• flat 07, 17/f, block 28, heng fa chuen, Hong kong #1
• ​FLAT 07, 17/F, BLOCK 28, HENG FA CHUEN, HONG KONG #2

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​In this project, it is named after my home address in Hong Kong. I would like to bring the most important space at my home to Canada, where I spent most of the time right now. This sculpture is inspired by Do Ho Suh’s idea behind his work of the New York apartment. The whole project uses mostly paper, which is packable, carriable, and recyclable. I also included some traditional elements, such as tile pattern and dinnerware pattern from Hong Kong in my project since it is also the important memories to me.
 
The tile pattern is embossed onto cardstock paper and placed on the floor with laminate board. People are welcome to step foot on it in order to make the pattern pops up. The whole work is in white, since I would like to create a dreamy, unrealistic, and fragile feeling in this piece. It is because families are not always perfect, there are arguments all the time, the dreaminess and the unrealities elements of the work shows the conflicts between the real work and the real world .
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​The installation, Flat 07, 17/F, Block 28, Heng Fa Chuen, Hong Kong, is titled after my home address. I used traditional East Asian elements, such as the tile pattern and bamboo pole. Bamboo is commonly used in Hong Kong for fencing in construction sites. They took up a lot of space in my memories since constructions sites were happening around my home. The standing bamboo pole installation gives viewers a deconstructed and time-fading feeling. This is a reference that our footprint that is being abandoned and slowly replaced by something new.
 
The floor tiles can be walked on and broken by anyone who comes towards the artwork. The unresolved, irregular arrangements of the tiles is inspired by my room. When I went back home last summer, it felt so strange and unfamiliar to be in my room. Everything was slowly becoming replaced by my parents’ things since I have moved out to Canada for school. I felt like my scent,
 
my footprints, and
 
 my memories are
 
                                    fading.
 
People grow up, they move on to the next stage of their lives and things change. These memories, footprints and scent are held by us in a corner of our dreams. Everything in this installation is white as I would like to create a fragile, dreamy decline. I would like to capture a time-fading feeling in this piece. The lack of colour contrasts the reality of the family dynamic –  there are always differences of opinion, conflicts and emotional intimacy.
 
In this piece, I bring a version of my first home into my current dwelling, almost like a lucid dream of a place that nobody can see except for me. This is an unstable copy of a real place, evoking the underlying chaos, uncertainty and fragility that affect my lived experiences here in Canada.