顯影堂台北呈現《Ryuichi Sakamoto 1998 Revisited》——香港攝影師Rensis Ho以影像拼貼手法再現九十年代拍攝的坂本龍一肖像

1998年1月,坂本龍一走進香港一座唐樓的攝影工作室……

這位日本音樂巨匠當年46歲,早已享譽國際,從電子音樂到電影配樂,他的樂曲及旋律令人動容。他在多張專輯中的百變造型,散發著獨特的個性與魅力,而在香港攝影師Rensis Ho (何耀燊) 鏡頭下,則是一位隨和又寡言的智者。

1978年以日本傳奇電子音樂組合YMO出道的坂本龍一,當年正迎來入行二十年的日子,彼時他到香港宣傳《Discord》專輯的國際版,接受《新誌向 MAGPAPER》的訪問。在攝影師的工作室裡,沒有預設的腳本,只有簡潔的背景。教授在鏡頭前展現自在一面:他時而直視鏡頭,時而隨興躺臥,甚至與攝影師的寵物狗親密玩耍。

攝影師擅長捕捉被攝者的獨特神情,鏡頭下的教授有時托腮、有時撥弄頭髮,整個過程輕鬆而自然。多年後回首,Rensis仍難忘當初相遇的時刻,坦言教授是一位思想豐盈、魅力四射的藝術家,說起拍攝當天的細節,他歷歷在目。「他的動作很即興,瀟灑而迷人,我透過鏡頭捕捉他的不同神韻。」

這些曾沉寂於已停刊雜誌中的影像,終於在去年透過香港書店空間「顯影堂」首次完整展出,不僅是坂本龍一肖像的再次顯影,也是這位教授與香港這座城市共同留下的時代回聲。

展覽《間まMA:Ryuichi by Rensis》迴響熱烈,也促成作品集《Ryuichi Sakamoto 1998》的誕生,是顯影堂踏足攝影出版的首個企劃。這些影像猶如1998年教授的「香港篇章」,因此設計靈感以唱片為概念,外觀恍如一張黑膠,裏面包括一本36頁攝影集、一張24吋海報,以及一張沒有音樂但充滿禪意的12吋密紋唱片。

Ryuichi Sakamoto 1998 Revisited

28年過去,這些菲林底片變成精美攝影集,Rensis的坂本龍一肖像作品也從香港走向台灣,即將於五月底在台北藝文空間「一格一隅」展出。展覽名為《Ryuichi Sakamoto 1998 Revisited》,攝影師重新拍攝當年的底片,透過影像拼貼(Collage)的創作手法,以「現在」的眼光對「過去」的碎片進行重新解構與縫補,用全新方式呈現當年的坂本龍一照片。

相較於台北市立美術館即將舉行《坂本龍一|觀音.聽時》的大型音樂裝置作品,這次在「一格一隅」的肖像展,則像是一段私密的插曲、一場輕輕的前奏——在Rensis的影像中,我們彷彿能聽見那年冬天,香港唐樓裡那段安靜且禪意的旋律。

《Ryuichi Sakamoto 1998 Revisited》

日期:2026年5月30日至6月28日

時間:2-8pm(星期四至日開放)

地址:臺北市松山區復源里八德路三段142號2樓「一格一隅」

開幕講座
日期:2026年5月30日下午3-4時
講者:攝影師 Rensis Ho、攝影集設計師Benny Au、顯影堂創辦人劉東佩
座位有限,先到先得,按此報名。

關於Rensis Ho

三十年來,Rensis Ho (何耀燊) 拍攝過無數中外名人,如著名演員Isabella Rossellini和Chloe Sevigny、模特兒Kate Moss、LV男裝創意總監Pharrell Williams、日本潮流教父NIGO等,也拍攝過梅艷芳、周星馳等香港明星。Rensis擅於靜物和人像攝影,他認為人像攝影最重要的是捕捉被攝者的內在特質,這在他的黑白照片中也顯而易見。

關於顯影堂

由香港攝影平台「顯影 PhotogStory」創辦人及攝影策展人劉東佩在2025年成立的「顯影堂 DEVEDO」,是香港罕有的攝影書店空間。店內除了出售多款攝影書籍外,也會定期舉辦攝影相關講座及舉辦攝影展。

關於一格一隅

一格一隅 a frame a corner」由台灣攝影師蕭希如與 Jason共同創立,名稱來自影像中的片段與角落概念。空間以實驗性與跨領域創作為核心,關注攝影、展覽、藝術計畫與品牌合作等多元形式。透過自由開放的策展方式,嘗試讓藝術回到更貼近日常與真實感受的狀態。


DEVEDO Presents Ryuichi Sakamoto 1998 Revisited in Taipei

exhibiting Hong Kong Photographer Rensis Ho’s Portrait of Ryuichi Sakamoto in 1998 

It all began in January 1998, when Ryuichi Sakamoto stepped into a photography studio inside a Hong Kong Tong Lau (tenement building).

Having debuted in 1978 with the legendary Japanese electronic group YMO, Sakamoto gained his worldwide recognition through film scores in the 1980s and 1990s. Back in 1998, the 46-year-old musical maestro visited Hong Kong to promote the international version of his album, Discord, and did an interview with MAGPAPER. 

Across his many albums, his ever-changing styles radiated a unique personality and charm; however, through Hong Kong photographer Rensis Ho’s lens, he appeared as a relaxed man of few words, yet full of wisdom.

In the photographer’s studio, there was no preset script—only a minimalist backdrop. Sakamoto revealed a natural side of himself before the camera: at times staring directly into the lens, at others lying casually, and even playing affectionately with the photographer’s dog.

