When did you start to get in touch with art?
I liked painting ever since I was young, but I didn’t study anything art-related at school. I didn’t even choose art class in secondary school until I studied design. After graduation, my work was about design which was quite different from art or creations. I was working and painting on the side and didn’t really think about being an artist – it was just my interest.
What are your works about?
Houses are the most frequent theme of my work. At the beginning it was just like designing website-like houses. It was similar to putting works into different houses for appreciation. Then I started painting, which made me start to feel the pressure of living in Hong Kong: high-rises everywhere but I really look forward to living in a house quietly. I have been living in old buildings and I don’t agree with tearing down old constructions for urban development. Old buildings have their own charm with history and stories. I like outlying islands and especially old buildings that convey historical feelings. You can see my imagination with ancient elements such as old industrial buildings in my works.
Apart from houses, what other themes are there in your works?
Following the changes in the society, I realised there are more ridiculous things that impress me and I feel that I have to draw them out. In my works, I will reflect my feeling and imagination related to those social affairs. But if I have a choice, I don’t want to put them in – a calm scene without agony makes me happier.
Why are there no people in your works?
I think people are mostly destructive, plus I like environments with no human beings. I like serenity.
What are the sticks?
Bamboo scaffolding. It always appears in the city but is also kind of related to the nature. I hope to relate human beings and the natural environment with the simplest link.
What is your creative process?
The theme is surrounding places in Hong Kong or places I have been to. With my camera, I will photograph some scenes with deeper impressions as a record. When I am back to my studio, other than sketching, I will also think about its history and stories with my imagination and paint them on the canvas that forms my feelings. For example, a painting of fruit stalls in Yau Ma Tei would be starting with existing short buildings, and then I would blur the background with a lot of trees. The reason is for the history of the location: it would have been a forest if humans were not living there. I think scenes to paint would all be about its past.
“People destroy to achieve their goals.”