TVB 生活台

“That’s living”, January 31, 2007

"Weave a Maze"

Interview

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Public
The Monthly Art Magazine in Korea
December 2008

胸圍帶是藝術假髮也「入迷」

當你踏進藝穗會，準會見到一個個在生活周邊毫不起眼的物件，竟然搖身一變，成為了今次乙城節展覽之一「Weave a Maze（入迷）」的「主角」。假髮、絲、胸圍帶、椅子、奶嘴、茶壺等，眾物件經過吳欣慈的整理、組合，表達她的體會和想法。
就以《Who is the dreamer?》為例，（記者暫譯：誰是造夢者？）就運用了假髮、椅子和紙蝴蝶，把莊子和佛洛依德一併放入其中，表達了中西方對意識與潛意識那種模糊不清的關係，游走於現實與夢境之間，也好代表今次展覽主題「Weaves a Maze」。

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Wen Wei Po

"胸圍帶是藝術假髮也「入迷」"
圖、文：鍾欣琦
January 13, 2007

FACES : 華麗背後 - 吳欣慈

吳欣慈的作品，就像是一道通向女性秘道的門鎖。門外的絲綢绫緞意味著女性的華麗精緻；但倘若你擁有藝術家那份細膩的感觸，或能穿越細節看到華麗背後，是女性微弱呼息所吐出的掙扎。

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"FACES: 華麗背後 - 吳欣慈"
撰文: 許先施
攝影: 潘展強
January 13, 2007

Now Hanging | The Girlie Show

The Hong Kong-born artist Annysa Ng uses featureless silhouettes in Chinese royal garb to explore the role of women in a male-dominated society, while Kara Walker works with black and white paper cutouts to create visual narratives of the antebelleum South to examine race.

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The Moment
"Now Hanging /

The Girlie Show"
by Maura Egan
June 30, 2009

Annysa Ng: 'Love & Fear'

A beautiful new gallery occupying two floors of a tiny brick house presents works of postmodernist faux-antiquity by a Chinese artist who has studied in Hong Kong, New York and Germany……
The hanging assemblages made of braided hair, fabric and found objects have an erotically stirring poetic delicacy.
(Johnson)

"Annysa Ng: Love & Fear"
by Ken Johnson
January 6, 2006

Annysa Ng: Saatchi Online Critic's Choice By Rebecca Wilson

Hong Kong-born, New York-based artist Annysa Ng addresses issues of femininity and female suppression in her exquisitely executed sculptural and wall-based works…..
Ng uses materials such as bra straps, silk, ribbons, hair, metal locks and coat hangers in the creation of her sculptural and installation works….
The silhouette genre Ng has chosen to use in these works inherently blacks out any individual characteristics, suggesting the negation of women's distinct personalities, and the loss of identity felt.

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SAATCHI ONLINE

CRITIC'S CHOICE
by Rebecca Wilson
December 1, 2007

Interview Annysa Ng

Your work seems to be very sensitive to the notion of identity. Do you have something to say about history? We can’t really evaluate history, yet we are being influenced by it. It’s a kind of reflection without answers. You can’t really analyse [recent events] until a hundred of years later. When you are living in it, it’s hard to comment. It’s all very nebulous to me.
Your intention to merge Chinese and Western costume is evident in this series. But why did you pick the Elizabethan collar specifically? Any symbolic meaning there? If I am to show the character of the [silhouette] figure, costume is a strong element. Most of the Chinese costume is from the Qing Dynasty – it’s when the Opium War took place. When it comes to English costume, the most striking element to me is the Elizabethan ruffle collar. I think the collars give a feeling, vaguely, of control and constraint, despite its charm. It’s not a strong statement of feminism. It’s not intentional but I’m always conscious about the suppression of women...

