Master and Apprentice
22 October – 30 November, 2022
(extended to 23 Dec, 2022)
Sansiao Gallery HK
1/F, Room 104 - 5 Wilson House, 19 - 27 Wyndham Street,
Central, Hong Kong
Guest Curator: Chun Poon
Tseng Kwong Chi
Christopher Makos
Sansiao Gallery HK and guest curator Chun Poon are pleased to announce their upcoming exhibition “Master and Apprentice”. The exhibition showcases the works by Hong Kong-born American photographer Tseng Kwong Chi and American photographer Christopher Makos from the Sansiao Gallery collection and unveils new works by the Hong Kong visual artist Rachel Hiu-Yin Ip.
Sansiao Gallery與客席策展人潘臻攜手呈獻《Master and Apprentice》展覽，展出Sansiao Gallery畫廊精選藏品中，出生於香港的美國華裔攝影師曾廣智，和美國攝影師Christopher Makos的作品，以及香港視覺藝術家葉曉燕的新作。
Rachel Hiu-Yin Ip
In theory of master-apprentice relationship, master represents the establishment - matters that are defined, secured and certain; apprentice symbolises revolution - matters that are open to interpretation, mutable and uncertain. This uncertainty, however, breeds changes and innovations. Master offers experiences and knowledge to apprentice, and apprentice creates experiments and new ideas.
以師徒關係論來說，Master「師父」代表已公認的，事物是肯定的、安全的和確定的。Apprentice「徒弟」象徵著革命，事物是不肯定的，多變的，不確定的。然而，不確定性會導致變化及創新。師父能為徒弟提供經驗和知識，而徒弟創造出新的實驗和新的想法。
Rachel Hiu-Yin Ip
When photography was introduced in the early 19th century, many people thought painting would be dead soon. However, painting has instead evolved philosophically and transformed aesthetically throughout the modern era to the contemporary days. The new technology of photography encouraged innovation and creativity in the traditional art form of painting, with both art forms blooming since then. This is not that an apprentice must replace a master, but it is possible for both to develop together. This development demonstrates a fascinating concept of master-apprentice relationship: by bringing together the inherited knowledge and experience from a master and innovations of an apprentice, this will evolve into something completely new.
在19世紀初當攝影發明之後，許多人認為繪畫已經沒有存在的意義。但是從現代藝術到當今發展，繪畫在哲學和美學上都發生了巨大的蛻變。攝影新技術激發了傳統繪畫藝術形式的創新和變革，繪畫和攝影自此並肩蓬勃發展。這不是徒弟必須取代師父，而是共同進步。這發展顯示了一種更迷人的師徒關係的概念，繼承了師父的知識和經驗，結合了學徒的創新和變化，演變成全新的面貌。