Rensis Ho, skilled at capturing the unique expressions of his subjects, photographed Sakamoto resting his chin on his hand or running his fingers through his hair. Looking back years later, Rensis still vividly remembers their encounter, describing him as a thoughtful and charismatic artist. Recalling the details of that day, he says, “His movements were very impromptu and chic, and I captured his different auras through the lens.” 

These images, which had long lain dormant in a defunct magazine since 1998, were finally exhibited in full last year at the Hong Kong bookstore and space DEVEDO in 2025. This was not only a re-emergence of Ryuichi Sakamoto’s portraits but also a temporal echo shared between the composer and the city.

The exhibition, titled MA: Ryuichi by Rensis, received an enthusiastic response, leading to the creation of the photo book Ryuichi Sakamoto 1998. This marked DEVEDO’s first venture into photography publishing. 

These images were imagined as Sakamoto’s uncharted “Hong Kong Music Note,” and the design was inspired by the concept of a vinyl record, which includes a 36-page booklet, a 24-inch poster, and a 12-inch vinyl that contains s no music but a zen of silence.

Nearly three decades later, these negatives have been transformed into an exquisite photo book. Rensis’s portraits of Ryuichi Sakamoto are now traveling from Hong Kong to Taiwan, with an exhibition at the Taipei arts space, a frame a corner, this May. 

Titled Ryuichi Sakamoto 1998 Revisited, the exhibition represents a layered dialogue across time. By re-photographing the original negatives and collaging the images, Rensis Ho does not merely document the past, but also deconstructs and mends the fragments of memory through a ‘present’ lens. 

This exhibition in Taipei is like a private interlude or a gentle prelude. In Rensis’s images, we can almost hear that quiet, Zen-like melody from that winter day in a Hong Kong tenement.

Ryuichi Sakamoto 1998 Revisited

Date: 2026.05.30-06.28

Time: 2-8pm (Thursday to Sunday)

Venue: a frame a corner, 2 F., No. 142, Sec. 3, Bade Rd., 

Songshan Dist., Taipei City 105046, Taiwan (R.O.C.)

About Rensis HO

Over the past three decades, Rensis Ho has photographed countless celebrities, including actresses Isabella Rossellini and Chloé Sevigny, model Kate Moss, and Pharrell Williams. He has also photographed Hong Kong stars like Anita Mui and Stephen Chow. Rensis specializes in both still life and portraiture, believing that capturing the subject’s inner qualities is paramount, a quality evident in his black-and-white images.

About DEVEDO

顯影堂 DEVEDO is one of Hong Kong’s distinguished photography bookstores, founded in July 2025 by LAU Tung-Pui, photography curator and founder of the Hong Kong photography platform PhotogStory. In addition to offering a wide selection of photography books, DEVEDO also regularly hosts photography talks and exhibitions.

顯影堂6月新展覽——何居怡《When The Shutter Closes》

香港攝影書店空間顯影堂將於2026年6月6日至7月4日為香港攝影藝術家師何居怡 (Daphne Alexis Ho) 舉辦個展《When The Shutter Closes》。

當快門按下,一個瞬間結束,同時亦開啟另一段過程。展覽圍繞一個提問展開:按下快門是否就意味著影像的完成,抑或在定格之後仍持續延伸與轉變。

展覽呈現三個相互關連的系列——《TEAR》、《UNSTILL》與《STILL》。何居怡並不把照片視為單純的記錄,而是視其為可承受時間與痕跡的物件。影像在拍攝之後所經歷的變化,成為創作的核心;照片不再只是終點,而可能是一段過程的開始。

始於2023年的《TEAR》系列,透過對撕裂與修復影像的手法展開思考。照片被撕開後重新拼合,受日本傳統修復工藝金繼所啟發,以「手繪金粉」接縫影像。裂痕保留於畫面之中,破壞與修補並存,使影像同時顯露其脆弱與承受力。

《UNSTILL》系列延續影像的探索,顆粒狀的白色、黑金與黑銀的顏料散落於單色風景之上,打破畫面的靜謐。顏料為原本定格的影像引入流動與不確定,使景觀在聚合與散逸之間徘徊。

《STILL》系列則保持作品原貌,這種未經改動並非拒絕變化,而是一種接納。影像在其原有狀態中自成完整。

三個系列共同圍繞無常與轉變展開。無論經過改動或保持原狀,照片皆不被視為終點,而是在觀看與停留之間逐漸顯現其意義。

展覽詳情

日期:2026年6月6日至7月4日

時間:星期三至六下午2時至7時(需預約

地點:黃竹坑業勤街33號金來工業大廈二座6J室·顯影堂


何居怡 (Daphne Alexis Ho)

2011年獲香港藝術學院與澳洲皇家墨爾本理工大學(RMIT University)合辦之藝術學士學位,2014年獲藝術碩士學位,並於2018年取得澳洲皇家墨爾本理工大學哲學博士學位。

顯影堂 

由香港攝影平台「顯影 PhotogStory」創辦人劉東佩在2025年成立的「顯影堂 DEVEDO」,是香港罕有專注攝影書籍的書店。店內除了出售多種攝影書籍,也會定期舉辦攝影文化相關講座及策劃攝影展覽。

藝術家自述

在《When the Shutter Closes》中,我思考一張攝影作品究竟在何時、或是否能被視為完成。

透過《TEAR》、《UNSTILL》與《STILL》三個系列,我追索影像在按下快門之後的生命。無論是潑灑顏料、修補裂痕,或選擇不作改動,每一個動作都是一種傾聽——聆聽影像如何繼續展開,如何在可見的畫面之外延續。

我對影像與意識之間那片未明的空間深深著迷。攝影似乎指向定格與終止,但對我而言,它更像是一場對話的開端,一種轉化的契機。我守候快門落下之後的片刻,那段幾乎無形的靜止時刻。在其中,意義悄然轉移、散開,又重新開始。

我的創作深受日本美學「間(ma)」的啟發——那是一種活著的停頓,是片刻之間得以呼吸與生成的空隙。這種開放感貫穿於我的創作過程:堆疊、撕裂、等待。對我而言,攝影是一種沉思的實踐,是在行動與靜止、完成與延續之間尋找平衡的過程。而那份節奏,唯有在快門闔上的瞬間,才會浮現。


When The Shutter Closes

DEVEDO is pleased to present When The Shutter Closes, a solo exhibition by Hong Kong photographic artist Daphne Alexis Ho, on view from June 6 to July 4, 2026.

