E LY S I A N IBDP art exhibition
canadian international school of hong kong cla ss of 2017
CL AS S OF 2 01 7
W E L C O M E
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Elysian, a blissful state enjoyed by mere mortals, was first referenced as a place b y S h a k e s p e a r e i n H e n r y V. Elysian, as an adjective, it is something of such beauty to suggest inspired by the gods. Many artists find that when they are deeply focused on the creative process they lose all track of time and feel connected with their work in an almost m e d i t a t i v e w a y, c r e a t i n g w o r k o f b e a u t y i n a l l o f i t ’s i n t e r p r e t a t i o n s . I t i s t h i s f o c u s o u r graduates aspire to as they endeavor to create work that challenges traditional aesthetics full of meaning, while simultaneously provoking thought. It has been a privilege to teach this amazing group of 18 artists and witness them support and challenge each other as they create and strive to find their voice through visual communication. Innovation is often the result of the creative process rigorously applied and it is apparent that the artists’ work on display is certainly innovative. As you browse the show take note of how the following artists creatively approach their work. Kurt meticulously constructs interactive 3-D works to represent t h e m e s o f c h a n c e a n d i d e n t i t y, w h i l e A m y u s e s baby ducks and red thread as a metaphor for local issues related to education, whereas Alan creates artwork from tennis rackets. Notice how Andrew constructs sardine can artwork as a commentary on local housing problems, while Bryan slices up old canvas to create secure places for his sculpted figures a n d H e n r y ’s d i g i t a l c o m p o s i t i o n s v e n t u r e from the urban to the surreal. Observe J e f f r e y ’s a b s e n c e o f t h e p o l a r b e a r i n s t r i n g as a strong message on global warming, while
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Joyce employs intricately layered handwriting t o c r e a t e a n i s o l a t e d i n t e r i o r. Long Shan utilizes traditional charcoal drawings within his digital work with bold graphics in red. Va n e s s a i m p r i n t s f a i r y t a l e p h r a s e s o n t o a s c u l p t e d f e m a l e t o r s o , a n d O d e t t e ’s u s e o f m i n i a t u r e t e x t e n t i c e s u s t o l o o k c l o s e l y, w h i l e S e l e s t e ’s g r i d o f t h o u s a n d s o f C h i n e s e characters reveals a family portrait. Rachel W. c a r v e s a m e t h y s t l i k e c r y s t a l l i n e s t r u c t u r e s out of wax for her otherworldly domain and Y u t o n g ’s m e c h a n i z a t i o n o f t h e f a m i l y p o r t r a i t is a commentary on shared family experiences. Tiffany mosaics multi-denominational coins to a d d r e s s w e a l t h d i s p a r i t y, R a c h e l C e x p l o r e s multiple media simultaneous in monochrome w o r k s , w h i l e S o p h i a ’s A r a b i c a n d E n g l i s h script of an Arabic poem investigates cultural g e n d e r e x p e r i e n c e s . N a t a l i e ’s p a i n s t a k i n g approach to detail adds depth and catharsis to diary entries as enlarged papercuts. These artists stand before you as great examples of artistic innovation and concerted effort. As international students, few will stay in Hong Kong for their post secondary education h o w e v e r, t h e b o n d c r e a t e d b y t h i s I B V i s u a l Arts journey will stay with them. I hope they can look back at this time fondly and know that it was a time when they rose to the challenge of being creative and critical problem solvers, sometimes under pressure and though it was n e v e r e a s y, i t w a s i n d e e d w o r t h i t . It has been a privilege to be part of their j o u r n e y.
Catharine Ho Visual Arts MYP/ DP teacher Visual Arts Department Head
Y U TO NG C HE N G
For Mom, 2016, Acrylic mosaic mural
To D e d u c e I n f e r e n c e s w i t h E n t i r e C e r t a i n t y, 2 0 1 5 , A c r y l i c p a i n t
Exploiters, 2016, Air dry clay
T i c k To c k , 2 0 1 6 , P a s t e l , m e t a l l i c p e n s & p e n c i l s , c r a y o n
Detail
Y U T O N G
C H E N G
Unlike many others, my biggest fears as a child wasn’t so much the grotesque insects, snakes, or monsters under the bed, it was time and space, and the vast and e x p a n d i n g e m p t i n e s s b o t h a b s t r a c t i o n s e n t a i l e d . To d a y , those fears have translated into vehement fascination. My work predominantly explores the matters of memory and time. Often, these themes have tread easily into n o t i o n s o f i d e n t i t y, i l l u s i o n , h i s t o r y, a n d m o r t a l i t y and I don’t restrict them from doing so. My work is a reflection of my thoughts and I allow for these thoughts to bleed into whatever medium best communicates my ideas. As a growing artist still seeking to explore the boundless ways I can transform the conceptual into tangible existence. I’ve learnt greatly from the artistically revolting pieces of artistic genius Tim Hawkinson.
