Lost and Found Anything Store 失物萬事屋
Lost and Found Anything Store 失物萬事屋
physical and digital
2020 onwards
Lost and Found Anything Store is a long term project. The artist take the initiative to uncover and focus on the abandoned lost objects in certain sites, which will be transformed into digital 3D models and re-imagined in a half-realistic, half-inferential free-association. In the midst of the unpredictable objects, a small history is written with these young relics
For the List of objects and their corresponding 3D modeels, please visit Lost and Found ANything Atore Website
All 3D model are free to download in my sketchfab account
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Unclaimed Item 無人認領的物件

It doesn't take much time to forget something, so I borrow the most recent "heritage" from no one.
The "Lost and found Anything Store" project aims to take these objects, which are "collected" from public places in a proper way, and the information attached to them, and use them as the departure points to create a series of small stories. I hope to temporarily transform these objects into creative materials, including making digital three-dimensional models of the objects, replicating, and virtual setting the scenes and stories of the lost objects. With a free association of half-realization, half-reasoning, I set up the game to review these undetectable objects for exploring the trace of some of the visitors in a more detached way, relatively. I can autonomously depict a part of the history of the places. This first place I tried out this is Hong Kong Visual Arts Centre in Hong Kong Park.
要遺忘一些東西不需要太花時間 ,我從無人那處借來給我考現最近的「遺跡」

Why 3D Scanning 為何是立體掃描

The story presented is a semi-fictional one. But the loss objects themselves are real. By scanning them digitally in 3D and printing them in 3D, I am more or less trying to look at them as "artifacts", using a technique that is often mentioned in the conservation trend (the Antiquities and Monuments Office already has a 3D scanning team), as an alternative way of writing history myself.
There is no point to care about the "absolute truth" of history, I care more about who is writing it, or what is interesting when we are writing it.
Although stereoscopic digitization can record objects in a three-dimensional space as close to their (current) original state as possible, it is of great interest to serious historians and leaves the most complete spatial information about objects that are about to disappear. The process of digitization is also very much dependent on the tool, the people who make the tool, and the people who use the tool. The process and results of scanning also hides a second, more insidious layer of technological history. 3d scanning, before it became increasingly popular, interested me as a media art seeker in understanding the plasticity of this technology and in smoothing out the mythical products of this technology. In the past, when learning to use 3D scanners, there were always many "accidents" that resulted in rendered models that deviated from the original object, mostly showing the difference between computer vision and human vision. Rather than rendering an object in its original form, I prefer to present other plasticities of digital representation, such as size scale, shader, viewable angles, etc. Each set of works is still a realistic representation of the original object, and I am not sure if this "accident" will continue in the future.
Each group of works is still based on a real object, and I make it a rule to include the original object in the group while extending the association of the object. Through the accompanying contrasts of production and material (physically), I hope that the lost objects remain lost, preferably to be claimed by someone during the exhibition.
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Collection #016A Almost a utah teapot

Origin of creation 創作緣由

Among the visitors who come to the HKVAC every day (in the past, at least before it was always closed), I believe there are always "careless" visitors who left their belongings somewhere and were then taken to the lost and found at the information desk by other visitors or staff, or were so anxious that they went to the center's management office to report the loss. There seems to be a small history about the art centre that is solid and inconspicuous. I was curious about these objects, even though they were commonplace and irrelevant, and I always thought of how scared, helpless, still had a glimmer of hope, or completely forgotten the circumstances of something by someone who had passed through the neighborhood.

Collection 1 : Hong Kong Visual Arts Centre (2020 fall - 2021 Summer) | 合集(一) 香港視覺藝術中心 (2020冬-2021夏)

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Exhibition View

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Video in window display (Level 3) 三樓窗口電視

Video in window display (Level 4) 四樓窗口電視

Video in window display (Level 5) 五樓窗口電視

view from 4/F

view from 3/F


Assisting artist : MAN Mei-to
All-round Technician : Kel LOK Man-Chung
3D scan operator : Atiq, Hafiz Muhammad
Animator : CHEUNG Chi-chuen
Writer : Kel LOK Man-chung , George HUANG
Designer : Vigour Li
Web Development : Cyrus Chau , Console Technology

Article / Review

Collection 2 : Tai Kwun Artists' Studio Programme (2022) | 合集(二) 大館藝術家工作室駐場計劃 (2022)

Work in progress

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3D model viewer