When the shutter closes, something ends — yet something else inevitably begins. In the exhibition, Ho considers whether a photograph ever truly reaches completion, or whether each image continues to unfold beyond the moment of capture.

The exhibition brings together three interconnected series — UNSTILL, TEAR, and STILL. Rather than treating the photograph as a fixed record, Ho approaches it as both surface and object, capable of change. What happens after the image is taken becomes central: the photograph is not an endpoint, but the beginning of another process.

In UNSTILL, granulated natural pigments of white, black gold, and black silver scatter across monochromatic landscapes. The pigments disrupt the image’s apparent stillness, loosening its structure and introducing movement and uncertainty. Landscapes hover between formation and dispersal, suggesting that the photographic image is never entirely static.

The TEAR series extends this inquiry through acts of rupture and repair. Photographs are torn and meticulously rejoined along seams traced with gold pigment. Fractures remain visible; what first appears as damage becomes a careful act of restoration. The works hold destruction and mending in tension, revealing the photograph as both vulnerable and enduring. 

By contrast, the works in the STILL series remain untouched. Their stillness is not a refusal of change, but an acceptance of what already exists. Without intervention, these images suggest that completion may reside within the photograph itself — a quiet presence that requires no further alteration.

Across the three series, Ho reflects on impermanence and transformation. Whether altered or left intact, each photograph exists in a state of becoming. Completion is not presented as a fixed conclusion, but as an awareness that emerges through sustained looking and attention.

Exhibition Details

Date: June 6 – July 4, 2026

Time: 2:00–7:00 PM (Wednesday–Saturday, by appointment)

Venue: DEVEDO, 6J, Block 2 Kingley Industrial Building, 33 Yip Kan Street, Wong Chuk Hang, Hong Kong

Daphne Alexis Ho

Daphne received a Bachelor of Fine Arts (2011) and Master of Fine Arts (2014), co-presented by Hong Kong Art School and RMIT University, and a Doctor of Philosophy (2018) from the Royal Melbourne Institute of Technology (RMIT), Australia.

DEVEDO 顯影堂 

DEVEDO is one of Hong Kong’s distinguished photography bookstores, founded in July 2025 by LAU Tung-Pui, photography curator and founder of the Hong Kong photography platform PhotogStory. In addition to offering a wide selection of photography books, DEVEDO also regularly hosts photography talks and exhibitions.

Artist Statement

When the Shutter Closes

In When the Shutter Closes, I explore when — or whether — a photographic work can ever be considered complete. Through three series — UNSTILL, TEAR, and STILL — I trace the life of an image after the moment of capture. Each gesture, from scattering paints to mending ruptures or leaving a photograph untouched, becomes a way to listen to the photograph’s unfolding, to what continues beyond the visible frame.

I am drawn to the uncertain space between image and awareness. The act of photography often suggests finality, yet for me it is the beginning of dialogue and transformation. I am interested in what happens in the interval after the shutter closes: an invisible moment of stillness where meaning shifts, disperses, and quietly begins again.

My work is guided by the Japanese aesthetic sensibility of ma — the living pause, the space between moments where things breathe and become. This sense of openness echoes through my process: layering, tearing, and waiting. Photography, for me, is a contemplative practice — a search for the balance between action and rest, completion and continuation. Within that space, I find the rhythm of my work — discovered only when the shutter closes.

顯影堂創辦人劉東佩策展—香港攝影藝術家京都KG+聯展《彼岸之藍|Cyan from the Other Shore》

在佛教用語中,此岸 (This Shore) 是眾生居住的娑婆之地,彼岸 (The Other Shore) 則是理想的彼方世界。放諸攝影裏,此岸可指我們身處的真實世界,而彼岸則是超越當下現實的境界,是一種精神上的追求與探索。

三位香港藝術家的作品,不論是鍾寶倫的紅外線攝影、王禾璧的AI生成圖片,還是田禮文以高斯潑濺 (Gaussian Splatting)創作的圖像,三者皆跨越現實的邊界,到達影像上的「彼岸」世界。

彼岸是甚麼顏色?在三位藝術家作品中,「彼岸」無疑是藍色的——那是深邃而靜謐的藍曬之色調。藍曬 (Cyanotype)作為一種古老的印相技術,影像呈現典雅而迷人。來到21世紀,古典工藝也演變出別樣的呈現方式,從鍾寶倫的玻璃藍曬、田禮文的數碼藍曬效果,到王禾璧以藍曬花卉所構成的雕塑裝置,藍曬成為一種影像的煉金術,將生命經驗、自然、AI圖像融為一種冥想。

藝術家們的作品也與佛教有無形連結。此岸是煩惱與苦海的世界,彼岸則是解脫後的極樂之地,鍾寶倫幻想父親彌留之際所見到的畫面,是滿天的花朶、霧中的身影,抑或是猛烈陽光下的佛像?他以紅外線相機捕捉生死之臨界,以透明玻璃承載不可見的光譜,彷若靈魂的影像,似在揭示生命在臨界時刻的模糊景象——霧、光、花與熱能化為彼岸的徵兆。

