Artworks

Mak2 (Mak Ying Tung 2)
Home Sweet Home: Feng Shui Painting, Metal 1 RAW

2021
Coloured pencil on paper, triptych
29 x 52.5 cm (each panel 38.5 x 62 cm)
Mak2
Home Sweet Home: Feng Shui Painting, Wood 2

2021
Acrylic on canvas, triptych
200 x 150 cm (each panel 66.7 x 150 cm)
Mak 2
Home Sweet Home: Too Hot to Handle 2
2022
Acrylic on canvas, triptych
141 x 250 cm (each panel 141 x 83.4 cm)

Mak 2
Home Sweet Home: Gang 1
2022
Acrylic on canvas, triptych
141 x 250 cm (each panel 141 x 83.4 cm)

Mak 2
Home Sweet Home: Gang 2
2022
Acrylic on canvas, triptych
141 x 250 cm (each panel 141 x 83.4 cm)

Mak 2
Home Sweet Home: Gang 4
2022
Acrylic on canvas, triptych
141 x 250 cm (each panel 141 x 83.4 cm)

Mak 2
Home Sweet Home: Gang 5
2022
Acrylic on canvas, triptych
200 x 150 cm (each panel 66.7 x 150 cm)

Mak 2
Home Sweet Home: Pandemic Love 2
2022
Acrylic on canvas, triptych
200 x 150 cm (each panel 66.7 x 150 cm)

Mak 2
Home Sweet Home: Feng Shui Painting Earth 2
2021
Acrylic on canvas, triptych
200 x 150 cm (each panel 66.7 x 150 cm)


Mak Ying Tung 2
Home Sweet Home: I Make Babies 3
2021
Acrylic on canvas, triptych
200 x 150 cm (each panel 66.7 x 150 cm)

Mak Ying Tung 2 artworks are bound by the dualism of humor and intense inquisitiveness. Her series “Home Sweet Home” (2019-) are triptychs on canvas that make use of the popular American life simulation videogame “The Sims” and are each painted by three separate painters on the Chinese e-commerce platform Taobao. 
Lacking in specific objectives, “The Sims” is one of the best selling video games of all time, with over 200 million copies sold worldwide. It allows players to live a simulated life through a customised avatar and design their home however they please. For many it is a form of escapism used to craft an alternate reality. 
Through “The Sims” Mak 2 constructs dream-like home environments that speak to life in Hong Kong. Within the game there are multiple different cities from which you can select and Mak 2 only chooses the city of “San Myshuno” which shares an uncanny resemblance to Hong Kong. She uses bizarre and nonsensical elements, which the game renders perfect and immaculate nonetheless, to explore both idyllic and traumatic aspects of life. She takes screen-captures of these environments and then divides the resultant image into thirds. She has each third painted by a different painter on Taobao who is given the least amount of instruction possible. Owing to interpretive inconsistencies, different skill levels, and varied materials, the final appearance of each triptych is unpredictable. Through fracturing the process of production and allowing external factors to intervene in the actualisation of her understanding of home, Mak 2’s “Home Sweet Home” series not only elucidates the inevitable disparity between fantasy and reality, its also crafts a comment on authorship, “copy-cat” culture, and narratives of home.
麥影彤二的作品是幽默和好奇心的結合。她的三聯畫系列《美好家園》 (2019-2020) 運用了電子遊戲《模擬人生》創造，而每一幅都由中國電子購物平台淘寶上，三位不同的畫家繪畫。 
《模擬人生》是有史以來最暢銷的遊戲之一，在全球售出超過兩億版本。《模擬人生》沒有具體的遊戲宗旨，因此玩家可以訂製屬於自己的虛擬人物，在虛擬世界裡隨心所欲地設計自己的家園。許多人透過此遊戲造就虛幻世界，逃離現實。
麥影彤二透過《模擬人生》建立了一個表現出香港環境的夢幻之家。在電子遊戲中，即使怪誕又荒謬的元素都看似完美無瑕，體現出動盪的城市裡，美好既令人忐忑的兩面。藝術家將她創造的模擬環境截圖，再將截圖一分為三。每一部分隨即由不同的淘寶畫家在毫無指示的情況下繪畫出來。由於每位畫家的理解、技術水平和材料運用都有所不同，三聯畫最終呈現的效果都是無可預測。 通過分拆作品的製作過程和使外來因素介入麥影彤二對於家的個人願景，《美好家園》系列不僅闡明現實與幻想之間那無可避免的巨大落差，更是對著作權、山寨文化和家的敘述作出評論。
Mak Ying Tung 2
Home Sweet Home: Sunflower Pool 6
2021
Acrylic on canvas, triptych
120 x 213cm (each panel 120 x 71cm)


