• 澳門藝術家叢書總序藝術能提高人們的洞察力、理解力和表現力，不僅是提供解決問題能力的方式之一，也給人希望和勇氣，使天才與智慧得到充分的施展與發揮。更重要的是，藝術與人性中最深層的東西相連，表達情感，展示人的靈性。一個城市也需要靈性。近三十年來，澳門藝術創作積累了相當的成果。上世紀八十年代中期崛起的一批優秀畫家，經過近三十年的探索，藝術更加成熟，如今已成為澳門藝壇的中堅力量，引領時風。這一群體人生歷練豐富，藝術造詣日臻，所投射下的物化形象，有著迷人的魅力。另一方面，近十多年來隨著高等教育的普及，本地的美術創作逐漸走向專業化和多元化，新人輩出，又帶來新的藝術思潮、新的創作技巧、新的視覺元素和新的欣賞方式。然而，由於缺乏有系統的推介，澳門藝術家總體形象尚不夠鮮明，其在城市文化藝術發展中的貢獻也未受到足夠的關注和頌揚。本叢書之編輯出版，意在彌補此缺，冀窮十年之力，為默默耕耘的澳門藝術家們塑造一組栩栩如生的群像。在藝術創作過程中，從事中國書畫創作的澳門藝術家對傳統戀戀不捨，努力學習和研究民族傳統藝術，加強筆墨訓練，2
  • 完善造型能力，全面提高藝術修養與技巧。由書法到繪畫、雕塑、攝影，充分融入了民族的文化精神；同時，也以寬闊的胸襟，善於吸收外國藝術的優點，中西共融。而以西方媒材進行創作的藝術家，由具象到印象，又或是從印象到現代的抽象，向人們展示自己的真誠與精妙構思，自素描到水彩、油畫、壓克力、版畫、混合媒材、攝影等，無不展現出光與影的情懷。毋庸諱言，他們當中的佼佼者都經過艱苦的實踐，方在同代人中脫穎而出，進入當代澳門藝壇，逐漸形成獨特鮮明的風格，用自己富內涵的作品感染觀眾。他們在藝術上之所以取得成績，是因為深深地熱愛這塊成長的土地，熱愛“小而美”且邁向國際化的澳門及其純樸友善的人民。用自己的妙筆譜寫出民眾之情思，以自己的藝術為城市增光添彩，記憶過去，描繪現在，饋贈未來。促進藝術創作，有效地記憶過去和描述現在，出版或展示是重要媒介之一。收入《澳門藝術家叢書》的作者，在吸收前人藝術經驗的基礎上進行創新探索，在張揚自己藝術個性的同時，又尊重大眾的審美趣味，注意作品的格調和品位，有成就，有信念。他們知道，作品的審美趣味反過來對民眾文化素質的提高起著重要的作用。當然，這批作者只是於澳門的土壤上努力耕耘的一部分，還有更多有藝術天賦、才華、個人風格和特色的藝術家有待發掘與推介。這需要大家攜手並肩，玉成其事，期整體地呈現澳門的美術面貌。社會的進步，不能忽視文化建設；繁榮的經濟與繁榮的文化是一個現代化國家或地區的表徵之一。澳門藝術傳承與發揚的重任，落在富有創意的人肩上。眾所周知，經過藝術薰陶的人，必將具有更開闊的胸懷，更豐富多彩的生活經驗和人文修養，更富有活力和魅力的人格，更富有創新進取精神。我們衷心希望，藉著這套叢書的出版，能活躍本澳藝術創作氣氛，檢視目前的美術創作水平，深化藝術教育，形塑文化城市形象，張揚城市的文化性格，並在喚起廣大市民對文化創意產業的重視與支持方面起到積極的作用。是為序。2011年9月於澳門澳門基金會行政委員會主席吳志良3
  • Macao Artists CollectionPrefaceThe arts can elevate people’s capacity to observe, to comprehend and to express themselves, not only is one of the ways to resolve problems, but also can give people hope and courage so that their talents and wisdom can be fully demonstrated and exalted. More importantly, the arts are connected with the deepest core of human nature by expressing emotions and demonstrating wisdom.A city also needs some form of wisdom. Over nearly 30 years, art creations in Macao have had accumulated not a few attainments. The skills of the fine painters emerged in the mid-1980s have become more matured after nearly 30 years of exploration. They have now become the pillar of the arts community of Macao and are leading the trend of our times. On the other hand, as a result of access to higher education becoming more open, local art creations are also becoming more professional and diversified. New artists bring forth new artistic thinking, creative skills, visual elements and ways of appreciation. Owing to the lack of a systematic scheme of promotion, the overall image of artists in Macao is, however, yet to be sufficiently distinctive, and their contributions to the urban cultural and artistic development are yet to be sufficiently affirmed and promoted. The publication of this Collection aims to fill these gaps, with hopes to bring, through some ten years of effort, the image of the artists of Macao, who have contributed so quietly, to the life.4
