[Journey on the Art of Permanence] Art Projects by Samues Leung, 2015

Samues Leung Master of Fine Art, RMIT University 2015, first edition

Portfolio and Projects: 1.

In Praise of Slow - 2-D niche bar installation on wall, (Figure 1-4)

P.4-14

2.

Spirit of an Age - Watercolor, ink on sketch and collages (Figure 5-29)

P.15-41

3.

Solitude versus Togetherness in The Hong Kong Flâneur – Photography series (Figure 30-39)

P.42-54

4.

Solitude/Solo - Performance base photography (Figure 40-48)

P.55-68

5.

Flowing series - Photography Series (Figure 49-59)

P.69-83

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Questions on the Shelf – Installation (Figure 60-62)

P.84-89

7.

This is art, in the Bottles, on the Shelf (Figure 63-68)

P.90-98

8.

The Beauty of Paucity - Diary box drawing, collage and mixed media on canvas (Figure 69-80)

P.99-109

9.

Oil Painting series – Studio practice archives (Figure 81-90)

P.113-122

10.

Shibu in Urban Touch - photography series (Figure 91-105)

P.123-139

11.

BURNING - Debut group exhibition, site Specific Installation (Figure 105-107)

P.140-143

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Description, Media and Dimension: •

Figure 1-4, Niche shelf installation with fund objects and artist collection, photo printed in 60 x 60cm

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Figure 5-10, watercolor on 300gsm paper, 30 x 40cm

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Figure 11-14, watercolor on 300gsm paper, 30 x 30cm

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Figure 15, artwork presentation hanging on wall on actual proportional, overall dimension variable

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Figure 16-28, acrylic color and photo-collage on 300gsm paper, size variable

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Figure 29, artwork group presentation, individual artwork size projection adjustable, overall dimension variable

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Figure 30-39, photos edited by PS, individual artwork size flexible for presentation and printout

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Figure 40-48, photos edited by PS, individual artwork size flexible for presentation and printout

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Figure 49-59, mixed media outdoor installation for photography

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Figure 60-68, mixed media still-life installation on wood shelf and wall for photography presentation

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Figure 69-75, acrylic and collage on canvas box, 25 x 25 x 4cm

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Figure 76-77, mixed media 2-D sculpture / (stone into canvas box), 25 x 25 x 4cm

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Figure 78-80, acrylic and mixed media on canvas, 60 x 80 x 2cm

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Figure 81-90, oil on canvas, dimension variable

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Figure 91-105, photography, individual artwork size flexible for presentation and printout

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Figure 106-107, site specific installation, mixed media, dimension variable

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In Praise of Slow 2-D niche bar installation on wall Figure 1-4

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In Praise of Slow Apart from being an aesthetic philosophy, slow Living is also a choice of lifestyle. Authors Beth Meredith and Eric Storm summarize slow living as follows: Slow Living means structuring your life around meaning and fulfillment. Similar to "voluntary simplicity" and "downshifting," it emphasizes a less-is-more approach, focusing on the quality of life. [1] Slow Living addresses the desire to lead a more balanced life and to pursue a more holistic sense of well-being in the fullest sense of the word.

The series of “In Praise of Slow” features graphical or painting collages of installations originating from my personal collections. They were derived from thoughts in my mind, about “Slow Living” with a sense of Wabi-Sabi, a philosophy that has recently fascinated me as a busy city-dweller.

With “slow living” as the newest incarnation of the simplicity movement, the search for fresh inspiration on the ways to live a more authentic life became even more important to me. Turning to Eastern traditions, many people are discovering the

Japanese concept of Wabi-Sabi life-style [2].

Acting as a perfect antidote to today’s frenzied, consumer-oriented culture, Wabi-Sabi encourages slowing down, living modestly, and appreciating the natural and imperfect aspect of material culture. While defying definition, Wabi-Sabi in art is best expressed in brief, evocative bite-sized moments of expression.

Intended food for thought for viewers: Having lived and worked in a fast-paced city like Hong Kong for many years, I could not help but wonder what would happen if we all slowed down our pace a bit to discover and appreciate the natural aesthetics

and organic compositions of the little things around us.

[1] Slow Living introduced by Authors Beth Meredith and Eric Storm, Meredith, Beth and Storm, Eric. "Slow Living - Learning to Savor and Fully Engage with Life". Create-The-Good-Life.com. 2009. Retrieved 2011-3-20. https://en.wikipedia.org/wiki/Slow_living [2] Diane Durston, Wabi Sabi: The Art of Everyday Life, (Aug 1, 2006)

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Figure 1

When Johnnie met James in 1962 As the fans of both Johnnie Walker and James Bond, I fancy a humorous encounter between the timeless icons in a memorable year.

