Artist Statement
Three years ago, in 2017, I embarked on a journey through Malaysia, filled with anticipation and a sense of the unknown. Despite lugging around a backpack nearly as large as myself, I eagerly delved into the exploration of local textiles, culture, and the sharing of my expertise in Cyanotype.
Cyanotype, also known as ferro-prussiate printing, is an ancient photographic printing process reliant on direct sunlight. Factors such as light angle, exposure duration, and choice of medium significantly influence the final outcome—a striking blue and white image commonly referred to as a blueprint.
While capturing moments on my phone during my Malaysian travels, I continued to push the boundaries of cyanotype printing. Serendipitously, it was curator Him Lo who stumbled upon my early cyanotype works in Malaysia and became the catalyst for a collaborative endeavor between myself and Ms. Jody Kan.
To me, the blueprint represents not only a tangible plan for the future but also a call to action. Without implementation, a blueprint remains a mere abstraction, never materializing into reality. This concept mirrors the preservation of our history and culture; if we fail to pass down our knowledge, it risks fading into obscurity. Just as my journey to Malaysia paved the way for my present work, the execution of our plans is essential for their fruition.
My artistic odyssey delves into the essence of history, as I present my creations today while imparting knowledge to inspire future generations.
藝術家自述
三年前， 勇字行頭 ， 沒有百分百的信心，我背着有我⼀半⾼的露營包在⾺來西亞不同的州份探索當地的布藝， 同時向當地人分享我⾃學的古老顯影工藝-藍曬。
藍曬，⼜稱為氰版印刷，是透過日曬的洗禮， 然後讓清⽔慢地顯影，隨著光的⾓度、曝光時間量，甚⾄紙張、布等媒介的影響來逐漸構成藍白色影像作品。 在過去三年的旅途，除了用手機去拍攝一點一滴，我仍然努力鑽研藍曬還未被發掘的可能性。
出發前的我萬萬沒想到，在馬來西亞創作的藍曬作品會吸引了策展人 – 盧樂謙，然後他還牽線搭橋，撮合了我和旗袍堂的⻘青老師今次的合作機會。我因而認識了五幅裁， 亦加深了我對中華⽂化背後的歷史和概念。
在中⽂語境中，藍圖⼀詞通常引申為一種對未來的構想或計劃。
設計藍圖是為了激勵我們向目標進發，向心中嚮往的未來一步一步去實踐。 如果沒有行動，藍圖只會停留在嚮往的階段，只有確實地去實踐，才會擦出新的花。
就如同我當初如果沒有出發去馬來西亞，今天我的作品或許就不會呈現在南豐紗廠。 要記住很多事物會在歷史洪流中遺失，華夏文化的未來是掌握在每一位後⼈手上。若然今天我的作品能掀起你心中的漣漪，希望在不久的將來，你會繼續考究歷史真諦，把它傳承開去，繼續啟發後人。
黎嘉玲
This artwork comprises ten pieces of fabric prints, each with a width of 37 cm. Under the guidance of Ms. Jody Kan, my mentor in traditional Chinese gown craftsmanship (wufucai), I mastered the art of fusing fabrics using time-honored stitching techniques. Though seemingly straightforward, these methods ensure both simplicity and durability, reminiscent of the resourceful approach adopted by ancient Chinese artisans when creating garments under constraints.
Known as “Five pieces of cloth” (Wufucai), this gown stands as one of the earliest embodiments of traditional Chinese attire. Its name originates from its construction, which entails five distinct pieces of fabric, each measuring 37 cm in width—a dimension reminiscent of the length of a Tang Ruler from ancient China.
I hand-stitched the gown using lightweight, semi-transparent fabric, specifically chosen to produce an enchanting x-ray effect in the prints. My intention is to offer my audience a unique perspective, allowing them to discern the intricate details of the stitching and layers composing the gown.
I chose to display my creation vertically, symbolically unfolding the process of its construction. The initial print in the front row represents the first layer of the cloth, while the subsequent rows gradually unveil the completed gown, offering viewers a journey through its evolution.
關於五幅裁
五幅裁是青青老師 (祺袍堂-五幅裁)從禮記的深衣篇，研究出用一尺布覆五層，而裁出一個沒有任何浪費的衣衫。
外觀很接近祺袍，沒有西方的裁剪在裹面，做的時候沒有方程式計算，也沒有固定紙樣跟著做。
前人日夜不懈地投注心力磨練手藝，
為生產出滿足使用者需求的作品而努力。
每一種花紐樣式都代表著不同的祝福，
但又有幾多位後人能看得懂？
透過氰版攝影， 用陽光複印傳藝精神，留下一份給
下一輪孩子的備忘錄。
Predecessors devoted themselves day and night to honing their skills, exert themselves to produce works that meet the needs of users.
Each Chinese button knot represents a blessing,
but how many young generations can understand?
Through cyanotype printing, make a copy of the spirit with sunlight and leave a Memo for the next round of children.
Visual Diary 2020
Cyanotype on fabric with alum, flour & thread
We all have to start from somewhere.
Don’t be afraid to fulfil your blueprint.
This book will always reminds me of the past 5 months wonderful journey with Him Lo’s Art Team at the Mills.
Thank you to all my friends in HK & Malaysia. I won’t be able to make it without their help and support.
重新整理自己由二月份開始畫的草稿和實驗品，再次回憶起初時的無力感。
日後這本書再提醒我:
不要害怕，一切都可以從零開始，放手去做。
展覽詳情 Exhibtion Details
Lai Garling X Qipao Tang
Date: 4/7 – 30/8/2020
Time: 12- 6pm (Mon – Sun)
Location: Studio 104A , 1/F The Mills 南豐紗廠, Hong Kong
過去的報導:
Artist Guided Tour
Coronavirus is continuing its spread across the world and Hong Kong has new social distancing regulation. Therefore I have decided to create an online guided tour for people who are curious to know more about me and my works.
22/7/2020
Lai Garling 
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