Translate below text into Cantonese.

Between Cute and Cataclysm: LEEHAM’s ‘Dreaming about Ham Sandwich’ Explored
by Dino Rib

In the exhibition "Dreaming about Ham Sandwich after the End of World", artist LEEHAM explores a mixed use of materials that creates a dialogue between the organic and the artificial. Often seen in her recent practices, LEEHAM's utilizations of self-invented materials which often grow over time and adopt organic forms, seem to resonate with a sense of "cuteness" that appeals to the artist's aesthetic sensibilities. These materials intertwine with daily objects collected from her social and personal networks, allowing the organic to graft onto the man-made, subsequently ending up with a physicalized resolution of the artist’s emotional landscape.

###The Social Fabric
LEEHAM's exhibition blurs the lines between art creation and social interaction. The “H.P. Night” event, an informally invited gathering where guests from her personal network brought their own food for hot-potting, not only interlaced the art-making and art-exhibiting stages with personal connections and celebrating the necessity of socialization, but also mirrored the process of collecting and transforming found objects in her installation works. Such emphasis on socialization and contextualization of material is not just a method for art-making, but is intrinsic to LEEHAM’s art itself. Yet, as a dilemma, the "tango robot", LEEHAM’s doppelgänger that dances around the exhibition space, often unable to home itself for charging, resembles the artist's own search for identity and belonging within the confines of the (art) world.

###Spatial and Material Aesthetics
LEEHAM's practice, reminiscent of her earlier participation in solo exhibition “Non-Solo: Reclaiming Little Things” and exhibition series "Under.Line", employs minimal text and focuses on the visual interplay of form, colour, and space. The spatial relationships between objects fill the venue with, instead of cultural concerns, a physical and visual presence that demands to be felt rather than read. The artist’s choice of materialisations in this show suggested a subtle layer of emotional content, transforming the materials into metaphors of struggles, such as the organic forms that could resemble human cells, reminding one of possible uncontrollable growth within everyone of us.

###The Unspoken Territory, The In/visible Ham
The understated emphasis on the notion of "territory" within the artist's statement contrasts with the exhibition's spatial dynamics, where the concept of “aiming to establish a sense of settlement” is hinted at within the process rather than explicitly shown. Such subtlety invites viewers to proactively make sense of the rather minimal and abstract presentation. While the need of establishing boundary and territory often relates to unsettlement of distance between self and others, the artist’s physical presence—or absence—in the venue could profoundly impact the audience's sentimentality to the work and their interpretation of the LEEHAM’s possible messages. (as if what a piece of ham could mean when being consumed as a ham sandwich)

Ambiguity, Absurdity, Aphasia, Articulation

The exhibition's title, "Dreaming about Ham Sandwich after the End of World," offers a poignant sense of ambiguity. The act of “dreaming” (rather than “making” or “eating”, for example) about a ham sandwich in a post-apocalyptic setting provokes imagination out of absurdity, which might ultimately point towards the artist's existential situation. In a world where art serves as a non-verbal voice, LEEHAM’s exhibition whispers questions about the necessity and beauty of ambiguity. Is such a gesture a result of aphasia caused by the unsettled reality, or is it an articulated choice of expression with the optimal distance? LEEHAM’s creations offer an alternative from the logical, a space where beauty operates as a veil, inviting contemplation on what is said, what is unsaid, and the beauty that lies within the necessity of withholding.

Translate below text into Hong Kong Cantonese.

Between Cute and Cataclysm: LEEHAM’s ‘Dreaming about Ham Sandwich’ Explored
by Dino Rib

In the exhibition "Dreaming about Ham Sandwich after the End of World", artist LEEHAM explores a mixed use of materials that creates a dialogue between the organic and the artificial. Often seen in her recent practices, LEEHAM's utilizations of self-invented materials which often grow over time and adopt organic forms, seem to resonate with a sense of "cuteness" that appeals to the artist's aesthetic sensibilities. These materials intertwine with daily objects collected from her social and personal networks, allowing the organic to graft onto the man-made, subsequently ending up with a physicalized resolution of the artist’s emotional landscape.

###The Social Fabric
LEEHAM's exhibition blurs the lines between art creation and social interaction. The “H.P. Night” event, an informally invited gathering where guests from her personal network brought their own food for hot-potting, not only interlaced the art-making and art-exhibiting stages with personal connections and celebrating the necessity of socialization, but also mirrored the process of collecting and transforming found objects in her installation works. Such emphasis on socialization and contextualization of material is not just a method for art-making, but is intrinsic to LEEHAM’s art itself. Yet, as a dilemma, the "tango robot", LEEHAM’s doppelgänger that dances around the exhibition space, often unable to home itself for charging, resembles the artist's own search for identity and belonging within the confines of the (art) world.

