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inside an MTR station). Although these works display local specificities, she emphasized the possibility of going beyond such geographical confines when viewing her pieces, which can essentially be depicting anywhere and even anyone. She refers to her artworks as "figural works" in opposition to "portraitures", as the former term erases the particular identification of a protagonist, and underscores the universality and ambiguity of the subject. The gender of the figures she portrayed is often unknown. Her expressive and ambiguous figurative works perpetuate the duality of human experience as individual yet collective. While our personal emotions and thoughts are experienced internally, they can ultimately be shared and empathized among humans.
209:"My figure drawings don’t show physically handicapped people. They are about people who behave in a certain way as a result of their thoughts, or about people whose thoughts are altered because of the way they move. These situations could be the result of something impermanent such as our mood, our surroundings or a particular atmosphere. Or they may be long-term effects of inertia, our careers or personalities, or the roles we play in the society. For the sake of survival, we constantly have to balance our mind and body, just like plants tilting towards the sun."
206:(2009), she discussed about the performativity of human faces. While human faces serve as bridges between an individual to the world, they might also become a barrier as faces may not always accurately express the internal thoughts of a person. Such ambiguity performed through human bodies about the are also conveyed in her artworks. Furthermore, her distorted figures imply an interconnection between one's body and mind, as well as the struggle of getting along with oneself. According to Lai:
68:. Her family of six relied on her mother who worked at a snake soup restaurant to sustain financially. Lai recalled that her mother always had to disassemble toxin-containing snake meat with bare hands at work, which had left her with rough hands and "deformed, incomplete" fingers. This early observation on the uniqueness and abnormalities of human bodies was developed into an interest in studying figures.
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Since 2005, a year before her graduation, Lai began illustrating for a psychology column in Ming Pao Weekly on a regular basis. While professional illustrators are often challenged to depict a wide array of subjects including those which they are not familiar with, she found the requirements of the
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It was not until 2011 when Lai started to focus on painting and drawing as her main profession. A majority of her painted and drawn works portray anonymous figures intertwined with the surrounding settings which are sometimes identifiable, local spaces (e.g. the interior of a public bus, the walls
51:. Another medium that she worked closely with are sketches and drawings, which she compiled in several published monographs along with selections of her paintings. Her illustrations are also known to be featured regularly in Mao Pao Weekly.
183:), an artist and fellow graduate from Hong Kong Arts School majoring in painting in 2006. The gallery was located at G/F, 23 Sau Wa Fong, St. Francis Street, Wanchai. However, it closed down by the end of 2009 with the farewell exhibition
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Since Lai's mother was often caught up at work, Lai and her elder sisters used to spend their free time exploring around Tsing Yi, the neighborhood which they resided in. From the age of five, she would travel across the
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After graduating from Hong Kong Art School in 2006, she became a freelance editorial designer. She mainly designed books of
Chinese literary works, including works by Lau Shiu Ming Joseph (
31:. She is a graduate from the painting program of Hong Kong Art School (HKAS). Her works frequently depict anonymous figures as subjects, and explore the issues of psychological landscapes,
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She compiled her paintings and drawings into five published monographs, where she often wrote about the conception behind her own works. In her monograph
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column aligning with her personal interests. She was later involved in other illustration works for print advertisements, books and magazines such as
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with her siblings and even alone. As her interest to wander continued, her exploration radius gradually expanded throughout her childhood.
