My Signature Layered Technique

From a distance, my paintings look like landscapes. Come closer, and the surface tells a different story: thick, sculptural layers that catch the light, cast shadows and change as you move around them.

The texture is so pronounced that you want to touch it — something a photograph can never quite convey.

This comes from my signature layered impasto technique, developed through years of working with the palette knife. Working this way gives me a certain freedom — it bends the rules, leaves space for spontaneity, and carries the same slightly rebellious spirit that I have always had.

Unlike a brush, a palette knife creates a freer, more physical stroke. A single movement can carry several colours, blending them into a soft gradient in a way a brush simply cannot. No two strokes are ever alike, and I can never predict the exact result.

My finished paintings may look simple and effortless, but creating that sense of simplicity takes years of practice. That is where the real skill lies. 

I began developing this technique in 2010. 

In the first few years, I spent 10–14 hours a day in the studio, rarely satisfied with what I saw on the canvas. I would paint, study the result, and start again, always looking for the point where the technique finally matched what I had in mind. That dissatisfaction became my fuel. Painting also became a way for me to work through things I couldn’t put into words.

As I kept working, I learned how much could change with the pressure and movement of the palette knife — from the texture of the paint to the way colours came together. 

I know how changes in pressure, direction and amount of paint will affect the final result. This allows me to work more freely while keeping the composition under control. 

The path I had spent years building was recognised in the meaningful way when my unique technique helped me obtain the Hong Kong Talent Visa. This same technique had already been recognised through exhibitions, interviews and newspaper features, and the visa became another reminder that the years of practice had created something truly distinctive.

And now in 2026, I create my paintings here in Hong Kong, from my own studio, in the city I have come to call home. From here, my work continues to travel around the world, finding its way into collections and being recognised far beyond the place where each painting begins.