Through form, all things come into being. Neither fixed nor absolute, form is a continuous state of becoming through which the unseen gradually reveals itself. Matter and spirit, memory and imagination, thought and emotion are not separate conditions, but different manifestations of the same unfolding process. Form is not merely what appears; it is the trace of transformation itself.

Bringing together seven artists from Hong Kong, Indonesia, France, Lithuania, and Germany, FORM explores the many ways in which shape emerges through artistic practice. Across ceramics, photography, installation, painting, and textile works, form is examined not merely as an outward appearance, but as a process of transformation, perception, and becoming.

Ailsa Wong’s paintings draw from automatic drawing and subconscious imagery, unfolding as inner landscapes where nervous systems, spiritual ecologies, and animistic cosmologies intersect. Through ink and embroidery,chaussette b. traces parallels between bark, roots, skin, and memory,nexploring how time leaves its mark upon both the body and the natural world. Gedvile Bunikyte’s geometric paintings translate inner energies and states of consciousness into luminous compositions informed by sacred geometry and practices of self-cultivation. Jendrik Schröder’s photographic series Leaf Studies transforms fallen leaves into an exercise in ecological attention, revealing unexpected formal connections between nature and everyday human spaces.

Joey Leung’s interactive ceramic sculpture "The Form of the God" draws on Plato’s philosophy, inviting viewers to participate in the shaping of form, meaning, and value. Lie Fhung combines salvaged stained-glass shards, oxidised copper, and stoneware to create poetic assemblages in which discarded fragments are reimagined through transformation. Sin Sin Man’s "Determination" brings together old hangers and stones in a precarious balance, transforming everyday objects into a reflection on persistence, resilience, and the weight of navigating personal and collective realities.

Extending the exhibition beyond contemporary art, three invited guests offer complementary perspectives rooted in craft, material culture, and nature. Kathy’s handcrafted enamel jewellery combines Western colour sensibilities with Eastern minimalism, using traditional copper enameling techniques and kiln-fired glazes to create unique forms shaped by material, process, and chance. Pulima explores craft, material culture, and cultural memory through indigenous crafts, folk art, ritual objects, textiles, rare books, and botanical specimens gathered from diverse communities across the world. Drawing on the philosophy of Ikebana, Shalom creates floral compositions that reflect the relationship between heaven, earth, and humanity while embracing balance, impermanence, and the beauty of natural forms.

Together, the artists and invited guests demonstrate that form is never static, but continuously emerges through the relationships and transformations that shape our world.

萬物皆由形而生。形並非固定不變，也非絕對存在，而是一種持續生成的狀態，讓不可見之物逐漸顯現。物質與精神、記憶與想像、思想與情感並非彼此分離，而是同一流動過程中的不同顯現。形不只是外在可見的樣貌，更是轉化留下的痕跡。

《FORM》匯聚來自香港、印尼、法國、立陶宛及德國的七位藝術家，透過陶瓷、攝影、裝置、繪畫及纖維藝術等媒介，探索形態如何在創作之中生成。展覽中的「形」不僅關乎外在輪廓，更是一種轉化、感知與生成的過程。

黃雅珊的繪畫源自自動性創作與潛意識圖像，在作品中展開神經系統、精神生態與泛靈宇宙觀交織而成的內在地景。chaussette b. 結合墨水與刺繡，在樹皮、氣根、肌膚與記憶之間建立聯繫，探索時間如何同時在身體與自然之中留下痕跡。Gedvile Bunikyte 的幾何繪畫受到神聖幾何學與自我修煉哲學啟發，將內在能量與意識狀態轉化為發光的視覺結構。Jendrik Schröder 的攝影系列《Leaf Studies》則以落葉為起點，透過對日常的細微觀察，揭示自然與人 類生活空間之間意想不到的形態關係。

梁祖彝的互動陶瓷裝置《The Form of the Good》借鑑柏拉圖哲學，邀請觀眾透過參與共同塑造作品的形態、意義與價值。Lie Fhung 結合回收彩繪玻璃碎片、氧化銅與陶土，將被遺棄的材料轉化為充滿詩意的新敘事。冼倩文《Determination》則以舊衣架與石頭構成搖搖欲墜的平衡結構，透過日常物件反思個體與群體在現實中持續前行所承受的重量與壓力。

除了當代藝術作品之外，展覽亦邀請三位特別嘉賓，從工藝、物質文化與自然美學的角度延伸對「形」的思考。羅慧的手工珐瑯首飾融合西方色彩感知與東方極簡美學，透過傳統銅胎珐瑯工藝與窯燒釉彩所產生的獨特變化，呈現材料、工藝與偶然性共同塑造的形態。Pulima 透過來自世界不同地區的原住民工藝、民間藝術、儀式物件、紡織品、古籍與植物標本，探索工藝、物質文化與集體記憶如何被承載於物件之中。Shalom 則以花道（Ikebana）為創作基礎，透過植物材料與有機結構，探索天地人之間的關係，並體現平衡、無常與自然之美。

藝術家與特別嘉賓們共同展示了「形」從來不是靜止不變的存在，而是在關係與轉化之中不斷生成。透過不同的媒介、材料與實踐，展覽邀請觀者重新思考人與自然、物質與精神、個體與世界之間相互依存的關係。

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