ARTIST BIOGRAPHY
藝術家簡介
Samuel is an artist who works across physical and digital forms. Trained in drawing, painting, sculpture, and 3D software, he focuses mainly on figurative sculpture in clay while remaining fluent in other media. He moves easily between handmade objects and digital pieces, always learning new skills to strengthen both craft and concept.
His work combines a strong sense of realism with fresh, direct visual language. Pieces like "Have fork use" and "These Are Clothes" pair playful ideas with careful technique, offering visual pleasure while inviting closer thought. Samuel often draws inspiration from everyday life, turning common objects like forks, cabinets, clothes into subjects that feel familiar and emerge with art. He is also influenced by pop art and popular culture. He was inspired to make art that feel like toys and comics.
A core conviction of Samuel's practice is dissolving the boundary between high and low art. He creates work that welcomes diverse audiences while maintaining a commitment to craft and idea. For him, technical skills and creative ideas are crucial to supporting each other: good technique helps express meaning, and strong ideas shape how the work looks.
Samuel 是一位在實體與數位之間創作的人物雕塑家，受過素描、繪畫、雕塑與三維軟體訓練，能在手工與數位間自由切換並持續吸收新技術。他的作品結合強烈寫實與活潑的視覺語言，例如《有叉用》《這些是衣服》，以細緻技法呈現有趣概念，既具觀賞性亦引人深思。Samuel 常從日常物件（叉子、櫃子、衣服）汲取靈感，將熟悉事物轉化為既親切又富藝術性的主題；受波普與流行文化影響，他偏好呈現出玩具與漫畫般的趣味的感覺。創作核心是打破高雅與通俗的界限，吸引多元觀眾，同時堅持技術與創意並重：精湛技法為表達提供支撐，而強烈概念則決定作品面貌。
HONOURS PROJECT
畢業作品
Mixed media (plaster, air–dry clay, wood, polymer clay)
混合媒介（石膏，風乾黏土，木工，軟陶）
183 x 92 x 71 cm
Samuel's installation inverts language and objecthood, asking: if the suffix "-er" names a worker, can a "container" be a person? A large cabinet houses numerous small figures whose heads and arms sprout from collected boxes and vessels. These collected items, laden with users' memories, traces, and stories, become emotional content rather than mere material. Rendered in a playful, cartoonish idiom, each handcrafted miniature emphasizes individuality through exaggerated, humorous features, warming cold, hard objects with personality. The cabinet's bodies breathe, remember, and hold histories; their cheeky logic (if a cooker can be a person, why not a container?) invites a quiet meditation on memory, identity, and the lives we project onto the things we keep.
Samuel的裝置作品顛倒了語言與物的關係。他提出一個疑問：如果用英文詞尾"-er"指稱一個工作者，那麼"容器"能成為一個人嗎？在一個大型櫃內安置著眾多小型人物，他們的頭部與手臂從收集得來的容器中生長出來。那些承載使用者記憶、痕跡與故事的再生物件，不再只是材料，而成為情感的載體。以俏皮、卡通化的造型手工製作的每一個微型"容器"，通過誇張且幽默的特徵凸顯個體性，為冰冷堅硬的物件注入溫度。櫃中的這些身體仿佛在呼吸、記憶並保存歷史。它們帶著玩味的邏輯，引發關於記憶、身份以及我們投射到所珍藏物品上的生命的沉思。
PREVIOUS WORK
過往作品
2024
Acrylic on canvas
100 x 150 cm
My practice emphasises abstraction as a liberated space for spontaneous mark-making, free from the constraints of representation. While making this work, I felt frustrated and overwhelmed until I abandoned deliberation and let instinct guide the process. The resulting images are evocations of mountains and the sea which reflect freedom, and depict imagery of the subconscious rather than calculated portrayal. Inspired by Zhuāngzi, the title Enjoyment in Untroubled Ease represents the calm, receptive state I unconsciously entered during creation, where play and freedom became the true subject of this work.
2023
Mixed media
65 x 45 x 174 cm
The creatures inside the aquarium are brine shrimps. They are vulnerable creatures and their life span is short. The purpose of their lives is to serve as food for fish. One can say that they are born to die. In this installation, brine shrimps were placed in a leaking aquarium with a water valve that controls the pace at which it leaks. Water seeps out of the aquarium every few seconds to result in the aquarium eventually emptying out with the passage of time. Simultaneously, the water drops will fall on the sculpture of a human skull underneath the aquarium, melting the clay. One can imagine that at the end all the brine shrimps will perish and the human skull will disintegrate completely. Nothing will remain.
Human live is as fragile and vulnerable as that of brine shrimps. After birth, we become part of a progression towards death, much like the shrimps. As time passes, even our dead bodies would decay. Nothing remains, even our skulls and bones.
What is the point of life?
2023
Mixed media
79 x 29 x 23 cm
According to scientists, birds evolved from dinosaurs around 160 million years ago. Both dinosaurs and birds lay eggs. This artwork depicts a dinosaur with eggs in its belly. Although the eggs are made of resin, they contain partsof real chicken eggs so one can perceive it as a dinosaur laying chicken eggs. The connection between the dinosaur and the eggs is the concept of evolution. Millions of yearsinto transformation, dinosaurs evolved into birds.
However, time is an invisible force. Through the connection between dinosaurs and eggs, this artwork portrays 160 million years of evolution.