Interview with Lo Szelim Chris by Leung Chiwo Warren

At the beginning of the interview, Leung Chiwo mostly asks artist Lo Szelim Chris about his formative years. Lo’s father was an early influence his painting. Later, Lo was enlightened by his high school art teacher who taught him about various media such as calligraphy, ceramics, and painting. Lo then went on to study at the Department of Fine Arts at the Chinese University of Hong Kong (00:00–09:00). Lo explains that in his early career, he primarily painted works that highlighted his personal experiences and reflections. Later on, he was no longer satisfied with graphical works and turned to ceramics instead. He mentions that Hong Kong Arts Centre supported his art practice by allowing him to use the Centre’s resources (12:13–15:08; 10:31–10:41; 17:08–22:12). Lo points out that in 1996, he exhibited a mixed work of ceramics and installation art. This new attempt led him to think through the relationship between the two media (25:00–31:00). Lo continues to discuss his considerations for choosing materials (31:24–39:12), his more satisfactory works (45:00–46:55), and works by overseas artists which he likes (47:00–52:16). In the last part of the interview, Lo talks about the ceramics workshop that was founded recently, and how it helps support teaching and practising ceramics (52:16– 54:40). As Lo responds to Leung’s questions about Hong Kong art, Lo says that the development of Hong Kong art is not sustainable and that politics is the reason why the general public cares about Hong Kong art (55:50–1:02:10).     

此為梁志和與羅士廉訪問之錄音

是段訪問開首，梁志和集中訪問藝術家羅士廉的藝術學習過程，從他先受父親在繪畫方面的影響及後在中學時啟蒙自美術老師而接觸到書法、陶藝及繪畫等媒介，至畢業後進入香港中文大學藝術系學習。(00:00-09:00) 羅氏解釋在早期創作上多進行繪畫，著重個人經歷和感受。及後他有感不能滿足於平面創作轉而專注陶塑，並提及在香港藝術中心得到使用資源上的支援而有助他的創作 (12:13-15:08; 10:31-10:41; 17:08-22:12)。 羅氏提到在1996年參與的一次展覽所發表的作品中作出混合陶藝和裝置的新嘗試，引發他思索兩者之間的關係。(25:00-31:00) 羅氏繼而述析物料和塑材上的考慮 (31:24-39:12)、他個人較滿意的作品 (45:00-46:55)，以及他喜歡的海外藝術家作品（47:00-52:16)。在訪談末段羅氏談及其剛成立不久的陶塑工作室的教學和創作用途 (52:16-54:40) 。在回應梁志和問及對香港藝術的看法時，指出香港藝術發展的非持續性，並認為外界對香港藝術的關注源於政治。(55:50-1:02:10)