leesumyi.

[leesumyi]

「寓形之間」李心怡個展 being within forms, leesumyi's solo exhibition 2026. 3. 6 – 30 張瀞尹策展 curated by chong chin yin POINTSMAN 香港西營盤第二街119號 119 second street, sai ying pun, hong kong 展覽及作品詳情 exhibition and artwork details

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理型 the form (two spheres – 10) 2025 cement and mixed media, water, glass container

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1:10 2025 cement, water, glass

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無題 一至七（潮汐沿海灣漲退，而我甚麼地方都不去。） Untitled 1 - 7 (Tide will rise and fall along the bay, and I’m not going anywhere.) 2023 水泥、陶泥、水、缸、不鏽鋼 Cement, clay, water, tanks, stainless steel 12 x 12 cm，一組七件 Set of 7

在屋主充斥東西的家居，藝術家對「過於中庸」的物品尤其著迷。在囤積空間中，每件物品自當有一個故事，但當囤積物的量詞由一件轉化成一屋，物件無可避免地被分級，一些價值和作用都過於中庸的物件，隨即被遺棄。藝術家挑選這些意義顯然不大的物件作為作品的主角，但並不着色於歌頌物件之美。她以陶泥及水泥重覆模塑每件物品，記錄物件殘存的物理記憶，再把乾固的生件投放水中——在沉澱、瓦解、散落之際，細看這些最後時光，也是開闢着新路，為療癒尋找出口，好好道別。 From the cluttered household, the artist is particularly fascinated by the mediocrity of objects. In a space filled with cluttered items, each object has a story. However, when the quantity becomes unmanageably overwhelming, the objects are inevitably being classified, and some objects with mediocre value and function are easily abandoned. The artist selected these seemingly insignificant objects as the protagonists of her work, but does not deliberately praise their beauty. She repeatedly molded each object with clay and cement, recalling the physical memories before they settle, decompose, and scatter. This is a new path for healing, seeking a way out, and bidding farewell.

《海上保險原則》The Principles of Marine Insurance, p. 64, Harold A Turner, published by Stone & Cox, London, 1976

presented in it's stuffy here (2023) wure area, Hong Kong

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1516 2002 - 2011, 2023 橡筋、鐵罐、短箋 rubber band, tin box, note 10.3 x 10.3 x 15.6 厘米 cm 藝術家家族藏品 Collection of the Artist's family

藝術家追問物件價值該如何被定義並應由誰來賦予，在面對去留之間，她所能作出的選擇與回應。在親人謝世後，執拾遺物時她發現一罐裝滿橡筋的鐵盒，在鐵罐十多年封存下，橡筋未如預期般被保存得完好無損，保存的初心亦無從稽考。

The artist explores the definition of worth of things, what and who determines it. She hopes to realize the choices when concerning what to keep and what to discard, and reflects on the response she could provide under such circumstances. After the passing of a family member, she discovered a tin box brimming with rubber bands that have been stored for over ten years. However, the rubber bands deteriorated, and the intention of storing the bands remains unclear.

presented in it's stuffy here (2023) wure area, Hong Kong

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《你我徘徊》李心怡個展 wandering two leesumyi's solo exhibition 22.11.2022 - 22.12.2022 渡日書店 to-day bookstore 更多詳情 more details

「徘徊」是一種關係，止於一剎，卻連綿往復； 「你我」以倆為單位，不失「我們」的一體性，並維持在二人的分明。 「你我徘徊」是一個流連於猶豫不決，揮之不去的狀態，離不開這種徜徉，是源於迷失還是執念？ “wandering” is relational, halt in a moment, yet reciprocate continuously; “you and me” as a binary, maintains the distinction within two individuals without loosing the unity of “us” “wandering two” is a state of lingering within hesitation and not letting go, was it lost or obsession that we are clinging to the wander?

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像永久……（中二版） seems forever......(chuu2 ver.) 2021/22 金屬扭帶、水泥、不鏽鋼 metallic twisted tie, cement, stainless steel 鉛筆、擦膠 pencil, rubber

有人說過，諾言只有聽的人記得。 一圈指環，一圈承諾；一步一沉，六點一續。 永恆的金，包着易鏽的承諾； 沉於堅實的水泥石中，成為無法再確認的事實。 Once heard, the vow is only remembered by the one who listened. the ring of promise; the ellipsis with six steps of descent. The perpetuity in gold, wrapping the rusted promise; sunken in the solid cement, keeping the truth that couldn't be kept.

presented in wait in the time of pandemic (2022) mediatorsrock, Hong Kong

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《如斯》 so as 2022 冬瓜的毛、水泥、羊毛氈、橡木 Donggwa’s hair, cement, wool felt, oak

