I used to write annual reports during my past days of service at Art Of Nature Gallery. I wrote the reports in Chinese as most of the clients and art collectors are Fujianese or Mainland Chinese. Originally, I had an inner struggle for which language I should use for this Triennial Report of my Kwai Hing studio. But, as I notice that Hua Gallery has selected me and Chow Chun Fai to be the Hong Kong representatives in industrial art, I re-adopt the methodology of Rosaryhill School to deal with an English editorial for this report with international vision. Here you can see how I illustrate my artistic contributions and aspirations as similar as a piece of cultural column from a global magazine, in which I learnt this literary philosophy from the experience of serving as a Press Director of Annual Editorial Board at Rosaryhill. It is welcomed that online news media or magazine publishers kindly adopt this report for your precious columns. This Triennial Report is equivalent to the CEO level of Sorina Fok's proposal-writing culture from the "Kind Person, Kind Auntie" movie of ViuTV Channel, even though I am just a humble lifeguard with no chance of serving inside a huge enterprise and my Kwai Hing studio is just a tiny factory unit. Throughout these three years, I seemingly try to develop an entrepreneurial image and working environment as similar as the lofty sentiments of Sorina Fok's office culture in "Kind Person, Kind Auntie" episodes, which is a bit different from the "Haixi Affection" Fujianese style of my former gallery company "Art Of Nature".

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Cultural Focus:
“Student Artist” from Rosaryhill penetrates
to an unfamiliar public-estate district for
industrial art
Atelier de Belas-Artes do Vincent Lee
When mentioning about Vincent Lee Kwun-leung’s biography, what would you recall?
His prestigious “Student Artist of the Year” eternal honour at Rosaryhill School? His
Distinction in CE and AL Art exams? His calligraphy talents? His fascination on
Sailormoon cartoons during his childhoodness at Sacred Heart Primary School? His
swimming talents in New World Harbour Race? His “Anson Chan Series” paintings
during his university graduation show? His past art-administration service at Art Of
Nature Gallery? Simply for the field of art, everybody clearly knows that Vincent is
keen at acrylic painting and Chinese art history up to now, no matter you accept such
kind of his peculiarities or not.
This big boy from Cheung Chau has shifted his creative platform to Kwai Hing.
Originally, he did not think that much about being a Fotanian artist, even though
some veteran art masters persuaded him to have a try on such hiring and he also felt
interested with this great dream. Up to now, his independent art studio called

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“Atelier de Belas-Artes do Vincent Lee” at On Fat Industrial Building has been
operated for three and a half years, whereas he has built up a kind of sentiments on
the cultures of this Kwai Hing community.
“I decided to hire this studio in Kwai Hing driven by coincidence!” Vincent Lee said.
“In 2016, my ‘Student Artist of the Year’ mentee from Rosaryhill School, called
Augustine Tse Wing-hin, persuaded me to have a try on hiring a studio here. The
rental was just $1,800, not that expensive at all. Moreover, I had a stable source of
income from my lifeguard job at Manhattan Hill. Why not have a try for a change?”
The name of his studio “Atelier de Belas-Artes do Vincent Lee” is a Portuguese name,
which implies that Vincent’s family members from his dad’s side originated from
Macau and he enjoys being an elementary learner in Portuguese language.
For the years between his university graduation and the hiring of studio, Vincent
nearly gave up acrylic painting and solely focused on contemporary Chinese-ink
drawing on watercolour paper for easier storage. But, the emergence of this new
artistic realm in Kwai Hing revives his fundamental faith in Western art. He picked up
some abandoned wooden boards from the corridor of the On Fat Industrial Building
for creating monumental lifeguard paintings in greenish tone. “Lam Tung-pang also
does this kind of art creation in Fo Tan, and this exactly symbolizes the minimalist
beauty of industrial art, right?” Vincent smiled for this assumption.
Vincent reckoned a fact that the year of establishing his Kwai Hing studio is as same
as the year of ViuTV’s establishment. When being asked whether there are
similarities between two sorts of elements, Vincent said that he and ViuTV are
equivalently pursuing a “guerilla warfare” strategy in entrepreneurship. It means that
he, same as this new television channel substituting the closed-down ATV, never
fosters an over-gigantic ambition in either renovating the interior to be extremely
grand or producing some art that are too cost-exhausting. Under an estimation that
it is totally unable to compete with the veteran art masters with stable income from
urban-sketching drawing courses serving for the housewives and old uncles, Vincent
does not build up a fixed art style for his works and he prefers to experiment
diversified creative themes as similar as the precise product-selection philosophy of
running a convenient store. Moreover, Vincent’s interactions with his tenant
neighbours inside the factory are quite similar to the episodes of a ViuTV movie
called “3 x 1”, as different tenants will offer cares for their fellow tenants despite of
having different paces of career lives with different previous life-endeavouring
experiences. This is a kind of mutual support for boosting up each other’s morale in

