Grotto at Art Basel Hong Kong 2025
Booth 1C02
March 26 - 30, 2025 | HKCEC Hall 1
Featuring Artists:
CHOI Yuk-kuen, Bouie 蔡鈺娟
HUNG Fai 熊輝
LING Pui-sze 凌佩詩
SHUM Kwan-yi 沈君怡
XIE Chengxuan 謝承軒
CHAN Kwan-lok 陳鈞樂
FONG Tsz-leong, Argus 方梓亮
LAM Yau-sum 林佑森
Scarlett LEUNG Tsz-yung 梁芷榕
Tammy TAM Tip-yin 譚疊言
WAI Pongyu 韋邦雨
YAU Wing-fung 邱榮豐
HUNG Hoi 熊海
Amy CHAN Man-yin 陳文彥
Selected Works
Bouie Choi 蔡鈺娟, Under the table
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Bouie Choi 蔡鈺娟
Under the table
2025
Acrylic on wood
151.5 x 60.4 cm -
When poured pigments settle into the wooden surface, the interplay of wood grain and positive-negative space reveals a table emerging at the center of the composition. This forms a hidden vista beneath the tabletop, where light and shadow converge.
Under the Table fuses contemporary environmental crises with the Journey to the West mythos—evoking the Flaming Mountain ordeal where heroes quell flames with the Palm Leaf Fan. Responding to global wildfires, this work reimagines the legendary act of overcoming adversity as a stark metaphor for humanity’s challenge, bridging ancient resolve with modern fragility.
Ling Pui-sze 凌佩詩, Tunneling 1
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Ling Pui-sze 凌佩詩
Tunneling 1 穿隨 一
2025
131 x 106.5 x 2.5 cm
Mixed media on canvas -
The "Tunneling Series" is a new body of work by Ling Pui Sze. "Tunneling 1" is a collage made from DNA gel electrophoresis images, while "Tunneling 2" and "Tunneling 3" are based on DNA gel electrophoresis images combined with microscopic images of the artist's own blood cells. These images are printed on washi paper using inkjet technology, then hand-torn into small pieces and collaged to evoke the imagery of a meteor shower. The work embodies the artist's heartfelt prayers for a friend suffering from leukemia, symbolizing the hope that life will ultimately emerge into light after traversing the dark tunnel of illness.
Gel electrophoresis is a molecular biology technique used to analyze the size of DNA fragments. Throughout this experimental process, the flow patterns of DNA and their ordered, ladder-like structure reveal distinct trajectories, quietly narrating the scientists' rigorous pursuit of understanding the genetic code. The onset of leukemia is caused by genetic mutations that disrupt the body's hematopoietic system. While DNA serves as an eternal memory that transcends the individual, it can become disordered in the fleeting moments of life, much like a shooting star. Disease represents an unavoidable shadow in life, reminding us that we must navigate one tunnel after another in the cyclical interplay of stability and collapse to complete our journey.
The tunneling effect in quantum physics refers to the phenomenon where particles pass through barriers under seemingly impossible conditions. The artist believes that life can likewise demonstrate resilience and miracles amidst illness and adversity. Through the interplay of DNA fragments and personal blood imprints, Ling depicts the paths of meteor showers and cloud shadows, conveying hope for disordered bodies and minds. She anticipates her friend's swift recovery while also paying tribute to the dedication of healthcare professionals and science researchers.
Special thanks to Thieme T. Schmidt from the Cavendish Laboratory, University of Cambridge, and Professors Laura Machesky and Robert Insall from Robinson College, University of Cambridge, for their invaluable support.