你曾是個會呼吸的島 習慣使然 我總注視着 起伏有序的小丘 徐徐躍動的軟毛 還有呼嚕呼嚕 自深處吐出的安穩 你已是個被擱置的島 無法相信 糊了的視線 不再起伏的小丘 僅剩重力的軟毛 還有屏息—— ——靜止了的一切 那是你已遠去的信號 你漸褪去地面的溫度 並正闊步邁向那片 我無法跨越的海峽 如斯 我是永遠的遠方 爾是永遠的彼岸

you were once a breathing isle I habitually gaze at the undulating knoll slightly bouncing soft fur and the purr peace exhale from the depth you were a laid-up isle unbelievably, sight blurred the knoll no longer waves soft fur of slightest gravitational force and breathless – – stillness filled the absence that was your sign of departure your hitherto warmth from the ground pacing to that strait I could never cross so as I’m who ever aside you’re the other side

presented in 38.4 (2022) wure area, Hong Kong

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《踱步水泥上》李心怡個人展覽 pacing cement leesumyi solo exhibition 6 - 27. 9. 2021 艺鵠藝術空間 ACO art space 展覽及作品詳情 exhibition and artwork details

我們與「水泥」這種物料有着似遠還近的距離——每日踱步於上，更在它之中生活。 李氏視水泥為觸發她對日常聯想的媒介，以探索物料詮釋及雕塑化概念的可能性，重塑水泥的過程把她帶到自我冥思的層面，並把抽象的情感轉化，延伸至水泥物理形態以外的精神狀態中。同時，她把水泥的形態聯想成一個無形的群體——以水為媒、泥為本，水掀動並激活沈默的積土，使其匯聚成鞏固的一實體，賦予足以承受並改變逆流的力量——水泥可由一種物料，成為無數隱喻。 李氏在展覽中誠實陳述她所面對的交雜情感，着墨隱晦，卻是理性而輕描淡寫。她相信作品的本質只屬表象並不帶意思，所謂的意義都是由人的意志及詮釋開始。 Our relationship with the material “cement” is seemingly detached yet bonded—we pace on it every day, even living in it. Lee sees cement as a medium that triggers her daily associations to explore the possibility of material interpretation and sculptural concepts. The process of reshaping cement provokes her into a deeper state of contemplation and transforms her abstract feelings, extending the spiritual state beyond its physical form. Simultaneously, she correlates cement as a formless compound—where water is its medium and earth is its base. The water lifts and activates the stilled soil, mingles and converges it into a solid entity, allowing it to withstand and reverse the current. Cement has a tendency to morph into countless metaphors which are derived from one single substance. In the exhibition, Lee honestly articulates the complexity in the intertwined emotion she encountered, delivered with a sense of obscurity yet rationally and concealed. She believed the artwork is merely a representation without meaning, and all connotation is a manifestation of the will and interpretation.

[leesumyi]

無題（潮濕） Untitled (damp) 2021 cement, fabric, iron

春分／在緊閉的房間／只有那佈滿水珠的牆上／掛起了一份久久不散 潮濕是一段進行式／一組形容詞／也是一個命名／在浩瀚的辭海裡 受潮過後／分秒洗刷／水份已散落到空氣中／剩下被脫掉的殼／其到訪的㾗跡 房間還是緊閉著／那股悄然填滿整個空間／抓不住的氣息／不知是如何離開／或如何的來 也許都不太重要／因為關鍵已然褪成一片灰／在日照以外封存著／選擇後退／或被遺忘 直至某天／或許一切會滋長過盛／破牆而出／聚集氣息醞釀／讓潮濕再度重訪

presented in 溫床 the nest (2021) wure area, Hong Kong

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靜止的海，風在動。 Life is still looping, and I am still wandering. 2019 5-channels video ( loop, waves, !, catnap, dawn), colour, mute, loop

「生活本應是一條緩緩而進，偶爾悸動的水平線，卻忽然迎來了一個浪花；在浪裏蕩漾着，日落日出，週而復始。」 「恆常」被抽絲剝繭成一套形象化的規律，一段以點為基礎並持續循環的水平線，配上符合此規律的日常片段，表現她在此時間狀態下的反覆質問、解讀及覺悟。

“Life should be a steadily growing line and beats sometimes, but a wave came in a sudden; rippling in the waves, sun set before the dawn, and loop.” “Constant” is decoded into a pictorial sequence, a line that is fundamentally made up with dots loop continuously, together with the daily captures in lined with the sequence, she is attempting to present her repetitive doubt, interpretation and awakening in the state of time.

