Kwai Hing Studio - Triennial Report 2023-2025

Cultural Focus:
“CUHK Academic Hegemony”
explores a “scholar-cum-celebrity” path
under the trend of northward consumerism
after the pandemic
Atelier de Belas-Artes do Vincent Lee
The anti-pandemic mask order has come to an end since Spring 2023, and all the
entrepreneurial orders in this post-colonial city return to a normal operation.
However, the economic status undergoes a reversed level of sunset recession due to
Hong Kong citizens’ disheartened feeling towards the social prospects with a shift of
consumerism to Mainland China. Vincent Lee Kwun-leung, as the Studio Artist and
Art Consultant of “Atelier de Belas-Artes do Vincent Lee” in Kwai Hing, encounters a
new storm of reformative changes after being qualified as a MAFA graduate at CUHK
Fine Arts with 3.244 marks as his cumulative GPA results. He needs to actively
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integrate with the macro-viewed circumstances of Great Bay Area Development, as
well as preserving his competitiveness of exposing his artistic fruits to the
international stage. Thus, Vincent Lee fully manifests the software of big-data epoch
to strive for widespread recognitions on the values of his paintings and his leadership
qualities.
In general, Vincent Lee adheres to the vein of CUHK’s development more than to that
of HKBU’s. He never gives up the research on Chinese art histories, both in academic
talks and in journal articles. Rather, he gives people a much rejuvenated impression
that he can serve as a “Ramon Lo” while stressing academics equivalently. It is an
undeniable fact that the local galleries resist to offer Vincent trustworthy patronages,
and thus Vincent Lee needs to rely on swimming-coach career and singing
performances for consolidating his foundation against the monopolization of “Chow-
Lam-Shieh-Chui” influence in the contemporary art market.
Fortunately, the CUHK authority trusts Vincent Lee’s capabilities more than that of
“Chow-Lam-Shieh-Chui”. Vincent Lee can enhance his role as a Chinese art historian
by publishing journal articles on Chinese art histories to boost up CUHK’s
international rankings. Also, Vincent Lee properly manifests the “bureaucratic-
industrial-academic” integration to demonstrate his commitments and devotions to
CUHK through organizing library-based painting exhibitions, publishing Chinese art-
history researches, joining the FAA Alumni Association exhibitions, attending the
academic talks at CUHK, declaring his achievements on MyCUHK intranet, and
publishing his achievements on CUHK Alumni Magazines. Indeed, Vincent Lee plays
the game of leadership qualities, instead of focusing on the contexts of his art
creations by waiting for RTHK’s in-depth journalistic interview on his creative
biography. You might think that Vincent Lee is utilitarian-minded due to his
meritocracy, but still Vincent Lee can maintain being respected in this superficial
society with a sole focus on Mirror, athletes in National Games, insurance affairs,
Messi’s visit and “Midlife, Sing & Shine!” contestants. Vincent Lee adapts to this
strange phenomenon due to his equipment of diversified intellectual skills since his
college era. Vincent Lee manages to support his fine arts through sports, music,
histories and religious engagements. You cannot deny his unique positioning as a
game-keeper within this liberal social system, as it is objectively seen that Vincent
Lee can accumulate a gigantic personnel network under Bernard Chan’s existence
above him.
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Triennial Report 2023-2025: CONTENTS
1. Observing Christianity - Glorifying Lord through art creations (P.4-17)
2. Joining the exhibitions of CUHK Fine Arts Alumni Association (P.17-24)
3. An exhibition opportunity in Singapore (P.24-29)
4. Joint Displays with Terence Tsang at CUHK (P.29-42)
5. National Day and Handover Celebration Western Painting & Ceramic Exhibition
(P.42-46)
6. Integration with macro-viewed circumstances of national development at Da Fen
Village (P.46-51)
7. Moving towards the dream of being a Chinese art historian (P.52-57)
8. Academic talks at Hong Kong Society of Humanities (P.57-64)
9. The selling of six paintings to an art collector in Tung Chung (P.64-67)
10. Painting consignment at Rongting Gallery (P.67-71)
11. Linkages of Vincent Lee’s leadership qualities with CUHK’s institutional needs
(P.71-75)
12. Monthly studio parties (P.75-81)
13. Forecast (P.82-84)
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Observing Christianity - Glorifying Lord through art creations
The Christian Art Biennial Exhibition was the first splendid event that Vincent Lee
encountered right after his glorious graduation from CUHK Fine Arts. Vincent Lee
possesses the identity of triple baptisms from three church streams, but he bears up
with the unity of Christianity to join Mann Chow’s exhibitions in “Hong Kong Art
Gear”. Indeed, Vincent Lee believes in one Lord and one Jesus Christ despite of the
insane changes in fellowship status. He can still be very loyal to the Dominican
Fathers at Rosaryhill School after the substitution of Dalton School despite of taking
part in the BUCC concert performance, whereas he can manifest his priesthood
authority to receive scriptural guidance from the youthful foreign elders.
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Francis Yip Ching-wah, Director of CUHK Chung Chi College Divinity School, served as
the Guest-of-Honour during the Opening Ceremony of Christian Art Biennial
Exhibition at Cheung Sha Wan C.C.C Heep Woh Primary School.
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This Biennial Exhibition was held at a grass-rooted primary school in Sham Shui Po
District, which is the hometown of Vincent Lee’s “Bak Leung” and second elder
cousin brother from his dad’s clan. But the prominent contributors include both the
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CUHK scholars and a HKBU scholar. This Christian Art Biennial Exhibition was
regarded as a substitution to the Hong Kong Art Biennial Exhibition cancelled by
Hong Kong Museum of Art due to its academic authoritativeness in including lots of
great artists from the local art scene. First, the CUHK Chung Chi College Divinity
School served as the co-organizer. Second, Francis Yip Ching-wah, Director of CUHK
Chung Chi College Divinity School, and Pastor Lo Lung-kwong, Honorary Senior
Research Fellow of CUHK Chung Chi College Divinity School, served as the Guests-of-
Honour during the opening ceremony of this Biennial Exhibition. Third, Evelyna Liang
(Grandma Er’hu) was the Former Lecturer of CUHK Fine Arts specializing in the
teaching of Modern Art theories and ethnography during the colonial era, whereas
she was a participating artist in this Christian Art Biennial Exhibition by displaying a
calligraphic and Chinese-ink installation with sound-based multimedia effects.
Fourth, Wu Ying Ching, Former Chinese Language Lecturer of HKBU Language Centre,
exhibited watercolor paintings in this splendid art event. She could instill the literary
elements to the pigment transformations while portraying the naturalistic episodes.
Judging from such a powerful combination of scholastic contributors in this
Protestant exhibition, the focal point of aesthetic appreciations has totally
transcended the theological disputes of whether you worship patron saints or
prophets, but to return to the fundamental point of honoring Lord through academic
exchanges and an acknowledgement to artists’ leadership qualities.
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Members and participating artists in Hong Kong Art Gear gathered to enjoy a dinner
at a club restaurant in Telford Garden, Kowloon Bay.
The exhibition venue of this “Creation Care Exhibition” locates at a classical
Protestant church which is near King’s College in Bonham Road and the HKU MTR
Station, which enabled the participating artists to get in touch with the EMI college
elites from Central and Western District.
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After the anti-Extradition riots and the legislation of National Security Law, Vincent
Lee no longer belongs to New Territories West but is now a registered voter of Hong
Kong Island West. He can vote for Regina Ip, Judy Chan or a Mid-Level candidate from
the Liberal Party. So, Vincent Lee’s connection with the Hong Kong Island can no
longer be underestimated if comparing him with other CCGSS schoolmates and
alumni whom are in lack of personnel networks outside the outlying island. For
example, Vincent Lee could perform Edison Chen’s pop song at Sheung Wan Civic
Centre on 20 November 2025, which was a part of his “Ramon Lo” singing pursuit.