Do you see the inverted bottle in the light bulb?

Does the bottle lying horizontally above it resemble a gun, drawing your attention to the “shadow� of James Bond in the classic advertisement of Johnnie Walker?

Keep walking!

Keep moving!

It is not an advertisement.

1962 - The year I born

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Figure 2

Blinking Seconds Have you ever paused for a blinking second to capture the delightful details—what’s worth reading—in life?

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Figure 3

Don’t think of England This collection of “Royal” souvenirs belongs to a time gone by 1997, when we were very much “in the mood for living with love” but now is to think of “good old days”.

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Figure 4

Don’t forget to be awesome Should we work smart or go for hi-tech or low-tech?

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IN PRAISE OF SLOW, artwork overview

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Spirit of an Age Studio Practice in watercolor, color ink on sketch and collages Figure 5-29

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Art Deco style in a “vehicle” of Design and Architecture The creative impulses of Art Deco leave a trademark in buildings established during the glamorous Jazz age from mid1930’s to 1940’s.

These buildings have remained a heritage of architecture up to nowadays and have never failed to impress us with the fine nuances of Art Deco in various forms, from the highly decorative classical form of Art Deco (in early 20’s) to its more practical, simple yet subtle, modern-esque variation in Art Moderne or Streamline Moderne in post-war period (50’s), when everything was yet to be taken up and therefore mass production was in an unprecedentedly high demand.

In this light, Art Deco could not be understood comprehensively without examining the external influences and sociocultural inputs that conglomerate into a distinctive “Spirit of an Age”.

This series of ten drawings could be regarded as a tribute to this unique art style by expanding its scope from architecture to design, in an equally charming “vehicle”.

Ten charismatic buildings of Art Deco style selected around the world, especially in England, Miami, Singapore, HK and Japan are placed individually in each drawing, and thoughtfully paired with a vintage automobile of a similar style.

Not only are the building and automobile a perfect match in view of basic art elements such as line and colour, the years of their creation are also proximal to each other in a noteworthy coincidence.

In an oddly but nonetheless delightfully harmonious manner, the building and the automobile complement each other while enriching the drawing with shared features and an extended sense of Art Deco in their respective architecture and design.

These drawings are created by a self-evident Art Deco-phile in the hope to share his love and charming with those who are interested in Art Deco, as well as inspiring more people to appreciate its unique beauty and find out more about its fascinating history. It would shed light on this distinguished style of art in terms of its irreplaceable position in the evolution of architecture from classic to modern without losing sight to the historical and cultural climate that gave rise to it.

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Art Deco, or Deco, is an influential visual arts design style which first appeared in France after World War I (1914-1918), flourishing internationally in the 1920s, 1930s and 1940s before its popularity waned after World War II (1939 to 1945). It is an eclectic style that combines traditional craft motifs with Machine Age imagery and materials. The style is often characterized by rich colors, bold geometric shapes, and lavish ornamentation.

Deco emerged from the Interwar period when rapid industrialization was transforming culture. One of its major attributes is an embrace of technology. This distinguishes Deco from the organic motifs favored by its predecessor Art Nouveau.

Historian Bevis Hillier defined Art Deco as "an assertively modern style that ran to symmetry rather than asymmetry, and to the rectilinear rather than the curvilinear; it responded to the demands of the machine and of new material [and] the requirements of mass production".

During its heyday, Art Deco represented luxury, glamour, exuberance, and faith in social and technological progress.

Influence Art Deco was a globally popular style and affected many areas of design. It was used widely in consumer products such as automobiles, furniture, cookware, china, textiles, jewelry, clocks, and electronic items such as radios, telephones, and jukeboxes. It also influenced architecture, interior design, industrial design fashion, graphic arts, and cinema.

During the 1930s Art Deco was used extensively for public works projects, railway stations, ocean liners (including the ﾃ四e de France, Queen Mary, Normandie), movie palaces, and amusement parks.

The austerities imposed by World War II caused Art Deco to decline in popularity: it was perceived by some as gaudy and inappropriately luxurious.

A resurgence of interest began during the 1960s. Deco continues to inspire designers and is often used in contemporary fashion, jewelry, and toiletries.

Source: Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Art_Deco

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“Spirit of an Age”.

