Liz MO

“the narrative impressions from my works are often inspired by the hidden tension in daily lives”


As a visual artist, I see art as a way to overcome my inner fear and a process of self-healing. The narrative impressions from my works are often inspired by the hidden tension in daily lives or imaginative situation that are hinting a subtle danger before it transforms to violence or other disruptive outcome.
In my creation, I like to keep a certain rawness by using ordinary materials such as pencil, charcoals, ink and paper. I found that simple tones such as black and white correspond more to what I want to achieve in my art, and to reflect a stronger visual impact for the audience.
巫麗詩(Liz)作為一名視覺藝術家,將藝術視為克服內心恐懼的一種方式,也是一種自我修復的過程。我作品中的敘事印象常常受到日常生活中隱藏的張力或想像中的情境的啟發,這些張力在轉變為暴力或其他破壞性結果之前暗示了一種微妙的危險。
在我的創作中,我喜歡使用鉛筆、炭筆、墨水和紙張等普通材料來保持一定的原始性。我發現黑色和白色等簡單的色調更符合我想要在我的藝術中實現的目標,並為觀眾反映更強烈的視覺衝擊力。
Non-scape series《 非山 系列 》
Liz MO presents “non-scape” series in the Affordable Art Fair 2022 at Ubu Deco Gallery’s booth. This is the latest works Liz created in 2022.
“I have once covered my eyes,
Trying to forget that happiness found almost anywhere in the past.
When words become powerless,
I search and search spiritually for that utopian place of peace
…though it may have never existed.
And the landscape you see now,
Is an imagination of you and me,
Is the mingling of the past and present,
Is peppered with stories dwelling in our memories…”
“我曾經蒙蔽我的雙眼,忘記過去望著天空也能找到的樂趣。
當言語變得無力,我尋覓著精神裡那片沉默的田野,
即使桃花源或不曾存在。
而眼前你所看到的,是你我的想像,是過去和現在的交疊,
是散落在我們腦海的零星故事 …”

Non-Scape VI, 2021
非山 六, 2021
mixed media on paper
50cm x 70m
This series of artwork, inspired by societal observation, delineates the attitudinal divergence evolved from various stories and backgrounds, and the deep conflict triggered by the gaps and misconceptions amongst us that can’t be well explained by words. I hope to minimize the gaps by showing audiences my world in search of peace. Audience could possibly find emotional resonance, or get to know others’ thoughts, through observation — which is exactly the first step in understanding the universe.
“I first engraved some sky illustrations on a specially processed plastic matrix, and after the illustrations are printed and cut apart, they are reassembled into an entirely different picture. It is a monoprint in printmaking. Giving a hazy impression of Chinese paintings, these artworks emblematize my educational roots in western painting and printmaking, with all elements unintentionally coming together, defining a unique style of mine.”
非山此系列的作品源自於我在社會中觀察到不同人的經歷和背景所產生的不同理解,期間語言所不能填補的缺陷導致了深層次的交流決裂。我希望透過尋找自我世界裡的淨土,來縮小這條縫隙,觀眾或許在裡面也看到似曾相識的事物和風景,又或許能在圖像中展開對彼此的認識。「觀看」,恰恰便是人理解世界萬物的開端。
“我利用了獨幅版畫拼貼的方式,先在特製的膠板上描繪天空,印刷成畫後再剪成碎片,然後重新組合成陌生的風景。這些風景畫乍看之下像中國山水畫,裡面又滲透了我的西畫及版畫的學習背景,各種元素不經意地揉合,形成我的個人獨有的風格。”
Fictional Diaries series
《虛構日記本系列》

She Left Without a Goodbye, 2020
mixed media on paper
30cm x 40m
“The heavier the burden, the closer our lives come to the earth, the more real and truthful they become.” said Kundera. As people gradually lose grip of the realness in life, their anchor to the reality loosens. Yet, life always has its ways to weigh them down and drags them back to the ground again. The two forces create a state one would experience in the Dead Sea, drifting one in and out of reality and fiction. A question naturally comes to my mind – “Does reality ultimately lead us to the “truthfulness”? Or is it only a collective speculation?” These thoughts have inspired me to create this series. I associated my feelings with the promenade scenery I see every evening along Victoria Harbour: the strange faces shimmering in water reflection, and the distanced gaze making you feel uncomfortable are expressed and painted by engravings.
昆德拉説:「負擔越重,我們的生命越貼近大地,它就越真切實在。」可是, 當生活上的真實感逐漸消失,人便彷彿失去了重量一樣,而現實的沉重則時刻提醒着人要回到地面,兩種拉力成全了如死海中漂 浮的處境,使我們游離於現實和虛構之間。這讓我不由得地考,現實終將帶我們往越「真」的方向,抑或只是一個集體的臆測?靈感啟發於此,我將自身的感受聯繫到每晚在維多利亞港海旁所見的風景: 一張張與水影重疊的陌生面龐、一個個帶距離感、讓人不適的凝視,並以版畫的方式演繹。