  • During the course of art creations, Macao artists who engage in creations in Chinese calligraphy and painting find themselves quite hard to tear away from the tradition. They enthusiastically learn and study traditional arts of the nation, enhancing training in pen and ink, perfecting their modelling abilities, and fully elevating their artistic accomplishments and skills. From calligraphy to painting, and from sculpture to photography, their works have fully integrated into the national spirit of culture. In the meantime, they are good at absorbing the advantages of the arts abroad with great tolerance, fusing the Chinese and the West together. Artists who engage in Western media and materials demonstrate to people their sincerity and peculiar concepts, from concrete image to impressions, and from impressions to modern abstractness. From sketches to water-painting, oil-painting, acrylic arts, block print, mixed media, photography, all of these works demonstrate the passion form light and shadow.It leaves without denial that the representatives of these artists stand out from their fellows only after arduous practices. They enter the arts community of Macao and gradually form their own distinctive styles. Through their works of great artistic accomplishment, they ignite the interests of the spectators. Their artistic achievements come from their passion for the land where they grow up, as well as from their passion for the small yet beautiful, an internationalising Macao, and her simple and friendly people. They use their paintbrushes to draw the thoughts of the people. They use their artistic accomplishment to add colours to this city, to recall the past, to depict the present, and to offer for the future.5
  • Publication and exhibition are important means to promote artistic creations and to effectively remember the past and depict the present. While artists included in this Macao Artists Collection explore innovatively based on the artistic experience of the forerunners and exalting their own artistic personalities, they also respect the aesthetic taste of the population at large, paying attention to the style and quality of their works. They have achievements. They have faith. And they are aware that the aesthetic taste of the works can in turn play a relevant role in elevating the cultural accomplishment of the public. Needless to say, these artists are only part of a wider community who are cultivating with great efforts on the soils of Macao. There remain many more artists with artistic gifts, talents, personal style and characters to be discovered and recommended. This requires us to work together to achieve this, so that a fuller picture of the arts of Macao can be demonstrated.Social progress cannot neglect cultural construction. A prosperous economy and a prosperous culture are some of the important features of a modernised country or territory. The duties succeeded and exalted by the arts of Macao are now shouldered upon those full of innovative ideas. It is commonly acknowledged that those with artistic accomplishment possess a wider tolerance, a fuller life experience and humanistic accomplishment, a more energetic and charming personality, and a more aggressive innovative spirit. We sincerely hope that the publication of this Collection can inject vitality to the creative atmosphere of the arts in Macao, and that the levels of artistic creations at present can be reviewed, the artistic education deepened, the image as a cultural city modelled, the cultural personality of this city exalted, and to play a positive role in calling the population at large to pay attention and support our cultural and creative industries.This serves as the preface.Wu ZhiliangPresident of the Board of DirectorsThe Macao Foundation6
