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Hong Kong Arts Centre Galleries Committee presents
TEN YEARS OF HONG KONG PAINTING
ATI exhibition to mark the 10th Anniversary of the Hong Kong Arts Centre
17 October — 1 November, 1987
Pao Sui Loong Galleries, Hong Kong Arts Centre
Sponsored by Philip Morris Asia Inc.

PREFACE
In finance, as in politics, ten years is an extremely long
time. In art, however, ten years is but a brief moment. It is
delightful, therefore, to realize that the Hong Kong Arts
Centre — this shrine to the arts which is set in the midst
of a city hectic with financial activities — is now ten
years old. It is even more delightful to realize that in the
past ten years, the Pao Sui Loong Galleries have mounted
no less than 754 different exhibitions.
To mark the tenth Anniversary, the Hong Kong Arts
Centre Galleries Committee have much pleasure in
presenting TEN YEARS OF HONG KONG PAINTING'. A
retrospective exhibition covering the past ten years, it
features the works of forty-six local artists — those who
have been living and working here, regardless of race and
creed. Each of them is showing an early work and a
recent work, which renders the exhibition especially
meaningful in the sense that there are not only contrasts
in style, but also in time. The works of forty-six diverse
artistic personalities being under one roof, the confluence,
unique to Hong Kong, of cultural influences — Oriental
and Occidental — is brought into sharper focus.
Ada Chan
Chairman
Arts Centre Galleries Committee
The establishment of the Pao Sui Loong Galleries was
made possible by a generous provision from the Pao
family. Over the years, many more people, organisations
and companies have generously contributed to the
physical maintenance and the artistic liveliness of the
Galleries. The Galleries Committee has recently been
formed to foster and co-ordinate these diverse energies
— artistic and financial — so that the visual arts may
continue to flourish at the Hong Kong Arts Centre and in
Hong Kong with even greater force. We are filled with
hope that, with continued support, the next ten years will
be even brighter than the last.

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TEN YEARS OF
HONG KONG
PAINTING
Art and the development of art in a society is a barometer
of the state and development of society as a whole. This
has been true throughout history and is true for Hong
Kong today. The economic and social development here
of the last thirty years has been nothing short of
phenomenal. With this economic and social development
have come the work of local poets, writers, painters,
photographers, dancers and film-makers who have grown
up in Hong Kong and to whom Hong Kong is home.
Cultural development has thus gone hand in hand with
economic and social changes.
Painting is one of the major artistic mediums adopted by
Hong Kong artists. As with other art forms, the world of
Hong Kong painters over the last ten years can tell us a
great deal about the make-up of Hong Kong. The
pluralistic nature of Hong Kong painting closely mirrors
the diversity of the society at large. The East/West
dialogue which is evident in post-war Hong Kong painting
can also be found in almost every stratum of the
community. The uniqueness of Hong Kong necessarily
dictates the uniqueness of Hong Kong painting in
particular.
Michael Chen
Galleries Director
Hong Kong Arts Centre
There really is no one prominent style or school of
painting in Hong Kong. Whenever there is a strong
movement calling for the formation of a 'Hong Kong
School', there is an equally strong force resisting just
such a move. And because of the unique historical and
geographical contexts of Hong Kong, painting here has
always been a curious mixture of the East and the West.
In the same way as places such as Singapore or Taiwan,
where the indigenous cultures have yet to exert a decisive
influence, Hong Kong has always been subjected to the
external pull of both China and the West. As such, a
Hong Kong artist might want to identify himelf/herself as
a Chinese artist (one who uses brush and ink to paint the
traditional subject matter of landscape, flower and bird), or
as a Western painter (one who not only uses oil or acrylic,
but possesses a Western outlook in his/her art as well). In
addition to the 'Chinese School' and 'Western School' of
painters, there is an increasingly popular hybrid school
which advocates a mixing of the two seemingly opposite
streams of aesthetics. Despite the absence of a definitive
mainstream, these affiliations have created currents and
undercurrents which have made Hong Kong painting a
diversified and lively scene.

