ABOUT
“Distant Rain” 2012
My work as a Hong Kong Artist is dominated by the relationship between Land and the Artist.
I see artists as poets working with responses and reflections of the visible world and the relationship of ideas which emanate from this connection. Every artist conveys their experience with the paths they take and it is this exchange between the paths we take, and the signs we leave and the order in which we put these ideas into objects that I configure in my work. This is a sculptural manifestation by its nature. The medium of drawing and painting, as well as photographic collages are my tools. My influences are the senses of order that I perceive within the To and Fro of subliminal and conscious arrangement and the meanings which are so apparent in this part of the social world.
On another level, is the way land reflects a curious juxtaposition between topography, necessity and style, which is the intervention of signs in our landscapes. So this creates an emotional tension between reading, being and making.
Initially this focus took me into areas of exploration which delved into the idea of my own dimensions in relation to the topography of the Place. However, I went on to explore the complex interrelationship between the land and human experience to include the dimension of memory and thinking in drawing.
My drawings are a response to my drawing walks, reflecting my thought processes about the where, what and how. This knowledge process leads me to work with paint as an expression of my initial questions and responses, my use of the brush both covers and reveals, emphasizing the tension between drawing and painting, the losing and finding in conjunction with memory.
Most of my works are shaped with the intention that the viewer can change the relationship between the canvases and their position in relation to each other on the wall.
In the last decade, my explorations of the relationship between Land and Artist have led me into three areas of Guangdong that reflect the essential element of that place; Stone: Ying Sai Fung Lum, Wood: Zhu Hai; Water: Cheung Chau.
In my research I have adopted the use of collage that expresses the relative nature of image in photographs. These collages explore notions of the sense of order within the social setting and intervention in landscape.
我作为一个香港艺术家我的画作是由土地和艺术家个人之间的关系为主导。
我看艺术家如诗人般把视野范围和个人的感受联系结合起来。每一个艺术家籍著作品道出个人经历，这转化就是我们选择的路径、足迹、顺序地将这意念投放入作品内，这是以本质来塑造表达。我的作品采用的媒介工具有写生、绘画及摄影拼贴。而影响着我的就是那明显地存在这社会中；来来回回的；有意无意的排序感。
在另一个层面上，土地反影着地貌、建设和风格的奇异并存，由此，造成在情感上如何理解、演绎和制作。
最初，这重点带我进入探索层面去翻寻我自己的想法和地貌的关系。然而，我继而用绘画来包括记忆和思想来探索土地和人类间的复杂相互关系。
我的画是在我户外写生的成果，反映我的思维过程：某处、有着什么和如何表达。这认知的过程容让我以油彩去表现我最初的疑问和回应，我用画笔来涵盖、揭示、强调绘与画，记忆中的忘与怀之间的关系。
我的大部分作品结构是意图让观者自由改动画件在墙上的摆放位置。
在过去的十年中，我对土地与画家之间的关系的探索，引领我深入广东的三个有着基本特质的地方 － 石（清远的英西峰林）；林木（珠海）；水（香港的长洲岛）。
在我的研究中，我采用拼贴来表达图像在照片中的对比性，籍此探索社会环境中的排序感与地貌介入的概念。
