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I see myself as a storyteller, my practice is rooted within my current environment, experience, and heritage then being defined and narrowed into artwork(s). Escaping categorization or labeling is not my intention. My belief in somatic history, which embodies history, is that one can carry the cultural marks of where one originated from in one DNA, and these can manifest in one spirit and physical life to execute the power of the narrative. Additionally, Cultural languages, belief structures, and Identity politics become my concern to construct my work to describe the artistic vision and make visible the way these non-neutral interfaces will contribute to the imperishable cultural imaginaries and elucidation to render the absurdity of our present situation. 

Secondly, it is set to question the existing cultural conflict, alignment, boundaries, and exclusivity through the exploration of the various form of traditional cultural elements.  In the hope to turn visuals into a narrative for the public to investigate the dichotomy between natural and artificial.That my works become an experiment with different media and challenge traditional art concepts.


Melodic Ensemble II - 2013
A series of work inspired by the music components of the Cantonese Opera. To an extention of abstract expression, the Material cultural are composed as the visual language to induce spectator into the ensemble, to start communication with oneself, through one's spirit, soul and body.
In Dialogue -- 2016
Language is a tool for communication, however, visual language is another form of art to induce dialogue between spectators oneself, or others. The images represent each of our difference. Somehow, even speaking in the same language, communication wasn't as effective as its function failed. My question is "What is the effective way to talk with each other? "
Stage Series #7 -- Curtains up
The stage is a place to tell stories. Opera stage share lots of laughter and tears with its audience. When the curtain is up, a journey starts to invite audience into another unrealistic realm. The Stage Series captures crucial moments when the audience is being absorbed into its dramatic realm. With colorful decor and surrealistic situations, open dialogue is possible between spectators and the artwork.
Landing on a No-man Island
An artwork continues after the Stage Series, to keep on sharing narrative inspiration with spectators. What the image represents a gendered self, we can easily associate with it in a similar situation of struggle. Whatever the nature of the struggle is it. About humanity , about life and love.
Sunset Sunrise --2021
Time treats everyone fairly regardless of the circumstances. Under the pandemic, sunrise and sunset emerge daily as usual, but in fact, a “Global Resonance” suddenly takes over that no one can be exempt from, it may be even a kind of “once in a lifetime incident, each individual is adapting to the happening in life according to one’s own choice. This project is created based on the unexceptional “Global Resonance” onto the human race, the artworks express different scenarios of the passage of time during the pandemic bouts, revealing and presenting different perspectives of individual self-reflection and meditation, hoping to encourage spectators to possible ways of reasoning with an open attitude. Mountains, rivers, and nature often become an expression of the passage of time in the various artform. What visual presentation and ideological impact will come along when western painting techniques cross over with traditional Chinese cultural artform? This series reveals an interesting visualization to revamp the traditional Chinese literati landscape painting into contemporary artwork. Through the combination of the key conceptual components, the character of the Chinese landscape, and the ancient material culture of Cantonese Opera Costumes, such as water boundaries, clouds, mountains, the artworks go through context reconstruction and maneuver regeneration process with Chinese embroidery and western painting techniques to echo the artist’s thematic idea of “ East meets West”.

About JC Jessie

Research-based Interdisciplinary Art Practitioner, Intangible Cultural Heritage Carrier & Curator

Jessie obtained a Master Degree in Fine Arts at the Chinese University of Hong Kong in 2016 and a Bachelor Degree in Fine Arts at York University, Canada at her earlier path. Recently, she actively promotes cultural heritage in various art projects of both local and overseas boundaries. Her art is rooted in the Materials Cultural of Cantonese Opera Costumes research, one of the Intangible Cultural Heritage in Hong Kong, where a strong linkage between her family ties & this integral part of Chinese culture.

Based on the research, her works examine the possible conversion and reinterpretation of the ancient traditional culture system combined with meticulous attention to color, anti-chiaroscuro composition, and an enigmatic & playful presence which illustrate the application of her “ Old into New” & “ East meets West” art revival process that impels nostalgia for the presentation of the rich cultural heritage of the artist. 

United States
New York
United Kingdom UK



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