Theme & Subject
Amidst the bustling train stations of Hong Kong, a vibrant underground art scene could be found from the architecture, photography, and paintings displayed—creators from across the world have dedicated efforts towards preserving the scenery of old Hong Kong through artistic mediums, and these urban arts have livened the busy and chaotic underground railway network of Hong Kong.
Contributing artists range from young students to industry professionals, with their work not only highlighting how they view Hong Kong as a fast-developing metropolis, but also their personal aspirations and thoughts that they have embedded within their work. As the overarching goal of incorporating contemporary art into MTR stations originate from the idea to create a unique station identity (McHugh, SCMP), these one-of-a-kind exhibitions aim to individualise these underground spaces by allowing passersby to experience Hong Kong in the present with reference to the past. These artworks also demonstrate a diversity of style and content: from the depiction of ‘home’ via childlike perspectives of young children, black and white photography illustrating Hong Kong in previous decades, to hyper-real images of Hong Kong’s night scene and tactile paintings, the historicity and rich cultural vibrancy of various places across Hong Kong are highlighted through these artworks.
Nevertheless, as MTR stations mainly function as part of Hong Kong’s mass public transport system, their goal remains in delivering passengers to their destinations; along with the hustle culture prominent in Hong Kong, it saddens me that these meaningful pieces often do not receive the appreciation they deserve—while most people consider these great additions to spice up the interior design of MTR stations, it is not common for passersby to take the time to learn of the artistry behind these designs. Therefore, through an imagined interaction with these artworks, I sought to highlight the quiet existence of these artworks, and how they stand out from their exhibiting environment as crystallised moments in history that deserve to be recognised.
Conducting Research
As each artwork differs drastically from the rest, I first narrowed down the potential stations that I will visit and incorporate into my video. In order to balance the variety of works within a limited timeframe, I decided to choose from artworks exhibited mostly along the Island Line, as, having travelled to and from university via this route, I am more familiar with the locations and significance of displaying certain images there. Then, to ensure that each artwork has appropriate exposure within the video, I roughly divided the video into 5 sections that last around 30 seconds each, which would allow me to introduce 5 stations in the video.
Amongst the available stations, I have chosen Yau Tong, North Point, Wan Chai, Sai Ying Pun, and HKU for their range of artworks that cover multiple facets of urban livelihood in Hong Kong. As the sculptures at Yau Tong consist of 3 men and 3 women as passersby near the station, I decided to structure the presentation of other artworks around an imagined conversation between the 6 characters. Through their exchange, I will then reveal the unique reasons for choosing the artwork of each respective station, diving into their content, aesthetic, and geographical significance.
Further information on each artwork is found on the MTR website, where I researched on the exact location and meaning behind the designs to facilitate my video production.
Video Production
As the artworks I have chosen are mostly pasted on the walls of pathways or adjacent to stairways, I filmed many clips in one-take horizontal shots to accentuate their continuity. While I have attempted to film the clips at non-peak hours to avoid crowding, it was admittedly quite challenging to capture these paintings at daytime, as they are often located at pathways that lead towards station exits, where there is a consistent flow of people going to and from the station. Therefore, most clips are filmed at a slanted angle that reveals my proximity to the artwork itself.
For artwork near elevator lobbies (mostly in Sai Ying Pun and HKU), I noticed that artwork is placed on both sides of the lifts (i.e. across both the entry and exit points). In order to avoid crowding, I decided to film my horizontal pans on the exit side, as it is easier to navigate the area and figure out the angle of filming without consistently worrying about bumping into passersby. I also took note of the lifts’ status to prevent the rush of incoming passengers from interrupting my shots.
Moreover, during my travels between each station, I noticed black and white photography of old Hong Kong scattered above the train platforms, which I promptly decided to incorporate into my video as well.
Having filmed all footage in a single ride from Tseung Kwan O to HKU station with my phone, I then edited the video with iMovie.
References
Fionnuala McHugh. “Old Hong Kong remembered; bas-relief at Sai Ying Pun MTR station strikes a chord.” South China Morning Post (SCMP), 23 February 2017. https://www.scmp.com/magazines/post-magazine/long-reads/article/2073058/bas-relief-sai-ying-pun-mtr-station-strikes-chord
“Art in Station Architecture I Love North Point, North Point Is My Home.” MTR > I Love North Point, North Point Is My Home, www.mtr.com.hk/en/customer/community/art_archi_i_love_north.html.
“Art in Station Architecture This Is Wan Chai.” MTR > Art in Station Architecture > Inu Hariko – Carp & Dragon, www.mtr.com.hk/en/customer/community/art_archi_wanchai.html.
“Art in Station Architecture Kaleidoscopic Future Architecture of the Western District.” MTR > Art in Station Architecture, www.mtr.com.hk/en/customer/community/art_archi_syp_kaleidoscopic.html.
Full Name: Lee Sum To Rachel
UID: 3035954250
I thought this video was very creative and an enjoyable watch. The personification of the stone people was fun and playful, and served as a great vehicle for storytelling, especially in discussing the stories behind the MTR station artwork. I liked how you used several different stations to provide a different narrative and contrasting perspectives, explaining the significance behind each one. The dialogue was also a nice touch, and more interesting than if there were just traditional subtitles. While I’ve noticed the different artwork and murals at MTR stations in Hong Kong, I have never really stopped to think about their meaning, so I appreciate this video recognizing their beauty and calling attention to the intentional steps that are taken to bring life to the MTR stations.
I appreciate your investigation into the artworks on the walls of the MTR stations and your imagined conversation with these works. However, a closer look into the space where the art resides and how it directs the commuters movement will elicit a more engaging interpretation. How do these artworks demonstrate hybridity? You can perhaps compare the depiction of urban life in these pieces vs what exists outside the station instead of solely presenting the intention of the artworks. More analysis is needed to create a stronger and more hollistic interpretation of hybridity of MTR stations.