中國有一句俗語:「民以食為天。」食物是生命中最基本的需求,當我們滿足了基本的飽腹之欲後,便轉而鑽研食物的色、香、味,務求炮製出讓人心動的美食,滿足我們對生命的要求,也滿足了我們對生活的期許。當我們能有空靜下心來,手中捧着一杯清茶,或是品嚐着人間的美味時,大概是從基本需要,升華到自我實現需求的層次。品嚐的不再只是眼前的食物,而是在忙碌過後的寧靜與安逸。而陶瓷食具,襯托著食物的顏色與味道,正正豐富了我們飲食的樂趣與生活的情趣。




人類早在遠古時代,便已經開始製作陶器,作為他們的飲食容器。在滿足基本的需要後,便開始研究飲食容器的美學,以顯示他們的社會地位、權力,甚至精神文明。諸如清代乾隆皇帝以黃釉和珐瑯彩製作出極盡侈華的陶瓷食具,展現出皇族至高無上的權力;日本的茶道,以陶瓷茶道具配合茶道,將人們的日常生活提升到對精神意識的追求。


人們的一生中有着許多追求,我們對自己外表的打扮尤為重視,從外表便能看出一個人外在的身分地位與生活品味。在英文中有一句諺語:「人如其食。 We are what we eat.」。同樣地,我們所用的生活用品也代表了我們內在的修為。在日常生活中,我們往往忘記了從細節上,讓自己過得更加快樂。在我們的日常的飲食用品中,陶瓷的温柔往往能動人心弦,在一片柔和的觸感裏,讓我們能沉靜下來,單純地感受食物的味道,享受陶瓷用品為我們帶來心靈上的滿足。


這次《請客》一展,便是從陶瓷食具中,為大家帶來飲食的另一種體驗,好好感受生活上的小細節,在享受安寧繾綣的日子裏,為自己的日常生活增添趣味。


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Updated: Nov 8, 2020



To celebrate the founding of Touch Gallery, we are honored to present Kurt Chan as our first highlight of the month, showcasing his Western paintings and ink works “Fa-mular”.

Prof. Kurt, Chan Yuk Keung was graduated from the Department of Fine Arts, The Chinese University of Hong Kong. He then obtained his M.F.A. from the Cranbrook Academy of Art (鶴溪藝術學院), Michigan, U.S.A. Professor Chan joined The Chinese University of Hong Kong in 1989, teaching studio courses and supervising M.F.A. students. He has retired since 2016. He is now working as the deputy director of Hong Kong Art School.



In this exhibition, he explores the energies and momentums of flowers, likening nature to human life. Just as the cycle of human life, flowers grow, bloom and wither. The beauty of flowers falls somewhere within the liminal state of imagination and reality. Though flower formula is just a standardized construct for flowers, our imagination upon flowers still blooms wild. Kurt Chan’s “Fa-Mular” presents the polymorphous essence of flowers with his signature blend of Chinese and Western art. The outlines and patches of flowers are portrayed between abstract and concrete expressions. Points, lines and surfaces combines, infiltrates and interacts, allowing viewers to feel not only the interconnection of lines and surfaces, but also of the action of painting and strokes. Leveraging his paintbrushes, Chan touches, writes and molds flowers otherwise.




Chan’s earlier works explore the possibilities of using different materials and media. Recently, he returns back into paintings as a media. Extending his experience in experimenting different materials to the canvas, Chan discovers the process of painting is akin to a recurring action of mistake correction — an artwork is emerged from countless mistakes, reflection and refinements.



With Chan’s rich experience across multiple media, he combines Chinese and Western art. While we see the strokes of Chinese art in a Western painting, the avant-garde approach is also manifested in his ink works. The momentum of the paintings varies from vigour to gentleness, entwining reality and imagination, visualizing the vivid breath of lives. No matter in macro and micro visions, Chan’s work unfurls the heartbeats of flowers.