The Hong Kong Art Gear curated a “Creation Care Exhibition” at C.C.C Hop Yat Church
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Hong Kong Church. It is a classical architectural heritage in which lots of middle-class
and wealthy Protestants in Bonham Road attended the worships and fellowships
there. Most of the disciples there are with EMI college backgrounds and HKU
academic backgrounds. They are the potential clients of art collections because they
use to get in touch with the galleries along Hollywood Road. Vincent Lee enjoyed a
chance to be a participating artist in this mini joint exhibition. Of course he would not
feel strange with the elitist culture of this Sheung Wan community and he selected a
piece of night-scene painting with a bee and a moon as his art exhibit. Vincent Lee
used to be with no aggressive mood if comparing with other veteran Protestant art
masters whom cultivated large-scale art exhibits. He just wanted to convey some
simple evangelistic messages from his humble art piece and then he felt satisfied
with the gain. The most important emphasis was that, Vincent hoped to present a
vision among the local gallery owners at SoHo District that he can still exchange with
the Central collectors despite of using the alternative public spaces for exhibitions
without gallery patronages from Touch Gallery or Contemporary By Angela Li.
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Who says that an art exhibition cannot deserve the sponsorship from an
advertisement client if it is not a performance-art event of TVB or Mirror? Even
though the Christian Art Biennial Exhibition in 2024 was with a theological origin, the
Hong Kong Art Gear successfully obtained the sponsorship from Hung Fook Tong and
Dr. Szeto Wing-fu, CEO of Hung Fook Tong, was invited to officiate the opening
ceremony. Just like Vincent Lee’s recent experience of serving as “Ramon Lo”, the
“Rose Ko’s Acquaintances Caring Concerts” successfully received the sponsorships
from Calendula Spirit Oil and Hipp Organic Baby Cereal due to the tremendous
supports from the elderly audiences of East Kowloon Districts. The local galleries
which refuse to offer Vincent Lee trustworthy patronages can keep up their alienated
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status of tasting no grants from the advertisement clients by claiming that the
corresponding sponsorships are too secularized.
As same as the curatorial version of 2023, Mann Chow invited Francis Yip Ching-wah,
Director of CUHK Chung Chi College Divinity School, and Pastor Lo Lung-kwong,
Honorary Senior Research Fellow of CUHK Chung Chi College Divinity School, as
Guests-of-Honour representing the CUHK authority apart from having the CEO of
Hung Fook Tong to conduct the ribbon-cutting ceremony. Francis Yip Ching-wah took
a group photo with Vincent Lee in front of his azulejo-liked painting because they are
both the members of the CUHK family.
The Biennial Exhibition in 2024 took place at a Methodist primary school in Tseung
Kwai O, now as a bourgeoisie realm to connect with the potential collectors near
TVB. Vincent Lee could even join the academic talk by Private Chan at the Art Room
of Evangel College near the exhibition venue as well. Vincent Lee’s careful selection
of artworks enabled him to enjoy two chances of joining Christian Art Biennial
Exhibitions despite of the LCSD’s arrogance in obstructing him from becoming
another Wu Guanzhong through cancelling the Biennial Exhibition at Hong Kong
Museum of Art, and this was a proper strategy to uphold his importance in the
academia as similar as Leung Lai-man, Angel Hui Hoi-kiu and Trevor Yeung’s museum-
exposure experiences.
Joining the exhibitions of CUHK Fine Arts Alumni Association
It is impossible to force Vincent Lee for a Ph-D studies, as he is fundamentally an
acrylic painter and his excellent GPA results in the Master’s Degree programme at
CUHK Fine Arts should be accepted as a proper competition consequence. Different
from the curriculum of HKBU CVA which requires whole-person education in Design
Art, Media Art and Craft Art, Vincent Lee institutionally fulfilled the “historiography-
creativity coexistence” requirements of CUHK Fine Arts in which he manages to apply
the Western philosophical theories, internship experiences and Chinese art histories
on his research-based art practices.
“Chow-Lam-Shieh-Chui” rarely join the CUHK Fine Arts Alumni Association
Exhibitions. But, Vincent Lee respects this unit by joining its two alumni exhibitions at
JCCAC. Vincent Lee even exposed to be voted by widespread FAA alumni as similar as
Lesley Lau obtaining two votes in the Committee Election. Do HKBU, Rosaryhill
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School, CCGSS and Sacred Heart Primary School offer Vincent Lee the same kind of
alumni-contribution roles? Not at all, as their OSAs only allow the businessmen and
professionals to render the administrative affairs. But, Vincent Lee does have a
concreted role as an exhibition participant and feel a strong sense of contributive
existence in this FAA Alumni Association of CUHK, regardless of whether he has been
voted as a committee member or not. At least Vincent Lee can equally communicate
with Lesley Lau, who has ever been responsible for the curatorial duties of Hong
Kong Heritage Museum, Art Promotion Office, Oil Street and HKVAC with
tremendous bureaucratic experiences.
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The FAA Alumni Association Exhibition in 2023 was held at JCCAC, and Vincent Lee
exhibited a series of research-based art creations about the brainwashing effects of
television culture. An FAA alumnus called Jinna Shaw from Taiwan even published
Vincent Lee’s artist statement about his television paintings onto her “Colouring Life”
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blog as well. Ironically, Vincent Lee did not deserve any supportive chances from
HKBU to exhibit his paintings at JCCAC after Prof. Ng Ching-fai’s establishment of
JCCAC in 2005. He could only exhibit his paintings at JCCAC for three times right after
the admission of CUHK Fine Arts. It was Vincent Lee’s dream of connecting with the
residents of Shek Kip Mei to come up with some crossovers in creative projects
during his Bachelor studies at HKBU, and now he could return to this HKBU premise
in a glorious status as a “CUHK academic hegemony”. Of course, there has ever been
a traditional concert at Shek Kip Mei Community Hall for Vincent Lee to perform
Archie Sin’s pop song, as well as a concert at Pak Tin Community Hall for him to sing
Alfred Hui and Danny Chan’s compositions. The residents in Shek Kip Mei won’t mind
that Vincent Lee is not too loyal to HKBU in JCCAC issue, but to cherish him as a
“Ramon Lo” with a “CUHK academic hegemony” origin to present both trustworthy
neo-figurative painting skills and resonant singing talents for their community.
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Under the pro-HKBU leftard nuisances of “Pencil Sharpener Incident” and the
uncertain stance of Cassandra Lok on leadership qualities at LSTLCW, should Vincent
Lee keep up with the meritocracy task of joining the FAA Alumni Association of CUHK
in 2024? This was a challenging point that Vincent Lee needed to encounter. Finally,
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Vincent did not retreat from his painter identity but kept facing this welcoming
occasion to be acknowledged as a capable “CUHK academic hegemony”, simply
letting Lok Sin Tong and the 13 classes at the crappy estate college demonize him as
Anson Chan by honoring “Pencil Sharpener Incident” as Tung Chee-hwa.
In this third-ever JCCAC exhibition, Vincent Lee exhibited an R&B painting series and
demonstrated his transformation on William Kentridge’s blue style. He presented his
creative ideas to the Dean of New Asia College during the guided tour. Indeed, the
FAA Alumni Association was with Henry Poon, his MAFA mentor specializing in
ceramics, as the committee member. There are actually a number of prominent and
influential FAA alumni with pretty portfolios, such as Jor Yin-fun’s Chinese-ink
landscape paintings, Chui Chi-yu’s bronze sculptures, Amy Tai Iat-kuan’s oil paintings,
Poon Siu-han’s Lingnan paintings, Wong Sing-yiu’s expressive calligraphies, Lo Kwai-
chi’s modern-ink paintings and so forth. During the Committee Election, Vincent Lee
was not negatively affected by Christine Choi Yeuk-lin’s connivance on LSTLCW’s pro-
HKBU suppressions but could still obtain two votes from FAA alumni as similar as
Lesley Lau. Yet, the leftards such as Prof. Kim Minku like to demonize Vincent Lee as
poisoning CUHK with meritocracy, but still there could be several alumni
acknowledging the aesthetic values of Vincent Lee’s fine arts and his contributions to
CUHK.
