My Body As Her Vessel
Born in the year when Hong Kong was established as a SAR (Special Administrative Regions of China), many called us “the cursed generation” as every milestone of our education, namely the graduation ceremonies from primary school to university, had to be cancelled or impacted due to various social events. Since 1997, the aftermath of the social events has been lingering in our bodies. They are our birthmarks, wounds, scars, polyps, and tumours – they are part of us. As the children of 1997, we are tied with the city’s fate as we face our destinies together, whether to be or not to be.
Therefore, I transform my own body into the timeline of Hong Kong. The camera moves along the silhouette, starting from the tiptoe which signifies 1997, then moving upwards along the body in chronological order with Hong Kong’s events. Zoom-in to different parts of the body are scars, wounds, and miniatures referring to different local events which have shaped me as who I am and impacted my understanding of self-identity. These are the wounds and scars that made us.
Hong Kong has never been in equilibrium. Moving towards 2047, the body wriggles more violently, like a fish with its head chopped off. Only arrive half way, the year of 2022 when I turn 25 years old, the upper part of the body vanishes into thin air. Is it because the city beholds a bleak future or is destined to find the silver lining among the dark clouds?
於香港特別行政區成立年出生的我們，常被稱為「被詛咒的一代」，因為我們每個學業的里 程碑，都總會因社會事件而取消或受影響。從 1997 年起在這座城市發生過的事，就像胎 記、像傷口、像疤痕、像瘜肉、像腫瘤，與我的身體共存著。作為 97 的兒女，自己與香港 的命運似乎連繫了一起，唇亡齒寒。
我把自己的軀體化成一條大香港時間軸。鏡頭於我身體上移動，由腳趾尖喻作 1997 年開 始，順時序地於身體上慢慢向前推移。過程中於肌膚上疤痕、傷口、及擺設的微模型間穿 梭，與觀眾逐一審視那些影響我個人身份認同的事件。它們都是一些必要印記。
Hong Kong has never been in equilibrium。愈接近2047年，我身體的蠕動會愈強，猶如一 條被砍頭的魚。抵至身體地景中段，亦即我 25歲 的 2022 年，腰部以上的軀體都是消失 的。歸因香港已死，抑或需於混沌中探索重生?