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"Interview: Annysa Ng"
by Winnie Chau
May 11, 2011

Radio Television HK
香港電台
藝坊星期天
第二十七集
吳欣慈個人展

[閉上眼睛]
May 8, 2011

吳欣慈畫作顯黑白魅力
「無法表達」也是表達方式的一種。面對中西文化混雜的香港，遠在紐約創作的香港藝術家吳欣慈，笑言很掛念香港這個家。身處異地數年，益發使她思考自己作為香港人也是中國人的身份定位，究竟香港文化何處尋？吳欣慈選擇「閉上眼睛」，以坦誠的態度，用畫筆去探索華麗背後所隱藏的特質。
以美國為創作基地的吳欣慈，早前展出的作品獲畫商看中，邀請她回香港舉行個展。畫展名為「閉上眼睛」，一系列以黑白為主色的畫作，是她零七年至今四年來的創作成果，沒有表情的黑色臉孔，穿上華麗花紋中國傳統長袍的人物，細心觀看，畫中人的頸部都圍上綴滿細密風琴褶的雪白紡紗衣領，或站或坐做不同動作。．．．．

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"吳欣慈畫作顯黑白魅力"
圖、文：俞凱穎
May 7, 2011

吳欣慈抹走妝顏
吳欣慈這次以香港作為主題進行創作，頗有尋根的意味。現在香港似近還遠，需要重新摸索嗎？「不，因為在這裡土生土長，加上居住紐約期間。也會定期回港探親，亦會不時留意香港新聞大事，對香港其實頗熟悉的。」香港是怎麼樣的？她想也沒有想，便答：「中西合璧、身份模糊。」從外觀上看，畫中人披上中國傳統鳳凰長袍，頸上卻掛著英式伊利沙伯時期的衣領，香港是華洋雜處之地指涉明顯，而且曾為英國殖民地的感覺濃厚，另外，沒有面譜則表示缺乏身份認同和意識。這樣說來，為畫中人抹走臉容，是香港消失的隱喻嗎？她搖頭表示，反而擔心香港有朝一天會消失．．．．

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Sing Tao Daily
"吳欣慈抹走妝顏"
文、圖：黃子翔
May 10, 2011

吳欣慈把五官抹走
吳欣慈是居住紐約多年的本地藝術家，在香港出生的她，曾輾轉於德國斯圖加特國家美術學院和紐約視覺藝術學院，修讀美術，雖然長年接受西方教育，但創作藝術時，卻多番回溯自己的香港人以至中國人身份和特質，後來就有了「閉上眼睛」這系列跟本地藝術作品味道迥異的畫作．．．．

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Hong Kong

Economic Journal
"吳欣慈把五官抹走"
藝評: 渡邊亮
May 11, 2011

身份的剪影
吳欣慈的畫讓人看見一份女性嫵媚。其實跟她四年前將胸圍帶錯綜複雜地纏綑的裝置一樣，今次畫作的亮點依然在「女性」。但畫中女性以黑色剪影呈現，身上又掛着復古衣飾，似乎有話要說。細心看那結合了中國長袍和英國中世紀輪狀縐領的服飾，吳欣慈告知，這是她對旁人指自己"You are not very Chinese"的回應。
吳欣慈其實有着一副中國人的五官樣貌，被指"You are not very Chinese"是她近年移居紐約後的經驗。「身份問題一直是『香港人』的困惑，尤其在外國，到底該以香港人自稱，還是表明自己是中國人？結果從他們口中才知道原來我這個生於香港人的中國人，跟他們想像中的中國人很不相像。」吳欣慈並不從政治角度探索，畫上身穿中西合璧服裝的女性，只是她感性地對自己這個模稜兩可、中西文化背景混集的身份作一抒發．．．．
走在路上，人們或在閒逛，或在趕路，均匆匆忙忙沒有停步，迎面而來的，只是一張張沒有表情、絲毫不帶半點情緒詮釋的臉孔．．．．

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ESSENTIAL: 身份的剪影

撰文: 陳筠而
攝影: 司徒振強
May 14, 2011

10 TALENTS TO WATCH
Annysa Ng - Pen-and-ink drawings seamlessly combine period European fashion with traditional Chinese.