《穿隨系列》是凌佩詩的新系列創作。《穿隨一》是DNA凝膠電泳影像的拼貼作品，《穿隨二》及《穿隧三》是以DNA凝膠電泳影像與藝術家自身血液細胞的顯微鏡影像為基礎，這些影像經過噴墨印刷於和紙上，隨後手工撕碎成小片，拼貼成流星雨的意象。作品寄託了藝術家對一位罹患白血病友人的懇誠祈願，生命在穿越病痛的黑暗隧道後，最終將迎來曙光。
凝膠電泳是一種分子生物學技術，用於分析DNA片段的大小。在此實驗過程中，DNA的流動型態與有序的階梯狀結構展現了各種獨特的軌跡，靜述著科學家對遺傳密碼的嚴謹探索與理解; 而白血病的發生源於基因突變，破壞了身體的造血系統秩序。DNA作為超越個體的永恆記憶，卻在短暫的生命中如流星般瞬間失序殞落。疾病作為生命中不可避免的幽暗階段，提醒我們在穩定與崩壞的無常循環之間，必須穿越一條又一條隧道，才能完成生命的旅程。
量子物理學中的穿隨效應是指粒子在看似不可能的情況下穿越障礙的現象，藝術家相信生命在疾病和困境中同樣可以展現韌性和奇蹟。凌佩詩透過DNA秩序片段與個人血液印記的交織，描繪出流星雨的路徑與雲影，對失序的身體和心靈傳遞希望，期待友人早日康復，同時對醫護人員和科研人員致敬。
特別感謝英國劍橋大學卡文迪許實驗室Thieme T. Schmidt, 英國劍橋大學羅賓森學院 Laura Machesky教授及Rober Insall 教授的支持。
YAU Wing-fung 邱榮豐, Meta-5
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YAU Wing-fung 邱榮豐
Meta-5
2025
Ink and color on paper, a set of 6
252 x 122 cm -
“Repeatability” is an objective and regular process. The artist observes the changes in his feelings during the process of constantly reinventing repetitive works. The process seems to be unidirectional, but it creates differences in the same space. This transformation goes beyond simply describing the space. The artist can generate his subjective feelings from the objective body as he becomes more proficient. The struggles and contradictions connect him to the past, tradition, or the chaotic time and space of the present.
「重複性」是帶著客觀和規律的過程。作品在不斷重塑的過程中，藝術家觀察著自身的感受變化。過程看似單向，但在相同的空間中創造不同，這種轉換超越了單純地描寫空間的意義。隨著熟練程度的掌控，藝術家更能從客觀的本體中產生主觀的感受，當中的掙扎與矛盾把他連結到過去、傳統或當下的錯亂時空之中。
Amy CHAN Man-yin 陳文彥, Cosmos 跌序
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Amy CHAN Man-yin 陳文彥
Cosmos 跌序
2025
Charcoal on wooden panels
100 × 28 cm × 2, 100 × 94 cm × 2,
100 × 18 cm × 2 (a set of 6) -
Chan’s work is inspired by animation and games, capturing the motion trails and fluidity of characters in battle. Using charcoal to create ink-like flowing effects, the compositions break conventional proportions, presenting a dynamic balance between order and chaos.
陳氏的創作靈感來自動漫與遊戲，捕捉角色在戰鬥時快速移動的殘影與流動。透過炭筆營造出如水墨般的流動效果，作品在構圖上打破規則比例，展現平衡與失衡之間的動態秩序與美感。
Xie Chengxuan 謝承軒, Childrenland II
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Xie Chengxuan 謝承軒
Childrenland II
2024 - 2025
140 x 230 cm
Oil, acrylic, charcoal on canvas -
Painting, you see, is a remarkable adventure—a lively process where we take ordinary facts and distort them into something deeply true. This distortion emerges from your subjective lens, shaped by instinct, reactions to your environment, personal growth, and cultural roots... From this creative twist emerges a sense of meaning for an emotionless fact.
Now, if I embrace that twist with genuine sincerity—no holding back—it’s like opening a window to reveal who I am as an artist, or even the essence of humanity itself. But here’s the challenge: how do I make it work?
Let’s consider walking meditation for a moment. Most people walk with a destination in mind, focused on a purpose. But what if the walking itself became the whole point? It’s a great way to sharpen your awareness, to feel truly alive, without worrying about where you’re headed. The destination? Barely worth a mention!
