SAMMI MAK
麥穎森（Sammi Mak）是一位居住在英國倫敦的香港藝術家。 麥氏在倫敦藝術大學坎伯韋爾藝術學院獲得碩士學位，並在香港浸會大學視覺藝術學院獲得學士學位。 展覽包括在香港 Art Central 2024 與 Odds and Ends 的團體展覽； 與 Odds and Ends 於香港 Art Central 2023 舉辦的個展； “This Art Exhibition”，Espacio畫廊，倫敦（2022年）； “Pressing On"（HKOP，2019）。 麥氏作品獲香港浸會大學視覺藝術學院（2018），AIA香港（2023）收藏。
麥氏對繪畫的詮釋方法以自然、細膩和動態的形式，較少構圖的考量，更多是顯露油彩自身的流動和對比關係。 她的作品流暢而浪漫，創作自空間感和碎片化標記的巧妙並置。 在這個技術手法框架的前題下，麥氏詮釋她對浪漫、記憶和念舊相關的抽象情感。
Sammi Mak is a Hong Kong artist based in London, UK. Mak received her Master’s degree from the University of the Arts London, Camberwell College of Arts, and undergraduate degree from Hong Kong Baptist University’s Academy of Visual Arts. Some of her notable exhibitions include Group presentation with Odds and Ends at Art Central 2024, Hong Kong; Solo presentation with Odds and Ends at Art Central 2023, Hong Kong; “This Art Exhibition”, Espacio Gallery, London (2022); Pressing On (HKOP, 2019). Mak’s work is collected by the Hong Kong Baptist University, Academy of Visual Art Studies Collection (Hong Kong, 2018), and AIA Hong Kong (2023).
Currently on view
古希臘的女性作家Sappho（BC500-600）和翻譯其文本的Anne Carson是藝術家麥穎森（Sammi Mak）最大的靈感來源，當中她們以女性視角，對人際關係、愛情的苦澀以及悲劇愛情的描繪。
麥氏：「Sappho是那年代極為少數的女詩人， 透過文字抒發個人情感和愛的感覺，縱使現在遺留的文本不多，我依舊從脆弱的古文中感受到文字的力量，而那感覺不只是從作者中翻譯過來，更是打開了我面對自己情感的能力。翻譯其文本的Anne Carson是一位當代女作家， 她的文字和創作給予我靈感， 更是讓我連繫到寫作的一種態度。 那創作的能力不只限於文字和視覺藝術上，更加是內心與外在的狀態。」
在《If We Go On You Can Take Me to Afar, 2022》和《Knock and It Will Be Opened, 2022》中，麥氏透過不同姿態渲染畫布，道出文字之外的情感關聯，以抽象的手法，在留白之間，探討人與人之間於心靈上交流的親密感。
A continued source of inspiration for artist Sammi Mak are poets Sappho and Anne Carson, the allure both hold in Mak’s practice is rooted in their female centric depictions of human relationships, bitterness of love, and enduring cultural relevance of tragic love. The stylistic translation of Sappho’s fragmented poems by Anne Carson inspired Mak to embrace the blank space of a canvas. Echoing Sappho’s partially survived poetry jigsaws, Mak attempts to create a painted syntax that translates poetic and linguistic value through painting.
In If We Go On You Can Take Me To Afar, 2022 and Knock and It Will Be Opened, 2022, Mak explores our memory’s emotional associations by adopting high degrees of non-referentiality, creating an abstract emotive composition that echoes our neurological recall of memory. Her synergistic use of sparse mark-making and negative space to create a highly gestural composition frees the painting from its servitude and referentiality, exuding poetic charges akin to the great poets she is influenced by .
On view 15 - 19 April 2024
Sammi Mak
Dusk, 2023
Oil, distemper and pigment bar on canvas
66 x 91cm
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Dusk ⼜名迟暮， 是⽇落⻄⼭的時分， ⼜介乎⿊夜來臨之前。 是存在模棱兩可的狀態， ⼜安靜地落在⽇晝和⿊夜的分領之 上。
Dusk is the moment before sunset, before the sun leaves the day. It is the moment between boundaries, undefined.