Forgotten, 2016, Pastel
Say Cheese!, 2016, Acrylic and household materials
T h e M e l d i n g o f C h a r a c t e r, 2 0 1 6 , B a l l p o i n t p e n o n p a p e r
The Fear and Beauty of the Unknown, 2016,
KU RT CH A N
Graphite pencil
T h e P e r p e t u a l M o l d i n g o f I n d i v i d u a l i t y, 2 0 1 6 , Mixed media sculpture
Confusion, 2017, Mixed media sculpture
K U R T
C H A N
Many of my artworks explore the concept and dynamics of relationships, such as space and emotion, culture, s o c i e t y a n d i d e n t i t y. T h r o u g h m y a r t w o r k s I h o p e t o convey the complexity of these relationships, while maintaining a level of sophistication and subtlety that requires the engagement of the viewer to uncover d e e p e r p e r s o n a l m e a n i n g s . P r e v i o u s l y, I w o u l d l i m i t myself to media that allow for control and restraint, s u c h a s g r a p h i t e a n d p e n . H o w e v e r, m y c o n f i d e n c e i n v a r y i n g t e c h n i q u e s h a s g r o w n t r e m e n d o u s l y, p a r t i c u l a r l y in sculptural work. My understanding of form and space has strengthened, specifically in my piece The Space of the Awakening, where I explored methods of manipulating negative space to evoke different moods or emotions within an individual. I was inspired by s c u l p t u r a l a r t i s t s s u c h a s R i c h a r d S e r r a , To n y S m i t h a n d M a r t i n P u r y e a r, w h i c h a l l u s e d t h e s c u l p t u r a l m e d i u m t o explore the manipulation of space.
S p a c e o f t h e A w a k e n i n g , 2 0 1 6, G r e y c a r d b o a r d s c u l p t u r e
Detail, views
SO F IA BU RD E T T
My Foreign Home, 2016, Series of Photographs
Desertification, 2016, Mixed media drawing
Tw i n 1 o r Tw i n 2 ? , 2 0 1 7 , Photography
S O F I A
B U R D E T T
Over time, I developed a fascination with the way c u l t u r e s h a p e s o n e ’s i d e n t i t y . D i f f e r e n t c u l t u r e s h a v e different impacts on people, creating beauty in diversity as well as unfortunate disparities. Art provides me with a platform to present people with world issues we may be aware of, yet not necessarily aware of the lack of action being taken to solve them. I hope to challenge the v i e w e r ’s thoughts on somewhat controversial topics. Someone from one culture may not have ever considered the struggle of someone who is bi-racial o r t h e r e m a i n i n g d i s p a r i t i e s d u e t o e t h n i c i t y, r e l i g i o n and race. Contemporary artists, such as Anthony G o r m l e y, i n s p i r e m e w i t h t h e i r f o c u s o n t h e h u m a n b o d y and surrounding environment, questioning our very existence. We forget why so much tension is created as a result of appearances and beliefs.
Race to the top, 2016, Mixed media sculpture
Disparities, 2016, Photograph digital composition
AND R E W CH OI
25 Days on the Bus, 2016, Pen and ink Sardine Flats, 2016, Mixed media sculpture and detail Building Blocks, 2017, Mixed media sculpture
Public elf, 2016, Colour pencil
A N D R E W
C H O I
Making art allows me to be that strong ‘voice’ investigating the interactions between groups and the social context; conflicts of individuals within the mind and with others, and to share hope for the future. Daily news reports while bold and striking, are often sad and incites perspectives. I focus on details, observing the environment and events, where passion and critical discourse develops towards the offences found in a metropolis. Through creating art, I’ve acquired an interest in a range of media. Through the process I’ve become more open to the uncertainties and healthy risks that bring about new and powerful results. I strive to, in the words of Neil Gaiman, “make good art.” Inspired by the straight lines, grids, and repetition found in design processes and cityscapes, I aim to engage with societal issues on a local level, building critical awareness through creative and visually compelling compositions.
