RAW Magazine 02 by Random Art Workshop

RA W MAGAZINE

02 Mar 2012

The RAW Magazine TEAM Joyce Yung

Derek Ting

Joyce founded Random Art Workshop in 2009 to expand upon her passion for photography, art and to build a community of like-minded individuals that can come together to share their creative insights. The past several years has seen her involve her career in professional photography and championing everyday arts. With an affinity for discovering new avenues to give the rest of Hong Kong their dose of the unexpected and imaginative, RAW Magazine is her brainchild. She finds inspiration in traveling, loves the water, and is particularly fond of all things spiral.

Co-founder of Random Art Workshop, Derek has always been an ardent supporter of the arts. He caught the acting bug while studying in New York and subsequently, his interests have led him into the art of acting and further producing for CNN and other well received short-films. With a Producer’s role for a feature film under his belt, Derek continues to tirelessly pursue his passions. He enjoys quick witted conversations and running. He hopes RAW will help others find their callings.

Zoe Peña

Matina Cheung

Having started in the contemporary art scene in 2008, Zoe’s love for all kinds of art spurred her to book that one way ticket to Hong Kong in March 2010. She specializes in art writing and art consulting. The voice behind RAW Magazine’s mainstay column, ‘The Vitamin Box’, Zoe has an obsession with old school rap, her dogs Stella and Bogart and awkward moments.

Matina is RAW’s resident design and graphics wizard. Responsible for RAW Magazine’s innovative and distinct aesthetic identity, she celebrates her passion for design along with art mediums such as photography and sculpture. An upcoming visual artist, Matina’s art involves itself with the concept of intimacy and perception. She is also a yoga afficcionado with an intense love for aliens and gremlins.

Contributing Writers: Selected Text Edited by Bev Cheng

Aurora Van Kerckhove

Bev obtained a Honours Bachelors in Fine Art History. She’s an editor for a popular English language magazine and spends her free time on the lookout for French pastries, creative hubs and undiscovered gems around the city.

Aurora is the writing intern for RAW. Her interests and passions lay in music, art and writing.

Gillian Chu

Grant Preisser is the associate vice president for SCAD Hong Kong. Preisser was the director of design for the interiors group at Heery International.

Grant Preisser

Gillian Chu is a Hong Kong based Canadian lifestyle blogger who enjoys sharing her tips and secrets on the city that she calls home. Find out more at gillian-chu.blogspot.com

Bart Dekker

Victor M. Serrano

Bart Dekker is a keen collector of contemporary Asian art since the early 1990’s, with a focus on contemporary art from China, Hong Kong and Japan. In 2007 he founded artinasia.com with a goal to increase interest in contemporary Asian art.

Victor M. Serrano has worked in the field of restoration and education and is currently the interior design program coordinator at Raffles International College in Hong Kong. 3

Foreword My partner, Derek, and I started the concept of Random Art Workshop when we got past Hong Kongâ&#x20AC;&#x2122;s hard candy shell of hustle and bustle. Many people come here to make their money and leave, but we wanted and still feel that Hong Kong deserves more permanence, especially in the field of art. We also felt that being an accountant, lawyer, and banker, etc. does not preclude you from being an artist, nor make you any less creative. We started RAW to plant a seed that would grow into a community where people could learn about art without the confines or limits that society places on us. RAW Magazine is a natural progression of this emerging community. In our second issue, we bring to light the synergies and differences between Art and Design and how they apply to these emerging individuals who strive to identify themselves in a working world. Are you an artist because you are a designer? Or are you a designer because you are an artist? With overwhelming positive response from our first issue, we bring you new features to uncover. From our double Studio Visit features on Latitude and Parallel Lab to our new contributor section, Prism, we hope to bring you a personal glimpse into the realm of these new innovators.

Creative Director RANDOM ART WORKSHOP

Contents SPOTLIGHT 6

Our picks of notable and upcoming Hong Kong based artists remind us all of what makes this place such an exciting place for the visual arts.

26 PRISM

We invite our guest columnists to provide their viewpoints on the issue’s theme and Hong Kong blogger Gillian Chu to give her insight on the topic.

FEATU RAW RE:spends STUDIO VISIT 28 the day with Latitude and STAG to

44 ART SAVVY We have Bart Dekker, Grant Preisser, and Victor

chat about their latest works and inspirations.

Serrano share their insight on the relationship between art and design.

BINOCULARS 48

We sift through what’s been going on around the globe art-wise, and share what caught our eye.

50 ART GIZMO Find out what’s on our tech-radars at RAW HQ.

ON THE STREETS 52

RAW brings you to explore the places at JCCAC in Shek Kip Mei.

54 OFF THE SHELVES Take a peek at what titles line the shelves of prominent movers and shakers in Hong Kong’s contemporary art scene.

THE VITAMIN BOX 57 RAW Magazine’s mainstay columnist Zoe Peña

58 OPEN HOUSE With a theme for each issue, we invite you to

talks about art in everyday life.

take part and send in photos of your artwork.

SPOTLIGHT

EVANGELO COST

Ph Cu

Written by Aurora van Kerckhove Images courtesy of Evangelo Costadimas

STADIMAS

physical print for the purpose of making an art object. The artist might then design a website, an exhibition or create an art installation in which to feature the photograph, solely for the purpose of showing it. “ As a commercial and fine art photographer, EC experiments with the concept of time and space by presenting a multiplicity of moments and expanding space within a single ‘piece’. His commercial photography have seen print and range from fashion spreads to architectural interior photo shoots. However, his passion lies with street photography,a category engulfed in the now-glossy world of photography. One of the few street photographers left, his practice hinges upon curiosity and instinct, a ‘back to basics’ of sorts. Capturing the true essence of the people has him stealthily shooting from the hip, in his continuous attempt to reach out and unearth what is authentic.

hotographer, Film maker, urator Self-labelled as the “planetary citizen”, Evangelo Costadimas (EC) is a Greek-Italian born and raised in Ethiopia who later immigrated to Canada to study in the University of RMIT. In 1990, he moved to Hong Kong, exhibited his works previously taken in Toronto and thus began his photography career.

