李曉琳 Hio Lam Lei

「虛妄遊記——李曉琳個人作品展」 展覽現場 “Cruising Through This Mortal Coil - Solo Exhibition of Hio Lam Lei” Exhibition View

Image 1. 

《孽鏡孽鏡告訴我》，木材，鏡子，彩紙，縫紉線，77×70×200 cm (2026)

 “Reflect Me Gently”, Timber, mirror, craft paper, sewing thread, 77×70×200 cm (2026)

Image 2. 

《苦海暢泳》， 木材，彩紙，縫紉線，地膠，金屬鏈條，尺寸可變 (2026)

“Protagonist in Blue” , Timber, craft paper, sewing thread, vinyl flooring, metal chain, dimension variable (2026)

Image 3.  

《遊始至終》， 鐵線，美紋膠，杜邦紙，彩紙，流蘇，紙吸管，金屬鏈條，尺寸可變 (2026)

“From here to there”, Wire, masking tape, Tyvek®, craft paper, tassel, paper straw, metal chain, dimension variable (2026)

Image 4.  

 《與火同行》，木材，樹脂，彩紙，紙吸管, 金屬底座，80×80×93 cm (2026)

“Strange Game” , Timber, resin, craft paper,  paper straw, metal table base, 80×80×93 cm (2026)

Image 5.  

《時間的話》， 鐵線，美紋膠，杜邦紙，彩紙，金屬鏈條，織帶，44×18×60 cm   (2026)

“Time will (not) tell” , Wire, masking tape, Tyvek®, craft paper, metal chain, fabric trim, 44×18×60 cm  (2026)

Image 6.  

《凡世日誌1》，紙本水彩，63×48 cm (2025) 

“Mortal Journal 1”, Watercolor on paper, 63×48 cm (2025) 

Image 7.   

《凡世日誌2》，紙本水彩，63×48 cm (2025) 

“Mortal Journal 2”, Watercolor on paper, 63×48 cm (2025) 

Image 8.   

《凡世日誌3》，紙本水彩，63×48 cm (2025)  

“Mortal Journal 3”, Watercolor on paper, 63×48 cm (2025) 

Image 9.

《假如祂們是真的》， UHD單頻道錄像，有聲彩色，24’24” (2024) 

“If They Really Exist” , Single-channel UHD video, color, with sound, 24’24”  (2024) 

Image 10.

「虛妄遊記」展覽現場

假如祂們是真的 If They Really Exist (2024)

Single channel UHD Color Video, 24 min

每天我們幾乎都可以從新聞報導中聽到各種的致命意外。那些面目模糊，非親非故的死者，哪怕跟我個人的生活場景毫無聯繫，卻提醒著我死亡的隨機性。枉死的威脅時刻相伴相隨，宛若鬼魂，哪怕看不見，摸不著，卻以某種方式影響著人的價值判斷。

在佛道及漢族民間宗教的傳統中，始終強調與「亡者」保持聯繫的重要性。在中元節，人們通過普渡儀式悼念意外枉死或無人奉祀之匿名死者。假如亡魂真的存在，假如人辭世後仍然有殘留在世上的意志體，那麼一個人曾經存在的痕跡，或許也不至於被徹底抹消。

結合中元節普度儀式的田野調查，本作品通過分析漢民間宗教中的亡魂意象，嘗試探討其與集體無意識中的死亡焦慮之間的關係。

Every day we hear about fatal accidents in the news. Those victims constantly remind me of the randomness of death—despite the fact that in real life we are not affiliated with each other. The threat of dying in vain is always looming by our sides—almost like a haunting ghost, affecting us to the ideological level.

In Buddhist/Taoist folk beliefs, the importance of maintaining connection with the deceased has been constantly emphasized. During the  Ghost Festival, people mourn the anonymous ghosts who died tragically. If spirits of the deceased really exist, one can say the traces of a person's existence will not be completely erased.

Drawing on my field research on the offering rituals in the Ghost Festival, this work looks into the imagery of ghosts in Han folk belief, 

along with its connection to the indelible anxiety concerning the erasure of ones’ symbolic existence residing in our collective unconsciousness.

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疑問(之一) One of the Questions (2023)

答案(之一) One of the Answers (2023)

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牆上壓克力顏料 Acrylic paint on Wall, 246 x 170 cm

四色印刷貼紙 Printed sticker, 11.5 x 8.5 cm

為錄像作品《看見藍色》作註解的牆繪和貼紙。 牆繪的文字以謎語的形式，講述一名女人的被劈開兩半的經歷。貼紙的文字是對牆繪文字的回應。

This project can be considered either as independent works or footnotes for my moving image work 'Seeing Blue'. The enigmatic poem on the wallpainting tells the story of a woman split into two halves. The text on the sticker is a response to the poem.

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牆繪文案 Wall Text Full Script

正在上樓梯的女人

看著我笑了很久

閃電突然從天而降

把她

劈開兩半

哪一半是母親？

哪一半是女兒？

Ascending the staircase

She catches sight of me

And laughs out loud

When lightning comes 

She gets struck and split

Into halves:

How can we tell

Which half is the mother?

Which half is the daughter?

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長大了的女孩

何不迎著春風自由舒展

Grown-up daughters,

why don’t you stretch forth your arms and bask in the spring breeze?