Lok Sin Tong and the Tsing Yi residents at Cheung Hong Estate can keep cherishing
the exhibit designs by “Pencil Sharpener Incident”, but Vincent Lee’s engagements in
FAA Alumni Association of CUHK is still acknowledged despite of boycotts from the
educational bureaucrats sympathizing the weaknesses of HKBU.
An exhibition opportunity in Singapore
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“Every student possesses the leadership qualities. Every student can become a
leader. I can be the leader”. This is the school motto of LSTLCW declared by
Cassandra Lok Wing-yi, and her notion “leadership qualities” implies “meritocracy”.
Singapore is a utopian of meritocracy. In Hong Kong, Vincent Lee needs to struggle
against the soft counteractions of leftards every day, such as the alienation from
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RTHK. Once arguing about whether Vincent Lee should emerge as an art leader at
Rosaryhill School and CUHK, it is much better for him to grasp for Lee Hsien Loong’s
blessings on his possibility of contributing to the economic growth of Singapore.
The Chui Huay Lim Club in Singapore offered a grand venue for CUHK FAA Alumni
Association to organize an exhibition for promoting Sino-Singaporean aesthetic
exchanges. Vincent Lee exhibited two lifeguard paintings to highlight the cultural
features of Hong Kong and his unique identity as a watery boy. Indeed, the Art Of
Nature International Company Limited has ever delivered Vincent Lee’s paintings to
join the museum exhibition of Penang State Art Gallery and the eco-art charity
auction of Penang Trader’s Hotel in Malaysia during Donald Tsang’s administration
era, together with an Tertiary Level Second Placer of “The 8th
Philippines-China-Japan
International Fine Arts Competition” organized by Asia Exchange Culture Association
Philippines Incorporated and an “Outstanding Atmospheric Mood Creation Award”
from the Artscanyon Art Gallery Group in the United States. Just like Archie Sin and
Rock Ho’s achievement of obtaining an “Asia Academy Creative Award”, being an
“Asia No. 1 Elite” is not a monopoly of Keung To at all, whereas the indigenous
bureaucrats and the press media should not remain nonchalant in terms of
acknowledging those who can get international awards but not from the Mirror
Aunties’ level, HKADC level, HKMoA level and RTHK level of comprehension. Vincent
Lee manages to win the international goodwill earlier than Keung To’s “Rumours”;
and even for his several cousins enjoying overseas relocations in the U.K and
Australia can witness his ability in connections with the Philippines, Japan, Malaysia,
the United States and Singapore.
The AppliedHE Rankometer, as an international organization in Singapore, ranked the
CUHK as the first position in Hong Kong and the 55th
position in the world. This
Singaporean unit gave the CUHK an even better evaluation than the HKU. Vincent
Lee’s exhibition chance at Chui Huay Lim Club has won a good reputation from the
Singaporean art market, that he can globally climb up as a star of CUHK after
graduating with excellent GPA results under the condition that HKBU remains
stagnated in world university rankings and creative managements. Lok Sin Tong
wants to tease him in a leftard manner, right? Sorry, it cannot do so. Vincent Lee can
definitely suit the needs of Singaporeans’ expectations for how to make his paintings
keep abreast with the demands of international art market. For example, the
Nanyang Academy of Fine Arts can employ Vincent Lee to serve as a painter lecturer,
which is similar to Prof. Joseph Sung’s teaching service at Nanyang Technological
University. The ideological variations between the traditional art curatorship of Chui
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Huay Lim Club and the contemporary art curatorships of Singaporean galleries, such
as the Sound of Art Gallery presided by Galven, are not that sharp at all because they
both manifest the same and consistent cultural language of meritocracy to render all
kinds of art promotions.
Joint Displays with Terence Tsang at CUHK
Terence Tsang Wang-fung has recently obtained a 2nd
Runner-Up in “GASCA Hokkaido
Bibai City International Art Competition” through a submission of his Chinese-ink
panda painting, and his awarded art piece was displayed at Arte Piazza Kan Yasuda
Sculpture Museum in Japan. However, Prof. Alexander Wai Ping-kong uses to be
reluctant in providing Terence Tsang with an achievement-declaration mechanism to
upload his piece of international art award in Japan, nor to say noting the HKBU CVA
Gallery to let Terence Tsang organize a solo-exhibition on his Chinese-ink paintings.
Under the institutional loophole that we can hardly expect Terence Tsang to have his
Chinese-ink paintings exhibited at Hong Kong Museum of Art as similar as Leung Lai-
man, Vincent Lee raised an idea of curating two joint displays with Terence Tsang at
CUHK Ch’ien Mu Library for helping Terence search for the chances of gallery
patronages, in which the local galleries nowadays rarely sell traditional Chinese-ink
paintings. Moreover, the practice of Chinese-ink paintings like Terence Tsang and
Leung Lai-man do is regarded by HKBU CVA as a marginal kind of minorities. So, the
profound software like the widespread publicity of exhibition news through the
official library website at CUHK enables Terence Tsang’s Chinese art practices to be
honored in a Sinological level as similar as Jao Tsung-i’s lofty status.
Apart from the “Innermost Art Exhibition” at Artscowork in 2019, Vincent Lee rarely
collaborates with a particularly small number of partners to organize mini joint
exhibitions. Terence Tsang shares the mutual understanding with Vincent Lee
because they both treasure the importance of expanding personnel networks for
consolidating the client foundations. So, Vincent Lee hoped to collaborate with
Terence Tsang for initiating a grand and formal kind of opening ceremonies for their
two joint displays at CUHK, in which online-media journalists were also invited to
conduct interviews in an in-depth academic manner as a replacement on RTHK’s role.
Terence Tsang does not need to study a MA in Chinese Art Practice programme at
CUHK Fine Arts but can still enjoy the exhibition-venue service of CUHK to prosper
the collection values of his Chinese-ink paintings.
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Terence Tsang’s relatives from his dad’s clan, Goo Jeung, Goo Ma and Goo Jeh, made
an honorable presence to the joint display at CUHK. His uncle and aunts collaborate
with Terence Tsang to operate an SME in Fo Tan factory for promoting accounting,
property, surveying and Chinese-ink collection businesses as similar as Gigi Yim’s
case.
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Vincent Lee’s first joint display with Terence Tsang at CUHK in 2024 was called “The
Remembrance and Memories from Mi Family’s Ink Manifestations”. The idea came
from Mi Fu and Mi Youren’s leisurely attitude in experimenting pale-ink
transformations without artisan techniques. Indeed, both Vincent Lee and Terence
Tsang feel disheartened with the game of “visual arts” during this AI millennium,
regardless of no local galleries in Hollywood Road and no contemporary galleries in
the West approach them for trustworthy patronages and Art Basel chances. The
pigment transformations and structural brushstrokes can reflect the vividness in
spiritual essences. So, this joint display implies that both Vincent Lee and Terence
Tsang love “fine arts” more than “visual arts” due to the humanistic sentiments.
