Mental. Behaviour. Capacity
精神. ⾏為. 能⼒

In Remission, is a moving-image prose poem. Starting from the red and black of table tennis rubber sheets, the transformation of erasers into stone, the wiping of newspapers, and the repulsion and permeation of CMYK on rubber-coated paper, it tells how the artist confronts her condition under the medical label of "remission"—neither recovery nor onset, but suspended between the everyday and the discarded. This work revisits the artist's mental health records and family history since 1996, alongside her advocacy work and artistic practice, asking: why, even when one has "recovered," one still remains within a category of disability.

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《緩解期》是一部錄像散文詩。從乒乓球膠膜的紅與黑、擦膠轉化為石、擦拭新聞，以及CMYK在膠膜紙上的排斥與滲透出發，訴說藝術家在「緩解期」此一醫學標籤下，如何面對自身處境。不在病發之時，也未必真正康復，而是懸置在日常與廢棄之間。作品回顧藝術家自1996年以來的精神健康檔案與家族歷史，以及其與倡議工作和藝術實踐之間的關係，追問：為何當一個人被視為康復之後，仍然屬於殘疾類別之一。

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Further elaboration on the artwork 關於此影像作品的伸延閱讀

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The artist rubbed the newspapers from 12 June 2026—a day that recorded a devastating mental-health-related tragedy: a social worker and mother employed at a hospital jumped to her death, followed by her daughter, who also jumped and died. The same newspaper is filled with the trivialities of daily life: breakthroughs by astronauts, supermarket sale advertisements. The act is not one of mourning, but of "synchronicity"—within a single day, tragedy and the ordinary coexist. The rubbed newspaper is placed inside a large glass specimen jar over a metre high; the ink-stained eraser is set into a tree branch, appearing as if part of the tree itself. Rubber is originally the vomit of trees; now it shares the same vessel with the wiped news, allowing the traces of one day to return to their material origin.

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藝術家擦拭2026年6⽉12⽇的報紙——這⼀天記載了⼀宗轟動的精神健康相關悲劇：⼀名任職 醫院的社⼯母親墮樓⾃殺，隨後女兒亦墮樓身亡。同⼀份報紙上，亦充滿瑣碎⽇常：太空⼈的 突破、超級市場⼤減價的廣告。不是出於悼念，⽽是出於「共時性」——⼀天之中，悲劇與⽇ 常同時存在。擦拭後的報紙被放進⼀個超過⼀⽶⾼的⼤型玻璃標本瓶內︔沾上油墨的擦膠則鑲 嵌在樹枝上，看起來如同樹的⼀部分。橡膠本是樹⽊的嘔吐物，如今與被擦拭的新聞共處於同 ⼀個容器之中，讓⼀天的痕跡回到它的物質源頭。

These works were created during an artist residency of Schoeni Projects in London in 2024and are exhibited in Hong Kong for the first time. Inspired by tree stumps in London, they set the struggles within the artist's own mental history in dialogue with reflections on natural ecology. In the images, human tissues and natural forms intertwine—brains merging with coral, neural lines blending with the forms of tree branches. The four CMYK colours repel, permeate, and solidify on plastic-coated paper, forming boundaries that can never fully fuse. These works contemplate the dignity of nature and the dignity of human beings—their comparison and coexistence.

 

Four CMYK paintings will be exhibited in this exhibition. These works were previously shown in the solo exhibition Twisted Limbs, organised by Schoeni Projects (London, 2024) :

 

CMYK Painting: Veins, Going Crazy, 2024

Inkjet printer ink on paper

 

CMYK Painting: Embodies Crystal, 2024

Inkjet printer ink on paper

 

CMYK Painting: Crystal, Tree and Human Nerves, 2024

Inkjet printer ink on paper

 

CMYK Painting: Embodies Coral and Human Brain, 2024

Inkjet printer ink on paper

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這批作品於2024年英國倫敦藝術家駐留計劃期間創作，⾸次於⾹港展出。作品以倫敦的樹墩為靈感，將藝術家⾃身精神歷史中的掙扎，與⼤⾃然⽣態的反思互為對照。畫⾯中，⼈體組織與⾃然形態交織——例如腦袋與珊瑚結合，神經線與樹枝的形態相融。CMYK四⾊在膠膜紙上排斥、滲透、凝固，形成無法完全融合的邊界。這些作品思考⾃然的尊嚴與⼈類的尊嚴，兩者之 間的比較與共處。