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Solitude versus Togetherness in The Hong Kong Fl창neur Photography Series Figure 30-39

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Solitude versus Togetherness in The Hong Kong Flâneur The French term Flâneur means strollers or loungers, and yet without the negative connotations of laziness. Rather, it conjures up the literary type of man, the “connoisseur” who strolls leisurely in the streets of picturesque Paris, while understanding, participating and even decorating the city.

According to Fournel, flânerie is “a moving photograph (un daguerréotype mobile et passioné) of urban experience”.

In very much the same way with the element of Wabi-Sabi “侘寂” (“sabi” 寂 exactly means “solitude”), the unique Flâneur of Hong Kong is portrayed in some of our signature streetscapes.

In the form of a series of monochrome photographs taken at the same site at different times to capture the movement of our flâneur activities, underlining the stark contrast between solitude and togetherness that uncannily co-exist in our urban experience.

For instant, whether people is sedentary or mobile, such as eating fast food in small noodle shop, waiting for a bus at a bus stop/for a friend in front of a shop, or playing basketball in the court, they all share a creepy sense of solitude that cannot even be avoided by the boisterous maids gathering on Sundays and becomes obvious when a maid is found sitting by herself…It seems no matter we are alone or with others, we are all solitary flâneur too afraid to be singled out, and too busy to feel lonely, even at those rare moments of “strolling” in this fast-moving city, apparently together.

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In this series, I tried to use photography as the media to express my thoughts and research on The Hong Kong Flâneur.

Inspired by a previous public exhibition City Flâneur: Social Documentary Photography with its introduction.

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Similar to flâneur (city wanderers) in other genres, they focus their cameras on social vistas related to traveling and life and, through the images captured, reflect upon the causes of changes in the community and its environs, sometimes even offering their own commentary and critique. [1]

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In addition, the exhibition has four sections of exhibits, namely 'Street Photography', 'Social Documentary Photography', 'New Topographic Photography', and 'Conceptual and Manipulated Photography'. [2]

I would create more images on this subject and context of Solitude from a Flâneur’s point of view and incorporate them into my practice based on the aforementioned categories.

To elaborate the message of the photos, it is always a struggle for me to decide whether I should add captions (even with the good old quotes). I hope viewers can share a deeper meaning of Solitude through this series of photo-oriented artwork but, again,

understanding that we should let the artwork speak for itself, I would like to provide more space of imagination for viewers without being confined by textual interpretations. I am prepared to remove all captions / quotes when exhibiting these artworks, if necessary, for bettering effects.

However, from another point of view, the good old quotes as photo captions provide interesting insights because they are old thoughts that stand the test of time. They make a good complementary to these photos with a contemporary urban touch. Of course, for photos without captions but only titles, it works in its own right too.

In the making of the art, I used Photoshop to manipulate the overall visual effects of the photos in which I hope to create a better

focus and a creative mood for the viewers.

[1] Hong Kong Heritage Museum Exhibition http://www.heritagemuseum.gov.hk/archive//eng/exhibitions/Past_Exhibitions_145.html [2] Asia Art Archive web http://www.aaa.org.hk/Collection/Details/31461

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How do you feel when you are not sure if it is a right time or the right thing for you to wait?

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20 minutes a day, 5 days a week, looking around in the street… Perhaps I feel lonely because I don’t know how to spend another 20 minutes tomorrow… or I choose solitude as I’d rather spend this 20 minutes on thinking and relaxing.

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I don’t want to be disconnected from the world including my friends even I spend only 2 minutes waiting before I cross the road.

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“If you meet a loner, no matter what they tell you, it's not because they enjoy solitude.

It's because they have tried to blend into the world before, and people continue to disappoint them.�

Jodi Picoult

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Solitude / Solo Performance base photography Series Figure 40-48

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To create a new artwork under the theme of Solitude.

Solo - This was a unique and unforgettable experience that I learnt in my life when I was in the Leadership training course in Hong Kong Outward Bound School in 1991.

I never thought about staying in an isolated island for 24 hours alone. No watch; no mobile; no radio.. etc, Nothing I can use to keep connecting my “world�.

Though I was fear during the solo hours but eventually I built self-confidence through this exercise for rest of my life.

In reality, I thought that somehow it is really lonely and scare for a man who works and fights hardly for survival in business world/society though there is surrounding with people: peers and strangers.

They are City Fighters.