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"Art as Refuge"

by Roberta McDonald
May 11, 2008

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Annysa Ng : A Matter of Life and Death

Renewal is a persistent theme in the work of Hong Kong born artist Annysa Ng. She is known for stylized black-and-white silhouette depictions of faceless women caught between East and West through the astute appropriation of costume and the referencing of art history. Starting as an evening school student at the First Institute of Art and Design in Hong Kong whilst keeping down a day job, Ng later became a student for five years under respected watercolour teacher, Maytin Kan, holding her first solo show as an artist in Hong Kong in 1994. Over the course of Ng’s career, the artist has ventured into a terrain of the unconscious teeming with underlying thoughts, dreams, and ideas. In 2002, Ng left Hong Kong, as well as all work she previously had made, arriving at the School of Visual Arts, New York, ready to start anew. Here, she discovered an affinity with the work of German artists, including Anselm Kiefer and Joseph Beuys, which prompted her to leave SVA after two years to finish her studies at Staatliche Akademie der Bildenen Kunste in Stuttgart, Germany. Now based in New York, Ng carries on with her the historical heritage of Hong Kong as a city arguably caught between two influences, the East and the West, as she continues on a journey that explores the role of culture, knowledge, history, and gender in a culturally and socially ambiguous world.......

"Annysa Ng: A Matter of Life and Death"

by Stephanie Bailey

Nov/Dec 2011

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Women in the Arts
Amid the lure of the dollar, five prominent women in the non-profit scene tell Time Out about resisting the commercial side of creativity
Carving a pathway for a non-profit, non-commercial career in the arts was never going to be easy. Challenging, yes. Rife with bureaucratic roadblocks, yes again. But these women gracing our cover have fearlessly placed themselves at the heart of the matter – presenting, exploring and creating art for art’s sake – and the purity of that conceit shows in their individual verve, zing and, most of all, passion. Away from the grey-suited formalities of turning-profit art investments and the limitations of white cube presentations of art, these five women – Asia Art Archive’s Claire Hsu, Spring Workshop’s Mimi Brown, artist Annysa Ng, collector Monique Burger and Intelligence Squared CEO Yana Peel – are continuing to resist categorisation.

"Women in the Arts"

Words: Ysabelle Cheung

Photography: Victoria Tang and Calvin Sit

Art direction: Jeroen Brulez

May 14, 2014

Press

Apple Daily
"夢中的女人"
撰文: 馮敏兒
January 11, 2007

Wen Wei Po
"香港被照亮嗎？"
撰文 : 李國泉
February 3, 2007

香港被照亮嗎？

藝術家吳欣慈亦從生活點滴中，展示了作為一個女性藝術家過人的細膩。她運用了拾來的衣服重新創作出一系列的軟性雕塑，色彩奪目之餘，又能巧妙地善用物料本身隱含的隱喻性，流露出荒誕的都市特質，在真實與虛幻中與觀者展開了一場潛意識的交流，讓觀者從習以為常的慣性認知中出走，迷失在無盡頭的幻想思域中。

夢中的女人
乙城節有個頗有趣的展覽叫「入迷」，一大堆似曾相識的女人用具，全部搖身一變成似是而非的怪物，既有熟悉的女性特質，又有拒人千里的錯愕，分明只可能在夢中出現，卻全是男男女女的潛意識恐懼，最後愛你還是怕你，就是沒有一對男女搞得清楚！其實這是一位留學紐約和德國的香港年輕女藝術家吳欣慈的雕塑作品，妙就妙在她那隨手拾來的胸圍帶、絲綢、秀髮…經她魔法一變，竟有著神秘的潛意識張力，令人迷失在一片下意識的困境中，愈看愈是過癮，不期然墮進人類遠古之前的心理迷宮。我就知道她勢必成為女性研究的藝術典範。