###Spatial and Material Aesthetics
LEEHAM's practice, reminiscent of her earlier participation in solo exhibition “Non-Solo: Reclaiming Little Things” and exhibition series "Under.Line", employs minimal text and focuses on the visual interplay of form, colour, and space. The spatial relationships between objects fill the venue with, instead of cultural concerns, a physical and visual presence that demands to be felt rather than read. The artist’s choice of materialisations in this show suggested a subtle layer of emotional content, transforming the materials into metaphors of struggles, such as the organic forms that could resemble human cells, reminding one of possible uncontrollable growth within everyone of us.

###The Unspoken Territory, The In/visible Ham
The understated emphasis on the notion of "territory" within the artist's statement contrasts with the exhibition's spatial dynamics, where the concept of “aiming to establish a sense of settlement” is hinted at within the process rather than explicitly shown. Such subtlety invites viewers to proactively make sense of the rather minimal and abstract presentation. While the need of establishing boundary and territory often relates to unsettlement of distance between self and others, the artist’s physical presence—or absence—in the venue could profoundly impact the audience's sentimentality to the work and their interpretation of the LEEHAM’s possible messages. (as if what a piece of ham could mean when being consumed as a ham sandwich)

Ambiguity, Absurdity, Aphasia, Articulation

The exhibition's title, "Dreaming about Ham Sandwich after the End of World," offers a poignant sense of ambiguity. The act of “dreaming” (rather than “making” or “eating”, for example) about a ham sandwich in a post-apocalyptic setting provokes imagination out of absurdity, which might ultimately point towards the artist's existential situation. In a world where art serves as a non-verbal voice, LEEHAM’s exhibition whispers questions about the necessity and beauty of ambiguity. Is such a gesture a result of aphasia caused by the unsettled reality, or is it an articulated choice of expression with the optimal distance? LEEHAM’s creations offer an alternative from the logical, a space where beauty operates as a veil, inviting contemplation on what is said, what is unsaid, and the beauty that lies within the necessity of withholding.

Translate below text into Hong Kong Cantonese.

Between Cute and Cataclysm: LEEHAM’s ‘Dreaming about Ham Sandwich’ Explored
by Dino Rib

In the exhibition "Dreaming about Ham Sandwich after the End of World", artist LEEHAM explores a mixed use of materials that creates a dialogue between the organic and the artificial. Often seen in her recent practices, LEEHAM's utilizations of self-invented materials which often grow over time and adopt organic forms, seem to resonate with a sense of "cuteness" that appeals to the artist's aesthetic sensibilities. These materials intertwine with daily objects collected from her social and personal networks, allowing the organic to graft onto the man-made, subsequently ending up with a physicalized resolution of the artist’s emotional landscape.

###The Social Fabric
LEEHAM's exhibition blurs the lines between art creation and social interaction. The “H.P. Night” event, an informally invited gathering where guests from her personal network brought their own food for hot-potting, not only interlaced the art-making and art-exhibiting stages with personal connections and celebrating the necessity of socialization, but also mirrored the process of collecting and transforming found objects in her installation works. Such emphasis on socialization and contextualization of material is not just a method for art-making, but is intrinsic to LEEHAM’s art itself. Yet, as a dilemma, the "tango robot", LEEHAM’s doppelgänger that dances around the exhibition space, often unable to home itself for charging, resembles the artist's own search for identity and belonging within the confines of the (art) world.

###Spatial and Material Aesthetics
LEEHAM's practice, reminiscent of her earlier participation in solo exhibition “Non-Solo: Reclaiming Little Things” and exhibition series "Under.Line", employs minimal text and focuses on the visual interplay of form, colour, and space. The spatial relationships between objects fill the venue with, instead of cultural concerns, a physical and visual presence that demands to be felt rather than read. The artist’s choice of materialisations in this show suggested a subtle layer of emotional content, transforming the materials into metaphors of struggles, such as the organic forms that could resemble human cells, reminding one of possible uncontrollable growth within everyone of us.

###The Unspoken Territory, The In/visible Ham
The understated emphasis on the notion of "territory" within the artist's statement contrasts with the exhibition's spatial dynamics, where the concept of “aiming to establish a sense of settlement” is hinted at within the process rather than explicitly shown. Such subtlety invites viewers to proactively make sense of the rather minimal and abstract presentation. While the need of establishing boundary and territory often relates to unsettlement of distance between self and others, the artist’s physical presence—or absence—in the venue could profoundly impact the audience's sentimentality to the work and their interpretation of the LEEHAM’s possible messages. (as if what a piece of ham could mean when being consumed as a ham sandwich)

Ambiguity, Absurdity, Aphasia, Articulation

The exhibition's title, "Dreaming about Ham Sandwich after the End of World," offers a poignant sense of ambiguity. The act of “dreaming” (rather than “making” or “eating”, for example) about a ham sandwich in a post-apocalyptic setting provokes imagination out of absurdity, which might ultimately point towards the artist's existential situation. In a world where art serves as a non-verbal voice, LEEHAM’s exhibition whispers questions about the necessity and beauty of ambiguity. Is such a gesture a result of aphasia caused by the unsettled reality, or is it an articulated choice of expression with the optimal distance? LEEHAM’s creations offer an alternative from the logical, a space where beauty operates as a veil, inviting contemplation on what is said, what is unsaid, and the beauty that lies within the necessity of withholding.

