space.

Some years later I have questions about should I paint without Fishman. An important one told me he wanted a boat. I started to look at the sea and think about the sea and nature. I live more simply and spend more time in nature. Landscape is a bigger picture for me now. I am exploring how to tell my stories with the landscapes.






 
 
 
 
 
 
 
   
 
 
 
 
 
 
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