([[o]]) Bells @ deTour 2025 Design Festival - The Shape of Yearning

2025

Porcelain, Stoneware, Dark stoneware, Parts of Call Bell, Wooden Mallets, Solenoids, PCB Boards, Arduino

Each type of clay reveals its unique character through distinct textures that produce its own resonant note. This synesthetic journey transforms tactile sensations into sound and visual imagery, where every form embodies its own personality, uncovering the intrinsic essence of the material. A dynamic dialogue emerges between touch and hearing, and as their hidden melodies await discovery, a composition begins to take shape.

在數字化時代，人們習慣滑手機、看屏幕，真實的觸感日益消褪。《([[o]]) Bells》透過可觸摸的陶藝裝置，探索陶泥質感與聲音之間奇妙的感官聯繫。陶土的物理特性被轉化為聲響，每一種陶泥形態各異、質地獨特，激發特有的共鳴音韻。創作者邀請觀眾開啟一場聯覺之旅，在觸覺與聽覺間交織出動態對話。當隱藏的旋律靜待發掘，一首樂章便悄然成形。

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Words by Curator Adonian Chan at deTour 2025 - The Shape of Yearning

Layer 1:

It is a tactile sonic object countering flat digital gestures, restoring sensory intimacy through weight, vibration, and resonant sound.

Layer 2:

The work critiques modern auditory detachment while reconnecting to clay as primitive earth and origin.

Layer 3:

The clay is a metaphor for human character — rough, imperfect, sensual, expressing a collective longing for authentic connection with each other and the physical world.

第 1 層：

以可觸摸的聲響物件對抗扁平的數位手勢，透過重量、震動與共鳴聲激發感官互動。

第 2 層：

批判現代聽覺疏離，並與象徵原始大地與起源的陶土重新連結。

第 3 層：

陶土象徵人性——粗糙、不完美、感性；表達人類渴望與彼此和物質世界建立真實連結的共同情感。

The production of the Artwork was financially sponsored by the PMQ Management Company Limited, Organiser of deTour 2025 - Design Festival

([[o]]) ([[o]]) Series

Each ceramic bell, with its unique clay body and form, possesses an irreplaceable voice. When the two are paired, it is no longer a monologue. A warm, profound tone engages with a clear, resonant chime—questioning, responding, and intertwining.

This is a dynamic dialogue, shaped by touch and manifested through sound. They explore the essence of being with their distinct voices, composing a silent movement about resonance in the spaces between silence and sound. As the hidden melodies awaken one another, a composition, realized through material and space, quietly comes into being.

每一只陶鈴，因其泥料與形態的獨特性，而擁有無可替代的嗓音。當兩者相伴，便不再是獨白。溫潤深沉的音色，與清亮通透的迴響，彼此叩問、應和、交織。

這是一場以觸覺塑造、藉聽覺呈現的動態對話。它們以各自的聲線，探問存在的本質，在靜默與鳴響的縫隙間，譜寫一首關於共鳴的無聲樂章。當隱藏的旋律被彼此喚醒，一部由物質與空間共同完成的曲作，便悄然誕生。

([[o]]) ([[o]])

2025

Porcelain, Stoneware, Dark stoneware, Parts of Call Bell, Wooden Mallets, Solenoids, PCB Boards, Arduino

([[o]]) ([[o]]) 1 | ([[o]]) ([[o]]) 2 | ([[o]]) ([[o]]) 3

2025

Porcelain, Stoneware, Dark stoneware, Parts of Call Bell, Wooden Mallets, Solenoids, PCB Boards, Arduino

漂流物

2025

荔枝窩村的天然泥土、稻草灰、石頭、木材、樹枝、樹葉、銀葉樹果實、麻繩、帆布、陶瓷殘片、村民的柴火灰燼與鐵鍋

陳明駿、何濼聰、鄧芷蔚、王澤文

這些發現源自與村民言談和在村落環境的探索，受荔枝窩「三縱九橫」的建築佈局啟發而作分類整理。它們本互不相干，卻在此地相聚，彼此影響、塑造。

作品運用荔枝窩的泥土與養分，銘謝村民的熱情款待。村民在山林間遊樂，在我們眼中正是「創作」。我們凝視村內僅存四幹的五指樟樹所承載的歷史，由一隻跳脫的橙色膠水杯，感受到村民的隨遇而安，是得來不易的簡單與喜悅。

Drifted Findings

2025

Wild Clay, Straw Ash, Stone, Wood, Branches, Leaf, Fruit of Heritiera Littoralis, Ceramics Remnants from Lai Chi Wo Village, Wood Ash and, Wok from Villager

Calvin CHAN, HO Lok Chung Dave, TANG Tsz Wai Cheri, Yanis WONG

These findings originated from conversations with the villagers and explorations within the village environment. They were sorted and categorised, inspired by Lai Chi Wo's "Three Vertical, Nine Horizontal" architectural layout. Though initially unrelated, they gathered here, influencing and shaping one another. To the artists, the villagers' leisurely lifestyle amidst the mountains and forests is itself a form of "creation."

The soil and nourishments from Lai Chi Wo in our work are to express gratitude for the warm hospitality of the villagers. We contemplate the history carried by the four-trunked "five-fingered" camphor tree, sipping tea from a strikingly vibrant orange plastic cup. We sense the villagers' philosophy of contentment with circumstances - a hard-won simplicity and joy.

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