2015
+ The Past is Continuing – Drinking in Ranges, Feasting on Peaks
+ The Past is Continuing – The Eternal Phoenix
+ Double Vision – Midnight Mountaineering
2014
+ Remaster vs Appropriating the Classics
+ All About Poetry – Southern District Literature Day
2013
+ Taehwa River Eco Art Festival 2013
2012
+ "Black Market" Flash Art Exhibition
+ Philosopher's (knock-off) Stone: Turning Gold into Plastic
+ Space@West Kowloon - Hong Kong Sculpture Biennial
+ Wearable Exhibition - Bring Art Everywhere
2011
+ LANDSCAPES - Gyeonggi Creation Center, South Korea
+ Bittersweet - A Mixed Media Solo Exhibition
+ Primitive Contemporary III series -
Primitive Craftsmanship ‧ Contemporary Sculpture
2010
+ "Green X’mas@CDAV" Community Art Program
+ Touching Art: Louvre's Sculptures in Movement
+ Eastern District Arts Festival - Eastern Art Bus
+ Wongok-dong Recipe, Litmus, South Korea
+ Food Art Festival "Savor Art !" Exhibition
+ See-Through - From Hollywood to Shanghai
Hok-Shing Grocery - A Century-old Shop
(Used Goods Collection and Exchange Project)
+ Urban Ark (Theatre Installation)
+ Silence
+ CUHK The Fourth Chung Chi Christian Festival
2009
+ Hiking Arte - Travelling in Imaginary Landscape
+ Reborn - The Silk Road Arts Exhibition
+ Dwelling
2008
+ Reversed Reality - Worksound, Portland, USA
+ Artists in the Neighbourhood Scheme IV
+ Artists in the Neighbourhood Scheme IV Launching Exhibition
2006
+ Order - Recordation of Personal Action
+ "Away" Group Exhibition of Hong Kong Contemporary
2004
幻覺離恨天 - 頑石仙草幻化軀，竟是人間痴兒女 Daiyu at her death bed – A stone and celestial herb took human form, and they fell deeply in love in the mortal world 8cm x 8cm x 33cm 材料：木、國畫顏料 2015
幻覺離恨天 - 頑石仙草幻化軀，竟是人間痴兒女 Daiyu at her death bed – A stone and celestial herb took human form, and they fell deeply in love in the mortal world 8cm x 8cm x 33cm 材料：木、國畫顏料 2015
遊園驚夢 - 則為你如花美眷，似水流年 Wandering in the garden and waking from dream – In seeking a beautiful mate like you, I have let the years roll by 48cm x 30cm x 8cm 材料：木、環氧樹脂、國畫顏料、（圓點）複印紙本牡丹花圖象、模型草粉 2015
遊園驚夢 - 則為你如花美眷，似水流年 Wandering in the garden and waking from dream – In seeking a beautiful mate like you, I have let the years roll by 48cm x 30cm x 8cm 材料：木、環氧樹脂、國畫顏料、（圓點）複印紙本牡丹花圖象、模型草粉 2015
遊園驚夢 - 則為你如花美眷，似水流年 Wandering in the garden and waking from dream – In seeking a beautiful mate like you, I have let the years roll by 48cm x 30cm x 8cm 材料：木、環氧樹脂、國畫顏料、（圓點）複印紙本牡丹花圖象、模型草粉 2015
窺醉 - 惱煞紅杏窩藏蝴蝶影 Peeping at the drunken scholar – How frustrating! The red apricot flowers are hiding the butterfly from me 5cm x 25 cm x 130cm 木、金屬扣、金屬鏈、布料、國畫顏料、鉛筆線條 2015
窺醉 - 惱煞紅杏窩藏蝴蝶影 Peeping at the drunken scholar – How frustrating! The red apricot flowers are hiding the butterfly from me 5cm x 25 cm x 130cm 木、金屬扣、金屬鏈、布料、國畫顏料、鉛筆線條 2015
窺醉 - 惱煞紅杏窩藏蝴蝶影 Peeping at the drunken scholar – How frustrating! The red apricot flowers are hiding the butterfly from me 5cm x 25 cm x 130cm 木、金屬扣、金屬鏈、布料、國畫顏料、鉛筆線條 2015
