Reni Haymond 雲千藍,於香港浸會大學視覺藝術系取得碩士學位、英國

里茲都會大學取得數位多媒體學士學位,於蘇黎世藝術大學進行藝術交流。

 

香港首位純原子筆藝術家,向來喜歡以顔色和線條去諷刺日常,近年作品

以研究原子筆獨有的顔色,以及適合其展示的尺寸發展,將平凡的工具推向

不平凡的層次。
 

2017年入選「台日藝術博覽會」,2016和2015年入選「台北藝術自由日」

2015年入選「新藝潮藝術家獎」,2014年「香港當代藝術獎」入選十優。

除展覽外,還於誠品書店、香港演藝進修學院和其他藝術機構舉辦原子筆

畫短期課程,亦和香港青年廣場合作推出了純原子筆主題房間。作品曾於香

港、台灣、日本、瑞士等地方展出。

Reni Haymond, Masters Degree holder of Visual Arts in Hong Kong Baptist

University, BSc (Hons) Degree holder of Multimedia and Entertainment

Technology in Leeds Beckett University. Art exchange in Zurich University

of Arts.

In recent years, she likes to discover the unique colour and uncountable working size of ball pens. Most of her works are presented in exhibitions outside Hong Kong, such as 2017“Taiwan . Japan Art Project Vol.2”, 2016&2015“Taipei Free Art Fair” ,2015 “New Art Wave”. She was one of the top ten nominee of the Hong Kong Fine Art Prize  2014. Her works have been shown in Hong Kong, Taiwan, Switzerland and Japan. She currently lives and works in Hong Kong.

MANIFESTO​​​

ENGLISH:

I like to use simple way to present my art works, which are done by inexpensive tools. Rather than being
unapproachable, I would like to let people know that art can be down-to-earth. I believe ball pen can be a very good drawing tool.


Many people associate ball pen with “mistakes cannot be amended" and "just a writing tool". It is
always being neglected and despised, due to limited choices of colours and its low price, just like
some of the social vulnerable groups and social issues, which they are the themes of my artworks.
Rather than following the trend, I would like to create my own trend. I want to make something
people think that is impossible to be possible, to make ball pen art from minority to become
majority and gain a social identity. I try to take away its inherent image and re-invent it with its
own individuality, producing a new vision, making contrasts with different frequencies, and finally
construct “a new world outside the framework” for the ball pen and use such medium as a
“counterweight” to the elimination of high technology.

I am what i read, I am what i see.

​中文:

​-原子筆的顏色選擇不多,但象徵意義已甚為豐富,給觀眾想像空間,也能用來表達事情的冷暖和矛盾。內裡的黑與白,是繽紛世  界中被遺忘的黑白身影。黑與白因為太平凡,總不被察覺或被濫用,就正如原子筆一樣,明明在人羣中卻總被輕視。


-藝術媒介無分貴賤,創作靈魂卻雅俗立見,用最不被重用的工具,以最簡單、原始的方式表達走進藝術界,雖然其深度讓我感到失措,但我無懼投身其中,如此,我的精神便會以更強大和未知的方式得到昇華。

-「除了畫筆,原子筆也可以是創作工具。 」藝術可以很廣闊,不必局限於固有的媒介,藝術亦不是高不可攀,可以很著地。

-跟原子筆相交,令我深深體會到香港人往往對外來事物趨之若騖的「隔離飯香」特性,但原子筆本身樂觀自強的性格,令我明白到在得到別人尊重之前,必先要尊重自己。
 
-原子筆能代表一種長久不息的香港精神,70年代的打工仔拼搏精神和人情味,劃出我對事情發展的感受,以藝術角度審視現代人「城市化」生活的荒唐之處。
 
-閱讀和藝術是我生命的一部份,所以作品的創作方向就有如閱讀不同類型的文學作品般,角色都充滿著矛盾。
 

Artworks series

Series 1 <<Made in hiding under lane simple taste HK>>

 

Hong Kong, which is being considered as a prosperous cosmopolitan city, which is developing and evolving rapidly, it is not easy to catch up with the pace. In such a busy city, many things have been overlooked, so as the people who need extra attention. Now, those people are being drawn and put on different colours, being featured as extraordinary protagonists, Shooting and interview have been made before the completion of the artworks, in order to make them more realistic and lively.

