For example if the subject matter is a cadaver. You get the blood, you get the internal organs, but
having it presented in a black-and-white drawing, people can spend time looking at it without being
intimidated because it is a scientific drawing. You can look at it for as long as you want. I will give
you another ex-ample (laughs). I put three or four genitalia together, one on top of the other. One of
them is a male, one of them a female and the other, I think it’s a she-male.
So, basically the audience would be looking at an orgy double penetration, looking at, you know,
some perverse sex act. But then I have people standing in front of the drawing for like five or ten
minutes, just staring at it. Because it gives them the license to. Because this is science.
I think coming from Hong Kong with an Asian descend, people would expect you to do something
… not exactly ink painting but a medium… use a medium, or choose a subject matter that relate to
my culture, or the locality of being in Hong Kong. And I think it’s beneficial. I hate to use the word,
but I think it’s somehow a vantage. It’s … to mark it, to frame the work of an artist to an international
I have people saying that ‒ not a criticism, but an observation seen ‒ my work is very eurocentric or
Western. I am not sure if it’s a good thing or not that I want to stay true to myself, I don’t want to
switch material or switch subject matter just because I want to cater to an international audience.
The comment that I did about being Western, it would only occur because I do drawing. I don’t see
the concept of being Western or Eastern when you do sound work, when you do video work or new
media work. This kind of cultural context is not relevant to this kind of medium I think. And I find it’s
quite inter-esting. It’s because I do drawing and people have this kind of cultural references.