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Contemporary Art by Elva Lai

Historical records are filled with data and figures, yet they rarely capture the emotions experienced by the countless i...
10/06/2026

Historical records are filled with data and figures, yet they rarely capture the emotions experienced by the countless individuals involved. For this reason, I have chosen cardboard boxes—a symbol of moving house—which are left entirely empty, lined only with a thin layer of charcoal ash, resembling dust. This serves to symbolise the reluctance and sorrow felt at leaving one’s home, whilst the empty boxes seem to bear the weight of those memories.

‘Memory Space Series: The Box of History’, Elva Lai, 2016, cardboard box, ashes, steel rack.

歷史檔案記載的都是資料及數字，很少記錄其中無數的個體生命面對的情緒。因此，我選擇了象徵搬家的紙箱，裏面空空如也，只鋪了一層薄薄的炭灰，如同灰塵，象徵離開家園的不捨及難過，空紙箱也恍如承載了那些記憶。

《記憶空間系列：歷史之盒》，Elva Lai，2016，紙箱，灰燼，貨物架



“Archives of No Tomorrow”In collaboration with artists Carsten Saeger and Yana Zschiedrich.“Archives of No Tomorrow” dra...
22/05/2026

“Archives of No Tomorrow”
In collaboration with artists Carsten Saeger and Yana Zschiedrich.

“Archives of No Tomorrow” draws inspiration from coal-mining towns in 1990s Germany, where residents were forced to leave their homes due to the demand for coal resources in the region. The work is exhibited at the SAANA Building, situated within the Zollverein Coal Mine Industrial Complex in Essen, Germany—a site of historic industrial significance and a UNESCO World Heritage Site.

My two fellow artists and I decided to present our works in an archival display, using coal as our medium and approaching the subject from different angles. We ultimately placed the pieces on shelving units and exhibited them together.

Historical records are filled with data and figures, yet they rarely capture the emotions experienced by the countless individuals involved. For this reason, I have chosen cardboard boxes—a symbol of moving house—which are left entirely empty, lined only with a thin layer of charcoal ash, resembling dust. This serves to symbolise the reluctance and sorrow felt at leaving one’s home, whilst the empty boxes seem to bear the weight of those memories.

《未知明天的檔案》
與藝術家Carsten Saeger、Yana Zschiedrich合作。

《未知明天的檔案》以1990年代德國的煤炭開採城市，當時居民因土地上的煤炭資源需求而被迫離開家園為題創作。作品展出在SAANA Building，位於具有歷史性工業價值的德國埃森西部關稅同盟煤礦工業建築群，亦是聯合國教科文組織指定的世界遺產。

我與兩位藝術家決定以檔案陳列方式展示作品，以煤炭作為創作材料，以不同角度去創作。最後把作品放在置物架上，一起展出。

歷史檔案記載的都是資料及數字，很少記錄其中無數的個體生命面對的情緒。因此，我選擇了象徵搬家的紙箱，裏面空空如也，只鋪了一層薄薄的炭灰，如同灰塵，象徵離開家園的不捨及難過，空紙箱也恍如承載了那些記憶。

The installation work titled ​A Sense of Homeland is made of brightly colored glass and an inkjet printed logo from exot...
07/05/2026

The installation work titled ​A Sense of Homeland is made of brightly colored glass and an inkjet printed logo from exotic food I found in ordinary supermarkets. Colors were chosen according to the main colors used in the logos of the food brands, especially the sauce products, since I believe the sauce from different countries represents different memories of food. The sense of homeland is an abstract concept from which we may experience a song, a smell or a taste. The mentality of migrants is perhaps not so far away from us when we reflect on this.