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  • 散步 / INKWALK1404水墨攝影Ink on photo150 x 1460cm 201410
  • 吳少英的繪畫藝術沒有脫離傳統，因為她還是用墨。但是她可能受到劉國松老師的啟發，劉國松老師曾說：“要革中鋒的命”。就是讓這個抽象的墨色不要有筆的感受，所以她用另外一些方式把墨色用流動的方式去表現。當然，其實她創作的原理，還是回到唐宋美學上，還是搜盡奇峰打草稿，但她想用流動的抽象墨色表達傳統水墨的章法，所以你看她在這個構圖上還是很小心翼翼，而且很講究。但是，中國畫的意境表現方式即寫意方式，它的最高目的是要表現抽象的感覺，是要抓住文人對造化能量的感受而來表現，所以她還是在表現高、平、正、象的能量，只不過她是用抽象的方式來做。陸潔民評吳少英創作
  • 少英多年來一直用這種方式在表現，而且用影像記錄墨的流動。當然，這裡面掌控構圖，掌控墨色的流動還是需要她自身本身的美學素養來抓住最後的結果。但是現在還有一個新的科技的發展對少英的作品有莫大的幫助，就是藝術微噴，因為藝術微噴的黑色墨水，現在能夠用照相的方式來作輸出的時候，它可以百年抗光不變色。所以少英也有一些作品是用藝術微噴的方法來做，從而充分運用了新科技成果。總而言之，創新沒有離開傳統，保有傳統水墨的根，但追求當代一種不同的表現方式，這就是吳少英的沒水墨藝術。注：在宋代郭熙著《林泉高致》曾提出“高遠”、“深 遠”、“平遠”的“三遠”透視法。而關於“正”，中國畫的境界素有“中正平和”之稱，是從中正而至大，從平和而達到人與自然的和諧。“象”，可能就比較好理解了，即我們經常提到的中國畫的意象之解。陸潔民台灣資深藝術顧問13
  • Because she uses ink, Cindy’s paintings represent the continuity of tradition, but she does seem to have been inspired by Liu Guosong, who said, “Revolutionize brush painting”. Her abstract ink work feels as if no brush was used, primarily because she chose another method, expressing her ideas through flows of ink. Of course, in terms of creative principles, Jimmy Lu on the Work of Cindy Ng Sio Iengshe could have returned to Tang-Song Dynasty aesthetics or searched for a beautiful mountain as a prototype, but she has chosen to use flowing, abstract ink to replicate the structure of traditional ink paintings. As a result, her compositions are very carefully constructed. However, the expressive methods of Chinese ink painting are very spontaneous, 14
  • Note: In the Song Dynasty work Mountains and Waters, Guo Xi proposes three techniques of perspective: “high distance,” “deep distance,” and “level distance.” “Moderation” comes from the “balance and moderation” often found in Chinese painting; from balance we arrive at grandeur, and from moderation we arrive at harmony between man and nature. “Concept” might be the easiest to understand, as it is often referenced in discussions of Chinese painting. and their highest purpose is the expression of abstract emotion, capturing the painter’s feelings about the power of nature. Cindy still utilizes the traditional ideas of height, levelness, moderation, and concept, but they are simply expressed through abstraction. Cindy has used this technique for many years, sometimes recording her process in video. She has mastered composition and color, but she must still rely on her own aesthetic sense for the final result. However, a new technological development, inkjet art printing, has been of the greatest help to Cindy’s work. Inkjet prints of ink on photo allow her to print a photo that will resist color fading over time, so she has used inkjet prints in some of her work, fully benefiting from this new technology. In Cindy’s work, innovation does not necessarily mean leaving tradition behind; Cindy has protected the roots of traditional ink painting, but pursued an unique and contemporary mode of expression. Jimmy LuSenior Consultant of Art ( Taiwan )15
