CHEUNG Chung Chau
Cheung Chung Chau (b.1999) is based in Hong Kong. His works mainly make three-dimensional sculptures or installation artworks with varied materials, and express and explore some marks in the community. He won a scholarship from “Hong Kong Electric Special Award 2021″. In the same year, Cheung Chung Chau's work was selected for "Young ArtistIn-Residence@54 Po Leung Kuk” and exhibited jointly with other artists- " Bones". CHEUNG also created a water pipe installation artwork in the exhibition of "The Poetics of Blockages art exhibition" @HKDI.
Cheung loves looking for some mark from life, and these marks are some abstract symbols, lines, and structures. They all express some footprints in some streets, and there are some regional characteristics, and even people’s behavior under some social problems. Exploring the community also led him to extend his attention to color, which led him to prefer black, gray, and white. This monotony is closely related to society, expressing a long sense of age and history, as well as some of the emotions and words of people. The Community has given him lots of reflection in terms of art creation.
Cheung’s recent Bridge Series explores the importance of architecture in the community, revealing that Bridges are not only a connection point of destination, but also an entry and exit channel for the change of people’s thoughts and identities.
張宗楸，作品主要以不同材質物料製成 的雕塑和裝置藝術品，並研究及探討香 港社區的一些痕跡。他曾在 2021 年出賽 過港環保比賽並其中獲獎，在一同年， 作品入選保良局 V54 年輕藝術家駐留計 劃並與其他藝術家舉辦聯展- 「骨格」， 在「堵物•詩人」的藝術展中， 另一作品 以水管裝置藝術品展出。
他喜愛從生活中尋找一些痕跡，這些痕跡是一些抽象的符號、線條和結構，它們都表達著一些街道中的一些腳印、還有是一些地域的特點，甚至是人們在一 些社會問題下的行為。物料的喜好特質例如黑白灰，是由研究社區所因引申出的，這些單色調與社區緊緊相連，表達社區悠久的歷史以及人們的一些情感和話語，讓社區帶給他在藝術創 作中有不斷的反思。
他近期以「橋」系列探索建築在社區中的重要性，橋不僅是目的地的連接點，也是人民思想和身份變化的進出通道。
Wood, iron, concrete, mirror paper
85cm x 35cm x 460cm
85 厘米 x 35 厘米 x 460 厘米
The footbridge is not a neglected fringe structure; it is a guide to life. I explore the traces of ancient architecture in Hong Kong and my hometown, looking for similarities in materials and consistency in roots. I thought back to the entrance to the pedestrian bridge that connects Hong Kong and mainland China, and reflected on my original aspirations and expectations for the modern city, and it was the footbridge that help me to find my own uniqueness. The bridge let me reflect on my past, and I will keep moving in the guiding of the bridge.
天橋並不作為被人忽視的邊緣化建築，而是一 種人生指引。 我探索香港和故鄉的古老建築痕 跡，發現材料的相似性和根源一致性。 回望連 接中港兩岸的天橋入口，反思當初對現代都市 的渴望和期待，是橋令我找到了自我。橋思我 過去，我就橋前行。
2022
Ink on race papers with rice
450cm x 30.5cm x 380cm
The architecture in life brought a lot of inspiration for my artistic creation. Bridge is one of my research subjects, and it made me a lot of associations. I based it on footbridge, and it reminded me of the two notions of community connection and rhythm. The footbridge is like a poem to me, and people are words in it. The words are all expressed with some symbols. What I mainly discuss is the Chinese Bridge. I use ink, rice paper and the structure of the Jiuqu Bridge to express the poetry of ancient Chinese poetry. I have tried to combine these traditional materials and structures with contemporary art. For example, I use some tools of geometry such as the garden lid, square wood, etc. as printing tools, and add ink to print the different shapes of symbols on the rice paper. These symbols symbolize different social classes and communities of age, each with a different appearance and size, and they are eventually connected to each other into poetry, rhythm and community.
生活中的建築為我的藝術創作帶了很多靈感，橋是我其中的一個研究對象，它讓我產生很多聯想。這個作品以行人橋作為藍本，它讓我聯想到社區連接和節奏這兩種觀念。對我來說行人橋就像是一首詩，人們就是詩裡的每一個字。這些字都用了一些符號來表達。我主要探討的是中國橋，我用是墨水，宣紙，還有九曲橋的結構來表達中國古詩的詩意。我嘗試將這些傳統的材料和結構結合現代藝術。在創作中，我用了一些幾何圖形的工具，例如圓蓋子、方木頭等作為印刷工具，並加入墨水把不同形狀的符號印刷在宣紙上。這些符號象徵著不同的社會階級和年齡的社群，每一個符號都有不同的模樣和大小，它們最終都互相連接，成為了詩，節奏和社區。
2021
Scotch tape
63cm x 135cm x 60cm
"Unreal and real", is a topic that I am very interested in. At our age, we always have some temptations, and when fully addicted to it, it is difficult to separate the world between true and false. In this work, I regard myself as a research subject, because esports are my deepest feeling, when I am addicted to virtual games, my real self is the remaining body, unconscious. My main material is clear tape, and the idea comes from light because indulging to this state reminds me of light, it does exist but is abstract. I use transparent tape around the whole body to create a shadow of myself. Then I cut off the transparent tape to become a body like light or shadow. I also connected the transparent human body and the illusory world with the transparent tape. Every transparent skin is a kind of virtual information or data, which was strongly pulled by the illusory world. Through this transparent shadow, I ask myself and ask the people in our age, whether the world is true or false, are we still aware?
虛幻和真實，是一種我很感興趣的題目。在我們這樣的年紀，總有著一些誘惑，當充分沉迷於其中，就很難分別世界的真和假。在這個作品中，我以自己作為研究對象。電子競技令我感受深刻，當我沉迷虛擬的遊戲中，真實的自己只剩下軀殼，沒有意識。我的主要材料是透明膠帶，這個主意是來源於光，因為沈迷這種狀態會讓我聯想到光，它確實存在，但卻很抽象。我用透明膠帶圍繞著整個軀體，打造一個1：1的自己。再將透明膠帶剪下來，成為自己的一個像光一樣的軀殼或者是影子。我還用透明膠帶將這個透明的自己和虛幻的世界連接起來，身上的每一道透明的肌膚都是一種虛擬的信息或者數據，被虛幻的世界強烈的拉扯著。我透過這個透明的軀殼問自己和同齡人，我們是意識存在還是軀體存在？
2023
Mixed media
70cm x 60cm x 215cm
In my work, I explore the relationship and sense of disharmony between sculpture and natural space. I tried to imitate the structure of the insect hatching process in nature by using metal and gypsum materials and suspended the sculpture in the tree. The visual effect brought by the work seemed to reveal a strange and mysterious atmosphere, as well as various uncertainties and unknowns.
作品中，我探索雕塑和自然空間之間的關係和違和感。我用金屬和石膏等材料嘗試模仿自然中昆蟲孵化過程的結構，並將這個雕塑懸掛在樹中。作品帶來的視覺效果似乎流露著詭異和神秘的氛圍，以及各種不確定性和未知性。