SHUM Kwan-yi
沈君怡

 

Based in Hong Kong, SHUM Kwan Yi, Sim attained her Master of Philosophy and Bachelor of Arts in Visual Arts at The Hong Kong Baptist University. During her studies, she spent a semester to study at Nagoya Zokei University of Art & Design, Japan through a university exchange programme.

Shum specialises in ink art. Her practice narrows down the gap between traditional aesthetics and daily-life experience in seek of the covert meanings embedded in landscape painting and the new definitions of the shanshui motifs in the context of our society.

沈君怡在畢業於香港浸會大學碩士研究以及視覺藝術學士課程,期間曾赴名古屋造形大學交流半年。
她專注於水墨創作,作品嘗試拉近傳統實踐與日常經驗之間的距離,並嘗試尋找風景以及山水符號在現今社會下的意義。

Selected Solo Exhibitions

Collection

Ashmolean Museum, The University of Oxford
Asian Art Museum of San Francisco

Selected Works

Silent Room of Whispered Memories 靜室絮憶

  • SHUM Kwan-yi 沈君怡
    Silent Room of Whispered Memories 靜室絮憶
    2025, Ink, colour and copper leaf on paper
    199 x 294 cm (a set of 3: 199 x 98 cm each)


  • The artwork explores themes of memory, migration, and the interplay between inner and outer worlds. The scene is set in an indoor space adorned with potted plants, everyday objects, and three large cabinets. Each cabinet contains a collection of imagery blending traditional shanshui motifs with contemporary landscapes, symbolizing the literati tradition of shanshui as a private expression of personal emotion while alluding to political and social discourses. Images of ships and docks interspersed within evoke feelings of displacement and departure. These elements intertwine to create an intimate, lived-in atmosphere, as if preserving fragments of past moments while concealing personal thoughts and expressions within a private realm.

    Perched atop the central cabinet, an oversized cargo ship symbolizes imagined migratory journeys, its cargo representing the luggage and possessions of those who depart. Beyond the window, a tranquil sea stretches toward the horizon, where another cargo ship sails serenely, embodying an eternal quest for belonging. This calm contrasts sharply with two images displayed within the room: a painting of turbulent waves and a photograph capturing a fleeting moment of a storm, together suggesting the coexistence of past upheavals and present serenity, prompting reflection on the passage of time and personal identity.

    Outside the window, a half-circle sun crafted from copper foil gleams, its surface transforming through oxidation to reflect the impermanence of the external world. Accompanying it are copper birds, some appearing to fly inward from the outside and others outward from within, blurring the boundaries between reality and the inner world.

    作品呈現對記憶、遷移以及內外世界相互作用的探索。場景設定於一個室內空間,放置了多盆植物、日常雜物與三個大型櫃子,每個櫃子內收藏了融合傳統山水與當代風景的圖像,象徵文人山水作為個人情感的私密表達,同時隱喻政治與社會的論述。船隻與碼頭的圖像點綴其中,喚起漂泊與離別的情感。這些元素交織出一種親切的生活氛圍,彷彿凝結過往時光的片段,並將個人的思緒與表達隱藏於私密領域之中。

    置於中央櫃子上方的一艘尺寸誇張的貨櫃船,象徵著對遷移旅程的想像,貨品就如離去者攜帶的行李與物件。窗外,一片寧靜的海洋向遠方延展,另一艘貨櫃船靜靜航行,猶如對歸屬感的永恆追尋。然而,這份寧靜與室內懸掛的兩幅圖像形成強烈對比:一幅描繪波濤洶湧的畫作與一張捕捉暴風雨瞬息的照片,隱喻過去動盪歲月的沉澱與當下的平靜共存,引發觀者對時間流轉與個人身分的反思。

    窗外描繪了一個以銅箔製成的半圓形太陽,其表面因氧化而呈現時光流逝的色澤,映現外部世界的無常與變遷。伴隨其間的銅製鳥兒,有的似從室外飛入,有的似從室內飛出,模糊了現實與內在世界的分界。

Cave No.9

  • SHUM Kwan-yi 沈君怡
    Cave no.9 第9窟
    2023
    Ink, colour, copper & silver leaf on paper
    A set of 3: 144 x 240cm (144 x 80 cm each)

Cave No.2

  • SHUM Kwan-yi 沈君怡
    Shinano Traces and Blessings 信濃石跡
    2025, Ink and Colour on Echigo Kadoide Washi
    25 x 197 cm



  • The work is inspired from a residency in Japan’s Echigo Yuzawa, centred on water-worn stones gathered along the Shinano River. These stones, etched with geological memory and the traces of flowing water, embody the rhythm of time. Departing from conventional stone appreciation, the work celebrates the charm of ordinary yet captivating stones, including one strikingly reminiscent of a miniature Mount Fuji. Moving beyond traditional ink painting techniques, Shinano Stone Traces captures the stones’ true forms on Echigo washi paper, woven into a long scroll. This composition mirrors the flow of the Shinano River—Japan’s longest—and echoes the spiritual aspirations of Japanese stone-stacking culture, conveying a blessing for the land’s enduring preservation.


