I mainly use recycled material like recycled umbrella fabric and also recycled wood, crate wood, like
a packing wood and recycled furniture.
Most of my early work is about when I moved in different cities, I would work on the feelings I got or
the issues in that city. Because I am the freshcomer. And then it is very easy to raise out some
curiosities to find out the city. It is based on that. But in these days that I am back to Hong Kong in
the last five, six years, I have to settle down.
It is also interesting, when I worked as a curator before, I curated for other artists and they had to
connect with a NGO. One of the NGOs was very interesting because they work with unemployed
women. All those people were garment workers before. Also it connects to my childhood. That’s
why I feel very close and can talk with them easily. Then started my umbrella fabric work.
Long long time ago, yes, I did work in garment industry since I was twelve – that was illegal work,
long time ago. And then I worked with them and I explained them I hope I can commission them to
do something. So, in the process I felt like this was something that is more important, this
connection is more important than the art is itself. And then I started from there.
That was the first time I worked with these ladies and then I kept … the project continuously because
So, I think the product itself is just a by-product I would say. How to settle myself in the society is the
key issue for me because I don’t want to lose my value of living in Hong Kong. This is somehow the
main struggle of being an artist. Especially when you are not an artist in the commercial world. I
think all my things doing is just answering that question. And the rest of them are just by-products