將軍澳的時間殘章： 羅玉梅的《維多利亞之東》 | The scattered temporal fragments of Tseung Kwan O: Law Yuk-mui’s Victoria East by Vivian Ting
Published on art review Hong Kong issue 3/ 藝評香港 – 第三期 (12-2017)
羅玉梅的作品確實懷緬那煙消雲散的過去，但她所揭示的並非純真的往日，而是歷史的反臉無情 — 不問緣由那份海的回憶被埋葬了、那片意識形態的旗海又被抹去、而山與水的形貌再也無人記取。耐人尋味的是，平淡無奇的影像與無從憶記的蒼白容或觸及遺忘的傷疤，但誘發的卻不是沉鬱的痛，反而是渾身灼熱又剌惱的癢，讓人非要撓個明明白白。遊走於現實與想像之間，藝術撩撥的騷癢既無眩人的聲色，也欠缺濃烈的情感激盪，卻著我們探索一直生活環境看不見聽不清觸不到之處，重新發現自身以什麼形式連結世界，又如何在變動中尋找自己的位置。
羅玉梅: 維多利亞之東 | Law Yuk-mui: Victoria East by Morgan Wong
Published on art forum.com.cn (18-5-2017)
展覽秉承羅玉梅處理史料時一貫的冷靜態度，一層一層從歷史宏觀中發掘出不同的細微線索。串聯不同事件的主線不單只有時間，更有一種對消逝的不安。若“最後的海岸”是在掌控一條物理上的線，那麼整個展覽羅玉梅則是為時間線訂下不同的註腳 – 地緣政治的消失，殖民歷史的殘存，以及社會發展的今昔。
Succeeding her usual nonchalant attitude towards the treatment of history, Law Yuk-mui has excavated fine details from the macro-narrative of history layer by layer in this exhibition as well. The axis linking up different events isn’t only time, but also a sense of uneasiness towards what have disappeared. If The Last Coast were governing a physical line, then Law Yuk-mui would be putting different footnotes on the timeline throughout the exhibition – the disappearance of geopolitics, the remnants of colonial history and the evolution of social development.
Law Yuk-mui by Yang YEUNG
First published in issue 118 (Jan 2016) of a.m.post, Hong Kong.
“Law’s objects are Woolf’s “characters”. They neither speak nor show, but they are poemed for being “well put together”. To borrow from Bringhurst again, to poem is to make sing or resonate. Law’s solitary ecology of objects does that, too. In the making, the artist’s body must have hopped between them – those kindred spirits of hers – so that she could conceal herself, displace those after-the-fact gestures of art, show this act of concealment, and get lost in the vastness of everything else.”
Published on Art Radar Contemporary art trends and news from Asia and beyond (30-10-2015)
Law Yuk Mui’s work The Yellow Portrait (2014), a black and white photograph featuring herself in a field of snow with an umbrella, is a “footnote” to the Occupy Movement in 2014. Late last year, Law travelled to Japan with her yellow umbrella to test out photographer Eikoh Hosoe’s idea that yellow produces a higher contrast than white in a monochrome world. She found in her experiment that yellow did not come out brighter; and in an unrelated misfortune, she lost 17 photos in the series when her film broke. These broken films and lost images are presented together with the portrait in which the yellow umbrella does not stand out, as if to suggest that failed attempts at something elusive could also be powerful symbols of resistance.
On Junk Bay, King Lam Est., The Plant (1990) is a mixed-media work about Junk Bay, the former name of the artist’s home Tseung Kwan O, and the plant life that thrives there. Although Junk Bay was reclaimed, plants – some even tropical species from overseas – have taken root around the old King Lam housing estate. By presenting real plant samples and cyanotypes of different species found on the estate, Law comments poetically and in a timely way on the increasingly threatened co-existence between humans and nature in a city where century-old trees could be cut down without warning.
First published in PAROLES Mai / Juin 2011 Nº 228