With a keen observation of people, EC’s creative practice spans photography. He is a filmmaker, a curator and also a writer. He is a prolific artist, absorbing information and inspiration from many things. His photos and films transcend different cultural backgrounds as he aims to capture daily moments and transform them

into artwork that highlight the larger social and cultural context behind the subject matter. And while photography has long stood on its own realm, in this day and age, technology has allowed some of the practices in photography to be enhanced and altered by design elements, pushing the medium further. EC muses on the subject at hand:

“An artist that chooses photography as their medium of expression, may create a work of art using a well designed camera. They may then design ‘the look’ of the image in the retouching or post-production stage or design the way the photograph is intended to be seen, its size and and medium as well as other design considerations, including that of turning the image into a

SPOTLIGHT

www.ecworks.com

SPOTLIGHT

Edge of Failure Series

SPOTLIGHT

JONA

Written by Aurora van Kerckhove Images courtesy of Jonathan Jay Lee

ATHAN JAY LEE

an article or sending a particular message in a campaign. Art, on the other hand, I make mostly for myself, and can be much more personal than an illustration for a client. But I like to think that that personal aspect is employed in all of my illustrations as well, otherwise it wouldn’t be interesting as an illustration. Illustrations are usually jobs, but I don’t consider what I do to be a job, but more like a freedom. I ry to keep that mentality in order to keep the bar raised high.

Illustrator and Artist Art lovers usually have a negative perception of commercial art as ‘selling out’ or ruining the purpose of art, but Jonathan Jay Lee (JJL) values pop culture and purposely creates works in a literal and clearcut manner to be appreciated by the public.

photo-realistic imagery and iconography. Influenced by Steve Mcloud’s book, ‘Understanding Comics’, the communicating process lies within that grey area and of course, an emotional response to what is being depicted through an illustrator’s hand and perception.

A 2007 graduate of the Fine Arts department in Illustration (with Honours) from the prestigious Parsons the New School of Design in New York, JJL roots his style to American comics, such as Marvel, and uses these influences to encapsulate the style into his figurative works.

Currently based in Hong Kong, his illustrations have seen partnership with noted brands and companies such as the Jockey Club and Kronenburg and many more. He has also exhibited his paitings in Cat Street Gallery, No Borders Contemporary and in 2011, in WeSC. He says of the dual role he plays: “I think that illustration incorporates a problem-solving nature to it. It has an ulterior motive, or another purpose, whether it serves the purpose of accompanying

www.jonathanjaylee.com

SPOTLIGHT

Much like in the literary world where the section of graphic novels and comic books sit apart clearly from the classics and poetry, JJL’s sharp lines and youthful hued works are his nod to the area in between

I don’t like the word ‘design’. Though I consider that the two are almost the same, each has it’s own connotations, and though ‘Art’ is a bad word, ‘Design’ makes me feel like a sellout. I’d rather be a loser than a sellout.”

SPOTLIGHT

Drummer

Hollywood Road

Illustration for Pure

Illustration for Veuve Clicquot

SPOTLIGHT

Illustration for Kronenbourg

SPOTLIGHT

WILLIAM TEM Written by Aurora van Kerckhove Images courtesy of Temphouse Hong Kong

Established in 2005, Temphouse is a virtual dream house and a reference to William Temphouse’s art life. Life may have had its up’s and down’s, but he will continue to produce art even if the whole world comes crumbling down. William’s design-driven background has birthed a number of well received showings. He held his first solo exhibiton “Amazing Dream” in April 2011 at Lifestyle Concept store and presented Temphouse through drawings, cement art and

sculptures. Currently focusing full time on his art, William says of his work: “Although I don’t have a fine art background, I am never concerned about whether my creation is art or design. I just enjoy the creativity in the process. My only concern is to work whole-heartedly on my piece because I am sure the audience would be able to feel my efforts of my heart from my work.” The recent exhibition “Amazing Fish - Fu

MPHOUSE

sion” in Detour 2011 presented the detrimental effects of mankind’s greed and selfishness on overfishing and sea pollution issues. He exposes the harsh reality in a haunting manner through monochrome drawings matched with murky backgrounds and a “Garbage Fish” sculpture composed of recycled materials that leave a permanent impression in the audience’s minds. After several years, Temphouse migrated to the sea and now experiences the struggles of the marine life. The mobility of his studio reinforces William’s forward thinking and design aesthetic. He is fantastical yet realistic and while there is no need to balance the role of artist vs. designer, the perception of need and desire for art to survive is handled confidently. And with this, Temphouse’s place is ever certain. www.temphouse.hk

DESIGNER AND ARTIST

SPOTLIGHT

By Catch, 2011

Amazing Fish at Detour, 2011

Rubbish, 2011

SPOTLIGHT

WO Written by Aurora van Kerckhove Images courtesy of Wong Tin Yan

Upcycling has led to many ideas and design solutions by artists who incorporate used or reappropriated items in their artworks. Notable to this movement is local artist, Wong Tin Yan. A Fine Arts graduate from the Chinese University of Hong Kong, Wong is primarily a sculptor who also makes ‘junk wood furniture’ on the side. His process involves collecting recycled wood, then transforming the found material into cartoon-like animal structures. Wong’s works touch on the connectivity of contemporary society and the concept of people in transition. With each art piece, he symbolizes the transition of traditional forms to the contemporary interpretations. There is a public element to all of Wong’s work, as most of his pieces are placed in areas that are easily accessible to people. Wong is hoping that his art can enhance a communal environment and impact the product and brand involved. Mostly large in scale, Wong’s prime focus is on form

and texture, with a touch of whimsy. Creating with his hands and tools allowshim to observe the “life” inside each piece of wood, hoping that the spirit of the wood block will spark his creative process and inspiration. Each piece of wood is unique, and as a result, so is each artwork. In past projects, Wong has partnered up with stores such as Muji, Landmark North and the Louis Vuitton store in Central.

needs to be multi-talented and have different problem solving skills. Just like a lot of contemporary artists active in different fields, I would like to participate in different interesting projects as well. Cos I believe that creativity should not be bound by any terms or categories. If the work is really great, the word ‘art’ or ‘design’ will be just a meaningless name, who cares, right?”

