Jason Kwong explores how identity, memory, and cultural characteristics are reshaped through migration, material translation, and spatial negotiation. Rooted in an enduring emotional connection to Hong Kong, his practice approaches identity not as a fixed origin but as a relational and continuously reassembled condition.
Influenced by Dansaekhwa, his background in calligraphy, and an ongoing reflection on the role of materiality in shaping identity, Kwong works intensively with ink and Xuan paper, foregrounding labour, repetition, and material resistance. His process exposes the friction between pigment, fibre, diffusion, and time. Ink and Xuan paper, often perceived as stable cultural carriers, are treated instead as mutable structures shaped by environmental forces and physical intervention. By destabilising these cultural signifiers and reinterpreting traditional craft through a contemporary lens, alongside the use of technologies such as 3D printing, his work repositions material as an active site of transformation. Through soaking, layering, casting, tearing, and sanding, surfaces retain visible traces of change, situating the work between painting, sculpture, and installation.
His recent project, “Rooting Temporary, Drifting Eternity”, approaches diasporic experience as a state of distributed existence. Identity here emerges not from a stable centre but from shifting relations among materials, nodes, and contexts. By articulating identity as something communal within individual experience, Kwong is committed to creating work that fosters both unity and individuality within a polarised society, while preserving endangered identities.
Through restrained gestures and complex production processes, Kwong constructs installations that resist narrative closure. The works invite viewers into a spatial field shaped by labour, duration, and negotiation, where stability remains conditional and belonging is in continuous motion.
鄺律銘探索身分認同、記憶和文化特徵如何透過遷移、物質轉化和空間協商而重塑。透過與香港深厚的情感聯繫，他的作品並非將身份視為固定的起源，而是一種互相影響、不斷重組的狀態。
受到韓國單色畫運動的啟發、書法背景的影響，及持續反思物質性在塑造身份認同中的角色，鄺氏好於運用墨和紙，著重展示勞動、重複和物質的抗性。他的創作過程揭示色素、纖維、擴散作用、和時間之間的摩擦。墨和宣紙通常被視為穩定的文化載體，但在鄺氏的作品成為由環境力量與物理介入塑造的可變結構。透過動搖這些文化符號，並以當代視角重新詮釋傳統工藝，並結合3D列印等技術，他的作品將材料重新定位為一個積極轉化的所在地。透過浸泡、層疊、鑄造、撕裂與打磨，表面仍保留可見的變化痕跡，將作品置於繪畫、雕塑與裝置之間。
鄺氏近期的研究項目《扎根暫時，永恆漂流》（Rooting Temporary, Drifting Eternity）將離散體驗視為一種分散式的存在狀態。這裡的身份認同並非來自穩定的中心，而是來自材料、節點與情境間不斷變化的關係。透過將身份認同視為個人經驗中的共同體，致力於創作能在極化社會中促進團結與個體性的作品，同時維護瀕危身份。
鄺氏透過克制的姿態和複雜的製作過程，建構出拒絕敘事封閉的裝置作品。邀請觀者進入一個由勞動、時間與協商塑造的空間領域，在這裡，穩定始終是有條件的，歸屬感也始終處於流動之中。
