ARTIST BIOGRAPHY
藝術家簡介
Li Tsoi To (b. 2004, Hong Kong), also known as Leizi, is a Hong Kong–based emerging artist working primarily in painting, printmaking, and ceramics. She often places everyday objects at the centre of her artworks, using close-up compositions to present enlarged details and suspended moments.
Desserts, toys, garments, and other seemingly insignificant items slip away from their usual functions in her work, becoming vessels for emotion and memory. When these objects interact with hands, feet or other parts of the body in subtle, or slightly irrational ways, ordinary scenes are pushed toward a feeling that is at once familiar and faintly uncanny.
Her inspiration often comes from childhood memories and small observations in everyday life. Rather than constructing a complete narrative, she prefers to sustain ambiguity, allowing frozen moments to become places where emotion can settle. Through a deliberately maintained openness, she invites viewers to project their own memories and associations onto the work, finding resonance somewhere between the familiar and the strange.
李采陶，又名厘子，出生於 2004 年，是一位香港的新銳藝術家，創作主要涵蓋繪畫、版畫與陶瓷。其創作靈感多源於童年記憶和生活中的細微觀察，常以日常物件為視覺焦點，透過特寫構圖呈現那些被放大的細節與瞬間。
甜品、玩具、衣物等看似微不足道的物品，在她的作品中卻脫離原本的功能，化為承載情感與記憶的符號。當這些物件以略帶不合常理的方式與身體互動時，原本尋常的場景便被推向一種既熟悉又詭異的感覺。
HONOURS PROJECT
畢業作品
Oil on canvas, with 3D-printed frame
136 x 62.5 x 10.7 cm
A figure lies on a bed holding two walkie-talkie toys, one pressed to the ear, the other to the mouth. The one who speaks, and the one who listens is the same person. The walkie-talkie is designed to connect two people across a distance. Here, it loops back onto one body, turning communication into self-consolation. The walkie-talkie-shaped frame surrounding the painting echoes the object within it, tightening the image into a self-addressed channel. It is a quiet rehearsal for a companion who never arrives.
Good Girl’s Kitchen
Oil on canvas
60 x 120 x 5cm
Painted from a first-person viewpoint, the image at first appears to show a child slicing meat on a toy kitchen set. On closer inspection, the blade is about to cut into her own finger.
The kitchen toy is an object often ritually handed to girls, allowing them to rehearse domesticity before it is even understood, and in doing so, it functions as a quiet instrument of gendered conditioning. The self-directed violence within the scene reads ambiguously, as attention-seeking, as refusal, or as a small rebellion staged within the very scene of training.
Do You Want to Play with Me?
Acrylic and oil on canvas, oil on wood, toy gun
Canvas: 96 x 165 x 5 cm; wood block: 6.95 x 2 x 4 cm
A toy gun is mounted on the wall. Along its implied line of fire, a small oil-on-wood painting depicts the bullet itself, abstracted and blurred, suspended in the middle of its flight. At the end of the trajectory hangs an airbrushed canvas in which two parents sit together on the sofa. The mother turns toward the father with her right hand raised, as if to shield against something arriving from outside the frame, while the father remains settled into the cushions, absorbed in his phone. The gun here is not an instrument of harm but a quiet call for attention, a child’s way of reaching for company when no other language will do.
PREVIOUS WORK
過往作品
2025
Oil on canvas
210 x 140 cm
A pair of delicate lace stockings, paired with bright red heels, stepping onto a squashed strawberry cake. Cream and jam spill outward, leaving behind a sweetness that lingers, yet is about to fade. The gesture is frozen in an ambiguous instant — was this an accidental misstep, a deliberate act of destruction, or an indulgence in some secret, forbidden pleasure?
一雙輕巧蕾絲襪搭配鮮紅高跟鞋，腳下是被壓扁的草莓蛋糕，奶油與果漿四溢，還殘留著甜蜜卻即將消逝的氣息。這動作凍結在一個曖昧難辨的瞬間——這一腳是不小心踏上的失誤，還是蓄意預謀的破壞衝動，甚至隱藏著某種禁忌的快感？
2025
Oil on canvas
150 x 120 cm
This work draws on a childhood memory of the slime craze during early secondary school years, when students rented small lockers in consignment shops to sell handmade slime named after foods such as ‘Ice Cream' and ‘Milk.' In the painting, the sticky texture of slime merges with the smoothness of ice cream, dissolving the familiar into a hazy, uncanny realm. What are those hands truly touching then? Slime, or ice cream?
這件作品源於中學時期的史萊姆熱潮記憶。那時學生們會在格仔舖租用一格一格的小空間，販賣以「冰淇淋」、「牛奶」等食物命名的自製史萊姆。畫作中，史萊姆的黏稠質感與冰淇淋的順滑交融一體，解構了日常的認知，讓形體在朦朧的異境中曖昧地浮現。那雙手觸碰的究竟是史萊姆，還是冰淇淋？
2025
Aquatint
17.5 x 15 cm, edition of 6
(´°̥̥̥ω°̥̥̥ ) marks Li Tsoi To's second interpretation of her earlier painting: Red high heels and strawberry cake (2025). The scene unfolds through a first-person perspective: a girl in square-toed heels stands before us, while a fallen, misshapen strawberry cake rests on the floor.
(´°̥̥̥ω°̥̥̥ ) 是李采陶對早前作品〈Red high heels and strawberry cake〉的再詮釋。畫面以第一人稱視角展開——穿着方頭高跟鞋的女孩站於眼前，地上卻有一塊似乎被不小心掉落而變形的士多啤梨蛋糕。