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self-entrepreneurship.
During the formation of this tiny studio with a bedspace-apartment size, Vincent just
simply bought some cheap photo-frames from Tsuen Wan and displayed his past
award certificates along the two sides of windowsills. If you look at the certificates,
you would find that he mostly showcases his art, calligraphy and design awards at
Cheung Chau Government Secondary School and Rosaryhill School. A few of them
are singing and swimming. Vincent usually defines such display of holistic
co-curricular achievements as an accomplishment of “Rosarian cored values”. For
swimming, you can see his extraordinary achievements in completing a 1500m “New
World Harbour Race” and a 2600m “Cross Tolo Harbour Open Race”. Vincent
explained that, if encountering some clients who are ignorant in art, he can persuade
them to have a try on my swimming-coaching services instead. Moreover, everybody
knows that Vincent is a lifeguard with a painter background, whereas he practices
intensive swimming in beaches and public swimming pools in long-distance modules
every week without seasonal considerations. So, Vincent chose to display both his art
and swimming certificates. The whole art studio then became a professional and
open one despite of such simple displaying strategy.
Up to now, the works of Vincent Lee and Chow Chun Fai are selected by Hua Gallery
as Hong Kong representatives in “contemporary Chinese artists” category. Chow
Chun Fai symbolizes the culture of Fotanian art, whereas Vincent symbolizes the
hiring of Kwai Hing studio. They both represent the unique spirit of Hong Kong
industrial art in the perceptive of overseas art institutions, which means foreigners

4. 4
would firstly choose Chow Chun Fai and Vincent Lee as two important international
windows in this Asia’s world city for understanding the features of Hong Kong art
once putting aside the concerns on those local conceptual artists apart from painting
medium who suppose to be very Westernized in ideology but are unable to
efficiently communicate with the West.
Vincent Lee’s art is not that political. Most of his works since the establishment of his
Kwai Hing studio are much inclined to individualistic perceptions. For example, he is a
lifeguard, and his works vividly reflect his adoration to this occupation with sunshine
appearances. He is eager for serving as a LCSD lifeguard, as he can get his skins to be
extremely tanned and plays water-polo games with his muscular colleagues. This can
be reflected from his paintings. Moreover, he loves to be a swimming coach. He has
ever served as an Assistant Swim Coach at Lai Wa Swimming Club in 2018, the
institution that Hong Kong swimmer representative Kenneth To has ever served there.
That’s why, he managed to portray the light-blue water of the swimming pool as very
fresh from his swimming-coaching painting series, whereas the kids were described
to be very cute and the coaches were described to be very smart. Vincent did share
about his ideal of being a fully-pledged watery boy during his interview at TVB’s
“Cultural Engine” programme.

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The Sai Kung Art And About opened Vincent Lee’s horizon to the marketing
operations of international art fairs. First, Vincent did not need to hide his identity as
a lifeguard. He courageously selected two pieces of tiny LCSD lifeguard paintings as
highlighted exhibits inside the Sai Kung Jockey Club Town Hall, whereas the kids from
international schools accept his unique sporty image. Second, Vincent enabled his
fruits of experimentation on William Kentridge’s blue-drawing style to be appreciated
by the local native and primitive foreigners in Sai Kung. Indeed, comparing with the
Chinese Hongkongers, these foreigners clearly know about the influential global
reputation of this contemporary art master, but they were eager to see how Vincent
transformed his style to be something with Oriental features. Vincent’s display of his
blue paintings inside his SKAAA art booth caught the attention of visitors but
harmoniously merged with the surrounding natural environment. He told the kids
that the manipulation of blue could be full of fun once letting them use the blue
pastels for drawing cartoons on grayish cardboards.