這件名為《家鄉感覺》的裝置作品，由色彩鮮豔的玻璃，以及我在普通超市中發現的異國食品噴墨印刷標誌所構成。色彩的選用是根據食品品牌標誌的主色調，特別是醬料產品，因為我認為來自不同國家的醬料代表著不同的食物記憶。「家鄉感」是一個抽象的概念，我們可能透過一首歌、一種氣味或一種味道來體驗它。當我們反思這一點時，移民的心境或許離我們並不遙遠。

This piece captures the scene of a sunset across six pieces of glass. Each piece, no larger than the palm of your hand, ...
01/05/2026

This piece captures the scene of a sunset across six pieces of glass. Each piece, no larger than the palm of your hand, resembles a mobile phone screen, with the night sky taking on the hue of a sapphire.

這個作品以六塊玻璃記錄了一場日落的景色。手掌大小的玻璃，如同看着手機屏幕，夜色變成藍寶石般。

Sunset, Elva Lai, 2015, Blue glass, inkjet print on paper10 x 17 cm (each glass, total 6 glasses)
29/04/2026

Sunset, Elva Lai, 2015, Blue glass, inkjet print on paper
10 x 17 cm (each glass, total 6 glasses)

Solo Exhibition, Artist Residency in ODRADEK, 2017, Freedom Swimmers, Brussels, Belgium
29/04/2026

Solo Exhibition, Artist Residency in ODRADEK, 2017, Freedom Swimmers, Brussels, Belgium

The Net, Elva LAI, 2017, wire baskets, blue color on wall, 53 x 279 cm
29/04/2026

The Net, Elva LAI, 2017, wire baskets, blue color on wall, 53 x 279 cm

這張照片我之前沒有使用在展覽中，最近在整理個人網站時才找到。陽光灑在海面上，夏天的感覺就這樣自然地流露出來。那天，我和三位大學好友（真是有情有義）一起去了黃金海岸，還請了一位在教會認識的攝影師幫助。烈日下，我們完成了這幅充滿詩意的作品。照片...
21/10/2025

這張照片我之前沒有使用在展覽中，最近在整理個人網站時才找到。陽光灑在海面上，夏天的感覺就這樣自然地流露出來。

那天，我和三位大學好友（真是有情有義）一起去了黃金海岸，還請了一位在教會認識的攝影師幫助。烈日下，我們完成了這幅充滿詩意的作品。

照片中的小花是香港常見的三角梅等野花，國外不常見，特別承載了我對這些花的喜愛和思鄉的心。兩邊的朋友拉著網裡排得整齊的野花，雙腳抵住潮水。看起來像後製的畫面，卻是現場擺拍的真實瞬間。

陽光閃耀，花瓣零落，看似隨意，卻記錄了那些青澀的夏日回憶。

我為這小作品選了可以安靜閱讀的角落。小長木桌很適合小廚具，廚具代表的是作了妻子的我，仍努力創作下去。開幕儀式我沒有去，這些場合過去去了很多，漸漸變得太在乎、影響了創作。時間令我明白，我應在乎創作内容的深度，不是只只是形式，也不只是視覺的。這...
12/10/2025

我為這小作品選了可以安靜閱讀的角落。

小長木桌很適合小廚具，廚具代表的是作了妻子的我，仍努力創作下去。

開幕儀式我沒有去，這些場合過去去了很多，漸漸變得太在乎、影響了創作。

時間令我明白，我應在乎創作内容的深度，不是只只是形式，也不只是視覺的。這些價值，才是令我可以走下去的力量。

如果夢想沒有實現的話，我們裏面還剩下什麼？如果不去想這個夢想，我們裏面只剩下空虛嗎？在我們的心中，還有什麼問題一直存在，需要花時間去處理？如果這個夢想的收穫被我們高估了，那麼，有什麼價值或是關係被我們低估了？ 盲目的盼望並沒有用，我們需要的...
12/10/2025

如果夢想沒有實現的話，我們裏面還剩下什麼？

如果不去想這個夢想，我們裏面只剩下空虛嗎？在我們的心中，還有什麼問題一直存在，需要花時間去處理？

如果這個夢想的收穫被我們高估了，那麼，有什麼價值或是關係被我們低估了？

盲目的盼望並沒有用，我們需要的，是支撐着生活的品格及簡單又珍貴的價值觀。

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