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Solitude/Solo A simulated photo to illustrate the set-up and conditions of a solo exercise

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In creating this project of Solitude/Solo, inspired by photographer Gregory Crewdson [1] [2], Matt Mahurin and Cindy Sherman, I tried to create a sense of intense loneliness which can be depicted as most of the photos are monochrome and the mood is gloomy. I tried to express the solitude of a person, which is personal and at the same time can be anyone’s “personal experience”. I wanted to use these photos to tell a story, to take an everyday situation and transform it into something cinematic and universal.

Point of view Although I set the theme as a city fighter surviving in a routine business world, I hope I can express something more impersonal by playing the role of an actor, who observes myself, as one of the many city-goers, from a detached point of view. Like a tiny drop of water in a sea of people, I am both myself and not myself, and anyone who has had the same urban experience can identify with me.

Expect the Unexpected What I enjoy the most in making art is the spontaneity and the almost providential nature of the creation process. There are always unexpected outcomes which can be anticipated delightfully. For example, while I was being the subject of the many shots in Central, I was not aware of which one was arty and which was not. I just played my role faithfully, and let art come out naturally. Although almost of the shoots were not being used, the selected 2 x “artwork” is the result of much effort and work, just like doing one shot in a movie, I have gone through many takes to capture the best shot, and usually it is completely different from my initial expectation! The making of this cinematic series of photographs provides me with the ultimate experience of making art.

[1] The artist has referred the 'limitations of a photograph in terms of narrative capacity to have an image that is frozen in time, (where) there's no before or after' and has turned that restriction into a unique strength. http://whitecube.com/artists/gregory_crewdson/

[2] Crewdson's photographs usually take place in small-town America, but are dramatic and cinematic. They feature often disturbing, surreal events. His photographs are elaborately staged and lighted using crews familiar with motion picture production and lighting large scenes using motion picture film equipment and techniques. Kitamura, Katie, "Gregory Crewdson". Frieze. Retrieved 19 March 2011.

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Isolation is aloneness that feels forced upon you, like a punishment.

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Solitude is aloneness you choose and embrace.

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O N L Y M E O N L Y T R U E?

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Flowing series Photography Series Figure 49-59

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Flowing series In this Project , the art making processes were so dynamic and creative! Because until now, I still have to define the best form to capture my idea of making this artwork either by one single artwork series or more different presentations.

Initially, I intended to make an art to echo Neil Gaiman's speech because the speech is so encouraging and imperative. Moreover, as I am in the middle of my MFA program and … somehow, I have encountered lot of problems and concerns. So, I would like to flow these questions for self-consideration such as, in particular, “Should I be an artist?, “Can I make good art” and etc….

Not sure whether the above are good questions for me to review what I was doing in my learning path by taking these questions in a humorous way.

I put these questions on the table to re-think where and who I am. But the point is if I label these questions on the glass bottles, I might have the following queries: •

Would the form be too simple or direct? (to use bottles)

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Should I make a performing art such as an video to record how I throw the bottle into the sea or anything else?

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Should I set up the bottles as still-life installations and present by the media of photography?

These are some possible ways that I have to keep experimenting the making of the artwork whereas to best interpret my idea at the end, despites the fact that it made me doubtful in the progress.

So, when it came to the later stage, I found there are few different directions that I can go for.

Firstly, if I throw the bottle into the sea as a kind of performing art, the focus of presenting the message is not clear enough.

So, I captured some images when the bottle was flowing in water… by then, the result looks as good as shown in this Project – Flowing series.

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They present a kind of helplessness and uncontrollability on one hand, but they also present a kind of Zen philosophy - go with the flow/ follow our heart …

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They direct or at least suggest trains of thoughts. The photos impress the viewer to respond and initiate their own thoughts that people might encounter the same questions. Sometimes we believe that we have done something well when we follow our heart to do so… but then, we have nothing to do as the desired result might or might not happen depending on timing and luck… just like what Gaiman said in his speech.

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In addition, these flowing bottles also represent a kind of solitude to the viewers. Whether he/she is an artist or anyone working in reality, they may feel solitude and helplessness.

The ultimate outcome as an artwork is a series of photos which I have transformed from a simple performance (by throwing the bottles into the water) into a series of artistic photos. At the end of the day, I didn’t record it and even disposed the original artwork, i.e. the glass bottle with the printed art paper inside.

When my research is to look at the possibility of making art in a sense of impermanence, I am not sure whether I have learnt the implications from this art making process; whether I have created a piece of artwork but its original piece has been disposed at the end… thus I might need to “reproduce” another one in the future should it be required to show the “original work” i.e. the bottle rather than the photos of flowing bottles.

