Every artist arrives at their practice through a different path. Mine did not begin in an art academy, nor did it follow a conventional route. Instead, it has been shaped by passion, research, technology, migration, and a lifelong fascination with the relationship between people, nature, and materials.<\/p>\n\n\n\n
Hong Kong: From Early Beginnings to the First Exhibition<\/a><\/p>\n\n\n\n Discovering Contemporary Art<\/a><\/p>\n\n\n\n Research, Art and Technology<\/a><\/p>\n\n\n\n France: An Artistic Transformation<\/a><\/p>\n\n\n\n Japan: Nature and a New Perspective<\/a><\/p>\n\n\n\n Developing My Artistic Language<\/a><\/p>\n\n\n\n Art and Cultural Building<\/a><\/p>\n\n\n\n Growing up in Asia international city, Hong Kong, exposed me simultaneously to British colonial history, Chinese traditions, design, commerce and contemporary culture. My earliest exposure to art came through my aunt, who studied design at Hong Kong Polytechnic. Her passion for creativity and visual culture sparked my own curiosity from an early age.<\/p>\n\n\n\n As a child, I showed a natural aptitude for art and visual expression. During primary school, I received several awards in traditional Chinese calligraphy, an experience that introduced me to the discipline of observation, balance, rhythm, and the expressive power of line.<\/p>\n\n\n\n This passion continued throughout my secondary education. Among approximately 200 students, I ranked first in Art and received awards in design competitions. In recognition of my artistic achievements, I was selected to represent my school in creating an oil painting for a public exhibition displayed in the windows of Marks & Spencer in Hong Kong. Seeing my work presented in such a public setting was an inspiring experience and gave me an early appreciation of how art could engage a wider audience.<\/p>\n\n\n\n \u2191 Back to top<\/a><\/p>\n\n\n\n During my teenage years, I became actively involved with Art Focus<\/strong>, a collaborative inter-school art collective that brought together art students from diverse backgrounds across Hong Kong. Over the course of nearly ten years, I grew alongside the organisation, first as a member, later serving two terms as Vice President, and eventually as a Student Counsellor, mentoring younger members while helping to organise artistic activities and exchanges.<\/p>\n\n\n\n Art Focus offered far more than extracurricular art classes. Throughout each academic term, we developed thematic projects that culminated in curated exhibitions. From conceptual development and artwork creation to exhibition planning and installation, we experienced the complete process of presenting contemporary art to the public. Alongside these exhibitions, the programme included artist talks, workshops, museum visits, gallery visits, and studio visits with established artists, providing invaluable exposure to different artistic practices and ways of thinking.<\/p>\n\n\n\n It was within this creative community that I formed lasting friendships and artistic dialogues with fellow young artists, including Patrick Yiu (Yiu Pak Tun), who is now a visual artist and art educator based in London. Together, we exchanged ideas, experimented with different forms of artistic expression, and encouraged one another to explore beyond conventional boundaries.<\/p>\n\n\n\n The collective was guided by the conceptual artist Kwok Mang-ho (Frog King), whose emphasis on interdisciplinary practice, performance, and creative freedom left a profound impression on my understanding of contemporary art. His openness to experimentation encouraged me to see art not as a fixed discipline, but as an evolving process that could embrace materials, actions, technology, and everyday life.<\/p>\n\n\n\n Looking back, Art Focus was far more than an art group\u2014it was my first experience of an artistic community. It taught me that contemporary art extends beyond the creation of individual works. It encompasses research, dialogue, curation, collaboration, and public engagement. Those ten years shaped not only my artistic practice, but also my understanding of how art can bring people together and foster meaningful cultural exchange.<\/p>\n\n\n\n \u2191 Back to top<\/a><\/p>\n\n\n\n Rather than pursuing a conventional fine arts education, I chose to study technology through the lens of research. I completed a Master of Philosophy at the Hong Kong University of Science and Technology, where my research focused on digital imaging, interactive systems, and human-computer interaction. For me, technology was never an end in itself, but a creative medium through which ideas could be explored, tested, and transformed.<\/p>\n\n\n\n My research resulted in the publication of eight academic papers, including work on interactive systems and digital approaches to Asian calligraphy. More importantly, it taught me that the methodology to research on innovation. Alongside my research, I developed creative technology projects, digital products, and mobile applications, receiving innovation awards from Microsoft, Samsung, and Intel. These experiences reinforced my belief that creativity flourishes where disciplines intersect.<\/p>\n\n\n\n Although my medium has since shifted back from digital technologies to physical materials, this way of thinking continues to shape my artistic practice. I approach art as an evolving process of experimentation, where materials, space, audience, and environment interact to create new possibilities.<\/p>\n\n\n\n \u2191 Back to top<\/a><\/p>\n\n\n\n Moving to France marked another turning point in my artistic career. During fifteen years of living and working in Paris, I immersed myself in one of the world’s most vibrant artistic communities. Paris offered something beyond formal education: a living artistic ecosystem. I joined the Atelier des Beaux-Arts de la Ville de Paris, where I undertook intensive studio practice under artist Olivier Di Pizio, professor at the \u00c9cole des Beaux-Arts de Paris and the president of the artists’ association Nouvelle R\u00e9alit\u00e9. Beyond the studio, museums, galleries, artist-run spaces, exhibition openings, studio visits, public discussions, and countless conversations became part of my daily education.