黃巧嫻撰文：在流動之中，為自己留下位置

Written by Chantelle Huang：In the Flow, Making Space for Oneself

這次個人作品展，圍繞我近年在抽象繪畫中的一段持續(xù)探索。抽象對我而言，並不是形式上的選擇，而是一種讓感受得以離開具象敘事、回到內(nèi)在狀態(tài)的方式。在反覆創(chuàng)作的過程中，我逐漸意識到，這樣的抽象並非為了模糊，而是為了讓精神有更多活動的空間。

This solo exhibition brings together a period of ongoing exploration in my recent abstract painting practice. For me, abstraction is not a formal choice, but a way for sensations to move away from figurative narratives and return to an inner state. Through repeated acts of making, I came to realize that this form of abstraction is not about obscuring meaning, but about creating more space for the movement of the mind.

▲ 黃巧嫻個人作品展覽現(xiàn)場

Chantelle Huang solo Exhibition Venue

創(chuàng)作對我而言，從來不是為了證明立場或給出答案，而是一種與自身經(jīng)驗(yàn)持續(xù)對話的方式。當(dāng)語言不足以承載某些情緒與記憶時，畫面便成為另一種可以行走的路徑。它容許模糊、猶疑與停頓，也讓感受得以在不被定義的狀態(tài)下存在。

Creation has never been a means of asserting positions or offering conclusions. It is, instead, a continuous dialogue with lived experience. When language becomes insufficient to hold certain emotions or memories, the image offers another path—one that allows ambiguity, hesitation, and pause, and lets sensations exist without being fixed or defined.

▲ 黃巧嫻個人作品展覽現(xiàn)場

Chantelle Huang solo Exhibition Venue

本次作品多來自近幾年的創(chuàng)作實(shí)踐，其中「自然之韻」系列佔(zhàn)據(jù)了一個重要位置。在城市節(jié)奏愈發(fā)密集的生活中，我逐漸感受到感官被壓縮、情緒被簡化，而自然反而成為一種被忽略的存在。這一系列並非描繪具體的自然景象，而是透過色彩的層疊與筆觸的節(jié)奏，重新學(xué)習(xí)如何感知自然所帶來的緩慢、韌性與流動。

Most of the works in this exhibition were created over the past few years, among which the Rhythms of Nature series holds a central place. Amid increasingly compressed urban rhythms, I began to sense how perception is reduced and emotions simplified, while nature becomes something overlooked. Rather than depicting specific landscapes, this series uses layers of color and the rhythm of brushwork to relearn how to perceive the slowness, resilience, and flow that nature embodies.

▲ 《自然之韻》，彩墨，70×135cm，2024年

Rhythm of Nature Series,Colored ink,70×135cm,2024

在水墨與彩墨的創(chuàng)作過程中，我刻意保留材料的不確定性。墨色的滲透、暈染與邊界的模糊，使畫面不再只是被完全控制的結(jié)果，而是一場與媒材共同完成的生成。這樣的狀態(tài)，對我而言更貼近真實(shí)經(jīng)驗(yàn)：情緒與記憶並非清晰的輪廓，而是不斷變動、彼此影響的存在。

In working with ink and color ink, I deliberately retain the material’s uncertainty. The bleeding, diffusion, and softened edges of ink prevent the image from becoming a fully controlled outcome, allowing it instead to emerge through collaboration with the medium itself. This condition feels closer to lived experience—where emotions and memories are not clearly outlined forms, but entities that shift and influence one another.

▲ 自然之韻系列作品

Rhythm of Nature Series

「碎片之境」系列則源於另一段創(chuàng)作階段。那是一段對自我感受產(chǎn)生裂縫的時期——時間、記憶與情緒不再以線性方式存在，而是以斷裂與重組的形式浮現(xiàn)。畫面中的不連續(xù)形體與偏冷色調(diào)，並非意在表現(xiàn)失序，而是指向另一種觀看可能：當(dāng)完整不再被視為唯一狀態(tài)，碎片反而成為理解自身的入口。

The Fragments series emerged from a different stage of practice—a period when inner sensations felt fractured. Time, memory, and emotion no longer appeared as linear sequences, but surfaced through breaks and recompositions. The discontinuous forms and cooler tones do not aim to depict disorder, but rather point to another mode of seeing: when wholeness is no longer the only condition, fragments may become a way of understanding oneself.

▲ 《碎片之境》，彩墨，60×92cm，2025年

Fragmented Realm,Colored ink,60×92cm,2025

油畫作品如〈未名之境〉與〈煉獄〉，更直接回應(yīng)內(nèi)在張力。厚重的色層與推擠的筆觸，並非為了製造戲劇效果，而是試圖捕捉那些介於壓迫與釋放之間的狀態(tài)。畫面沒有明確敘事，卻保留了一個可被感知、尚未被命名的空間，讓觀看成為一種逐步靠近的過程。

Oil paintings such as Untitled Realm and Purgatory respond more directly to inner tension. The dense layers of color and compressed brushstrokes are not meant to dramatize, but to register states suspended between pressure and release. Though absent of explicit narratives, these works retain a perceptible yet unnamed space, allowing viewing to become a gradual process of approach.

▲ 《煉獄》，油畫，92×92cm，2021年

Purgatory,Oil Painting,92×92cm,2021

回看這次發(fā)表的作品，我並不急於為它們提供結(jié)論。創(chuàng)作於我而言，從來不是為了回答問題，而是讓問題得以存在。若觀者能在畫面之中，感受到某種尚未被言說、卻真實(shí)存在的狀態(tài)，那麼作品便已完成它與人之間的連結(jié)。

Looking back at the works presented here, I do not feel compelled to offer conclusions. Creation, for me, is not about answering questions, but about allowing them to remain. If viewers can sense something unspoken yet real within the images, then the work has already fulfilled its connection with others.

▲ 自然之韻系列作品，彩墨，38×55cm，2024年

Rhythm of Nature Series,Colored ink,38×55cm,2024

本次個人作品展現(xiàn)正展出中，作品於一個相對安靜而親近的空間中呈現(xiàn)，邀請觀者以自己的節(jié)奏進(jìn)入畫面，與作品進(jìn)行不被催促的觀看與感受。

This solo exhibition is currently on view. Presented in a quiet and intimate space, the works invite viewers to enter at their own pace and engage in an unhurried process of looking and sensing.

展覽日期｜Exhibition Dates:

2026 年 1 月 20 日至 2 月 9 日

January 20 – February 9, 2026

展覽時間｜Opening Hours:

11:00 – 17:00（需預(yù)約參觀 By appointment only）

展覽地點(diǎn)｜Venue:

香港上環(huán)干諾道西 20 號中英大廈 1 樓 104 室

Room 104, 1/F, Chung Ying Building,20 Connaught Road West, Sheung Wan, Hong Kong