王禾璧的作品靈感源自胡金銓導演的《空山靈雨》,這是一部結合武俠與佛教的電影。藝術家延續對經典電影的探索,將電影中對自然世界的敬畏轉化為一首沉浸式的頌歌。她將藍曬影像摺疊成花卉,結合AI生成的電影畫面及短片,構建出一個結合視覺、聽覺、工藝和科技交織的多感官環境。

田禮文的作品重新呈現香港最高峰大帽山,以及坐落於其郊野公園山區的凌雲寺菩薩聖像之形貌,探究形相在因緣條件下的生滅流轉。每一次的重構,皆是一場關於無常、緣起與轉化的觀照。

《彼岸之藍》以「藍曬」為影像與感官的橋樑,貫穿「此岸」與「彼岸」的哲學隱喻。三位藝術家的創作透過不同科技手段重構彼岸世界,使影像從物象轉為精神象徵,構建出一種使觀者彷彿置身異境的視覺體驗。

日文名稱:彼岸の青 (Higan no Ao)
Cyan from the Other Shore

Artists: 鍾寶倫|Alex CHUNG Po Lun, 田禮文|TIN Lai Man, 王禾璧|WONG Wo Bik
Curator: 劉東佩 |LAU Tung-Pui
Date: 4/18-4/27, 11:00-18:00 (daily)
Venue: meda: gallery, 353-1 Tsukinuke, 2chōme, Shimogyo Ward, Kyoto
〒600-8364 京都府京都市下京区突抜二丁目353-1


Cyan from the Other Shore

In Buddhist teachings, This Shore refers to the Sahā world—the realm of sentient beings where suffering and desire reside. The Other Shore, by contrast, symbolizes an ideal realm beyond, a state of spiritual liberation and enlightenment. Within the realm of photography, This Shore may be seen as the tangible world we live in, while The Other Shore becomes a metaphor for transcendence—an inner pursuit of vision and spirit through the image.

In the works of three Hong Kong artists—Alex Chung, WONG Wo Bik, and Man Tin—image becomes a vessel that voyages across the boundaries of reality. Whether through Chung’s infrared photography, WONG’s AI-generated images, or Man Tin’s visuals using Gaussian Splatting, each artist traverses the threshold between the visible and the unseen, arriving at their own Other Shore of the image.  

Then, what color is The Other Shore? In the works of these artists, it is, without doubt, blue—the deep, tranquil hue of cyanotype. As an early photographic printing process, cyanotype exudes a classical, contemplative elegance. In the twenty-first century, this technique has been renewed through diverse contemporary expressions—from Alex Chung’s cyanotypes on glass plate and Man Tin’s simulated digital cyanotypes to WONG Wo Bik’s cyanotype-flower sculptures. Cyanotype here becomes an alchemy of the image—fusing lived experience, nature, and visual illusion into an act of meditation.

Each artist’s work resonates with Buddhist thought in invisible ways. This Shore is the world of delusion and distress; The Other Shore is the realm of liberation beyond. Alex Chung imagines what his father might have seen at the threshold of life and death—fields of flowers, spectral silhouettes in mist, or perhaps the blazing radiance of a Buddha. With an infrared camera, he captures that liminal moment, using transparent glass to bear the invisible spectrum of light—images of the soul itself, revealing the ambiguity between being and dissolution. Mist, light, blossoms, and heat shimmer as omens of the Other Shore.

WONG Wo Bik’s work draws inspiration from King Hu’s film Raining in the Mountain—a cinematic meditation that unites Buddhist philosophy with martial-arts elements. Extending her engagement with classical cinema, she translates the film’s reverence for nature into an immersive visual hymn. Folding cyanotype images into floral forms and intertwining them with AI-generated imagery and moving images, she composes a multisensory environment where vision, sound, craft, and technology converge.

Man Tin’s work re-envisions Hong Kong’s highest peak—Tai Mo Shan—and the Bodhisattva statue at the Ling Wan Monastery in Kwun Yam Shan in the nearby area. Through digital reconstruction, he reflects upon the arising and passing away of form under causation. The visuals become a meditation on impermanence, dependent origination, and transformation.

This exhibition adopts cyanotype as both a medium and a metaphor—a luminous bridge between This Shore and The Other Shore. Through varied technological vocabularies, the artists reconstruct worlds beyond, transforming the image from material representation into a spiritual symbol, and their works invite viewers into a contemplative space.

紅與黑—攝影師何澤底片裏1995年的香港面貌

1995年,香港回歸前夕的歷史時刻,這座五光十色的城市正站在歷史的臨界點,將會迎來甚麼命運?對於新聞攝影記者何澤而言,彼時的香港是一座被「紅」與「黑」浸透的城市——這兩種對比強烈的顏色,在視覺上衝突,在情感上卻緊密相連。


黑色,給人沉穩與神秘的感覺。數碼相機尚未普及的年代,何澤以黑白菲林與緩慢快門,將城市的躁動與喧囂凝結於一格格底片裏,把當時的情感濃縮其中。紅色,是指黑房中的紅色安全燈,在幽暗中見證影像的誕生。每一次顯影,都是他與光影的對話;每一張照片,皆是他內心深處的折射。

「黑房的紅燈區是我的第二個家。」何澤曾如此形容,「那裡像一個與現實斷絕的結界,幽暗、寧靜而安詳。影像在紅光中浮現的瞬間,像一場洗滌心靈的儀式,介乎冥想與深思之間。」