Mak Ying Tung 2
Home Sweet Home: Breathing 5
2020
Acrylic on canvas, triptych
85 x 150 cm (each panel 85 x 50cm)


Mak Ying Tung 2
Home Sweet Home: Still Life 2 RAW
2020
Colored pencil on paper, triptych
30 x 53.3cm (38.5 x 61.7cm with frame)


Mak Ying Tung 2
Timeless
2020
3D print TPU
Editions of 50
Mak Ying Tung 2’s wearable artwork ‘Timeless’ is a faceless 3D printed watch that the artist designed in an attempt to recreate a modified $12 watch she made, and then impulsively sold to a friend 7 years ago. A parody of luxury accessories, ‘Timeless’ is a void in both physical form and spirit, and crafts a comment on the timeless emptiness of vanity, ego, and the self.
Mak Ying Tung 2
Fake Laugh
2018-19
6 screen video installation
Ed. 1 + 1 AP
Dimensions variable
In the multi-screen installation Fake Laugh (2018-19), Mak invites her family and friends to feint laughter in front of a camera. Although the laughter is superficial, the irony, sarcastic humor, and intimacy created through the exercise are genuine, and the artist asks: Does the realness, or the lack thereof, of a source affect the authenticity of its effect? Are there things that cannot be faked no matter how hard we try?
《假笑》(2018-19) 是一件多頻裝置作品。麥影彤二邀請了她的朋友在鏡頭前強顏歡笑； 雖然大笑是假裝的，但背後的諷刺，幽默以及從這拍攝得來的親密感卻是真實的，藝術家在此質問：「事情來源的的虛實會影響到其帶來的效果的真實性嗎？有些事情是否無論如何也無法假裝的？ 」
Mak Ying Tung 2
Robot Mak Mak
2019
Digital video with dual channel video
1'45"
Dimensions variable
Mak’s investigation of simulation’s capacity for mimesis is continued in the video work Robot Mak Mak (2019), in which the artist simulates herself. Utilizing full body image synthesis technology, Mak superimposes her facial expressions onto online footage of robot Sophia, an AI machine designed to act and look as human as possible. By reversing the relationship between humans and artificial intelligence technology, in which AI predominantly poses as the impersonator, the artist raises questions regarding our willingness to be subsumed under alternative forms of being and the value of existing as a robot vis-à-vis a human. She questions whether looking or acting robot-like affords her more “realness” than being completely human.
麥影彤二為了更深入的探索模仿能力創造了作品《Robot Mak Mak》 (2019)。藝術家利用全身人像合成科技，將自己的臉疊加至人工智能機器人Sophia的網絡視頻並與其融合。 Sophia的發明旨在儘可能地模仿人類。通過逆轉人類和人工智能技術一直被定義成模仿者的角色關係，從而探討人類是否願意被其他形式的存在所包容，以及作為機器人相對於人類存在的價值。與真實的人類相比，擁有機器人一樣的外表或行為是否能給與她更多的「真實」。
Mak Ying Tung 2
Out of Body Experience
2018-19
Vinyl, PC computer, screens, rock salt, light, tissues, two digital videos
HDV 2:37
Dimensions variable
In the video installation Out of Body Experience (2018-19), the artist recaps her experience attending a group exhibition in Los Angeles for free through purchasing witchcraft online that enabled her soul to leave her body. Using metaphysical occurrences as a metaphor, Mak conveys how the global mobility of the Internet accommodates an imagined ease of living in the prevailing conditions of our era. As she ships her soul to Los Angeles via the online network, she overrides the demands of reality and how others expect her to live.
在錄像裝置作品《Out of Body Experience》 (2018) 中, 麥影彤二通過在淘寶購買靈魂出竅的巫術以此來參加一個在洛杉磯舉辦的的群展。藝術家將全球流動的互聯網比喻成超逾物理限制的巫術，能緩解當前光景中生活的困境。麥影彤二通過互聯網將自己的靈魂寄到洛杉磯，繞過現實不可達成的條件的同時也逃脫了社會對她的要求。
Mak Ying Tung 2
A More Perfect Sea
2019
Shower curtains, bath mats, towels
Shower curtains: 265 x 195 cm each
Bath mats: 80 x 120 cm each
Towels: 150 x 70 cm each
