展覽
Exhibition
25th Anniversary Exhibition
國際版畫藏品展 2025|
Exhibition of collection of international prints 2025
Exhibition periods | 展覽日期: 2–10.Feb.2025
Opening hours | 開放時間: 10A.M.– 7P.M. ; 10A.M.–5P.M. (10/2)
Opening Ceremony | 開幕時間: 8.Feb.2025(六); 3P.M.
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主禮嘉賓:
高美慶教授 (香港中文大學前藝術系講座教授)/
Professor Mayching Kao, former Chair Professor in Fine Arts, The Chinese University of Hong Kong
序
弘藝版畫⼯作室於2000年由廖少珍和⾺桂順共同創立,是⼀個非牟利組織,致⼒於促進本⼟版畫發展及推動版畫欣賞,並積極參與內地及國際版畫交流活動,持續培育年青版畫家與愛好者。多年來,⼯作室通過交換、接受送贈、購藏等⽅式珍藏了來⾃世界各地的版畫家作品。2025年適逢是⼯作室成立25週年,因此藉籌辦特展計劃與公眾分享版畫收藏與欣賞的樂趣,以配合誌慶。
廖少珍與⾺桂順在1972年入讀香港中⽂⼤學藝術系開始接觸版畫,師從李東強老師;由於版畫具有複數性的特點,期間同學們已開始互相交換作品,作為⽀持⿎勵及紀念。之後廖少珍在1980年赴美國芝加哥進修版畫碩⼠課程,學期完結時⼜與同學及助教等⼈交換作品,由此進⼀步確立了收藏版畫的興趣,往後便通過各種途徑包括參加各地的版畫學術會議、⼯作坊、參觀版畫⼯作室、版畫展覽、畫廊等收藏作品,當中包括了同學、朋友、教師、教授、業餘與職業版畫家等不同背景⼈⼠的各種類型作品,涵蓋內地、香港、美國、加拿⼤、英國、東歐、埃及、波多黎各、澳洲、韓國、星加坡、⾺來⻄亞、⽇本等版畫;⼀⽅⾯反映出收藏重點在於欣賞作品的版畫特⾊和風格,同時亦兼有紀錄特定地區、⼈物和活動的意義。 值得⼀提的是,1995年廖少珍在香港理⼯⼤學任教期間進⾏了⼀個江蘇省、⿊龍江省和香港三地的版畫比較研究,有機會訪問了內地不同的⼤學、學者、美術學院和版畫家等,因⽽形成藏品中以當時內地最盛⾏的⽊刻版畫為最多。
是次展覽計劃分為三個部份。
1. 版畫展覽:
共展出約66幅作品,分別以五個版種分區順序展⽰,包括:凸版、凹版、平版、孔版及綜合版,從中介紹各版種的原理⼂技法和表現⽅式及特⾊。
2. 版畫⼯作坊:
共安排四個⼯作坊,包括:凸版、凹版、平版及孔版,並得到賽⾺會創意藝術中⼼駐場版畫家的⽀持,提供場地及擔任導師。展覽場地內⼜設有簡易⾃助獨幅版畫製作,讓參觀者可在觀賞完畢⾃⾏製作版畫,以作留念。
3. 導賞:
配合展覽將印刷⼩册⼦作介紹,同時安排三次導賞活動,由專⼈講解展品特⾊。
版畫在各種藝術媒介中具有獨特的視覺語⾔和技法,在製版過程中⼜具實驗性和探索性,加上⼀般版畫⾯積較細⼩,同時兼有複數性和普及性的特點,對推廣在不同場合的欣賞與裝飾,例如家居、學校、辦公⼤樓以⾄公共空間等,都潛藏巨⼤的發展空間,值得業界⽇後持續開拓及公私營機構的合作⽀持。
是次展覽計劃得到香港藝術發展局的資助,並承蒙香港中⽂⼤學前藝術系講座教授⾼美慶教授擔任開幕主禮嘉賓,⼜得到MPC版畫⼯作室和劉杭霖版畫⼯作室提供場地及擔任⼯作坊導師,各位⼯作⼈員與義⼯的協助;本⼯作室同仁藉此深表謝意。
弘藝版畫⼯作室
2025年 春
FOREWORD
Art Horizon Printmaking Workshop was established by Liu Siu Jane and Ma Kwai Shun in 2000.It is a non-profit organization dedicated to promoting the development of local printmaking and fostering appreciation for the art form. By participating in printmaking exchanges both locally and internationally, the Art Horizon continues to nurture young printmakers and enthusiasts. Over the years, Art Horizon has collected prints from classmates, printmakers around the world acquainted through art works exchanges, gifts and acquisitions.To mark its 25th anniversary in 2025, the founding artists have planned and organized this special exhibition with the goals of sharing with the public the joy of prints collection and printmaking.