第一系列  <<Made in HK 簡單下的匿巷品味>>

香港,不少本地跟外國人眼中貨如輪轉的繁華勝地,但在這「時間不等人」的時代巨輪底下,卻有不少追不上速度的人。走遍深水埗、油麻地、長沙灣、西灣河等地,窺探被壓在巨輪下,沒被人留意的他們,但不代表他們不存在。訪問了他們,以一個朋友的身份了解他們的想法,對香港的感覺,然後把「他們」放在畫裡,給「他們」鋪上不平凡的色彩,變成我的不平凡的「主角」,作為我其中一個可持續發展下去的主題。

Series 2 << Negligence of The Wildlife>>

Using ball pen and expressing the feeling of helpless by the strong contrasting colours, this piece of artwork is drawn to arouse the awareness of wildlife conservation.

第二系列 <<見了不看,聽了不聞的野生姿態>>

面臨滅族危機的野生動物有哪些?張圓了咀卻說不出來。用原子筆獨有的特性跟強勁的對比色,帶出一種對於快將消失於綠意盎然的平原上或深藍透亮的海洋裡的生物,所表達的嘆息與無奈。

Series 3 <<Ukilour>>

This is a series of artwork in East meets West style, and each of them represents different stages of love. One of the styles is the Bijinga, which are pictures of beautiful women in Japanese art, especially in woodblock printing of the ukiyo-e genre, which predates photography and is a genre of woodblock prints and paintings that was produced in Japan from the 17th century to the 19th century.

Another style used is the Op art, a style which was popular among western countries in the 20th century, which uses repetition of simple forms and colors to create vibrating effects, moiré patterns, foreground-background confusion, an exaggerated sense of depth, and other visual effects.

The east meets west style and combination of classic and modern has developed a sense of humour, through the chemical reaction of cross cultural communication between people which is presented in this ball pen artwork.

第三系列 <<浮世>>

系列「春、夏、秋、冬」共4幅作品,代表了戀愛中的「甜、酸、苦、辣」。不說愛護地球,不談世界和平,不論社會形態,暫且放下嚴肅,發揮自戀的本性。

這一系列會用原子筆混合兩種不同地域,不同時期的藝術風格:起源於17世纪的日本浮世繪(Ukiyo-e)跟西方二十世紀興起的藝術思潮歐普藝術 (Op Art),帶出一種全球化世代下,文化上的自覺及差異,以融和的態度來取代由旅行的便捷、知識的傳播及人口的流動而帶來的淡泊。

以古色古香的人物造型、機械性的紋理和生動的人物表情,散發著一種奇異的、又西又日卻又不西不日的矛盾情調而衍生出來的「彩色幽默」。用原子筆演繹文化上的相遇和融合,就像人與人之間的化學作用,是愛還是不愛?

Series 4 <<Cage>>

Living in urbanised countries and cities such as Hong Kong, do we still have time to look up at the sky and how it looks like? What can we see? Tall buildings, electric poles? Blue or gloomy sky? How do you think of the speed of global urbanisation and is it necessary? Will we be able to see the blue sky in the future? Is it a progression or regression?

第四系列 <<困戰>>

同在香港或其他城市化的地方,那繁忙急燥的生活裡,會花點時間抬頭看看我們的天空嗎?會看到什麼嗎?天空是什麼模樣的?那是一幢幢的高樓石柱?那是連續不斷的電線杆?陰霾裡的是藍天,還是灰雲?當下城市化的發展是過度,還是正常?是生活所需,還是各國競賽?走到最後,到了將來,頭上的藍天白雲還是天然的,還是電腦合成的立體投射影像?教我們如何進步,如此退步。

artist statement

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Series 5 <<KIDULT>>

Living in urbanised countries and cities such as Hong Kong, do we still have time to look up at the sky and how it looks like? What can we see? Tall buildings, electric poles? Blue or gloomy sky? How do you think of the speed of global urbanisation and is it necessary? Will we be able to see the blue sky in the future? Is it a progression or regression?

