about
biography
cc’ed is an artist duo and platform to be founded in 2025 by Hong Kong-based artists Cecilia Chan and Edwin Chuk. The name refers to “carbon copy,” before the advent of photocopiers and emails, carbon paper was used as a medium for replication and transmission; it later evolved into the common ”cc“ function in email correspondence, cc’ed meaning ”copied to you.“ cc’ed explores the space between the original (the work) and the copy (the viewer), engaging in multiple layers of rewriting, reflection, and response. Through live performance, exhibition, writing, and artist-led community projects, the duo revisits ideas of creation, commentary, observation, and experience, treating each encounter as a new imprint. These processes are shared and disseminated, fostering further conversations and iterations, allowing the work to return, in different forms, to the lives of the duo and their audiences.
Cecilia Chan Nga Ying
Cecilia Chan Nga Ying (b. 1999, Hong Kong, currently lives and works in Hong Kong) holds a Bachelor of Arts (Hons) in Visual Arts from the Academy of Visual Arts, Hong Kong Baptist University. Chan’s practice spans painting, text, live performance, and exhibition curation, often centring on everyday yet easily overlooked imagery and experiences. Through her work, she seeks to illuminate moments of synchronicity and transcendence, inviting contemplation on what it means to look, to be, and to do something together. Her practice functions as an ongoing enquiry into the intricate relationships between individuals and the realities they manifest.
Edwin Chuk Yin Man (b. 1996, Hong Kong) is an artist based in Hong Kong. He holds a Bachelor of Arts (Hons) in Visual Arts from the Academy of Visual Arts, Hong Kong Baptist University. Working primarily with photography and theatre, Chuk utilies these media to heighten physical awareness and attend to the present moment, often in contexts that depart from everyday experience. His work investigates the interplay between place—particularly the generally overlooked “non-places” within urban environments—archival materials, official narratives, and personal memory. Through his creations, he seeks to unfold new avenues for reinterpreting both personal and collective histories.