presented in bland blank (2019) experimental gallery, hong kong arts centre, Hong Kong

[leesumyi]

錯遇 Wrong encounter #1803201737 2018, 2019 Archival inkjet print, soap case, cement, hair, light

「這是恆常與家相遇的一刻。唯有拆解他們的相遇，我才了解為什麼對這畫面如此執迷。」 作品顯現了她對恆常感的執著，自一幀在家中浴室拍下的影像── 一個偶然覆蓋於靜物上的自然現象 ──而引申出的回應作品。 從詭異的水泥雕塑及燈光中，拆解攝影中所能見證到的時物關係。

"It is a flash when the sense of constant encountered home. Only by deconstructing their concurrence, I could figure out the reason of not letting go this particular impression." The work reveals her perseverance to the sense of constant through a photograph taken in her bathroom— a natural phenomenon casted on a still object. Consequently a responding work with the eeriness of the cement sculpture and lighting is created, to unveil the relationship between time and object that is seen in photography.

presented in bland blank (2019) experimental gallery, hong kong arts centre, Hong Kong

[leesumyi]

Sometimes I’m a part of the cityscape. 有時我是城市中的一片景象。 2018 Plastic coated stainless steel wire, artificial light source 包膠鋼索、人造光源

One night, I went on the tram after work, without planning my way. Staring at the sky, suddenly I found a flash was chasing from the back of the tram. The flash shines faintly in the dark, it should have been concealed in the darkness, but reflected the city lights and sparkled, blended into the embracive cityscape. 在某晚放工後，我坐上電車，如常望天打卦； 偶然發現漆黑的天裏有一線光，光追着車尾、若隱若現的閃爍着。 這線光暗藏在城市中，悄悄地借助街裏其他的光 －－ 連繫了彼此，也靜靜的塑造了自己。

presented in 靜觀默察 | observe/scrutinise/perceive gallery exit, Hong Kong

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Moons in the dead of night 夜闌兒 2018 2-channel video, colour, mute, loop 雙頻道錄像、彩色、無聲、循環播放

Look out from the windows, I could see the hills, and a few houses standing on the peak; Overlapping their shines with the road lights in the hills, they look like few drops of moon, lighting up my home at this side. 家裏的窗面向着山，山頂上有零星幾座樓房； 伴着山中的路燈，好像有幾群零散的月亮，照亮着這邊的家。

presented in 靜觀默察 | observe/scrutinise/perceive gallery exit, Hong Kong

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I was temporarily delayed. 我被耽誤了一段時間。 2017 Velvet ring box, metallic twist tie, wood 絲絨戒指盒、金屬扭帶、木 19 cm x 21 cm

A random found twist tie of the bread package was transformed into a ring, an easy promise props in the romantic drama. The ring was placed into an opened dedicated velvet ring box, like proposing. This is how the easy promise and solemn pledge dramatically met. / The artwork title was named under the naming rule set by the artist in the exhibition— to define a keyword for each artwork base on their core concept, and name artworks with the keyword’s sample sentences from the English dictionary. /

presented in - - / - - / - - (2017) and weight watcher (2018) kai tak campus, hkbu, Hong Kong kunstquartier bethanien, Berlin

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Keep a record of how much you spend-17/06/17 - 17/12/17. 把你所花的作一紀錄-17/06/17 - 17/12/17。 2017 Daily on walking canvas 日常行走帆布本 23.5 cm x 16 cm x 8cm more on www.instagram.com/ieesumyi

I try to question about the life of an object. I wore the shoes for half year, they were born to record and witness my life in this 184 days. / The artwork title was named under the naming rule set by the artist in the exhibition— to define a keyword for each artwork base on their core concept, and name artworks with the keyword's sample sentences from the English dictionary. /

presented in - - / - - / - - and weight watcher (2018) kai tak campus, hkbu, Hong Kong kunstquartier bethanien, Berlin

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She exists only on tea and bread. 她僅靠茶和麵包生活。 2017 Cement, white chrysanthemum 水泥、白菊 48 cm x 59 cm x 59 cm

The fresh chrysanthemums were buried in cement and be molded as a square sculpture, placed on a living lawn. The chrysanthemums were drained by the cement, withered and shrunk, some tiny gaps between their dried bodies and the cement shelter, left behind to be the evidences of their existence. Time is stored in the sculpture, while the sculpture became a new form of existence of the chrysanthemums, sustainably into a second life. / The artwork title was named under the naming rule set by the artist in the exhibition— to define a keyword for each artwork base on their core concept, and name artworks with the keyword's sample sentences from the English dictionary. /

presented in - - / - - / - - kai tak campus, hkbu, Hong Kong