The series of ‘Fence’ is about decay, borders, and fragility. Human fragility is a crucial part of our communication. We acknowledge the weaknesses, and limitations one might have through culture, environment, and childhood influences to create encouraging conversations with one another. Fence II in particular highlights the materiality and life of an artwork. It has been broken down and mended in the past three years. In every mending process, I try to utilise all sorts of material from my home and my studio, simultaneously every mend means a slight transformation.

‘Tung Shan Mansion’ was the place in Hong Kong where I used to live, the work extends the motifs of the Fence series into memory of home. The silhouette reflects my childhood memory of the building complex in Hong Kong which has faded since I moved to the UK in 2017. Now I look at Hong Kong from a dystopia perspective, it is dark-toned ceramic, vivid and abstract.