About

Allison Chan Hiu Wai (b.2000) is a Hong Kong-based artist who crafts moving images, narrative installations, and sculptures that respond to environmental volatility. Her work excavates overlooked emotions and memories, reconstructing these fragments into narratives that explore identity, synchronicity, and vulnerability. Through deliberate juxtaposition and metaphorical language, her works consistently searching for an antidote to dissolve boundaries.

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Her works construct temporary ruins and relics of memories.

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In "Missing Jaya" (2020-2024), Chan breathes life into an AI-generated persona, questioning the relationship between virtual identities and our search for connection. “Never Been to Jin'ou Township” (2022) weave narrative video with family oral histories, tracing her’s grandparents’ clandestine journey, exploring how geographical crossings reshape identity across generations. "The Well in Sand" (2022) employs ritualistic hand-washing and sand-obscured photographs to reveal personal histories that persist despite attempts at erasure. "Purifying" (2021) transforms cactus spines into implements for exorcising unspoken traumas, while “Couples" (2020) confronts generational shifts in romantic relationships through contrasting sculptural elements and performed tension.

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Chan holds a Fine Arts degree from the Chinese University of Hong Kong (2022) and co-founded Liquid Dood, an artist collective investigating everyday objects and articulating the unnamed through states of fluidity.

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陳曉慧（b.2000）現居香港。她的創作實踐以動態影像、敘事裝置和雕塑為主，挖掘被忽略的情感與記憶，將這些碎片重構為文本，從而探討身份認同、共時性與脆弱性，以回應環境的流動，透過並置和隱喻去映襯現實的雜亂，一直在找尋消弭邊界的解藥。

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她的作品構建記憶的暫時遺跡與廢墟。

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在" Missing Jaya"（2020-2024）中，陳氏為人工智能生成的角色注入生命，質疑身份與人類尋求連結之間的關係。《從未到過金鷗鎮》（2022）將敘事影像與家族口述歷史編織在一起，追溯她祖父母從中國大陸偷渡到香港的秘密旅程，探索地理跨越如何重塑跨代身份。《沙中井》（2022）運用儀式性的洗手動作和被沙覆蓋的照片，揭示儘管遭遇抹去，個人歷史仍持續存在。《淨化》（2021）將仙人掌刺變成驅除未言說創傷的工具，而《情侶》（2020）則通過對比的雕塑元素和表演張力，直面浪漫關係的代際轉變。

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陳氏持有香港中文大學藝術學士學位（2022年），並共同創立了Liquid Dood藝術家集體，探索日常漂浮物體的瑣碎性，並在流動性狀態中傳達那些無法命名的事物。