Fleeing China in the late 1940s and early 1950s,
numerous traditional Chinese painters decided to settle in
Hong Kong and to pass their skills and knowledge on to
their students. Among the early settlers are Chao Shaoan,
Yang Shen-sum —- who are painters of the Lingnan
School— and Fang Zhaoling. They are artists who regard
themselves primarily as Chinese painters. To them, the
traditional values must be retained, and the use of ink and
brush must be mastered before all else. Theirs is a
tradition handed down through the ages by artists who
have laboriously copied the old masters' work and could
regurgitate the various styles of past dynasties. Very
often, a painter would have to go through a long period of
apprenticeship before being allowed to establish his or
her identifiable look. Although this process of copying
may seem unnecessary in an age of satellite and
television, it, nevertheless, has not deterred China's great
painters from attempting the quintessential statements.
Indeed, Chinese painting does not have to be westernised
in order for it to remain vital and original. And Fang
Zhaoling illustrates that point by keeping an inquisitive
mind and by adopting modern day subject matter in her
painting. King Chia-lun, Cheng Ming and Poon Chun-wah
belong to the second generation of painters who continue
the traditional line of Chinese painting in Hong Kong.
With the arrival of Lui Shou-kwan (1919-1975) in Hong
Kong in 1948, an important page in the evolution of local
painting was turned. Lui, with his Chan (Zen) paintings
which fused an Abstract Expressionist approach with the
spirit of Chinese philosophic thinking, was one of the
crucial figures in the history of Hong Kong painting. The
In-Tao Art Association and the One Art Group were
formed in the sixties under his guidance to carry on this
East/West fusion. Some group members, Wucius Wong,
Irene Chou and Chui Tze-hung, who were his students,
were to become active painters in the subsequent
decades. Together with Liu Kuo-sung who originally came
from Taiwan, they pioneered a new sensibility which has
quickly become the dominant force in Hong Kong
painting. Like Lui Shou-kwan, they use the Chinese
medium of ink, brush and paper (Shui Mo) while mixing
element of design, Surrealism and various western
techniques in their art. Their preferred subject matter is
still the landscape. Yet the mountains and streams, long
the staple themes of Chinese painting, might be formed
by spraying and splashing ink or by crinkling the paper
before applying colours. Gone are the roaming wise men

in long robes and the lone boat in a stream; they are,
instead, replaced by a contemporary vision of the
universe. Although these painters juggle varying
proportions of Chinese and western ingredients in their
work, collectively they originated a unique pictorial
system which is very relevant for Hong Kong. At last, here
is a logical solution to the evolution of Chinese painting
which is rooted in the literati tradition of the past but can
be called modern at the same time. Seeing the immense
possibility for experimentation, many younger painters
such as Kan Tai-keung, Koo Mei, Toto Kung and Leung
Kui-ting are drawn to this Shui Mo School. Many of these
young painters have been taught by Wucius Wong.
The western painting medium of oil or acrylic has a
special allure for Chinese painters. Not only does it
provide the artists with an alternative to the Chinese ink
and paper, it is also a language which is easily
understood by art circles in Europe, America and other
parts of the world. For a Chinese painter who is not
bogged down by tradition and who wants to be accepted
into the international art community, this would seem the
ideal medium to use. Luis Chan, Kwong Yeu-ting and Hon
Chi-fun are some of the early proponents of this western
school of painting. Luis Chan, at the age of 82, has just
started on a new series of expressive 'splash' canvases
which he calls 'Abstract Illusionistic' paintings. Kwong
Yeu-ting, who obtained a Master's degree in Landscape
Architecture in the U.S., has produced a body of work on
the theme of Chinese garden design and architecture.
And Hon Chi-fun is the Minimalist who has been
fascinated by variations of the circle and their ethereal
meanings. The diversity of styles adopted by the three
painters, and even the specific development of Luis
Chan's art from monotypes of the sixties to aquatic
images and splash paintings of the eighties, tend to
reflect the unsettled nature of Hong Kong western
painting. Other directions that have been explored over
the years include Gaylord Chan's rendering of personal
symbols and primeval patterns, Yank Wong and Francis
Wu's large expressive abstractions, Choi Yan-chi and
Raymond Ng's Minimalist approach, Josh Hon, Wong
Shun-kit, Rex Chan and Yeung Tung-lung's Neo-
Expressionist handling of the human figure, Nancy Chu
Woo's studies of the nude, and the Photo-realist details
of Kong Kai-ming, Lam Yuk-fai and Ngan Chuen-Ii. Many
of these painters received their art education abroad and
have returned to Hong Kong in recent years. Although

