Jason Lut Ming Kwong (born 2003 in Hong Kong) is an artist currently based in the UK. He graduated with First Class Honours in BA (Hons) Fine Art from Winchester School of Art, University of Southampton in 2025, and is currently pursuing an MA in Sculpture at the Royal College of Art.
Kwong’s practice investigates how identity, memory, and cultural character are reshaped through processes of migration, material translation, and spatial negotiation. Informed by his research into Dansaekhwa, the Korean monochrome painting movement, his work emphasises active labour, meditative repetition, and prolonged engagement with materials. Rather than aiming for resolution or formal harmony, his approach foregrounds friction, resistance, and gradual transformation, allowing meaning to emerge through process rather than representation.
Working primarily with ink and Xuan paper, Kwong treats traditional materials not as carriers of fixed cultural memory, but as responsive surfaces shaped by time, bodily labour, and environmental conditions. Materials are soaked, stained, , fixed, overlayered, and punctured over extended durations, enabling ink, water, gravity, and structure to negotiate with one another. These processes leave visible traces of making, positioning the work between performance, sculpture, and installation.
His recent research-led project, _Rooting Temporary, Drifting Eternity_, examines diasporic experience as a condition of continual adjustment, in which aspects of cultural character are reduced, re-coded, or held in suspension, while new sensibilities quietly form. Drawing on Assemblage Theory and Zhuangzi’s notion of freedom, Kwong understands identity as non-centralised and relational—constituted through shifting nodes, material encounters, and situational forces rather than stable origins.
Across his practice, minimal gestures and restrained language are used to cultivate states of stillness, attentiveness, and slow perception. Serial processes, repetition, and site-responsive installations invite viewers to encounter the work not as an image to be decoded, but as a field to be entered—one shaped by labour, duration, and negotiated balance.
Rooted in a sustained emotional connection to Hong Kong, Kwong’s work reflects a quiet search for equilibrium and inner clarity. He regards art as a space for deceleration, reflection, and gentle resistance within an increasingly accelerated and fragmented world.
Beyond his academic studies, Kwong actively participates in exhibitions across the UK, has self-organised solo exhibitions, and initiated Buzzz Collective and Hex Collective. He continues to expand his sculptural and installation-based practice, exploring how traditional media can remain materially open, situational, and responsive through sustained making and dialogue.
鄺律銘（2003 年生於香港）是一位現居英國的藝術家。他於 2025 年以一級榮譽畢業於英國修咸頓大學溫徹斯特藝術學院，現正於英國皇家藝術學院修讀雕塑碩士。
鄺氏的藝術實踐關注身份、記憶與文化特質如何在遷移、物質轉譯與空間協商的過程中被重塑。其創作受到韓國單色畫（Dansaekhwa）研究啟發，強調長時間的勞動、冥想式重複，以及與材料之間持續而直接的接觸。他並不追求形式上的和諧或結論性的表述，而是讓摩擦、阻力與偶發性在製作過程中逐步顯現，使作品在生成之中自然成形。
他主要使用水墨與宣紙進行創作，將這些具文化延續性的材料視為對時間、身體勞動與環境條件高度敏感的回應性媒介，而非固定記憶的承載體。宣紙經歷長時間浸染、固定、重疊與穿刺，使墨、水、重力與結構之間產生持續的協商關係。作品保留了製作過程的痕跡，介乎行為、雕塑與裝置之間。
其近期研究計劃《扎根一時，永恆漂流》將離散經驗理解為一種持續調整的狀態：部分文化特質在遷移中被削減、轉碼或暫時懸置，同時新的感知與習性悄然生成。透過組裝理論與莊子「逍遙」的思想，鄺氏將身份視為一種非中心化、關係式的存在，由不同節點、材料遭遇與具體情境所構成，而非源自單一而穩定的根源。
在整體創作中，他以極簡的形式語言與克制的動作引導觀者進入緩慢、專注與持續觀看的狀態。重複、序列與場域回應成為其常用策略，使作品更接近一個可被進入的場域，而非單一圖像或象徵——一個由勞動、時間與平衡所構成的空間。
鄺氏的創作植根於與香港之間持續而深層的情感連結，呈現出對內在平衡與清明狀態的靜默追尋。在一個節奏日益加快且結構碎裂的世界中，他將藝術視為一種得以減速、反思，並進行溫柔抵抗的實踐方式。
除學術研究外，鄺律銘亦積極參與英國各地展覽，曾自籌個展，並創辦 Hex Collective。未來，他將持續拓展其以雕塑與裝置為導向的藝術實踐，透過長時間製作、場域回應與對話，探索傳統媒材在當代語境中的開放性與可能性。