窺醉 - 惱煞紅杏窩藏蝴蝶影 Peeping at the drunken scholar – How frustrating! The red apricot flowers are hiding the butterfly from me 5cm x 25 cm x 130cm 木、金屬扣、金屬鏈、布料、國畫顏料、鉛筆線條 2015
窺醉 - 惱煞紅杏窩藏蝴蝶影 Peeping at the drunken scholar – How frustrating! The red apricot flowers are hiding the butterfly from me 5cm x 25 cm x 130cm 木、金屬扣、金屬鏈、布料、國畫顏料、鉛筆線條 2015
香夭 - 落花滿天蔽月光 Death of a princess – Falling petals are blocking the moon 50cm x 12 cm x 85cm 物料：木、亞加力膠片、夜光顏料、綿線 2015
香夭 - 落花滿天蔽月光 Death of a princess – Falling petals are blocking the moon 50cm x 12 cm x 85cm 物料：木、亞加力膠片、夜光顏料、綿線 2015
劍合釵圓 – 霧月抱泣落紅，險些破碎了燈釵夢。 When the sword and the hairpin reunite – Under the hazy moon, I cry as I hold the fallen petals in my arms. What luck we had to escape from having our dreams of love dashed 30cm X 20cm X 20cm 材料:木、國畫顏料、玻璃、夜光顏料 2015
劍合釵圓 – 霧月抱泣落紅，險些破碎了燈釵夢。 When the sword and the hairpin reunite – Under the hazy moon, I cry as I hold the fallen petals in my arms. What luck we had to escape from having our dreams of love dashed 30cm X 20cm X 20cm 材料:木、國畫顏料、玻璃、夜光顏料 2015
劍合釵圓 – 霧月抱泣落紅，險些破碎了燈釵夢。 When the sword and the hairpin reunite – Under the hazy moon, I cry as I hold the fallen petals in my arms. What luck we had to escape from having our dreams of love dashed 30cm X 20cm X 20cm 材料:木、國畫顏料、玻璃、夜光顏料 2015
投荔- 欲揭小簾攏，偷偷作拋送 Throwing Lychees – I want to draw the curtain and throw the fruit at the one I admire without anyone noticing 40cm x 15cm x 14cm 物料：木、藤枝、鐵、布料、國畫顏料 2015
投荔- 欲揭小簾攏，偷偷作拋送 Throwing Lychees – I want to draw the curtain and throw the fruit at the one I admire without anyone noticing 40cm x 15cm x 14cm 物料：木、藤枝、鐵、布料、國畫顏料 2015
錯夢 - 好一座琉璃境界 The deluded dream – It’s a crystalline world here 23cm X 23cm X 23cm 材料：木、國畫顏料、白色彩沙、玻璃、金屬、珠仔 2015
錯夢 - 好一座琉璃境界 The deluded dream – It’s a crystalline world here 23cm X 23cm X 23cm 材料：木、國畫顏料、白色彩沙、玻璃、金屬、珠仔 2015
錯夢 - 好一座琉璃境界 The deluded dream – It’s a crystalline world here 23cm X 23cm X 23cm 材料：木、國畫顏料、白色彩沙、玻璃、金屬、珠仔 2015
The Regeneration in the Red-Plum Chamber 脫阱救裴 - 盼望了枝有並蒂花開，失梅用桃代 Saving scholar Pei – I was wishing for a good match to substitute the plum with the peach 39cm x 15cm x 12cm 材料：木、國畫顏料、白色彩沙 2015
The Regeneration in the Red-Plum Chamber 脫阱救裴 - 盼望了枝有並蒂花開，失梅用桃代 Saving scholar Pei – I was wishing for a good match to substitute the plum with the peach 39cm x 15cm x 12cm 材料：木、國畫顏料、白色彩沙 2015
合缽 - 但得死去同化蝶，立意殉愛災劫中。 Caught in the alms bowl – I wish we can die together and turn into a pair of butterflies, and I am determined to meet calamities to die for love 48cm x 15cm x 7cm 材料：木、銅缽、國畫顏料、白色彩沙 2015
合缽 - 但得死去同化蝶，立意殉愛災劫中。 Caught in the alms bowl – I wish we can die together and turn into a pair of butterflies, and I am determined to meet calamities to die for love 48cm x 15cm x 7cm 材料：木、銅缽、國畫顏料、白色彩沙 2015
仙鳳長鳴
The Eternal Phoenix – A Tribute to the Sin Fung Ming Cantonese Opera Troupe Series
經典與再現
在後台另一角落，我們看見劇作家唐先生和藝術家劉學成、管偉邦一起坐著研討劇本。我知道劉學成一直愛讀唐先生的劇本，他說過劇本是瞭解粵劇文化傳統的一個奇妙密碼。
文質彬彬的唐先生正在講解今晚上演的戲：「《帝女花》是清代大詞家黃韻珊的著作，描寫長平宮主與駙馬周世顯的復合史。長平宮主比最近英格烈褒曼所演的帝俄宮主還悲慘百倍……我希望把一部古文學作品改編為粵劇，使我們的觀眾對文學多點認識。」唐先生努力把元曲、明清傳奇的精緻細膩帶到粵劇裡，希望把粵劇引進文學欣賞境界。我讀過他的劇本，真是文詞瑰麗，情感豐富，意境打動人心。
