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文字抽象以說意，但它的意義其實有時空的局限。實物緘啞地存在，但其命名和定義其實爲慣習所拘束。麥顯揚的塑作，就利用了兩者的矛盾，發揮了文章或實物雕塑所表達不到的思想層次。

麥顯揚的創作之所以能夠有采統地表現一連串的心理狀態，其實基於一套貫徹的 「反」邏輯。旣然人體被套上文字的特性，肢體的功能也就帶上了文法的意味。四肢就常識來看是肯定有其「文法」的；兩手之長於肩膊，兩足之前後擺動，都是體態的「交法」。然而麥顯揚

扭曲了衆人週知的常理，制出他自泡的反文法，効果是一個日常生活層次底下的內心世界。「認同與分别」（identify and difference 1976）是一對銅鑄破切斷腰肢及胸部的人像。作品冷酷率意，這個造像，不正是內心極度矛盾，或痛苦煎熬，從心鏡中自視的造像嗎？「認同與分别之二」（identify and difference 1976）瑞起自己下肢，跟在後面端詳。一個人默想自省時，心態也就像這樣揣着自己細細地看。「早晨」爲小件陶塑，是麥顯揚不多作的閒意抒情作品。醒轉的上身身自下面的睡半身坐起，無力的手臂在睡醒的意識中並不存在。土色帶着飽睡的溫暖，坐起的上身如晨起的亢陽。

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One characteristic of Mak's art which stands out is the persistence of his engagement with certain motifs over an extended period of time. This continuity is to be found not so much at the level of subjects, as the level of the elements out of which he creates those subjects. Like Chinese characters (which are constructed for the most part of pre-existing units which tend to be meaningful in their own right) Mak's sculptures seem to be made, by a process of addition, from elements which are a recognizable part of his repertoire of images. Whilst the combinations in which the elements are joined lacks the predictability required of a language, there is nevertheless a sense in which we are watching their transformation from context to context, rather than merely looking at each work in isolation.

Meanings attached to elements shift over time, and I want to view this as a kind of thinking with things, a use of sculpture as a medium of thought.

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1951 Born in Canton, China.

1971-75 Studiedpainting in Goldsmith's College, School of art, University of London.

Graduated with First Class Honour.

1975 Winner of the Delegacy Prize.

1975-77 Studied sculpture in the Slade school of Art, University of London.

Worked under supervision in the Bronze

Foundry of the Royal college of Art, London.

1977 Part time lecturer at the Portsmouth Polytechnic, England, for the 2nd & 3rd year student of the sculpture department.

1979-81 Part time lecturer at the Chinese

University, Hong Kong

1981-82 Parttime lecturer at the Hong Kong

Institute of Visual Arts.

Exhibition:

1974 Group Show "The Young

Contemporaries" Camden Art Centre, London.

1975 Group Show "London Art Student" .

Whitechaple Gallery, London.

One Man Show, Caius College, Cambridge.

1975 One Man Show, Arts Centre, Hong Kong.

1980 One Man Show, Arts Centre, Hong Kong.

1981 Group Show "Hong Kong

Contemporaries" Canton, China.

1982 Joint Show "A Couple in Clay" "Arts

Centre, Hong Kong.

One Man Show, Arts Centre, Hong Kong.

Group Show "Hong Kong Sculptor

Association " Arts Centre, Hong Kong.

Group Show "Towards a fuller life"

Presented by I.C.A.C., Hong Kong.

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It should be noted that after graduating with honours from Slade and Goldsmiths, Antonio could discourse on artistic concepts with the best of them. But his ow favourite catchphrase was "Art is arg",a typically Hong Kong mixture of English and Cantonese that can be translated roughly into "Art is a scam".

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'Sexual symbolism shifted its focus from the form to the space in the Renaissance. Whereas in Chinese art, serial symbolism remained in the form with multi-perspective space as the composition.' 'Photographic idea means Renaissance idea. Scientific method is meant to be the objective way, which is to isolate, fix and make static time and space. A specific time and space for the observer is the situation.'

Book title: Works of Mak Hin-Yeung
Publication: Hong Kong Arts Centre & Museu Luis De Camoes Jointly Present

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-The art of Antonio Mak
-Standart: the collected drawing of Antonio Mak Hin-yeung
-Works of Antonio Mak Hin-yeung

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(Reading) The Sculpture of Antonio Mak by David Clarke

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(Reading) The Sculpture of Antonio Mak by David Clarke

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Art and Place: Essays on Art From a Hong Kong Perspective on JSTOR

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The book brings together a series of essays about art in Hong Kong written over the last ten years, with the intention of offering a personal chronicle of the H...

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麥顯揚的作品以人像爲大宗。而他的人像又絕大部份不超過一手掌大小，相類於科學家用以輔助思考的實驗模型。他的塑像逗起「與模型的比喩有幾個因素，一方面固然是其思想性和分析的形象，另一方面是他塑造的人像都是同樣一個身型和沒有五官。作爲一個成熟的作品系列來看，這些没有面孔的塑像其實饒有深意。麥顯揚的塑像，不論形態或身裁比例都撩起歐洲文藝復興期時代的古典全人的影子（

圖三）。文藝復興期的古典全人，以希臘文化爲正統，追求標準的身體和慧睿的心智。當時的思想家如達芬奇等，均追求藝術和科學同

滙一身；藝術不惡乎思維，科技不吝於藝術。麥顯揚的人像，就利用了這個衆人熟悉的傳統形象，引進文藝復興期的影子。但他並不塑造個别有名有姓的人物。他一系列沒有面孔的塑像，就因爲它們非關乎個别的人物攏統地泛指向衆生，因而達到一個近乎象形文字的效果。

可以說，麥顯揚的人象是「文字性」的，抽象的。又正如文字在意義上包涵了字源本義和歷代累積的辭義，他的塑象也引用到這個「標準人體」於西方美術史上累積的層層交化上的涵義。這種意識的深度，是實驗模型没有的。這個技巧，使他的作品能夠脫離個别人體而游双於抽象思維和實質物體之間。銅塑人體上的指模痕迹（圖十二）成爲麥顯揚

創新的印記。

Fig 18 “Figure