多年來,何澤習慣隨身攜帶兩台相機:一部用於記錄新聞現場,追求清晰精準;另一部則是為城市漫遊,捕捉那些模糊而偶然的身影。在他的鏡頭下,色彩被抽離後的世界,情感反而更加濃烈。

然而,他並不止步於傳統黑白攝影,而是為照片覆上一層模擬黑房紅色安全燈的效果,使影像瀰漫著一股鬼魅氣息——《單色通道》(Monochrome Passage)正是如此而生。作品攝於1995年,近日集結成書——從英女皇頭像到身穿典禮袍的大律師、從《重慶森林》電影海報到九龍半島低飛的客機,這一切共同構築出一座印刻於時代夾縫間的城市肖像。 

《單色通道》和《迷漓都市》攝影集均由香港翌藝文舍出版,秦偉主編,「顯影堂」有售。

三十年後,何澤以新作《迷漓都市》(Ethereal Metropolis)回應前作。他刻意以慢快門按下快門,城市的輪廓因而晃動、失焦,增添一份憂鬱的浪漫。紅與黑的對比褪去,取而代之的是螢光色的迷離色調——如同當代香港的倒影,介乎真實與幻象之間。

由策展人秦偉構思的展覽《定格・延續》,將這段三十年的旅程濃縮為三組作品:《單色通道》的燈箱裝置、《迷漓都市》的彩色系列,以及置於兩者之間的錄像作品《如此來·如此去》,三者形成饒有意味的對話。在牛棚藝術村的展場中,兩個特大屏幕左右並列,畫面裏皆是城市日常。然而,一個畫面時間順向流動,另一個則倒序回放。雙向的時間軸,令人在觀看的瞬間,同時行走於往昔與當下之中。

《迷漓都市》系列作品

為呼應此次展覽,「顯影堂」將於3月15日在牛棚藝術村舉行延伸講座,邀請攝影師何澤、策展人秦偉及「文化葫蘆」創辦人吳文正對談。三人同屬九十年代的新聞攝影世代,如今以創作者、策展人與文化工作者的身份再度聚首,細說作品的創作動機、展覽的策展概念,共同探討影像如何在時代更迭中「定格」與「延續」。

《定格·延續》何澤攝影展講座 + 新書發佈 
開幕講座:2026年3月15日(星期日)15:00-16:00
講者:策展人秦偉、攝影師何澤、文化葫蘆創辦人吳文正
主持:顯影堂創辦人劉東佩|廣東話進行
地點:土瓜灣馬頭角道63號牛棚藝術村12號展覽廳

講座免費|可私訊「顯影堂」登記或於Eventbrite報名

《定格·延續》何澤展覽開幕
開幕活動:2026年3月14日(星期六) 18:00-20:00
展覽日期:2026年3月14日至29日|時間:12:00-19:00
地點:九龍土瓜灣馬頭角道63號牛棚藝術村12號展覽廳

顯影堂新展覽 《探|二人三觸》——陳的x朝花,當人體攝影遇上書法

你會如何感受身體的存在?

在展覽《探|二人三觸》(The Trek – When Body Encounters Ink) 中,攝影家陳的與書法家朝花(三三),藉著鏡頭與筆墨對話,重新描繪人體的秘密風景。

作為二人三足遊戲的變奏版,「二人三觸」像是兩人共行的節奏,呼應兩位藝術家在創作上的對話,也是一場三重的感官旅程——攝影、書法與AI在此交織,視覺、感覺與觸感彼此回應。

陳的以細膩手法拍攝人體器官,這些照片並非冷峻的解剖圖,而是充滿詩意的自然風光——肺像樹、盆骨似山峰、大網膜如輕紗。凝視之間,吸引觀者走進那片屬於自己的身體風景。

攝影師以名為SKIN的紙張印製照片,三三則以書法回應這些影像——她選用膚色蟬衣宣紙書寫,如「鎖骨」、「心室」、「時間之骨」等單字,讓墨跡像皮膚般覆蓋在影像之上。觀眾輕輕揭開宣紙,方能看見潛藏的風景,如同觸摸自己的內在。

《二人三觸》就像一場與自己的親密對話——攝影、書法與觀眾三方共同呼吸。這不只是看展,而是一場身心覺知的旅程,邀你重新感受身體的多重觸覺。

《探|二人三觸》
日期:2026年2月6日至3月7日
時間:星期三至六2-7pm(需預約)
地址:黃竹坑業勤街33號金來工業大廈二座6J室「顯影堂」

陳的 CHAN DICK

香港著名攝影師,攝影集包括《探 The Trek》、《I SEE 吾見》,代表作《柴灣消防局》曾獲2016年東京國際攝影獎的專業藝術攝影集首獎,作品曾於日本及荷蘭展出,也被香港文化博物館和日本奈良美術館收藏。

朝花 LIGHTIME BLOSSOMING

由三三於2020年創辦,於香港專營書法及平面設計提案。三三善於書法創作,以傳統中國書法作為骨幹,加以轉化,融入想像及思考。她着重創作的圖像性、節奏感與虛實流動的呈現,關注細膩多變的所思所感。作品風格或輕柔或沉重、如風、不拘小節,主以平面方式展現,也發表書誌及個人創作。

顯影堂

由香港攝影平台「顯影 PhotogStory」創辦人劉東佩在2025年成立的「顯影堂 DEVEDO」,是香港罕有專注攝影書籍的書店。店內除了出售多種攝影書籍,也會定期舉辦攝影相關講座及舉辦攝影展,繼首個攝影展覽《間まMa:Ryuichi by Rensis》後,現正舉辦多媒介作品展《探|二人三觸》。


【DEVEDO Exhibition】

CHAN DICK × LIGHTIME BLOSSOMING
The Trek: When Body Encounters Ink



How do you sense the presence of your own body?