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The speech delivered to the University of the Arts Class in Philadelphia by Neil Gaiman: “When you start off, you have to deal with the problem of failure. You need to be thick-skinned, to learn that not every project will survive. A freelance life, a life in the arts, is sometimes like putting messages in bottles, on a desert island, and hoping that someone will find one of your bottles and open it and read it, and put something in a bottle that will wash its way to you: appreciation, or a commission, or money, or love.�

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Questions on the Self Installation base photography series Figure 60-62

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Questions on the Self (Installations) Inspired by the installation artwork: In “Conviction” (1973) by Michael Craig-Martin, the question marks deliberately act ambiguously, on one hand qualifying the certainty of the preceding statement and on the other hand suggesting the possibility of another statement in the place of the question mark. “Conviction” is the only piece where the question mark appears alone. [1] Hence, I tried to keep the form, i.e. the 12 bottles with the labeled questions to set up a still-life installation.

I thought they are well presented for my self questioning. They are not necessary and solely to review my art practice and my learning stage but also highly generalized to allow a scope for probing by viewers. In particular, in contemporary art scene, it is not unusual for viewers to be interested in sharing/knowing what the artist thinks and believes.

For me, through labeling those of my questions [2], they can be used, as a humorous way, to ‘re-question” what an artwork is in a general term. At the same time, to a certain extent, I also want to share my doubts, my feelings, my concerns, and even more on my experience of helplessness, sometime in a sense of loss, sometime vulnerability… this is what I thought, a contrast of solitude!

Through this installation- the labeled questions direct or at least suggest areas of thought, the question marks lead the viewers, (either he/she is an artist

or whoever) may respond or initiate his/her own thoughts that are absorbed into the structure of the artwork.

For example, the 2nd artwork, the questions labeled on bottles which were filled by colored ink in various volume and dark tone to represent the different “level” of concerns and the bottles were filled by tag water in different volumes to enhance the “increasing weight” of the questions that inspired by On the Shelf (1971) by Michael Craig-Martin.

[1] In reply to questions from the Tate Gallery, the artist wrote the following statement dated 16 May 1974: http://www.tate.org.uk/art/artworks/craig-martin-conviction-t01764/text-catalogue-entry [2] There are 2 group of questions appeared in my artworks, one is related to my personal questions to challenge what I am doing? Another one if a repeated questions (Is it an artwork?) printed on labels with question mark to ask which one of my artwork is an artwork?

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This is art, in the Bottles, on the Shelf Installation base photography series Figure 63-68

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This is art, in the Bottles, on the Shelf In this project, I attempted to experiment how to transform an object into an installation and finally to make it become a piece of artwork.

I used some of my previous pieces of artwork which are not supposed to be qualified as artwork…. (at least, not for my folio submission), so I tried to see what to do if I printed out the images of these pieces of “artwork” on paper, such that they are no longer my art archives image on my PC… they became (when printed on paper) an visual work to reflect my previous creation of artwork.

Through creating this installation, I put these printouts into the bottles, and they became objects. This attempt of artwork emerged from a thoughtful alteration of the preceding work.

Inspired by Annie Cabigting (b. 1971, Philippines) 's paintings Pictured Pictures [1] which are based on the photographs of Roberto Chabet's installations with plywood shelves. Cabigting’s conceptualist paintings may be seen as an attempt to grapple with some of the most fundamental questions in art: representation, originality, appropriation, art and reality, object and image. [2] I enjoyed making this installation. When I put the glass bottles (which consist of the images of my previous artwork) and placed them on the wooden shelf, I believe the objects (bottles) are being transformed into artwork regardless they were or were not beforehand. But now, I would say, it is the work of making art!

I was also glad to appreciate an interesting installation – An Oak Tree by Michael Craig-Martin [3]. As he said, “I considered that in An Oak Tree, I had deconstructed the work of art in such a way as to reveal its single basic and essential elements, belief that is the confident faith of the artist in his capacity to speak and the willing faith of the viewer in accepting what he has to say.” [4] Conclusion: I am satisfied that I eventually decided to separate the original set-up (i.e. combined artwork imaged paper and labeling questions by a same bottle which is presented in April class) and finally I created “This is art, in the bottles, on the shelf (shown in the following 7 pages) while I used another mean of labeled questions on the bottles to create the above series, i.e. “Question on the Shelf”. These are 2 different approaches for the still-life installation… I found the overall results were better and much clearer in the delivery of my messages to viewers.

