Lam Hoi Sin - In Situ

Lam Hoi Sin Boxes stacked inside homes and apartments are like buildings, sharing the same kind of density and inducing physical and emotional stress.
Lam Hoi Sin Plastic bags are ubiquitous, and of no value in the consumerist city, becoming obstructive objects in personal spaces.
Lam Hoi Sin Multiple sockets and surrounding trash: a scene difficult to miss in untidy homes.
Lam Hoi Sin Clothing: too much - even for The Salvation Army.
Lam Hoi Sin Waste, growing like organisms; like cancerous cells. The practical and emotional need to eliminate it cannot keep pace with its acquisition
Lam Hoi Sin Brands are inevitable in what we discard.
Lam Hoi Sin Occasionally, you try to see beauty and life in the midst of chaos.
Lam Hoi Sin How plastic resembles concrete: dull, cold, inanimate. A material representative of the city, one almost needs to grow a fetish to love it.
Lam Hoi Sin News never grows old. It repeats around wealth and authority.
Lam Hoi Sin Finding a place at home is like finding a place in the city.


In past years, the focus of Lam Hoi Sin’s (b. 1986, Hong Kong) practice has been on Internet cultivation, generating attention and discussion around arts and ideological issues by means of themed blogs and online delivery of contextualised content. In addition to her virtual presence, Lam has participated in physical exhibitions including Shampoo Whatever #1, The A.lift (2014), Ten Million Rooms of Yearning. Sex in Hong Kong, Para Site (2014), The Personal and the Political, Experimenta (2013), The Crap Show, Hardneck.hk (2012), and Interpretation, Gallery Exit (2011).

Project Statement

In Situ is a series depicting a private home filled with excess physical materials existing in a disordered manner. A personal inspection of unwanted objects, leads to a projection of, and reflection on, local living conditions and the larger societal environment. As titled, contents were photographed in their original position. They are a result of failed attempts to bring matters into order. Struggles of changing the system and condition in a home with parents is the same as struggles with authorities in the city. The underexposed atmosphere in the photographs conceals private belongings and the embarrassment in exposing an undesirable place to live, while conveying a dark and calm aesthetic intended to ease the anxiety of inhabiting such a space.