In The Trek: When Body Encounters Ink, Hong Kong photographer CHAN DICK and calligrapher LIGHTIME BLOSSOMING trace the unseen landscapes of the body through the dialogue of lens and brush.

This exhibition unfolds as an intimate dialogue between image, ink, and breath. Through layered seeing and feeling, it transforms the body from an object of observation into the origin of perception itself.

CHAN DICK’s photographs approach the body with quiet tenderness. Lungs branch like trees, the pelvis rises like distant peaks, and the greater omentum drifts like a translucent veil. These are not anatomy lessons but living landscapes within. Gazing at them, you are drawn inward to traverse your own inner body scenery.

Printed on SKIN fine art paper, the photographs evoke tactile intimacy. In response, LIGHTIME BLOSSOMING inscribes the names of body parts on skin-toned cicada paper, letting each ink stroke breathe upon the image like a second layer of skin. Only by gently lifting the paper can viewers uncover what lies beneath—an act akin to touching their own depths.

Together, the two artists bridge photography and calligraphy to explore the body’s dual nature—its material and spiritual aspects. The lens captures the texture of flesh, while the brush grants language to sensation. Their collaboration invites us to ask how we recognize its quiet presence in daily life.


The Trek – When Body Encounters Ink
Date: 2026.02.06 – 03.07
Time: 2-7pm (Wednesday-Saturday, By Appointment)
Venue: 顯影堂 DEVEDO , 6J, Block 2 Kingley Industrial Building, 33 Yip Kan Street, Wong Chuk Hang.

AI images produced by @arttechtalks

CHAN DICK

Hong Kong-based photographer CHAN DICK was fascinated by simple lines and minimalistic compositions. Chan’s works often explore the ambiguous attraction between reality and illusion, as in the photobooks I SEE and The Trek.

His iconic series “Chai Wan Fire Station” won first prizes at both the Tokyo International Foto Awards and the Hong Kong Photo Book Awards. This series was exhibited in Japan and the Netherlands and is now in the collections of the Hong Kong Heritage Museum and Japan’s Irie Taikichi Memorial Museum of Photography in Nara City.

LIGHTIME BLOSSOMING

Lightime Blossoming, founded by 33 (“saam 1 saam 1”), is a creative brand focusing on calligraphy and graphic design in Hong Kong. 33 has been working on calligraphy, drawing on traditional Chinese calligraphy as a foundation to transform and incorporate her own imagination and ideas.

By indicating the image’s structure, rhythm, and solids and voids, she practises the diversity of changes in thoughts and emotions in detail. The style is either soft and gentle, or hard and heavy, like the wind. Her artworks have primarily been printed on paper and circulated as prints and zines, and she has begun creating personal works.

About DEVEDO

顯影堂 DEVEDO is one of Hong Kong’s rare photography bookstores, founded in July 2025 by LAU Tung-Pui, founder of the Hong Kong photography platform PhotogStory. In addition to offering a wide selection of photography books, DEVEDO also regularly hosts photography talks and exhibitions.

參展東京TOKYO STREETS展覽,香港攝影師Laurence Lai展出「消失的霓虹」系列作品

冠南華、澳洲牛奶公司、信興酒樓、鷄記蔴雀耍樂,本地攝影師 Laurence Lai 鏡頭下這些色彩繽紛的霓虹燈招牌,不僅是香港獨特的城市景觀,還承載著很多人的集體回憶。

霓虹燈也是香港流行文化的一部份,達明一派在1987年歌曲《今夜星光燦爛》裏如此唱道:霓虹亮透晚上/把城內也照亮。在王家衛的《重慶森林》與《墮落天使》電影裏,也不難見到霓虹招牌的都市景象。

可惜的是,從2000年代開始,霓虹燈招牌逐漸被廉價的燈箱或LED招牌所取代,霓虹燈製作行業也日漸式微,最近十多年更是不斷被拆卸,曾經的霓虹之城,已逐漸消逝。不禁想起許美靜在歌曲《傾城》所唱:「霓虹熄了,世界漸冷清」。


Laurence的創作以紀實攝影為核心,透過鏡頭記錄香港的城市變遷,如啟德機場、裕民坊、維港的中式帆船等,當然也少不了曾經爭芳鬥豔的霓虹燈,如今這些充滿香港情懷的畫面,只能在照片裏尋覓。誠如他所言:「這些影像不只是一幅幅舊照片,更承載著一段段故事與情懷,引起觀者共鳴。」

繼去年十月參展倫敦Affordable Art Fair後,Laurence將於今年一月底參加街頭攝影平台TOKYO STREETS在東京日比谷OKUROJI商店街空間舉辦的大型攝影聯展,該展覽展出逾30位來自世界各地攝影師的街頭攝影和紀實攝影作品,包括Deep Chan和Wilson Poon等三位來自香港的攝影師,而Laurence以一系列「消失的霓虹」(Disappearing Neon Signs) 的作品參展,在異國他鄉訴說屬於香港的情懷與記憶。

TOKYO STREETS 10
日期:1月27日至2月1日
時間: 11:00 – 20:00
地址:東京千代田區日比谷Okuroji


Renowned Hong Kong photographer Laurence Lai is set to feature his works at the TOKYO STREETS exhibition, taking place in Hibiya Okuroji in Tokyo at the end of January.

Laurence’s evocative photographs will center on the iconic neon signs that once illuminated Hong Kong’s cityscape, capturing a visual language synonymous with the city’s vibrant urban culture. Through his lens, Laurence not only showcases these dazzling relics of the past but also invites viewers to reflect on the rapid transformation of Hong Kong’s streetscapes.

