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

Artists have used embossing techniques for centuries, but contemporary embossing has typically been relegated to the commercial or book arts. Notable exceptions are Albers’ ‘Embossed Linear Construction’ series with Kenneth Tyler (1969), and Do Ho Suh’s ‘Loving / Rubbing’ installation, a three-dimensional paper recreation of his studio (2016). My approach for this series has been to view Hong Kong and its architecture as matrices for printmaking, specifically embossing. Instead of printing with machines, or creating printing plates for reproduction, I print directly from the city itself, by wrapping my body and paper around the vintage architecture that has protected me during our pandemic, inside a building which will be destroyed in coming years. The resulting blind embossed work is a direct impression of architectural heritage under threat, and a meeting of skin, paper, and metal. Prints are hand-tinted with water-soluble graphite, and are attached directly to the wall. The paper is thin ‘rice paper’, and prints move with passing air, thus the name ‘Ventilation Paintings’. This transient materiality produces physical documentation of a city and world in flux that would not have the same resonance if made in any other time or place.

My conference presentation includes an introductory video showing animation (ventilation) of artworks by wind, and an artist introduction filmed in my HK Creative Arts Centre studio, surrounded by a selection of prints for scale. Slides describe inspiration and process. Then three time-lapse videos of embossing, hand-tinting, and layout of the edition. A brief video summary of the experimental streaming Quarantine Exhibition of final prints, tinted while locked in a Hong Kong hotel room for 21 days. And finally a description of installation plans for the artwork—part of a curatorial project including other artists invited to make or exhibit their works in the space.


Printing With the Body: the City as Studio, Architecture as Printing Matrix, Capturing the Transience of Heritage

Elizabeth Briel
Printmaker, Curator, Artist, Printmaker, Artist
EBriel Studio