This bursary will support the research and development of In/Visible Ecologies, a site-responsive augmented reality (AR) installation overlaying digital storytelling, dreamlike imagery, and AI-enhanced visual art onto the green corridors of Leeds. Initial testing will take place along the Meanwood Valley Trail and in Roundhay Park, with a final presentation planned for either Drinkfield Nature Reserve or South Park in Darlington.
The funding will provide the time and resources necessary to investigate immersive technologies, deepen my proficiency in AR platforms such as Unity and AR Foundation, and explore collaborations with sound artists and 3D modellers in order to build a functioning prototype.
In/Visible Ecologies explores inner ecologies, personal memory, and the psychological significance of urban green spaces. Participants will be invited to walk, pause, and interact with location-triggered digital interventions—animated forms and soundscapes mapped directly onto the landscape. The work will be accessed via mobile devices, heightening the immediacy of the experience and encouraging deeper engagement with place-based digital art.
This project represents a bold evolution in my practice, which spans visual and media art and curatorial work across the Asia-Pacific and Europe. While I have previously worked with moving image and installation, this will be the first time I integrate AR, real-time GPS triggers, and AI-generated assets within a mobile platform.
The bursary will enable:
* Training in Unity and immersive prototyping tools
* Fieldwork and site-mapping in Leeds and Darlington
* Experimentation with AI-based visual platforms for asset creation
* Development and testing of a beta experience
* Creation of a proposal and presentation to seek future funding
I see this as the foundation for a new strand in my practice—immersive art that bridges nature, memory, and digital possibility. This funding will allow me to test a small-scale, poetic AR experience within Yorkshire’s natural environments and progress towards a publicly engaged iteration to be showcased in Darlington.
The AR installation explores green space as a shared psychogeography—a site of personal memory, healing, and creative transformation. Leeds’ Meanwood Valley Trail and Roundhay Park, like Darlington’s South Park and riverside areas, serve as vital ecological lungs and cultural commons for their communities.
This project offers an innovative intersection between the natural and the digital. While its development begins in Leeds, the final work is designed to evolve site-specifically, adapting to Darlington’s own green infrastructure. Through poetic, responsive digital artworks embedded in the landscape, the installation will engage audiences in unexpected public contexts—an experimental form of digital placemaking.
By showcasing the final version in Darlington, the project has the potential to position the town as a progressive site for experimental digital art in the North East, particularly at the intersection of technology, nature, and public engagement. It opens space for broader conversations around how rural and peri-urban areas can host and inspire forward-thinking artistic practice.
I am a multidisciplinary artist and curator with a background in theatre, visual and media arts. My practice is shaped by a transnational approach, with curatorial and artistic projects presented across Pacific Asia, Europe and South America. My work explores collective memory, cultural identity and artistic collaboration through experimental formats that span exhibitions, residencies, and performative events. Since 2009, I have curated and exhibited in over ten cities internationally, with support from institutions such as the Hong Kong Arts Development Council, the Asia Cultural Council, the Leisure and Cultural Services Department (HK), and the Nordic Culture Fund. Recent curatorial initiatives include Non-Local Non-Solo (2024–2025), a residency and exhibition programme partnered with Residencia Corazón (Buenos Aires), Tangent Projects (Barcelona), and Myymälä2 (Helsinki). This extends into the Non-Solo exhibition series, featuring Hong Kong artists such as Ivy Ma, June Wong and Liv Tsim, in collaboration with Amie Chan, Carol Chow, Monti Lai, and others, presented in Barcelona (2024), Stockholm and Glasgow (2025). Other key projects include Remembrance (2022 & 2024), an exhibition on the meaning of home (Buenos Aires, Helsinki and Bristol); and Inter•Phase (2022), an outdoor and virtual residency-based exhibition in Finland. Earlier exhibitions include Under • Line (2018–2022), shown in Hong Kong, The Hague, Tokyo, Rotterdam, Sydney, Trondheim, Barcelona, Lisbon, and Perth; and two solo presentations: All Along, Joutsa Municipal Library, Finland (2023); and Sand Settling on Sand, Hotel Stage, Hong Kong (2021). My curatorial work foregrounds artistic exchange and decentralised models of practice, while my art continues to investigate narrative and temporality through multimedia and site-responsive forms.
Yes, I hold academic qualifications in both the arts and humanities, reflecting the interdisciplinary nature of my practice.
I earned a Bachelor of Arts in Fine Arts from The Chinese University of Hong Kong, where I received formal training in visual arts. This foundation was further expanded through a Master’s degree in Literary and Cultural Studies at the University of Hong Kong, enabling critical engagement with cultural theory and aesthetics.
