Jason 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. Instead of 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.
鄺律銘的藝術探討身份、記憶與文化特質如何在遷移、材料轉譯與空間協商的過程中被重塑。受到韓國單色畫運動的啟發，鄺氏的創作過程強調積極勞動、冥想式重複，以及與材料之間長時間的深度互動。他的創作並不追求最終的解決或形式上的和諧，而是將摩擦、阻力與漸進式轉化置於前景，使意義在過程中生成，而非透過再現來傳達。
主要以水墨與宣紙為媒材，鄺律銘不將傳統材料視為承載固定文化記憶的媒介，而是視其為受時間、身體勞動與環境條件塑造的回應性表面。材料在長時間中被浸潤、染色、固定、層疊與穿刺，使墨、水、重力與結構彼此協商。這些過程保留清晰可見的製作痕跡，使作品游移於行為、雕塑與裝置之間。
其近期以研究為導向的項目《扎根一時，永恆漂流》（Rooting Temporary, Drifting Eternity）將離散經驗視為一種持續調整的狀態——在此狀態中，部分文化特質被削減、重新編碼或懸置，同時新的感知與感性在潛移默化中形成。借鑑組裝理論（Assemblage Theory）與莊子的逍遙，鄺律銘將身份理解為去中心化且具關係性的存在，其構成並非源自穩定的本源，而是由流動的節點、物質遭遇與情境力量所生成。
在其整體實踐中，極簡的姿態與克制的語言被用以培養靜止、專注與緩慢感知的狀態。系列化的過程、重複與回應場域的裝置，引導觀者不將作品視為需要被解讀的圖像，而是一個可被進入的場域——此場域由勞動、時間延續與協商中的平衡所形塑。
植根於對香港持續而深層的情感連結，鄺律銘的創作反映出一種對平衡與內在清明的靜默追尋。他將藝術視為在日益加速與碎片化的世界之中，提供減速、反思與溫和抵抗的空間。