The appeal of a simulated experience is its ability to operate beyond the boundaries of physical actuality, which enables one to pursue what real life prevents. From gratifying our fantasies in games to decorating our homes with imagery of an imagined, perfect lifestyle, we are able to mask unfulfilling realities with simulated facades. Mak Ying Tung 2’s A More Perfect Sea (2019) comprises a shower curtain and a line of bath mats depicting sand and sea, and a window overlooking a running stream. While the combination of beach, ocean, and palm fronds is the epitome of imagined paradises, the bathroom accessories on which they are printed suggest domesticity and fixture. The intention behind one wanting an ocean-print curtain is obvious – they wish to shower next to the ocean. Yet, the curtain is merely a simulation of the ocean, an association of the ideal that one can project into one’s home.
模擬體驗引人入勝之處在於它能超出物理現狀的範疇， 讓人可以實現生活中不可能完成的任務。通過在遊戲當中得到前所未有的快感以至隨心所欲地佈置夢想虛擬家居，完善生活方式，人們往往能夠用模擬的事物來遮掩不完美的現實。麥影彤二的 《更完美的海》（2019）是由一系列印有三維虛擬景觀的浴簾和浴墊所組成。 沙灘，海洋和棕櫚樹彷彿是人類夢幻世外桃源的縮影，但圖案卻矛盾地印刷在家中的浴室用品上 。將沙灘圖像印於浴簾上的原因必然是因為希望能在海邊沐浴。然而，浴簾只是模擬著海洋，將人們理想中的完美風景投射到家中。
Mak Ying Tung 2
Relic (Tamagotchi)
2018
Lenticular on diasec
150 x 115 cm
Relic is a series of lenticular artwork portraying outdated electronic devices as religious relics. In the 3D wall hangings, gadgets like Tamagotchi and Nokia’s 3310 cell phone are glorified through juxtaposing with traditional Catholic motifs like angels, candles, and doves. These gadgets that once played an important role in our lives and subconsciously changed our way of living, were especially for the millennial generation. Tamagotchis, a portable digital pet that required regular feeding and cleaning, may have been the first device that cultivated our constant need of check electronic gadgets.
《聖物》由五幅立體光柵打印創作而成，我把過時的電子產品以宗教聖物的形式重新展現。這些電子產品曾經在我們生活中扮演過重要角色，並無意中改變了我們，尤其是千禧一代的生活方式。例如，拓麻歌子需要玩家定期餵養和清潔，自此玩家便經常要在口袋裡拿出電子小雞檢查。現在我們從口袋裡拿出的不再是拓麻歌子，而是智能手機，在千禧年興起的拓麻歌子不但培養了我們檢查電子產品的習慣，並預示了此動作將會成為人類生活密不可分的一部分。這些已被遺忘的電子產品奠定了我們，甚至是下一代人的生活模式，其像徵意義像聖物一樣深遠。
Mak Ying Tung 2
Relic (Gameboy)
2018
Lenticular on diasec
150 x 115 cm
Mak Ying Tung 2
Relic (Discman)
2018
Lenticular on diasec
150 x 115 cm
Mak Ying Tung 2
Mr. Fool Wants to Move the Mountains
2018
Robotic vacuum cleaners, sand
Dimensions variable
In Mak Ying Tung 2’s Mr. Fool Wants to Move the Mountains, several robotic vacuum cleaners are challenged with moving large mountains of sand that have been placed in the gallery. As in the traditional Chinese folktale, from which the piece takes its name, the robots will eventually succeed in this seemingly sisyphean task. This artwork also references the artist Francis Alÿs’ work When Faith Moves Mountains, in which 500 volunteers walked up a sand dune and in unison shoveled sand upwards, displacing the dune only minimally.
《愚公移山》這件作品，將機器被分配任務的荒謬性提高到了一個新的層面。藝術家Francis Alÿs的作品《When Faith Moves Mountains》曾展示了500位志願者在沙丘上同時向上鏟沙，最終對沙丘的形狀卻只能產生極小的影響。 《愚公移山》這件大型裝置作品雖與其置於同一語境，幾台機器人吸塵器面臨的挑戰，是要清走由沙子堆成金色”山峰”。但與知名中國傳統民間故事相同，假以時日，這些機器終將成功。
Mak Ying Tung 2
Physicality I
2018
Installation
Dimensions variable
In Physicality I, a piece of cheese is placed on a heating mattress. The heat emanating from the mattress warps the shape of the cheese throughout the exhibition. Through challenging the heating pad in an unconventional and comical way, Mak Ying Tung 2 hopes to illustrate our never-ending desires for machines to accomplish increasingly complicated tasks. 
在《物理性I》中，一塊奶酪被放置於電墊上，在整個展期中，奶酪因為熱度而改變其物理性它在整個展覽期間扭曲了奶酪的形狀。通過以非傳統和滑稽的方式挑戰加熱墊，麥影彤二希望能夠展示人類對機器的無盡欲以完成日益複雜的任務。
Mak Ying Tung 2
Physicality II
2018
Dyson fans, thermal paper
Dimensions variable