there seems to be as many directions as there are
practitioners, yet they fulfill the vital function of
introducing to the younger generation of Hong Kong
painters the styles and techniques of this western
medium.
A survey of Hong Kong painting would not be complete
without recording the significant contribution made by
expatriate painters who have chosen to make Hong Kong
their second home. Over the years, these painters from
Europe, America and Australia have mingled with local
painters and have engaged in teaching and exhibition
activities. Rosamond Brown, Dorothy Kirkbride, Martha
Lesser and Brian Tilbrook are just some of these
outstanding painters. It is interesting to note that through
their extended stay in Hong Kong, quite a few have
managed to infuse Oriental subject matter and philosophy
in their art.
Hong Kong painting has come a long way since the days
when Hong Kong was described by many as a 'cultural
desert' and when the term 'professional painter' meant
someone who sold paintings of sunsets in Tsim Sha
Tsui's shopping arcades. As Hong Kong society itself has
developed, Hong Kong painters have developed with it.
During the past decade, they have refined their art,
exhibited in an increasing number of local private
galleries, and sold their paintings to a wider appreciative
audience both in Hong Kong and abroad.
However, all is not rosy on the horizon of Hong Kong
painting. As a result of the affluence and rapid growth of
Hong Kong in the last twenty years, countless new
problems now face Hong Kong painters. High rent,
shortage of studio space, limited access to art books and
magazines, and a generally unsympathetic environment
towards the visual arts are just some of the pressing
problems. Up to now, the Hong Kong Government have not
formulated a visual arts policy to encourage and help local
artists, especially the young generation who are just at the
beginning of their creative career. This encouragement, so
important for the continued growth of Hong Kong art, is
often left to chance. Furthermore, art education in schools
is still inadequate in view of what is really needed for a
creative, visually literate Hong Kong society.

The Arts Centre opened just ten years ago in 1977. In
another ten years, it wil! be 1997. Although ten years is a
very short time in creative development terms, the long
term question for the visual arts is whether Hong Kong
can retain its artists. Already several of Hong Kong's
leading painters have emigrated or have made plans to do
so. An exodus of talent at this crucial point of the
development of Hong Kong art would be very damaging to
what has been achieved to date. Government policy and
encouragement, both specifically and in general over the
next few years, will thus be critical to the continued
development of Hong Kong painting.
The Hong Kong Arts Centre will celebrate her 10th
anniversary in October, 1987. This exhibition is presented
to launch the Anniversary Year and to salute the men and
women who have made important contributions to Hong
Kong painting in the last decade. Altogether, 46 painters
are taking part in this exhibition. Although each painter is
represented by only two works, it is hoped that a general
impression of Hong Kong painting will emerge. The two
works of each artist, one completed around ten years ago
and the other more recently, coincide with the time span
of the Hong Kong Arts Centre and should offer a glimpse
into the maturing art of the individual painter. At ten years
old, the Hong Kong Arts Centre is still a young organisation.
We look forward to yet another ten years of co-operation
with Hong Kong painters who have done so much to
enrich the cultural life of our community.