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Vincent also exhibited the “Avocado Lovers” painting during the Sai Kung Art And
About, which complemented the greenish tone of his wooden-board lifeguard
painting. Together with the vividness of his five “Floral Ladies Series” paintings, you
would find that Vincent adores retreating to the ecological lifestyle of a country road
or a country park.

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When being asked what so good with participating in Sai Kung Art Fair for three
times, Vincent directly praised that Sai Kung is a very brotherhood rural environment.
He liked eating the Thai dishes, Indian pizzas and British fish-and-chips from the local
stores in Sai Kung. He liked the polite young boys helping him with the technical
affairs of his SKAAA art booth whenever in need. For example, a tanned smart boy
who graduated from Hong Kong Sea School actively helped SKAAA with audio
adjustments, and he felt pleasant with helping Vincent install the powerpoint
presentation equipments. He even said that, when seeing certain artists getting
chances of exhibiting their works in Art Basel and Asia Contemporary Art Show so
deciding to give up the second or third art-booth offer from SKAAA authority, he
stood firmed to cherish this precious exhibition chance in Sai Kung because the
residents here are so nice to him and they truly have a long-sighted vision about
aesthetic nourishments with less utilitarian concerns if comparing with the
prestigious curators inside Hong Kong Convention & Exhibition Centre. Civic art
galleries like Helen Boyd’s apartment art space play a crucial role in helping the
humble artists with international visions better communicate their primitive creative
languages with the Sai Kung residents. Having built a connection with this
Westernized rural village, Vincent got a chance of being invited by an international
school called Hong Kong Academy to donate a piece of “Anselm Kiefer” painting for
her charity art auction event. This abstract painting was finally collected by a client
through this auction. This was his second-ever successful auctioned record since the
Charity Art Auction at Penang Trader’s Hotel of Malaysia in 2010, which was followed
up by his employer at Art Of Nature Gallery.

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Looking at the foreigner kids playing ball games happily along the Mei Yuen Street of
Sai Kung after school lessons, Vincent dreamt about the utopia of having a possible
retired painter life in this chaotic secular so he could remain as innocent as those kids
all the time without troublesome minds or confusions to existence.
Vincent Lee uses to render an inner struggle between the creative art he learnt from
study era and the Realism which “Civic Painting Society Camp” expects him to fulfill.
For 2019, he had a chance of knowing Ivan Wong Hiu-fung, a 70s-born IT professional
with aspiration in fine arts. He then joined Ivan’s alliance of curatorship to realize a
four-person joint exhibition called “Innermost Art” at Artscowork of Lai Chi Kok in
early November.
How this inner struggle between creative art and realistic art projected on Vincent’s
participation in “Innermost Art” exhibition? It was obvious to see that, in the past,
Vincent used to exhibit his narrative paintings with humorous features even in some
grand venues like Hong Kong Fringe Club. He uses to be very confident with his past
Distinction experience in A-Level Art to convey everybody for an acceptance on his
“Visual Presentation of a Theme” creativity. But, for this “Innermost Art” exhibition,
Vincent presented the art scene an alternative image of his art pursuit. He selected
three still-painting paintings about Christmas Portuguese banquets, two landscape
paintings about New Asia College and one “floral-lady” portrait. For these six pieces
of art, Vincent never played any brushstroke effects on cartoonist features. His
compositions and chrominances got to be subtle and sophisticated. For the art
biography being displayed inside Artscowork, it mentioned about Vincent’s

9. 9
apprenticeship under Mr. and Mrs. Fong of Cheung Chau Art Gallery with the
Rembrandt features of Chan Hoi Ying. So, the stable source of visitors actively came
to the opening ceremony and did not criticize much about the controversies of
Vincent’s art style. Lots of housewives, old uncles and senior citizens acknowledged
Vincent’s “Christmas Portuguese Banquets” paintings as stimulating their appetites.
They humorously defined Vincent as being very fascinated with eating leisures.
The “Innermost Art” exhibition earned a goodwill from the public in which Mr. Wu
Chun Him, the winning candidate of HKADC Election on Art-Interest Representatives
in Art Education category, also made an honourable presence to appreciate the art
exhibits of four participating artists. Of course, Vincent had lots of common topics to
discuss with Mr. Wu concerning their common careers in Chinese Language
education and the methods for how the artists-in-residence could efficiently contact
with the Principals of different schools for a better persuasion for
teacher-recruitment chances by holding some “point-to-point” teaching job fairs.
Mr. Jackson Lee, a successful watercolour art master and PolyU-based fashion
designer with lots of international art awards from the US, came to support the
“Innermost Art” exhibition. Jackson encouraged Ivan, Mr. Chan Chung, Vincent and
Juan to organize more solo exhibitions if possible. Jackson uses to deal with
Photorealism for his awarded masterpieces, but he this time also acknowledged
Vincent’s talents in portraying realistic foods, meals and dishes.

