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Collaboration in Collision

This article announces **Collaboration in Collision**, a flagship exhibition at the Hong Kong Arts Centre running from August 26 to September 20, 2026, featuring seven artist collaborations from Hong Kong, Mainland China, and abroad.[11] One of the key components is a participatory project linked to **environmental intervention**: visitors join local upcycling designers in a beach clean-up at Big Wave Bay, collecting plastic waste that is then used as material for a large-scale installation exhibited alongside Fang Lijun’s work on marine debris.[11] The piece emphasizes how the project transforms destructive residue—ocean-borne plastics—into visual narratives that both document and critique human impact on marine ecosystems.[11] By involving the public directly in collection and co-creation, the initiative turns the beach and gallery into interconnected sites of action and reflection, effectively treating both as an evolving archive of environmental harm and community response.[11] The article notes that the exhibition combines multimedia, painting, and sculpture, but foregrounds the cleanup-installation as a clear example of art functioning as **environmental intervention**, where aesthetic form is inseparable from ecological activism.[11] Although not explicitly tied to cycles and moon phases, it implicitly engages with temporal cycles—tides, accumulation of waste, and ongoing efforts at recovery—and demonstrates how collaborative spontaneity and material experimentation can generate new **patterns** of care and awareness in urban coastal contexts.[11]

Aug 24, 2026 Read Original Article ↗

Ledger of Tides (Cadernos da Maré)

Ledger of Tides (Cadernos da Maré) was assembled through collective action: visitors and local designers gathered plastic detritus at Big Wave Bay, then worked with my mobile bindery to transform that material into a sewn, map-like archive. The work hangs like a paused current—suspended panels stitched together with visible seams—its painted impasto surfaces registering sedimentary build-up while handbound folios hold field notes, weathered photographs and fragments recovered from the shore. The Estreito porcelain sherd and waterlogged pages act as anchors, small, legible fossils within a wide, material topology.

This is an act of environmental intervention where aesthetic form is inseparable from ecological activism: the gallery and the beach become two panels of a single project, each feeding the other. I treat the accumulated plastics as a ledger—an index of tides, time and human carelessness—and insist on touch, repair and rhythm as modes of repair. Moon-phase motifs reappear as a quiet score, reminding visitors that tides, waste accumulation and repair are cyclical. The piece is a living archive: sewn maps, improvised marks and community-made book-objects are revised across the run of the exhibition, inviting participants to witness and continue an evolving pattern of care.

About the Artist

Mariana Teixeira

Mariana Teixeira (she/her) is a visual artist whose work navigates the tension between movement and stillness through crisp, legible compositions and tactile surfaces. Born in Salvador, Brazil, she sp...

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Critic Reviews

Dr. Helena Voss

Art historian specializing in formal analysis, trained at the Courtauld Institute. Focuses on visual structure over narrative.

In Ledger of Tides (Cadernos da Maré) Mariana Teixeira stages an object that reads as both cartographic apparatus and accumulated geology. The suspended panels are composed with a rigorous grid that is repeatedly ruptured by visible seams and stitched joins, which register as contour lines. The work hangs like a paused current, its planar surface made topographical through generous impasto, while rectangular folio shapes and sewn margins insist on human scale. Compositionally the piece balances map logic with a tactile fragmentation that keeps the eye moving, from larger ochre masses into a scatter of cooler blues and small pale cells that act as visual rests.

Colour and technique are where Teixeira’s formal acuity is most persuasive. The palette privileges coastal pigments, corroded umbers and turquoise washes that suggest salinity and sunlight, while thick passages of paint accumulate like sediment. Textural contrasts are precise, impasto against weathered paper, sewn thread against glazed porcelain. The Estreito sherd and waterlogged pages function as deliberate anchors, small legible fossils amid a wide material topology. Moon-phase motifs return as a quiet rhythmic device, a discreet score that frames variation as cyclical rather than singular, and the handbound book-objects on the plinth extend the visual grammar into intimate, tactile registers.

The project’s social dimension is inseparable from its aesthetics, the gallery and Big Wave Bay acting as two faces of a single intervention. By transforming collected plastics into sewn archives, Teixeira collapses documentation and repair into the same formal act, privileging touch and care over denunciation. My reservation is that the work occasionally flirts with illustrative clarity, so that the activist imperative risks simplifying the ambiguity that makes the formal project compelling. Even so, the living archive model, revised across the exhibition, succeeds in sustaining attention, and positions the piece not only as a record of harm, but as a proposition for communal maintenance and visual learning.

Material upcycling and ecological activism Impasto topography and textural contrasts Sewn, map-like composition with visible seams Community participation and living archive Moon-phase rhythmic motifs Artist books and handbound folios

Sep 5, 2026