MESSAGE FROM
THE SPONSOR
It is a great honour for Philip Morris to sponsor the exhibition
1 Ten Years of Hong Kong Painting ' in commemoration of
the tenth anniversary of the Hong Kong Arts Centre for its
invaluable contribution to the growth of the arts in Hong
Kong. The past decade has been an expansive period for
Hong Kong, notably in the arts arena, and throughout
these years, the Arts Centre has been a focal point for
much of the community's artistic development.
Philip Morris has a long tradition of arts sponsorship, For
nearly thirty years, we have contributed to a wide range of
cultural activities because we believe that in art, as in
business, there is always a need for imagination, innovation
and individual creativity.
We are therefore proud to support the very talented artists
whose works are represented in this exhibition. Their
paintings exemplify the great achievements that have
been madet)y members of our community. By sponsoring
this comprehensive exhibition, we hope to provide an
opportunity for Hong Kong citizens to become more
familiar with their own unique cultural expression.
Dinyar S. Devitre
President
Philip Morris Asia Inc.

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ACKNOWLEDGEMENTS The Ten Years of Hon s Kon s Paintjn g' exhibition win
/^wi\i^wvvL.L-i^v^i_ivii.i^i w direct|y benefi t the Arts Centre's Galleries Fund .The
Galleries Fund was set up with the aim of helping to
develop the work of the Galleries over the last 10 years.
The major portion of all sales from this exhibition will be
donated by the artists taking part to the Galleries Fund.
The Hong Kong Arts Centre would like to extend heartfelt
thanks to all the artists in this exhibition for their
support, encouragement and generosity.
The exhibition would not have been possible without an
early commitment from the exhibition sponsor, Philip
Morris Asia Inc. Philip Morris Asia Inc. takes an active
interest in supporting Hong Kong cultural life through its
generous sponsorship programmes and the Hong Kong Arts
Centre would like to extend a warm vote of thanks to them for
their support of the exhibition and the preview. The Hong
Kong Arts Centre would also like to thank The East
Asiatic Company (Hong Kong) Limited for the champagne
and Holiday Inn Harbour View for doing the catering at
the champagne preview.

Illustrated Plates

ODD
SONIA ARCHER
Rosamond Brown
Sonia Archer has had no formal art training apart from
A-level and two extramural courses in Hong Kong,
printmaking with Nancy Chu Woo and the use of acrylic
with Rosamond Brown in 1975.
1.
S-JWBSE
I975
ft*
Archer exhibited her life drawings in a shared exhibition
with Peter Chancellor at the Hong Kong Arts Centre in
1978. She has participated in many group exhibitions in
Hong Kong and her works are in collections in Australia,
Britain, Europe and Hong Kong. The past two years have
marked an increasing number of commissions of small
portraits in watercolour and acrylic. She is a full time
member of the Hong Kong Arts Centre management for
which she has worked since 1975.
S-J's Cat
1975
Charcoal on paper
29 x 40cm
2.
fl»
1986
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Midsummer Night, Norway*
1986
Watercolour on paper
12x16cm

5 of* /A 86

GAYLORD CHAN
MISf
Gaylord Chan was born in Hong Kong in 1925. He
completed the Certificate Course in Art and Design at the
Department of Extra-Mural Studies, University of Hong
Kong in 1970 and became a member of International
Society of Plastic and Audio-Visual Arts in 1972. He
founded the Visual Arts Society with local artists in 1974
and chaired the Society for the first four formative years.
1976
tfiS 933 £4
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32 m w ' -rp 4 s -
121 XI2I &£
Fish Plate*
1976
Acrylic on canvas
121 x 121cm
Since 1969, Chan's works have been featured in more than
fifty group exhibitions in Hong Kong and overseas and
included in each of the 'Contemporary Hong Kong Art
Biennial Exhibition' organised by the Hong Kong Museum
of Art. In 1971, he conducted his first one-person show in
Hong Kong. It was then followed by three more, the most
recent one being held at the Hong Kong Institute for
Promotion of Chinese Culture in September, 1987. In 1983,
he was awarded the Urban Council Fine Arts Award. Chan
mostly works with acrylic on canvas while sometimes
employs woodblock as a medium.
I987
I2I XI2I Aft
Three Objects
1987
Acrylic on canvas
121 x 121cm

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Hong Kong Arts Centre.
Galleries Committee,
Ten years of Hong Kong
painting : an
1987.
753.125 H77t
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