What is it to be a Hong Konger? The Colonial legacy of British rule, which lasted 156 years until 1997 when it was handed back to China, sets it apart from other Chinese cities. It instilled a sense of separateness from mainland China and created a unique cultural identity. Many Hong Kongers are descendants of refugees and migrants who fled China during turmoil or to seek better lives and opportunities. That is the case of artist Lewis Lee Kam Ching’s family. His father migrated by sneaking across the border and Lewis was born and raised in the area near the border called Sheng Shui. He felt connected to the border from a young age in what he calls a grey area, the land that connects Hong Kong and the mainland, with the skyline of Shenzhen always appearing in between. Lewis’s newest series of paintings are inspired by the hinterland of Hong Kong’s area pressed along the Chinese border and what it means to be a Hong Konger.

Hong Kong’s unique colonial past sparked his interest and a new creative journey in a community rich in colonial history and Chinese heritage. As Lewis states in his own words:

“According to the ‘Heritage of the North District (北區風物志)’ published in 1994, Sheung Shui and Fanling were once collectively known as " Sheung Yue Market," named after the "Beas River" (a transliteration of “Sheung Yue River”) to the north of Sheung Shui. Inspired by this, I chose the Beas River as the starting point for this exhibition, extending from Kwu Tung to Ho Sheung Heung, and connecting to the Ng Tung River around Lo Wu and Man Kam To, reaching the nearby Shenzhen River at Ma Tso Lung and Ta Kwu Ling. In "Cross-border: Hong Kong's Cross-border Villages and their Cultural Heritage" the author introduces several routes for exploring the border. Over the past six months, I have travelled through the rural areas along the border by bus, minibus, and shared bike. Some sceneries have become accessible due to the gradual easing of border restrictions in recent years. The more rural the area, the closer it is to the Shenzhen skyline, highlighting the boundary between the highly urbanized megacity on one side and the lush countryside on the other. This region plays a unique role among global borderlands. After returning to Sheung Shui, despite the green landscapes before me, I felt a restless stirring within. This new series of works features strong expressive swirls against a sky backdrop, embodying both scent and emotion, creating a sense of restlessness accompanied by illusions.

The issues surrounding the border and Hong Kong-mainland relations emerged as early as the late 19th century. In 1898, Britain signed the Convention for the Extension of Hong Kong Territory, leasing the New Territories (which had previously belonged to the Xin’an County of Guangzhou) and establishing the Shenzhen River as the boundary between Hong Kong and the mainland. However, residents could still move freely at that time. After establishment of People’s Republic of China, the British colonial government established a border prohibited area in 1951, creating a barrier similar to the Berlin Wall, formally isolating the people of both regions with a serpentine river serving as a natural barrier, separating opposing ideologies in the air. The concept of "Hong Konger" began to take shape from that moment. In 1980, my father crossed the barbed wire, using Ta Kwu Ling as the endpoint for his crossing route, which became the starting point for his life thereafter. After obtaining temporary Hong Kong residency at the Victoria Barracks, he always carried his identity visa when returning home, stamping it at the Lo Wu checkpoint. I am fortunate to have received my father's permission to exhibit historical documents from that time, allowing audiences to glimpse the stories of a generation through the life of an ordinary person. The exhibition combines paintings and various found object installations, merging real and fabricated "historical relics," creating a space in the bustling streets of Central that blurs the line between reality and fiction, reflecting the current environmental situation in Hong Kong through a romantic pastoral lens.”

The works in this exhibition are a majestic glimpse into the landscapes of Hong Kong with subtle observations. Lewis’ choice of colours is bright and happy, the brushstrokes are both swirling with movement and messaging. Lewis takes us on a personal journey of the land of his birth and self-discovery of what it means to be a Hong Konger.