  • 在中國，以宣紙作水墨畫，始於唐，而盛於元。多個世紀來，以宣紙為介，創作水墨畫，已成傳統中國藝術之主流。藝術家們揮毫潑墨，上下求索，一盡繪事之可能。水墨畫合於中國人的哲學之道和審美情趣。過往的數十年裡，與之有關的理論之爭，大大活躍了中國的文化圈。水墨畫一直受到世人的推崇和珍愛，卻很少被納入當代藝術的世界。究其原因，並不是水墨已在人們心裡留下了什麼新的刻板印象，亦有語義上的糾纏不清。可以說，對紙上水墨的討論，每每局限在形式層面，而未進入到觀念範圍。吳少英（出生於澳門，現生活工作於北京）以其豐富而多樣的水墨實驗，拓升了這一對話空間。她的創作大膽、奪目。她使得水墨這一受人尊敬的表現方式甦醒過來，而越過了橫在傳統與當代、審美與觀念之需求間的鴻溝。以此，她為這或已被人視為僵化或古早的媒介，注入了新的生機。水墨的多重生命—— 對吳少英藝術創作的思考16
  • 吳少英的革命，一直是悄然無聲的。她在澳門接受藝術教育，精通蝕刻。而為了完成藝術路上的自我訓練和教養，她四處遊學。1990年代初，她來到倫敦，浸潤於著名的大英博物館中國書畫藏品研究室，獲益尤多。在少英的作品裡，紙和水墨，並不是什麼永遠不變的傳統工具。它們既是作品、藝術家和她居住的當代世界之對話的能指，也是其所指。到她手裡，經典的水墨的黑與白，被襯以各樣的色，有灰、有綠、有黃、有藍、有紫，濃淡深淺，微妙又出人意料似的，匯合成為一幅抽象的畫，一幅心靈之景。虛實之間，氣韻流動，張力十足。要說這些心像，了無人跡，亦無謂模仿，固不可能。這些形態，得自水墨之美。水墨不只是工具，亦是真正的主角。水墨之質地，殊且多，潑灑於紙（早自20世紀90年代之初，吳少英就這樣嘗試了），即可表達出種種心境，從安靜到猶疑，從孤獨到知足，範圍甚廣。水墨之流變，隨所選料面不同，看著似是自發，卻又幽微受引。其痕其跡，恰可返照畫者之神思。這些畫，原不只為呈現什麼，而更多，是希冀喚起觀者之共鳴。以此，觀者受邀，從一介旁觀者，變為主動的參與者，“神入”畫中，恍然忘己，而重思一己與自然、與宇宙之關係，並對“天人合一”這古老的教導有新的認識。這些清且簡意象，儼是對外界喧囂的一種抵抗，既賞心悅目，亦給畫者與觀者之靈魂予庇護。雖如此，少英卻從未順服於唯美主義。水墨之百千變象，並不只為呈現一種無關痛癢的審美趣味。於少英，它們還意味著一種觀念的新生。在她最見膽識的那些作品中，高與低，法與變，造化與人為，皆相反相成，混而為一。它們生成的意象，既出人意料，又頗具詩情，發人幽思。少英有時還將墨拌入牛奶、咖啡和豉油等俗世物料作畫。這些不同尋常的勾兌，我們在許多不同的畫面上都找得到蹤跡。可備她選用的，宣紙、畫布、攝影等等之外，甚至還有錄像。它們並不只是簡單的作為背景而存在，亦是她不同媒材之試驗的承載者。少英相信，墨之為墨，在其傳統固有的應用之外，還蘊藏著更多新的可能性，更多新的表現途徑。瑪瑙意大利藝評家及策展人17
  • Although ink painting on xuan paper has existed in China since the Tang Dynasty (618-907 A.D.), it was during the Yuan Dynasty (1271-1368 A.D.) that the genre reached its height. The medium has since become a leitmotif of traditional Chinese art and a genre painstakingly explored and constantly referenced by many artists over the centuries. Because of its philosophical and aesthetic implications and despite the theoretical disputes that have animated Chinese cultural circles over the past few decades, Chinese ink painting has always been revered and cherished, but seldom considered part of the contemporary art world, not simply because of the new iconographic references it has accumulated, but also because of its semantic implications. The discussion of ink on paper has often been limited to the formal realm, instead of embracing the conceptual one. Cindy Ng Sio Ieng (Born in Macau, lives and works in Beijing) has contributed a rich and varied body of work to the genre, widening and updating the dialogue about this medium. In a daring yet visually compelling way, she revives this respected mode of expression, bridging the gap between tradition and contemporaneity and between aesthetic and conceptual needs. By doing so, she has breathed new life into a medium that might otherwise be considered ossified or traditional.The Many Lives of Ink and Paper: Reflections on Cindy Ng Sio Ieng’s Artistic Practice Cindy has been carrying out a silent revolution. She was educated in Macau, where she became familiar with etching, but she is artistically self-trained and nurtured by her travels around the world. A period of study in London in the early 1990s proved especially fruitful, as she was exposed to the wonderful ancient Chinese art collection at the study room of the British Museum. In her oeuvre, ink and paper are not simply eternal, sacred tools of tradition; they have become both the signifier and signified