Translate below text into Hong Kong Cantonese.

Between Cute and Cataclysm: LEEHAM’s ‘Dreaming about Ham Sandwich’ Explored
by Dino Rib

In the exhibition "Dreaming about Ham Sandwich after the End of World", artist LEEHAM explores a mixed use of materials that creates a dialogue between the organic and the artificial. Often seen in her recent practices, LEEHAM's utilizations of self-invented materials which often grow over time and adopt organic forms, seem to resonate with a sense of "cuteness" that appeals to the artist's aesthetic sensibilities. These materials intertwine with daily objects collected from her social and personal networks, allowing the organic to graft onto the man-made, subsequently ending up with a physicalized resolution of the artist’s emotional landscape.

###The Social Fabric
LEEHAM's exhibition blurs the lines between art creation and social interaction. The “H.P. Night” event, an informally invited gathering where guests from her personal network brought their own food for hot-potting, not only interlaced the art-making and art-exhibiting stages with personal connections and celebrating the necessity of socialization, but also mirrored the process of collecting and transforming found objects in her installation works. Such emphasis on socialization and contextualization of material is not just a method for art-making, but is intrinsic to LEEHAM’s art itself. Yet, as a dilemma, the "tango robot", LEEHAM’s doppelgänger that dances around the exhibition space, often unable to home itself for charging, resembles the artist's own search for identity and belonging within the confines of the (art) world.

###Spatial and Material Aesthetics
LEEHAM's practice, reminiscent of her earlier participation in solo exhibition “Non-Solo: Reclaiming Little Things” and exhibition series "Under.Line", employs minimal text and focuses on the visual interplay of form, colour, and space. The spatial relationships between objects fill the venue with, instead of cultural concerns, a physical and visual presence that demands to be felt rather than read. The artist’s choice of materialisations in this show suggested a subtle layer of emotional content, transforming the materials into metaphors of struggles, such as the organic forms that could resemble human cells, reminding one of possible uncontrollable growth within everyone of us.

###The Unspoken Territory, The In/visible Ham
The understated emphasis on the notion of "territory" within the artist's statement contrasts with the exhibition's spatial dynamics, where the concept of “aiming to establish a sense of settlement” is hinted at within the process rather than explicitly shown. Such subtlety invites viewers to proactively make sense of the rather minimal and abstract presentation. While the need of establishing boundary and territory often relates to unsettlement of distance between self and others, the artist’s physical presence—or absence—in the venue could profoundly impact the audience's sentimentality to the work and their interpretation of the LEEHAM’s possible messages. (as if what a piece of ham could mean when being consumed as a ham sandwich)

Ambiguity, Absurdity, Aphasia, Articulation
The exhibition's title, "Dreaming about Ham Sandwich after the End of World," offers a poignant sense of ambiguity. The act of “dreaming” (rather than “making” or “eating”, for example) about a ham sandwich in a post-apocalyptic setting provokes imagination out of absurdity, which might ultimately point towards the artist's existential situation. In a world where art serves as a non-verbal voice, LEEHAM’s exhibition whispers questions about the necessity and beauty of ambiguity. Is such a gesture a result of aphasia caused by the unsettled reality, or is it an articulated choice of expression with the optimal distance? LEEHAM’s creations offer an alternative from the logical, a space where beauty operates as a veil, inviting contemplation on what is said, what is unsaid, and the beauty that lies within the necessity of withholding.

Translate below text in Hong Kong Cantonese

###The Unspoken Territory, The In/visible Ham
The understated emphasis on the notion of "territory" within the artist's statement contrasts with the exhibition's spatial dynamics, where the concept of “aiming to establish a sense of settlement” is hinted at within the process rather than explicitly shown. Such subtlety invites viewers to proactively make sense of the rather minimal and abstract presentation. While the need of establishing boundary and territory often relates to unsettlement of distance between self and others, the artist’s physical presence—or absence—in the venue could profoundly impact the audience's sentimentality to the work and their interpretation of the LEEHAM’s possible messages. (as if what a piece of ham could mean when being consumed as a ham sandwich)

Ambiguity, Absurdity, Aphasia, Articulation

The exhibition's title, "Dreaming about Ham Sandwich after the End of World," offers a poignant sense of ambiguity. The act of “dreaming” (rather than “making” or “eating”, for example) about a ham sandwich in a post-apocalyptic setting provokes imagination out of absurdity, which might ultimately point towards the artist's existential situation. In a world where art serves as a non-verbal voice, LEEHAM’s exhibition whispers questions about the necessity and beauty of ambiguity. Is such a gesture a result of aphasia caused by the unsettled reality, or is it an articulated choice of expression with the optimal distance? LEEHAM’s creations offer an alternative from the logical, a space where beauty operates as a veil, inviting contemplation on what is said, what is unsaid, and the beauty that lies within the necessity of withholding.