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Documentation of 𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨

Artist-in-Residence at CRASH @crash.a.space
10.02.2026 - 04.03.2026
Karie Tsui & Sofie Leung
@karietsui @wetzdaan
CRASH, L303, JCCAC, HONG KONG

Documentation of 𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨

Artist-in-Residence at CRASH @crash.a.space
10.02.2026 - 04.03.2026
Karie Tsui & Sofie Leung
@karietsui @wetzdaan
CRASH, L303, JCCAC, HONG KONG

Documentation of 𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨

Artist-in-Residence at CRASH @crash.a.space
10.02.2026 - 04.03.2026
Karie Tsui & Sofie Leung
@karietsui @wetzdaan
CRASH, L303, JCCAC, HONG KONG

Documentation of 𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨

Artist-in-Residence at CRASH @crash.a.space
10.02.2026 - 04.03.2026
Karie Tsui & Sofie Leung
@karietsui @wetzdaan
CRASH, L303, JCCAC, HONG KONG

Documentation of 𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨

Artist-in-Residence at CRASH @crash.a.space
10.02.2026 - 04.03.2026
Karie Tsui & Sofie Leung
@karietsui @wetzdaan
CRASH, L303, JCCAC, HONG KONG

Documentation of 𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨

Artist-in-Residence at CRASH @crash.a.space
10.02.2026 - 04.03.2026
Karie Tsui & Sofie Leung
@karietsui @wetzdaan
CRASH, L303, JCCAC, HONG KONG

始於一個關於時鐘的老土謎語——“What is with numbers and two hands?”
在看見你之前你已經練習很多次，正如你的第一個練習發生及存在比我還要老，會見到你的原形，又見到堆積起來的你，還有遇見到你的我。在選擇用其他代替時間的量度單位，一切只能有關思緒和經歷，然後感覺過了多久，時間都已經不是重要。這是每一次面對自然物時的感覺，即使嘗試用第三身視覺了解，最後都不能擺脫作為參與者和見證者的身份。所以在閱讀眼前的東西時，相比起獲得了其他，更是提醒自己在哪裏。
拉攏了友人河馬，還有來參觀的朋友haaaaa，thanks for everything～
匿名水豚^

It all began with a corny riddle about a clock — “What is with numbers and two hands?”
Before I ever saw you, you had already practiced many times. Your very first practice happened, and has existed, long before me. I’ve seen your original form, the layers that have built upon you, and the self who encountered you.
When chose to measure things with something other than time, everything could only relate to thoughts and experiences. However long it seemed to pass, time itself ceased to matter. That’s how I always feel when facing nature — even if I try to understand from a third-person view, I can never escape being both a participant and a witness. So when I read what lies before me, rather than gaining something else, it mostly reminds where I am.
Joined by my friend Hippo, and visitors haaaaa, thanks for everything~
Anonymous Capybara ^

@crash.a.space
@karietsui
@wetzdaan

始於一個關於時鐘的老土謎語——“What is with numbers and two hands?”
在看見你之前你已經練習很多次，正如你的第一個練習發生及存在比我還要老，會見到你的原形，又見到堆積起來的你，還有遇見到你的我。在選擇用其他代替時間的量度單位，一切只能有關思緒和經歷，然後感覺過了多久，時間都已經不是重要。這是每一次面對自然物時的感覺，即使嘗試用第三身視覺了解，最後都不能擺脫作為參與者和見證者的身份。所以在閱讀眼前的東西時，相比起獲得了其他，更是提醒自己在哪裏。
拉攏了友人河馬，還有來參觀的朋友haaaaa，thanks for everything～
匿名水豚^

It all began with a corny riddle about a clock — “What is with numbers and two hands?”
Before I ever saw you, you had already practiced many times. Your very first practice happened, and has existed, long before me. I’ve seen your original form, the layers that have built upon you, and the self who encountered you.
When chose to measure things with something other than time, everything could only relate to thoughts and experiences. However long it seemed to pass, time itself ceased to matter. That’s how I always feel when facing nature — even if I try to understand from a third-person view, I can never escape being both a participant and a witness. So when I read what lies before me, rather than gaining something else, it mostly reminds where I am.
Joined by my friend Hippo, and visitors haaaaa, thanks for everything~
Anonymous Capybara ^