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A veteran Protestant watercolour art master has ever interrogated Vincent Lee
through the Facebook Messenger whether Vincent is sincere in teaching children art
courses or not as he worries that Vincent’s nude-painting creations might disorder
parents’ trusts on his positive image. Vincent replied this art master whom he knew
since the “Sai Kung Art And About” in this way: “I am not in the ‘Civic Painting Society
Camp’. Under a circumstance that I can hardly compete with you and those great
local masters concerning the skills of ‘urban sketching’ art, I prefer to focus on figure
painting in order to make a great breakthrough in the art scene.” If you look at the
history of Vincent’s academic growth, he practiced the drawing of Sailormoon
cartoons for a dedication to his classmates during his childhood era at Sacred Heart
Primary School. Because of Sailormoon, he developed a proper anatomical
awareness in figurative expression. Then, at Rosaryhill School, he and his A-Level Art
classmates were required to practice 5-minute gesture drawing and 45-minute figure
drawing every week. It is not difficult to understand that Vincent’s talents in figure
art are much better than urban sketching.
During his university studies, Mr. John Li Tung-keung laid Vincent Lee a solid
foundation in portrait drawing but stressing humorous features. Mr. Li often said that,
you can manage to draw all kinds of stuffs once getting to know the way of figure

11. 11
drawing. For the advanced “Life Drawing” course, Miss. Magdalene Wong enabled
Vincent to sketch the male and female nude models by using charcoal or Chinese ink
on large paper. Indeed, Vincent stated that there had been no chance for him to
experiment figure painting on canvases. So, once he has established his independent
art studio in Kwai Hing, he hopes to realize this unfinished dream.
Nelson Lau, a 90s-born insurance promoter from Manulife and a facebook video
broadcaster, has ever asked Vincent Lee why he initiated a fascination on the art of
human bodies in his Kwai Hing studio. Vincent explained that, the atmosphere of
nude painting in the art studios of Hong Kong is very weak, but such trend is very hot
in Europe. For example, an art master from Europe would dare to employ a male or
female nude model for 3 to 5 hours, or even few days or few weeks in case of
creating genre paintings, to deal with the in-depth studies on anatomical beauty and
chrominances. Once switching on the classical music, the process of cultivating nude
art inside the studio is a kind of enjoyment. Vincent wants to experience the
romantic sentiments of European art masters, and so he tries to introduce the nude
painting workshop to refill the loophole of Hong Kong art scene.
The way that Vincent Lee employed a lifeguard twink for serving as nude model is
relaxing. First, he allowed the lifeguard twink to read the porn magazines for better
erection while maintaining the long pose. Second, Vincent switched on the
MetroRadio broadcast for making the lifeguard twink thoroughly relax once listening
to the quality pop-music. Third, Vincent allowed the lifeguard twink to have some
spare time for a rest to jerk off after a long duration of erection. Vincent explains that

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there is no taboo to talk about sexual behaviours inside my Kwai Hing studio, as the
lifeguard twink himself can also enjoy the release of horny desires once receiving
money to provide such posture service. Of course, the whole process of erection and
jerk off was a kind of artistic grace, which inspired me to do even better in the
realistic acrylic description of the nude body on my piece of canvas. A nude model
does not only facilitate an emergence of a good painting work, but also facilitate the
emancipation of sexual etiquette restraints.
Vincent Lee required the lifeguard twink to uphold various types of lifesaving
accessories, such as the rescuer tube. He developed a set of seven nude lifeguard
paintings to illustrate the tempting sunshine appearance of this watery profession.
Through such art creations, he hopes to tell art lovers that some labours like
lifeguards can neglect the moral etiquettes from our career society to enjoy the fun
of sexual interactions with colleagues during their services in their workplaces. In
contrast, if serving as a full-time teacher, you have to remain with a well-brad image
all the time and you will feel stressful with the pretentious hiding of your sexual
desires. Of course, for some pieces, a combination between nude lifeguard twink and
a beach or an outdoor-pool background can be illogical, but this can provoke art
lovers to desire for more sexual comforts from the handsome persons you
subconsciously admire. So, Vincent never thinks about how the urban-sketching
artists can preoccupy the mainstream say of the local art scene, as he simply focuses
on the sex-education message he expressed from such nudity.

