([[o]]) Bells: The Resonance of Perceptions
([[o]]) 鈴：感知共振
Opening: 01/02/2026, Sun, 1430-1630
Date: 30/1-22/2/2026 (Wed-Sun, Closed on public holidays)
Opening hours: 1330-1900
([[o]]) Bells: The Resonance of Perceptions is a solo exhibition by Tang Tsz Wai Cheri, presenting the birth and convergence of sounds yet to be formed. As a quiet response to the city’s rhythm and flow, it is a practice of focused discipline: patiently listening to the latent resonance between mind and clay before it is ever fired. This practice of listening to the soundless originates in the clear, immediate acoustics of childhood: the distinct thud of rubber and ring of metal in a playground, an early awakening to how materials speak.
In the studio, this listening becomes tactile perception. At the wheel, porcelain, stoneware, and grogged clay each reveal their distinct physicality, subtly foretelling their future voices. The bells that emerge are forms shaped by imagined sound, giving rise to a living acoustic archive—one that grows, recording the latent potential of matter.
The exhibition is composed of two interwoven parts: a series of works realized by the artist alone, and two collaborative works developed from this archive. A responsive sound environment, created with engineer Dmitry Po, takes the archive as its core; its tones transform quietly with micro-events in the gallery—a shift of air, a change of light, each giving rise to nuanced variations. A video work made with dancer Bowie Siu transposes the making of bells into a vocabulary of movement, materializing waiting into bodily expression.
This exhibition is also made possible with the support of the inaugural Indige Studio Award, which artist Tang Tsz Wai Cheri (graduate of Hong Kong Art School / RMIT University Bachelor of Arts in Fine Art) is honored to receive. The studio provides the venue and support for graduates to realize their first solo exhibition.
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（[[o]]）鈴：感知共振 是鄧芷蔚的個展，是各種未成之聲的誕生與碰撞。作為對城市節奏流變的靜謐回應，它是一個專注的修習實踐：耐心聆聽燒製之前，心靈與陶土之間的潛在共鳴。「無聲之聲」的實踐，源自童年清晰而直接的聲響經驗：遊樂場中橡膠的悶響與金屬的清音，正是物質如何言語的啟蒙。
在工作室裡，這份聆聽化為觸覺感知。在拉坯機上，瓷土、陶土與摻砂陶泥各自展現其獨特物性，隱約預示著它們未來的聲音。由此成形的鈴，其形態由想像中的聲響塑造，從而建立起一個鮮活的聲音檔案——能夠持續增長、紀錄物質潛能。
此次展覽由兩個互相交織的部分構成：一部分是一系列由藝術家獨立完成的聲音檔案，以及兩件由此檔案延伸、與其他創作者共同發展的創作。與工程師 Dmitry Po 合作的響應式聲音裝置，以此檔案為核心，其聲調隨著展場中微小事件而產生變化——一陣氣流，一道光影，足以誕生千般幻變。與舞者 Bowie Siu 創作的影像作品，則將製鈴的過程轉譯為一套動作的語彙，將「等待」具象化為身體動態。
本展覽的呈現，亦源於藝術家鄧芷蔚（香港藝術學院／皇家墨爾本理工大學純藝術文學士畢業生）榮獲第一屆 Indige Studio Award 的支持。本陶藝社支持並提供展覽空間，為畢業生提供實現首次個展的機會。
Exhibition text — Chinese version by Chan Ying Tung Angela
展覽文字 — 中文版本由陳映憧撰寫
Visual Design by Lam Man Chi
視覺設計: 林文枝
Photography by Poon Tsun Kit Harry
攝影：潘浚杰
Artworks
1. ([[kines o thesia]])
2025
single-channel video, color, 14’13”, performed by Bowie Siu
2. ( ( o > ) ( < o ) )
2025
wooden oval table, wooden mallets, parts of call bells, Arduino, wires
3. park
2025
4R photobook
4. ([[o]]) Bells
2024-2025
porcelain, stoneware, clay slips, parts of call bell, solenoids, Arduino, wires, PCB boards and wooden mallets
5. ([[o]]) Bells [Lai Chi Wo]
2025
wild clay, clay slips, parts of Call Bell, Solenoids, Arduino, Wires, PCB boards and Wooden mallets
6. ([[o]]) on ([[o]])
2025
porcelain, stoneware, glass plate, transducers, sound installation, webcam, Max/MSP & Java programmed by Dmitry Po
park
2025
4R photobook
A photographic return to my childhood park—the place where I met my first playmate, forged my earliest community ties, and glimpsed the wider world.
By photographing from the low vantage point of my younger self, I isolate the sensory fragments that first captivated my attention: the texture of a slide, the scale of a step, the rust on a chain. These images are more than nostalgic snapshots; they form an investigation into the origin of my perception. The park is framed as the foundational ground where my way of seeing and my sense of connection began.