To deepen my expertise in media-based practices, I later pursued a Master’s degree in Media Creation at the Institute of Advanced Media Arts and Sciences (IAMAS) in Japan. This programme was pivotal in shaping my media art practice, offering a platform to experiment with interactivity, performance, and digital storytelling.
The combination of visual arts, media creation, and cultural theory continues to inform both my curatorial and artistic work, allowing me to bridge disciplines and engage with diverse audiences globally.
Yes, I have received numerous grants supporting theatre, video production, research, exhibitions, and cultural exchange initiatives.
Recent grants include:
* Globus Opstart+ (Nordic Culture Fund, 2024) for Art Nexus: Building a Decentralised Biennale (research project).
* Non-Local Non-Solo (2024–2025), funded by the Hong Kong Arts Development Council, supporting residencies and exhibitions across Buenos Aires, Barcelona, and Helsinki.
* Non-Solo exhibition series (2024–2025) in Barcelona, Stockholm and Glasgow, also supported by the Hong Kong Arts Development Council.
* Under • Line (2018–2023), a multi-city collaborative visual arts project, received support from the Hong Kong Arts Development Council and the Arts Development Fund (Home Affairs Bureau).
* Inter•Phase and Seeds of Remembrance (2022), both supported by the Hong Kong Arts Development Council.
* Artistic research in Finland (2021) and Netherlands (2022), also funded by the Hong Kong Arts Development Council.
These grants have enabled me to develop sustainable models of artistic collaboration while facilitating international cultural dialogue.
Yes, I actively initiate and manage independent curatorial and residency-based projects that aim to foster international exchange and decentralised curatorial frameworks.
With past experience as a director of Videotage and Microwave International Media Arts Festival, I have increasingly focused on self-initiated projects that engage wider communities. For instance, I curated and produced Non-Local Non-Solo (2024–2025), an open-call residency and exhibition programme inviting artists based in Barcelona, Buenos Aires, and Helsinki to collaborate with Hong Kong-based practitioners. These exchanges culminate in public exhibitions across multiple cities.
Projects such as Under • Line and Seeds of Remembrance have also emerged from self-organised initiatives. By structuring projects as open platforms, I seek to benefit broader art communities rather than focusing solely on personal output. These initiatives are not only opportunities for artistic development but also vehicles for knowledge sharing and cross-cultural dialogue.
Yes, I was commissioned by the Hong Kong Arts Development Council to curate the New Media Arts Exhibition Project – Intermedia Experiment at the Hong Kong Art School from 2008 to 2009. This project was pivotal in shaping early discourse around interdisciplinary media practices in Hong Kong.
Although much of my work has since shifted to independently initiated projects, I continue to receive public funding that enables curatorial freedom. This model has allowed me to pursue experimental formats and international collaborations outside conventional institutional frameworks.
An early video work of mine was acquired by the Hong Kong Film Archive. While this acquisition did not involve a financial transaction, it reflects early institutional recognition of my practice within Hong Kong’s moving image and media art context.
Yes, my video works have been the subject of critical discussion in both regional and international publications. A commissioned essay published by the ff»dossier of Associação Cultural Videobrasil provided in-depth analysis of my work in the context of contemporary media art.
This same essay was later republished in Art AsiaPacific Magazine, broadening its readership and reinforcing the relevance of my practice within global dialogues on moving image and curatorial experimentation.
No, I am not currently represented by a commercial gallery, although my video works continue to be distributed by Videotage, a Hong Kong-based media art organisation.
As an artist, curator, and educator, I intentionally choose to work independently, developing projects outside conventional commercial and institutional frameworks. This autonomy allows for greater flexibility in both collaboration and experimentation, and supports my commitment to decentralised, community-oriented curatorial practices.
My approach prioritises critical engagement, cross-cultural dialogue, and shared authorship over market-driven structures, enabling more inclusive and responsive modes of artistic production.
Yes, I have participated in several recognised residency programmes, many of which were supported by competitive grants and international partnerships.
In 2021, I received a grant from the Hong Kong Arts Development Council to undertake a self-initiated residency in Finland, which laid the foundation for subsequent international projects. In 2022, I continued this model with an independently supported residency in the Netherlands.
That same year, I was invited to join ÖRES, a residency programme hosted by the Örö Residency Center Association in Finland. The project culminated in Inter•Phase, a site-specific exhibition combining outdoor and virtual presentation formats.
In 2024, I was awarded a Nordic Culture Fund grant to conduct further artistic research across the region, reinforcing my ongoing engagement with Nordic networks.
Earlier in my career, I was honoured with the Artist-in-Residence Award at WBK Vrije Academie (The Hague, Netherlands), as part of the 16º Videobrasil International Electronic Art Festival in 2009.
These residencies have been vital to the development of my practice—providing time, space, and cultural context for experimentation, and fostering long-term collaborations across disciplines and geographies.
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