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27:; born 1984) is an artist, an illustrator, an editorial designer and the co-founder of Hulahoop Gallery of
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964:""The world precedes the eye" at Lasalle's Institute of Contemporary Arts Singapore | Art Radar"
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artworks by Chan Chui Hung, introductory text by
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A Journal of the Plague Year. Fear, ghosts, rebels, SARS, Leslie and the Hong Kong Story
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A Journal of the Plague Year. Fear, ghosts, rebels, SARS, Leslie and the Hong Kong Story
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A Journal of the Plague Year. Fear, ghosts, rebels, SARS, Leslie and the Hong Kong Story
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In 2006, Lai graduated from Hong Kong Art School (HKAS), the education division of
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K11 Art
Foundation Pop-up Space, Hong Kong; chi K11 Art Museum, Shanghai 2015 –
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A Hundred Years of Shame - Songs of
Resistance and Scenarios for Chinese Nations
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Firenze Lai was born in 1984 in Hong Kong to a working-class family living in a
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In 2007, she co-founded and operated the
Hulahoop Gallery with Lulu Ngie (
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dedicated to record the events occurred at the occupation taken place on
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47:(2017), as well as different local venues such as Para Site and
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939:"Venice Biennale 2017 round-up: passion and compassion"
795:"樂而不雅淫畫展Lustfully Yours porno exhibition | yukilo | 網誌"
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The
Colonial Expired: photography exhibition by ChiTak
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Day and
Daylight: Painting and Drawing by Firenzi Lai
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co-published by The
Pavilion and Hulahoop, Hong Kong
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523:"Phototropism: Sketch and Drawing by Firenze Lai"
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824:Phototropism: Sketch and Drawing by Firenze Lai
242:Phototropism: Sketch and Drawing by Firenze Lai
204:Phototropism: Sketch and Drawing by Firenze Lai
674:"The Citizens — painting + drawing collection"
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843:"Firenze Lai (黎清妍) | Vitamin Creative Space"
747:"Show Your Colour: You Are the Unique One"
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1030:Show Your Colour: You are the Unique One
383:La Salle College of the Arts, Singapore
422:, Power Station of Art, Shanghai, China
420:Social Factory - 10th Shanghai Biennale
399:Surround Audience, New Museum Triennial
327:, CL3, Hong Kong Arts Centre, Hong Kong
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826:. Hong Kong: Hulahoop. pp. 96–97.
360:Contagious Cities: Far Away, Too Close
871:painting & drawing by Firenze Lai
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302:, Lodovico Corsini, Forest, Belgium
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185:Lustfully Yours porno exhibition
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891:"A Circle with Four Corners"
624:"Firenze LAI: absent-minded"
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647:Chau, Winnie (2011-03-08).
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381:The World Precedes the Eye,
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353:Selected group exhibitions
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494:Chan, Hera (2019-03-23).
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339:The Garden of Roundabouts
249:The Garden of Roundabouts
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943:South China Morning Post
464:"Firenze, Lai Ching Yin"
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267:Selected co-publication
256:The Citizens - painting
124:Harcourt Village Voice,
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847:Vitamin Creative Space
436:, Para Site, Hong Kong
408:, Para Site, Hong Kong
867:"《小砝碼》Counterbalance"
822:Lai, Firenze (2009).
496:"Firenze Lai | Ocula"
66:public housing estate
49:Tai Kwun Contemporary
17:Firenze Lai Ching Yin
194:Painting and drawing
74:Stonecutters' Bridge
41:New Museum Triennial
1053:Hong Kong designers
78:Cheung Tsing Bridge
551:www.kubrick.com.hk
260:drawing collection
158:), Pun Kwok Ling (
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39:(2014), the 2015
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441:Disturbance
388:Hack Space,
288:Exhibitions
218:Publication
126:which is a
118:During the
1042:Categories
997:2020-03-09
973:2020-03-09
949:2020-05-31
924:2020-03-09
900:2020-03-09
876:2020-03-09
852:2020-03-09
805:2020-03-10
799:SundayMore
780:2020-03-09
756:2020-03-10
732:2020-03-10
722:"About 簡介"
707:2020-03-09
683:2020-03-09
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473:2020-03-10
448:References
318:Turbulence
60:Early life
968:Art Radar
300:Plotholes
144:劉紹銘愛讀散文系列
88:Education
55:Biography
29:Hong Kong
628:EXIT 安全口
222:Source:
775:香港獨立媒體網
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100:Career
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500:Ocula
213:Works
163:無有紀年)
156:愔齋讀書錄
152:春在綠蕪中
113:Muse.
576:明周文化
468:Faux
167:斑駁日常
160:愛琉璃,
128:zine
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181:倪鷺露
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