" My approach for this series has been to view Hong Kong and its architecture as matrices for printmaking, specifically embossing.

Instead of printing with machines, or creating printing plates for reproduction, I print directly from the city itself, by wrapping my body and paper around the vintage architecture that has protected me during our pandemic, inside a building which will be destroyed in coming years. The resulting blind embossed work is a direct impression of architectural heritage under threat, and a meeting of skin, paper, and metal.

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Prints are hand-tinted with water-soluble graphite, and are attached directly to the wall. The paper is thin “rice paper”, and prints move with passing air, thus the name "Ventilation Paintings". This transient materiality produces a physical documentation of a city and world in flux that would not have the same resonance if made in any other time or place."