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Flowers in the wave
Flowers in the wave
This series originated in a quiet room (靜室) atop Hong Kong’s Tao Fong Shan. Through contemplative practice and artistic creation, a new "broken-line" drawing technique was conceived, inspired by traditional porcelain. Set against a void-like backdrop, contemporary anxiety manifests as visual tearing and reconstruction. By injecting an alternative visual vocabulary of Abstract Expressionism into Canton export porcelain—which is typically dense, intricate, narrative-driven, and highly structured—the work becomes, in essence, a quiet explosion of culture and order.
The tradition of Canton porcelain is defined by the phrase "織金彩筆，滿地開光" (weaving gold and painting with colorful brushes, filling the entire surface with patterned medallions), representing a Cantonese imagination of "prosperity, opulence, and impeccable order." However, when the non-figurative, turbulent action-lines of Abstract Expressionism forcefully intervene, they break through the traditional meticulous brushwork of the Lingnan style. Contemporary abstract strokes—filled with randomness, anxiety, and boundary-crossing—intertwine with tradition on the very same glazed surface. This visual impact serves as both a deconstruction of an ancient order and a radical reshaping of contemporary identity.
Misunderstanding
Misunderstanding
2022 Porcelain 7" W x 7" H X 1/2" D
The character painted on these porcelain plates look like Chinese writing. They are not. They were generated by an AI: symbols that have the shape and feel of Chinese characters but carry no actual meaning. I use Canton porcelain, a material that has carried Chinese visual identity across trade routes for centuries, and fills it with characters that appear familiar but say nothing.
At a time when algorithms are actively shaping how cultures are seen and represented, my work asks who gets to define what Chinese looks like and, and what gets invented or lost in that translation.
Exhibition:
2023/ Misunderstandings of Far East/ The Culturist @ Fine Art Asia
2026/ Da Da Daam/ Chinese Culture Center of San Francisco @ SF Art Fair
Freedom
Freedom
2024 Acrylic on Canvas 122cm x 152cm
Amidst external noise, our thoughts become trapped. Yet, within a quiet, vacant inner space where distractions are filtered out, the mind regains its free flow. Only when the spirit unloads its heavy burdens and settles into the absolute comfort of the present, do we come to know 「虛室生白」—the profound truth that a mind emptied of chaos naturally brings forth inner illumination.”
1947
1947
Using "1947" as the title aims to create confusion, as most people cannot associate with that year. Why would the Tao Fong Shan porcelain workshop during the British colonial period depict the gospel stories through Chinese imagery? This sense of identity lingers between memory and forgetfulness.
*Now showing at Art Shop, Tao Fong Shan Christian Centre, Hong Kong
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