of the dialogue between the work, the artist, and the contemporary world she inhabits. In her hands, the classic black and white of ink on paper is complemented with a varied palette, including shades of gray, green, yellow, blue, and violet, delicately mixed in a subtle yet unexpected way to create abstract forms and landscapes of the mind, where filled and empty spaces produce a strong visual tension and a specific rhythm that dominates the composition. It is no chance occurrence that these mind-scapes are totally devoid of any human presence and show no relation to a process of pure mimesis. These forms flow from the beauty of the ink, which is not just a tool, but a real protagonist; ink’s specific yet variable texture, once placed on paper, cloth (as the artist has been doing since the early 1990s), or canvas, can convey a whole array of feelings, ranging from calm to uncertainty, from loneliness 18
  • to contentment. Spontaneous changes in the ink seem to occur voluntarily on the chosen surfaces, but they are also controlled in such a subtle way that they perfectly echo the artist’s mental state. The viewer fully grasps the meditative mood of these pieces, which aim to evoke rather than represent. As a result, the viewer is invited to transform himself from peripheral onlooker to active participant by metaphorically stepping into these landscapes, getting lost within them, in order to redefine his own relationship with nature and the cosmos and come to a new appreciation of the ancient precept of supreme harmony, Tian Ren He Yi (the unity of man and nature). The artist’s simple, neat scenes may be a reaction to the cacophony of the outside world, becoming a refuge for the soul of both the artist and the viewer and offering visual and mental comfort. However, Cindy is far from surrendering to mere aestheticism; the various natural changes in the ink do not merely represent a safe aesthetic fascination; they also stand for a highly conceptual innovation. In her most daring pieces, the high and the low, the orthodox and the unorthodox, the natural and the artificial co-exist and influence one another, producing unexpected visual twists and turns that nevertheless create highly poetic and pensive compositions. The artist sometimes mixes ink with milk, coffee, and soy sauce and the effects of such unusual encounters are registered on various surfaces. The support chosen, whether xuan paper, canvas, photograph, or even video, is not a mere backdrop, but the active recipient of a dialogue between materials and media, the visual proof that the artist believes ink to be not a static value inherited from tradition, but a dynamic force able to open up new possibilities and unexpected routes. Manuela LiettiArt critic and curator (Italy)19
  • “Traces of Individuals“ group exhibition Red Gate Gallery Beijing 2013“個體的形跡”聯展 北京紅門畫廊 2013
  • 墨 / INK0113水墨 丙烯 宣紙Ink acrylic on paper120 x 120cm 201323
  • 墨 / INK5513水墨 丙烯 宣紙Ink acrylic on paper96 x 176.5cm 201324
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  • 墨 / INK3013水墨 丙烯 宣紙Ink acrylic on paper105 x 95cm 201326
  • 墨 / INK0813水墨 宣紙Ink acrylic on paper120 x 120cm 201327
