Lost · Singularity
迷蹤 · 奇點
16/3 – 13/4 2024
The fear of the future stems from uncertainty. In the foreseeable future, artificial intelligence will penetrate our lives in unprecedented ways, venturing into uncharted territories. In this epoch-making process, will we, as ordinary individuals, move towards prosperity, succumb to destruction, or unexpectedly encounter the ultimate “singularity”?
As we dream of AI solving detestable tasks, as we instantaneously become professional photographers with high-end digital cameras, and as we habitually express emotions with emojis on our smartphones, our lives undergo subtle yet profound changes. Gradually, facial expressions become rare, language becomes monotone, and conversations dwindle due to fewer occurrences. Many tasks are automated, and even trivial matters may be forgotten.
This artwork delves into modern society from an artistic perspective, revealing the increasing reliance on smartphones and computers, forsaking genuine human interaction. Detail, language, and emotion seem discarded, as if everything is digitized. How can “love” be quantified on a scale of 1 to 10, yet hate and loss between 7 and 8 remain unaccounted for? Can emojis truly convey complex emotions? Have the emotions and eye contact in conversations been extinguished? Are the unheard subtle noises losing their significance? While humanity pursues internet speed, precious historical resources are lost, as humanity and events are formatted and digitized, emotions are reduced to zero, and passion is deleted outright.
The artwork’s visual approach attempts to express concrete concepts abstractly, breaking conventional lines and forms. Is it a pile of seemingly worthless waste paper or the intersection of various spirits and desires among people? Each encounter of colors, each overlap of points, is dramatic and unexpected. Vivid colors depict the minutiae of real-life, while the plot unfolds in a bewildering manner. “Nonexistence” coexists with “existence,” the ordinary “point” alongside the trigger of a cosmic shift, ensuring eternal hope…
人對未來的恐懼源於未知的不確定性。在可預見的未來，人工智能將以前所未有的方式深入我們的生活，開拓前所未有的領域。在這個劃時代的過程中，我們作為廣大的普通人，是否走向繁榮？還是陷入毀滅？抑或是在迷茫中意外發現劃時代的終極「奇點」？
當我們夢想著AI解決那些讓人厭惡的工作時，當我們使用高端數碼相機瞬間成為專業攝影師，當我們習慣用手機上的貼圖來表達情感時，我們的生活悄然改變。逐漸地，臉上的表情變得稀少，語言變得單調，說話變得減少，因為事情越來越少了。許多事情都被工具自動完成，就連一件微不足道的事情也可能被遺忘。
這作品以藝術角度深入探討現代社會，揭示了人們越來越依賴手機和電腦，以簡短的文字和圖貼來溝通，漸漸地放棄真實的人際接觸。細緻、語言和感動似乎被拋諸腦後，仿若一切都被數據化。將「愛」量化成1至10的數字，則7至8之間的恨與失落又何以交代？圖貼是否真能代表千言萬語？在對話中存在的眼神和情感是否已被消弭？我們聽不見看不見的零碎雜音，是否已失去價值？人類在追求網速的同時，卻流失了歷史上的珍貴資源，人與事被格式化、數據化，人情簡化為0，激情直接删除。
作品的畫面處理，正正嘗試以抽象來表達具象，把大家心目中應有的線條和立體都推倒，讓觀者看到的究竟只是一堆似是而非的廢紙，還是人與人之間的各種靈與慾的交集，每種顏色的遇見，每點的重疊交往，是戲劇性的？意想不到的？峰迴路轉的？斑斕的色彩描畫出真實人物生命的點滴，故事情節的發展撲索迷離，「不存在」與「存在」並存，普通的「一點」與觸發新宇宙大變的「奇點」同在，希望永遠存在…。
What does ‘Lost · Singularity’ means?
The main idea here is to highlight that when ordinary people see something seemingly insignificant, they may tend to ignore it or not give it much thought or respect. But does that mean it truly doesn’t exist? Not necessarily. In fact, it often means they haven’t seen the core of it, and this core might be more important than anything else.
主題迷蹤.奇點其實是什麼意思?
其實主要希望帶出，當一般人看到似是而非的事物，不起眼就代表可以不理，或不需理會或不尊重。而這就代表真的不存在嗎？並不是，其實是他們未看到核心，而且這更可能是比任何還重要。
Why the concept of collage?