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In the early stage of his life, Vincent Lee was often criticized as lacking a suitable
personality for serving as a teacher or lacking concreted teaching experiences such as
classroom management skills or curriculum planning skills. Especially for Visual Arts
education, some people look down Vincent as a faded-out Distinction holder in old
VA exam system being unable to comprehend the bitterness of front-lined VA
teachers in tackling with the complicated challenges of DSE VA issues such as SBA
portfolio submissions. However, if you look at his resume with holistic co-curricular
achievements, you would trust his enthusiasm of always thinking about the happy
learning of his beloved kids.

14. 14
Vincent Lee has ever taught DSE Chinese Oral Discussion Course at Kwai Chung
Kiangsu-Chekiang College. Indeed, Vincent often wants to distribute his DSE VA
Intensive Course leaflets to the students in Kwai Chung District once getting
penetrated to the school communities there. However, due to his tight lifeguard
working schedule, he hasn’t got much spare time to do so. Under such limitation,
Vincent actively publishes the advertisements of his DSE VA Intensive Course through
a wide spectrum of online platforms.
To Vincent Lee’s most idealistic realm of art tutorship, Chung Koon-ting’s operation of
MSC Sports Club is a very good example for reference. Mr. Chung, as Vincent’s former
neighbour tenant at On Fat Industrial Building, recruits potential students from their
schools’ sports teams for further after-school training in physical fitness. Despite of
the limitation of room size, Mr. Chung enabled his young athletes to practice
mutual-gyming along the corridor or at the rooftop in the evening. Vincent hopes
that his DSE VA apprentices can also utilize such limited industrial environment to
explore some ambitious SBA projects or practice creative urban-sketching in Miss.
Choi Yan-chi’s teaching ideal, instead of enforcing the dogmatic module of “Civic
Painting Society Camp”. Vincent gives comfort to the DSE VA students that the “Art
Appreciation” paper is not that scary at all. If you watch the YouTube videos of his 10
academic talks at Hong Kong Society of Humanities throughout these three years,
you would find that Chinese and Western art histories are not that difficult for
comprehension at all as the analysis can be easily restructured in segmentation
strategies. Vincent claims that he can even handle the inquiries from the students of
ethnical minorities as he can interpret the Chinese aesthetic concepts in legitimate
English. He can offer frequent essay-writing practices for easier adaption to the
module of Sino-Western aesthetic comparisons and a fulfillment to the
marking-scheme requirements.
Vincent Lee’s current teaching methodologies in his Western Calligraphy Course at
YWCA Sai Wan Social Centre for the Elderly is believed as giving confidence to the
education field, that he can follow up every learning detail of students with
diversified capabilities and learning backgrounds. Of course, the success in opening
the fourth series of Western Calligraphy Course in December 2019 is a proof to
overthrow some people’s misunderstanding on Vincent’s inability in running art
courses for maintaining the stable income of his Kwai Hing studio, or
misinterpretation on his Kwai Hing studio as just a useless store room or a useless
bedspace apartment. Vincent definitely applies his reminiscence on the
championship experiences in pen-calligraphy competitions during his old days at

15. 15
Sacred Heart Primary School to guide his students how to cultivate the strokes of
Gothic and Italic fonts, but this methodology is quite applicable at YWCA.
Vincent Lee also encloses a Portuguese version of this DSE VA Intensive Course
poster in his online advertisements because he knows that some students in Macau
might need a Distinction qualification in Art from Hong Kong to help them better
apply for design jobs or Art Institute vacancies in Hong Kong. He can offer this type of
Hong Kong-Macau commuters an alternative. The DSE VA Intensive Course is an
integrative one. For example, a candidate can do regular “Visual Presentation of a
Theme” painting exam practices, regular “Art Appreciation” essay-writing practices
with Chinese and Western art history studies, a portfolio of an acrylic painting, a
portfolio of a graphic design with typography knowledge, a portfolio of a Chinese-ink
painting with the research development of Chinese art histories in a
booklet-presentation manner, and a portfolio of continuous pastel-drawing
experimentations at the same time. Even there’s only one piece of fruit for each art
category, it also requires an in-depth level of teaching individually. So, the
corresponding candidates from Macau will not suspect that the art categories he
learns from each mini detail of the DSE VA curriculum as being unable to compete
with the demanding expectations of Mainland fine art academies. If Vincent gets
sufficient funding, he can try to hire a venue from Artland, JCCAC or Hong Kong
Cultural Centre for organizing a teacher-student joint art exhibition to let his DSE VA
apprentices showcase their fruits of creative explorations.
Throughout these 13 years after college graduation, Vincent Lee encounters some