Of art and design, Wong shares: “The word ’art’ and ‘design’ are both a kind of thinking procedure in my opinion. Sometimes, this procedure is very personal. But at the same time, this procedure can be quite interactive. Actually, it doesn’t matter if it’s art or design, they are both showing creativity. When there is an opportunity in front of me, I don’t care whether it’s a design project or an art exhibition; I only want to think about amazing ideas and try to keep my humorous style in it. Since we are now living in a complicated world, no matter a person or an object

Wong was also selected by the Art Promotion Office to join the Artists in the Neighbourhood Scheme III in 2005 and by Hong Kong Trade Department Council to join the Tokyo Designers’ Week 2007 in Japan. Based in Hong Kong, his works are collected by the Hong Kong Museum of Art and various private collectors. www.wongtinyan.com

Furniture Designer and Artist

SPOTLIGHT

ONG TIN YAN

Octopus at Detour, 2011

Izzue x Wong Tin Yan

SPOTLIGHT

Izzue x Wong Tin Yan

SPOTLIGHT

ART IN THE

Written by Aurora van Kerckhove Top image by Matina Cheung. Images Courtesy of MTR.com

MTR

With all the hustle and bustle that comes with city life, it’s rare to have a moment of solace to appreciate art. This is why Miranda Leung, general manager of corporate relations, and her team at the MTR introduced the “Art in MTR” program in 1998 to enrich the lives of commuters and allow them to access art and design while they’re on the go. The program includes a variety of art

forms, such as live performances, art exhibitions by established and emerging artists, students as well as young children. Arttube is located near Exit J of the Central MTR station and is currently a mini art gallery that provides a platform for aspiring creative individuals to show their works. The most recent exhibition entitled “Comme Chien et Chat” by French graphic designer Emilie Saint-Pé was launched in November 2011. The Central MTR station also provides a stage for theatrical performances, such as an acapella performance by Mosaic in June 2010. Some other exhibitions included the works of local Hong Kong artists, Mok Yat-san (“Footsteps of Nature” in the Tai Po Market) in

May 2011 and Ms. Man Fung-yi (“Weaving for Collective Memory) in June 2011. As a pioneer in supporting public art and making it accessible to millions of commuters every day, the MTR brings art to the masses, and aims to stir up dialogue with every artwork that is shown. www.mtr.com.hk/eng/community/art_ more_time.html

Corporation and Promoter of Public Art

SPOTLIGHT

Mok Yat-san, Footsteps of Nature, Tai Po Market, 2011

Man Fung-yi, Weaving for Collective Memory, Yuen Long Station, 2011

Zhao Guanghui, Tadpole, East Rail Line, 2010

SPOTLIGHT

PRISM

DESIGN FOR EVERDAY Written by Gillian Chu Images courtesy of Nookha,TREE

Designs of masterpieces like the glass pyramid in front of the Louvre are pretty breathtaking, but those are more for a rare glimpse than daily admiration. The designs we put at home, on the other hand, plays a much more important role in our lives, though we do tend to disregard their aesthetic roles. Every piece of furniture you gathered at home doesnâ&#x20AC;&#x2122;t merely serve a function, but is also a good indicator of your immaculate taste and style, be it minimalistic or flamboyant. Here are two of the latest furniture pieces that I find sleek, practical, as well as environmental conscious.

Nookha, meaning to give in the Aboriginal language, is the latest eco-design brand in the Hong Kong, creating all their pieces with the most sustainable material – bamboo. Using the fastest growing plant that is simultaneously strong, bendy, and durable, they came up with several collections that are authentic, elegant, and warm. Christine Richard, the mastermind of Nookha, fell in love with the majestic sceneries of Bali, and that is where the idea of producing a range of elegant and eco-friendly furniture came to life. She perfectly combined the innovative ideas of international rising stars from the design world with the traditional craftsmanship by local artisans, who gathered their knowledge from generations before them. Their Kaawa coffee table is handy and cozy, coming in a large variety of sizes, fitting just about any space. Their Desa collection, in contrast, is made of a mind boggling amount of bamboo layers bent and shaped with traditional skills, so despite the fact that all the surfaces are only 2 cm thick, the furniture can still withstand a crazy load without any risk of deformation.

Differing from Nookha, who is still a baby in the field, TREE is Hong Kong’s very first eco-chic furniture boutique, giving off a stylish yet environmentally friendly spin in their designs. They make most of their collections with reclaimed teak wood, featuring bold contemporary shapes, which pieces together a modern while relaxing living space. Their creator and head designer, Nicole Wakley, has produced a large range of products including beds, sofas, tables, chairs, and outdoor furniture, so you can be sure you will find something that you both need and want.

They produced timeless furniture that can be passed on for generations, and maintains a beautiful balance between nature and our urban lives. You can touch and feel the rest of their collection in real life at Latitude’s showroom in Chai Wan from now until 10th May 2012, so seize the chance in finding out more about what will be the latest addition in your home!

Their signature collection, made of highest quality reclaimed teak wood that were once part of old buildings, boats, furniture, sleepers, and bridges, was transformed by their super-skilled Indonesian craftsmen into contemporary designs with very unique characters. Their Ferum selection has a very special artsy twist, being made of what was part of abandoned Indonesian fishing boats, now redesigned to flaunt its prior life while making sure the pieces are functional at your trendy home.

www.nookha.com

What’s more? They understand that every home is unique, so they make sure you get to watch the carpenters on site at their Ap Lei Chau flagship store tailoring your pieces to the right dimensions, while enjoying a yummy combo of coffee and cake at their chill café. If Ap Lei Chau is a bit out of the way, they also have stores in Soho, Cyberport, and Sai Kung. No matter where you are based, they will certainly have an outlet close by.

PRISM

www.tree.com.hk

Lati

Find

itude

ding Equilibrium

STUDIO VISIT

Written by Zoe Peña Photography by Joyce Yung, Matina Cheung

It may be a little known fact that Salvador Dali was behind the ever-famous Chupachups design. The surrealist artist had gotten his nickname ‘Avida Dollars’ from Andre Breton, one of his surrealist peers. It translated to “eager for money” seeing as the Dali never turned down jobs that brought him a considerable payday. It was also a slight against Dali’s increasing presence in the commercial world. It is hard to say if throughout his career, Dali ever struggled to find a balance between being an artist and a designer – or if this question even came about despite what his peers held against him. But the duality in the role of an artist has been noted since before and in the present day local and global creative industry, it’s safe to say our artists and designers feel this more than ever. “It’s always hard to find the balance between design and art. Generally speaking, the better a product sells, the more dumb-downed it is. For example, the Ikea concept is nice and pretty, but there’s no extra artistic flair to it, so it’s just cheap. The system is very accessible to everybody, so it’s hard to find the position between successful products and artistic flair,” says Jesse Mclin of Latitude. Latitude is a design studio based in Hong Kong that works closely with the artisan community in Jingdezhen. Inspired by American, Swiss and Hong Kong heritage, Latitude aims to push the medium by drawing from China’s history of ceramic making techniques and creating distinct and organic designs. Along with this, the company is also known for their branding projects such as Liquor&Liqueur and Petite Amanda. Founded by Jesse Mclin and his wife, Julie Progin in 2008, the company has received a Design for Asia Silver Award and was included in Perspective Magazine’s 40 Under 40 in the Graphic and News Media Category in May 2011. With all that (and more to come is certain) under their belt, Latitude is swiftly distinguishing itself as one of the more clear-visioned creative entities in Hong Kong’s array of design studios. In this issue, RAW pays a visit to Latitude to sit down with the duo and pick their brain about their conception and their future. While the drive is misty and cold, we are welcomed into a massive space that is both elegant and endearing with its polished concrete floors and hidden work spaces. More than this, it is in their Chai Wan headquarters that the solidity and equilibrium of who they are as artists and designers, emerge best. 30