This is actually quite an interesting and personal reason. I spent a long time in other creative mediums in the past and set aside painting. But when I wanted to pick it up again, I asked myself, what should I paint? How should I paint it? In the end, I chose to “not paint” anything; because no matter what I paint, viewers would inevitably compare it to my more representative art toys. So I chose to go directly abstract, not even using brushes.
為何有用拼貼畫的概念?
這個其實很有趣很私人的原因，因為過去我花了很長時間在其他創作媒介上，而放下了繪畫，但當希望從新pick up時在想，我究竟要畫甚麽？怎麼畫？最後我選擇了「不畫」任何；因為我畫甚麽，觀者都一定會拿我比較有代表性的arttoy作比較，所以就選擇直接地去抽象吧，連筆也不拿地去作畫。
Is pasting Chinese rice paper onto canvas meant to signify the intersection of East and West?
There wasn’t a deliberate intention to express the broad theme of East or West. I grew up in Hong Kong, where it’s easy and natural for me to use familiar materials. It just happened that this could be well utilized to express my ideas.
將中式宣紙拼貼於帆布上，是想帶出中西交匯的用意嗎?
其實並沒有刻意想表達中或西這個大主題，只是我成長在香港，很容易及理所當然可以運用到熟識的物料，正好這個可以好好運用和表達到我的意念吧。
How do you choose your themes?
Regarding themes, I believe it must be something I personally love. This is crucial! It must never be done just for the sake of doing it. I grew up in subcultures, surrounded by anime, movies, video games, etc. These are like flowing in my blood. Also, in my past work experiences, from advertising, illustration, art toys, to fashion, I frequently encountered these IPs and characters. It’s like my mode of communication and language with everyone around me, and thus, themes naturally emerge.
怎樣去選擇主題?
主題方面，我相信一定是需要我自己喜愛的，這很重要！絕對不能為做而做。我從小就在次文化中成長，動漫、電影、電子遊戲等，可以說這些都在血液裏流動。同時，在我過去的工作上，由從事廣告、插畫、arttoy，以至時裝等，經常地接觸著這些IP 及chatacter，可以說是我和身邊所有人的溝通模式及語言，而主題就悠然而生了～
Untitled 1, 2021
Acrylic and Chinese Paper Collage on Canvas
160 x 160 cm
In your works, there’s often a collage effect resembling blooming flowers. Is there a special intention behind it?
Simply put, I believe artworks have life; this is the core of the artwork. Like a miscellaneous flower sprouting from a seed, it belongs to the artwork itself.
作品中往往見到像花開的拼貼效果,是有特別用意嗎?
這個簡單地說，我認為作品是有生命的，這是作品的核心，由種子開出來的一杂花，是屬於這件作品本身的。
Are there any special messages you convey to the audience?
I hope the audience can set aside their identities, subjectivity, and ego, and return to the ignorant childhood days, where everything was a question and a desire for knowledge. Seriously observe the artwork, and I believe you’ll discover more, things that have always been around you but whose value you’ve overlooked.
還有什麼特別訊息傳遞給觀眾?
我希望觀眾可以放下身份、主觀、放下自己，將自己帶回無知的孩童年代，那種事事都會問、都想求知的純真，認真地看作品，相信你一定會找到更多，其實一直在你身邊，而你所忽略的價值。
About the Artist: Eric So
Transitioning from an professional in the 90s, embarked on a journey as an artist and creator in the realms of art and multi- media. He explored new horizons, from hosting art exhibi- tions to venturing into different innovative fields. His ground- breaking “The Art of Bruce Lee” exhibition propelled him beyond Hong Kong’s borders, gaining recognition world- wide.
Post-2000, he embraced action figures as a medium for his artistic expression, unleashing a plethora of creative ideas. With his adept sculpting skills and distinctive cartoon design style, he skilfully merged these two disparate elements in his works, giving birth to the term “Designer Toy.”
Beyond figure creation, he spearheaded trends and engaged in cross-border, cross-disciplinary collaborations, including art exhibitions, streetwear fashion, album packaging, and stage design. He embodied the belief that “life needs art, and art is ubiquitous,” embracing a humanistic approach to exis- tence.