The instant is a material.

Statement

I am interested in the moment when ordinary reality becomes unstable.

A river lamp becomes a stage light. A swimmer dissolves into colour. An urban signboard becomes environmental pressure. A droplet becomes sculpture. My work moves between documentary observation and constructed studio experiment because both can reveal the same thing: the world is always becoming something else, but usually too quickly for us to see it.

In the documentary images, I am drawn to ritual that does not announce itself as performance. The fishermen lifting lamps on a river, the women around a hearth, the workers in water, the children playing against old brick walls, the crowd following a fire dragon through Hong Kong streets: these are scenes of labour, memory, and community, but they also contain theatre. Smoke, fire, blue hour, and gesture become the lighting system of real life.

In the studio work, the subject is time under pressure. Water, ash, chalk, flowers, eggs, powder, and flame are forced into forms that exist for less than a blink. High-speed photography lets the invisible interval become physical. These images are not only about impact; they are about the unexpected grace that appears inside rupture.

Hong Kong remains the visual ground of the practice. The city’s night light, signboards, traffic, density, and reflective surfaces create a kind of permanent collision between private life and public brightness. Light Encroached Homes / 光染民居 is important to me because it holds that tension directly: beauty and pressure in the same frame.

Across Ritual, Collision, Motion, and City Light, I return to charged time. I want the photograph to feel less like an illustration of an event and more like the event has left behind a physical trace.