The Missing, 2020
mixed media on paper
22cm x 15m
I chose monoprints instead of the traditional method of plural printmaking, aiming to make each painting a unique existence. Mixing the techniques of wiping, brushing and hand painting, I brought the uniqueness while capturing memory flashbacks of what I saw and heard at the waterfront, retaining the most truthful feelings and to increase the randomness, fortuity and surprise. The scene, communicated in a way imitating illustration storytelling, creates a mysterious narrative atmosphere, in which images have woven an oceanic story that has never ended.
我選擇用獨幅版畫而非具有複數特性的傳統版畫方法,原因其一是讓每個圖像均為獨一無二的存在,通過抹、刷和畫筆繪畫来給予每幅畫獨特性,同時捕捉一閃而過的記憶碎片,留住當刻最真切的感覺。其二是增加畫面之隨機性,減少自身可控性,讓創作本身就如我在海傍的見聞——有趣的意外。畫面模仿故事插圖的傳達方式,製造出似是而非的敘事氛圍,讓圖像之間交織成大海裡一個不曾完整的故事。
EXHIBITIONS & AWARDS
2021 Into a Dreamer’s Room, JCCAC, Hong Kong
2021 Table for 4 – Tea Talk, JCCAC, Hong Kong
2021 Pursuance, PMQ, Hong Kong
2021 It Should Be Coming, JCCAC, Hong Kong
2020 I AM An Artist, The Fringe Club, Hong Kong
2019 Blanks in the City, JCCAC, Hong Kong
2018 Inside Out, Outside In, JCCAC , Hong Kong
2018 Alumni Art Exhibition of the Fine Arts Department, CUHK 2018, Hong Kong Visual Arts Centre, Hong Kong
2016 Garden of the Artisans art festival, Youth Square, Hong Kong Garden of the Artisans
2016 MA Graduation Show, Chinese University of Hong Kong “Everything must go”
2014 Excellent work Exhibition, China Academy of Art, Hangzhou
2014 Silver Award, China Academy of Art Graduation Exhibition, Hangzhou
2014 Dreamers, Printmaking Exhibition, Hangzhou
2013 Yi · Jiangnan Hangzhou Art Fair, Hangzhou
2013 Hu Shang Ji Ying Ju Shi Printmaking Exhibition, City Printmaking, Hangzhou
2009 William Halsey Award, Charleston Artist Guild Art Exhibition, USA COLLABORATION AND PROJECT
2016 Collaboration with Ting Tong Chang in his artwork “The Colosseum” in Hong Kong Art Central where I performed by sketching in the exhibition hall
2016 “Refresh ”, a project that cooperated with The Jockey Club, Hong Chi Sun Chui Workshop, Sun Chui Lutheran Children Centre and Sha Tin District Community Fund to allow the elder group, the teenagers and members of Hong Chi Workshop to create art pieces and gift to society
展覽及獎項
2021 臥遊,賽⾺會創意藝術中⼼,⾹港
2021 四⼈雅座-茶聊,賽⾺會創意藝術中⼼,⾹港
2021 尋找屬於… ,元創⽅,⾹港
2021 ⾄⽽未⾄,賽⾺會創意藝術中⼼,⾹港
2020 I AM An Artist,藝穗會,⾹港
2019 城中留⽩,賽⾺會創意藝術中⼼,⾹港
2018 窗外·窗外,賽⾺會創意藝術中⼼,⾹港
2018 ⾹港中⽂⼤學藝術系之友作品展 2018,⾹港視覺藝術中⼼
2016 Garden of the Artisans 藝術節,⻘年廣場,⾹港
2016 Everything must go 藝術⽂學碩⼠畢業展,⾹港中⽂⼤學
2014 優秀畢業作品展, 中國美術學院,杭州
2014 銀獎, 中國美術學院本科畢業展,杭州
2014 造夢者,版畫展,南⼭書屋,杭州
2013 藝 · 江南,杭州藝術博覽會,杭州
2013 湖上擷英,居室版畫展, 版畫公社,杭州
2009 威廉海爾⻄獎,查理斯頓藝術家協會展覽, 美國藝術合作及項⺫
2016 “The Colosseum” — 為藝術家張碩尹的作品於 Hong Kong Art Central 進⾏現場繪畫表演
2016 《清新計劃》— 與⾹港賽⾺會匡智新翠⼯場、新翠路德會兒童中⼼及沙⽥社區基⾦合作,聯合社區的⽼⼈、⻘少年及匡智⼯場義⼯共同創作藝術品並贈予街坊
Non-scape series 《 非山 系列 》
Non-Scape II, 2021
非山 二, 2021
mixed media on paper
12cm x 20cm
Non-Scape VI, 2021
非山 六, 2021
mixed media on paper
50cm x 70m
Non-Scape XVI, 2022
非山 十六, 2022
mixed media on wood
15cm x 15m
Non-Scape XX, 2022
非山 二十, 2022
mixed media on wood
10cm x 10m
Non-Scape XXIII, 2022
非山 二十三, 2022
mixed media on wood
10cm x 10m
Fictional Diaries series《虛構日記本系列》
More Artworks by Liz
《 更多 Liz 的作品 》