@crash.a.space
@karietsui
@wetzdaan

始於一個關於時鐘的老土謎語——“What is with numbers and two hands?”
在看見你之前你已經練習很多次，正如你的第一個練習發生及存在比我還要老，會見到你的原形，又見到堆積起來的你，還有遇見到你的我。在選擇用其他代替時間的量度單位，一切只能有關思緒和經歷，然後感覺過了多久，時間都已經不是重要。這是每一次面對自然物時的感覺，即使嘗試用第三身視覺了解，最後都不能擺脫作為參與者和見證者的身份。所以在閱讀眼前的東西時，相比起獲得了其他，更是提醒自己在哪裏。
拉攏了友人河馬，還有來參觀的朋友haaaaa，thanks for everything～
匿名水豚^

It all began with a corny riddle about a clock — “What is with numbers and two hands?”
Before I ever saw you, you had already practiced many times. Your very first practice happened, and has existed, long before me. I’ve seen your original form, the layers that have built upon you, and the self who encountered you.
When chose to measure things with something other than time, everything could only relate to thoughts and experiences. However long it seemed to pass, time itself ceased to matter. That’s how I always feel when facing nature — even if I try to understand from a third-person view, I can never escape being both a participant and a witness. So when I read what lies before me, rather than gaining something else, it mostly reminds where I am.
Joined by my friend Hippo, and visitors haaaaa, thanks for everything~
Anonymous Capybara ^

@crash.a.space
@karietsui
@wetzdaan

始於一個關於時鐘的老土謎語——“What is with numbers and two hands?”
在看見你之前你已經練習很多次，正如你的第一個練習發生及存在比我還要老，會見到你的原形，又見到堆積起來的你，還有遇見到你的我。在選擇用其他代替時間的量度單位，一切只能有關思緒和經歷，然後感覺過了多久，時間都已經不是重要。這是每一次面對自然物時的感覺，即使嘗試用第三身視覺了解，最後都不能擺脫作為參與者和見證者的身份。所以在閱讀眼前的東西時，相比起獲得了其他，更是提醒自己在哪裏。
拉攏了友人河馬，還有來參觀的朋友haaaaa，thanks for everything～
匿名水豚^

It all began with a corny riddle about a clock — “What is with numbers and two hands?”
Before I ever saw you, you had already practiced many times. Your very first practice happened, and has existed, long before me. I’ve seen your original form, the layers that have built upon you, and the self who encountered you.
When chose to measure things with something other than time, everything could only relate to thoughts and experiences. However long it seemed to pass, time itself ceased to matter. That’s how I always feel when facing nature — even if I try to understand from a third-person view, I can never escape being both a participant and a witness. So when I read what lies before me, rather than gaining something else, it mostly reminds where I am.
Joined by my friend Hippo, and visitors haaaaa, thanks for everything~
Anonymous Capybara ^

@crash.a.space
@karietsui
@wetzdaan

始於一個關於時鐘的老土謎語——“What is with numbers and two hands?”
在看見你之前你已經練習很多次，正如你的第一個練習發生及存在比我還要老，會見到你的原形，又見到堆積起來的你，還有遇見到你的我。在選擇用其他代替時間的量度單位，一切只能有關思緒和經歷，然後感覺過了多久，時間都已經不是重要。這是每一次面對自然物時的感覺，即使嘗試用第三身視覺了解，最後都不能擺脫作為參與者和見證者的身份。所以在閱讀眼前的東西時，相比起獲得了其他，更是提醒自己在哪裏。
拉攏了友人河馬，還有來參觀的朋友haaaaa，thanks for everything～
匿名水豚^

It all began with a corny riddle about a clock — “What is with numbers and two hands?”
Before I ever saw you, you had already practiced many times. Your very first practice happened, and has existed, long before me. I’ve seen your original form, the layers that have built upon you, and the self who encountered you.
When chose to measure things with something other than time, everything could only relate to thoughts and experiences. However long it seemed to pass, time itself ceased to matter. That’s how I always feel when facing nature — even if I try to understand from a third-person view, I can never escape being both a participant and a witness. So when I read what lies before me, rather than gaining something else, it mostly reminds where I am.
Joined by my friend Hippo, and visitors haaaaa, thanks for everything~
Anonymous Capybara ^

@crash.a.space
@karietsui
@wetzdaan

Thank you to everyone who came to 𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨 by Sofie @wetzdaanand Karie @karietsui at CRASH.

We’re so grateful for the conversations, the curiosity, and the care you brought into the space. Hope you enjoyed stepping on, through, and within their experimental/ research/ collective work — letting your traces become part of the process and space.

