Profile
Wong Cho Yi Jil (b. 2000)

Lives and works in Hong Kong, where she graduated with a Bachelor of Arts in Fine Arts from The Chinese University of Hong Kong. Working at the intersection of photography, sculpture, and installation, she often incorporates found objects, metal welding, and ephemeral materials to explore the subtle relationship between the monumental quality of ruins and the fragility of individual existence. Her practice foregrounds a dialogue between the material world and the inner self, seeking to construct an image-based practice rooted in humanistic concern and a deep reflection on human emotion.

In recent years, Jil has focused on copperplate etching, drawn to the reflective surface of the metal and the oxidized traces that emerge over time. Using traditional intaglio techniques—coating the plate with a photosensitive emulsion, exposing it to ultraviolet light, developing the image, and acid-etching the recesses—she merges photography, chemistry, and printmaking. Rather than treating the copper plate as a mere matrix for paper prints, she often presents the plate itself as a sculptural object with its own material presence.
       
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Education








香港中文大學藝術系文學士
The Chinese University of Hong Kong , Bachelor of Art in Fine Arts
2026

Professional Physical Theatre Youth Training Programme, Tang Shu-wing Theatre Studio
(2 years)

 
Solo Exhibition
 Noto Peninsula能登
Solo Exhibition at  Exhibition Gallery on M/F, New Asia College Ch’ien Mu Library
2026
Exhibitions
「 夜機 」，藝術系畢業展，香港中文大學
B.A. Graduati on Exhibition
Glide Across the Mist,The Art of CUHK 
2026

HAND PRINTED, ORIGINAL PRINTS BY HONG KONG PRINTMAKERS
Joint exhibition, Visual Art Centre, Hong Kong.
2026

SS26 Paris fashion Week 
DETAJ Showroom
Collaboration with DETAJ, Paris, France.
2026

倒敍
Group exhibition,許氏文物館，香港中文大學
2025

「 神戸交流展2025 」，神户藝術工科大學，神户，日本
IMAGINE PEACE DRAWING.
Joint exhibition at 神戸芸術工科大学
2025

「 希放的引力 」，WMA_HK, 香港
The Orbit of Hope, WMA_HK
Debut exhibition for WMA’s biennial theme, “Hope”
2025

As Silent As Thunder (一如雷默)
Joint Performance and Visual Art Exhibition, Furnace, Hong Kong.
2025

Book Lab: Landing on the Paper Space,WMA_HK.
Book Making Workshop and Exhibition
2024

Tiger A(r)m Strong Biennale,
HKICC, Hong Kong
Joint exhibition, invited.
2023

PORTRAITS BEYOND FACES
Open call at FLOOR,
 Seoul,Korea, selected.
2023

Frog and You
Joint exhibition, invited.
 2023

HKBU Associate of Arts (Visual Arts) Graduation Exhibition  – Millennial Dictionary
2022

Fringe Club 40 Years Exhibition
Joint exhibition. Hong Kong Fringe Club. selected.
2022

As Such: A Photographic Study Exhibition
Joint exhibition. Chan Lai-ling Gallery,
 Hong Kong Fringe Club.
2021

Upcycling Hong Kong: Creative Practices of Reuse in Contemporary Jewellery.
PMQ, Hong Kong. Invited.
2021


Awards/Scholarships
黃作仁先生學術獎學金（成績），香港中文大學
Mr. Wong Chuk Yan Academic Scholarships, CUHK
2026

陳啟豪校董藝術系獎學金，香港中文大學
Mr. Kevin Chan Scholarship for the Department of Fine Arts, CUHK
2026

嘉圖藝術獎學金，香港中文大學
Grotto Fine Art Award, CUHK
2026

中大60周年校慶藝術人才培育基金，香港中文大學
CUHK 60th Anniversary Artistic talent Development Scholarship
2026

新亞七十藝術展獎學金，香港中文大學
New Asia 70th Anniversary Art exhibition Scholarship, CUHK
2025

陳啟豪校董藝術系獎學金，香港中文大學
Mr. Kevin Chan Scholarship for the Department of Fine Arts, CUHK
2025

麵包工程有限公司獎學金，香港中文大學
Bread Mission Limited Scholarshio,CUHK
2025

院長嘉許狀， 由學院提名，香港中文大學新亞書院
Head’s List ( Merit) , by department nomination,New Asia College, CUHK
2025

李東強教授版畫獎學金，香港中文大學
Professor Li Tung Keung John Printmaking Scholarship, CUHK
2025

「新」 版畫獎，香港中文大學
“New” Printmaking Award, CUHK
2025

展覽精選獎，視覺藝術院，香港浸會大學
Exhibition Pick’s, Academy of Visual Arts, HKBU
2022

蔡冠深博士特別才能獎學金，視覺藝術院，香港浸會大學
Dr. Jonathan K. C. Choi Scholarship (Special Talent). HKBU
2022


Interview
ParaSite.HK ,Studio Visit, invited
2022                
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写真、彫刻およびインスタレーション実践に関する国際的レビュー。中国語‧英語‧日本語で出版。International Review of photography, sculpture and installation-based practices, published in Chinese, English and Japanese 國際攝影、雕塑與裝置藝術實踐評論，以中文、英文及日文出版。