Painting ought to be the same merry game. A truly excellent painting lets you glimpse the artist’s soul—see the struggles, the feelings, the thoughts tumbling about like a circus. As a painter, I shouldn’t start with a fixed image in my mind. No, no! I should just paint, much like life itself—we all know it ends someday, yet we keep going through the daily tasks of earning money and cleaning up cat litter. As we wish there's something coming up to be meaningful before death.
Hung Hoi 熊海, Early Winter Impression
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Hung Hoi 熊海
Early Winter Impression 初冬印象
2025
Ink and colour on paper
220 x 99 cm
Argus Fong Tsz-leong 方梓亮, Leaning Against The Sky
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Argus Fong Tsz-leong 方梓亮
Leaning Against The Sky
2025
Oil on linen
190 x 125 cm -
The plant in the painting leans against the sky, wrapped in flowing lines and brushstrokes that build its form, standing quietly like a statue.
畫中的背靠著天空的植物，身上纏繞著不斷疊加的線條與筆觸，為這植物塑造它的存在，像那些雕像一般站立著。
Wai Pongyu 韋邦雨, Lightwave Memory
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Wai Pongyu 韋邦雨
Lightwave Memory 念念浮光 16
2025
Ballpoint pen on paper
68.cm (height) x 100cm (width)
Shum Kwan-yi 沈君怡, Landscape Library
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Shum Kwan-yi 沈君怡
Landscape Library 藏景閣
2025
Ink, colour and copper leaf on paper
80 x 119 cm -
The Scripture Library has preserved ancient wisdom and classics, symbolizing the passing of knowledge. It is not just a place for collecting texts; it is also a space for cultural exchange and ideas.
In Landscape Library, each section features different traditional and contemporary landscape elements, exploring how to reflect on today’s society through traditional and hidden visual languages.
歷史上，藏經閣不僅是保存無數古老智慧和經典的地方，也是象徵知識傳承、文化交流和思想碰撞的場域。
而在《藏景閣》中，每一格都收錄了園林山水與當下的風景元素，探索如何透過傳統與隱秘的視覺語言，反思當代社會。
Hung Fai 熊輝, Traces X
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Hung Fai 熊輝
Traces X 痕 之十
2025
Ink on paper
194 x 180 cm (Diptych, each 97 x 180 cm) -
The making of this diptych began from the lower panel. Hung Fai soaked the Xuan paper with water. Ink dripped down the pen, trailed in the soaked paper, pushed and scrapped against the water, forming slowly in rivulets traces of its flow and diffusion. A void exposed across the composition elicited dazed memory. Water is deemed as a carrier, whereby traces of ink together with memories are stored within the stacks of soaked paper.
Hung Fai then laid a sheet of dry, blank paper over the surface, smoothened them by tapping gently on the top. Upon every touch, there emerged flecks or puddles of ink. Afterwards, with a metal ruler, Hung used an inkless pen to inscribe straight lines on the paper in horizontal or vertical manners. Albeit colourless, the lines carved tracks where the sunken ink marks leaked and burst as if the surface had been slashed open. They interwove into a transparent net that shrouded the paper, and through which what had been concealed was retrieved, then intertwined, transformed and overlapped with the myriad of new marks.
Lastly, the layers of paper were flipped open and placed in an inverted manner. Various forms of transparent nets pervaded the work. Along with memories, ink marks from the lower panel were “borrowed” and lifted to the panel above. The disappeared traces was captured on the paper as if seized by an overlaying, shimmering net. The ink marks and memories transferred to the upper panel took form of a flecked net which has interwoven both the disappearing and newly formed traces. The painting process posed an unfamiliar physical distance - covering the surface with a blank paper and using an ink less pen to incise marks - through which the artist could examine his own state and record the transformation and relationships of water, traces and memories.
