Stimulation | wongsin

Stimulation, 2025

Solo exhibition

EJAR, Hong Kong

基於對現實世界的質疑，藝術家正構築出一個幻想的世界。她從現實汲取刺激（Stimulation），在「真實」與「幻想」之間徘徊，於「他者」與「自我」間測量，並在「自由」與「束縛」之間搖曳。人類擁有意識與潛意識，我們向世界提問、創作，同時為了生存與適應社會，不斷調節自我。

駐場期間，藝術家透過繪畫、裝置與行為藝術，探索身體、意識與空間的關係。她將以帳幕作為創作媒介之一，並在EJAR以極具規律的方式居住，每日進行一場由觀眾指令觸發的行為作品。透過這種自我約束的形式，發掘更多潛在的「誘發點」。

Questioning the established parameters of reality, Wong Sin constructs an alternative conceptual space. She derives stimulation from the tangible world, navigating the interstices between "reality" and "fantasy," measuring the distance between "otherness" and "selfhood," and oscillating within the spectrum of "freedom" and

"constraint." Human existence encompasses both conscious and subconscious dimensions; we engage in inquiry and creation while continuously recalibrating our identities to survive and integrate within social structures.

Throughout her residency, the artist will examine the interconnected relationships between corporeality, consciousness, and spatial dynamics through drawing, installation, and performance art. She will incorporate tent-like structures as a significant medium of expression, inhabiting EJAR according to strictly designed life routines, while executing daily performances activated by audience-generated prompts. Through this methodology of self-imposed limitation, she seeks to uncover additional latent

"points of trigger" - moments where constraint might paradoxically generate creative potential, and therefore insights.

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The exhibition is partly inspired by Tehching Hsieh’s work Time Clock Piece, in which a person is confined to a designated space over a fixed period and required to perform the same action at the same time every day, without exception. I question the broader condition of human beings living under time-regulated systems in contemporary society. Furthermore, within such repetitive and self-disciplined routines, might there be more latent “trigger points” that begin to emerge?

The exhibition is divided into three parts: one section functions as a living space, another presents past works (including paintings, multimedia pieces, and installations), and the central area contains the daily necessities and food used during this period. By moving back and forth through these spaces, visitors are able to trace the artist’s life and creative process, forming a kind of miniature, self-contained world.

During this strictly regulated period of living, I often reflected on the connections, tensions, and separations between the self, others, and society. By carrying out actions instructed by others, I attempted to let go of myself—listening to others and adhering to rules—while at the same time questioning whether my own freedom could be broken open from within.

One aspect that could be improved during the exhibition is the scale of the space, which was relatively large and required more extensive management; with a longer preparation period, the realization could have been more refined. In addition, as there was no refrigerator on site, I could only consume food that did not require refrigeration, such as canned goods, soup packets, and nuts. However, in the final days, some of the food still ended up spoiling.

One day’s journal entry:

Today marks the ninth day of living here. It had been raining over the past few days, and just now a faint trace of sunlight broke through. The air outside feels dense and humid; listening to the sound of flowing water, it almost feels like entering a tropical jungle—except there are no green plants here. I am beginning to grow familiar with the contours and structure of this space, from the constantly shifting light between day and night to the subtle, drifting sounds that emerge in stillness. Last night, I fell asleep peacefully wearing wireless earphones with no music playing. The clock has disappeared within this site; time rests in your hands and mine. Stimulation does not have to be explosive—some moments arrive unintentionally, yet linger with quiet, enduring significance.