  • 墨 / INK2013水墨 丙烯 宣紙Ink acrylic on paper120 x 120cm 201328
  • 墨 / INK0413水墨 丙烯 宣紙Ink acrylic on paper120 x 120cm 201329
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  • 墨 / INK5613水墨 宣紙Ink acrylic on paper96 x 176.5cm 201331
  • 墨 / INK0613水墨 丙烯 宣紙Ink acrylic on paper87cm 201332
  • 墨 / INK0713水墨 丙烯 宣紙Ink acrylic on paper120cm 201333
  • 墨 / INK1313水墨 丙烯 宣紙Ink acrylic on paper120cm 201334
  • 墨 / INK3113水墨 丙烯 宣紙Ink acrylic on paper87cm 201335
  • 墨 / INK4413水墨 丙烯 宣紙Ink acrylic on paper87cm 201336
  • 墨 / INK4913水墨 丙烯 宣紙Ink acrylic on paper87cm 201337
  • 墨 / INK4313水墨 丙烯 宣紙Ink acrylic on paper87cm 201338
  • 墨 / INK5013水墨 丙烯 宣紙Ink acrylic on paper87cm 201339
  • 墨 / INK7013水墨 丙烯 宣紙Ink acrylic on paper120cm 201340
  • 墨 / INK7713水墨 丙烯 宣紙Ink acrylic on paper120cm 201341
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  • 墨 / INK5413水墨 丙烯 宣紙Ink acrylic on paper176.5 x 96cm 201343
  • 墨 / INK5813水墨 丙烯 宣紙Ink acrylic on paper176.5 x 96cm 201344
  • 墨 / INK6613水墨 丙烯 宣紙Ink acrylic on paper176.5 x 96cm 2013
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  • 墨 / INK7570水墨 畫布Ink on canvas150 x 150cm 201349
  • 50
  • 墨 / INK1811水墨 畫布Ink on canvas150cm 201151
  • 墨 / INK5655水墨 畫布Ink on canvas138cm 201152
  • 墨 / INK1911水墨 畫布Ink on canvas150cm 201153
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  • 墨 / INK5311水墨 畫布Ink on canvas180 x 65cm 201155
  • 墨 / INK7533水墨 畫布Ink on canvas150cm 201156
  • 墨 / INK4645水墨 畫布Ink on canvas150cm 201157
  • 墨 / INK5611水墨 畫布Ink on canvas180 x 65cm 201158
  • 墨 / INK0711水墨 畫布Ink on canvas180 x 65cm 201159
  • 墨 / INK7462水墨 畫布Ink on canvas180 x 65cm 201360
  • 墨 / INK7427水墨 畫布Ink on canvas180 x 65cm 201361
  • 62
  • 墨 / INK7498水墨 畫布Ink on canvas180 x 65cm 201363
  • 墨 / INK7422水墨 畫布Ink on canvas180 x 65cm 2013墨 / INK7460水墨 畫布Ink on canvas180 x 65cm 201364
  • 65
  • 墨 / INK7483水墨 畫布Ink on canvas180 x 65cm 201366
  • 67
  • 墨 / INK7431水墨 畫布Ink on canvas180 x 65cm 201368
  • 墨 / INK7429水墨 畫布Ink on canvas180 x 65cm 2013墨 / INK7464水墨 畫布Ink on canvas180 x 65cm 2013
  • 玩風景劇場 北京798藝術節 2009Playing landscape performance 798 Art Festival Beijing 2009
  • 72
  • 散步 / INKWALK032012 影像 / video8分鐘41秒8’41”201273
  • 失 / LOST 影像 / video13分鐘46秒13’46”200674
  • 75
  • 76
  • 散步 / INKWALK 0814影像 / video7分鐘24秒7’24”77
  • 散步 / INKWALK 0914影像 / video7分鐘26秒7’26”78
  • 79
  • 82
  • 2 0 0 62 0 1 4index索引83
  • 水墨攝影 2006 Ink on photo樹 / TREE0160 x 43cm 墨 / INK0143 x 60cm 樹 / TREE0760 x 43cm 樹 / TREE0460 x 43cm 墨 / INK0560 x 43cm墨 / INK1243 x 60cm墨 / INK0843 x 60cm墨 / INK1060 x 43cm 樹 / TREE0660 x 43cm84
  • 水墨影像 2006 Ink on video無界 / NO BOUNDRY 8分鐘8’無垠 / NO LIMIT 5分鐘5’無形 / NO REALM 4分鐘30秒4’30”85
  • 水墨攝影 2007 Ink on photo墨 / INK5822160 x 110cm 墨 / INK5865160 x 110cm 墨 / INK6151160 x 110cm 墨 / INK6152160 x 110cm 墨 / INK5975160 x 110cm 墨 / INK5824160 x 110cm 墨 / INK6527160 x 110cm 墨 / INK6425160 x 110cm 墨 / INK6661160 x 110cm 墨 / INK6695160 x 110cm 86
  • 水墨影像 2008 Ink on video水墨影像 水墨影像 20092010Ink on videoInk on video水墨影像 2010 Ink on video8分鐘 8’散步 / INKWALK0108 4分鐘45秒 4’45”8分鐘30秒 8’30”散步 / INKWALK0509 散步 / INKWALK2010 10分鐘32秒 10’32”失 / LOST287