Faceless, 2016, Charcoal
Cross Border Conflict, 2016, Mixed media sculpture
Let Light Shine Out of Darkness, 2017, Mixed media sculpture
Luck and Lifts, 2014, Charcoal and Pastel
NATA L IE F ON G
A Sunday on the Internet, 2015, Acrylic paint
Navigating Memories, 2016, Ink pen and watercolour
N A T A L I E
F O N G
Art has always been a method of escape, a way to express my emotions, a way to create something permanent and tangible that represents my journey and who I’ve grown to be. My art pieces reflect my experiences as a t e e n a g e r, t h e v u l n e r a b i l i t y t h a t I e x p e r i e n c e d w i t h i n s e c u r i t i e s a n d l o v e . H o w e v e r, I a l s o l i k e t o c e l e b r a t e the support and joyful moments. I am drawn to two elements: text and detailed line work. I’ve always had a fascination with writing, another way to express my feelings and to tell a story whilst visual detail and pattern are my obsessions. I find the simplicity of lines, making complex details, something very beautiful. These ideas of self-identity and growth are the main themes of both my art and my life.
Sisterhood, 2016, Watercolour and pen
E v e r y o n e H a s a S t o r y, 2017, Watercolour
OD ET TE L AU
L O O K C L O S E L Y, 2 0 1 5 , D i g i t a l a r t
Wings, 2016, Acrylic
Just Keep Swimming, 2016, White Cardstock and wood
O D E T T E
L A U
A r t t o m e i s s o m e w h a t a p a r a d o x — o n o n e h a n d i t ’s c a t h a r t i c , y e t o n t h e o t h e r , i t ’s a c h a l l e n g i n g j o u r n e y . My ideas seem to manifest themselves at seemingly random times, at seemingly random places; blossoming from the strangest of thoughts and the most unexpected feelings. Thus, I would not say that my art follows a n y s p e c i f i c t h e m e . R a t h e r, i t i s a c o l l e c t i o n o f m y contemplations and daydreams, resonating with my values, beliefs, and desires. And yet, this artistic journey of mine has only just begun. This process of understanding myself, of translating immaterial thought to tangible art will always remain an enchantment in my eyes.
One in a Million, 2016, Marker and chalk pastel
Divine Wonders of the Creative Mind, 2015, Digital art
BRYA N R OAC H
Boxed In, 2017, Mixed Media
Public Impressions, 2015, Acrylic Paint
Tr a p p e d ? , 2 0 1 6 , G r a p h i t e a n d c o l o u r e d p e n c i l s
B R Y A N
R O A C H
I ’ v e t r a v e l l e d a l o n g j o u r n e y t o b e c o m e w h o I a m t o d a y. I have been inspired and adopted a style similar to S h e p h a r d F a i r e y ’s , a n d h a v e b e e n f a s c i n a t e d w i t h B r i a n B i e d u l ’s c o n c e p t s o f f r a m e s a n d b a r r i e r s . I ’ v e b e e n able to break through my own barriers and express myself. Through this journey I’ve learned that the only one stopping me, was myself, whether it be in terms of school work or social life. I learned the importance a n d b e a u t y o f c o n n e c t i o n . H o w e v e r, I a l s o l e a r n e d t h a t I am not the only one, which is why I aim to illustrate to others that these barriers are nonexistent, under my theme of isolation.
Don’t think outside the box, for there is no box, 2017, Mixed media sculpture Mental Mask, 2016, Relief Painting and Acrylic paint
RACH EL WON G
An Alternate Dimension, 2017, Mixed media
In her kimono, 2016, Colour pencil
Something in my eyes, 2016, Acrylic on wood
四季如春, 2016, Digital
R A C H E L
W O N G
A phrase by Sylvia Plath that resonates strongly with me is “the worst enemy to creativity is self-doubt”. I know all too well the sudden slump, the lost drive, and worst of all - when the creative juices have simmered down to mere drops. There have been many a tough crossroad t o f a c e , t o c h a l l e n g e . . . a n d s o m e d a y, c o n q u e r. T h r o u g h t h i s j o u r n e y, I ’ v e g r o w n r e s i l i e n t . A r t h a s o f f e r e d solace in proving the powers of an imagination and the culmination of our emotions into pieces that shape us - capable of expressing what words alone may not. As a child, my stack of library books would always be disproportionately heavy with the fantasy genre. As an adolescent, this has become the basis of my art. There is something about how impossible existences can be fabricated, manifested in our minds, then retained in the heart. I hope to emulate that in my work.