During Tung Chee-hwa’s administration era, the emergence of computer technology
drove Hong Kong citizens to question the applicability of hand-drawn design in which
all the HKALE students rushed to apply for Poly-U Design studies for learning Adobe
Photoshop, Adobe Illustrator, Adobe In-Design, Dreamwaver and AutoCAD. However,
the design industry got to be saturated during Donald Tsang’s administration era and
could no longer accommodate so many fresh graduates to work as graphic,
advertisement and editorial designers. Now, the AI creativity becomes predominant
during John Lee’s administration era, which makes the design industry suffer from a
harder survival than fine arts. Throughout the past two decades, the 1980s-born
youngsters can hardly digest the rapid changes even though they adapt to
meritocracy in career attitudes. The only thing remains unchanged despite of the
ever-changing scientific innovations is that, the fine-art values at CUHK can eternally
prolong and inherit because the traditional painting techniques can no longer be
learnt by the 2000s-born and 2010s-born greenhouse kids. We can hardly expect the
13 classes at LSTLCW to understand the philosophy of spiritual essence in terms of
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cultivating the pigment transformations and releasing the ink-infiltration effects, as
they only know how to key the pop-art flat chrominance onto the monitor in
accordance with the pixel logics. So, the introduction of Mi Family’s idea gives the
new generation a vision that art can be homecoming, sentimental, emotional,
narrative, grotesque and self-expressive based on the CUHK values.
Vincent Lee does not need to be afraid that the humanistic values of fine arts at
CUHK cannot help him survive because the institutional framework of leadership
qualities at HKBU is so inferior despite of a prior emphasis on exhibit design and AI
creativity. People stress the importance of leadership qualities and gigantic personnel
networks more than one’s sophistication on golden ratios. Even though the
equipments are as similar as Mi Fu and Mi Youren practicing the moisturized ink
leisure, the system of respecting meritocracy and leadership qualities at CUHK can
cover up the literati side of one’s art practice in which an FAA academic hegemony
like Vincent Lee can still emerge as a popular “Ramon Lo” for conducting a singing
performance in Great Bay Area, i.e. Xinhui Longquan. Kevin conducted an online-
media interview for Vincent Lee and Terence Tsang as similar as RTHK’s art
programme, in which his Youtube programme successfully recorded the coexistence
between research-based art and Heaven-Man spiritual union in this joint display.
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Vincent Lee and Terence Tsang’s second joint display at CUHK invited Beta Chan and
Eric Cheung, Founding President and Founding Honorary Consultant from “The
Chinese Calligraphy & Painting Society of the CUHK Student Union” to serve as the
Guests-of-Honour.
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Vincent Lee’s second joint display with Terence Tsang at CUHK in 2025 was called
“The Common Perspective of Jin Nong’s Ink Practice”. The summer of 2025 was full
of Signal No. 8 Typhoons, Signal No. 10 Typhoons, Red Rainstorm Warnings and Black
Rainstorm Warnings. Vincent Lee and Terence Tsang needed to reverse the red and
black rainstorm weathers for hanging up the Western and Chinese painting exhibits.
But still, the frequent mode of extreme weather conditions did not affect the
enthusiasm of art lovers to attend the opening ceremony at CUHK. This time, the
curatorial theme went to the retreating philosophy of Jin Nong, as both Vincent Lee
and Terence Tsang did not beg for becoming university professors due to the insanity
of educational career. Same as Jin Nong, Vincent Lee and Terence Tsang only wanted
to connect their art creations with the civic strata. They realize that Trevor Yeung can
obtain the M+ Sigg Prize and join the Venice Biennial Exhibition. But they won’t push
themselves to demand for such globalization ideal too harshly. Vincent Lee and
Terence Tsang feel satisfied with the gains of enjoying the exhibition services within
the institutional framework of CUHK, just like the Eight Eccentrics of Yangzhou whom
never desired for the upward mobility of painting studies at Qing Court due to the
corruptions and the military humiliations of foreign powers. Even for being able to
obtain a glorious bureaucratic position, the instability and chaotic circumstances of
the sunset regime might still turn down your pragmatic public services unless the
Confucian etiquettes are properly restored.
This time, Beta Chan and Eric Cheung, Founding President and Founding Honorary
Consultant from “The Chinese Calligraphy & Painting Society of the CUHK Student
Union”, served as the Guests-of-Honour for the opening ceremony. The joint display
was added with much recognition due to the formal support from two distinguished
CUHK alumni leaders, and there is a strong academic value from the honourable
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presence of this CUHK Chinese Calligraphy & Painting Society as well. Kevin was
responsible for the online-media interview and Youtube programme production.
After the opening ceremony, Vincent Lee and Terence Tsang accompanied all the
guests and visitors to enjoy a celebrative dinner at CUHK Chung Chi College Staff Club
Chinese Restaurant. This staff-club restaurant is a hub for the government officials
and the distinguished alumni to enjoy exchanges. Vincent Lee could definitely greet
those who cherish CUHK in a grand banquet manner because he uses to be an
etiquette maintainer in terms of presenting meritocracy and socializing with gigantic
personnel networks.
National Day and Handover Celebration Western Painting &
Ceramic Exhibition
Vincent Lee is fundamentally a light-blue ribbonist without an involvement in the
anti-Extradition riots. He upholds meritocracy and is willing to collaborate with the
regime despite of the nuisances from British-Hong Kong colonial debrises. The soft-
counteraction camp easily marginalizes Vincent Lee as Civic Painting Society Camp
due to local galleries’ reluctance in giving him trustworthy patronages. However,
Vincent Lee does not belong to the Civic Painting Society Camp because he never
practices urban-sketching at all. Lau Yeuk-yee is the wife of Lee Kam-yin, whom was
formerly the Art-Interest Representative of Visual Arts Area in HKADC Election. Lee
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Yeuk-yee welcomed Vincent Lee’s participation in “National Day and Handover
Celebration Western Painting & Ceramic Exhibition” because she clearly knew that
Vincent Lee is Tang’s Camp judging from his service at Art Of Nature International
Company Limited during Donald Tsang’s administration era and he never involved in
the disputes of either C.Y Leung’s demonization or the pan-democrats’ radical
destructions.
If you were not “Chow-Lam-Shieh-Chui” but you could enjoy joining a national level
of art exposure, do you think it is worthwhile for positioning yourself in this way? The
art market of Hong Kong is very strange, that those patriotic but elitist painters
cannot reach Hollywood Road at all. But these Sinocentric painters can create
paintings in the Mainland galleries at Da Fe Village as a substitution. Vincent defines
himself as merging with the Great Bay Area and he never begs Tate Modern or
Saatchi Gallery in the U.K to patron his art practices. So, he did not mind exhibiting
his Portuguese banquet painting inside the Hong Kong Central Library at all.
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Zhao Zhijun, who is a Chinese-ink painter and the Art-Interest Representative of
Visual Arts Area in HKADC Election, served as the Guest-of-Honour to officiate the
ribbon-cutting ceremony.
Even for Choi Yeuk-lin, she can hardly deny Vincent Lee as being not cooperative in
promoting National Education at LSTLCW because he had a concreted role in the 75th
Anniversary National Day Celebration through a contribution of his art talent.
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Lau Yeuk-yee knew Vincent Lee because he helped Cissy Cheung Chu-yu render her
canvassing tasks of HKADC Election during Donald Tsang’s administration era. At that
time, three 1980s-born “anti-HSR” youngsters, namely Choi Chi-kwan, Yip Ho-lun (His
dad called Mr. Yip Shu-fai was Vincent Lee’s Primary 6 class teacher at Sacred Heart
Primary School after the retirement of Miss. Cheuk) and Tang Siu-wa, turned against
Ng Sau-nam’s pro-establishment alliance. Amongst, Yip Ho-lun, as the son of Vincent
Lee’s class teacher and a CUHK Fine Arts alumnus, confronted with Lee Kam-yin to
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struggle for becoming the Art-Interest Representative of Visual Arts Area. Vincent Lee
encountered a contradiction, that should he respect Mr. Yip Shu-fai at Sacred Heart
Primary School in this crucial moment of keen election? Vincent Lee seemingly
respected Miss. Cheuk more than Mr. Yip Shu-fai, as he missed the chance of taking a
photo with Miss. Cheuk after the completion of Primary 2 studies. But, Vincent Lee’s
job at that time was to serve for the Art Of Nature International Company Limited,
and he should support Lee Kam-yin with regards to Lam Man-kong’s inclination of
cooperation with him in traditional oil-painting promotions. Finally, Yip Ho-lun was
defeated by Lee Kam-yin, and Lau Yeuk-yee appreciated Vincent Lee’s marketing
strategies for Cissy Cheung very much. Now, Vincent Lee is an academic hegemony of
CUHK. Of course, Prof. Frank Vigneron would not care about how Yip Ho-lun goes on
at all. You can see that Vincent Lee was destined to be a light-blue ribbonist because
even for his Sacred Heart class teacher’s son also underwent lots of sufferings in
protests and hunger-strikes to grasp a better treatment in art practices, whereas Mr.