16. 16
condemnations from CCGSS and opposing camps, such as why he could just get good
results in Art, World History and Chinese Cultural Studies but obtaining a very bad
grade in English Language even after his fully-pledged accomplishment on “Rosarian
cored values”. Being interrogated why he has got trustworthy co-curricular leadership
experiences including being a Vice President of Art Club, a Choir member, a Senior
Sports Captain of Dragon House a Press Director of School Annual Editorial Board but
cannot obtain proportional materialistic rewards from financial, banking,
infrastructural or insurance careers; Vincent Lee humorously admitted that he often
watched “Night Talk: Hungry Discussion on Night Snacks” programme hosted by his
Rosarian mentor Joey Leung on ViuTV Channel every Wednesday midnight and
modestly replied in this way:
“Some people in our Hong Kong society often think that, when dealing with general
business jobs, you have to be very serious with structural thoughts and planning.
They are all about money, right? But, when talking about dealing with a fine art
entrepreneurship, you do not need to uphold any notion of meritocracy at all! I
disagree with this prejudice. Look at the example of Fuzhou and my former gallery
company. There was a former Fujianese colleague called Chen Canfeng from Art Of
Nature Gallery. Once Xiao Chen has completed his internship at the Fuzhou
Headquarter of my former company, he successfully transferred to a prestigious
Chinese-art auction house in Fuzhou and has been appointed as the Chief Editor of
Auction Catalogue Publication Team. Xiao Chen leads a group of young boys to deal
with the editorial tasks in a united spirit, and his employer trusts his leadership
abilities very much by letting him do all kinds of decision makings in editorial,
product-selection, marketing, public-relation and event-management tasks. Xiao
Chen successfully helps his employer earn great sums of profits annually. Thus, he
can get sufficient incomes for possessing an apartment-sized flat in Jin Shan Da Qiao,
get a pretty girlfriend for marriage and give birth of a baby child before the coming of
30 years old. His spacious residential-flat environment enables him to greet the
veteran art collectors for a connoisseurship on his Chinese landscape paintings with
the sharing of tea beverages and conduct children Chinese-art courses during
weekends. If I were in Xiao Chen’s editorial position and were qualified to properly
realize ‘Rosarian cored values” in various leadership details, it could definitely prove
the success of Rosaryhill School’s educational ideal on me. So, Chen Canfeng’s case of
career success often reminds me that dealing with fine arts should consistently
realize the notion of meritocracy.”
It is the 60th Anniversary Celebration of Rosaryhill School in 2019. Father Jose Salas

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deliberately invited this “Student Artist of the Year” from “Atelier de Belas-Artes do
Vincent Lee” at On Fat Industrial Building of Kwai Hing to do a large painting called
“Unity of Six Houses”. From this painting, you can see how Our Lady of the Rosary, i.e.
Hail Mary, blesses the Rosarian kids from Peacock, Dragon, Unicorn, Phoenix, Eagle
and Flamingo Houses. The painting is permanently collected by the Dominican Order
and is now hoisted inside the Treasury Office of Rosaryhill School, which is Father
Salas’ personal office. The Dominican Fathers thoroughly trust Vincent Lee’s ability in
portraying humans, and this campus-beautification decorative task is thus suitable
for him to render.
If you look at the desk with acrylic paints and brushes inside “Atelier de Belas-Artes
do Vincent Lee”, you will notice that there is a First Day Cover near that bottle of
turpentine. This First Day Cover collects the stamps of an ancient Greenish Landscape
Painting called “An Imitation on Red Cliffs” created by Wen Zhengming from the Ming
Dynasty. Vincent Lee bought this First Day Cover from Taipei Grand Hotel during his
Taiwan trip with two lifeguard friends in 2016, as three of them had ever visited
Taipei Palace Museum and appreciated the original version of this Greenish
Landscape Painting there. Vincent Lee then projects his good experience of Chinese
art appreciation in Taiwan to the case of Hong Kong’s WKCD. When being asked why
Vincent Lee supports Chief Executive Carrie Lam’s proposal on WKCD Palace Museum
but this project is irrelevant to his oil-panting practices at all, Vincent replied:
“I wrote a 9000-word dissertation in the research of Xu Beihong during my Master’s
Degree studies with Distinction, and this is an undeniable fact. I took an advanced

