Leelee Chan 陳麗同
Imaginary Boundary 想像 . 城界, 2019
used household mirror, found dried pod, found foam packagings, concrete, wood, pebbles, plexiglass mirror, tiles
二手家用镜子，拾得豆荚，拾得泡沫包装，混凝土，木材，鹅卵石，有机玻璃镜，瓷砖
二手家用镜子，拾得豆荚，拾得泡沫包装，混凝土，木材，鹅卵石，有机玻璃镜，瓷砖
104 x 28 x 28 cm
41 x 11 x 11 in
41 x 11 x 11 in
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'Imaginary Boundary' (2019) is a work originally commissioned by the Lung Fu Shan Environmental Center in Hong Kong as part of the exhibition ‘The Pulse of Nature’. Chan was invited...
"Imaginary Boundary" (2019) is a work originally commissioned by the Lung Fu Shan Environmental Center in Hong Kong as part of the exhibition ‘The Pulse of Nature’. Chan was invited to research and engage with the natural surroundings and re-live the memories of the old bungalow surrounded by the city and the mountains. The work is comprised of found concrete-coated foam packaging, which contains a dried plant pod, pebbles, ceramic tiles, and a domestic household mirror. Each element inside the sculpture directly draws on the ‘footprints’ left by the morning walkers along the Lung Fu Shan Hiking Trail. This community of walkers has gathered since the 1980s to socialize and exercise on pebbled reflexology paths, collect water from the gullies, drink tea, and grow Chinese herbs. Chan read an article from 2007 in the South China Morning Post reporting that one of the original boundary stones placed along the paths that were erected by the Hong Kong Government in 1903, went missing. This specific stone, numbered ‘7’, was erected to mark the boundary of the City of Victoria, the de facto Capital of Hong Kong during the British colonial period. Chan’s reinterpretation of the missing stone in her work "Imaginary Boundary" is an image created purely from her memory of the boundary stone at Hatton Road in Lung Fu Shan. Much like the fate of the missing stone, which was overlooked, the traces of the morning walkers appear and disappear within the sculpture: the surrounding green foliage and the otherwise invisible inscription of the number ‘7’ materialize and dissolve in the mirrored image, depending on the angle from which it is viewed. These traces present a blurry vision of contemporary Hong Kong’s relationship between the natural and artificial, past and present, public and private, and the internal and external hybrids of everyday life.
《想像 . 城界》（2019）是陈丽同受香港龙虎山环境教育中心委托创作的作品，被纳入展览“感知自然”。她对周边自然环境展开调研，回溯城市与山林环抱的旧式平房的记忆。作品由被混凝土包覆的泡沫包装材料构成，并融入了干枯的植物荚、鹅卵石、瓷砖和家用镜子。雕塑中的每个元素都与清晨散布者在龙虎山小径上所留下的痕迹息息相关。自20世纪80年代以来，这一散布者群体便在此聚集，沿鹅卵石足底按摩小径散步，在山涧取水，品茗，种植中草药。陈丽同在《南华早报》2007年的一篇报道中读到，有一块由港英政府于1903年沿路径立下的界石遗失了。这块编号为“7”的界石原用于划定当时香港殖民地实际上的首府维多利亚城的边界。陈丽同在《想像 . 城界》中，凭借她对龙虎山赫顿道界石的个人记忆，重构了这块失踪的界石。如同那块被忽视、后又失落的界石，雕塑中清晨散步者留下的痕迹也若隐若现。四周的绿叶和那原本不可见的“7”字样铭刻，随观看视角变化而在镜中显现、消失。这些痕迹呈现出一个虚影，依稀可见当代香港日常生活中自然与人工、过去与当下、公共与私人，内在与外在之间的微妙关系。
《想像 . 城界》（2019）是陈丽同受香港龙虎山环境教育中心委托创作的作品，被纳入展览“感知自然”。她对周边自然环境展开调研，回溯城市与山林环抱的旧式平房的记忆。作品由被混凝土包覆的泡沫包装材料构成，并融入了干枯的植物荚、鹅卵石、瓷砖和家用镜子。雕塑中的每个元素都与清晨散布者在龙虎山小径上所留下的痕迹息息相关。自20世纪80年代以来，这一散布者群体便在此聚集，沿鹅卵石足底按摩小径散步，在山涧取水，品茗，种植中草药。陈丽同在《南华早报》2007年的一篇报道中读到，有一块由港英政府于1903年沿路径立下的界石遗失了。这块编号为“7”的界石原用于划定当时香港殖民地实际上的首府维多利亚城的边界。陈丽同在《想像 . 城界》中，凭借她对龙虎山赫顿道界石的个人记忆，重构了这块失踪的界石。如同那块被忽视、后又失落的界石，雕塑中清晨散步者留下的痕迹也若隐若现。四周的绿叶和那原本不可见的“7”字样铭刻，随观看视角变化而在镜中显现、消失。这些痕迹呈现出一个虚影，依稀可见当代香港日常生活中自然与人工、过去与当下、公共与私人，内在与外在之间的微妙关系。
展览
2019
The Pulse of Nature - Lung Fu Shan, Lung Fu Shan Environmental Education Center, Hong Kong, China