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I am a Hong Kong–based artist working across drawing, painting, digital media, and animation. Through my interdisciplinary practice, I explore the complexities of contemporary life and culture, interrogating notions of identity, territory, and the public sphere. I incorporate elements of art history, architecture, text, and design into chaotic yet carefully constructed compositions. This visual metanarrative, underpinned by postmodern theory, offers an open-ended reading experience.

 

I use digital printing, painting, drawing, and animation to translate the energy of global cities like Hong Kong. Layers of photographic and graphic elements evoke the density of urban signage and its electric visual culture. My practice is experimental and research-based, drawing on the legacies of Pop art, collage, and new media.

 

Recurring themes in my work include the relationship between the virtual and the real, the local and the global. I frequently play with fragmentation, opacity, and revelation within the picture plane. My glitch animations and overlays destabilize notions of origins and authenticity. Elsewhere I use satire and pastiche to problematize canonical narratives and interrogate the paradoxes of contemporary life.

 

I approach my creative process as an act of transcreation: transforming and remixing source materials into something new through juxtaposition and intertextuality. Multiple viewpoints and diverse sign systems intersect in my work to form open-ended networks of meaning. I take on the role of a translator, remixing found materials and theoretical discourses from different times and places to generate critical reflections on society, technology, and the role of art itself. My aim is to produce work that is intellectually engaging as well as visually striking.

 

My glitch animations like The Wrestler destabilize notions of origins and authenticity by taking iconic artworks and introducing digital distortion and fragmentation. The solid forms of the original break down into flickering, unstable GIF animations that disrupt the artwork's aura.

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In my creative process, I approach translation as an act of transcreation, transforming and remixing source materials into something new. For example, in my Hong Kong Atlas series, I bring together diverse photographic, graphic, and textual elements drawn from my experience of the city. Chinese characters, logos, and urban landscapes intersect and overlap to form dense, saturated compositions that reflect Hong Kong's hybrid identity.

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I also work intertextually, juxtaposing art-historical motifs with contemporary philosophical and critical discourses. Works like Hauntology playfully remix different figures and theories, using the collision of signs and styles to generate open-ended meaning. Diverse modes of communication, from language to images to diagrams, interact across my multimedia pieces.

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Ultimately, I am interested in generating intercultural and transtemporal dialogues, bringing disparate signs, materials, and ideas together through intuitive processes of composition, editing, and layering. 

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