潘静怡，从艺前从事金融业。现为多媒体艺术家。习中国书法·水墨画·油画·陶瓷·雕塑、装置·高订时装设计及创作新媒体。毕业于澳洲皇家墨尔本理工大学(艺术系硕士)；英国赫尔大学(工商管理硕士)。曾受委托的艺术创作项目包括:香港交易所-为"深港通”创作代表香港一方的铜牛纪念雕塑；连卡佛Joyce集团–为总部设计及装置两台不锈钢雕塑作品；房屋署苏屋村重建-以苏屋旧物设计及装置两个单位；香港恒生大学–以扩增实境“AR”新媒体创作公共艺术作品，体现我们独特的中国文化传统及文化遗产；以及希慎兴业有限公司赞助2019法国五月的联办节目-“华丽变奏”个人展览。潘氏现为香港理工大学服装馆委员会的成员、亦于2020年为理大纺织及制衣学系毕业展的评审·潘氏亦代表香港（中国）参展杭州中国丝绸博物馆举办的2019国际旗袍展览﹐作品题为”天圆地方”，庆祝中华人民共和国建国70周年。

Helen Pun, a banker-turned artist, practices art in multi-disciplines - Chinese 

calligraphy & ink painting, oil painting, ceramics, sculpture, installation, haute 

couture fashion design and creative media. She holds a Master of Fine Art 

degree from the RMIT University, Melbourne (with distinction); and an MBA 

degree from the University of Hull, UK (with distinction). 

She has been commissioned a number of art projects, for example by the 

Hong Kong Exchanges (a bull bronze sculpture for “Shenzhen Connect”), 

Housing Authority (So Uk Redevelopment installation), Lane Crawford Joyce 

Group (sculptural installation), Hang Seng University of Hong Kong 

(augmented reality public art project) and Wheelock Development (sculptures 

for a new development site in Kai Tak). As a fashion artist, she was sponsored 

by Hysan Development Co. Ltd. for a Le French May 2019 project (Vivre la Cheongsam) at Lee Garden One; also by Hong Kong Polytechnic University 

for a solo exhibition in 2019. She was a judge for PolyU’s graduation show in 

2020 and now a member of the Gallery Academic Committee of The Fashion 

Gallery of PolyU. Helen’s fashion artwork (“Harmony”), representing Hong 

Kong (PRC), was featured at the 2019 Global Qipao exhibition held at the 

China National Silk Museum in Hangzhou, in celebration of the 70th 

anniversary of the founding of the People’s Republic of China. 

作品名称：《妈妈的裙子》 《生命有时 》《 共融》

作品材质：胃管喂食奶袋(曾用过的)、针筒 (曾用过的)、颜料液体、棉缐、人型模特儿、索带、铁缐、铁丝网、薄纱

Artwork (1): The Dress

Year  : 2017

Media : Sculptural installation

Dimension : 1.5m x 3m x 2m (l x w h)

Materials : Used feeding bags (enteral delivery systems), used syringes, colored liquids, threads, mannequin, cable ties, iron wires & mesh, tulle 

Video (duration: 02:21minutes) 

Artwork concept - 

“The Dress”, is a sculptural installation and the making of it is captured in a video (duration: 02:21minutes). This artwork is a metaphoric archetype of the human body, in an involuntary state that is dependent on western medication and nutritional feed for survival. This was reflected from personal family experience with food toxin leading to aphasia and immobility. The ‘dress’, akin to the second skin of the body, symbolizes the helplessness state of the body – a body reinvented as a scientific construct. It seeks to evoke the fear, or perhaps a different perspective of a science-dependent physiological state of living. 

This artwork attempts to interpret the relationship between Art and Science, using the body and the dress to manifest the fragility and emotions of my bed-ridden mother. Feeding bags and syringes used in this artwork were all used by my mother, as a remembrance of this journey and experience of us both. 

作品 (1) ：妈妈的裙子

创作年份 ：2017

媒介  ：装置

尺寸  ：1.5米 x 3米 x 2米 (长x阔x高)

物料  ：胃管喂食奶袋(曾用过的)、针筒 (曾用过的)、颜料液体、棉缐、人型模特儿、索带、铁缐、铁丝网、薄纱

视频  (片长：02:21)

作品概念 -

作品 (装置服饰及一短片、片长两分廿一秒) 以胃管喂食的奶袋做成 ”妈妈的裙子”，比喻脆弱的身躯，在无法自主的状况下只能靠医药及再造营养液维持生命。创作者有感亲人的切身经历，以作品表达病人的无助。奶袋恍惚变成科学研制出来的服饰，掩盖病人心霊的疼痛及恐惧，也让我们反思生命的无常和短暂。

作品用人体和衣饰探讨艺术与科学的关系、以表达对卧床不起母亲的感受。喂食用的喉管和奶袋及针筒都是妈妈用过的，引记着我们一起面对的经历和情绪的起伏。

Artwork (2): Time 

Year  : 2016

Media : Installation

Dimension : 305cm x 610cm x 10cm (h x w x d) 

Materials : Enteral delivery systems (used with milk stains), cable ties, industrial adhesive tapes, nylon threads, stainless steel wires and plastic rods

 Artwork concept - 

“Time” is a hanging installation of enteral delivery systems that are shaped like a heart rate monitor. To where does this take us? Our endurance is under check, as our BPM (heart-beat per minute) shows. The nutritional feeding bags are marked yellow which indicates caution and warning, as in traffic lights – a decision to continue or to stop. Our physical, emotional and psychological well-being keep struggling to find the right balance – the balance between hope and despair, when we confront uncertainties about time and the future. Can we control ‘time’? 