Sammi Mak
Fallen Angel, 2023
Oil, distemper and pigment bar on canvas
100 x 100 cm
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作品名稱來⾃王家衛導演的同名電影”墮落天 使”。 我的創作靈感來⾃不同媒介如詩詞、 ⾳樂、電影及⽂字。 畫作中虛幻的動態伴隨着留⽩的空間，是溫 柔和激烈情感的並存。
Fallen Angel is a piece inspired by its namesake movie directed by Wong Kar Wai.
My practice derives inspiration from language, poetry, and music that orchestrate the rhythm of life.
This piece emits both powerful and ephemeral energy, mimicking the emotional turbulence experienced when viewing Wong Kar Wai’s films.
Sammi Mak
Naked Being, 2023
Oil, distemper and pigment bar on canvas
120 x 61 cm
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Naked being 是來⾃加拿⼤當代女詩⼈及作家Anne Carson作品的啓 發。 畫⾯中的動勢是有關於⼈類情感的純粹和直覺，⽽且沒有時間和 空間的限制。畫⾯上不同視覺元素可以從不同的切入點去被理 解，⼜或是容許留⽩詮譯的空間。同時也承載着觀者本⾝的⾃我 感受經歷和領悟。
Naked Being, 2023 is a personal response to the essay written by Canadian writer Anne Carson.
Her writings inspired thoughts and contemplation on the pureness of human emotions, especially of romantic love. The feeling of love is limitless and timeless, it need not be explained.
"Try to love without imagining. To love the appearance in its nakedness and without interpretation. What one loves then is truly God "
"Essayer d’aimer sans imaginer. Aimer l’apparence nue et sans interprétation. Ce qu’on aime alors est vraiment Dieu."
Sammi Mak
Your Body Must Be Heard, 2023
Oil, distemper and pigment bar on canvas
105 x 160 cm
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作品展現了從顏料，⾝體，慾望，語⾔及其的限制之間拉扯的關 係。並作為思想和現實世界之間的媒介。 Helene Cixous 是法國女性主義開段的時候的著名作家。在她作品中 曾寫道有關女性寫作和女性的⾓度之創作的必要和獨特性。⽽” L'ecriture feminine” 更是她本⼈在作品”The laugh of the Medusa (1976) 中所提出的“feminine writing”。 提倡女性去書寫和記錄⾃⼰ 的感覺從⾝體和⾔語之上。⽽對我來說這更是無分性別與⾝份，是 ⼈類對於⾃⾝經歷和感受的認同，是以過程為先覺察⾃⾝的過程 。
This piece is inspired by the essay “The Laugh of Medusa” by Helen Cixous, a French feminist writer.
I find myself gravitating towards the strength, pain and desire conveyed through bodily experience in her writing, the experience of which is amplified by the urgency in her choice of words.
"Censor the body and you censor breath and speech at the same time. Write yourself. Your body must be heard."
"When I write, it's everything that we don't know we can be that is written out of me, without exclusions, without stipulation, and everything we will be calls us to the unflagging, intoxicating, unappeasable search for love. In one another we will never be lacking."
Sammi Mak
July, 2023
Oil and distemper pigment bar on canvas
66 x 91 cm
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July 創作於2023年的七⽉。 有關於我在歐洲南部和倫敦所感 受到季節的變化。 從四季到⼆⼗四氣節的轉換，也 是⾃然和宇宙帶來不同感官的刺 激和平衡，所呈現美學的⼒量會 ⼀直存在。
This piece was created during the month of July 2023 upon returning to London after travelling to multiple European countries. The impression of lush landscapes and the beauty of nature resonated with me and inspired this piece.
Sammi Mak
Ophelia, 2023
Oil, distemper and pigment bar on canvas
61.4 x 91.7 cm
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Ophelia 來⾃John William Waterhouse於 1894的同名作品，以及台灣歌⼿waa wei 的同名作品。 我作品的靈感來⾃於⽣活不同的接觸 點，甚⾄是不同時空的創作和感覺。 我相信被感動的⼒量沒有時間和空間的 限制，更是不受物理所影響，發⽣於⼈ 類情感之間的連繫。
This piece was inspired by the painting Ophelia, 1894 by John William Waterhouse and a song of the same title by Taiwanese artist Waa Wei.
Sometimes frequencies align across spacetime continuum, minds and spirit converge through emotional connection despite physical limitations.