18. 18
theory course from Dr. Lau Chak-kwong specializing in the Lingnan paintings from
Republican China, even though it is a general history indeed. If you look at my recent
academic talks at Hong Kong Society of Humanities with further extensions of my
enthusiastic discoveries on the special topics of Chinese art histories, you will find
that I can move on to a level of feature histories indeed, and lots of people then
judge me as being very talented in Chinese art histories. I don’t know if this
categorization is acceptable or not…… Together with my ‘Anson Chan Series’
paintings from Bachelor level, people can actually define me as being keen at oil
painting and Chinese art histories. This combination is a bit strange. But it can explain
my recent situation. So, going back to the issue of WKCD Palace Museum, I clearly
know that I cannot put my immature ‘guohua’ into its exhibition but I have the
knowledge and research experiences to deal with the curatorial affairs there.”
Vincent then further explained something about macroeconomics: “When I attended
the ‘Social Studies’ lessons during my childhood days at Sacred Heart Primary School,
the textbook taught me that Hong Kong is always a gifted entrepot for Sino-Western
trades, and everybody must feel optimistic with our advantages in attracting
foreigners to visit Hong Kong for purchasing our products. Bearing in mind with this
‘entrepot’ theory, I should set my self-entrepreneurship an international vision. But
of course, such international vision is not just restricted to either the UK or the US.
Privileged leaders from these two English-speaking super powers never have
sincerity in helping Hong Kong prospering fine arts, as they always solely think about
how to restrain China through the means of democracy by manipulating Hong Kong
as a transitional stepping-stone, and all the topics they discuss with Hong Kong
people inside the commercial chambers in Central or press media are just these
political stuffs. So, I have given up this group of Caucasian elites after many failures in
my service for Art Of Nature Gallery. But, if I go back to Fuzhou for curatorial
missions, the story is totally different. Everybody from Fuzhou, including the local
press media with front-page reports, would actively discuss the highlighted
exhibitions within the province. When you enjoy dinners with Fujianese persons
there, they show much care to discuss the corresponding aesthetic issues with you.
So, under this optimistic circumstance in the care for art, people like Xiao Chen as I
just mentioned easily feel very happy with the working for art administrations in
Fuzhou. So, I set my international vision with alternatives, such as Spain,
Portuguese-speaking countries, Eastern European countries, Middle East countries,
Southeast Asian countries and so forth. People from these so-called weak countries
are much more enthusiastic in talking about art, as they never dominate the vein of
global trade battles and they learn to enjoy the leisure of life. They prefer to retreat

19. 19
from the nonsense game of local, British and American democrats in terms of
counteracting against China by being hostile to all kinds of Chinese cultures including
Chinese ink art or Chinese oil-painting art.”
Vincent Lee clarifies that it is not a rigid must that Hong Kong people must appease
the UK and the US with no other choices if tackling with fine-art businesses. He
knows the importance of democracy, but it doesn’t mean that he kowtows to the
Queen or Spartan Trump.
Kwai Hing is regarded as a typical cemented jungle representing Hong Kong culture,
with industrial buildings and public estates. You seemingly find it difficult to notice
any artistic elements in this place. But, there has ever been some artists-in-residence
doing a mural painting for CNEC Ta Tung School with the messages of Christian loves,
and this public art instills much vividness to Kwai Hing Estate. Vincent Lee finds this
industrial place as full of potentials in exploring another style of art languages apart
from being believed as only being able to portray Cheung Chau sentiments.
Vincent Lee states that he is eager to get in touch with the youngsters from those
countless secondary schools in Kwai Chung District, as he believes that not all the

