Echoes of Void
空白的回聲
“Silent Echoes: Letting scattered whispers shape the space.” This exhibition brings into focus the overlooked, the discarded, and the marginal—fragments of daily life often swept away.
「空白回聲，讓被吹散的細聲成為場域的形狀。」展覽希望把日常中被忽視、被清除或被視為邊緣的事物呈現於展覽之中。
Part 1: Drift with the Wind
Mixed media installation , 2026Part 2: 3 x 6 feet
Interactive Installation, 2026
互動裝置, 2026Artist:
鍾詠珊 Chung Wing Shan
馮穎琳 Fung Wing Lam
廖家明 Liao Jiaming
曾靖敏 Tsang Ching Man Elyse
鄧芷蔚 Tang Tsz Wai Cheri
hirsk
吳錦泉師傅
The show unfolds in two parts—“Gaze” and “Listening”—as a group’s interpretation of Pun Han Sin Koon. It invites visitors to experience how fragments casually scattered in simple daily routines are reassembled and re-situated within a confined space. “Gaze” and “Listening” form a continuous shift of attention: “Gazing” through the traces left behind, and “Listening” through the connections caught within the space.
“Drift with the Wind” focuses on traditional seal carving, where powder is often regarded as useless. When the seal-carving tool presses down and the master blows and brushes, the powder becomes a product of negative space—dispersed, swept aside, and vanished into a series of simple gestures. The work collects those powders that are meant to be discarded, placing them into a rotating vessel so they continue to flow. Here, the powder is no longer merely neglected debris; it becomes an echo of negative space and a fragment of names.
“3 x 6 feet” focuses on the essence of the shop and the master’s relationship to it. Within a working space measuring only 3 x 6 feet, a radio serves as a medium connecting to the outside world, interwovenwith customers’ inquiries. Listening becomes an essential mode of perception in the shop—an attention that reaches out toward people and things nearby. The work attempts to compose a sound map: chatter from all directions, the quick passage of moving workers through narrow lanes, and information drifting in from the radio at the back—these layers intersect. Through active listening, visitors enter the soundscape and come to know a corner of Man Wah Lane.
The exhibition does not seek to restore a pure original form. Instead, it presents how fragments and frequencies within negative space are made visible and audible in the present—and how, through the viewer’s intervention, what has been overlooked can be reintroduced as the starting point of narrative.
展覽以「凝視」與「聆聽」兩個部分呈現小組對於半閒山館的詮釋。體驗如何以那些在簡單日常吹散的片段重組於狹小空間中在此被重新安置。凝視由印章雕刻落下的碎屑，聆聽於空間中所捕捉的外界聯繫。
《張揚》聚焦於傳統印章雕刻中常被視為無用之物。篆刻刀用力按下，師傅一吹、一撥，粉末便是負空間的產物，它們被揮散、被清掃，消失在簡單的動作之中。作品旨在收集那些理應被丟置的粉末，並置入旋轉器皿內持續流動。粉末在此不再是被忽略的碎屑，而成為負空間的回聲與名字的碎片。
《3 x 6 尺》則關注店舖的本質與師傅自身的關係。在僅有3 x 6 尺的工作空間中，收音機作為聯繫外界的媒介，並穿插客人的查詢。聆聽成為了店舖中一個重要的感知，探視身邊的人和事。作品嘗試製作一張聲音地圖：四方八面傳來街坊的嘮叨話語、搬貨工人的穿梭聲響，與後方收音機傳來的資訊彼此交疊。觀眾透過主動聆聽（active listening）進入聲音景觀，以聲音認識文華里的一角。
展覽並不意在復原一個純粹的原貌，而是在當下呈現負空間裡的碎屑與頻率如何被看見、被聽見，並在觀者介入中將被忽略之物重新呈現為敘事的起點。