[1] The paintings were also installed on a plywood shelf in the inaugural exhibition 'Inaugural Part 3' of Finale Art File at La Fuerza Compound in Makati in 2008. http://www.aaa.org.hk/Collection/CollectionOnline/SpecialCollectionItem/9918 [2] Singapore Art Museum Presents An Exploration of Contemporary Art Materials and Methods In Latest Exhibition - Medium at Large https://www.singaporeartmuseum.sg/press_office/releases/2014/Singapore_Art_Museum_presents_Medium_at_Large.pdf [3] An Oak Tree – an article on the whole garden web news: https://thewholegardenwillbow.wordpress.com/2013/05/02/an-oak-tree-michael-craig-martin/ [4] Artist interview from Tate Magazine: http://www.tate.org.uk/art/artworks/craig-martin-an-oak-tree-l02262/text-summary 91

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The Beauty of Paucity Diary Box drawing and collage Mixed media on canvas Figure 69-80

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“Life is hard!”

Canvas box 25 x 25 x 5 cm Stone with acrylic color and paper

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“Why choose to be easy?”

Canvas box 25 x 25 x 5 cm Stone with acrylic color and paper

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Primary title: How to knit a balanced life?

Secondary title: Happiness is your choice This piece can be viewed in both orientations, straight and upside down. The kimono represents balance, and not only do the Japanese chopsticks resemble knitting spins, its pointed design for facilitating tiny bites also serves as a gentle reminder of “Slow Living”.

The whole composition tells us that maintaining balance in life is an art, a “knit-work” that requires practice to perfection. There are endless trials and errors, or downright failures, but we have to pick up the pieces, which is the major function of chopsticks, and knit the broken fabrics into a garment of completion and satisfaction. The process can be slow, but we can definitely enjoy the taste of life by savoring every tiny bite, no matter it is sweet or sour, spicy or bitter…

The rainbow of colours in alternate lines of hot and cool tones suggests the alternate states of mind, the ups and downs in life, in a constant cycle. We can be joyful in one moment, and sad in the next; but happiness is still our choice as long as we keep moving forward. There is always something to be happy about.

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Primary title: Zoom out !

Secondary title: It’s a small world The image of the stone at the bottom suggests that very often, when we get too close to something, we only get the superficial image of it. It is only when we “zoom out” that we can see a fuller picture of the real thing.

The window creates layers of space and establishes distance between the real and the virtual. It reminds us that the reality is not always what it seems, and we can hardly reach it through the window of perception.

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Primary title: When Petals Fall in Serenity

Secondary title: You Never Lose Anything

Alluding to a Zen poem that goes, Falling petals long to follow Water that is born to flow.

In vain has it tried to hold The water, however, just wants to go. 落花有意隨流水, 流水無心戀落花

The falling petals are put aside by the water, graphically represented by the strips arranged in the pattern of rain falling from the sky, represented by the blue patch, to the earth, by the yellow patch.

Though it is easy to sympathize with the poor fallen petals that can’t make the water settles for her, let’s think deeper from the perspective of the water, which is flowing by nature. How can we blame the water for being what it is?

In very much the same way, if what we are pursuing in life is never really there, what have we lost if we don’t get it?

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Oil paintings series Studio Practice archives in Singapore LASALLE Collage of Arts Nanyang Academy of Fine Arts Figure 81-90

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Still-life Painting Practicing for no sketch/layout on canvas 20 x 30cm

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Still-life Painting Practicing for 3 colors mixing on canvas 20 x 30cm

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Still-life Painting Practicing for figurative and photorealistic painting 40 x 60cm

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Still-life Painting Practicing for figurative painting, monochrome, composition, lighting 40 x 60cm

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Seascape Painting Practicing for dry brushing and color mixing 40 x 60cm

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Landscape Painting Practicing for dry brushing and color mixing 40 x 60cm

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Cityscape Painting Practicing for color mixing, dark in dark 40 x 60cm

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Landscape Painting Practicing for color mixing, white in white 40 x 60cm

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Landscape Painting practice A Castle in Segovia, Spain Oil on canvas 60 x80cm

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Landscape Painting practice The island of Burano, Venice Oil on canvas 60 x80cm

Shibu in Urban Touch Photography Series Field trip, photo taken through Hiroshima, Japan Figure 91-105

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BURNING Debut group exhibition on residential rooftop in HK Dec 2014 Site Specific Installation Figure 106-107

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