How did you two meet? Julie: We met at Parsons. I was studying there and Jesse was teaching. Jesse: But she wasn’t my student! Julie: It was during one of the design showcases and Jesse had made a work that was similar to mine and I was a little annoyed and curious who was behind that work when I saw it. Jesse: I actually wanted to do a swap with her because I liked her work and I wanted it, but that didn’t happen. How is Latitude split between the both of you? Julie: I do packaging and graphic design for Latitude. There’s two slices to the company - Jesse is in charge of anything product design/art related and I do the graphic design part. It’s a good fusion. Jesse: It is pretty nice, since there’s a graphic team to work on the graphics, somebody who knows the ceramic part and we put together the packaging. It’s all in-house and all controlled since we don’t outsource it and run the risk of not matching the concept and quality. In a lot of ways, it’s a lot of work, but this way it gives us a good edge. (pertaining to their Chai Wan Studio) Everything is colour coordinated!

Why “Latitude22n?” Julie: 22n is the latitude of Hong Kong. Latitude is the name of the studio, but it’s also the idea of working with crafts, geography and people in certain places, it’s very geared to how we work. Jesse: When we first started thinking about it - Julie’s parents are Swiss and she is born in Hong Kong, I’m from the US and we’re in Hong Kong, so it was important to tie these points together and broaden our views to work with crafts from different countries and build a virtual silk road with many people to pull something together. Why did you choose Hong Kong to be your home-base? What do you love about Hong Kong? Julie: First reason is my family being here and the chance to have this space. Space is very important for our business. Jesse: The proximity to China was very attractive. China has such a long history of working with ceramics, so it was appealing to work with people in China that have amazing know-how and

STUDIO VISIT

Jesse: I think the work space really inspires the work. In our old workplace, we moved into a space that was already existing and everything was set up, we didn’t change anything and it was hard to get inspired. If you change the workplace, you feel at ease and it inspires your work.

STUDIO VISIT

develop contemporary designs through traditional techniques. What are some of the traditional techniques that you incorporate with your products? Jesse: The Song collection with the celadon glaze - this technique of carving clay is very old. It’s incredibly hard to find someone with the skill and patience to hand-carve the clay. It takes about a day to carve the largest Song plate. It’s handthrown, then hand-trimmed, then handcarved, then hand-glazed. To find anyone in the world that can do these techniques at this level is impossible. Julie: It’s almost too perfect, because they’re almost too good. Anywhere else you might see some defects, but they’re so good that there’s almost no difference from plate to plate.

Jesse: This whole collection was inspired from a piece that’s in the Metropolitan museum in New York from the Song dynasty which is from Jingdezhen which is where we’re actually making it. This is one of the reasons we moved to Hong Kong, it was one of our first major products. What’s the latest product you’ve been working on? Julie: The latest one are the soup bowls for the Night Market, a restaurant in Central on Stanley street. We’ve done the design and graphics, and this design actually got an award last December. Tel l me more about the concept of the Fragments Vase? What inspired this work? Jesse: This vase was inspired by the

discarded molds used in making other vases. It was for an installation for the Night Market. That was the initial base, since they needed about 100 vases to fill a big display case. But the clients gave us the right to continue working with it, so now we’ve continued to move on with it. These were all made here in the studio by myself, since it’s very difficult to tell people in China to not make it perfect they’re really obsessed with perfection. How do you reconcile the materials that you find and the ideas that you come up with your products? And how do you balance your desires with the clients’ desires? Jesse: As an artist, you make and you require the viewer to accept what you’ve created. But with design, you need to match the client’s desires. It’s a completely different way of working. With our own product line, it’s not for our client e.g. Song hand-crafted plates, this is something we did because we love doing it, so we can be more free with the decisions that we make. Sometimes on the opposite end, clients would have very specific desires. Julie: But generally, it’s difficult to say since we have such a strong brand and they like what we do, so we never had to compromise much. Often we’re given a lot of freedom with the aesthetics. A lot of products they want are hand-made things or something that involves illus-

trations. Jesse: And sometimes clients will come with very strong opinions and directions, but generally after a meeting and talking about who we are and what we do, they decide we’re not what they want or they give us the freedom to do what we like. This is the best relationship, because we can put a lot more of ‘us’ into it and they already know our sample works. There’s nothing worse than accepting a project you’re not excited by and there’s no desire to do it. You’re not going to do it very well, you’re not going to give the clients their money’s worth. So it’s important for us to believe in it, for the sake of the clients and us. Breakfast starts most people’s day. What’s your favourite breakfast food to begin the day? Julie: Coffee. Lots of coffee. We’re not really breakfast people and our typical day of work usually starts with coffee and our laptops at home. Jesse also takes care of his plants - he’s a big plant lover. We come here at around 9:30 or 10:00am. What is your favourite place in Hong Kong? Jesse: We love to explore Hong Kong, go to the flower market and find abandoned houses. For example, we found an abandoned mansion on the Peak with hardwood floors from the 1930s and termites creating a lacey design under

the floor. It was just magical to find beauty in the decay and see nature taking over man-made objects. We also love to observe beauty in the mundane, such as old plumbing outside the buildings. What do you have plan ned for Latitude22n in the future? Jesse: For 2012, we aim to create an online shop on our website. We have also created new ceramic homeware designs that will launch later in the year. We would love to create some custom designs, but this is difficult, as we need to make several prototypes to get it perfect. We’re also going to redesign the website to create a platform that represents our work better. Julie: We’d also want to find more unique artists or ceramic techniques and create more “limited version” products. For example, we found a ceramic sculptor in China who could make paper thin ceramic vases that is virtually impossible. What are your dream projects? Jesse: For me, I think my dream project would be an art installation, working with a client on a specific concept but with more artistic freedom, more conceptually driven than function. It doesn’t have to be just ceramics, it can involve any form of material. Julie: I’m already happy doing what we’re doing, so I’m living my dream, running a company doing what we love to do, so it’s pretty satisfying.