Sadly, the majority of the neon signs immortalized in his striking images have now vanished, their absence adds a poignant sense of nostalgia to the exhibition, offering Tokyo audiences a rare glimpse into a bygone era of Hong Kong’s history.  

香港著名攝影家鮑皓昕,以牆城及大自然風景照片與《易經》對話

參觀大館展覽《易經:鮑皓昕攝影藝術》前,心中一直好奇,究竟攝影是如何呈現《易經》抽象的哲學概念?鮑皓昕 (Basil Pao) 的名字未必所有人都很熟悉,但他曾為經典電影《末代皇帝溥儀》及《小活佛》等拍攝電影幕後花絮照片,相信大家一定不陌生,他也曾為著名歌手林子祥的《愛到發燒》及太極樂隊《禁區》等唱片設計封套。「易有太極」,《易經》與太極,難道冥冥中有安排?


自問對《易經》了解不多,見到展覽門口的展牆詳細介紹其基礎概念、卦象的名稱及符號等,固然可令人先了解展覽的構思背景。展覽分為兩層,分別展出《觀靜錄》及《中國牆城》兩個系列作品,從樓上俯瞰地面展廳時,可見六十四根卦柱頂部的卦象圖案,感覺頗為壯觀。

展覽第一部分是《觀靜錄》,巨大屏幕播放鮑皓昕過去四十年在世界各地拍攝的大自然風景。從雪山、沙漠到海洋,畫面節奏緩慢但非常壯麗,讓人不由自主停下腳步慢慢欣賞。在那個無人機尚未普及的年代,如此壯觀風景是鮑皓昕身處直昇機所拍攝,每幅作品均得來不易,攝影師想藉此詮釋《易經》中「天人合一」的概念。


原來,鮑皓昕早於五十年前已接觸《易經》。1980年,當他猶豫是否應該離開美國的工作而開啟人生新篇章時,占卜得到「旅卦」。這是第五十六卦,表示旅行、不安穩之意,此卦令他下定決心回到香港,成為一名旅遊攝影師。《易經》不僅影響攝影師的創作,某程度上也改變他的人生軌跡。透過《觀靜錄》所呈現出萬物相互依存的理念,我大概了解《易經》作為主題,是如何貫穿整個展覽的。

來到地面展廳,很自然被迎面而來的卦柱森林吸引,整個展場被六十四根柱體分割,每根柱子代表一個卦象,以燈箱展示一幅鮑皓昕的《中國牆城》作品,將斑駁的牆垣影像與《易經》六十四卦的符號交疊,以當代視覺形式呼應著古代哲學思想。


在進入卦柱森林前,我根據展區旁的指示卜卦,結果占得第四十一卦「損」,起初我以為這是不祥之兆,隨即來到相應的卦柱,看到柱上的卦辭寫著「有誠信,最為吉祥,沒有災難,可以正固。適宜有所前往。」那一刻,我忽然覺得卦辭彷彿對我說:凡事不要只看表面,今年的運勢似乎不錯,應該懷著誠心前行。

參觀完展覽,我看到的不僅是鮑皓昕的攝影世界,也領悟到攝影、人生與《易經》一樣——變化,才是唯一的不變。

《易經:鮑皓昕攝影藝術》

日期:即日至2026年2月20日

時間:上午11時至晚上7時 (免費入場)

地址:中環大館01座警察總部大樓LG1樓及LG2樓複式展室

了解更多:https://qrs.ly/pgh7t3k

顯影堂首個攝影展——Rensis Ho九十年代在香港拍攝坂本龍一肖像

日本音樂巨匠坂本龍一享譽國際,從電子音樂到電影配樂,他的音樂旋律令人動容,他對生命的反思也影響世人。

1998年,坂本龍一前來香港宣傳新專輯《Discord》,攝影師Rensis Ho為其捕捉獨特的肖像。在攝影師眼中,教授是一位思想豐盈、魅力四射的藝術家。在簡潔背景下,二人自由發揮,坂本龍一很快進入自己的境界,時而直視鏡頭,時而躺在地上,期間不忘與攝影師的寵物狗親密玩耍。他的「演出」猶如即興之作,瀟灑而迷人,Rensis巧妙地捕捉出他的不同神韻。


27年後,這些珍貴的影像即將在顯影堂首次完整展示。展覽以《間まMA:Ryuichi by Rensis》為主題,旨在呼應教授的獨特氣質與照片所傳達的深意。在日語中,「間」由「門」與「日」組成,象徵陽光穿透門扉灑進室內的意境,如同坂本龍一的音樂,在喧囂世界中,帶來溫暖與內心的平和。

「間」亦代表負空間或虛無。在傳統日本藝術中,此概念對構圖與美學產生深遠影響。在現代詮釋下,「間」是對空白空間的藝術表達,引導觀者專注於留白的負空間,並在簡單之中尋找美。Rensis九十年代的作品,藉著簡約背景凸顯教授的氣質與神情,以日本和紙印製而成的照片,與坂本龍一的淡然與禪意不謀而合。

這些影像不僅是音樂大師的肖像,更是時代的回聲。事隔多年,這些珍貴相片「現身」顯影堂,不僅是攝影師向坂本龍一深厚音樂哲學的致敬,也將1998年教授的「香港篇章」再次顯影。

《間まMA:Ryuichi by Rensis》

日期:延長至2025年12月20日

時間:2-7pm(星期三至六,可私訊「顯影堂」或WhatsApp 51868090預約)

地址:黃竹坑業勤街33號金來工業大廈二座6J室「顯影堂」


展覽開幕後迴響熱烈,吸引眾多教授歌迷前來參觀,兩場Rensis Ho的人像攝影講座也座無虛席,「顯影堂」因此決定延長展期至12月20日,並在12月14日增設第三場展覽講座。

