Meet the new generation of Hong Kong’s creatives from visual arts, music, theatre, and dance, transforming Hong Kong's art and culture scene.
Hong Kong photography is often associated with a certain aesthetic. Neon signs, urban cityscapes, gritty alleys, the skyline at night, a bygone melancholy belonging to the 80s. These elements have become synonymous with our city’s visual identity. But Lean Lui looks at Hong Kong differently – certainly through a pink lens if not outright rose-tinted. Practically swimming in a large cream-coloured jumper and loose velvet trousers, Lui is a soft contrast to the harsh monochrome tones of the pieces hanging in Boogie Woogie Gallery. Watching her speak in a calm lilt and gamely allowing herself to be positioned, it’s not difficult to imagine her creating her photography, which is distinctly light and dreamy, often zooming in to focus on the details of body parts in a way that’s intimate but just short of being sexualised.
This coquettish, nostalgic aesthetic has captured the attention of some big names. At the age of 21, Lui already became the first Asian photographer to work with the house of Christian Dior on a global campaign. Her work has also graced the covers of international publications such as Vogue and Vice magazine, and more recently, she has published her second book, Aseptic Field. With a warm and personable touch, Lui’s work invites viewers into her ethereal world, where she captures moments that transcend conventional representations. As part of our special Future Shaper series on Hong Kong’s creative talents, we speak to Lui about how her photography offers a fresh and intimate portrayal of Hong Kong subjects, creating a bridge between our vibrant cityscape and the enchantment of everyday moments.
How did you start your journey as a photographer?
I first started with just fine art photography, which has always been my main focus. Then, my work gained recognition when I got into the finals of the Beijing Three Shadow Photography Award, where I happened to be the youngest finalist. This attracted some media attention, and fortunately, a fashion editor came across the news and shared my work with a designer. That's how I got my start in fashion photography.
How do you think your work has contributed to Hong Kong’s evolving artistic identity and narrative?
Nowadays, when people talk about Hong Kong photography, most people still think of Fan Ho and his classic black-and-white photos, or iconic imagery of neon lights and symmetrical buildings. But my work brings something different to the table. It’s more ambiguous and feminine and evokes emotions without explicitly featuring recognisable elements of Hong Kong. It’s also more intimate, almost like they were shot in a back room or when you’re playing with family and friends – so it’s very different from traditional Hong Kong photography. Picture my work as though a girl is standing on the streets of an urban city wearing antique lace pyjamas.
Who or what are your major influences, and how do they manifest in your photography work?
It depends on what type of work we are talking about. For my pure photography work, [it’s] my family and friends. We play like children so my work just happens naturally. As for my experimental work, Chinese philosophies play a major role, from practising the ways of thinking to the ways of creating.
Picture my work as though a girl is standing on the streets of an urban city wearing antique lace pyjamas.
What message do you hope to convey through your photography?
My message varies depending on the series. Sometimes, it’s more emotional. I just explore different vibes, aesthetics, or whatever that attracts me and makes me curious. When I create this kind of work, I don’t have a specific theme I want to express, but rather how I feel in my heart. I don’t set it up in a particular way and it’s all a very spontaneous process.
In other instances, I can be more rational. Like for my experimental series ‘Disorder Sensing’, I try to ask myself different questions about contemporary photography and explore how light can be presented in different ways. I even made a pinhole camera and used different development methods to create my work. So for that, it’s more rational.
Why did you choose to feature mostly women in your photography? Tell us how you capture the world through a female gaze.
Because I’m a girl and I grew up with girls, that’s what I see the most. My gaze is always a question, not an answer.
How do you envision the future of Hong Kong’s art scene?
I think Hong Kong’s art scene would benefit from increased resources from the government. I tried to seek help from them by applying for an art loan for my photo book but was sadly declined. Luckily, I met my publisher later in London who supported my project. I really hope the government can recognise and treasure its local talents if they want to cultivate a thriving art scene and keep creative individuals in the city.
Looking ahead, do you have any upcoming projects you can tell us about? Are there any Hong Kong-based artists, creatives, or talents you want to collaborate with in future?
Yes, there is something exciting that’s going to happen in Tokyo, Paris, and New York – but I can’t share any details now. But I hope one day I will get to work with Takeshi Kaneshiro (金城武) because he’s my childhood crush.
Photograph: Calvin Sit
Shot on location: Boogie Woogie Photography
