Lam Wing Sze is a Hong Kong–based video artist. She received her BA from the Academy of Visual Arts, Hong Kong Baptist University, in 2015. Lam currently works in museum education. Participated exhibitions and projects include “ Irregular Plurals: Dwelling” (WMA, Hong Kong, 2023), “Everyday life in Hong Kong and Fukuoka: The study of Contemporary Arts and Kougengaku” (art space tetra , Fukuoka, Japan, 2023), “Our Manifestos II: Videography, Documentary Impulses” (Floating Projects, Hong Kong, 2021), “Portals, Stories, and Other Journeys” (Tai Kwun Contemporary, Hong Kong, 2021), “Sightlines” (Hong Kong Art Centre, Hong Kong, 2019 and 41 Ross, San Francisco, 2017 ), “DREAM Video 100” (West Bund Art & Design, Shanghai, 2018), “Wonder Foto Day” (Songshan Cultural and Creative Park, Taipei, 2019), “The Aerial Actor” (Art Omi, New York, 2018), “Observe / Scrutinise / Perceive” (Gallery EXIT, Hong Kong, 2018), “Weighty Light” (Affordable Art Fair, Hong Kong, 2018), “from here to there” (Kunstquartier Bethanien, Berlin, 2016).

Lam’s image narratives are often composed of scenes and situations she encounters by chance, but also those that she both anticipates and manipulates. Her role as an image-maker is to create a situation that gives the audience a viewing experience, opens up a conversation with that which was captured, and generates new meaning. Lam looks at scenery in the city and inverts daily observations into moving images that depict the perception and reflection of seeing.

林穎詩是香港錄像藝術家。於 2015 年獲香港浸會大學視覺藝術院學士學位。現任職博物館教育工作。參與展覽及項目包括：「不規則複數：常居」（WMA, 香港, 2023 年）, 香港與福岡的日常ー當代藝術考現學（Art Space Tetra，福岡，2023年）,《我們的錄像宣言2：記述的衝動》 (據點．句點, 香港, 2021 年), 「咫尺之內，開始之前：隨意門及其他足跡」 (大館當代美術館, 香港, 2021年), 「視線，之間」 (香港藝術中心, 香港, 2019 年 及 41 Ross, 三藩市, 2017 年), 「Wonder Foto Day」 (松山文創園區, 台北, 2019 年), 「The Aerial Actor」 (Art Omi, 紐約, 2018 年), 「DREAM Video 100」(西岸藝術與設計博覽會, 上海, 2018 年),「靜觀默察」(安全口畫廊, 香港, 2018 年), 「甸甸的輕」(Affordable Art Fair, 香港, 2018年),「from here to there」 (Kunstquartier Bethanien, 柏林, 2016 年)。 林氏的影像敘事組合不同的景象和情況而成，材料多出自偶然的遭遇，但也包括預想和操縱的介入。她認為造像是創造一個處境，讓觀眾獲得觀看的體驗，與鏡頭捕捉之物進行對話，並從中產生新的意義。林氏將目光投向城市中的風景，把日常觀察轉化成錄像，而這些錄像往往表現出觀看行為的洞察力和反思。