初次與阿蟻見面, 是於2011年, 在她當時富德樓的studio裡。十多年後, 她是我最親密的朋友之一。
阿蟻的職業十分有趣, 她是專業蠟像調色師。早上她在蠟像館裡負責復修、保養與翻新蠟像的工作; 下午就是藝術家。
她每天大清晨起床, 乘座纜車到山頂工作, 要趕在開館前進行一次檢查, 太陽未下山便放工。放工後阿蟻就回到現在的studio繼續她的創作。繪畫是她主要的創作媒介, 內容圍繞自身經歷、香港風景和城市生活細節, 畫中魚人都會在作品中出現。錦鯉魚臉隱藏著人們的表情, 以不同姿態和身份置身人群中, 描繪當代人生活之事。
除魚人在阿蟻的作品裡具標誌性外, 她的用色也是十分有記憶點。在調色過程中, 顏色變化可衍生無限可能, 在同一件作品的基礎上, 用色不同, 也會表達出不一樣的氣氛, 這也是我們每次在創作Pattern時較會在意的細節。
I first met Ngai in 2011 at her studio in the Foo Tak Building. Over a decade later, she has become one of my closest friends.
Ngai has a fascinating profession as a colourist in the Wax Museum, her responsibility is to repair, maintain and refurbish wax figures. Every morning, She wakes up before sunrise and take the cable car to the peak for work. Her morning duty is to do a final inspection before the museum opens.
In the afternoon Ngai returns to her current studio as an artist to continue her creative pursuits. Painting is her primary medium, focusing on personal experiences, Hong Kong landscapes, and the details of urban life. Fish man often appear in her works, with their carp-like faces concealing human expressions. They inhabit the crowd in different poses and identities, depicting contemporary life.
Apart from the iconic fish man in Ngai's works, her use of color is also highly memorable. During the process of mixing colors, the variations can create infinite possibilities. Different color choices within the same artwork can convey distinct atmospheres. This is also a detail we pay close attention to when creating patterns.
Ngai's artworks showcase a sense of humor and a rich color palette. We hope that customers can experience this shared characteristic in GOC's product as well.