Playfulness and sensitivity converge in Flock, an exhibition showcasing works by local artists Joey Leung Cho Yi and Kinyan Lam. Embracing creativity without boundaries, the artists move fluidly across media, genres, and disciplines to bring their visions to life. This spirit of openness and exploration is vividly reflected in the works presented by both Joey and Kinyan in Flock.

Joey Leung Cho Yi, a graduate of the Royal Melbourne Institute of Technology, works across ceramics, painting, and photography. He first exhibited at Sin Sin Fine Art in 2014 as part of Hong Kong Forward, alongside fellow JCCAC artists. Drawn to his sense of humour and dedication to craft, Sin Sin Fine Art has since presented his work in numerous exhibitions, including his solo exhibition Passing By (2023).

His “Blessing Fish” in Flock was inspired by a late Qing Dynasty wooden New Year’s painting roller. This series draws upon the intricate carvings of auspicious symbols found on the roller, such as ‘Smooth Sailing’, ‘Peace and Prosperity’, and ‘Fuk Luk Sau’, which embody good blessings. Joey infuses these meaningful symbols in a new artistic ceramic form, inviting viewers to not only appreciate the aesthetics but also to feel the profound cultural significance and the power
of blessings.

His playfulness is evident in One Arrow, Many Chickens and Chickidora. In One Arrow, Many Chickens, he transforms the concept of a plastic squeaky chicken into ceramic: dozens of ceramic chickens are pierced by a single arrow, creating a striking visual effect. With their humorous expressions and vibrant colors, this artwork challenges the boundaries of traditional ceramic art, encouraging viewers to reflect on the relationship between everyday objects and art. It is whimsical yet profound, inviting laughter while simultaneously sparking deeper contemplation about societal phenomena. Through expressive brush strokes in his ink paintings of animals, Joey reflects on his love of nature and his concerns about the environment.

Joey’s artworks and photography have been exhibited in Hong Kong and abroad. He has received numeous awards for his photography works.

Ms. Sin Sin Man is delighted to introduce Kinyan Lam to the world of contemporary art. In Lam, she recognizes a kindred spirit, recalling her own early days developing textiles with the locals in Laos, Java, and Mongolia without regard for prevailing trends — being true to her own vision. A graduate of the Hong Kong Design Insititute, Nottingham Trent University and London College of Fashion, Lam is a visual artist and material researcher whose practice examines the intersection of cultural memory, ecology, and the body. Rooted in an in-depth study of traditional craftsmanship, particularly natural dyeing and embroidery, his work reimagines garments as intimate spaces for archival and environmental exploration.

In 2022, Lam established Genau Studio as an interdisciplinary atelier and research platform dedicated to the preservation and contemporary recontextualisation of artisanal knowledge. The studio’s material investigations directly inform his artistic output, culminating in the launch of his eponymous conceptual project, Kinyan Lam, in 2023.

Lam’s 10,000-Stitch Wreath is a quiet offering of thread and time. Each of the twenty-seven flowers, patiently formed by hundreds of stitches, gathers into a circle—a gentle record of presence and care. In Losing a Little Each Day, he quietly stitched traces of a dream that felt like a brief journey — walking together under a luminous sky, then a soft dissolution into light and darkness. Through simple thread, it follows the gentle fading of that fleeting sense of connection, not as a grand tale but as a quiet departure. His work has been presented on international platforms including Paris and Shanghai Fashion Weeks, where his collections were received as performative installations exploring wearable sustainability. His pieces reside in private collections and concept spaces globally, across cities such as Paris, Osaka, Beijing, and Hong Kong. Lam also extends his critical practice through pedagogy as a lecturer at the Hong Kong Design Institute.