SOLO EXHIBITION BY SOPHIE CHEUNG

In a world that labels systemic failures and its normality as “madness,” we choose to respond by delving deeply into the laws of nature: every life is, by its very essence, (in)complete. 

This exhibition critiques the legal concept of “mental incapacity” and the systems that measure legal capacity and subjectivity. Artist Sophie Cheung adopts “dis-identification” as method—neither fully accepting nor rejecting labels like “disability” or “recovery,” but strategically reclaiming and reassembling them. Through ten years of community art workshops in Hong Kong and London, she and participators forged excluded experiences into raw material for creating “life” as the ultimate artwork. The show reveals how, at the margins of discipline, each of us can find vibrant ways of becoming ourselves. 

“The Naturally (In)complete Human” evokes an authentic (in)completeness, exposing how legal “mental (in)capacity” violates our natural state. Western “natural law” stems from divine ideals of order, yet true nature has no tangled labels—only endless transformation and flowing energy. 

A withered tree is not “dead” but a hub sheltering new life; winter branches are reservoirs of strength. Trees do not judge each other “disabled”—they coexist, sharing nutrients in unconditional symbiosis. When we return humans to life’s interconnected web, many “personal problems” reveal themselves as signs of systemic imbalance. 

Thus, the title playfully parodies “the mentally incapacitated person.” It offers no new “truth,” but a fluid, nature-like understanding: dissolving the permanence of labels. Every marked life state is a node of transformation in an unconditional ecological network—not seeking another “completeness,” but living at the edge of definition, in creative uncertainty. 

一個將制度失靈視作「正常」並標記為「瘋狂」的世界，我們選擇深入自然法則來回應：每一個生命，本來就是（不）完整的。

本展覽從根本批判精神健康法律中「精神上無行為能力」(mental incapacity) 這個概念，以及背後量度法律行為能力與主體性的機制。藝術家張馨儀採取「抵認同」(Disidentification)作為方法——既不全盤接受，也不直接拒絕「殘疾」或「康復」等標籤，而是策略性地回收、拆解與重組。透過橫跨香港與倫敦、長達十年的社區藝術工作坊，她和參加者將被系統排斥的經驗鍛造成創作「人生」這件終極藝術品的原始物料。展覽呈現：在規訓的邊緣，我們每個人如何探索出蓬勃地發展「成為自己」的生命法則。

「自然（不）完整的人」以「自然」為前提，描繪一種本真狀態下的（不）完整性，並以此揭露法律定義的「精神上（無）行為能力」如何違反人的自然狀態。西方的「自然法」（Natural Law) 源於對理想秩序的神聖想像，然而真正的自然，沒有糾纏的標籤，唯有無盡的轉化與流動的能量。

枯樹並非「死亡」，而是庇護新生的養分樞紐；冬日枝椏並非「病態」，而是積蓄力量的沉靜。大樹不會因另一棵長得歪斜而視其為「殘疾」——它們共存，透過地下網絡共享養分，這是無條件的共生。當我們將「人」放回生命的整體網絡，許多「個人問題」便顯現為系統失衡的徵候。

因此，展覽標題正是對「精神上無行為能力的人」的戲謔模仿。它不提供另一種「生存真相」，而是指向一種如自然般的流動性理解：瓦解所有標籤的永久性。每一個被標記的生命狀態，都是轉化的節點，在無條件的生態網絡中持續重組——目的不在抵達另一種「完整」，而是活在定義的邊緣，活在創造性的不確定之中。