  • 墨 / INKk0951 96 x 180cm 墨 / INKk5883 47 x 170cm 墨 / INKk6700 24 x 163cm 墨 / INKk6791 28 x 120cm 墨 / INKk6829 23 x 147cm 墨 / INKk6848 65 x 123cm 水墨宣紙 2010 Ink on paper88
  • 墨 / INK0817100cm 墨 / INKk1170100cm墨 / INK1254100cm墨 / INK1204 160 x 110cm墨 / INK1093160 x 110cm墨 / INK1661100cm墨 / INK2039 160 x 110cm墨 / INK2104 160 x 110cm墨 / INKk1897100cm水墨攝影 2010 Ink on photo89
  • 墨 / INK1130160 x 110cm墨 / INK2117 160 x 110cm墨 / INK2175 160 x 110cm水墨攝影 2010 Ink on photo墨 / INK0151 70 x 50cm墨 / INK0132 70 x 50cm墨 / INK136 70 x 50cm墨 / INK9842 70 x 50cm墨 / INK012010 70 x 50cm墨 / INK9713 70 x 50cm墨 / INK9752 70 x 50cm墨 / INK032010 70 x 50cm90
  • 墨 / INK2211 68 x 65cm 墨 / INK7711 180 x 65cm墨 / INK6011 140 x 85cm墨 / INK5511 180 x 65cm 墨 / INK7811 180 x 65cm水墨畫布 2011 Ink on canvas墨 / INK98 150 x 150cm 墨 / INK52 180 x 65cm 91
  • 水墨宣紙 2012 Ink on paper墨 / INK575668 x 53cm墨 / INK211262cm墨 / INK221267 x 54cm墨 / INK327380cm墨 / INK327856 x 60cm墨 / INK328156 x 60cm墨 / INK589156 x 60cm墨 / INK327480cm92
  • 水墨宣紙 2012 Ink on paper墨 / INK241262cm墨 / INK901256 x 60cm墨 / INK931256 x 60cm墨 / INK951253 x 68cm墨 / INK308456 x 60cm墨 / INK961256 x 60cm墨 / INK911253 x 68cm墨 / INK921250 x 56cm93
  • 墨 / INK8712138 x 60cm墨 / INK571370cm墨 / INK571070cm墨 / INK8912155 x 65cm墨 / INK9412155 x 60cm墨 / INK9612155 x 60cm水墨畫布 2012 Ink on canvas墨 / INK571170cm94
  • 墨 / INK5881 110cm墨 / INK99 150cm墨 / INK5812 180 x 65cm墨 / INK6712 180 x 65cm水墨畫布 2012 Ink on canvas墨 / INK2112 68 x 65cm95
  • 墨 / INK5801 155 x 60cm墨 / INK7797 138 x 67cm墨 / INK7798 138 x 67cm墨 / INK2980 137.5 x 59cm墨 / INK2980 70cm水墨畫布 2012 Ink on canvas96
  • 水墨宣紙 2013 Ink on paper墨 / INK3913 87cm墨 / INK0913 120cm墨 / INK1913 120cm墨 / INK1213 120cm墨 / INK3613 87cm墨 / INK1713 120 x 120cm97
  • 墨 / INK0313 120cm墨 / INK4013 90 x 88cm墨 / INK4813 90 x 88cm墨 / INK3813 87cm墨 / INK7113 120cm墨 / INK4213 87cm水墨宣紙 2013 Ink on paper墨 / INK327180cm98
  • 墨 / INK5313 87cm墨 / INK8013 120cm墨 / INK8113 120cm墨 / INK6113 176.5 x 96cm墨 / INK3513 87cm墨 / INK3313 87cm水墨宣紙 2013 Ink on paper99
  • 墨 / INK7213 120cm墨 / INK1513 120cm墨 / INK3275 80cm水墨宣紙 2013 Ink on paper墨 / INK6513 176.5 x 96cm100
  • 墨 / INK3722 60 x 132cm墨 / INK4048 62 x 169cm 墨 / INK5210 103 x 143cm墨 / INK7684 150cm墨 / INK7683 150cm墨 / INK7534 150 x 150cm墨 / INK7487 180 x 65cm水墨畫布 2013 Ink on canvas101
  • 散步 / INKWALK1300 273 x 110cm散步 / INKWALK1301 350 x 110cm 散步 / INKWALK1302 350 x 110cm 水墨攝影 2013 Ink on photo102
  • 墨 / INK5707 110 x 31cm 墨 / INK7514 146 x 44cm 墨 / INK7652 145 x 75cm 墨 / INK7681 158 x 56cm 墨 / INK7682 158 x 56cm 墨 / INK7411145 x 55cm水墨畫布 2014 Ink on canvas103
  • 玩風景劇場Playing Landscape Performance
  • 墨骨 / INK BONE攝影 / Photo2006
  • 風 / WIND攝影 / Photo 2006
  • 澳門 / Macau攝影 / Photo2006107
  • 吳少英生於澳門，1997年始生活於台灣，2008年始生活及工作於北京。主要獎項：2006年 錄像作品《無界》入選第十屆新媒體藝術祭評審委員會推薦作品，日本2005年 錄像作品《輪迴》入選第十屆V-art 國際錄影藝術節，義大利2005年 錄像作品《混沌》入選第二屆黑白影音藝術節最佳實驗錄像，葡萄牙2004年 第十八屆夏利豪基金會藝術比賽繪畫季軍，香港主要個人展覽：2013年 “墨立”，方由美術，香港2013年 “心·象”，家里畫廊，北京2010年 “遇·變”，東磊畫廊，北京2008年 “流動 · 轉動”，雅逸藝術中心，台灣2007年 “墨影”，今日美術館，北京2007年 “墨的凝動”，西雅圖藝術博物館，西雅圖2005年 “吳少英個展”，家畫廊，台灣2005年 “太和”，朱銘美術館，台灣2004年 “大音希聲”，紐約第一銀行畫廊， 紐約2004年 “大音希聲”，龍環葡韻住宅博物館，澳門1996年 “冥游”，臺北市立美術館，台灣主要聯展：2013年 “個體的形跡”水墨展，紅門畫廊，北京2012年 “塞壬之歌”當代水墨藝術展，Art+上海畫廊，上海2012年 “幻花”藝術展，紅域畫廊，瑞士2012年 混合媒介藝術展，亞仙畫廊，澳大利亞2011年 “道法自然”中國抽象藝術展，上海當代藝術館，上海2011年 草場地攝影季：阿爾勒在北京，北京2010年 “亂花”影像展，威尼托影像藝術檔案館，義大利2010年 “白駒過隙，山動水行”，臺北市立美術館，台灣2010年 第六屆漢字文化節“漢字弄潮”當代藝術展，台灣2009年 “反·映”本色美術館，蘇州2009年 典雅錄像藝術節，希臘2007年 第3屆成都雙年展，世紀城新會展中心，成都2007年 “Videonale”第11屆當代錄像藝術節，波恩Kunst 美術館，德國2006年 “第五屆深圳國際水墨畫雙年展”，關山月美術館，深圳2006年 “入境：中國美學”首屆文獻展，上海當代藝術館，上海2005年 美術高雄2005 ─ 影像高雄，高雄市立美術館，台灣2005年 “藝術科技與未來的探索”多媒體藝術特邀展，大田市立美術館，韓國主要收藏：北京今日美術館深圳關山月美術館澳門藝術博物館國立台灣美術館北京香格里拉嘉里酒店香港中國銀行108