In Physicality II, two Dyson fans, in a heating mode and the other in cooling mode, work together to shift the color of thermal paper, a material that responds to fluctuations in temperature.  Through challenging the Dyson fans to act is if they were painters, Mak Ying Tung 2 hopes to illustrate our never-ending desires for machines to accomplish increasingly complicated tasks. 
在《物理性II》中，兩部戴森風扇（一部採用加熱模式，另一部採用冷卻模式）根據熱敏紙順應溫度變化的特質，改變它呈現的顏色，如畫作一樣通過挑戴森風扇，如果它們是畫家，麥影彤二希望能夠展示人類對機器的無盡欲以完成日益複雜的任務。
Mak Ying Tung 2
Running on Taobao 1
2018
Print on foam board
207 x 226 cm
The Running on Taobao series created with images sourced from the well-known e-commerce platform Taobao, which show people running on larger-than-life treadmills. These images depict the machines as the protagonists while the humans are degraded to appendages. The connotation the artist reads into these images is a reversal in the relationship between consumers and the consumed. Mak Ying Tung 2 reveals a deep and disturbing human craving that we not only want to be taken over by machines, but also wish to become one with them.
裝置作品《在淘寶上狂奔》的靈感來源於淘寶網上的廣告圖片，有意地進一步強調人們對機器的無限慾望以及人類與工具之間不可分割的關係。這些圖像顯示著人們在被放大的跑步機上跑步，從而將機器塑造為主角，而縮小的人類則降級為機器的附屬品。這些圖像的隱含信息是一種消費者和消費品關係的逆轉，揭示了人類不僅希望被機器接管的願望，更揭露了人類渴望成為機器一部分的潛意識。
Mak Ying Tung 2
You Better Watch Out
2017
Sponge balls, PVC plastic, inflatable snow globe, IP camera system
218 x 330 x 260 cm
Through a playful use of childhood themes, Mak Ying Tung 2 utilizes colorful balls spinning around a giant snow- globe to pull viewers into her artwork. Although the piece at first seems to be a humorous spectacle, canny viewers will notice QR codes among the piles of sponge balls and can trigger the final element of the artwork. If a visitor scans one of these QR codes, they are brought to a live streaming video of themselves looking at their phones, standing in front of the artwork. This installation contemplates not only everyday objects and materials, but highlights the troubling duality between contemporary modes of entertainment and the growth of surveillance states across the globe. 
為表達俏皮的童年主題，麥影彤二用一個巨大的雪花球和在其中旋轉的彩色小球吸引觀眾欣賞作品 。作品最初看似是幽默古怪的場面，敏銳的觀眾會注意到海綿球夾雜著一些二維碼，指向作品的最終部分。如果觀眾掃描其中一個二維碼，他們會被帶到直播視頻：觀眾站在藝術品前看著自己的手機。這件裝置探討的不僅是日常物件和材料，也突顯當代娛樂模式和全球被監控日益嚴重的內在矛盾。
Mak Ying Tung 2
Sound of Music
2017
Dual channel video, audio set, red carpet, gold drapes, foam lettering, LED lights, disco ball
Dimensions variable
Mak Ying Tung 2’s Sound of Music invites the audience to sing Karaoke parodies of iconic CantoPop and Christmas songs. The piece evokes memories of a dwindling Hong Kong experience, and, through audience participation, challenges the notion that art is only meant to be looked at. Each karaoke song is accompanied by lyrics that challenge the status quo of contemporary artists and the current art ecosystem. This idiosyncratic and humorous expression highlights a sentiment of powerlessness.
麥影彤二的裝置《音樂之聲》（2017）邀請觀眾唱改編粵語金曲和聖誕歌的卡啦OK。它不僅喚起人們對香港過去的記憶，同時通過觀眾參與挑戰藝術只能被觀看的固有觀念。每首歌的歌詞調侃當代藝術家的地位和現今的藝術生態。這種諷刺性的幽默表達，傳遞出當代藝術家的無力感。
Mak Ying Tung 2
Sterilization
2013
Single channel video
32'11"
Ed. 5 + 1 AP
Sterilization (2013) is a video which records a durational intervention which consists of a single precise repetitive action: picking the seeds out a strawberry with a needle. The process separates fertility from the fruit. The work questions purposeful activity, suggests latent maliciousness, challenges people's habitual behavior in the urban society, and references creativity as destruction. The artist would like to use such intriguingly disturbing acts to destabilize the audience's ingrained perception of the things around us. 
Mak Ying Tung 2
Disarming
2013
Single channel video
3'53"
Ed. 5 + 1 AP
↑Back to Top