STUDIO VISIT

www.latitude22n.com

STUDIO VISIT - DAY IN THE LIFE OF ...

07:30

11:00

18:30

11:00

23:30

0 09:30

07:45 08:30 0

07:45 Then comes time for coffee. We’re both big coffee drinkers and cannot function without it. 08:30 Jesse will spend time taking care of his large number of plants. 09:30 After what, typically Jesse will work in his studio at home. 09:30 And Julie will go back to bed and read, and we’re seriously running out of space for books. 11:00 til l late afternoon We go out, hunting for objects we collect. Tin toys, maps, vintage books. 11:00 til l late afternoon Or we go hiking and collect seed pods that are great inspiration for work. 18:30 or earlier depending on the complexities of the dishes Julie loves cooking. She’ll spend hours in the kitchen having fun and trying new recipes.

09:30

23:30 Bed time comes, we’re fighting to get our bed back from Lou. 35

STUDIO VISIT - DAY IN THE LIFE OF ...

07:30 First thing in the morning, we take care of Lou, our oversized lovely cat.

Stag

Reclaimed Sp

pace

STUDIO VISIT

Written by Gillian Chu Photography by Joyce Yung

Géraldine Borio and Caroline Wüthrich are no strangers to Asia. Having worked in Chiina, Japan and Thailand, the Swiss architects now call Hong Kong their home. The experiences of living in rather tight spaces have got them mesmerised with the innovative use of foldable furniture that serves multiple purposes. It is through their discovery of Hong Kong’s back alleys that lead to the development of Stag, a fusion of stool and bag. While Hong Kongers just lounge around and lament on how the parks are overly regulated, the pair dug around the unplanned back alleys, making Stags for us to get out and actually use the public spaces in an innovative way. The duo clues us in to how Hong Kong people interact with the city, where the controls exerted by the developers doesn’t necessarily hinder our imaginative use of space.

Tel l us more about Stag! Stag is where Switzerland meets Hong Kong, both being obsessed with making their utensils small and multi-purpose. The concept is simple: a backpack that can double as a stool. Having said that, we wanted to maintain our attachment with the local community, and that is why every Stag is made out of what use to be advertisement billboards around town, which would have otherwise been thrown out and created unnecessary trash. Each bit we selected aims to be aesthetically pleasing, bringing together an eco-friendly and durable piece with the vibrant factors from our streets. Every Stag is absolutely unique, being hand sewn by three local sampan shelter craftsmen from Shum Shui Po. Uncle Chan Wah and Uncle Hung Heung, both 76 years old, along with Uncle Tang Hing Fai, who is a second generation craftsman, made 120 Stags between the three of them. Inside the backpack you will find a piece of paper telling you which uncle handmade the piece especially for you, with a short story on the uncle’s lives. We gave each uncle a complimentary Stag, and they each seemed awfully pleased with it! The structure is kept simple for practicality and costs reasons, so we used the metal structures that we found from the local shops in order to collaborate with the community, yet still being ergonomic and light-weighted. As for the straps on the backpack, we took on ones that are usually used for carrying furniture around during renovations, which is possibly why they are very sturdy. The eye-

catching logo was conjured by a freelance graphic designer, Stan Diers, mixing local community efforts with international designs. Stag is a grass-root cultural project, which we hope would ignite thoughts about the spaces we live in, and that is why we only charge for their production costs, making them super affordable. So how many different ways are there to use the Stags real ly? There aren’t any set rules on how to use the Stags, so we are discovering more and more as time goes by. We worked together with local photographer Ducky Chi-tak Tse on creating a series of images reflecting his views of the project, and it was really the spontaneous shots that surprised us the most. We did try posing for shots like reading the papers in front of Landmark during rush hour, but it was the unplanned shots such as how our team spread a whole load of Stags for a quick nap in Shum Shui Po that was absolutely priceless. Stags could really be used for a whole range of things like waiting in a queue, birds spotting in the Wetlands, something to stand on in concerts, or even an impromptu chat with a few buddies. It is really a tool for the people who strive to enjoy the public space in a more liberal way. What plans do you have for Stag? The beauty of this project is how we just can’t plan it through to the end, since we have no control of how others would be using their Stags around town. But it is exactly how it isn’t rehearsed that makes

STUDIO VISIT

Top left photo by Stan Diers, www.standiers.com Top right photos by Ducky Chi-Tak Tse, www.duckytse.com/doc2.htm

the whole idea so interesting, creating a collective art installation in itself. We hope to lure people out of their comfort zones and rediscover their neighbourhood, which is why the Stags are only sold at our pop-up events in the back alleys, forming occasions for us to meet new friends. Some of our Stags traveled all the way over to Switzerland and Thailand, and it is fascinating to see how people utilise them differently in other cities.

What architectural style do you ad mire the most? We are both very fond of the Japanese architecture, which holds practical solutions for space, and is so much more

Where is your favorite spot in Hong Kong? We love how Hong Kong has such contrasting landscapes, from the mega hub to the rural countryside. When we had visitors over from home, we love taking them to Tin Hau and Shum Shui Po to sample the local flavours, then to the beaches and hikes for the more rugged side of Hong Kong. It is exactly the contrasting experience, benefitting from the efficient transportation system and compact urban planning, that makes Hong Kong so special. What is a must for your ideal breakfast? Geraldine: I love tartine, which is really just bread with jam, alongside with scramble eggs and Hong Kong style milk tea. Caroline: I enjoy what is normally found in an all day breakfast, which is simple yet fulfilling.

STUDIO VISIT

Our alternative hangouts included the Biennale in the Kowloon Park, a screening of Fruit Chanâ&#x20AC;&#x2122;s movie as well as a tea appreciation in back alley of Tin Hau, and we are looking forward to a kick-ass party in the back alley of Wanchai! We want to provide the minimum so that people can start anchoring themselves in the urban landscape and spark interesting social gatherings. Stags will actually make up part of our research on public spaces, and we have already received so many photos of different Stags in action from their proud owners, which is absolutely encouraging.

interesting than merely matching colours with styles. We are also in awe of how Hong Kong people utilise their minute spaces, such as how the street stalls proprietors can compact everything inside their little shops.