Seventh Night, 2016, White ink on black
JOYC E M A
Destruction of Innocence, 2015, Photoshop
Resurrection, 2015, Color pencil on drawing paper
A Jampacked Schedule of Emptiness, 2015, Ink on watercolor paper
J O Y C E
M A
The variety of my works reflect my erratic attention span. This humorous trait of mine has allowed me to explore a spectrum of mediums and styles in order to develop my individual footprint in the world of art. I am largely inspired by current events and daily occurrences around me as I merge both the experiences of the human c o n d i t i o n w i t h s t a t i c o b j e c t s . G o n a z F a t h i ’s s i m p l i s t i c yet meticulous calligraphic work was an inspiration to my text piece, A Jampacked Schedule of Emptiness. The use of text written with ink pens layered in varying areas of concentration, creates the illusion of light and darkness. This evokes the sense of frustration and emptiness Hong Kong students feel due to their overpacked schedules.
Oh My Stars, 2017, Color pencil on drawing paper
It would be nothing without a woman or a girl, 2017, Color pencil on drawing paper
AM Y CH U N G
D u c k Tw i s t i n g , 2 0 1 6 , M i x e d m e d i a d r a w i n g
20,000 — Cross Border Students, 2016, Mixed media sculpture
25 Days, 2015, Mixed media drawing
Mind Invasion, 2016, Mixed media Sculpture
A M Y
C H U N G
I enjoy expressing myself through art. Despite the difficulties and hardships of the creative process, I still enjoy examining various social issues related to my culture. I explored my experiences as a local public school student up to four years ago. My focus is sharing e m o t i o n s a n d m e m o r i e s u n d e r H K ’s p u b l i c e d u c a t i o n system. I mainly communicated the pressure and expectations that local students normally endure. This is shown through my use of symbols — the malleable yellow duck and distinct red threads which represent, r e s p e c t i v e l y, t h e f o r c e d ‘ s p o o n - f e e d i n g ’ e d u c a t i o n ( 填 鴨式教育) and destiny as part of both Hong Kong and traditional Chinese cultures.
Details
Distorted, 2016, Mixed media blind contour drawing and thread
Center — 18%, 2017, Mixed media sculpture Ducknification, 2016, Marker drawing
TIF FA N Y CH ENG
Ideas, 2016, Graphite pencil on paper
Out of Bounds, 2016, Chalk pastel on paper
Atherosclerosis, 2016, Etching on paper
1%, 2016, Coins on wood
T I F F A N Y
C H E N G
My works are fragments of my inner thoughts — the c o n s t a n t r i v a l r y b e t w e e n d r e a m s a n d r e a l i t y, and pursuing your dreams or holding yourself back. This collection of work challenges the idea of breaking barriers: the personal obstacles and boundaries to which we have confined ourselves and yet, out of which we are too afraid to step. We tug and pull on these malleable films of protection, hoping to exceed our current states, while we reach new milestones. We break through our own skins and come out of our protective shells. I predominantly rely on the recurring motif of hands and the physical human body to represent oneself. Paradoxically symbolic, our hands are capable of pushing forwards to break boundaries, yet they simultaneously hold us back and are a reason these boundaries exist.
Fingerprint, 2017, Acrylic on paper
Tu g o f W a r, 2 0 1 6 , G r a p h i t e a n d c h a l k p a s t e l o n p a p e r
JE F F ERE Y L U NG
Distress, 2016, Charcoal
Is It Getting War mer? 2017, Relief Mixed media
Animal Abuse, 2015, Acrylic Paint
J E F F E R E Y
L U N G
The journey I took to become the artist I am today has been exhilarating. Throughout the years, I have taken inspiration from landscape artists including Nerine Ta s s i e a n d a d o p t e d m y o w n a r t i s t i c s t y l e t h r o u g h d i g i t a l artwork. My main works of art involve the environment a n d a n i m a l s , m o r e s p e c i f i c a l l y, t h e d e t e r i o r a t i o n o f o u r surroundings and animal welfare. I believe if everyone contributed for the greater good of our world in the years to come, we could make our planet a much more habitable place not only for us, but for all other living creatures.
