Precipitation — A Water, Sound and Light Installation Art Show

Jan 4, 2001 – Jan 28, 2001
Para/Site Art Space
2 Po Yan Street, Sheung Wan
Opening Reception
Jan 3, 2001

Kith Tsang Tak Ping, Wong Hung Fei, Peter Suart


Local installation artist Kith Tsang‘s art inspiration always comes from his daily lives. His recent work in the show window of Para Site is composed of several hundred clear bottles. Each bottle contains tap water from different local households. The bottles are stacked up to form a clear wall. Tap water is a symbol of the standard of living, equality, and health insurance. When samples of tap water from different households of Hong Kong are put together and are examined by the bare eyes of the visitor, will there be a unified test report? Will there be a discrepancy in terms of quality?

Wong Hung Fei shows several black and white photos and texts. The photos have a strong black and white contrast. It seems that it is taken in an absolute dark space with a flashlight. Did he try to find something or try to be seen by someone?

In Peter Suart’s darkroom, a piece of ambient music called A Bath for the Dissolution of Hatred is played on loop. Ambient and drone music can be particularly suggestive of huge space, of soaring, gliding, wheeling over an internal terrain, without engine or wind noise, traversing great distances instantly. Can this flight wash away the illusory border between self and world? 

The three artists explored elements that are related to our daily lives but are easily overlooked—water, sound, and light. After their refinement and precipitation, they may offer us visitors a different understanding of our surroundings.


This exhibition is part of the Landscape Project, a programme of the City Festival by Fringe Club.


More materials are available to view on site at Para Site. 

Click here to see a full inventory of all archive materials and contact us at for enquiries, to request an appointment to view materials, and for archival materials donations.


The Archive Project is financially supported by the Project Grant of the Hong Kong Arts Development Council.




Video documentation (2001/ex_1/box 23/6)