08:30 17:30 09:00

14:00 18:30

15:30

22:00 20:30 42

09:45 09:00 Catch up with what is going on around the globe 09:45 Meet up with the contractors on site to check up on the construction details 10:45 Head over for a shoot on the Stag project in the back alley 12:30 Take a moment to recharge over lunch break 14:00 Geraldine teaches her architecture class at the Chinese University

12:30

15:30 While Caroline tests out the Stag prototype back in the office 17:30 Check their emails to round up the day before leaving the office 18:30 Host a lecture at the Chinese University

00:30

20:30 Head back home on trusty olâ&#x20AC;&#x2122; bus 22:00 Catch up with a few friends over a couple of drinks 00:30 Finally let their hair down back home

STUDIO VISIT - DAY IN THE LIFE OF ...

10:45

08:30 Wait for our bus to head back to the office

A Viable Career? Written by Grant Preisser, Associate Vice President of SCAD Hong Kong

Art is a formative experience for us all in primary school, but it is often discarded for more practical pursuits when it comes down to making a career decision. Most revert to the perceived lucrative choices of doctor, lawyer—and especially in Hong Kong—banker roles as they move through their education. Working for a local art and design university, I may be biased, but I can attest that design is a viable—if not critical—path for future careers. Look at the markets and the companies that drive them. They are touted not just for their business acumen, but for their innovation, creativity, and design. Business and art are no longer silos where neither the twain shall meet; they are necessary bedfellows that need to address a much more aware and demanding user base, providing them with the most intuitive and engaging products and services. Art and design are truly pervasive. Everything we touch and interact with was at some point along the way designed and aesthetically considered. The trend in art and design education is to acknowledge this and look for opportunities to blend the theoretical and conceptual elements of the art and design disciplines with the business know-how to turn concept into reality in a meaningful and marketable way. Designers are by their very nature, problem solvers. They study the puzzle and come up with solutions that meet all constraints. This critical thinking is key in any job, but designers just do it better. Couple this with a high level of expertise in aesthetic and taste, and the possibilities for ingenuity and innovation are limitless. Getting an art and design education is not something that comes with a shelf life. The way you are taught to think allows you to be adaptive and flexible, both traits needed in these constantly shifting economies. There will continue to be increasingly more opportunities for artists and designers. The creativity in which these opportunities are approached is what will make you successful. Don’t put down the paints, pencils, and paper just yet; take a moment to really think about the art and design around you, and find your place in this exciting and ever-changing landscape.

ART SAVVY

Photo courtesy of SCAD, Hong Kong www.scad.edu/hong-kong/index.cfm

ART SAVVY

Not many collectors of Contemporary art have set out to create an art collection with a specific intention to do so. Like myself, many started buying art for decorative purposes only. When my wife and I arrived in Hong Kong from Amsterdam some 20 years ago, we didn’t quite know how long we would stay in the territory and consequently, acquiring property never crossed our minds. Instead, we decided to spend our hard-earned money on decorating our rented apartment with vintage MidCentury modern furniture and Contemporary art. Our thinking was that anything we acquired of any value would easily be shipped away when we moved on. Since we were in Hong Kong, our first art purchase was what at the time was thought of as ‘local’ art—namely an oil painting by an emerging Chinese artist from Beijing. As many artworks made during that time, it depicted the rapid development of China and growing consumerism in bright pop-art colours and it even included a few Chairman Mao images in typical Andy Warhol style. This really brightened up our living room, but not all of our friends were as positive about the result as we were: “the work is derivative”, “there is no history of oil painting in China”, “why do you buy a painting glorifying Mao?” and “what’s next, Nazi memorabilia...”

we had a winner here. In fact, the piece turned out to be a prime example of what later became known as Political Pop and because of the historical value, the artist still commands high prices at auction. We bravely dismissed our friends’ criticisms by buying a few more colourful paintings of smiling or masked men that also referred to the Cultural Revolution to complement our first purchase. They say you become a true collector if you use up all your wall space and continue to buy, forcing you to store your art behind the couch or under the bed. We went beyond that, and our apartment was soon filled with unopened boxes of artworks from China and beyond. Ultimately you will be forced to start saying “no” to new purchases, and that is much more difficult than just adding more pieces. Photo courtesy of artinasia.com www.artinasia.com/home.php

If art is supposed to invoke an emotional reaction in the viewer,

On Building and Living with your Contemporary Art Col lection Written by Bart Dekker, Col lector and Fou nder of ArtInAsia

Drawing as a Process of Thinking Written by Victor M. Serrano, Program Coordinator at Raffles

“…I prefer you to take as your model a mediocre sculpture rather than an excellent painting, for from painted objects we train our hand only to make a likeness, whereas from sculptures we learn to represent both likeness and correct incidence of light…”

For example, when comparing the “Study of Adam” drawing with “The Creation of Adam” painting by Michelangelo, one can say that both are parts of the same whole. Presence is achieved in painting by way of colour, texture and light in a composition and the drawing shows the various possibilities that the painting could have become at different moments in time.

There is an invention to be discovered in the lines of a drawing. These lines must successfully represent the presence of things. To be present is to exist within the current moment and to be affected by time. In order to understand today’s relationship between design drawings and objects, we will briefly look at the art of making during the Italian Renaissance. Drawing was a tool used to record the world. The artist implemented drawing to study the beauty and science of proportions by dissecting both antique Roman structures and the human body; exemplified best in sculptures, paintings and architecture where elements are often studied as fragmented pieces of the whole. Under this light one can say that the process of drawing is directly linked to the processes of sensing. While painting and sculpture captured likeness, drawings were used as an exploration of instances to be incorporated in the final work thus creating differences between the drawings and the sculptures or paintings derived from them.

Illustration reference: Anatomical Study of the Arm (c.1510), Leonardo da Vinci Quote from: Leon Battista Alberti on Painting (translated by Cecil Grayson)

www.raffles-college.edu.sg

ART SAVVY

Finally, with this understanding one can address the relationship between today’s computer rendering and the thinking process in a similar fashion. Digital representation should promote a range of design possibilities rather than one final answer. “Thinking” and “making” must be part of the same process of representation in order to communicate the presence of things. When likeness is achieved in this way, the lines of the drawings will reflect a dynamic thinking process rather than a mechanical reproduction.

