Black Delta Rhapsody

Nancy Tong 湯紫君

Acrylic, ink on canvas
丙烯顏料、水墨布本

51x58x9cm
2021
Not for sale

Nancy Tong

Born in Hong Kong, during the British reign, a place where Chinese and Western cultures are well blended. Tong’s art practice explores themes connect to her childhood memories, everyday life experiences and identity using painting, installation, sculpture, video, and public art. Tong employs art as a means for articulating her inner emotionality and psychological landscape. Memory is the cornerstone of her body of work. Tong began to create abstract paintings while studying at art school and her work combines elements of Eastern and Western mixed culture.

Nancy Tong’s work shortlisted in the Modern Contemporary Art Competition of the 15th Edition of Arte Laguna Prize 2021, Venice, Italy. Tong won the Renée Beja Grand Award in painting of Taylor Foundation, Paris, France. Tong’s work has been shown at the CICA Museum, South Korea; London Art Biennale, London; Salon d’Automne, Paris; Five Walls Project, Melbourne; Kikinda Cultural Centre, Serbia and Anita Chan Lai-Ling Gallery, Hong Kong. She was a recipient of the Hong Kong Art Development Council of Project Grants in 2021. Tong received her bachelor’s degree in fine arts, majored in Painting at Royal Melbourne Institute of Technology University (Melbourne, Australia) in 2019.

Memories with Fringe Club 與藝穗會的回憶

What is the first thing you remember about the Fringe Club? When was that? What were you doing at that time? 

 

  • It was 2017 and I was studying in my first year of my BA in Fine Art. I was working on one of my  assignments about Hong Kong urban landscape. My research revolved around the Central District  and I was immediately intrigued and impressed by the Fringe Club. This one-of-a-kind structure is  reminiscent of much of Hong Kong during the British colonial era. The Fringe Club and the peripheral  space were documented in my research through on-site photographs, drawings and sketches. The  Fringe Club is mesmerising, not merely by its interior and exterior aesthetics, but also by its significant  presence in Hong Kong’s history, local arts and cultural scenes. I think Fringe Club will, as always,  have its individuality and charisma and take you back to the times you miss. Perhaps this is the reason  why I held my first Hong Kong solo exhibition ‘Movement In Stillness’, at Anita Chan Lai Ling Gallery.  In my exhibition, I kept the gallery simple nostalgia space as it was and pared-down not to make any  changes to exhibit my body of work. It turned out that the space and the artworks reinforce each  other. I think the best thing about the gallery space is its unique architecture and rich traces of Hong  Kong history. This abundance allows us to quickly perceive the spatial and temporal dimensions of  the existence of complex cultural identities.  

當提到藝穗會,你第一件想起的回憶是甚麼?甚麼時候的?你當時在做甚麼?

  • 那是 2017 年,我正在攻讀美術學士學位第一年,剛完成一項關於香港城市景觀的研究项目。 我的研究圍繞中區展開,我立刻對藝穗會產生了濃厚的興趣和印象。這種獨一無二的建築讓 人想起英國殖民時代的香港。在我的研究中,通過現場攝影、繪畫和素描記錄藝穗會和周邊環境。藝穗會令人著迷,不僅在於它的內貌和外觀,還在於它在香港的歷史、本地藝術和文化中的重要地位。我想藝穗會會一如既往,有它的個性和魅力,帶你回到你懷念的時代。或 許這就是我在陳麗玲畫廊舉辦第一個香港個人展覽“靜極思動”的原因。在我的展覽中保持 畫廊的簡單懷舊空間的原貌,並精簡不做任何改變或裝飾來展示我的作品。結果是空間和藝 術品相輔相成。我認為畫廊空間最好的地方在於其獨特的建築風格和豐富的香港歷史痕跡。 由於這種豐富性使我們能夠快速感知複雜文化身份存在的空間和時間維度。 

Could you tell us about the work that you have submitted? 

  • Memory is the conceptual basis of the work. Nancy brings together and breaks down various  elements of her childhood memories and experiences to create a new synthetic dimension. She uses  geometrical shapes as a starting point of an exploration of space and form. The painting’s material  has experienced and felt through organic splashes of ink on raw canvas. Glossy, rippling painted  canvas creases capture the light and accentuate sculptural forms. Folded canvas holds the essence  of invisible movement and performance, through which the viewer perceives the artist’s physical  strength and mental act of making. Her work is a visual manifestation of what happens when one  merges emotion, perception, and material to create an emotion-visuality symbiosis.  

 

有甚麼關於你提交的作品可以告訴我們?

  • 記憶是作品的概念基礎。 湯紫君將童年記憶和經歷的不同元素匯集並解構,創作一個新的可塑性領域。她使用幾何形狀作為探索空間和形式的起點。這幅畫的材質是通過原始畫布上隨 機揮灑的潑墨,讓人體驗和感受到這幅畫的物質存在。繪著顏料的畫布摺痕處泛出波紋光澤, 捕捉著光影,突顯著雕塑的形態。摺疊畫布的核心是背後看不見的動態和表演,觀眾通過它 感知藝術家的力量和精神創作行為。她的作品是當感知、感情和物質融為一體時,形成「情感—視覺」共生的視覺表現。

 

What are you working on now? 

  • I am exploring and experimenting with the possibilities of adding paper in my present project.  Working on paper, especially rice paper has always been fascinated.  

你現在在做甚麼?

  • 我正在探索和試驗在我目前的項目中添加紙的可能性。在紙上工作,尤其是宣紙一直讓我很著迷。