ARTIST BIOGRAPHY
藝術家簡介
Fok Ka Wai (born in 2003, Hong Kong) currently lives and works in Hong Kong. She is studying Visual Arts at Hong Kong Baptist University. Her artistic practice revolves around themes such as femininity, relationships, family, and community. Her works take various forms and span multiple media, including installation, video, photography, and performance. Through her art, she often reflects on contemporary social issues, using artistic expression as a means to inspire reflection and dialogue among the audience.
霍家慧(2003年生於香港)目前在香港生活和工作 。她現就讀於香港浸會大學視覺藝術。她的藝術實踐圍繞著女性、人際關係、家庭和社區等主題。她的作品多種多樣,包括裝置 、錄像、攝影和行為。她的作品常反映她對當代社會議題的關注,以藝術為手段引發觀眾的思考及討論。
HONOURS PROJECT
畢業作品
Video
錄像
Size variable
尺寸可變
Darkness invaded childhood, and sexual violence became a shadow that never truly faded. For the perpetrator, it was only a fleeting moment of pleasure. For her, it became a lasting wound. Recurrent flashes of memory and low-frequency echoes form a resonance of remembrance from which the body cannot escape.
黑暗侵入了童年,性暴力由此成為揮之不去的陰影。對施害者而言,那只是片刻的快感。對她而言,卻是長久的傷痕。重複閃回的影像與低頻回響,構成了身體無法逃離的記憶迴響。
https://youtu.be/KnbTCVzumAg
PREVIOUS WORK
過往作品
I used four food preservation bags to contain water and froze them into ice. Another bag held my own blood. In the video, I lie atop the four ice blocks within a bathtub, with the ice block containing blood placed on my body. The bathtub symbolises the protective embrace of my mother’s placenta, while the ice inflicts pain upon me over time. Using a flashlight to illuminate the ice, blood appears to be my only glimmer of hope in the dark environment. Throughout the performance, I engage in actions such as touching, embracing, and scraping away the ice. The constant fear instilled by my family has always made me yearn to sever ties with them. However, I am unable to alter the blood relationship, making the bloodline an indelible part I cannot escape.
I used my body to explore ways of expressing pain that the audience can resonate with. The school uniform I wore represented the obedience taught from youth, and a sense of being bound or restrained. In the video, I knelt on Pebbles Road, where most people walk with their feet. The underlying meaning is that my mother made me afraid, partly because she taught me in a way she thought was right. However, I only had one choice, which was to obey. The performance originates from my experience of eczema as a child. My mother believed that placing slices of garlic on the wound could disinfect it. The juice released from the slices of garlic stung my wound, yet I am unable to struggle nor resist. On my journey to pursue health, there was much pain.
In my inability to forge lasting connections with others, I yearn to piece myself together, attempting to assemble fragments of different glass persistently. Love, akin to water, remains colorless and tasteless, an essential yet intangible human need. Amidst this, various individuals bestow upon me care and affection, even when I have not fully embraced them. Despite my efforts to mend, cracks persist. I am unable to retain these acts of care and love, only witnessing their departures. As the water flows, I see and feel it, but alas, I cannot fully absorb it. Why, then, do they persist in offering me water, knowing that it will inevitably slip away? Is there still a glimmer of hope to change the current state of affairs?