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Curated and presented by Contemporary Crafts Centre
Ceramic artist Ray Chan See Kwong has always loved searching for beginnings in traditions, finding inspiration from it, and recasting the old in new light. What attracted his attention this time was the brewing of Hakka rice wine (yellow wine). The Hakka’s were the only ethnic group not to be named after a geographical region, and was historically a tribe that migrated southward (hence their name "home of migrants"). As they passed through different dynasties and regions, their wine brewing picked up a diverse mix of methodologies. But there was a common thread – brewing was primarily carried out by the females of the house. And these yellow wines had a central role in weddings, babies’ full month ceremonies and new year celebrations, conveying blessings from the family. 陶藝家陳思光愛追溯傳統，尋找創作靈感，再為傳統事物賦予新面貌。今次他探索了客家釀米酒（黃酒）的傳承作為展覽的主題。 客家人是唯一一個不以地域命名的民系，在歷史上是一個向南遷移的族群，由於族群遷移經歷不同的朝代和地域，流傳至今的客家釀酒方法非常多元，但有一共通點，就是多由家中的女性主理。而這些黃酒在結婚、滿月、新年的場合往往是主角，表達著家人的祝福。
Different Hakka families, even from the same region, have their own unique brewing techniques, which are often accompanied by many interesting stories. The artist was very keen to discover these stories. Among the numerous techniques, he found that one of the steps, ‘roasting wine’, was very similar to ‘smoke firing’ in ceramics. One way of ‘roasting wine’ was to apply mud onto the external surface of the wine pot, burying the pot in straw and husks, and then mellowing the wine by firing it to medium heat. With reference to these various Hakka techniques, the artist applied the concept of ‘wine brewing’ to ‘clay/mud brewing’, introducing elements of fermentation, glutinous rice, wine roasting, yellow wine dishes and so on, and creating a new series of ceramic works and wine vessels. He hoped to arouse public interest in Hakka culture through his work, and encouraging others to share their own wine brewing experiences, recipes and stories.
即使來自同一地區，每個客家家庭都有其獨特的釀酒方法，當中常伴隨著很多有趣的故事。陳思光對此最感興趣，並渴望了解更多不同地方的客家釀酒故事。 而在各種釀酒的方法中，他發現當中有一個步驟「炙酒」與燒陶的「薰燒」很相似。「炙酒」是用泥塗抹在酒甕表面，然後用稻草、穀殼埋著酒甕，再用火燒，通過火的高溫使酒變得更香醇。陳思光於是參照這方法，將「釀酒」的概念轉變成「釀陶／泥」，加入發酵、糯米、炙酒、黃酒料理等元素，創作出全新系列的陶瓷作品及酒器，並希望以此引起大家對客家文化的興趣，同來參與分享自家釀製黃酒的方法、食譜和故事。
Sadly, it is increasingly difficult to brew wine using traditional huge ceramic wine urns due to the lack of space in the home. Some Hakka families living in the city would replace these urns by using containers that are readily available and could be easily stored, such as glass bottles. Wine brewing is not popular among younger Hakka people as it is considered a handicraft of bygone generations. The artist reflected on whether innovations and traditions could coexist. Yet history tells us that the Hakka’s are highly adaptable, that is how they were able to preserve their unique identity and traditions throughout the passage of time and space. The ceramic artist collaborated with an up-and-coming ceramic artist Silvester Mok and used 3D printing technology to create a modern ceramic wine urn, hoping that the tradition of Hakka wine-brewing could have a place in this age of innovation, raising the level of interest and participation of the new generation, and re-establishing Hakka wine brewing as a fashionable heritage.
可惜時移勢易，由於居住環境局限，使用傳統大酒甕釀酒已經不太容易。 一些居住在城市的客家家庭只能用現成及方便收納的器皿來代替陶甕，例如舊的玻璃瓶等。 而客家人年輕的一代對釀酒已不太熱衷，只視之為長輩們的手藝， 這現象也讓陳思光反思創新與傳統是否可以共存，然而歷史告訴大家，客家人有著高度的適應能力，才能夠在朝代更替和遷徙中得以保存其族群和獨特傳統。陳思光更夥拍新晉陶藝家莫鎧靖，嘗試利用到3D打印技術，創作出具時代感的陶甕，希望讓客家釀酒傳統可以在這務要創新的年代中佔一席位，並提升新一代對客家釀酒的興趣，並重新投入參與，使客家釀酒成為一項時尚的產業。
In collaboration with 協作:
Ceramics 3D printing Silvester Mok
陶藝3D打印技術莫鎧靖
Guided Viewing by the Artist 展覽導賞
The artist Ray CHAN will be meeting participants in person to share about his experiments and creative journey at this special viewing session. Join us to experience the Hakka culture through Ray Chan’s work, and share your own wine brewing experiences, recipes and stories.
藝術家陳思光將親臨現場主持導賞，分享他今次的陶藝實驗及創作歷程。通過陳思光的作品一起來體驗客家文化，同來參與分享自家釀製黃酒的方法、食譜和故事
This is a Free-of-Charge event. 費用全免
Time: 9.7.2022 (Saturday) 3:00 - 4:30pm
Venue: Contemporary Crafts Centre
Language: Cantonese (Supplemented in English) 廣東話進行
Ray CHAN See Kwong
Ray Chan’s works criss-cross between historical accounts and narratives, often deploying unexpected use of mediums. He is interested to unearth the past through layering, moulding, firing and experimenting in his ceramic practice.
Having received his BA and MA degrees from the University of Cambridge, U.K., Ray also obtained his BA (Fine Art) and MFA degrees from the Royal Melbourne Institute of Technology University (co-presented with Hong Kong Art School) in 2002 and 2007 respectively. Over the years, he has participated in Artist-in-residence programs in Japan, Korea and Estonia. Ray is currently a part-time lecturer at the Hong Kong Art School and Hong Kong Baptist University and the Vice Chairman of the Contemporary Ceramic Society (H.K.). His artworks are in the collection of the Hong Kong Heritage Museum.
陳思光
香港陶瓷藝術家陳思光，其作品穿越古今歷史和故事，而在創作上，他善於在藝術媒介中尋求出奇不意的突破。他擅長以分層堆積、製模澆鑄、燒窯烘烤等方法聯繫對歷史往事的發掘，並以此展開對陶瓷藝術的實驗，探索陶瓷的可塑性和特質。
陳思光先後於英國劍橋大學取得學士及碩士學位，其後於二零零二年修讀香港藝術學院與澳洲皇家墨爾本理工大學合辦之藝術學士課程，主修陶瓷，並於二零零七年取得藝術碩士學位。他曾獲選到日本、韓國及愛沙尼亞參與藝術家駐場計劃 。陳思光是現任香港藝術學院及香港浸會大學的兼職講師及香港當代陶藝協會副會長，部分作品為香港文化博物館所藏。
Eight Fairy Chickens
八仙雞
Ray Chan See Kwong
H100mm x W80mm x D150mm
2022
Contemporary Crafts Centre
A gallery space dedicated to presenting handcrafted art creations, empowered by Giant Year and SOIL in Hong Kong.
We feature contemporary craft-based artists whose work embraces the increasingly blurred boundaries between art, craft and design.
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