BINOCULARS

Written by Zoe Peña Images from morison.com

Inspired by the iconic tetra kite of Alexander Graham Bell, Ivan and Heather Morrison’s latest project had people in New Jersey looking up. Engineered by Queen + Crawford, the kite is made from over 23,000 individual components and comprises carbon-fibre rods, a hand-made composite fabric normally used for yacht sails and specially designed, rapid-prototyped nylon connectors. Based in Canada, the duo is known for their conceptual pavillions and architectural art installations that span urban and rural environments. “Little Shining Man” was commissioned by land acquisitions company Dandara in June 2011, with the three components of this mega kite being flown by a beach in Jersey. After the flight, the kite was installed as a piece of sculpture. www.morison.info/littleshiningman.html

“The Shining Man”

Heather and Ivan Morrison

Paper Attic

ART GIZMO

Molami Spearheading Wearable Sou nd

Fashion design makes itâ&#x20AC;&#x2122;s mark in this issue through unassuming forms. Incorporating great textiles and superb craftsmanship, Molami Headphones is a bright example of the sharply designed products that can be found in Hong Kong.

The newest innovation from Zound Industries and industrial designer Maria von Euler showcases the epitome of form and function. In the new series of elegantly designed headphones and earphones, Molami totes the tagline of “wearable sound”. The Bight model is an earphone with such understated luxury that it is stunning in it’s simplicity. The Pleat model takes the standard headphone design and incorporates the organic element of a person’s face. Much like a good haircut, this headphone complements any wearer. The Twine model is one that’s got fashion lovers drooling - a completely new take on headphones, the hippy-like headband provides each person with their personal life soundtrack. Available in black and white, Molami’s discreet opulence (from the metallic accents to the touches of intricacy in the form of braids and napa and stingray leathers used) is a great addition to the sharply dressed. With designs that are groundbreaking and have caught the eyes of the forward thinking contemporary individual, Molami is aptly found in the I.T Clothing Stores in Hong Kong. Images Courtesy of Zound Industries www.molami.com

ON THE STREET

The Jockey Club Creative Arts Center:

Transforming more than

Shek Kip Mei

Written by Zoe Peña Photography by Joyce Yung

Hong Kong has a handful of artist communities that are also some of the best art spaces in the city. There is Fotan with their Fotan Open Studio event that preempts Art Hong Kong; along with Art East Island, situated in Chai Wan and started by contemporary art space, 10 Chancery Lane, in tandem with the art fair. Before these, there was Shek Kip Mei and its conversion in The Jockey Club Creative Arts Center (JCCAC). Opened in 2008, the JCCAC is an award winning architectural transformation from the former Shek Kip Mei Factory Estate. Spearheaded by the Hong Kong Baptist University, it is managed by HKBU as a ‘multi-disciplinary artist village’ from a decommissioned factory building. The transformation of the Shek Kip Mei environment goes beyond the physical.The communities that rally around the environments that cultivate their craft is exactly what makes any creative hubs flourish. This is exactly the case with Shek Kip Mei. The big industrial designed spaces provide a conducive environment for private artist studios and art workshops that are open for people to attend. Hong Kong grown lifestyle brand G.O.D. places it’s cultural space inside the walls of JCCAC. The Neuberg Art Gallery is also a fantastic addition to the JCCAC community. There is even the Cafe Golden situated on the first floor that provides refreshment to the community and when visitors come along for the estate’s guided tours. Every studio has its own identity. And perhaps more than housing these identities, the JCCAC gives a voice to these creative initiatives as well as promoting the importance of a contemporary art and design program in Hong Kong. www.jccac.org.hk 52

ON THE STREETS

OFF THE SHELVES

Looking for a boost of

INSPIRATION

Let these creative professionals point you to the right direction! my (incomplete but considerable) Duras collection over a weekend, it’s likely that I’ll next tackle and finish her contemporary Alain Robbe-Grillet’s “Two Novels” – of which I’ve only read one story, “Jealousy”. On the side, there are about a couple dozen books that I take out and read a few random paragraphs of from time to time, including “The Philosophy of Andy Warhol”, Bret Easton Ellis’s “Less Than Zero”, Haruki Murakami’s “HardBoiled Wonderland and the End of the World”, and a few others by Kobo Abe, Susan Sontag, Jean Baudrillard and F Scott Fitzgerald.”

books or other things make me lose inspiration. That said, publications from Victionary are solid. “Disruptive Pattern Material, An Encyclopeadia of Camouflage: Nature, Military Culture” edited by Alex Newman was a great book too. It related the history of camouflage to the world around it then and now.” www.coroflot.com/TanguyWillems

www.timeout.com.hk

Edmu nd Lee

Arts and Cu lture Editor at Time Out Hong Kong

is currently reading: “Anyone who’s seen my working desks, the gigantic piles on which would seem to defy gravity, will know that I’m not the most organised of persons. The same personal trait is also apparent from my reading habit: I seldom finish a book on the first try and my choices of reading seem to lead me from one title to the next through some kind of free association process. For instance, a recent re-watching of Claire Denis’s film White Material has finally reminded me to start on Doris Lessing’s “The Grass Is Singing”, which the director once told me at a media interview to be one of her film’s early inspirations. The book has, once again, woken up my longtime interest in Marguerite Duras, another French author with intriguing personal experience in a colonial past; having just read through

Jeremy Jangord Mu ltimedia Artist and Fil m maker

is currently reading:

Tanguy Wil lems Creative Director at Shyalala

is currently reading: “I usually tend to keep my mind free from other influences. Checking design 54

“ I recommend “Novels in Three Lines” for anyone who wants to be a better writer and for those who really enjoy language. While painting a beguiling image of turn of the century France, Feneon truly celebrates the power and potential of language in every clever exercise. If you’re into that sort of thing, it will certainly make you smile.

