Written by Chantelle Huang：In the Flow, Making Space for Oneself
这次个人作品展，围绕我近年在抽象绘画中的一段持续探索。抽象对我而言，并不是形式上的选择，而是一种让感受得以离开具象叙事、回到内在状态的方式。在反覆创作的过程中，我逐渐意识到，这样的抽象并非为了模糊，而是为了让精神有更多活动的空间。
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.
▲ 黄巧娴个人作品展览现场
Chantelle Huang solo Exhibition Venue
创作对我而言，从来不是为了证明立场或给出答案，而是一种与自身经验持续对话的方式。当语言不足以承载某些情绪与记忆时，画面便成为另一种可以行走的路径。它容许模糊、犹疑与停顿，也让感受得以在不被定义的状态下存在。
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.
▲ 黄巧娴个人作品展览现场
Chantelle Huang solo Exhibition Venue
本次作品多来自近几年的创作实践，其中“自然之韵”系列占据了一个重要位置。在城市节奏愈发密集的生活中，我逐渐感受到感官被压缩、情绪被简化，而自然反而成为一种被忽略的存在。这一系列并非描绘具体的自然景象，而是透过色彩的层迭与笔触的节奏，重新学习如何感知自然所带来的缓慢、韧性与流动。
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.
▲ 《自然之韵》，彩墨，70×135cm，2024年
Rhythm of Nature Series,Colored ink,70×135cm,2024
在水墨与彩墨的创作过程中，我刻意保留材料的不确定性。墨色的渗透、晕染与边界的模糊，使画面不再只是被完全控制的结果，而是一场与媒材共同完成的生成。这样的状态，对我而言更贴近真实经验：情绪与记忆并非清晰的轮廓，而是不断变动、彼此影响的存在。
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.
▲ 自然之韵系列作品
Rhythm of Nature Series
“碎片之境”系列则源于另一段创作阶段。那是一段对自我感受产生裂缝的时期——时间、记忆与情绪不再以线性方式存在，而是以断裂与重组的形式浮现。画面中的不连续形体与偏冷色调，并非意在表现失序，而是指向另一种观看可能：当完整不再被视为唯一状态，碎片反而成为理解自身的入口。
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
油画作品如〈未名之境〉与〈炼狱〉，更直接回应内在张力。厚重的色层与推挤的笔触，并非为了制造戏剧效果，而是试图捕捉那些介于压迫与释放之间的状态。画面没有明确叙事，却保留了一个可被感知、尚未被命名的空间，让观看成为一种逐步靠近的过程。
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.
▲ 《炼狱》，油画，92×92cm，2021年
Purgatory,Oil Painting,92×92cm,2021
回看这次发表的作品，我并不急于为它们提供结论。创作于我而言，从来不是为了回答问题，而是让问题得以存在。若观者能在画面之中，感受到某种尚未被言说、却真实存在的状态，那么作品便已完成它与人之间的链接。
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.
▲ 自然之韵系列作品，彩墨，38×55cm，2024年
Rhythm of Nature Series,Colored ink,38×55cm,2024
本次个人作品展现正展出中，作品于一个相对安静而亲近的空间中呈现，邀请观者以自己的节奏进入画面，与作品进行不被催促的观看与感受。
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.
展览日期｜Exhibition Dates:
2026 年 1 月 20 日至 2 月 9 日
January 20 – February 9, 2026
展览时间｜Opening Hours:
11:00 – 17:00（需预约参观 By appointment only）
展览地点｜Venue:
香港上环干诺道西 20 号中英大厦 1 楼 104 室
Room 104, 1/F, Chung Ying Building,20 Connaught Road West, Sheung Wan, Hong Kong
作者介绍
Introduction of the author
黄巧娴
Chantelle Huang
香港国际青年艺术家协会会长暨公共事务营运总监
Society President Chief Public Affairs and Operating Officer of HIYA
毕业于知名艺术学院，醉心于艺术，致力帮助本地有潜质的艺术创作者，让艺术家和社会大众来探索艺术价值，成就不同事业。
Graduated from a well-known art institute, she is dedicated to helping local artists with potential to explore the value of art and the community to achieve different careers.