Yip Shu-fai’s son is actually older than Vincent Lee and probably belongs to the
generation of “Chow-Lam-Shieh-Chui”. You may comment that the challenges
Vincent Lee experienced were very few and it is unfair for him to enjoy such upward
mobility simply due to his persistence on meritocracy.
Integration with macro-viewed circumstances of national
development at Da Fen Village
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The Hong Kong Art Gear formed a field trip to visit Da Fen Village in late 2023.
Christian artists selected Huidan Gallery for exploring art-jamming creativity. At that
time, Vincent Lee painted a greenish forest in an expressive manner and he reflected
sophistication on the use of poppy oil like the moderation of turpentine. Since then,
the art lovers and curators at Da Fen Village notice that a CUHK academic hegemony
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manages to follow the gallery instructions for creating the commercial pieces that
suit the needs of Mainland collection market. This marked the beginning of Vincent
Lee’s integration with the macro-viewed circumstances of national development
despite of no gallery patronages from the Hollywood Road.
Painting created at Hexiang Art Gallery
Painting created at Xiangyun Gallery
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Painting created at Fiye Coffee Gallery
49

Paintings created at Huidan Gallery
Vincent Lee targeted on floral blossoms in his gallery creations because he clearly
knews about the needs of hotels, concourses and luxurious residences in collecting
some decorative pieces for the interior-design purposes. He avoided the controversy
between urban sketching and neo-figurative painting in Hong Kong but to deeply
think about how to beautify clients’ accommodative and visiting environments in
Mainland China. He tried to refine the expression of petals, leafs and vases as
romantic as possible, with reference to the masterpieces of Impressionism and
Rococo Art. Vincent Lee collaborated with five galleries at Da Fen Village, namely
Huidan Gallery, Rongting Gallery, Xiangyun Gallery, Hexiang Art Gallery and Fiye
Coffee Gallery. Amongst, he painted the most at Huidan Gallery whereas the gallery
owner Miss. Wu Huishan offered him articulate creative directions, which were floral
painting and still-life painting. The art-jamming game at Da Fen Village is just like the
system of HKCEE Art, in which Vincent Lee accomplishes to vividly paint a bunch of
plant settings within a short period of time and then he can earn the popularity from
the personnel networks of the five Mainland galleries there without the need of
studying at Mainland art academies in an eventual curriculum.
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Moving towards the dream of being a Chinese art historian
Prof. Kim Minku’s influence often condemns that Vincent Lee never wants to study a
Ph-D in Chinese Art History programme due to his persistence on selling acrylic
paintings and obtaining gallery patronages. However, Vincent Lee never gives up
Chinese art histories, even more enthusiastic than the FAA graduates from MA in
Chinese Art Practice and M-Phil programmes in this research aspect. The Hong Kong
Society of Humanities initially permitted Vincent Lee to regularly publish journal
articles about Chinese art histories on its “Modern Humanities Archive”. This paved
the way for Vincent Lee to emerge as an amateur Chinese art historian even though
he is just a MA graduate in Contemporary Art Practice at CUHK Fine Arts.
Xue Rongnian, a renowned Chinese art historian in Mainland China, has ever
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published a Chinese art-history book called “Fanghu House Art-History Journal
Articles Collection”, and the Chung Hwa Bookstore in Yau Ma Tei near Hong Kong
Academy of Fine Arts helps Xue sell this research publication. If there is a publisher
feeling interested in upholding Vincent Lee’s research achievements, it can collect all
the journal articles written by Dr. Fong Sai-ho and Vincent Lee to publish a Chinese
art-history book, sell it at Chung Hwa Bookstore and merchandize it during the Book
Fairs at Hong Kong Convention & Exhibition Centre. It is for sure that such publication
can facilitate a Jao Tsung-I effect in terms of letting readers in Great China Area digest
the fruits of Dr. Fong Sau-ho and Vincent Lee’s Sinology.
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Since 2025, Vincent Lee raised an idea of re-modifying his research direction by
writing journal articles about Chinese art histories in “comparative aesthetics”
module. His purpose was to provide examination-skill guidance for the HKDSE Visual
Arts students to encounter the Art Appreciation paper, whereas it could still boost up
QE and THE’s acknowledgements on CUHK with higher international rankings
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through the achievement-declaration system on MyCUHK intranet. Vincent Lee still
persisted to include lots of footnotes in his “comparative aesthetics” journal articles
on “Modern Humanities Archive”, and this reserved a kind of authoritativeness in
academia and it was a respect to the rule of not violating plagiarism in postgraduate
researches. So, there could be triple advantages of contributions to HKSH, HKDSE
Visual Arts students and CUHK from the online publicity of Vincent Lee’s journal
articles within these three years.
The “comparative aesthetics” is a research methodology getting so popular among
the educators and alumni from HKU Department of Fine Arts. Dr. Lau Chak-kwong
and Prof. Harold Mok Kar-leung, with HKU backgrounds, have ever taught Vincent
Lee how to apply “comparative aesthetics” onto Chinese art histories. It is probably
an Oxford-oriented way of enlightened historiography with a liberal-art educational
purpose, whereas the HKEAA nowadays even adopts such “comparative aesthetics”
ideal to create “Art Appreciation” questions for the HKDSE Visual Arts exams.
Moreover, Vincent Lee persisted to refuse the use of AI for Chinese art-history
researches, which was similar to Prof. Vincent Tong Kam-tang’s ancient philosophy of
Sinologist cultivations. Vincent Lee persisted to read and cite the concreted ancient
scriptures from the concreted Chinese art-history books. So, the QE and THE
thoroughly trust CUHK scholars as upholding authenticity in research conduct by
giving CUHK higher international rankings.
55

Vincent Lee’s journal articles about Chinese art histories on “Modern Humanities
Archive” between 2023 and 2025:
2023 "Did the monumental landscape paintings depart from the spiritual-essence
etiquette of ink-infiltration leisure?"