“The Cinema of Gosho Heinosuke” by Arthur Nolletti Jr. is an amazing study of one of Japan’s largely forgotten masters of cinema, Heinosuke Gosho. Working in an era with an abundance of talented filmmakers (including the greats Ozu, Mizoguchi, and Kurosawa), Heinosuke still managed to make a name for himself as a filmmaker with incredible sensitivity and a style all his own. I’ve actually yet to see a film by Heinosuke, but having read Nolletti’s thoroughly researched and insightful analysis of his work, I can tell you that he will be a big influence on me as an artist and filmmaker.” www.jangord.com

I ordered a number of interesting books during my visit, but I would like to point out two that may be of particular interest to our readers. The first, SWISS, is a small photo book by Yurie Nagashima. A young photographer from Tokyo, in 2007 Nagashima participated in an artists’ residence programme in Switzerland’s Village Nomade. The photo-diary she made at that time – encompassing flowers, views of her residence, and portraits of her son – are reproduced in this volume. The images are beautifully presented in a design that blends together visuals with textual elements. Most interestingly, SWISS comes in choice of 20 different covers and colours, the idea being that as it is a personal diary, you should be able to choose the colour you personally like. In contrast to that small book, the next book is big… in fact, it’s tremedous. Published as a limited edition of 300 during Paris Photo, Own is the latest work by Erwin Olaf, the acclaimed Dutch photographer. Measuring 28 x 20.5 x 2 inches, its considerable size is matched only by its breathtaking price – which didn’t prevent every single individually signed copy from being sold within two days of their release.

Owner of AO: The Photo Book Center

is currently reading: Paris Photo was three months ago, but the main exhibition at Grand Palais was not the sole purpose of my visit there. There was also ‘Off-Print’, an extremely interesting photographic art book fair held concurrently each year. In my opinion, this fair, though smaller than Paris Photo, is of equal significance to Hall 3 at the world famous Frankfurt Book Fair.

www.aophotobook.com Image, Recommendations Courtesy of Edmund Lee, Tanguy Willems, Jeremy Jangord and Peter Lau

Due to the limited budgets of independent publishers involved, Off-Print has always been located in odd, obscure places away from the centre of Paris. Nevertheless, it’s very much the ‘big little book fair’, attracting publishers big and small and a fair share of attention from all over the world. 55

OFF THE SHELVES

Peter Lau

I was lucky enough to meet the publisher, who agreed to reserve two copies for me. Own is not by any means cheap, but you won’t find it anywhere in Asia except in my shop! So what’s the book about? You could sum it up as a collection of stunning photographs that fuse art with journalism with studio photography. It’s a truly unique combination that must be seen to be believed. I love it, and I am sure you will too.

On Box Living and Artfu l Quirks by Zoe Peña

rchitecturally, old Hong Kong seems to be disappearing fast. Most old Chinese residential buildings used to have each floor split into two, a front and back apartment. Each one was about roughly 1,500 square feet. Now, everything is split above 4 units, with a 400 square feet, 2 bedroom flat being toted as ‘spacious’ by real estate companies. But like the motto “good things come in small packages”, the interiors of some flats impress, despite the lack of square footage.

Another friend of mine lives in an old walk up, one bedroom apartment. She is in fashion, travels a decent amount which results in her having a lot of stuff. If one took out everything she’s put in, from the cluster of neon painted old Hong Kong style mailboxes mounted in the corner, a huge mirrored wall and a smattering of underground music party flyers around, the space is as non-descript as it can be. Glowsticks and pompom pens are tucked into the same shelf along lovely and elegant cushy dining chairs - a balance of kooky and sophisticated done so distinctly in 500 square feet. I suppose it’s partly thanks to the likes of IKEA and Horizon Plaza (where in a little store in one of the floors, every piece of furniture is customizable!) that living spaces like these can come into reality. But interior design and architecture go hand in hand with innovation and creativity - and more than the professionals that do their jobs so very well, it is interesting to see what the average person can do in order to make four walls feel like a special haven amidst an array of boxes.

THE VITAMIN BOX

I remember walking into a friend’s flat in Kowloon and while it was a small space, there were shelves teetering with Blu-ray DVDs of any film genre you could think of. He had a singular bay window with an inward ledge that held his drumsticks and his exercise equipment and while it was the epitome of ‘young bachelor’, the scattering of old school gadgets in corners of his apartment - a beeper, an old video camera, and a number of phased out non-touch screen, non-smart phones - made it completely him. These days the shelves sit on a larger wall and the old gadgets are encased in a glass section in a beautiful open kitchen.

OPEN HOUSE

Old Hong Kong Rather than RAW Magazine being a one sided conversation, we want to get our readers involved. With a theme for each issue, we invite you to take part and send in photos of your artwork!

For our upcoming issue, we would love to see YOUR take on

“Peacefu l ness” - whether photography,

painting, sculpture - send us a snapshot of how you encapsulate the theme.

Selected submissions wil l be published in our next issue! Those selected for publishing wil l receive a camera 4GB USB drive by RAW.

Thank you

for sponsoring this month’s OPEN HOUSE theme.

Email us your submission to: info@randomartworkshop.com

Hong Kong is all about walking, whether its out in the crowded streets or up the many stairs within buildings. We are always looking up, trying to get to a better place. Artist: Derrick Fong, www.shotbyfong.com

OPEN HOUSE

â&#x20AC;&#x153;Ascendâ&#x20AC;?

OPEN HOUSE

“The Last Yue Man Square” It’s the present Kwun Tong, but stepping into the past. Artist: Chrisopher Cheng, www.facebook.com/cwyeung. photography

“Old Joy” Selling ancient culture, one Chinese coin replica for 10HKD at a time. Artist: Jen Paolini, jenpaolini.tumblr.com

OPEN HOUSE

â&#x20AC;&#x153;Urban Outlook To Old Hong Kongâ&#x20AC;? The crowd of people signifies the traffic and the juxtaposition of the old dingy ferry signifies the serene part of the country that co-exist at the same time. Medium: The painting is made with pastel , pen and ink mix media. Artist: Parmita Sujan

Artist: Luke Sanders

OPEN HOUSE

“Traditional Food at Canton Road”

â&#x20AC;&#x153;Songbird Cagesâ&#x20AC;? Bird raising is an age old hobby which lives on in Hong Kong. Beloved songbirds are carried around in these intricately carved cages. Artist: Kristin Winstanley

â&#x20AC;&#x153;The Sewing Manâ&#x20AC;? Hard working Sewing Man who works on the road side of Happy Valley 7 days a week, starting 8 a.m. every morning, providing repair and alteration service to the community. Artist: Alan Chan

“In the Land of Once Upon the Sea” A little area that consists of many many stories not many people know in the heart of the West Kowloon. Artist: Carl Tsang, www.ctphotography.hk

â&#x20AC;&#x153;Thousands of Sunâ&#x20AC;? It is only a dried egg yolk, but it is one of the most famous foods for Hong Kong families. It is history and tradition for everyone in Hong Kong. Artist: Dic Kwok

produced by

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