 

今次將會展出4件CMYK 繪畫，此批作品曾於Schoeni Projects 主辦的個展 《Twisted Limbs 》（倫敦，2024）展出：

 

CMYK繪畫：發神經，2024

噴墨印表機墨⽔於紙上

 

CMYK繪畫：⽔晶，2024

噴墨印表機墨⽔於紙上

 

CMYK繪畫：⽔晶、樹⽊與⼈體神經，2024

噴墨印表機墨⽔於紙上

 

CMYK繪畫：珊瑚與⼈腦，2024

噴墨印表機墨⽔於紙上

The artist grinds and shatters painkillers on a rough surface. This is not taking medicine, but letting the pills leave proof of their existence without entering the body.

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A complete pill is a product of order—made to be swallowed, dissolved, enter the bloodstream, and restore balance. When the artist uses it like chalk to draw on the uneven surface, that order is broken. Here, destruction and release are the same: the pill’s fixed role as a “cure” is destroyed, while another possibility is freed—it need not enter the blood to create meaning; it can become a stroke, writing, or powder that drifts among the pits and textures.

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藝術家把止痛藥在粗糙的表面上磨蝕、碎裂。這不是服藥，而是讓藥丸以「不進入身體」的方式，留下存在的證據。

 

一顆完整的藥丸，是秩序的產物——它被製造出來，是為了被吞嚥、溶解、進入血液，去修復某個失衡的系統。當藝術家把它當成粉筆，在凹凸不平的表面上畫寫時，這個秩序被打斷了。破壞與釋放，在此是同一件事：破壞了藥丸作為「治療物」的既定功能，也同時釋放了它的另一種可能——它不必進入血液才能產生意義，它可以成為筆觸，成為書寫，成為在坑洞與紋理間遊走的粉末。​​​

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Another work from the Erasing News series — Erasing News: When a Tree Stump Depicts a Woman’s Body (2024). Created in London, using London newspapers such as The Guardian as materials, the artist took newspapers and a rubber into a park and rubbed the newspaper against a tree stump. In the process of rubbing, the newspaper ink was not only transferred but the texture of the tree was simultaneously recorded. This work was previously shown in the solo exhibition Twisted Limbs, organised by Schoeni Projects (London, 2024).

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另⼀件「擦拭新聞」系列的作品 — 擦拭新聞：當樹墩描繪女⼈身體（2024），創作於英國倫 敦，以倫敦的報紙，例如《衞報》作為材料，藝術家帶著報紙和擦膠⾛進公園內，於樹墩上擦 拭報紙，因此擦的過程中不但將報紙油墨轉化，亦同時紀錄了樹⽊的質感。此作品曾於倫敦， Schoeni Projects 主辦的個展《Twisted Limbs》(2024) 展出。

Since 2016 the artist has visited tutorial centres across Hong Kong’s various districts, collecting rubbers used by primary-school pupils, and began presenting this series in 2017. A rubber begins life as a hard rectangular block, yet through daily rubbing and wear it slowly takes on the shape of a stone. For the children it is not merely a device for erasing mistakes, but also a toy and an outlet for frustration — pierced with pencil points, marked with drawings, pinched into dents. Softness is itself a form of endurance; the stone is the evidence of time preserved through consumption. This exhibition presents the rubbers the artist has gathered from tutorial centres and primary schools — pieces that have genuinely been used by the students.

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藝術家⾃2016年起⾛訪⾹港各區補習社，收集⼩學⽣使⽤過的擦膠，並於2017年開始發表此系列。擦膠本來是堅硬的長⽴⽅體，卻因⽇復⼀⽇的擦拭與耗損，慢慢變成⽯頭的形狀。對學⽣來說，擦膠不只是錯誤的消除者，更是玩具與發洩的載體——⽤鉛筆刺孔、畫上圖案、捏出凹痕。柔軟，本身就是⼀種承受︔⽯頭，是它們以消耗保存時間的證明。今次展覽將展⽰藝術家從補習社和⼩學收集回來的，真實地被學⽣使⽤過的擦膠。