2023 "The delicate brush-and-ink landscape performance of Wen Zhengming from
Ming Dynasty with an equivalent emphasis on the realms of scholar-official
admission and retreat from bureaucracy"
2023 "Re-discussion on the representative art collections of plum blossoms, orchids,
bamboos and chrysanthemums, the four righteous plants"
2023 "Discussion on the differences between the bamboo ink paintings by Wen
Tong from the Northern Song Dynasty and Li Kan from the Yuan Dynasty" -
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2024 "Discussion on the delicate tradition of gongbi bamboo paintings in Song,
Yuan, Ming and Qing Dynasty"
2024 "Discussion on how Yan Zhengqing and Ni Zan affected Hong Ren's Xin'an
School of Painting Thought"
2024 "Discussion on how Wang Meng, Shen Zhou and Wen Zhengming affected the
'Four Monks from Qing Dynasty" landscape-painting style of Kun Can" 2024 "Xu Gu
and Wu Changshi initiated the style of self-expressive plant drawing in Modern Era"
2025 "A comparison between Li Xiongcai and Huang Bore's self-expressive
landscape paintings in the 20th century"
2025 "A comparison of self-expressive ink leisures between Gong Xian from the
Ming Dynasty and Wu Guanzhong"
2025 "The painting styles of 'Neo-Ink Movement' under the apprenticeship between
Lu Shoukun and Wucius Wong"
2025 "A comparison on the modernization of calligraphic styles and ink
performances by Ou Da Wei and Liu Guosong"
2025 "The difference between "lofty beauty" and "a commoner-based return to
secularity" through a comparison between Chen Hongshou and Wu Changshi's floral
descriptions"
Academic talks at Hong Kong Society of Humanities
Vincent Lee has been serving at Hong Kong Society of Humanities as a regular
speaker for academic talks for eight years since his entry there in 2017, right after
the early death of his dad in 2016. You can witness the changes of both Vincent Lee
himself and our society, from simply being a lifeguard, to the social turbulences in
2019, and then the admission of Vincent Lee to CUHK Fine Arts, the outbreak of
Coronvirus pandemic for three years, the achievement of Vincent Lee as a CUHK
academic hegemony, the transformation of Vincent Lee as a swimming coach, the
differences among three Chief Executives in administrative performances, the
victories and loss of LegCo politicians from different ideological parties, and the
emergence of Vincent Lee as a “Ramon Lo”. Looking at the screen of the Youtube
videos about his HKSH academic talks, you might notice that he changes from being
a 31-year-old twink to being a 39-year-old “pseudo-Homecoming Dad” but still with
youthful facial features. Indeed, Vincent Lee’s talk videos accompanies everybody to
undergo lots of joys and tears as similar as TVB actors despite of helpless feelings,
insanities and absurdities within our post-colonial city. He has exploited lots of
discussion topics in which the conventional art academia do not notice the
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corresponding controversial points.
Somebody might question whether Vincent Lee would still keep up with the HKSH
talks if he has already gained a creditable transcript from CUHK Fine Arts. He did
accomplish to produce more and more talks within the new realm of virtual reality
even after his MAFA graduation. Dr. Lee Chi-kwong and Dr. Nick Chu Tat-sing have
seemingly consolidated Vincent Lee’s mindset with many new strong points of
Chinese art histories and cultural theories respectively to better interpret the
philosophical paradoxes. He no longer remains with the primitive HKBU level of
commenting on contradictive issues in superficial analysis. The boycotts on Vincent
Lee by local galleries seemingly goes more and more severe after his graduation
from CUHK Fine Arts, whereas the curators even give less exhibition supports than
the past epoch of Vincent Lee’s HKBU identity by blaming him as sacrificing less on
democracy. Vincent Lee never feels afraid of such misunderstanding on his
enlightened progresses, but to remain entertaining the netizens with new
postgraduate knowledge and new analytical perspectives. Vincent Lee openly and
clearly declares that, you local galleries can keep up with soft counteractions by
denying his achievement of being a kingmaker at CUHK, but he can still change to
receive the blessings from Mainland galleries by focusing on doing a reformative job
in the part of HKSH talks through his clearer package of histories and theories
despite of no consideration on Ph-D studies.
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Those Chinese art-history talks are just for conventionally pleasing the Ph-D cynics to
prove his commitments to CUHK’s international rankings institutionally. The most
innovative ideas that you can see are from his Western art talks in contrast! Several
persons inspiring Vincent Lee to think out of the box are not from the old stream of
“Chow-Lam-Shieh-Chui”. Rather, the corresponding enlighteners influence Vincent
Lee to think in a Stanford research perspective, as the Art and Art-History
Department of Stanford University in the U.S is very authoritative under a
circumstance that AppliedHE Rankometer ranked Stanford as the first position in
world university evaluation. Vincent Lee even made use of one particular HKSH talk
to analyze Terence Tsang’s Chinese-ink paintings as a prelude to his first-ever
curatorship of joint display with Terence Tsang at CUHK Ch’ien Mu Library. Also, Dr.
Lau Kwai-piu, Chairman of HKSH, even organized a three-scholar forum for Dr. Leung
Kwong-yiu, Mr. Tommy Wong and Vincent Lee to jointly discuss the connoisseurship
skills on paintings. At HKSH, four regular speakers are art practitioners. Dr. Fong Sai-
ho creates Chinese calligraphies in Yan Zhengqing’s model-script style. Dr. Leung
Kwong-yiu, Lecturer of HKU SPACE, creates watercolour paintings under Kong Kai-
ming’s apprenticeship. Dr. Chan Pui-yin from the Hong Kong Nang Yan College creates
Buddhist gongbi paintings. Vincent Lee is an acrylic painter stressing narrative
contexts. Artists at HKSH can still develop technically-rational analysis, instead of
critically-rational analysis, on aesthetic issues in a structural academic manner. Our
local art scene remains stagnated and cannot forebear new thoughts after Vincent
Lee’s CUHK graduation, but Vincent Lee can discover his own re-modified values
through demonstrating his accurate research insights despite of remaining painting,
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not history studies, as his prior habit. Knowledge is ultimately powerful and can still
connect with the wisdoms from other parts of the world which transcends the
slavery of Hong Kong’s social mechanism.
Left: Dr. Leung Kwong-yiu’s watercolour-painting exhibition at CUHK
Right: Dr. Chan Pui-yin’s Buddhist painting in “bai miao” (purely delineative) style
Vincent Lee’s academic talks at Hong Kong Society of Humanities between 2023
and 2025:
2023 "A discussion on the swimming-pool creation series by Chan Wai-lap, awardee
of HKADC Award for Young Artist" 2023 "A brief discussion on the gongbi floral-and-
bird paintings by Yun Shouping, Ju Chao and Ju Lian from the Qing Dynasty"
2023 "The performance of pigment contract from the delicacy of brush-and-ink
practice by Terence Tsang Wang-fung, an alumnus of HKBU"
2023 "The study of 'Lo Ting' creative series - From pseudo-ethnography to Surrealist
painting"
2023 "Discuss how Prof. Ho Siu-kee criticized Dr. Francis Yu's oil paintings"
2023 "The literati integrity and the ink-and-brush delicacy of the self-expressive
plum blossom paintings by Chen Jiru from the Ming Dynasty
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2023 "Discuss how Carl Knepett defined the creations about material cultures within
the contemporary art scene"
2023 "A research on the clerical scripts and figurative paintings by Jin Nong from the
Eight Eccentrics of Yangzhou during the Qing Dynasty"
2024 "A research on Du Qiong's landscape paintings with sleep-lying
perspectives from the Ming Dynasty based on the notions of 'flat remoteness' and
'deep remoteness'"
2024 "A discussion on the positioning, selection and personnel indexes in
evaluations for the production of art programmes by three television stations"
2024 "Discuss whether the Arts Development Awards of HKADC depreciate the
drawing and painting elites"
2024 "The ink-painting and calligraphy collections of Fujita Museum under Sumling's
connoisseurship in Japan"
2024 "Examine the creative adventures of annual awardees from HKADC's Art
Development Awards"
2024 "How Chen Hongshou, a Late-Ming Painter, explored the achievements of
figurative painting through the thought of adherent camp"
2024 "How Yeung Tong-lung, an oil painter, represents the reality of humanistic
society in this metropolis through the Fujianese integrity"
2024 "Li Tiefu and Chan Hoi Ying from Hong Kong Academy of Fine Arts inherited
the tradition of classical figurative-painting style of Rembrandt and John Singer
Sargent"
2024 "A conoisseurship on the literati paintings of Xu Gu's self-expressive floral, fruit
and vegetable still-life drawing from the Qing Dynasty"
2025 "Joint Talk by Mr. Tommy Wong, Mr. Vincent Lee & Dr. Leung Kwong-yiu: A
Connoisseurship on Painting Art" (Online Meeting Pure Talk Programme)
2025 "Why were the 'Mi-Family Ink Manifestations' be more able to accomplish the
vividness of spiritual essence if comparing with monumental landscape paintings and
royal court paintings?"