Chinese Zodiac Animals, 2016, Digital Graphic Design Contamination, 2016, Acrylic Paint
RACH EL CH ENG No Dog, No Bird, 2016, Charcoal
R A C H E L
C H E N G
I’ve been told that one absorbs the culture of the place(s) they have grown, however I’d say this isn’t the c a s e w i t h t h i s c i t y. H o n g K o n g i s s p e c i a l t o m e i n t h e w a y that within it exists rich, diverse, and interconnected cultures. With different cultures comes myriads of perspectives, values, expectations and interpretations of the world. This served as an intrinsic component of my artwork as it essentially inspired my exploration into perception. During my exploration, I’ve developed a taste for monochromatic aesthetics, and I’ve learned to love the mediums of charcoal and pen, due to t h e i r v e r s a t i l i t y . P r o m p t e d b y R e n é M a g r i t t e ’s w o r k , I a t t e m p t t o c h a l l e n g e o n e ’s p e r c e p t i o n o n a l i t e r a l a n d conceptual level.
Life Drawing Study (I), 2016, Charcoal
Construction, 2017, Mixed Media
Life Drawing Study (II), 2016, Charcoal
H ENR Y H A R GRE AVES
Living Room, 2016, Computer Graphics
Lighthouse, 2017, Computer Graphics
H E N R Y
H A R G R E A V E S
I always found art to be an exploration in understanding the environment around us, and I have been drawn towards expressing it through a virtual world. Computers have always interested me as thousands of complicated lines of code can be processed in seconds to produce images. My art, created through computer graphics and digital media, are an expression of my environmental and family values. I use different styles of art through digital media to develop a greater and deeper understanding of the way these programs work. Creating my works with a constantly changing and developing media is both a challenge and a privilege, as I am able to witness the improving technology that surrounds digital art.
F a c t o r y , 2 0 1 5 , Te x t t y p e d i g i t a l m e d i a
Floating Island, 2016, Computer Graphics
VA N E S S A L AI A Smoke Raised With the Fume of Sighs, 2016, Etching
Ta l e a s O l d a s T i m e , 2 0 1 4 , M i x e d m e d i a s c u l p t u r e
V A N E S S A
L A I
So this, in a sense is me in a nutshell, all laid out in careless scribbles and indistinct lines full of memories that I miss, along with the ones I don’t. Art is always g o i n g t o b e a n o n g o i n g p r o c e s s , a n d t h e r e ’s n o d o u b t t h a t i t ’s e v e n a b i t t e d i o u s a t t i m e s . H o w e v e r , h a v i n g gone through this, it has given me the opportunity to take away so much from my inspirations, admired artists and mentors. Many of those of importance to me are featured in these pieces, whether their presence is prominent or sometimes rather discreet. And more i m p o r t a n t l y, i t h a s h e l p e d m e d e v e l o p t h e a b i l i t y t o p u l l through and let go of my failures. From one brainstorm of ideas to the next, I’ve also come to recognise that the ideas that remain are the ones that helped me not l o s e s i g h t o f w h a t ’s m o s t i m p o r t a n t t o m e .
The Thinkers, 2016, Marker
Soulmates, 2016, Mixed Media
Aphrodite, 2017, Charcoal and Watercolour
P a p e r C i t y, 2 0 1 6 , P a p e r c o n s t r u c t i o n & p a p e r c u t
AL A N LEE
21st Century Son of Man, 2015, Printmaking & acrylic on foam board
Mother Nature, 2017, Acrylic on paper
A L A N
L E E
My artwork surrounds the theme of the health of the environment and the individual. The health of an individual is a critical part of my life since being healthy is the root of living. Furthermore, the environment is mostly shaped by human beings which affects all of us. Therefore, significant environmental issues such as deforestation and air pollution are topics in my work. My pastiche artwork, inspired by RenĂŠ Magritte, The 21st Century Son of Man, depicts the results of an unhealthy diet which leads to obesity and the changing health of contemporary mankind. This links to my overall theme of the health of the individual. As my art knowledge expanded, I found joy in creating sculptures. The process of creating sculptures allows me to work with my creativity and push boundaries not available to me in two dimensional work.