This artwork was informed by personal family experiences when I was witnessing my mother’s sufferings during the stage of her physical impairment caused by meningitis and viral infection. This work represents a series of artworks created to record the journey of her physical and psychological response to inflammation, resistance and repair as a result of medical treatment and a prolonged stage of endurance. ‘Time’ was created during the state of endurance. Can the repair process be carried out indefinitely? How sustainable is our body in going through the process of pain and restlessness? Can we engineer time? The nutritional feeding bags used in this installation artwork were all used by my mother, as remembrance of this experience.

作品 (2)：生命有时

创作年份 ：2016

媒介  ：装置

尺寸  ：3.05米 x 6.10米 x 0.10米 (高x阔x深)

物料  ：胃管喂食奶袋(曾用过的)、索带、工业用胶带、尼龙绳、不锈钢威也、胶樋

作品概念 -

“生命有时” 是另一作品 ”妈妈的裙子” 的延续。作品以医疗用的喂食喉管和奶袋 (全部都是妈妈用过的) 吊成一组装置艺术，形似一幅心率图。一边指向心臓跳动，另一边显示生命终止。心率缐以黄色显示、似是交通灯中的黄、是一种提示，向前进或是停止？ 还要等多久？ 方向的选择有时不由自主。在依赖科学将生命延续之时，在希望与绝望之间的争扎，我们又能控制生命的无常吗？ 科学又能主宰生命吗？

作品受自身经历的启发。由七年间自妈妈受细菌感染至脑炎至全身瘫痪及失语，作品引记着她身体及心灵在这漫长的医疗过程中的起伏。生命通过胃喉喂食得以延续，但生命的状态又是否我们的选择？

Artwork (3):  Whole In Parts

Year  :  2021

Media :  Costume 

Dimension :  60cm x 30cm x 80cm (l x w x h) (TBD)

Materials :  xiang yun sha + cotton threads + pins (TBD)

Artwork concept – 

“Whole In Parts” evolves from an earlier work, “Second Skin” made in 2020 during the start of the pandemic when masks were in acute shortage around the world. This artwork uses xiang yun sha as a primary material, being uniquely produced in our country (in Foshan). Characteristic of xiang yun sha is a genuinely organic production process that is more environmental-friendly, offering itself a reasonable protective layer against bacteria or virus. The organic nature creates a distinct contrast to any chemical-intensive alternatives. 

This Mandarin-style standup collar vest is made by the artist herself, using traditional cheongsam making techniques, paying tribute to our cultural heritage and highlighting the aesthetics of a Chinese outfit. Masks, made of remnants of the same material, are affixed to the vest, an up-cycling attempt to resonate with the organic nature of this unique fabric. These masks are meant to be given-away to viewers for free. In return, viewers are invited to honor the messages embedded in the masks and advocate the meaning of this artwork - Sharing. This subtly interactive artwork is drawn from the reflection of this whole pandemic experience that invites all of us to re-evaluate what is most important in life – to embrace challenges, to share, to care and to love. What is left when all the individual masks are taken away makes it whole for the person wearing the vest!

作品 (3)：共融

创作年份 ：2021

媒介  ：唐装

尺寸  ：0.6米 x 0.3米 x 0.8米 (长x阔x高)

物料  ：香云纱、棉缐 、扣针

作品概念 -

“共融” 是从2020作品”第二层肌肤” 发展出来。那时正值疫情初期，全球口罩极度短缺。作品用上我国佛山特产的香云纱面料缝制。香云纱特质在于其繁复的有机制作过程。物料本身较一般面料具较佳的抗菌功能、且耐用。

艺术家自己运用所学的传统长衫手工缝制这件立领唐装，向我国传统非物质文化遗产的手艺致敬，也期望表扬中国服饰的特有气质和美感。所有挂在唐装上的口罩是用做唐装的余布缝制而成，也是物尽其用、环保不浪费。口罩是与观者分享的，欢迎观者取走，但在取走时也请观者留意口罩内的字条，实践字条中的信息。这些信息正是作品的意义，希望观者一起宣扬共融共享的思想。这含蓄的互动作品受疫情启发，让我反思生命最重要的意义 - 在于勇于接受挑战、去分享、去关怀、去爱护。取走口罩的同时，也成就这件唐装的完美！