WAN Wing Ki, Vicky (HK,b.1998)

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尹穎琪 Vicky Wan畢業於香港浸會大學視覺藝術學院。在2019年初，尹氏曾於瑞士蘇黎世藝術大學作海外交流，主修陶瓷倒模。畢業後現職為陶作家和陶藝導師，曾於多間中小學策劃短期陶藝課程並於香港賽馬會「手作確幸」計劃擔任陶藝導師。尹氏於2021年與友人成立藝術團體——遺物製造所About Leaving，主力以文藝角度及藝術媒介推廣生死教育 ，並於2024年受邀出版書籍《祝 死亡愉快 》。

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另外，她於2023年創立個人陶瓷品牌-溫地Kiln Wanday，以溫潤雅緻之美與好玩好用的概念為創作的理念，她的器物和藝術作品亦曾在蘇黎世和香港的展覽中展出，在近年活躍於不同的藝術企劃和聯展。

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她的作品意念多由周遭事與物、日常練習和日本物哀哲學中獲得啟發。她認為藝術是一個人的碎片，於藝術中能讓人重塑和重組自身，因此其創作主要從自身經歷出發，討論「自我」和「存在」等概念。她敏於觀察他人與自身的情緒，且認為陶土的痕跡往往種下了每個人對於人與事的牽絆，以泥的特質記錄物件興衰，以詩意既玩味的方式來表達對萬物輪轉的定律。

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WAN Wing Ki, Vicky works with installation, mixed media and mainly with ceramics.

Wan undertook her bachelor’s degree in Hong Kong Baptist University Academy of Visual Arts recently and has also been to an exchange programme at Zurich University of the Arts, Switzerland during 2019, majoring in ceramic molding. Her ceramic works have been exhibited in the Apéro project and joint exhibitions in both ZHdK, Switzerland and Hong Kong. WAN usually gets inspiration from her surroundings, daily practice and Japanese philosophy. She believes art is the fragment of a person, in which people can reshape and reorganize. Therefore, her artworks mainly discuss and connect to the concept of self, serendipity, and the community. She is sensitive to the emotions of others and herself. She believes her ceramics as well as the heart-warming texture and down-to-earth character of the clay, can tell stories and bring warmth and comfort to the audience.

Wan is currently working as a ceramicist and ceramics instructor. she has organized short-term pottery courses in several primary and secondary schools and served as a pottery instructor in the Hong Kong Jockey Club ''Handmade Wellbeing'' Youth Craft Education Programme. In 2021, Wan and other two artists founded the art group” About Leaving” which focuses on promoting life and death education from a literary perspective and art media, About Leaving was also invited to publish the book "Happy Death Day" in 2024. In addition, she founded her personal ceramic brand Kiln Wanday in 2023, with the concept of gentle and elegant beauty as well as  fun and easy-to-use concepts as the creation philosophy. In recent years, she has been active in different art projects and joint exhibitions.

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創作路程：

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當我早期接觸藝術時，我本能地被那些轉瞬即逝的事物所吸引——那些我們無法留住的東西，以及那些逝去的人和事的記憶。我過去的許多作品都源於在深刻的獨處中獲得的感悟：在異國他鄉獨自耕耘花園，在平凡的街邊井蓋中發現隱藏的視角，埋葬花朵的儀式，以及對獨處時光的深深感激。當中有很多都是嘗試以跨媒介來作創作，不只是陶藝，也會使用到機器、五金零件、塑膠彩等等。

我的創作之旅真正紮根於在異國的獨居生活。我與我的花朵一起體驗孤獨，見證它們的凋零，表達我的感激，最終為它們舉行葬禮。這條路引領我探索關於死亡的文學作品以及日本的物哀（物之哀傷）美學。我的作品逐漸演變為將「時間的感知」視為一種觀者的體驗。如果要定義我近期的主題，它們就是死亡、侘寂和覺知。

而以陶做恆常藝術媒介的開端，是從為自己在蘇黎世的風信子花做花器開始，從打算為她作新居所，最終卻成了它的棺材，這一深刻的轉變激發了我對器物與人類體驗之間關係的濃厚興趣 。在大學的藝術訓練下，探索更多陶泥的特性，泥從土而生，經火的洗禮成型，在我眼中經火燒去竟不是完結而是更堅固重生讓我覺得很有趣。

如今，陶瓷依然是我探索內心世界的媒介。我對功能性設計和雕塑表現的雙重熱情，促使我的創作實踐走向了兩條截然不同的道路

：創立我的陶瓷設計品牌「溫地」（Kiln Wanday），以及持續探索雕塑裝置藝術。

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Process of creation：

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In my early encounters with art, I found myself instinctively drawn to the fleeting—the things we cannot hold, and the memories of people and events that have passed. Much of my past work stems from insights gained in profound solitude: gardening alone in a foreign land, discovering a hidden perspective in a mundane street manhole cover, the ritual of burying flowers, and a deep gratitude for the time spent with oneself. My practice often transcends a single medium, I enjoy the tension between ceramics and hardware, machinery, or acrylics.

My creative journey truly took root through Living alone in foreign land. I experienced loneliness alongside my flowers, witnessing their decay, offering my thanks, and eventually holding funerals for them. This path led me to explore literature on death and the Japanese aesthetic of Mono no aware (the pathos of things). My work evolved to treat 'the sensation of time' as a spectator’s experience. If I were to define my recent themes, they would be Death, Wabi-sabi, and Awareness.

The transition to ceramics as my primary medium began in Zurich, when I decided to craft a vessel for my hyacinth. What was intended as a new home eventually became its coffin. This profound shift sparked my fascination with the relationship between objects and the human experience. Through formal university art training, I delved deeper into the nature of clay. Born from the earth and forged through the trial of fire, clay’s transformation intrigued me—the fire is not an end, but a 'solid rebirth.'

Today, ceramics remains the medium through which I explore my inner world. My passion for both functional design and sculptural expression has led my practice to branch into two distinct paths: the founding of my ceramic design brand, Kiln Wanday (溫地), and my continued pursuit of sculptural installation art.

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