Liu Siu Jane and Ma Kwai Shun began their journey with printmaking in the 1972 while studying in the Department of Fine Arts at The Chinese University of Hong Kong under Professor John Li’s teaching. Owing to the duplicability of printmaking, students exchanged works among themselves for support, encouragement, and remembrance. In the 1980, Liu pursued her master degree in printmaking at Chicago, USA. At the end of her studies, she again exchanged prints with classmates and teaching assistants, further solidifying her interest in collecting prints. She continued to collect works through various avenues, including attending printmaking conferences, workshops, studio visits, exhibitions, and galleries. The collection encompasses a variety of works from individuals of different backgrounds—classmates, teachers, professors, amateur and professional printmakers—from Mainland China, Hong Kong, the United States, Canada, the United Kingdom, Eastern Europe, Australia, Egypt, Puerto Rico, Korea, Japan, Singapore, Malaysia etc.. The collection not only reflects the unique characteristics and styles of printmaking but also serves the significance of specific regions, people, and events. Notably, during her tenure at The Hong Kong Polytechnic University in 1995, Liu conducted a comparative study of printmaking in Jiangsu Province, Heilongjiang Province, and Hong Kong. This provided her opportunities to visit various universities, scholars, art academies, and printmakers in mainland China, resulting in a collection of predominantly woodcut prints, the most popular form in mainland China at that time.
This exhibition is divided into three parts:
1. Print Exhibition: Approximately 66 works will be displayed and organized sequentially into five printmaking categories: relief, intaglio, planography, serigraphs, and collagraphy. The exhibition will introduce the principles, techniques, expressive methods, and characteristics of each category.
2. Printmaking Workshops: The four workshops are: relief, intaglio, planographic, and stencil techniques.These workshops are supported by resident printmakers at the Jockey Club Creative Arts Centre. The support includes venues and instructions provision. Additionally, a simple self-service monoprint station will be set up in the exhibition venue to encourage visitors to create their own prints as souvenirs.
3. Guided Tours: Printed booklets will provide introductions in conjunction with the exhibition. Three guided tours, with specialists explaining the features of the exhibits, will be arranged.
This exhibition is generously funded by the Hong Kong Arts Development Council. Art Horizon is honoured to have Professor Mayching Kao, the former Chair Professor in Fine Arts, The Chinese University of Hong Kong, to officiate the opening ceremony. Special thanks to MPC Printmaking Studio and Lau Hong Lam Printmaking Studio for their support and instruction provision, staffs of Art Horizon and volunteers for support.
Art Horizon Printmaking Workshop Spring 2025
認識版畫
版畫早期源於印刷技術,⼤多應⽤於製作和宗教相關的書籍及插圖,直⾄近代才逐漸被藝術家採⽤作為⼀種藝術表現媒介。版畫的製作過程與印刷原理息息相關,傳統的版種包括凸版印刷1 (例如⽊刻利⽤凸起部位施加顏⾊,鋪紙印刷圖像)、平版印刷2 (例如:⽯版利⽤⽔和油相互排斥的原理製版,在特定的⽯塊平⾯部位施加顏⾊、鋪紙以版畫機印刷圖像)、 凹版印刷3 (例如銅版直刻,利⽤直刻⼑直接在銅版上鏤刻線條,利⽤凹下部位施加顏⾊,鋪紙以版畫機印刷圖像)和孔版印刷4 (例如絲網版利⽤封網物料在尼龍網上堵塞部份位置,在漏空部位施加顏⾊,鋪紙以膠刮印刷圖像) 四種。近代⼜加入綜合版印刷(例如混合凸版與凹版印刷)、數碼印刷與立體印刷,令版畫的⾯貌⽇趨更多樣化的發展。是次展覽的展品並不包括數碼印刷與立體印刷作品在內。 版畫的主要特點包括間接性(有別於繪畫的直接性)、複數性(可複製多於⼀幅作品)和普及性(可⼤量印刷,令相對於單⼀製作的作品價格較為便宜) 。除此之外由於各類版種牽涉的製版材料、⼯具與過程有所不同,例如凸版印刷中的⽊刻需要運⽤⽊板、雕刻⼑等配合創作,由此衍⽣的⽊紋與⼑紋便形成作品獨特的視覺紋理趣味,亦成為欣賞過程中的⼀個主要重點 。 版畫與⼀般純粹利⽤印刷技術以複製現成的作品有所不同,在創作過程中藝術家⼤多參與起稿構圖、製版及印刷的過程,以發揮獨特的版印效果和趣味。 版畫家⼀般會在作品的下⽅以份數標⽰該作品的印數排序,例如印數共100幅,該作品為第⼗幅便會寫成10/100。
Understanding Printmaking