Your presence completed the work in ways we couldn’t have anticipated.

OPEN 3-8PM
28.2(SAT), 01.03(SUN), 02.03(MON) 2026

—
Artist-in-Residence at CRASH
10.02.2026 - 04.03.2026
Karie Tsui & Sofie Leung
@karietsui @wetzdaan
CRASH, L303, JCCAC, HONG KONG

Thank you to everyone who came to 𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨 by Sofie @wetzdaanand Karie @karietsui at CRASH.

We’re so grateful for the conversations, the curiosity, and the care you brought into the space. Hope you enjoyed stepping on, through, and within their experimental/ research/ collective work — letting your traces become part of the process and space.

Your presence completed the work in ways we couldn’t have anticipated.

OPEN 3-8PM
28.2(SAT), 01.03(SUN), 02.03(MON) 2026

—
Artist-in-Residence at CRASH
10.02.2026 - 04.03.2026
Karie Tsui & Sofie Leung
@karietsui @wetzdaan
CRASH, L303, JCCAC, HONG KONG

Thank you to everyone who came to 𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨 by Sofie @wetzdaanand Karie @karietsui at CRASH.

We’re so grateful for the conversations, the curiosity, and the care you brought into the space. Hope you enjoyed stepping on, through, and within their experimental/ research/ collective work — letting your traces become part of the process and space.

Your presence completed the work in ways we couldn’t have anticipated.

OPEN 3-8PM
28.2(SAT), 01.03(SUN), 02.03(MON) 2026

—
Artist-in-Residence at CRASH
10.02.2026 - 04.03.2026
Karie Tsui & Sofie Leung
@karietsui @wetzdaan
CRASH, L303, JCCAC, HONG KONG

Thank you to everyone who came to 𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨 by Sofie @wetzdaanand Karie @karietsui at CRASH.

We’re so grateful for the conversations, the curiosity, and the care you brought into the space. Hope you enjoyed stepping on, through, and within their experimental/ research/ collective work — letting your traces become part of the process and space.

Your presence completed the work in ways we couldn’t have anticipated.

OPEN 3-8PM
28.2(SAT), 01.03(SUN), 02.03(MON) 2026

—
Artist-in-Residence at CRASH
10.02.2026 - 04.03.2026
Karie Tsui & Sofie Leung
@karietsui @wetzdaan
CRASH, L303, JCCAC, HONG KONG

Thank you to everyone who came to 𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨 by Sofie @wetzdaanand Karie @karietsui at CRASH.

We’re so grateful for the conversations, the curiosity, and the care you brought into the space. Hope you enjoyed stepping on, through, and within their experimental/ research/ collective work — letting your traces become part of the process and space.

Your presence completed the work in ways we couldn’t have anticipated.

OPEN 3-8PM
28.2(SAT), 01.03(SUN), 02.03(MON) 2026

—
Artist-in-Residence at CRASH
10.02.2026 - 04.03.2026
Karie Tsui & Sofie Leung
@karietsui @wetzdaan
CRASH, L303, JCCAC, HONG KONG

Thank you to everyone who came to 𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨 by Sofie @wetzdaanand Karie @karietsui at CRASH.

We’re so grateful for the conversations, the curiosity, and the care you brought into the space. Hope you enjoyed stepping on, through, and within their experimental/ research/ collective work — letting your traces become part of the process and space.

Your presence completed the work in ways we couldn’t have anticipated.

OPEN 3-8PM
28.2(SAT), 01.03(SUN), 02.03(MON) 2026

—
Artist-in-Residence at CRASH
10.02.2026 - 04.03.2026
Karie Tsui & Sofie Leung
@karietsui @wetzdaan
CRASH, L303, JCCAC, HONG KONG

𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨
by Karie Tsui Ka Yee @karietsui & Sofie Leung Cheuk Ying @wetzdaan at CRASH
OPEN 3-8PM
28.2(SAT), 01.03(SUN), 02.03(MON)

從海邊蒐集，
記錄＿和＿相遇的時間，
練習「向著某種自己」的運動。

海寶寶寶／數數／手手／批批／疊疊

匿名哺乳類^

兩隻手同時工作：
一隻記住，一隻忘記；
一隻建立，一隻拆開。

數數從來並非為了完成，反而讓事情持續發生。當動作繼續，時間便累積；當手未停下，作品亦未結束。two hands意指一種只能透過勞動被感覺的時間，是在雙手持續工作的過程中似指針一樣在鐘面上慢慢劃過。

Gathered by the shore,
marking the time when _ meets _,
rehearsing a motion toward a possible self.
sea bo / numbering / hand-hand / patting / piling

Anonymous Mammals^

Both hands work at the same time: one remembers, one forgets; one builds, one dismantles. Numbering is never meant to reach completion, but to allow things to continue unfolding. As the actions persist, time accumulates; as long as the hands do not stop, the work does not end.