看見藍色 Seeing Blue（2022）

Single Channel FHD Color Video, 11min 18sec

Sunny sky and ocean are blue. Blood and fire are red. Among the vocabulary of nature, the color blue often links with unremarkable daily scenario, while red usually relates to sudden change. Some prefer blue for its calmness. However, people who purposefully pursue restlessness might prefer red.  

Seeing Blue is an autobiographical film reflecting on mother-daughter relationship, ocean, visual sensation of the color blue, and personal memory.

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Please feel free to email me to access the full version of this work.

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Camera by Hio Lam Lei, Chen Qiheng

勇敢的小麗 The Girl with a Brave Heart（2022）

尋找紅女郎 Seeing Red 李曉琳個人作品展現場圖 Hio Lam Lei Solo Exhibition View

地點Location: 澳門全藝社 Art for All Society,Macau

紅女郎傳說及楔子-前言-過場-後記 (2021) The Mystery of Lady in Red with Prologue-Preface-Interlude-Epilogue (2021)

Dimension Variable Acrylic paint, mirror, velvet curtains, FHD video with audio (11 min)

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牆繪文案 Wall Text Full Script

前言 很多眼睛喜歡觀看銀幕中的紅女郎人們 著迷於她的雙眸雙唇牙齒鼻樑頭髮等等 為了不辜負眼睛的期待更多的美麗需要 被陳列在銀幕上在聚光燈的鼓勵下紅女 郎順從地展示出更多的美麗她裊裊而行 她平平而躺一些眼睛卻開始責怪她展露 出過多的美麗紅女郎於是吸收不同眼睛 的意見仔細檢查自己的全身上下以確保 展示出的美麗符合標準而在聚光燈日復 一日的烤炙下紅女郎的雙眸雙唇牙齒鼻 樑頭髮等等亦漸漸軟癱模糊失去形狀—

Preface How much the Eyes enjoyed watching Lady in Red on the screen Audience were fascinated by her eyes lips teeth nasal bridge hair et cetera To live up to the expectations of the Eyes more beauty needed To be displayed on the screen at the encouragement of the spotlight Lady in Red obediently exhibited more and more of her beauty She posed she paced she lay flat but the Eyes began to blame her for showing Too much beauty in response to different opinions Lady in Red Examined her body carefully to ensure that the beauty displayed Met the standard yet due to the burning heat of the spotlight Lady in Red ’s eyes lips teeth nasal bridge hair et cetera were Melting gradually and lost their shapes—

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後記 在夢中我看見身穿紅衣的她似乎是一名體操 運動員正在投入比賽的她眼睛鼻子嘴巴不可 見身體克服重力頸肩腰胯彎作漂亮的弧度正 在躍起或下沉宛若一把閃閃發亮的鑰匙而我 好奇這鑰匙可否開啟我手中沈甸甸的行李箱

Epilogue In my dream I saw her performing as a gymnast in a red outfit In the midst of the competition her eyes nose and mouth became Invisible overcoming gravity her neck shoulder waist and hip Bent to a beautiful arc leaping or sinking like a shiny key and I wonder if This key can open the heavy suitcase which I have been carrying for long

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時間：白晝以及黑夜 地點：山洞, 海的沿岸, 水中 人物：觀眾, 攝影師, 演員 道具：鏡子, 行李箱 , 鑰匙

紅女郎傳說   The Mystery of Lady in Red (2021)

Single channel FHD Color Video, 11min 13sec

一個女人嘗試調查一隻經常出沒在海邊小鎮的女幽靈的身世。小鎮的居民稱幽靈為“紅女郎” ─ 因為她總是穿著一襲紅裙。“紅女郎”不時在海邊出現。她來自哪裡，還有她為何彷彿被困在海濱地帶，是一個難以解開的謎團。另一方面，這個陌生女人為何會如此被紅女郎的故事所吸引？

A woman is conducting research on a mystic female ghost haunting a coastal town. Known by the locals as ‘Lady in Red’, the female ghost always appears in a red dress, and within the shoreline where the waves can reach. Where ‘Lady in Red’ comes from and why she is trapped at the edge of the sea seems to remain a mystery. In the end, why the woman is so drawn to the enigmatic story of ‘Lady in Red’?

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Please feel free to email me to access the full version of this work.

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Camera by Hio Lam Lei, Tomas Poblete, Nina Shen-Poblete

紅女郎傳說：前章   Prologue for the Mystery of Lady in Red (2020)

2-channel video and mixed media window installation

子宮堡壘  Fortress (2019)

H的消失  The Disappearance of H (2019)

Mixed media installation including a UHD video (3min 22sec)

This is my third project featuring H.

There are four chapters in this(absent)script: 1. Out of the Woods 2. The Incestuous Dream 3. Death by Water 4. H’s Words

跟蹤  The Stalker (2019)

6-channel video installation appoximately 3 min for each section

審問  The Inquisitor (2018)

FHD Video, 8 min

This is my first project featuring H. H walks into the frameand points a gun to an off-screen target.

三次  Three Time (2018)

Dimension Variable

一端  One of the Ends (2017)

Dimension Variable

彎臂人  Arm-bender (2016)

51×47×21 cm