Introduction   |   The Artworks   |   The Artists   |   The Opening  

Chung Ka-chun graduated from the Academy of Visual Arts, Hong Kong Baptist University. While studying for his Bachelor’s degree he went to Bologna, Italy, as an exchange student, and was intrigued by a course there about the restoration of paintings, focusing on the texture and ingredients of paint.

After graduating, he lived in Berlin for a one and half a year. He was hooked by the marks on walls and discarded objects on the streets, which he integrated into his painting-object compositions. He still uses this technique. While in Berlin, he had his first-ever solo exhibition in a local art space, Ori-Berlin.

Art manifests through a slight vibration of soul. As a painter my practice is about leaving marks on the canvas, in a space and even in the spectators’ mind. Through paintings with object-based installations my intention is to create the scenes of fictive memories, in which the spectators may be intrigued to ponder. That is an instant when the spectators have the opportunity to feel their soul as there should be a connection between the visual impact and them.

“Painting” can be a noun and also a gerund. In both cases it involves paint and surface whereas paint always goes towards the surface which stays still. Separation of the paint and surface perhaps is the possible way to find out the boundary of painting, and in what extent or how far the paint away from the surface would make people no longer regard such a paint-surface combination as a painting? Or on what kind of surface the paint- surface combination will be deemed to be other art forms? These questions are my main focuses other part from the subject matter-memory.

Justin is an American architect and photographer based in Hong Kong. Born in the United States, Justin spent half his life between Arizona and Hong Kong, and much of the rest in Basel, East Africa, and elsewhere. His work examines places shaped by the effects of globalization, reflecting on themes of recontextualization, mobility, and global visual culture to build a broader narrative of the contemporary city.

Formerly trained in architecture, he is a licensed architect who studied architecture at Cornell University and has worked at Herzog & de Meuron and Office for Metropolitan Architecture.

Our first home is often where our memories of childhood begin; the place where we attach our memories and build meaning in this world. Over time, we revisit our houses to find that the house is different from what we had remembered; rooms appear smaller than they were, the colour tones of the walls are not the same, that same wooden chair sits somewhere else.

Our memories fade and erode like the wallpaper that begins to peel off. The skeletal frame of the house is exposed by the wind and sun, bringing to light the hidden or unknown. Sand from the surrounding desert slowly flows into each room like water rising in a sinking boat, burying each wall inch by inch, erasing our memories of that place. It is not long before the house - like the figments of our memory - vanishes beneath the sea of sand.

Liu Tsz Ying graduated from the Academy of Visual Arts, Hong Kong Baptist University. More recently, Grace became interested in applying creative work to life itself by experimentally combining artistic expression with found objects and typology.

She enjoys stumbling on a random daily object and doing extensive research with creative approaches to discover the extraordinary in the ordinary. According to her philosophy, daily life and art are best wholly entwined.

Grace is a curious person who enjoys independently roaming different areas and disciplines in search for new discoveries which she may utilise for her projects. This attitude of hers also articulates in her creative practice in which she continuously explores new media and techniques across the boundaries between design and arts. She is also a religious person who would like to put her view on life and value as shown in her art piece.  

Ouyang Jiaqi graduated from the Academy of Visual Arts, Hong Kong Baptist University. She studied sculpture and wearables in academy and be expert in using cloth as creative materials.

Ouyang Jiaqi enjoys the process of tailoring and stitching. She uses stitches, thread, and scissors to record daily observations, as well as cloth to express her understanding of the world. Living in an old city district for many years, she is passionate about exploring old things which can inspire her to create.  

Sin Sin Man has collaborated directly with contemporary visual artists in the creation of works, including textiles, jewellery and environments. During her frequent visits to Indonesia, where she now has her second home, Sin Sin came to know and champion the work of Indonesian contemporary artists. In 2003 she opened Sin Sin Fine Art gallery in the Central district of Hong Kong, in part to create an opportunity to bring Indonesian contemporary art to the city’s local and international audiences.

Artist Sin Sin Man unleashes her inner childhood in her newest artwork series, “Ecstasy”. A series of mixed-media miniature sculptures inviting audience to interpret different imaginative and playful worlds.

The intuitive process while creating these sculptures conveys the philosophy of “Be Mad, Be Free and Be Yourself”. Ms Sin Sin Man believes that life should be full of fun and laughters, just like our precious childhood. It is important to find your identity, and be fearless, despite what the world thinks.

Join Ms Sin Sin Man on an experience of mystical self-transcendence through the miniature snapshots of life.


Wong Tong has participated in many group exhibitions in Hong Kong and China, including varies stage installation and mural painting art projects. Currently working as a community artist in Hong Kong, Tong collaborates with many local residents, independent artists and organisations, and contributes to local society, traditional crafts and culture. His painting series of “Clouds and Flowing Water Line”, and his sculptural work “Memory x Memory x Memory x Time” were both presented at Sin Sin Fine Art in 2013.

Go back to past creations.
Examine the symbols of the theme of the painting.
Rewrite the colour and composition behind it.

In the past, people pursued beauty and embellished life with aesthetics through craftsmanship. Evolving to modern day's perspective view, craftsmanship is no longer a practice but rather a representation of culture and traditions. In the world of modern art which seemingly different yet share similar aesthetic, by studying craftsmanship, one will be able to find its solid and real value.

Through painting the craft products as well as adding lines, dots surfaces and colours, it juxtaposes modern aesthetic with the true stories behind the beauty of craftsmanship.