“Two hands” points to a form of time that can only be felt through labour, that emerging through continuous movement, as the hands move slowly across the surface of time like the hands of a clock tracing the dial.

𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨
by Karie Tsui Ka Yee @karietsui & Sofie Leung Cheuk Ying @wetzdaan at CRASH
OPEN 3-8PM
28.2(SAT), 01.03(SUN), 02.03(MON)

從海邊蒐集，
記錄＿和＿相遇的時間，
練習「向著某種自己」的運動。

海寶寶寶／數數／手手／批批／疊疊

匿名哺乳類^

兩隻手同時工作：
一隻記住，一隻忘記；
一隻建立，一隻拆開。

數數從來並非為了完成，反而讓事情持續發生。當動作繼續，時間便累積；當手未停下，作品亦未結束。two hands意指一種只能透過勞動被感覺的時間，是在雙手持續工作的過程中似指針一樣在鐘面上慢慢劃過。

Gathered by the shore,
marking the time when _ meets _,
rehearsing a motion toward a possible self.
sea bo / numbering / hand-hand / patting / piling

Anonymous Mammals^

Both hands work at the same time: one remembers, one forgets; one builds, one dismantles. Numbering is never meant to reach completion, but to allow things to continue unfolding. As the actions persist, time accumulates; as long as the hands do not stop, the work does not end.

“Two hands” points to a form of time that can only be felt through labour, that emerging through continuous movement, as the hands move slowly across the surface of time like the hands of a clock tracing the dial.

𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨
by Karie Tsui Ka Yee @karietsui & Sofie Leung Cheuk Ying @wetzdaan at CRASH
OPEN 3-8PM
28.2(SAT), 01.03(SUN), 02.03(MON)

從海邊蒐集，
記錄＿和＿相遇的時間，
練習「向著某種自己」的運動。

海寶寶寶／數數／手手／批批／疊疊

匿名哺乳類^

兩隻手同時工作：
一隻記住，一隻忘記；
一隻建立，一隻拆開。

數數從來並非為了完成，反而讓事情持續發生。當動作繼續，時間便累積；當手未停下，作品亦未結束。two hands意指一種只能透過勞動被感覺的時間，是在雙手持續工作的過程中似指針一樣在鐘面上慢慢劃過。

Gathered by the shore,
marking the time when _ meets _,
rehearsing a motion toward a possible self.
sea bo / numbering / hand-hand / patting / piling

Anonymous Mammals^

Both hands work at the same time: one remembers, one forgets; one builds, one dismantles. Numbering is never meant to reach completion, but to allow things to continue unfolding. As the actions persist, time accumulates; as long as the hands do not stop, the work does not end.

“Two hands” points to a form of time that can only be felt through labour, that emerging through continuous movement, as the hands move slowly across the surface of time like the hands of a clock tracing the dial.

𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨
by Karie Tsui Ka Yee @karietsui & Sofie Leung Cheuk Ying @wetzdaan at CRASH
OPEN 3-8PM
28.2(SAT), 01.03(SUN), 02.03(MON)

從海邊蒐集，
記錄＿和＿相遇的時間，
練習「向著某種自己」的運動。

海寶寶寶／數數／手手／批批／疊疊

匿名哺乳類^

兩隻手同時工作：
一隻記住，一隻忘記；
一隻建立，一隻拆開。

數數從來並非為了完成，反而讓事情持續發生。當動作繼續，時間便累積；當手未停下，作品亦未結束。two hands意指一種只能透過勞動被感覺的時間，是在雙手持續工作的過程中似指針一樣在鐘面上慢慢劃過。

Gathered by the shore,
marking the time when _ meets _,
rehearsing a motion toward a possible self.
sea bo / numbering / hand-hand / patting / piling

Anonymous Mammals^

Both hands work at the same time: one remembers, one forgets; one builds, one dismantles. Numbering is never meant to reach completion, but to allow things to continue unfolding. As the actions persist, time accumulates; as long as the hands do not stop, the work does not end.

