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 examines identity not as a fixed origin but as a relational and continuously reassembled condition.
Influenced by Dansaekhwa and his background in calligraphy, Kwong works intensively with ink and Xuan paper, foregrounding labour, repetition, and material resistance. Rather than illustrating ideas, his process exposes friction between fibre, gravity, glue, and time. Ink and paper, often perceived as stable cultural carriers, are treated as mutable structures shaped by environmental forces and physical intervention. Through soaking, layering, casting, tearing, and perforation, surfaces retain visible traces of transformation, situating the work between painting, sculpture, and installation.
His recent project, Rooting Temporary, Drifting Eternity, approaches diasporic experience as a state of distributed existence. Working with keepsakes of Hong Kong immigrants in Britain, he 3D scans objects to preserve their contours while dislocating their singularity. Multiple variations derived from a single source may coexist, destabilising the hierarchy between original and copy. Plaster sculptures cast in Xuan paper shells retain fragility and imperfection, emphasising process over replication. These small sculptural units are assembled onto salvaged pallets and modular surfaces, forming raft-like structures. The raft is not a symbol of movement but a temporary ground: a provisional topology where repetition, mutation, and displacement operate simultaneously. Identity here emerges not from a stable centre but from shifting relations among materials, nodes, and contexts.
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 is always conditional, and belonging remains in 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和書法背景的影響，鄺氏好於運用墨和宣紙，著重展示勞動、重複和物質的抗性。他的創作過程並非描繪理念，而是揭示纖維、重力、膠水、和時間之間的摩擦。墨和紙通常被視為穩定的文化載體，但在他的作品中，它們被視為受環境力量和物理影響的可變結構。透過浸泡、分層、鑄造、撕裂和穿孔，作品表面保留了可見的變化痕跡，使其介於繪畫、雕塑和裝置之間。
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。他以在英香港移民的信物為創作素材，運用立體掃描技術保留物品的輪廓，同時打破其單一性。源自同一來源的多種變體可能並存，從而動搖了本體與複製品之間的等級關係。以宣紙為模具的石膏模型保留了脆弱和不全，強調過程而非複製。這些小型雕塑單元被組裝在回收的貨板和模組化的表面上，形成類似木筏的結構。木筏結構並非移動的象徵，而是一個臨時的立足點：作為一種臨時的拓樸結構，重複、變異和位移同時不斷發生。身份在此便不源自於穩定的中心，而是來自材料、節點和脈絡之間不斷變化的關係。
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。這些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。