Printmaking originated from early printing technologies and was primarily used for producing books and illustrations related to religion. Until modern times it was gradually adopted by artists as a medium of artistic expression. The process of creating prints is closely linked to printing principles. Traditional printmaking includes relief printing 1 (e.g., woodcuts, where ink is applied to raised areas, and the image is printed on paper), planography2 (e.g., lithography, using the principle of oil and water repelling each other, with ink applied to specific flat areas of a stone and printed using a press), intaglio3 (e.g., drypoint on copper plates, where lines are carved into the surface with a sharp tool, ink is applied to the recessed areas, and the image is printed), and stencil printing4 (e.g., silkscreen, where certain areas of a nylon mesh are blocked, and ink is applied through the open spaces, printing the image with a squeegee). In modern times, collagraphy (e.g., integrating relief and intaglio printing techniques), digital printing and 3D printing have been introduced, leading to a more diverse development of printmaking. However, this exhibition does not include works of digital or 3D printing. The main characteristics of printmaking include its indirect nature (different from the directness of painting), multiplicity (the ability to produce multiple copies of the same work), and accessibility (since prints can be produced in large quantities, making them more affordable compared to single, hand-made works). Furthermore, the materials, tools, and processes involved in different types of printmaking create unique visual textures. For example, woodcuts in relief printing use wooden boards and carving tools, and the resulting wood grain and carving marks form distinctive visual textures, which become a key point of appreciation in the viewing process. Printmaking is different from the mere use of printing technology to replicate pre-existing works. In the creative process, artists are usually involved in drafting, composing, plate-making, and printing, to bring out the unique effects and aesthetic appeal of the print. Printmakers typically indicate the edition number of a work below the image. For example, if a print has an edition of 100 and the particular piece is the tenth print, it would be marked as 10/100.

⼯作坊 1 | Workshop 1
平版畫⼯作坊
Lithography Workshop
廖少珍・LIU Siu Jane
2/2/2025 (SUN) 2:30pm – 5:00pm
⼯作坊 2 | Workshop 2
“我刻我印”手刻凸版畫工作坊
Relief Printmaking Workshop for Beginners
李志方・Sarah Li
8/2/2025 (SAT) 11:00pm – 1:00pm
⼯作坊 3 | Workshop 3
美柔汀版畫製作體驗工作坊
Mezzotint Printing:
Taster Workshop
劉杭霖・Lau Hong Lam
9/2/2025 (SUN) 1:00pm – 4:00pm
⼯作坊 4 | Workshop 4
網版印刷:工作坊
Screen Printing: Taster Workshop
王大為.David Jasper WONG
9/2/2025 (SUN) 4:30pm – 6:30pm
⼯作坊 5 | Workshop 5
年畫紀念品自助拓印工作坊
Chinese New Year Print souvenir DIY Workshop
展覽期間,參觀者可在展場內按指示自助拓印年畫紀念品,無需報名,費用全免。Throughout the period of exhibition, visitors may take part in the DIY workshop which is free of charge and no registration is required. Instructions and materials will be provided at the exhibition venue for participants’ exploration.
導賞
Docent tour
展覽期間將安排三場導賞,全部免費。如個人參加,可按指定時間在展場接待處集合,無需報名。如 需安排集體導賞,請透過以下電郵郵址聯絡 hkarthorizon@gmail.com 或 WhatsApp:90290026(Wendy),以便跟進。
導賞 1. 2.2.2025 (SUN) ; 3 P.M.–4 P.M.
導賞 2. 8.2.2025 (SAT) ; 4 P.M.–5 P.M.
導賞 3. 9.2.2025 (SUN) ; 3 P.M.–4 P.M
Docent tour In conjunction with the exhibition, 3 docent tours which are free of charge will be arranged. For individual participant, please refer to the designated time and assemble at the reception counter. No registration is required. For group docent tour service, please send by email to hkarthorizon@gmail.com or WhatsApp:90290026(Wendy) for further arrangement.