第五系列 <<鞋提>>

從小就已經迷上那顏色跟物料同樣變化多端的運動鞋,從前走的科幻路線,到現在走的復古情懷,那種獨特的意識形態,總令人著迷。

看似平凡無味的原子筆跟往往走在潮流尖端的品牌運動鞋,經過顏色的運用和圖案的編排,會產生什麼之學作用?

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Series 6 <<Between the Lines>>

Inspired by the saying of a renowned Taiwanese sculptor, Zhu Ming, "Human, the wisest and the most stupid; the kindest and the most evil; the most bitter and the happiest, all depends on how do you think." And my favourite classic novels of Chinese literature, which are  "The Classic of Mountains and Seas" (Shan Hai Jing), "Journey to the West", and "The Investiture of the Gods" (Fengshen Yanyi). They are all related to the temporal world.

To simplify and restructure the ball pen colours, and depicts the reflection of the world. The meaning of the three paintings and calligraphies do not have a model answer. Though the artist comprehend it as "a clear and boundless sky" when combining the three of them. She also encourages audience to develop their own thinking and comprehend in other ways.

第六系列 <<字裡人間>>

靈感源自當代著名雕塑家朱銘的話:「人類,最智也最愚,最善也最惡,最苦也最樂,全都就在一念之間。」和三部我很喜愛的中國文學,《山海經》、《西遊記》和《封神演義》。兩方都同樣述說著同一回事——人間。

故此,我將原子筆的顏色簡化,重塑,再描繪出我觀察到的人間的倒影和人生的體驗。《雲、千、藍》三幅「字畫」所表達的和讓人感受到的,不一定是其本意:「任厚雲再厚,其上的必定是一片萬里晴空」。而是你喜歡怎樣看就怎樣想,才是本系列的核心思想。

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Series 7 <<Volume>>

At the point of view of most people,  “mistakes cannot be amended" and "just a writing tool" are the intrinsic recognition of the ball pen, but I think it is a natural character of the ball pen. It is not only an object or a writing tool, but also an object or a writing tool with a soul.


I took away its inherent image and re-invent it with its own individuality, producing a new vision, making contrasts with different frequencies, and finally constructed “a new world outside the framework” to the ball pen  and use concepts as a “counterweight” to the elimination of high technology.


It is ball pen work. The space and dimension for creation are open and boundless. It’s coming towards you and brims over, you can feel you are absorbed, that’s its power and It cannot be replicated.


It comes from the previous artworks “Blood-stained vanity”, “Cage” and “Between the Lines” and to speak in the world’s common language — globalization.

第七系列 <<軌跡>>

長久以來,「 寫錯就無法改 」、「只是一種 書寫 工具」是我們對原子筆的固有認知,可我卻認為那是 原子筆 與生俱來的個性,一種不只有軀殻、更是有靈魂的工具 。

我抽走了它固有的刻板印象,再重新為它賦予各自的個性,從而產生出一種新的想像、用不同的頻率來製造對比,最後為原子筆建構出框架外的每一個擁有不同方向和形式的新世界,用概念為其抗衡高科技的淘汰。

這是由原子筆創造的,那空間和思維的維度是開放、沒有界限的。它是向著你漫出來,你也會被它吸進去,這是種不可能重複的能量。

由過去不同的系列<<血染的虛榮>>, <<困戰>>和<<字裡人間>>等系列所衍生而出,訴說全世界的共同語言——地球化。

Interactive sounds system <<Hong Kong Life Market>>

Vegetarianism has become a growing trend in Hong Kong, yet ,many of people follow this because they want to lose weight or become trendy. Being a vegetarian, I would like to being out the real meaning if this, which is to stop devastating animal lives, in a visualized and auditorised way.

Interactive sounds system <<活色生香?>>

香港,素食漸漸成為一種新興的潮流,但原因卻是減重、修身、潮流,好像跟素食沒太大關係。而2013年我成為了素食者,由此想要用視覺跟聽覺去探討動物的生命在素食者眼中的存在意義。

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