Addiction, 2016, Embroidery thread on tennis rackets
Negative Externalities, 2016, Acrylic on canvas
SEL E S T E WO O
Hello, 2017, Pen and ink.
Sellout, 2017, Watercolour
D e t t y, 2 0 1 7 , A c r y l i c p a i n t
S E L E S T E
W O O
I began the IB DP program full of excitement and the urge to show off my skills, but when faced with challenges of coming up with good ideas, month after month, I found myself suffering from a creative block. I realised the creation of quality art is hard work. H o w e v e r, a p p r o a c h i n g a c h a l l e n g e f r o m u p s i d e - i n s i d e out-ways and throwing art supplies (sometimes literally) i n f a c t h e l p e d m e s e e i n a d i f f e r e n t w a y. L o o k i n g b a c k , I realise that my best artworks came out of pushing through that blockade. Of course, not all my experiments turned out well, I sit on a mountain of failures that I h o p e w i l l n e v e r s e e t h e l i g h t o f d a y . B u t l e t ’s n o t t a l k about that. My artworks showcase human interaction at its worst. Make of that what you will.
Bound, 2015, Graphite
Salvaged, 2016, Chalk pastel
LO NG S HAN KI NG
Evil, 2016, Charcoal & Digital Manipulation
Asphyxia, 2015, Wire Mesh & Spray Paint
Thinning, 2015, Acrylic Paint
L O N G
S H A N
K I N G
If you ask me if I really know what I’m doing, I’ll probably give you a very solid “No”. I have not been 100%, or even 70% certain that my projects will turn out the way I want. But, that uncertainty has very much been what this process was about for me, having a vision, believing in it, and diving in 2B pencil first. A lot of this is reflected in my work revolving around the i m p o r t a n c e o f c h i l d h o o d c r e a t i v i t y a n d s p o n t a n e i t y. T h e challenge is not to overthink. As a result, going through this gauntlet has created a sort of immunity in me, a c o m f o r t i n a s t a t e o f u n c e r t a i n t y, i n t h e f a c t t h a t n o matter what I create, I have still created something the world has never seen before. A n d t h a t ’s q u i t e w o r t h i t , i s n ’ t i t ?
Life drawing, 2016, Charcoal
Impulse, 2015, Cardboard
C L AS S O F 2017
U S V i s u a l Art D e pa rt me n t
The 8th Annual CDNIS Visual Arts IB Diploma Graduating class wish to express their sincerest gratitude to everyone who has supported their a r t i s t i c j o u r n e y. Te a c h e r s and students alike are grateful to the parents who encouraged their children along their exhausting, yet fulfilling, artistic journey and helped them realize their dreams. Thank you to the Visual Arts teachers along the way who developed and i n s p i r e d s t u d e n t s ’ c r e a t i v i t y. I n q u i r y in their various subject areas fuelled their inspiration, and challenged them to look at the world in new ways. It is because of this wonderful environment at CDNIS that students feel supported to take risks and express themselves. For their ongoing support of the arts i n e v e r y p o s s i b l e w a y, a b i g t h a n k y o u t o t h e U p p e r S c h o o l ’s a d m i n i s t r a t i o n t e a m , T i m K a i s e r, B a r b D a c h o , D a v i d Butler and Head of School David Baird. A special thanks to the tireless
efforts of our Upper School Visual A r t s A s s i s t a n t s , I r i s C h a n g a n d Yu k i k o Wong for their endless patience and unwavering support, without which this exhibition would not be possible. Thanks to William Lam and the Facilities Management team for all they do to make the exhibition o n p a r w i t h a p ro f e s s i o n a l a r t s h o w. And last, but not least, thanks to Stanley Ma and the LLAC support staff for hosting the Elysian IBDP Art Exhibition.
Invitation and Exhibition Catalogue Design – Odette Lau and Rachel Wong Catalogue Production Editors – Iris Chang and Catharine Ho Student Pages – Individual students
It is the dedicated people who support our vision as teachers and artists that enables us to put on a show as wonderful as this.
E LY S I A N Sofia Burdett Kurt Chan Rachel Cheng Tiffany Cheng Yu t o n g C h e n g Amy Chung Andrew Choi Natalie Fong Henry Hargreaves Long Shan King Va n e s s a L a i Odette Lau Alan Lee Jefferey Lung Joyce Ma Bryan Roach R a c h e l Wo n g S e l e s t e Wo o
Canadian International School of Hong Kong