2025 "The drawing and printmaking culture under the inheritance of apprenticeship
between John Li Tung-keung and Liu Siu-jane"
2025 "Discuss how Zhang Daqian influenced Fang Zhaolin's self-expressive painting
style"
2025 "How the emergence of Francis Bacon and Edward Hopper reflects the
variations between the British culture and the American culture"
2025 "How Lam Tian Xing and Wong Sau Ching mutually influence each other to
jointly exploit the lotus coloured-ink creations"
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2025 "A conscious exploration of sexual desire from the Gender Studies being
reflected through David Salle's collage paintings"
The selling of six paintings to an art collector in Tung Chung
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Vincent Lee has ever sold 16 pieces of paintings despite of no concreted local gallery
patronages. He actually received the commissioned painting projects based on his
trustworthy academic reputation, his broad client networks and his Kwai Hing studio.
Prof. Kim Minku denies Vincent Lee’s ability in prospering the collection values of his
acrylic paintings by demonizing that Vincent Lee is only suitable for the Ph-D in
Chinese Art History researches. This bureaucratic bias is equivalent to the jealousy of
Civic Painting Society Camp by blindly defining his art creations as worthless.
A collector from Caribbean Coast in Tung Chung ordered six pieces of commissioned
landscape paintings for his residential unit to lease out for a tenant. The landscape
paintings reflected the moisturized-infiltration effects, whereas there were loosened
pigments as similar as the romanticist vision of Rococo art. The vertical dripping of
greenish paint is based on a reference on Tsang Chui-mei’s textural abstract-painting
style. The vague aesthetics might cause a comfortable feeling to tenant’s eyeballs, as
the hydraulic atmospheres impose a relaxation as similar as spiritual essences
without artisan stubbornness.
Recently, some stars from the entertainment industry also exhibited their paintings
at galleries, like Stephy Tang from Cookies, Simon Yam Tat-wah, Angelica Lee and Karl
Ting. If Vincent Lee uses to develop connections with pop stars like Gloria Chan from
Cookies, his painting values should be even higher because Gigi Leung also bought
four paintings from Angelica Lee’s exhibition. Moreover, Vincent Lee is now serving
as a “Ramon Lo” with many community-concert performances, as well as having
completed a singing performance for the “Chung Yeung Elderly Festival Charity
Banquet” at Longquan Village in Xinhui. His leadership qualities as a Great Bay Area
artist should deserve good salability in his paintings.
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Painting consignment at Rongting Gallery
Vincent Lee did experience an earlier integration with the art-collection marketing
opportunities in Mainland China during his service at Art Of Nature Gallery in Donald
Tsang’s administration era. However, such integration was suspended during C.Y
Leung and Carrie Lam’s administration era due to the influx of opposing camp,
British-Hong Kong colonial debrises and political chaos. It was a precious occasion for
Vincent Lee to re-taste this flavor since John Lee’s administration era once the
National Security Law has prohibited the pan-democrats and pro-independence
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localists. Based on his previous service experiences in Fuzhou and Xiamen, Vincent
Lee tried to explore more about the hidden opportunities from the gallery circuit of
Da Fen Village in Mainland China. In early 2024, Vincent Lee created a floral painting
at Rongting Gallery and the boss of this gallery appreciated his art style by making
this art-jamming creation as a consignment. Such painting consignment lasted for
nearly two years because the boss of Rongting Gallery focuses on the direction of
floral paintings in her product stream.
The market of Mainland China is gigantic, just like Gigi Yim encountering 1.3 billion
Mainland netizens without a reliance on TVB’s hegemony and the 920,000 audience
index. Hong Kong is just a small dot within the Guangdong Province, and this post-
colonial city should not be over-proud of and over-barbaric with her predominance in
Asia-Pacific region by claiming that all other parts of China and the world strictly rely
and surrender to Hong Kong’s exploitation. At Da Fen Village, Vincent Lee has
numerous choices of gallery selections. Among the five Mainland galleries Vincent
Lee has ever collaborated with, the Rongting Gallery took the initiative role to
consign his painting. In Hong Kong, the leftards and slaves only push Vincent Lee to
suffocate Cassandra Lok’s teaching position at LSTLCW through ignoring his right to
strive for local gallery patronages. However, the Central Government has given
Vincent Lee a blessing to further emerge as a gallery artist.
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“Chow-Lam-Shieh-Chui” loves Hong Kong very much without hesitations, but Vincent
Lee definitely loves China more than Hong Kong. He performed “The Dream of
China” during the “Rose Ko’s Acquaintances Caring Action Concert” at Kwun Tong
Community Centre, instead of performing “Under The Lion Rock”. Vincent Lee feels
thanksgiving that, Fuzhou, Xiamen, Da Fen Village and Xinhui have given him a hope
for the impossible dream pursuits. Both Hu Jintao and Xi Jinping treasure talents,
instead of Jiang Zemin’s ill-treating manner against Vincent Lee’s meritocracy which
made him win the temporary sympathy from Anson Chan, the pan-democrats and
Cheung Man-yee from RTHK during Tung Chee-hwa’s administration era. The
consignment of Vincent Lee’s painting marked his success in following the rules in
Mainland China to create something as refined as possible within the limited retail
framework.
Linkages of Vincent Lee’s leadership qualities with CUHK’s
institutional needs
To prove that one can survive without gallery patronages and museum experiences
after the graduation from CUHK Fine Arts, the active engagement of achievement
declarations on MyCUHK intranet and “CUHK Alumni Magazine” is a very good way
to stabilize clients’ confidence on one’s entrepreneurial capabilities. Vincent Lee is a
representative of meritocracy and he never refuses to manifest the bureaucratic
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resources to institutionally obtain official and pro-establishment recognitions on his
contributions. Just like the Queen’s College with Miss. Chan Ying-ping’s Chinese
Language education, the entire mechanism and academic culture forbear and
warmly welcome the alumni to contribute positive-attitude talks or even publish
their entrepreneurial sharings onto school newsletters for updating everybody’s
intellectual comprehensions. Every alumnus with leadership qualities can feel free to
debate and voice out his innovative opinions for how to improve the general
academic pursuits. Of course, the publicity authority of the educational unit upholds
certain alumni to be successful stars for the mass to further worship and admire. The
CUHK is actually playing this idolatry game even though the democratic movements
have been diminished. This positive-attitude mechanism enables Vincent Lee to
preserve his dignity for being adored regardless of his inability in donating charity
funds as similar as the wealthy businessmen from the “Clan’s Honour”. Because of
his achievements being published on “CUHK Alumni Magazines”, Sacred Heart
Primary School can’t be ignorant with how Vincent Lee undergoes evolutions even
though the Parish Priests of the Catholic Church there feel reluctant to let him
organize alumni talks for introducing his updated leadership qualities after Miss.
Cheuk’s retirement and want to keep the school community as cynical as possible for
just having the grass-rooted duty of receiving the Holy Communions from the
tabernacle, as well as letting Vincent Lee taste the Shark’s Fin Dumplings and Dry-
Steamed Beefs without the right of speech.
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Prof. Alexander Wai Ping-kong never allows HKBU alumni to uplold achievement
declarations, nor to say the CVA Gallery enabling Vincent Lee to organize an alumni
painting exhibition in a solo-display module. Vincent Lee could only serve as a Tenor
Singer for the HKBU Christian Choir 60th
Anniversary Concert in 2024, whereas the
HKBU History Department Newsletters have been undermined from monthly issues
to be bi-monthly issues and Vincent Lee’s opportunities for publishing his alumni-
sharing articles have been greatly reduced. So, throughout the whole 2025, there
were no exceptional particulars from the institutional software of HKBU community
for Vincent Lee to either contribute leadership qualities or consolidate his
entrepreneurial networks. CUHK has become the only platform for him to keep
attending academic talks, organizing joint display, joining FAA Alumni Association
Exhibition, further announcing his fruits of journal articles about Chinese art
histories, uploading achievement declarations on MyCUHK intranet, publishing
achievements in “CUHK Alumni Magazine”, attending the CUHK Homecoming Day,
and joining the alumni singing performances for college anthem during the Chung
Chi College Anniversary Celebration.