劉學成自小喜歡中國歷史文學和戲曲藝術。他回應唐先生說：「古人以細膩的觸覺，觀察世事萬物，把視覺影像轉化為優美的文字。而當代的我，再次進行轉換，把紙上的文字化回立體的視覺影像。」
管偉邦也說：「傳承古人傳統亦是我藝術創作的關鍵，透過經典的再造和再詮釋，並與當代的元素結合，傳統便可獲嶄新的演繹。」
唐先生點點頭：「新的開始並不表示舊的已過去。就如傳統的元曲或宋元雜劇每一部都有獨特的內容，雖可改編成令人動容而賣座的新戲，保持了原來經典面貌，但要經很長時間的隨演隨改，才可取得真正的成功。」
劉學成與管偉邦都希望從唐先生的經典劇本出發，藉著雕塑和中國畫，把粵劇文字內裡的意境呈現出來，提供更廣濶的想像空間。傳統的再造一向並不容易，既要帶領觀眾進入歷史，亦要從新的角度去思考，走出過去而展望將來。
Classics and Re-emergence
In another corner backstage, we see dramatist and librettist Mr. Tong Tik-sang sitting with artists Hanison Lau Hok-shing and Koon Wai-bong in a group discussing a script. I know Hanison has always liked reading Mr. Tong’s plays. He once said the script is an amazing code for understanding the culture and tradition of Cantonese Opera.
The scholarly Mr. Tong is expounding on the play to be performed tonight. “Princess Cheung Ping is the work of Qing Dynasty poet Huang Yunshan. It tells the story of the reunion of Princess Changping and her husband Zhou Shixian. The fate of Princess Changping is a hundred times more tragic than that of Anastasia as portrayed by Ingrid Bergman….. I hope to adapt an ancient classic to a Cantonese Opera to bring literature closer to our audience.” Mr. Tong strives to infuse the intricacies and exquisiteness of Yuan Dynasty qu and Ming and Qing Dynasty chuanqi into Cantonese Opera to bring the latter into the realm of literary appreciation. I’ve read his plays. They are splendid in diction, rich in emotion, and deeply moving in their artistic conception.
Hanison has a liking for Chinese history and literature and Chinese opera from an early age. He says to Mr. Tong in reply, “The ancients used their sensitivities to observe things around them, and turned images into beautiful language. Whereas I as a contemporary transform once more by turning what is in black and white into three-dimensional visual images.”
Koon adds, “Inheriting and passing on past tradition is also crucial for my artistic creation. Through the re-construction and re-interpretation of classics, together with fusion with contemporary elements, tradition can get a brand new interpretation.”
Mr. Tong agrees, “The birth of something new does not mean the old has died. For instance, traditional Yuan Dynasty qu or Song and Yuan Dynasties zaju all have their distinctive themes and contents. Although they can be adapted to new plays that are moving and popular with audiences while retaining their classical origins, it takes a long process of constant amendments through performing on stage for them to be really successful.”
Both Hanison and Koon hope to use Mr. Tong’s classics as the starting point, and show the artistic conception of Cantonese Opera text through sculpture and Chinese painting to make more room for the imagination. The re-construction of tradition has never been easy. By transporting the audience back into history and at the same time taking a new perspective, we can be freed from the past and look into the future.