    作品靈感源自日本越後妻有地區的駐留體驗,以當地信濃川沿岸採集的水石為核心。這些水石承載地質特徵與水流沖刷的痕跡,蘊含時間的印記。相較於傳統賞石的標準,作品聚焦於平凡卻趣味盎然的石頭,其中一顆形似迷你富士山的小石尤為引人注目。不同於傳統水墨畫的固定表現方式,《信濃石跡》以水石的真實形態為基礎,選用越後和紙繪製當地特色石頭,串聯成一幅長卷畫作。這幅畫隱喻日本最長河流——信濃川的流動與日本疊石文化的祈願,寄託對土地永續保護的願景與祝福。

Cave No.2

  • SHUM Kwan-yi 沈君怡
    Cave no.2 第2窟
    2023
    Ink, colour & copper leaf on paper
    77 x 142 cm

  • "Cave 2" visually presents the landscapes inside and outside the caves from a first-person perspective. By deconstructing the conventional visual and traditional landscape patterns, it reconstructs a crowded yet solitary alternate space. This expresses resistance towards the external world while seeking solace for the spirit.

    「窟」系列以第一人稱的視覺展示了洞內外的風景,通過解構日常的視覺和傳統山水的模式與圖象,重新建構一個擠擁且孤獨的異空間,借以表達對外部世界的抗拒,並尋求著心靈上的安慰。

Landscape Model Accessories No. 9

  • SHUM Kwan-yi 沈君怡
    Landscape Model Accessories no.9 景觀模型 9
    2024
    Ink and copper leaf on paper
    61.5 x 38 cm

  • "Landscape Model Accessories" series deconstructs the landscapes, presenting them through architectural model accessories. It reveals the fictional and assembled nature behind the creative process, inviting the audience to collectively imagine and "construct" their own caves.

    「景觀模型」系列解拆景觀,以建築模型配件的方式呈現,揭示創作背後的虛構性和堆砌性,邀請觀眾共同想像並「建構」屬於自己的洞穴。

Publication

Dust and Cicada Chirping 塵雜與蟬鳴

  • The term "Dust" translates to "mundane and miscellaneous matters." It originated from a line in Tao Yuanming's poem Returning to the Fields, which goes, "At gate and courtyard—no murmur of the World's dust: In the empty rooms—leisure and deep stillness." The phrase "Dust and Cicada Chirping" conveys the idea of being unable to escape mundane and miscellaneous matters but finding solace and introspection through the murmurs of mountains and waters. Despite a lack of eloquence in words, I (the Cicada) hope to bring comfort and resonance through their artworks. In addition to the works featured in this exhibition, this book also documents my three periods (2019-2024) separately, capturing observations of nature and expressions of social issues through the chapters "City Wanderer," "The Unbearable Lightness," and "Landscape of Haven.”

    「塵雜」一詞解作塵俗雜事,源自於陶淵明《歸園田居.其一》中的一句「戶庭無塵雜,虛室有餘閒。」《塵雜與蟬​​嗚》意思是無法脫離塵俗雜事卻通過山與水喃喃自語;不善言辭卻希望以作品帶來安慰與共鳴。除了是次展覽中的作品外,本書更分別以「城市遊者」、「不能承受的輕」與「石窟遊樂園」紀錄了三個時期 (2019-2024) 的作品:由對自然的觀察到社會性的抒發。


    Co-published by Shum Kwan Yi 沈君怡 and Grotto Fine Art Ltd. 嘉圖現代藝術
    Foreword: Henry Au-yeung 歐陽憲 and Dr Vivian Ting Wing Yan 丁穎茵博士
    Year: 2024
    Format: 190 x 255 mm, 215 colour pages, ​​Exposed Smyth binding
    Design:for&st
    Language: Chinese and English

Clouds Say, " 雲霧說:「

  • This book is published in conjunction with the solo exhibition “Cloud Says”.

    本書配合個展《雲霧說》同步出版。


    Published by Grotto Fine Art Ltd. 嘉圖現代藝術
    Foreword: Henry Au-yeung 歐陽憲 and Dr. Koon Wai-bong 管偉邦博士
    Year: 2019
    Format: 225 × 225 mm, 96 colour pages, ​​Exposed Smyth binding
    Language: Chinese and English

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