Ironically, if talking about Vincent Lee’s lack of aggressions in highlighting his
importance at HKBU, it is unavoidable that HKBU’s international rankings in QS and
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THE remain very weak and lower than those of CUHK without Vincent Lee’s
everlasting submissions of achievement declarations, which even threatened Prof.
Alexander Wai’s mission of striving for the establishment of HKBU Faculty of
Medicines due to government’s ultimate verification on HKUST’s victory in this
developmental project. The achievement-declaration mechanism of CUHK, no matter
for MyCUHK and “CUHK Alumni Magazines”, is still the most trustworthy even though
it is still about meritocracy and bureaucracy. At least it provides a stable framework
for Vincent Lee to pave a way for entrepreneurial reformations with risk evaluations,
structural planning and K.P.I consequences. The quantification of art, singing,
research, talk and media-exposure achievements help Vincent Lee accurately focus
on the necessary client orientations; so as to achieve a higher efficiency of paid-job
obtainments based on a proper distribution of task statistics every month.
Moreover, the leftards keep arguing why Vincent Lee particularly emerges at CUHK as
a celebrity once he is not a television singer like Serrini; but not at HKBU, CCGSS or
Sacred Heart Primary School as a successful leader. Indeed, Vincent Lee manifests
the ingenious marketing methodology of Y.Y Lam or Tat Gor to grow as a successful
CUHK celebrity without the blessings from television channels and newspaper
reports. It is nothing about whether he is a pop-star with an Ultimate Chart award
like Serrini or not. It is just about the explosion of gimmicks and one’s charisma. If
Vincent Lee could accumulate lots of supportive readers from the CUHK alumni
community and the tremendous elderly audiences from the community concerts in
different districts, he could definitely overwhelm Sumling and become a sustainable
“Ramon Lo” outside the television screen as well.
Monthly Studio Parties
The “Atelier de Belas-Artes do Vincent Lee” initiated a stream of History Study Forum
since the pandemic, and then further transformed such gathering as Monthly Studio
Parties. The aim was to provide an alternative platform for the self-entrepreneurs
and slashes to share thoughts about mutual-sharing economies. The monthly studio
parties later became a hub for ingenious food selections, board games, card games,
fans-club supportive materials and religious discussions.
Wines were welcomed to be opened and poured for participants to relax spiritually
within the romantic environment. The foods were mostly from the delivery services,
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and they were the featured selections from either Kwai Hing, Tsuen Wan and Central.
Elder Taylor and Elder Pillon from the Church of Jesus Christ of Latter-Day Saints also
joined one of the monthly studio parties as there is a Kwai Chung Ward in Kwai Fong
which locates near Vincent Lee’s Kwai Hing studio and it is easy for the elders to
access there after Vincent Lee’s participation in fellowships and scriptural meetings.
Vincent Lee’s method of organizing “Monthly Studio Parties” shared similarities with
Prof. Kurt Chan’s way of greeting visitors with snacks and beverages inside his Fo Tan
studio for getting more potential collectors to appreciate and buy his oil paintings
and Chinese-ink paintings, so as to obtain the exhibition patronages from Touch
Wood Gallery in Tai Kwun. The only difference was that Prof. Kurt Chan’s studio was
able to mainly serve the CUHK Fine Arts alumni and the internal experts within the
local art academia, but Vincent Lee was not able to invite authoritative persons and
social elites for visiting his studio because most of the visitors were outside the art
profession and they were just common clients being known from the immense realm
of social media. The other example was that, Lam Tian-xing was able to invite Lisa
Wang, Cally Kwong, Lee Kam-yin, Lau Yeuk-yee and other members from the
“Cultural Coexistence” alliance for enjoying a banquet at his modern-ink painting
studio. You can see that Vincent Lee inclines to the popular mass when rendering the
visitors for his Kwai Hing studio due to his casual, leisurely and liberal attitude in art-
business management. Vincent Lee’s way of organize monthly studio parties ensured
the participants with no needs to travel and commute everywhere but could enjoy
knowing new friends in reasonably-priced fees and a comfortable interior
environment near the MTR station with précised food services.
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One of the participants called Victor, who has ever joined the Monthly Studio Party,
even attended the opening ceremony of Vincent Lee and Terence Tsang’s joint-
display at CUHK
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Forecasts
Vincent Lee’s entrepreneurship for his Kwai Hing studio is similar to how Virginia Lok
Yee-ling described Archie Sin as “being not in lack of jobs and tasks for most of the
time”. It is because the “Atelier de Belas-Artes do Vincent Lee” stresses a diversified,
interdisciplinary and flexible mode of leadership qualities which enables Vincent Lee
to get in touch with different project possibilities and clients from various
backgrounds. He never requests his studio to be extremely solemn, but still upholds
meritocracy and renders academic researches. He can expose to be a “Ramon Lo”
celebrity but still diligently cultivate floral paintings at Mainland galleries. He can
communicate with the opportunities from Great Bay Area, whereas he can still
connect with the international stage through the online technology. He fosters a
clear stance of keeping abreast with the demands of CUHK in alumni contributions,
whereas he can get in touch with the elderly audiences from the community centres
throughout different parts of Kowloon outside the academia in a secularized career
mindset.
Vincent Lee will join the CUHK Fine Arts Alumni Exhibition at Hong Kong Visual Arts
Centre (HKVAC) in Admiralty next year March, and it coincides with Vincent Lee’s 40-
year-old birthday celebration. In the future three years, we cannot expect whether
this CUHK academic hegemony will undergo marriage and become a Homecoming
Dad or not after reaching 40 years old. Also, we cannot foresee how Vincent Lee will
go along with his swimming-coaching ideal after his three years of service
experiences in this industry and enjoy a fruitful marriage life at the same time if
talking about an absolute refusal on Cassandra Lok’s teaching position at LSTLCW
regardless of leftards’ sympathetic populism on this crappy estate college. But, the
“Atelier de Belas-Artes do Vincent Lee” has been accompanying this “Ramon Lo” to
overcome the nine years of challenges and thanks Lord for His protection that even
the pandemic never destroyed the artistic endeavours of this Kwai Hing studio as
similar as a miracle, in which Vincent Lee’s neighbor tenant running a three-person
umbrella wholesale office suffered from a closure surprisingly.
Vincent Lee’s sense of existence will be no longer disrespected because he concretely
has many singing performances in many local community concerts and Xinhui
Longquan. He will be even more charismatic than Sumling with no doubt if Vincent
Lee stands out to be a singer apart from just being a painter and has deserved full
seating of elderly audiences in Lam Tin East. It is expected that the “Atelier de Belas-
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Artes do Vincent Lee” might be able to invite Archie Sin, Gloria Chan from Cookies,
Alfred Hui and other youthful singers for joining the Monthly Studio Parties once
Longman introduced Sidney Yim to Vincent Lee during his birthday party in Kwun
Tong before serving as “Ramon Lo” and Vincent Lee did have a chance to serve as a
swimming coach of Kay Ho Kee-yau’s two children.
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Address of “Atelier de Belas-Artes do Vincent Lee”:
Unit 1515, Block H, 15th
Floor, Kwai Shing Industrial Building (Stage 2),
42-46 Tai Lin Pai 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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Kwai Hing Studio - Triennial Report 2023-2025

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Kwai Hing Studio - Triennial Report 2023-2025