The BUddy Post – HKBU Alumni Affairs Office

In Hong Kong’s fast-paced and commercially driven art scene, securing a space to exhibit work and nurture creativity can be a formidable challenge for emerging artists. The dynamic, unbridled spirit of new generation often does not align with the rigid institutional gallery and art institution. This gap inspired alumnus Jeremy Ip (Visual Arts) to forge a new path with creativity. In 2021, he founded WURE AREA, located in Kowloon Bay, a distinctive curatorial brand and art platform.

The name, “WURE AREA”, encapsulates Jeremy’s vision: “WURE (回異 in Chinese)” refers to a return to chaos, setting aside established conventional frameworks, and then rebuilding and developing a method that is uniquely one’s own. WURE AREA is an alternative space dedicated to non-verbal expression, encouraging audiences to experience art through sensory engagement and alternative modes of perception. At WURE AREA, artists can take the lead in experimental spaces, fostering contemplation, research, and collective exploration. This innovative approach not only provides a vital platform for underrepresented artists but also brings art directly into the community, making it more approachable and better integrated into the urban fabric. By emphasising concept-driven exhibitions and fostering collaboration, Jeremy is not just curating art; he is cultivating a sustainable ecosystem where creativity can break free from conventional frameworks and continue to grow and flourish, fully reflecting the innovative thinking and sustainability nurtured at HKBU.

1. Every great project starts with an idea. Can you take us back to the moment you first conceived of WURE AREA? What specific experiences during your time at HKBU’s Academy of Visual Arts, or in your early career, highlighted the need for a new kind of art platform in Hong Kong? What are the biggest operational challenges and, conversely, the most rewarding moments of running a platform that champions collaboration and community?

Looking back on the period shortly after graduating from the School of Visual Arts, it was difficult for graduates to gain the attention of galleries or other art institutions. At that time, demand for art graduates was not particularly strong. As a result, many graduates were forced to put their personal artistic practice on hold after leaving campus. Also, graduates from different art institutions largely worked independently, with very little contact among each other and they are relatively passive. My experiences as an exchange university student in South Korea, followed by work and further studies in the United Kingdom, led me realise that the opportunities for emerging artists in Hong Kong were often scarce.    

In recent years, the number of art-related graduates has continued to grow, cross-media collaboration in art community is more vibrant and diverse than ever. I established this platform, with the aim of bringing together a new generation of artists and transdisciplinary creative communities, encouraging them to exchange and showcase their work, while fostering discussion on the value of sustained artistic practice and rethinking the relationship between art creation and its audiences from multiple perspectives.

Artistic practice is a process through which artists transform insights drawn from life experiences by integrating and interacting with the characteristics of different materials and media, leading to ongoing reflection and creation. Its forms continue to expand with time, encompassing text, sound, images, moving images, concepts, actions, and even interaction with audiences. In short, artistic practice is not merely the completion of a single artwork, but an ongoing exploration of the world and the self. However, the impact of artistic practice on audiences and society is often not immediately visible and may not align with today’s fast, efficiency-driven pace. Therefore, the greatest challenge in managing this community lies in balancing the platform’s commercial value verses its inclusive nature.

I feel truly fulfilled if my platform can provide opportunities for the artists and inspire them for further creative development. 

2. Many artists in Hong Kong juggle among multiple roles. As a founder, administration, curator, and artist, how do you prioritise and balance these roles without diluting your vision? How does WURE AREA operate day-to-day and how do projects move from idea to public engagement?

For me, different life experiences are essential nutrients for artistic practice. Taking on multiple roles is like running a one‑person company, requiring constant shifts in mindset and responsibility. This forces me to learn and manage many tasks outside the realm of fine arts, such as administration and public relations. In doing so, I gain insight into how different systems operate and the perspectives behind them, allowing me to better grasp the thought processes embedded in the frameworks of different projects. The motto of WURE AREA is, “To travel is to return”. The aim is to encourage people to step away from habitual thinking and re-experience the diverse meanings and associations that artworks may evoke.

At WURE AREA, the activities we host, such as “Non-guided Tour” and “Chit Chat Discussion”, emphasise self-observation rather than direct explanation or the transmission of fixed values and concepts. The “Non-guided Tour” differs from conventional guided tours that rely heavily on narrator’s explanations. Instead, the audience observes how Artist A appreciates Artist B’s work. Artist A’s interpretation of Artist B’s work may differ from the creator’s original intent, and this divergence opens up a plurality of perspectives for the audience, showing them that artworks can be understood in many different ways. “Chit Chat Discussion”, meanwhile, brings artists and audiences together to sit on the floor and talk in a relaxed, informal setting, replacing the speaker-led format of traditional panel discussions. Artists share not only the stories and life experiences behind their work, but also the inspirations and observations drawn from everyday life. In both activities, audiences are invited to share their responses freely after viewing the works, allowing new insights to be generated through open and relaxed exchange. These approaches aim to reshape audiences’ habits and relationship with viewing and appreciating art. In this sense, “seeing” itself becomes a form of artistic practice, a creative exercise in which the viewer interprets the work and refines their perceptual sensitivity through the process.

When audiences immerse themselves in an artwork, allowing them to naturally sense its atmosphere and generate conversations and ideas that emerge from it, the artwork acquires its true meaning. It is at this moment that artistic thinking is understood through human behavior, and human nature is reflected upon through artistic practice.

This kind of practice is like a dialogue within self. As long as there are people in the community willing to continue engaging in this artistic practice, this intention will be passed on through each act of participation, affirming the significance of its existence.

3. From your vantage point as a curator and founder, what is your vision for the future of Hong Kong’s art scene? What role do independent, artist-led platforms like WURE AREA play in cultivating a vibrant and sustainable creative ecosystem? For current students and fellow alumni aiming to build careers in the creative industries, which skills or experiences should they prioritise now, and why are these attributes particularly important today? What message would you give to alumni/ students who are still searching for their path?

I hope that in the future, people from all walks of life and can experience artistic practice. Artistic practice can become part of everyday conversations and daily life. At that time, we can appreciate and actively foster diversity and the coexistence of artistic expression. In such an environment, there is even more need for a flexible, inclusive, independent art platform to showcase different values.

The development of art has always advanced through reflection and innovation, and this way of thinking embraces a variety of ideas and helps cultivate a more inclusive artistic community. Taking our own experience as an example, every artist’s practice within WURE AREA becomes a reference for the future. We provide support both in terms of material resources and curatorial direction to communities that wish to sustain their artistic practices. At the same time, we encourage everyone to share their feelings. By reducing the emphasis on promoting individual artists and shifting more of the narrative power back to the artworks themselves, we allow the work to speak more directly.

Facing a future in which AI will be deeply involved, the meanings and interpretations of things may increasingly be determined by rigid, formula-driven frameworks. Only by developing a personal and unique way of expression can individuals stand firm and resist the tide of homogenisation.

For alumni or students who are still exploring their direction, my advice is not to rush into judging the success or failure of each artistic practice experience. Any experience you have yet to experience is a worthwhile experience – it deserves to be tried, felt, and reflected upon.

 “Limitation is Your Friend” is a quote I previously wrote for Academy of Visual Arts’ publication “AVA Magazine”. I believe that limitations are not obstacles, but opportunities to rethink how we use resources and better understand our own qualities. Under constrained conditions, there is no need to push yourself excessively. Steady growth comes from learning to co-exist with your limitations, and only then can you go further.