3

 The Orbit of Hope
Curated by Frank Lam, “The Orbit of Hope” is the debut exhibition for WMA’s biennial theme, “Hope”. Showcasing works by four Hong Kong artists—Jess Lau Ching-wa, Rocco Sung, Simon Wan, and Jil Wong—the exhibition explores the symbolic significance of stars and the distance between individuals and their hopes. Drawing on Newton’s law of universal gravitation, the show likens the dynamic between humanity and hope to invisible forces that pull us forward, guiding us along the trajectory of aspiration.
希望的引力
WMA雙年度主題「希冀」的首個展覽「希望的引力」由林彥鋒策劃，邀請四位香港藝術家劉清華、宋志新、尹子聰與黃祖兒，透過作品探討星星的象徵意義，以及我們與希望之間的距離。展覽啟發自牛頓的萬有引力定律，並以此隱喻人與希望之間的牽引和線索，視它為路標引領我們進入希望軌跡。 
Commissioned work for: WMA_HK
The Orbit of Hope
Artwork title:  Illumination (2025)
Artwork by: Jil Wong
Medium : Mixed Media
300 x 300 x 180cm
 As city skylines reach ever upward and angularise the contours of the sky, starlight becomes harder for us to notice. For more than twenty thousand years, stars have guided humanity, serving as both navigational markers and repositories of our hope, values and aspirations. In the Stone Age, humans identified seasons through the observation of the cycles of the sun, moon, and stars, enhancing their chances of survival and propagation. With the rise of civilisation, religions put priests to systematise the documentation of celestial phenomena, asserting interpretive authority over time and rule. Out of constellations arose myths and star signs, showing the transformation of natural rhythms into the calendars that structure society’s temporal flow. During the Age of Exploration, navigators relied on the North Star to determine latitude, while new approaches of measurements and mathematics, following the analysis and deconstruction of traditional astrological views, opened the way for voyages across unfamiliar seas. Even as starlight grows dim in our day, our lives still orbit around the imagery of stars—be it in striving for academic accolades, savouring Michelin-starred cuisine, or seeking esoteric guidance in astrological signs. Yet do we ever ponder the mutual force that draws us and the stars together? 

In 1687, Newton’s law of universal gravitation revealed an attraction between all objects: the greater the masses of the two bodies, the stronger the pull; the greater the distance, the weaker the force. Our sun—nearest of all stars at 149.6 million kilometers away—owes its birth to this faintest and most invisible of forces in nature. Though such distance remains almost unfathomable, we feel the sun’s warmth and radiance touch us daily. Morning sunrise, sunlight after rain, winter’s gentle heat—all moments tangibly present to us, when energy converges upon life itself. We can, perhaps, see hope gleaming in starlight, affirming our link with our hopes under the attraction of gravity.

“The Orbit of Hope” is the debut exhibition for WMA’s biennial theme, “Hope”. Here, gravity becomes our guide as we unravel the nature and symbolism of celestial bodies, embarking on the trajectory of hope. Using methods derived from astronomy—observation, documentation, analysis, and transformation—four artists invite visitors to rekindle a longing for the night sky. Jess Lau Ching-wa’s The Star Within Your Sun (2025) harnesses the photographic lens to transform the sun—too brilliant for the naked eye to bear—into the familiar symbol of stars, revealing the tangible yet overwhelming relationship between light, as a symbol of life, and ourselves. Inspired by a spiritual experience of being bathed in light within a church, Jil Wong’s monumental installation Illumination (2025) weaves images with copper etching, ceramic plaque firing, and cyanotype on Xuan paper layered atop fragile materials. Her work contemplates memory and forgetting, examining how both shape our visions of the future. Her work revisits moments of sensory resonance stirred by light, forging it into a symbol that bridges the past and the future. Simon Wan’s From _ to _ , I took a total of _ steps (2025) and I walked from Narita airport to Mt.Fuji (2025) employ walking as a method and the sun as time marker to humbly step into the unknown with minimal planning. Through multiple-exposure photography, Wan compresses the passage of days, reflecting on photography’s role in documenting and bearing witness to life. Lau's Sparkling Fountain (2021) disassembles star-shaped badges through stop-motion animation, showing how stars ultimately dissolve. This dissolution liberates the hopes and meanings embedded within the badges, returning them to energy and matter in the cosmos, ready to seed a new star. Finally, Rocco Sung’s series of astronomical images manipulates image data and colour to reconstruct the primal forms and birthplaces of celestial bodies, probing expanses that stretch tens of thousands of years.

Tracing the primal forms of stars, the nature of hope, and the force of gravity are all attempts to grapple with some of life’s most fundamental questions. NASA’s vision for space exploration—“Why are we here?” and “How can we make our lives better?”—echoes these same yearnings. The distance, trajectory and gravitational pull between us and hope mirror the inevitable doubts that arise in life. Yet, like celestial bodies, the mass of hope must become strong enough to draw us, our communities, and our cities into new orbits, releasing latent potential. The answers may well lie hidden among the stars. Together, we trace the origins of hope, following the subtle rhythm of gravity, gently piecing together scattered light and dreams.


People need old symbols to grasp new things—but not to repeat old wisdom. Instead, we excavate buried, unfinished hopes. For Benjamin, memory is not nostalgia but revelation: fragments of the past flare up to illuminate the present.

In a dark church in Italy, a glowing crucifix once suspended time for me. That light, later understood through Benjamin, became a flash of memory beyond linear time—an awakening that can surface at any moment in life.

The contemporary monument connects past and present. My work treats light as the monumental, symbolizing the immortality of memory. Like Benjamin’s angel of history, the sculpture faces the past yet is carried into the future. Made of fragile materials, it commemorates what is unfinished and weak rather than heroic and complete. By transforming photographic portraits into spatial forms, I build a personal monument—one that refines buried memory into a revelation of the now, lasting one day longer than eternity.
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