延長展期的同時,「顯影堂」特別推出A6尺寸的精美照片珍藏版盒裝,裏面包括10張以收藏級標準Hahnemühle Photo Rag Baryta紙張印製而成的照片,希望大家可將教授的香港回憶典藏家中。珍藏版盒裝售價650HKD,現以優惠價 580HKD 進行預購 (預計一星期後到貨),可私訊 @devedo.hk 查詢及預購。


展覽講座《從坂本龍一到梅艷芳、Kate Moss——Rensis Ho的人像攝影》

相信大家均很好奇1998年Rensis拍攝教授的情形,以及他入行三十年來拍攝名模Kate Moss、美國奧斯卡最佳女配角Chloë Sevigny、已故香港歌手梅艷芳等名人的過程,「顯影堂」因此特別舉辦這次講座,讓Rensis道出這些年來拍攝多位國際巨星的經歷與趣事。

1.《從坂本龍一到梅艷芳、Kate Moss——Rensis Ho的人像攝影》

時間:2025年12月14日(星期日)2pm-3pm

費用:100HKD (可用於顯影堂購書)|以廣東話進行

有興趣可私訊「顯影堂」或WhatsApp報名(名額有限,先到先得)



DEVEDO’s First Photography Exhibition—間まMA:Ryuichi by Rensis

Japanese renowned musician Ryuichi Sakamoto visited Hong Kong in 1998, and photographer Rensis Ho captured his unique portraits. 

As for Rensis, Sakamoto is a brilliant and charismatic artist. During the shooting process, Sakamoto quickly entered his own realm, sometimes looking directly into the camera, sometimes lying on the ground. His “performance” felt impromptu, effortlessly charming, and Rensis skillfully captured his spiritual gesture.

Twenty-seven years later, these precious images will be fully exhibited at DEVEDO for the first time. The exhibition, themed “間まMA,” aims to reflect the professor’s unique charisma and the profound meaning conveyed by his photographs. 

In Japanese, “間まMA” is composed of the characters for “door” and “sun,” symbolizing sunlight filtering through a door into a room. Much like Sakamoto’s music, it brings warmth and inner peace amidst the world’s hustle and bustle.

“間まMA” also represents negative space or emptiness. In traditional Japanese art, this concept profoundly influences composition and aesthetics. In modern interpretation, it is an artistic expression of blank space, inviting viewers to focus on the negative space and find beauty in simplicity. 

Rensis’s works from the 1990s feature minimalist backgrounds that highlight the professor’s demeanor and expression. The photographs, printed on Japanese awagami washi paper, resonate with Ryuichi Sakamoto’s calm and Zen spirit.

《間まMA:Ryuichi by Rensis》
Date: 2025.10.23 – 11.29
Time: 2-7pm (Wednesday-Saturday, By Appointment)
Venue: @devedo.hk , 6J, Block 2 Kingley Industrial Building, 33 Yip Kan Street, Wong Chuk Hang.
Image Printing Supported by @avocadoartlab

攝影師Laurence Lai參展倫敦Affordable Art Fair:將香港情懷帶到英國

飛機劃過九龍城大廈的天空、招牌林立的上海街、燈火通明的廟街,1990年代的種種回憶,彷彿仍在許多人腦海中浮現。這些充滿香港情懷的瞬間,皆由本地攝影師Laurence Lai的鏡頭捕捉,將於今年十月中倫敦Affordable Art Fair展出。

自1990年起,Laurence便沉醉於攝影世界。17歲那年,他獨自踏上內地旅遊及拍照,透過相機記錄珍貴瞬間,並將沖曬的照片送贈朋友,這份分享帶給他無比滿足,成為他不斷追尋攝影的動力。在澳洲求學期間,他在悉尼認識攝影師Ken Duncan,讓他明白攝影不僅是藝術,更是一種商業的可能。


於是在2000年,他創立Laurence Lai Gallery,最初在黃金海岸的小攤位售賣照片,隨後他毅然放棄多年的時裝生意,全心投入攝影的創作與銷售。從屯門的週日市集到太平山的山頂廣場,最巔峰時甚至經營四間店舖。經歷過2003年沙士和2008年金融危機,畫廊依然屹立不倒,反倒是後來隨著租金逐年上漲,多家分店相繼結業,最終2013年在中環碼頭開設同名新店,至今已逾十年。


Laurence的創作以紀實攝影為核心,透過鏡頭記錄城市的變遷。曾經的裕民坊、牛頭角下邨、爭芳鬥豔的霓虹燈、繁忙的啟德機場,這些均吸引他按下快門。正如他所言:「這些相片不單是一幅幅靜止畫面,更是一段段集體的回憶,能夠喚起觀者心中的情感。他們購買的不僅是一張照片,而是一段故事與情懷。」

近年有不少港人移民英國,Laurence也滿懷期待將其攝影作品帶到異國他鄉。這是他首次參加海外展覽,不遠萬里自資前往英國參展倫敦Affordable Art Fair,展出多幅銀鹽相片。「能在國際舞台展示香港的攝影作品,讓我既期待又興奮。英國人對香港並不陌生,大會總監Hugo Barclay也對不同藝術媒介的呈現充滿期待。」

10月15日至19日,Laurence Lai將在英倫繼續講述那份屬於香港的情懷與記憶。


Hong Kong photographer Laurence Lai will be participating in the Affordable Art Fair UK in London for the first time, showcasing old Hong Kong images of airplanes flying low near Kai Tak Airport, as well as streets full of signboards and neon lights, which bring a nostalgic Hong Kong to the London fair.

Affordable Art Fair UK

15-19 October 2025⁠, Battersea Park, London