Interview with Li Weihan Rosanna by Leung Chiwo Warren
Ceramic artist Rosanna Li Weihan mentions that she has practised art since primary school, and as a young adult advancing her education at the Department of Extramural Studies at the Chinese University of Hong Kong and colleges of education (remarks:1) she was further initiated in the field under the tutelage of expatriate instructors (00:00–10:40). She then talks about her experience from studying art education in Great Britain and why and how she became interested in ceramics (10:40–21:15). When Li returned to Hong Kong, she earned her Certificate in Studio Ceramics at the Hong Kong Polytechnic. During that time, she turned from ceramics to other ceramic works, and her views on the definition of ceramics have also evolved (21:15–34:56). She further explains the manners in which other media and materials can be mixed into ceramic art, and the reason why she began creating clay human figures (34:56–47:20). The political atmosphere around the year 1997 also influenced the style expressed in Li’s works. Li then talks about her use and choice of materials, as well as the deployment of techniques when she works on ceramics. Making ceramics on one’s own, and creating a larger installation with a team, are two modes of working that serve different functions, she finds (39:57–1:23:43). Li says she likes the hustle and bustle of Hong Kong life, as there are plenty of chances for people to meet and interact with one another. However, Hong Kong society is dominated by commercial interests, hence the room for creative practice and art development is limited. Concerning Hong Kong art, Li believes that when an artist is able to focus on experiencing personal life, the artist will naturally give rise to his or her artistic style (1:23:43–1:29:45).
Remarks: (1) Rosanna Li studied in both Northcote College of Education and Grantham College of Education.
陶藝家李慧嫻講述自己學藝始於小學，及至到香港中文大學校外進修學院學習和在師範學院 (註1) 受外籍老師的啟蒙 (00:00-10:40)；其後說到在英國進修美術教育的經歷和藝陶藝產生興趣的原因和經過 (10:40-21:15)。李氏回港後修讀香港理工學院陶藝證書課程，其間由陶器製作轉向創作其他陶藝作品，並開始對陶藝的看法和定義有所改變 (21:15-34:56)；她進一步解釋如何在陶藝創作中混入其他媒介和物料，還有開始創作陶泥人形的原因 (34:56-47:20)。1997年前後的政治氛圍對李氏的創作風格亦有所影響，繼而解釋自己一些作品所表達的信訊、對大型裝置創作和展覽空間的看法 (47:20-1:02:45)。李氏也談及做陶藝時物料的使用及選擇、在技巧上的處理、及時單獨和集體進行裝置創作的功用 (39:57-1:23:43)。李氏喜歡香港的熱鬧，有很多跟人接觸和互動的機會，但同時指出香港社會以商業掛帥，以致創作空間及藝術發展受到限制。關於香港藝術，她認為藝術家只要專注個人生活體驗，藝術風格便自然而成 (1:23:43-1:29:45)。