這是一次攝影的重返，回到我童年的公園——那裏是我結識第一位玩伴、建立與社區的連結，並窺見廣闊世界的起點。
透過重現幼年的低矮視角，我凝視那些最初定義我感知的碎片：滑梯的質地、階梯的尺度、鐵鏈的鏽痕。這些影像並非懷舊的快照，而是對「自我感知如何形成」的探查。它們將這座公園確立為我「觀看」方式與「連結」意識共同萌芽的奠基之地。
( ( o > ) ( < o ) )
2025
wooden oval table, wooden mallets, parts of call bells, Arduino, wires
( ( o > ) ( < o ) ) is a kinetic and sonic tracing of artistic origin. Dismantled call bell components are mounted on an oval table and struck by automated mallets in programmed call-and-response. The rhythm of this loop is tuned to the exhibition space, transforming the body’s memory of playground mechanics into an audible, self-reflective field that resonates with its environment.
( ( o > ) ( < o ) ) 是一次以動力與聲響進行的創作溯源。作品拆解呼叫鈴部件，安裝於橢圓長桌兩端，藉自動木槌的叩擊形成編程的召喚與回應；其迴路的節奏與展場空間相應，將身體所記憶的遊樂場邏輯，轉化為一處可聆聽的、與環境共振的自反場域。
([[kines o thesia]])
2025 | single-channel video, color, 4’25”, performed by Bowie
This collaborative work with dancer Bowie translates the tactile process of bell-making into a movement vocabulary. Through weight, suspension, and breath, it gives physical form to the intangible yet crucial state of “waiting” inherent in ceramic slip casting and moulding. The dancer’s body embodies the clay itself, expressing its material tension and transformation. The work visualises the silent forces of time and gravity that shape both material and idea, framing creation as an act of bodily anticipation and emergence.
本作品與舞者Bowie共同創作，將製鈴的觸覺過程轉化為一套身體語彙。通過身體的重量、懸停與呼吸，它為陶瓷注漿與塑模過程中至關重要卻無形的「等待」階段賦予了物理形態。舞者的身體詮釋了陶泥本身，體現其材質的張力與轉化。作品使塑造物質與意念的無形之力——時間與重力，從而將「創造」呈現為一種蘊含期待與誕生的身體行動。
Dialogue with Bowie
([[o]]) on ([[o]])
2025 | porcelain, stoneware, glass plate, transducers, sound installation, webcam, Max/MSP & Java programmed by Dmitry Po
A collaboration with engineer Dmitry Po, this installation uses ceramic forms to explore sonic feedback, allowing environmental sound to be heard through material resonance.
The work consists of two ceramic arrangements with exposed transducers oriented upward and downward: one a stack of older vessels, the other an open vessel supported by a transducer on a ceramic base.
A microphone captures gallery sound—struck ceramic bells, ambient noise, visitors’ voices—while a webcam tracks subtle spatial movement. These inputs are processed through a responsive system where visual shifts modulate the audio. The transformed sound is then played back through the transducers attached to the ceramics, sustaining a continuous dialogue between environment, presence, and form.
與工程師 Dmitry Po 合作，此裝置運用陶瓷形體探索聲音反饋，讓環境聲響透過物質共振而被聽見。
作品包含兩組陶瓷結構與外露的共振喇叭：一組由舊作容器堆疊而成，另一組則以陶瓷為基座，承托著開口容器與共振喇叭。
麥克風收錄展場聲音——陶瓷鈴響、環境底噪、人聲——同時網絡鏡頭捕捉空間中的細微動態。輸入經由即時系統處理，視覺變化調制聲響，轉化後的音訊透過陶瓷上的共振喇叭播放，在環境、在場與形體間形成持續的對話。
Dialogue with Dmitry
([[o]]) Bells
2025 | porcelain, stoneware, clay slips, parts of call bell, solenoids, Arduino, wires, PCB boards and wooden mallets
A study born from tactile imagination. Through seven clays and seventy gradual mixture trials, it accumulates into an audible archive of matter. Porcelain slip is incrementally blended; the same clay brushed onto the structure, preserving the unfired state and extending the material dialogue.
From the seventy bells, nine are drawn as fate dictates. Struck at intervals by mechanism, their sounds reverberate briefly through the space, forming a composition of the moment.
本作品始於觸覺想像的研究。以七種陶土、七十次比例實驗，積累為可聆聽的物質檔案。瓷泥漸次調配，泥漿塗覆結構，保存土未燒之狀態，亦延展了材料對話。
七十個鈴，在展覽中隨緣擷取九件。裝置間歇敲擊，聲在空間中迴盪，遂成片刻的樂章。
([[o]]) Bells [Lai Chi Wo]
2025 | wild clay, clay slips, parts of Call Bell, Solenoids, Arduino, Wires, PCB boards and Wooden mallets
With a single form, continuously recording the frequencies of different lands.
以同一腔體，持續收錄不同土地的頻率。