  • 主要收藏：北京今日美術館深圳關山月美術館澳門藝術博物館國立台灣美術館北京香格里拉嘉里酒店香港中國銀行Cindy Ng Sio Ieng was born in Macao, lived at Taiwan from 1997-2006, working at Beijing since 2008.Awards:2006 The 10th Media Arts Festival Jury Recommended Work, Japan2005 The 10th “V-art” International Video-Art Festival Selected Finalist, Italy2005 The 2nd Audiovisual festival B&W Selected Work-Experimental Video, Portugal2004 3rd Runner-up in the 18th Art Competition Philippe Charriol Foundation, Hong KongMajor solo exhibitions:2013 “Ink-formation”, Galerie Ora-Ora, HongKong2013 “Mindscapes”, Jia-Li gallery, Beijing2010 “Encounter Change”, Me Photo Art Gallery, Beijing2008 “Ink in Motion”, Julia Gallery, Taipei2007 “Ink Shadow”, Today Art Museum, Beijing2007 “Ink in Motion”, Seattle Art Museum, Seattle2005 “Cindy Ng Solo Exhibition”, Jia Art Gallery, Taiwan2005 “Peace”, Ju Ming Museum, Taiwan2004 “Sounds of Silence”, Amerasia Bank Gallery, New York2004 “Sounds of Silence”, The Taipa Houses - Museum, Macau1996 “Traveling”, Taipei Fine Arts Museum, TaiwanSelected group exhibitions: 2013 “Traces of Individuals” Ink Paintings Exhibition, Red Gate Gallery, Beijing2012 “Song of the Siren” Contemporary Ink Art Exhibition, Art+Shanghai Gallery, Shanghai2012 “Dream Flowers” Exhibition, Red Zone Gallery, Switzerland2012 Mixed Media Exhibition, Austin Tung Gallery, Australia2011 “Tao of Nature” Chinese Abstract Art Exhibition, Museum of Contemporary Art, Shanghai2011 Caochangdi Photo Spring: Arles in Beijing, Beijing2010 “Time Unfrozen” New Media Art Exhibition, Taipei Fine Art Museum, Taiwan2010 “Flower of Chaos” Video Art Exhibition, Video Art Verona, Italy 2010 “Making Waves“Contemporary Art Exhibition, The 6th Chinese Character Festival, Taiwan2009 Mirrored Exhibition, The True Color Museum, Su Zhou2008 GrünDerZeit - Landschaftsarchitektur in und aus Peking, Institute of cultural foreign relations, Germany2007 Videonale 11, Festival for Contemporary Video Art, Germany2007 The 3rd Chengdu Biennial, Chengdu2006 The 5th International Ink Painting Biennial of Shenzhen, Guan Shanyue Museum of Art, Shenzhen 2006 “Entry Gate: Chinese Aesthetics of Heterogeneity” The 1st envisage, Museum of Contemporary Art, Shanghai 2005 “Unseen History” Art of Kaohsiung, Kaohsiung Museum of Fine Arts, Taiwan2005 “Macao Image” Daejeon Fast, Daejeon Museum of Art, KoreaCollections:Today Art Museum, BeijingGuan Shanyue Museum of Art, ShenzhenMacau Art Museum, MacauTaiwan Museum of ArtKerry Centre, BeijingBank of China, Hong Kong109
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  • 叢書名 澳門藝術家叢書書名 吳少英作品集作者 吳少英出版 澳門基金會設計 Todot Design印刷 鴻興柯式印刷有限公司出版日期 二零一四年五月印數 一千二百本版權所有 翻印必究ISBN 978-99937-1-115-5定價 澳門幣壹佰圓整112

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