繪畫的過程始於下幅。熊輝用水濕透宣紙。墨沿著筆落下，在濕透的紙上流淌，與水互相沖刷，緩緩地形成一道道流動、滲化的痕跡。畫面中間露出無墨的蒼白之處猶如茫然的記憶。水是為載體，讓墨痕伴隨記憶被儲存於濕透的紙張之中。
接著，熊輝蓋上一張乾燥的白紙覆蓋畫面，並輕輕撫平，觸碰之處隨即冒出斑斑墨跡。他用一支無墨的硬筆沿著鐵尺縱橫劃下透明的直線，那些線無色，卻遺下了物理壓痕。筆尖所到之處，紙的表層猶如被劃破般滲出疊層下的墨痕。無色的線交織成透明的網覆蓋整張白紙，被隱沒的痕跡在劃痕裏重新浮現，並與新的印痕互相纏繞、轉化、交疊。
最後，紙張疊層被翻開，上下對倒。透明的網以不同狀態貫穿其中。在下屏裏的墨跡隨著記憶，經行行劃痕被借去、轉移到位於上屏的面層。紙上保留了消失的痕跡，像一道微微泛光的網覆蓋其上。在上屏浮現的墨痕和記憶，如一道班駁的網，編織著消散與新顯現的痕跡。繪畫過程中籍著陌生的身體距離，以白紙覆蓋畫面、用無墨的筆劃痕，審視自身的狀態並紀錄了水與痕跡和記憶之間轉化的過程和關係。
Scarlett Leung Tsz-yung 梁芷榕, Wither
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Scarlett Leung Tsz-yung 梁芷榕
Wither 枯
2025
Ink on rice paper
124 x 124 cm -
The painting shows an aged tree hanging upside down in a forest. Its weathered state holds the marks of life while transforming into another form, creating a sense of beauty that lies between "presence" and "transformation." This beauty carries its allure through constant change, reflecting the cycles and impermanence of nature. Nature presents this beauty in the simplest and most honest way.
畫中呈現一棵老樹倒吊於樹林之中，其風化的狀態保留了生命的痕跡，同時轉化為另一種形態，展現出介乎「存在」與「轉變」之間的美感。這種美感的魅力來自不斷的變遷，體現了自然的循環與無常。而大自然正是以如此平淡而真摯的方式來展現這種美。
Tammy Tam Tip-yin譚疊言, Ambiguity IV
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Tammy Tam Tip-yin譚疊言
Ambiguity IV《此非彼》之四
2025
Glass
H46 x L40 x W34cm -
Through flameworking at over 1000°C, transparent glass rods gradually take shape, guided by the natural flow of physics. "Light" gently leads "shadow," extending a delicate, crystalline imagery of stillness. This work invites your thoughts to wander freely within an endless and tranquil space, where perspectives shift with distance, height, and depth.
在超過攝氏1000度的燈工玻璃燒製下，透明玻璃棒隨著物理的自然流動逐漸成形。「光」牽引著「影」，延續著細膩晶瑩的寂靜意象。作品邀請觀者的思緒漫遊於無垠的靜謐之境，遠近高低，各自不同。
Lam Yau Sum 林佑森, ChromaTree #1 彩樹 #1
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Lam Yau Sum 林佑森
ChromaTree #1 彩樹 #1
2025
Socket, plug, copper wire, tin, wood
31cm (H) × 25cm (W) × 18cm (D) -
Electronic products, copper water pipes, and wires are manufactured and distributed in the city as modern industrial products. Once they lose their original function, they become electronic waste, discarded in the city. Lam collected and painted these abandoned products, transforming the waste materials into a series of new cityscapes. The recent sculptures, created using ready-mades, further examine the evolving urban habitats.
電子產品、水管、電線等是由城市製造並分發的現代工業產品。當它們失去原有功能後，就會變成電子廢物，被城市遺棄。林氏將這些被人們遺棄的產品收集回來，重新組合、上色，轉化為一系列新的城市風景。利用現成物創作的雕塑作品，進一步探討變異中的城市生態。