Cordelia Tam
Visual Arts Center Art Specialist Course 2025 Graduation Exhibition . Hong Kong
Silent Narration
As a visual artist working primarily in installation, I entered the seven-month program without any background in painting, drawing, or printmaking. This journey of discovery infuses the works with a fresh sensitivity to technique and material, revealing how each medium offers its own language of expression and opens new pathways for reflection. This series of work Silent Narration invites viewers into a space where silence embraces both absence and presence, to articulate perception, memory, and emotion. Through painting, drawing, and printmaking, the series examines how restrained mark-making and limited palettes can evoke our inner landscapes.
Silent Crimson, 2025, oil and acrylic on canvas, 100 x 80 cm
Silent Crimson unfolds in deep, vivid red tones, creating an atmosphere that is at once intense and tranquil. The artist deliberately chose this striking red to convey a whisper-like stillness; the contrast between color and emotion not only heightens the work’s emotional tension but also guides viewers to reflect on the subtle relationship between presence and absence.
Silver Drift I, 2025, graphite on paper, 120 × 85 Silver Drift II, 2025, graphite on paper, 120 × 85 cm
Silver Drift I & II , the two graphite drawings on black paper, each depicting a solitary cloud suspended in darkness. The images are built line by line with disciplined vertical and horizontal strokes from a mechanical pencil. This regular layering blurs the boundary between form and atmosphere and yields a subtly soft, textured surface. Without light the clouds in a dark sky would remain invisible. Graphite’s ability to convey both shadow and faint luminosity makes it the ideal medium for these works, while the deep black paper becomes a night sky or a subconscious void. By inverting traditional tonal relationships, the clouds appear as luminous presences rising from shadow. The dialogue between light and dark, material and method prompt reflection on impermanence, being, and the fleeting passage of time.
Echo of Woodland I 2025, Etching on paper,120 x 90cm Echo of Woodland I 2025, Etching on paper,120 x 90cm
Echo of Woodland I & II, two etched woodland scenes unfold on paper: one drawn with a single linear gesture, the other built through repeated impressions that nearly saturate the surface. Though composed differently, both works transform mechanical processes into a poetic rhythm. Deep blacks and soft tonal gradations evoke the quality of charcoal drawing, blurring the boundary between printmaking and painting. This deliberate blurring reflects the artist’s interest in the distinctive properties of different pictorial media. Each impression—its fading, misalignment, and imperfection—echoes the distortions of memory and the passage of time. The artist explores this hybrid space where process becomes narrative, and the viewer becomes a traveler wandering among presence, absence, and traces.
《靜述》
作為以裝置作品為主的視覺藝術家，我在報讀這個七個月的課程時，沒有繪畫、素描或版畫的經驗。這段探索之旅為我的作品注入了對技法與材質嶄新的敏感度，讓我體會到每種媒介皆擁有獨特的表達語言，並開啟了全新的思考途徑。
作品邀請觀者進入一個靜默中包含缺席與存在意景的空間去訴說認知、記憶與情感。透過繪畫、素描與版畫，該系列探究如何以克制的筆觸與有限的色調喚起我們的內心景觀。
《緋靜》2025年，油彩與壓克力彩，畫布，100 × 80 公分
《緋靜》以深沉的鮮紅色調鋪展，營造出一種既強烈卻又寧靜的氛圍。藝術家刻意選擇了這種鮮明的赤色，來表現一種低語般的寧靜感，這種色彩與情緒的對比，不僅增強了畫面的情感張力，也引領觀者深入思索存在與缺席之間的微妙關係。
《銀光浮影 I》2025年，石墨，紙本， 120 × 85 cm 《銀光浮影 II》2025年，石墨，紙本 ，120 × 85
《銀光浮影 I &II》這兩幅石墨畫繪於黑色紙上，各自描繪一朵懸浮於黑暗中的雲。影像以細膩而逐行構築的線條完成，以鉛芯筆有紀律的細直與橫向筆觸反覆施劃。這種規律的疊擦模糊了形態與氛圍的界線，造就一種微妙的柔軟感的表面。當沒有光的時候，黑暗天際裡雲朵將不可見。石墨正是能同時傳達陰影與微光的獨特性，使其成為此作的理想媒材，而深黑紙張則成為夜空或潛意識的虛域。藉由顛倒傳統的明暗關係，雲朵彷彿作為自陰影中升起的光亮存在。光與暗、材質與技法之間的對話，引發對無常、存在與時間短暫流逝等深刻主題的沉思。
《重林 I》2025年，蝕刻版畫，紙本， 120 × 90 公分 《重林 II》2025年，蝕刻版畫，紙本， 120 × 90
《重林 I & II》兩幅蝕刻林景於紙上展開，一幅以單一線性描繪，另一幅則透過反覆壓印幾近填滿整個表面。儘管構成不同，兩件作品皆將機械化的製程轉化為富有詩意的節奏。濃重的黑與柔和的灰階過渡喚起炭筆畫質感，模糊了版畫與繪畫之間的界線。這種刻意的模糊反映出藝術家對不同繪畫媒介特質的興趣。每一次壓印所呈現的褪色、錯位、不完美——都回響著記憶扭曲與時間流逝。藝術家探索這個混合空間，讓過程成為敘事，觀者則化身為在存在、缺席與痕跡中徘徊的旅行者。