The Artbridger Sponsorship Program reflects a commitment to supporting artists beyond commercial transactions, offering the infrastructural backing, critical mentorship, and international mobility required for long-term career longevity. Operating as an incubator for artistic practice, the initiative connects artists with established curators, critics, and market professionals to refine their work, articulate their critical narratives, and navigate complex institutional frameworks. By facilitating access to global residencies, curatorial site visits, and group exhibitions alongside dedicated editorial profiling and critical writing, Artbridger ensures an artist's practice is documented with rigor and presented thoughtfully to global audiences, prioritizing sustainable creative autonomy over immediate market turnarounds.
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Lau Kam Hung (b. 1988) graduated from RMIT University in 2014 with a Bachelor of Fine Arts degree, and earned a Master of Fine Arts degree from The Chinese University of Hong Kong in 2016. The ways in which Chinese literati painting engages with and processes shan shui (landscape) have always deeply fascinated Lau. His research into literati landscape painting led him to realize that what makes this genre unique is by no means limited to the medium or tools, but lies more importantly in its unique perspective on nature and its profound exploration of the subject-object relationship. Within the history of Chinese painting, works from the Song and Yuan dynasties intrigue him the most. They not only embody the mature evolution and rich heritage of Chinese painting, but also exquisitely convey human perceptions of the relationship between oneself and all creation through visual contrasts—such as large and small, near and far, motion and stillness, heavy and light, dense and sparse, fast and slow, complex and simple, known and unknown, rational and emotional, as well as ideal and real. He consistently strives to express this core essence across all of his artistic creations.
About the artist
Historically, ink landscape art sought to express the spiritual essence (xieyi) of nature, spiritual seclusion, and cosmic harmony through ink washes and void space (feibai). Lau adapts these spiritual tenets to contemporary Hong Kong, treating local urban nature, such as paper-bark trees, miscanthus fields, and roadside pines, with the same reverence classic masters gave to mythical mountain peaks. By replacing ink with silver and graphite, he reinterprets the traditional concept of “capturing light without paint,” using metal reflectiveness to mirror the atmospheric energy and quiet, meditative stillness within a fast-paced urban environment.
Lau’s visual technique revolves around a deliberate synthesis of non-traditional media and classic composition. Instead of using fluid ink and traditional brushes, he builds intricate textures using fine graphite lines, metallic silver paint, and silver-sprinkled paper. He applies dark graphite to form the underlying skeletal structure, rendering tree trunks, dense foliage, and coastal terrain, while applying liquid silver pigment to evoke light filtering through leaves, sea mist, or twilight sky. The metallic paper base acts as an active luminous backdrop. Depending on the viewer’s angle and changing ambient light, areas of shadow and highlight dynamic shift, creating a reflective, metallic surface that resembles brushed aluminum or detailed metal engravings. Far from mere visual novelty, his silver landscape works capture the interplay of light and shadow in urban nature while channeling the meditative spirit of classic Chinese art.
