Terms & Conditions

  • Once your proposal submission is received, you will be sent an email to confirm receipt. If you do not receive a confirmation email within 7 days, please contact us to ensure your proposal has been successfully submitted. HKOP and IMPACT 11 team will not be liable for any non-arrival of proposal submission information.
  • If your proposal is selected, at least one representative from your group or organisation should be present at IMPACT 11 for the set up and presentation. If special arrangements or equipment is required, requests must be made clearly in the proposal submission for our consideration.
  • Registration fees should be settled via online payment. Cash and cheques will not be accepted. Registration will only be considered complete once the registration form and payment have been received. Payments not received in full prior to the event may result in entry being denied. No cancellation is accepted. Registration fees for IMPACT 11 are not refundable. If a participant is unable to attend and would like to transfer the registration to another person, approval will be determined by the HKOP & IMPACT 11 team on a case-by-case basis.
  • No responsibility is assumed by HKOP, the organiser or the speakers/authors for any injury and/or damage to persons or property as a matter of product, negligence or otherwise, or from any expectation regarding the event, use or operation of any methods, products, artworks, instructions or ideas presented at the event or contained in the notes.
  • By entering the event premises, you consent to being photographed or filmed by the HKOP and IMPACT 11 teams, and to the organiser’s use and publication of audio recording, video recording in any and all media for promotional and educational purposes. No recording or photography on the premises of the conference is allowed during the conference without prior written consent of the organiser.
  • In case of a person (delegate, exhibitor, visitor) infringing the overall interest/aim of the conference or infringing the interest of other delegates, companies or parties involved in the conference, the organiser is entitled to exclude the infringing person/company from the event after an oral or written warning by the HKOP directors show no adequate result. All respective costs in context of the infringement or exclusion are on the infringing person’s/company’s own responsibility. No liability in any way or any reason is taken by the organiser in this case.
  • Applicants are responsible for their own travel arrangements, including but not limited to flight and local transportation, accommodation, adequate insurance cover, as well as related visa procedures. Visa requirements for entry to Hong Kong vary according to the visitor’s country of origin.
  • While every effort will be made to adhere to the published programme, it may be necessary for reasons beyond the control of the organisers to alter the content, speakers, and/or timing of the programme without prior notice. Please check the website for the latest version of the programme.
  • Personal information collected will be held on a database and used for communication purposes. In some cases, related to the funding support to the conference, your details may be made available to the funding bodies or its related department for record.
  • In addition to the provisions mentioned above, these terms and conditions are subject to the laws of the Hong Kong Special Administrative Region.
Acceptance of all of the above terms and conditions is required in order to register for and participate in IMPACT 11.

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Proposal Abstract

I grew up in Hong Kong and have spent over half of my life there. I currently visit at least twice a year. I am a commercial illustrator, as well as a printmaker, and try where possible to combine the two, especially in my HK work. I’d like to present an illustrated talk about my largest public art printmaking project in HK: the permanent interior artwork of Cheung Sha Wan MTR station. I was commissioned to create the artwork for the large scale renovation of the entire station. It was an intense two-year project that incorporated over 100 individual etchings.

Cheung Sha Wan was becoming a residential area, as light industry and factories moved away, so I chose ‘The Home’ as my theme, and created artworks to draw attention to small everyday things that are often taken for granted in the home. I titled the project ‘Teapots, bowls, cups and some spoons’.

As a direct result of the construction process for the panelling in the station, I developed a multi-plate printmaking technique for my artwork. I’d like to show this, and talk about the issues of scale I encountered. I incorporated many different cultural elements into the work, through small details and patterns inside the individual prints, and I would like to describe their cultural significance, and how they reflected the local community.

I would like to present this talk in the ‘crossing boundaries’ category, and highlight the many boundaries I navigated in working on this project: from industrial to residential, from paper print to metal panel on the wall, and from small to large scale. The most significant boundary for me was moving from creating intimate personal work to filling a large public space, where my work serves a community larger than just an art gallery.

Illustrated Talk

'teapots, bowls, cups and some spoons': Printmaking in Cheung Sha Wan MTR station, HK

Mariko Jesse
Printmaker, Illustrator, Printmaker, Illustrator