“Two hands” points to a form of time that can only be felt through labour, that emerging through continuous movement, as the hands move slowly across the surface of time like the hands of a clock tracing the dial.

𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨
by Karie Tsui Ka Yee @karietsui & Sofie Leung Cheuk Ying @wetzdaan at CRASH
OPEN 3-8PM
28.2(SAT), 01.03(SUN), 02.03(MON)

從海邊蒐集，
記錄＿和＿相遇的時間，
練習「向著某種自己」的運動。

海寶寶寶／數數／手手／批批／疊疊

匿名哺乳類^

兩隻手同時工作：
一隻記住，一隻忘記；
一隻建立，一隻拆開。

數數從來並非為了完成，反而讓事情持續發生。當動作繼續，時間便累積；當手未停下，作品亦未結束。two hands意指一種只能透過勞動被感覺的時間，是在雙手持續工作的過程中似指針一樣在鐘面上慢慢劃過。

Gathered by the shore,
marking the time when _ meets _,
rehearsing a motion toward a possible self.
sea bo / numbering / hand-hand / patting / piling

Anonymous Mammals^

Both hands work at the same time: one remembers, one forgets; one builds, one dismantles. Numbering is never meant to reach completion, but to allow things to continue unfolding. As the actions persist, time accumulates; as long as the hands do not stop, the work does not end.

“Two hands” points to a form of time that can only be felt through labour, that emerging through continuous movement, as the hands move slowly across the surface of time like the hands of a clock tracing the dial.

𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨
by Karie Tsui Ka Yee @karietsui & Sofie Leung Cheuk Ying @wetzdaan at CRASH
OPEN 3-8PM
28.2(SAT), 01.03(SUN), 02.03(MON)

從海邊蒐集，
記錄＿和＿相遇的時間，
練習「向著某種自己」的運動。

海寶寶寶／數數／手手／批批／疊疊

匿名哺乳類^

兩隻手同時工作：
一隻記住，一隻忘記；
一隻建立，一隻拆開。

數數從來並非為了完成，反而讓事情持續發生。當動作繼續，時間便累積；當手未停下，作品亦未結束。two hands意指一種只能透過勞動被感覺的時間，是在雙手持續工作的過程中似指針一樣在鐘面上慢慢劃過。

Gathered by the shore,
marking the time when _ meets _,
rehearsing a motion toward a possible self.
sea bo / numbering / hand-hand / patting / piling

Anonymous Mammals^

Both hands work at the same time: one remembers, one forgets; one builds, one dismantles. Numbering is never meant to reach completion, but to allow things to continue unfolding. As the actions persist, time accumulates; as long as the hands do not stop, the work does not end.

“Two hands” points to a form of time that can only be felt through labour, that emerging through continuous movement, as the hands move slowly across the surface of time like the hands of a clock tracing the dial.

𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨
A three-day open studio exhibition presenting works developed during the residency by artists: Karie Tsui Ka Yee @karietsui and Sofie Leung Cheuk Ying @wetzdaan.

OPEN 3-8PM
28.02 (SAT), 01.03(SUN), 02.03 (MON)

//
從海邊蒐集，
記錄＿和＿相遇的時間，
練習「向著某種自己」的運動。

海寶寶寶／數數／手手／批批／疊疊

匿名哺乳類^

Gathered by the shore,
marking the time when _ meets _,
rehearsing a motion toward a possible self.
sea bo / numbering / hand-hand / patting / piling

Anonymous Mammals^

—
Artist-in-Residence at CRASH
10.02.2026 - 04.03.2026
Karie Tsui & Sofie Leung
@karietsui @wetzdaan

𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨
Artist-in-Residence at CRASH
10.02 — 04.03.2026
Sofie Leung (@wetzdaan) & Karie Tsui (@karietsui)

𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨 explores repetitive practice as a condition of making. Through long-duration and repeated actions, the artists allow works to evolve gradually: earlier traces are modified, absorbed, and transformed over time. Rather than a single decisive gesture, meaning accumulates through process, order, and continuity.

Sofie Leung Cheuk Ying @wetzdaan (BA, Academy of Visual Arts, Hong Kong Baptist University, 2023) works with observation drawn from everyday life, engaging materials as a form of dialogue with the external world. Her practice connects human experience with natural phenomena through intuitive yet structured repetition.