<\/p>\n\n\n\n Some of my most valuable lessons did not occur in classrooms. They happened while exchanging ideas with fellow artists over drinks after exhibitions, visiting artists’ studios, discussing works in progress, or simply observing how experienced artists sustained their practice over many years. Through friends and the artistic community in Paris, I also had the opportunity to visit the studios of several well-established artists and engage in in-depth conversations about their work, creative process, and artistic careers. These experiences gave me an invaluable perspective on the realities of building a lifelong artistic practice. I came to understand that artistic development is not defined by a diploma, but by sustained curiosity, discipline, dialogue, and a lifelong willingness to learn.<\/p>\n\n\n\n Living in Paris also introduced me to an international community of artists from diverse cultural backgrounds. Among those with whom I shared regular artistic exchanges were urban painter Fansack, ink artist Hong Wai, and many other emerging and established artists working across painting, installation, performance, and new media. These friendships and conversations broadened my understanding of contemporary art and reinforced my belief that meaningful artistic innovation often emerges at the intersection of different disciplines, cultures, and lived experiences.<\/p>\n\n\n\n Over more than a decade, Paris became far more than the place where I lived\u2014it became the place where I learned how artists live, think, question, and grow. The city transformed my understanding of what it means to build an artistic practice, not only through making work, but through continuous dialogue with people, places, and ideas.<\/p>\n\n\n\n \u2191 Back to top<\/a><\/p>\n\n\n\n Over the years, Japan gradually became an increasingly important part of my life. Through my family, I began spending extended periods in Hokkaido, experiencing a rhythm of life very different from that of Hong Kong or Paris. The vast landscapes, changing seasons, heavy snowfall, and quiet rural environment offered a new perspective on time, space, and nature.<\/p>\n\n\n\n Unlike the dense urban environments in which I had previously lived, Hokkaido revealed a landscape where nature is not merely a backdrop but a living presence. The movement of clouds, the changing light across open fields, frozen rivers, drifting snow, and the rhythm of the seasons encouraged a slower way of observing. Rather than searching for dramatic moments, I became increasingly interested in subtle transformations\u2014how materials change over time, how light alters perception, and how impermanence can become part of an artwork itself.<\/p>\n\n\n\n Living between France and Japan also deepened my appreciation of Japanese aesthetics and philosophy. Ideas such as simplicity, restraint, balance, and the acceptance of impermanence resonated naturally with my own artistic exploration. Rather than representing nature literally, I became interested in creating works that evoke natural phenomena and invite quiet contemplation.<\/p>\n\n\n\n This shift also transformed my relationship with materials. I began moving away from purely conceptual or digital thinking toward a more tactile and physical practice. Experimentation with unconventional materials became a way of responding directly to the landscape around me. Instead of controlling every outcome, I increasingly welcomed unpredictability, allowing materials to develop their own forms and behaviours.<\/p>\n\n\n\n Japan also reshaped my understanding of the role of art in society. Through visits to museums, rural cultural initiatives, and artist residency programmes, I witnessed how contemporary art could become part of everyday life, revitalising communities while remaining deeply connected to local identity and landscape. These experiences expanded my understanding of what artistic practice could achieve beyond the studio.<\/p>\n\n\n\n Today, I continue to live and work between France, Hong Kong, and Japan. This movement between cultures has become an essential part of my practice. Rather than seeing these places as separate worlds, I see them as complementary perspectives that continually reshape the way I observe, create, and imagine the future.<\/p>\n\n\n\n \u2191 Back to top<\/a><\/p>\n\n\n\n Although technology allowed me to create interactive experiences, I gradually felt drawn back to the tactile qualities of physical materials. I wanted to create works that could not be reduced to a screen or an interface, but existed through presence, texture, light and space. This search eventually led me to expanding polyurethane foam.<\/p>\n\n\n\n What first appeared as an industrial construction material revealed remarkable artistic possibilities. As the foam expands, hardens, collapses, and settles, it generates forms that cannot be entirely predicted or controlled. Instead of resisting this unpredictability, I began collaborating with it. The material became a partner rather than merely a medium.<\/p>\n\n\n\n Today, my paintings and sculptures explore this dialogue between intention and emergence. Clouds, snow, geological formations, flowing water, and organic structures appear not through direct representation, but through the behaviour of the material itself. I am interested in the moment where chemistry becomes landscape, where process becomes memory, and where matter seems almost alive.<\/p>\n\n\n\n My practice continues to evolve through the convergence of multiple worlds: Eastern and Western cultures, scientific research and artistic intuition, digital thinking and physical materials, abstraction and landscape. I do not see these as opposites, but as complementary ways of understanding reality.<\/p>\n\n\n\n
\n\n\n\nHong Kong: From Early Beginnings In to the First Exhibition<\/strong><\/h3>\n\n\n\n
\n\n\n\nDiscovering Contemporary Art<\/strong><\/h3>\n\n\n\n
\n\n\n\nResearch, Art and Technology<\/strong><\/h3>\n\n\n\n
\n\n\n\nFrance: An Artistic Transformation<\/strong><\/h3>\n\n\n\n
\n\n\n\nJapan: Nature and a New Perspective<\/strong><\/h3>\n\n\n\n
\n\n\n\nDeveloping My Artistic Language<\/strong><\/h3>\n\n\n\n