In 1999, I left behind my career as an architect to embark on a journey into art and photography. The decision was difficult, as I had studied architecture and worked in Hong Kong as a project manager for an international firm. Yet, I felt a strong inner need to create—an urge to work with my hands and bring beauty into physical form. Despite beauty being a concept that many contemporary artists avoid, it remains at the core of my work. To the artists who inspire me, I owe my deepest gratitude for fuelling my own creative journey.
Elemental, No, 2, 2026
Acrylic and pastel pencil on canvas
107 x 154 cm
My world was closing in around me, weighted down by constant negativity. I no longer wanted to explore narrative in my art, nor did I want to express my feelings through it. I had grown tired of the troubles of the world being funnelled into my psyche through news and social media. And so I chose silence in the making of this work, stepping toward a less political and more universal language of imagery: geometry. It is not an uncommon choice for artists throughout history, and one that has been used to great effect in service of theory and concept. For me, it was simply about reclaiming a small measure of sanity and finding pleasure again in the act of putting paint onto canvas.
Elemental, No, 1, 2026
Acrylic and pastel pencil on canvas
140 x 140 cm
Elysium, No. 1 began as an abstract, impressionistic landscape of floating forms that feel like clouds, or perhaps flowers, against a blue canvas. I was drawn to sombre tones, something ominous and mysterious that connects back to my Visitation series and Vibratory Field. Living in Saskatchewan has slowed me down in ways I didn't expect, and I think this piece reflects that — more contemplative, more grounded. And then there was the aurora borealis, which I experienced for the first time recently. I'm not sure I can fully explain what it did to me, but I can see its stillness and wonder somewhere inside this painting.
One III, 2000
Graphite on paper
76 x 57 cm
This drawing was made during one of the most traumatic periods of my life, shortly after the death of my father, when I was trying to make sense of death and what might lie beyond it. Much of my work at the time delved into energy concentrations, fields, and symbols. Geometric shapes became my way into the unknown. I was also drawn to the nature of consciousness and how it might translate visually, and graphite felt like the right medium for that kind of quiet, searching exploration.
Konstant Khaos, 2019
Acrylic on canvas
138 x 91cm
November 22, 2019. There are anywhere from 100 – 200 protestors inside PolyU campus, unable to leave because Hong Kong police have barricaded the entire area surrounding the facility. They are running out of food. No one can enter or leave the grounds.
‘Konstant Khaos’ is a painting filled with the beauty of Hong Kong within a landscape of darkness and horror. Gestures and swirls of energy seem to convey there is still strong energy within its people, and waters continue to flow. When will the city come to a resolution or reconciliation of matters when there is malicious minds are at play?