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

A multi-component 3D print, artist books, CDs & sound installation reflecting on the acoustics of built spaces.

This ongoing series was designed as a tribute to the 400th Death Anniversary of William Shakespeare.

It features sound waves of the lines, ‘to be or not to be’, interpreted in various formats, either spoken, written, typed or danced.

Electro-conductive inks are programmed to produce sound when the brass sensors are touched. Sounds may be listened to, using mini speakers or headphones (public sharing or private listening).

The prints were inspired by sound waves generated by the sound of 2B and non 2B (1H-4H, 1B, 3B-6B) graphite pencil-leads writing the phrase ‘to be or not to be’ on different substrates.

These sound waves produced were re-drawn, using various metalpoint styli: gold, silver, brass, copper, tin, aluminium, zinc, platinum.

Audio recordings activated upon touch: clips of ‘to be or not to be’ extracted from famous film/TV sketch comedies; poets & a Congolese interpreter.

Pre-etched zinc plates of architectural features were stripped and recycled to make the wave patterns.

The plates were deeply bitten/open-bite acid etched, aquatinted, inked using a viscosity method: both intaglio and relief roll inking methods to achieve deep embossing.

These prints were curved to simulate wave patterns and placed upon a rolled gradient of colour to simulate the Doppler Effect of sound.

Electroconductive ink channels run on the paper, and connect to an electronic control pad programmed with 12 tracks.

2B Or Not 2B VENUES:

John Ruskin Prize, Millenium Gallery, Sheffield-short-listed finalist;

Neo;Print Prize, Bolton;

Lutheran Shakespeare Festival. California, USA;

London Group Open:

Liminal Spaces, the Flourish Award solo show;

Royal Birmingham Society of Artists Exhibition;

-Society Bookbinders Conference & Competition;

-National Original Print Exhibition;

International Contemporary Exhibition, Print Austin, Texas USA’20-‘21;

Manly Library Artist Book Award, NSW, Australia‘21.