Karie Tsui Ka Yee @karietsui (BA, Academy of Visual Arts, Hong Kong Baptist University, 2022) focuses on sculpture and installation, using casting and molding to materialize experiences and ideas. Her research examines cultural relationships between nature, spirituality, and human perception.

//
𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨 以「重複性實踐」作為創作條件。透過長時間與反覆進行的行動，作品在過程中持續被修改、覆蓋與吸收，不再依賴單一決定性的瞬間，而是在秩序與累積之中慢慢形成其意義與狀態。

梁焯螢 Sofie Leung Cheuk Ying @wetzdaan （2023年畢業於香港浸會大學視覺藝術院文學士）從日常觀察出發，將與物料的互動視為與外界對話的方式，在直覺與結構之間建立重複的創作方法，探索人與自然之間的微妙連結。

徐嘉儀 Karie Tsui Ka Yee @karietsui （2022年畢業於香港浸會大學視覺藝術院文學士）主要從事雕塑與裝置創作，透過鑄造與翻模技術將經驗與想法具象化，並探討自然、神性與人類感知之間的文化關係。

—
Opening Session will be announced. 
開放日期將另行公布，敬請期待。

𝙣𝙪𝙢𝙗𝙚𝙧 𝙬𝙞𝙩𝙝 𝙩𝙬𝙤 𝙝𝙖𝙣𝙙𝙨

從海邊蒐集，
記錄＿和＿相遇的時間，
練習「向著某種自己」的運動。

海寶寶寶／數數／手手／批批／疊疊

匿名哺乳類^

Gathered by the shore,
marking the time when _ meets _,
rehearsing a motion toward a possible self.

sea bo / numbering / hand-hand / patting / piling

Anonymous Mammals^

—
Artist-in-Residence at CRASH
10.02.2026 - 04.03.2026
Karie Tsui & Sofie Leung
@karietsui @wetzdaan

—
Opening session will be announced soon. Stay tuned.

existence is innocent

川

2024

描圖紙、白膠漿、釣魚墜子、鋼

192 × 120 × 70 cm

那時以為劃分陸地和海洋的邊界很實在，兩地忙於建立自己的世界。直至發現河流能將山頂與山腳的人繫上，黏在皮膚的濕氣原來正在分享遠方的雨水。

-

Rivers

2024

Tracing paper, white glue, fishing sinker, steel

192 × 120 × 70 cm

The boundary between land and sea was thought to be solid, and the two places were busy building their own worlds. Until I realised that rivers could connect people at the top of mountains with those at the bottom, and that the moisture clinging to their skin was sharing the rain from afar.

-
photos credit to Samuel Lee

川

2024

描圖紙、白膠漿、釣魚墜子、鋼

192 × 120 × 70 cm

那時以為劃分陸地和海洋的邊界很實在，兩地忙於建立自己的世界。直至發現河流能將山頂與山腳的人繫上，黏在皮膚的濕氣原來正在分享遠方的雨水。

-

Rivers

2024

Tracing paper, white glue, fishing sinker, steel

192 × 120 × 70 cm

The boundary between land and sea was thought to be solid, and the two places were busy building their own worlds. Until I realised that rivers could connect people at the top of mountains with those at the bottom, and that the moisture clinging to their skin was sharing the rain from afar.

-
photos credit to Samuel Lee

川

2024

描圖紙、白膠漿、釣魚墜子、鋼

192 × 120 × 70 cm

那時以為劃分陸地和海洋的邊界很實在，兩地忙於建立自己的世界。直至發現河流能將山頂與山腳的人繫上，黏在皮膚的濕氣原來正在分享遠方的雨水。

-

Rivers

2024

Tracing paper, white glue, fishing sinker, steel

192 × 120 × 70 cm

The boundary between land and sea was thought to be solid, and the two places were busy building their own worlds. Until I realised that rivers could connect people at the top of mountains with those at the bottom, and that the moisture clinging to their skin was sharing the rain from afar.

-
photos credit to Samuel Lee

川

2024

描圖紙、白膠漿、釣魚墜子、鋼

192 × 120 × 70 cm

那時以為劃分陸地和海洋的邊界很實在，兩地忙於建立自己的世界。直至發現河流能將山頂與山腳的人繫上，黏在皮膚的濕氣原來正在分享遠方的雨水。

-

Rivers

2024

Tracing paper, white glue, fishing sinker, steel

192 × 120 × 70 cm

The boundary between land and sea was thought to be solid, and the two places were busy building their own worlds. Until I realised that rivers could connect people at the top of mountains with those at the bottom, and that the moisture clinging to their skin was sharing the rain from afar.

