Jessi Liang Xiao 梁曉
Jessi Liang is a professional special effects make-up artist. She graduated from the London College of Fashion in 2012 with a BA(Hons) degree in Make-up and prosthetics for performance. Since then, she has participated in make-up and props production for theatre and commercial photography, including Madame Butterfly at the Royal Albert Hall, Cabaret des Anneé Folles for the le French May, the Hong Kong Repertory Theatre and the Shanghai Ballet, among others. In parallel, Liang produces her creative projects by using various mediums to recreate memories and inspire different imaginations.
梁曉 （Jessi Liang ）是職業特技化妝師及藝術家。 自2012年於倫敦時尚學院表演造型和特技化妝學系畢業後，一直參與劇場和商業攝影化妝以及道具製作， 其中包括皇家阿爾伯特音樂廳的「蝴蝶夫人」、倫敦博物館的「隱藏的歷史攝影項目 」 、香港法國五月的「Cabaret des Anneé Folles」、香港話劇團和上海芭蕾舞團等項目。 同時，梁曉亦以藝術家身份，使用硅膠、石膏、蠟和糖等媒介進行創作，以重現記憶和發掘想像不同的可能性。
Moss Covered… originates from my travel experiences in Iceland in 2019. The endless landscape of moss in Iceland has left aesthetic and soothing feelings to me. I was told by locals that a volcano in Iceland erupts every eight hundred years and stays active for two hundred years. The barren lava field eventually became covered in moss carried by the wind. This inspired me to study the resilience of moss in Iceland, which led me to develop my thoughts on the analogy between human and nature, and that became the point of departure of this project in response to what had happened during the COVID-19 pandemic.
My contemplation of moss is a consolation and comfort during a time overwhelmed and bombarded with tragedies and accidents. It is also a monument of time, duration, and endurance. I take the representation of moss, its resilience and ubiquitous characteristics as the source of the inspiration for this project. Moss's resilience lies in its ability to reproduce and grow in varying conditions; when they have the right conditions to grow sporophyte, a capsule stores many moss spores that distribute like dust. The large number of moss spores become the next generation of moss. The countless accidents, incidents, and tragedies in the pandemic are perceived by the human brain, and they become our emotional eruptions and eventually become numbers, neglected by human brains. By contrasting the different perspectives of moss under the microscope with the human eye, through my transformation of the moss’ representation and mechanism, I take this project as a remembrance of the time in the plague and a consolation for the events to the audience.
「苔蘚覆蓋......」源自於我 2019 年在冰島的旅行經歷。一望無際的冰島苔蘚給我留下了美感和舒緩。 當地人告訴我，冰島的一座火山大約每八百年爆發一次，並保持兩百年的活躍期，荒蕪的熔岩地最終被風帶來的苔蘚覆蓋。這開啟了我對冰島苔蘚頑強生命力的研究，引發了我對人與自然之間類比以及關於時間與綿延的思考；它亦成為了這個作品的出發點，以回應 COVID-19 大流行期間發生的事情。
我將對苔蘚的思考與想像，視作在被悲劇和意外淹沒的時代裡的一種安慰。苔蘚在這個作品中像徵了時間、持續和耐力。它的生長模式、頑強的生命力和無處不在的特性構成這個作品的靈感來源。通過對比苔蘚在顯微鏡下與肉眼下的不同視角，以及對其表象和機理的塑造，我將這個作品視作對瘟疫時代的紀念以及期望它成為觀眾的慰籍。
