Title: Same Line Twice 23
Date: June 12, 2020
Location: Waters around Middle Island, Hong Kong
Participants: Hung Fai, Wai Pong-yu, Alan Yeung, Henry Au-Yeung (director of Grotto Fine Art)
Tools and materials: ink pens, ruler, glass paperweight, rock, xuan paper mounted on foam board, seawater, boat, sunlight, wind
Dimensions: 99 x 97 cm
Interaction: the artists sit on opposite sides of the paper and proceed from one short end to the other sequentially
On a cloudless day, Hung, Wai, and Yeung row a boat to the waters around Middle Island in south Hong Kong. Henry Au-Yeung as their helmsman keeps the boat from drifting freely. The liquid ground of their drawings here becomes an environment. The two artists become a unit, their interpersonal dynamics subsumed into vastly greater antagonisms. The boat’s rocking motion sets an irregular meter and especially threatens Wai’s freehand curves. In the intense sun, the paper becomes blindingly bright, the tools too hot to touch. In defiance Hung harnesses the sunlight by focusing it with a glass paperweight and tracing it with his pen. As the artists labor over some six hours to the point of exhaustion, their lines turn increasingly haphazard and abbreviated. Taking a respite from the heat, they enter the sea and draw in it for a brief moment before a wave tears the paper apart.
Date: June 12, 2020
Location: Waters around Middle Island, Hong Kong
Participants: Hung Fai, Wai Pong-yu, Alan Yeung, Henry Au-Yeung (director of Grotto Fine Art)
Tools and materials: ink pens, ruler, glass paperweight, rock, xuan paper mounted on foam board, seawater, boat, sunlight, wind
Dimensions: 99 x 97 cm
Interaction: the artists sit on opposite sides of the paper and proceed from one short end to the other sequentially
On a cloudless day, Hung, Wai, and Yeung row a boat to the waters around Middle Island in south Hong Kong. Henry Au-Yeung as their helmsman keeps the boat from drifting freely. The liquid ground of their drawings here becomes an environment. The two artists become a unit, their interpersonal dynamics subsumed into vastly greater antagonisms. The boat’s rocking motion sets an irregular meter and especially threatens Wai’s freehand curves. In the intense sun, the paper becomes blindingly bright, the tools too hot to touch. In defiance Hung harnesses the sunlight by focusing it with a glass paperweight and tracing it with his pen. As the artists labor over some six hours to the point of exhaustion, their lines turn increasingly haphazard and abbreviated. Taking a respite from the heat, they enter the sea and draw in it for a brief moment before a wave tears the paper apart.