-
photos credit to Samuel Lee

好想一切都好好地。不過有時會太想係好，可能將唔好諗得太唔好。唔夠力去包容呢種可能性，所以manipulating嚟自呢度，唔知道除咗掉咗佢仲可以點。好執著呢。

好想一切都好好地。不過有時會太想係好，可能將唔好諗得太唔好。唔夠力去包容呢種可能性，所以manipulating嚟自呢度，唔知道除咗掉咗佢仲可以點。好執著呢。

一次在看Fata Morgana (dir. Werner Herzog)，其中一段在拍沙漠。當時眼順着太陽射在沙丘上的影子一直在追，而鏡頭一直在跑，想起「人在觀賞風景時眼睛所看的是什麼」的問題。在地平線上所見的山河與建築，好像都因為距離而令所有動靜壓縮成一條線，甚至覺得電影中提及的 “stillness” 和 “nothingness” 也是距離帶來的錯覺，或是用這二字概括兩方的距離與關係。所謂兩方，指的是自己和自己以外的，就連「他」和「她」和「它」都沒有，如看着電影裡沙漠章節中不停延伸的線，“May the earth emerge, and stand firm. And let the plain appear.”

Atelier Export 0.1——展期至8月18，得閒去兆基創意書院睇吓吧~🌻

一次在看Fata Morgana (dir. Werner Herzog)，其中一段在拍沙漠。當時眼順着太陽射在沙丘上的影子一直在追，而鏡頭一直在跑，想起「人在觀賞風景時眼睛所看的是什麼」的問題。在地平線上所見的山河與建築，好像都因為距離而令所有動靜壓縮成一條線，甚至覺得電影中提及的 “stillness” 和 “nothingness” 也是距離帶來的錯覺，或是用這二字概括兩方的距離與關係。所謂兩方，指的是自己和自己以外的，就連「他」和「她」和「它」都沒有，如看着電影裡沙漠章節中不停延伸的線，“May the earth emerge, and stand firm. And let the plain appear.”

Atelier Export 0.1——展期至8月18，得閒去兆基創意書院睇吓吧~🌻

一次在看Fata Morgana (dir. Werner Herzog)，其中一段在拍沙漠。當時眼順着太陽射在沙丘上的影子一直在追，而鏡頭一直在跑，想起「人在觀賞風景時眼睛所看的是什麼」的問題。在地平線上所見的山河與建築，好像都因為距離而令所有動靜壓縮成一條線，甚至覺得電影中提及的 “stillness” 和 “nothingness” 也是距離帶來的錯覺，或是用這二字概括兩方的距離與關係。所謂兩方，指的是自己和自己以外的，就連「他」和「她」和「它」都沒有，如看着電影裡沙漠章節中不停延伸的線，“May the earth emerge, and stand firm. And let the plain appear.”

Atelier Export 0.1——展期至8月18，得閒去兆基創意書院睇吓吧~🌻

一次在看Fata Morgana (dir. Werner Herzog)，其中一段在拍沙漠。當時眼順着太陽射在沙丘上的影子一直在追，而鏡頭一直在跑，想起「人在觀賞風景時眼睛所看的是什麼」的問題。在地平線上所見的山河與建築，好像都因為距離而令所有動靜壓縮成一條線，甚至覺得電影中提及的 “stillness” 和 “nothingness” 也是距離帶來的錯覺，或是用這二字概括兩方的距離與關係。所謂兩方，指的是自己和自己以外的，就連「他」和「她」和「它」都沒有，如看着電影裡沙漠章節中不停延伸的線，“May the earth emerge, and stand firm. And let the plain appear.”

Atelier Export 0.1——展期至8月18，得閒去兆基創意書院睇吓吧~🌻

@interval_in

We are pleased to announce the inaugural group exhibition, entitled “Atelier Export 0.1.”

Exhibition Opening: 3.08.2024 4PM
Exhibition Period: 3.08.2024 - 18.08.2024
Open daily: 11AM-7PM

Venue: HKICC Lee Shau Kee School of Creativity Gallery

Artists:
@christopheryanxd
@karietsui
@as.sleepyfish
@wetzdaan
@rain_san
@ititcheung

Supported by
Hong Kong Arts Development Council.