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educational units are as utilitarian-minded as CCGSS. There are definitely some of
them forbearing a humanistic concern on art, history and literature education
without thinking too much about future career rewards. Vincent Lee has ever
generalized this type of secondary schools getting distant from the EMI mechanism
as “estate schools”, as being mentioned from his HKSH academic talk about
“normal-institute system”. Vincent even said, “I love to eat a bowl of Chicken Chop &
Fried Egg Instant Noodles at Hop Hing Lung Restaurant of Kwong Fai Wai, or a bowl of
Satay Beef & Sausage Instant Noodles at a Dai Pai Dong of Kwai Wing Road operated
by a pair of twin uncles for breakfast in Kwai Hing. When I have day-offs for coming
back Kwai Hing to do paintings, I usually have lunch or tea at Hainan Restaurant along
Tai Lin Pai Road, and a friendly 90s-born waiter called Ah Yuen served me with Indian
Fried Rice or Malaysian Laksa. I have developed a sense of belonging to this new
community! Sometimes, when I go back to my studio and walk through the dark path
of Kwai Hing Estate in the evening, I see several young boys playing basketball on the
public-estate playground near CNEC Ta Tung School. Sometimes I really want to join
these cute boys for playing ball games, but I haven’t got spare time to do so. Kwai
Hing is a very special and attractive place to me. When I was 29 years old, I took the
Aquatic First Aid exam at North Kwai Chung Public Swimming Pool. I couldn’t imagine
that, once serving as a lifeguard, I could have a destiny of going back to this place
with memories of lifesaving trainings for starting my self-entrepreneurship in fine
arts. Some people ask me whether I would consider relocating my art studio to
somewhere much more prosperous, I often reply them that I have seemingly been
adapting to this environment.”
Address of “Atelier de Belas-Artes do Vincent Lee”:
Unit 1208, Flat A, 11th Floor, On Fat Industrial Building,
12-18 Kwai Wing Road, Kwai Hing,
New Territories, Hong Kong
Contact phone number of Vincent LEE Kwun-leung:
852-9404-1516
Email Address of “Atelier de Belas-Artes do Vincent Lee”:
vincentkllee13vangogh@yahoo.com.hk

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APPENDIX 1:
Paintings sold, commissioned or auctioned:
2017 “Imitation on Anselm Kiefer's Style”, Acrylic on Canvas, 2016. Became a
private collection after “HKA Rock 'N' Bown and Auction”
2017 “I feed you with chicken chop”, Acrylic on Canvas, 2017. Private Collection
2017 “My beloved baby niece”, Acrylic on Canvas, 2017. Private Collection
2019 “Bamuda”, Acrylic on Canvas, 2019, Private Collection
2019 “Lofty Girl within Miscanthus”, Acrylic on Canvas, 2019. Private Collection
2019 “Our Sweetest Amusement Occasion”, Acrylic on Canvas, 2019. Private
Collection

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APPENDIX 2:
Academic talks at Hong Kong Society of Humanities between 2017 and 2019
Talks in 2017:
- "The relationship between the enlightenment trend of Sino-Republican aesthetics
and the Chinese painting academia in Hong Kong"
- "A Transformation from the aesthetics of royal court painting to the creative art
styles of the Western universities and fine art academies"
- "How Chinese art intellectuals with a history of art-learning abroad survive in the

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art scenes of the Sino-Republican and Sino-Communist era"
Talks in 2018:
- "The oil painting of Modern China: from French Enlightenment to Leninist School of
Aesthetic Thoughts"
- "How the emergence of Spanish culture and Portuguese culture since the Ming
Dynasty influences the latter art style of oil painting, watercolour painting and
Chinese-ink painting of the latter Mainland China and Macau"
- "How Lu Xiaoman inherited Jin Cheng's conservative art spirit in terms of his
persistence on Greenish Landscape Painting under the shelter of her husband Xu
Zhimo"
- "Examine how Expressionism enlightened the Chinese art scene and formed the
'non-civic painting society camp' creative style"
Talks in 2019:
- "How the normal-institute system of Modern China affects the aesthetic-education
tasks of EdUHK in Hong Kong"
- "The apokalypsis of Stuckism campaign in the United Kingdom for curation policies
of West Kowloon M+ in Hong Kong"
- "An in-depth analysis on ChiaLun KING's comparisons between national painting
and ink painting"