ARTIST BIOGRAPHY
藝術家簡介
Tse Yuen Shan is an artist from Hong Kong who works primarily in oil painting. Her artistic practice, which encompasses photography, printmaking, and Chinese art, is rooted in the personal. Childhood memories, daily rituals, the city of Hong Kong, and especially her inner emotional landscape, ground her work in lived experience and shape the stories she chooses to tell.
She is currently developing a series that explores emotions difficult to articulate. When overwhelmed, her vision blurs with tears. The world becomes soft and uncertain, filled with shifting forms and refracted light. These oil paintings visualise how emotion reshapes perception, capturing moments when feeling distorts the familiar.
Working with gentle monochrome tones, layered textures, and a first–person perspective, she translates inner states into visual forms. Her creative choices are guided by intuition and personal experiences, allowing her to render private emotions with honesty and subtlety. Through this series, she invites viewers to find something quietly resonant within what she sees and feels.
謝沅珊是一位來自香港的藝術家,主要從事油畫創作。她的藝術實踐亦涵蓋攝影、版畫與中國藝術,並植根於個人經歷。童年記憶、日常習慣、香港這座城市,尤其是她的內在情感景觀,都讓她的作品立足於真實經歷,塑造了她訴說的故事。
她目前發展的系列探索難以言喻的情感。當情緒翻湧時,視線因淚水而模糊,世界變得柔軟而不確定,充滿流動的形態與折射的光線。這些油畫將情感重塑,知覺視覺化,以捕捉感受扭曲熟悉景象的瞬間。
透過柔和的單色調、層疊質感及第一人稱視角,她將內在狀態轉化為視覺形式。創作選擇依循直覺與個人經驗,以真誠細膩的方式呈現私密情感。透過這個系列,她邀請觀者在她所見所感之中,找到悄然共鳴之處。
HONOURS PROJECT
畢業作品
Oil on canvas
油畫布本
130 x 130 x 5 cm, 70 x 100 x 5 cm, 50.5 x 40.5 x 4 cm
Before the toilet flushes. Before the tears are erased. I sit in the bathtub or on the toilet, crying as my vision blurs and edges dissolve around me. My mind drifts, dizzy with sorrow.
Then comes the pause, the flush, the disguise, the practiced calm.
"Before Flushing" lingers in the fragile instant before concealment, holding grief while it is still present but about to be hidden. Before you flush, what do you hide?
沖水之前,眼淚還未被抹去。我坐在浴缸裡或馬桶上哭泣,視線模糊,四周的輪廓模糊消散。我的思緒飄移,因悲傷而眩暈。
頃刻之間,我收起情緒,按下沖水按鈕,熟練的冷靜下來。
這些作品徘徊在隱藏之前那脆弱的瞬間,抓住那仍然存在、卻即將被掩埋的悲傷。
在你沖水之前,你藏起了什麼?
PREVIOUS WORK
過往作品
The intimate size is a direct metaphor for the constricting feeling of having inadequate room for emotional expression, as if my feelings are too large for the physical space I am permitted to occupy them in. The painting depicts the view from a locked toilet. The world outside was dissolving into a greenish-blue haze, with the chromatic embodiment of sadness, anxiety, and isolation.
This method is not just a stylistic choice but a conceptual one, as it allows me to create blurry, phantom-filled scenes that mirror the distortion of vision through tears or the dizzying swirl of overwhelming thought.
This work emerges from the deeply private solitude of a daily ritual: the moment the shower curtain is drawn, enclosing me within the narrow confine of the bathtub. Here, shrouded by the sound of falling water, I grant myself permission to unravel buried currents of anxiety, sorrow, and unrest to surface and flow freely.
Through a first-person perspective, I translated this intimate sanctuary onto the canvas. Layers of trembling afterimages and luminous, diffused color fields simulate the visual dissolution brought on by tears, thus rendering inner vibration as palpable texture. The pouring water and rising steam do not conceal, but cradle – transforming the bathtub into a vessel that holds raw, unfiltered feelings. The painting becomes a record not of catharsis, but of presence – a testament to emotions, being unmediated and vividly held in suspension.
My practice originates from a private ritual – returning home at night. After my family has departed, I choose to remain alone in the passenger seat of my father's car. This narrow space of metal and glass becomes a temporary chamber where I shut the world out and allow my true emotions to settle.
The painting adopts a first-person perspective, fixing the gaze on this familiar scene. By depicting the doubling of light and the trembling of vision, I mimic how tears obscure sight, translating reality into a hazy field of perception. This is not merely visual representation, but a development of inner weather – a record of how, within voluntary solitude, intangible disturbances gradually clarify into a quiet, internal order.