I try to be free from external distractions when creating my works, and find my utopia and inner peace among the landscapes I paint.

Yung Chee-mun, Simon

Yung Chee-mun, Simon

Looking up to Tang dynasty poet Du Fu and taking his timeless verses as motto, ink artist Simon Yung (L5-21) integrates Chinese poetry into his paintings, which offer a sense of serenity amidst the hustle and bustle. Akin to a landscape architect, he constructs his works with nature in mind. Going with the flow for half of his career, he now buries himself in the clouds, to realise his lifelong dream and live up to his motto.

Specialised in Chinese ink painting, calligraphy and seal engraving, Yung also engages in design and art education. He has participated in various local and overseas art exhibitions, and received numerous recognitions, including Hong Kong Art Biennial Exhibition, Philippe Charriol Foundation Art Competition, Hong Kong Contemporary Art Awards, and Beyond the Surface: Chinese Abstract Art Exhibition. His works are collected by the Hong Kong Museum of Art, enterprises and private collectors.

Clouds over the Waterfalls

Work of Utopian Landscapes Exhibition | Ink and colour on paper | 2011

JJCCAC
Y Yung Chee-mun, Simon
JJCCAC
Q1. J

J: How did you come across ink painting?

Y Yung Chee-mun, Simon
A1. Y

Y: In fact, I used to work on calligraphy, ink painting and seal engraving altogether. Initially, I was fascinated with Chinese Literature, and studied calligraphy and seal engraving under the tutelage of master Ou Da-wei. Even though calligraphy exemplifies the aesthetic values of Chinese characters, there is still plenty of room to explore for me as an artist, so I attempted ink painting.

Chinese calligraphy and ink painting are different branches of the same tree. Ancient Chinese express their inner feelings through poems and landscape paintings. Compared to calligraphy, ink painting is more abstract and subtle. I believe pictures leave more room for imagination than words, which also align with my temperaments. This prompted me to focus on ink painting. Hopefully, the poetic spirit remains intrinsic in my works.

Spring Spray 6

Empathy Series | Ink and colour on paper | 2021

Spring Spray 7

Empathy Series |  Ink and colour on paper | 2021

Q2. J

J: Can you share your experience under the tutelage of ink master Hung Hoi?

A2. Y

Y: Master Hung taught me the fundamentals of ink art, from brushwork and use of ink to composition and perspective, through tracing and appreciation of Song Dynasty paintings. Just like martial arts, a solid foundation is required for ink artist to flourish.

Q3. J

J: What is your view on traditional and contemporary ink art?

A3. Y

Y: Ink art places emphasis on cultural inheritance. The interplay between tradition and innovation serves in the heart of contemporary ink art. I wish to marry contemporary techniques (such as Zhang Daqian’s colour-splashing) and traditional Chinese culture, to create works that exemplify Hong Kong’s East-meets-West ideology and modern idyllic qualities.

I also incorporate design elements into my works – for example the application of points, lines and planes, as well as the emphasis on proportion, contrast and white space. These add layers to my works, and create an ambience of ambivalence between nihility and reality. I hope my works not only adhere to traditional norms and concepts, but also exude modern aesthetics.

Mount Tai Hang
Sketching Tour Series | Ink pen on sketch paper | 2013
Tsim Sha Tsui Ferry Pier
Sketching Tour Series | Ink pen on sketch paper | 2013
Wan Chai Blue House
Sketching Tour Series | Ink pen on sketch paper | 2014
Q4. J

J: The Empathy and Reflection series differ greatly in style. Can you share some insight about their creation?

A4. Y

Y: The Empathy series conveys my perception and emotional projection towards landscapes through a “semi-technical-and-expressionistic” approach. I want the series to look ethereal, and I hope the audience can immerse in it to enjoy a brief moment of tranquillity, away from the hustle and bustle.

Meanwhile, the Reflection series is inspired by reflection of mountains on water. It prompts me to reflect on whether the reality we perceive is virtual or real. This series is more abstract, in which I try to present the turbulence of life through the flow and diffusion of ink. Life is full of disruptions, but things eventually calm down, just like ripples on the surface of a lake.

Listen
Empathy Series | Ink and colour on paper | 2014
Spring Equinox
Empathy Series | Ink and colour on paper | 2015
Green Embrace
Empathy Series | Ink and colour on paper | 2016
Mountain
反象系列 Reflection Series | Ink on paper | 2012
Haze
反象系列 Reflection Series | Ink on paper | 2012
Red Cliff
Reflection Series | Ink and colour on paper | 2020
Sail Away
Reflection Series | Ink and colour on paper | 2020
Rocks Emerge when Spring Subsides 6

Ink and colour on paper | 2010

Q5. J

J: Do you have a special connection to flowing water?

Rocks Emerge when Spring Subsides 27

Ink and colour on paper | 2011

A5. Y

Y: Stream/waterfall is a significant symbol and feature of my works. Although water is formless, it flows in a distinct direction, which is emblematic of my philosophy in life. The imagery of a long steady stream fits my aesthetic pursuit in terms of composition and spacing, allowing for a sense of continuous flow in my work.

Among all my works, Rocks Emerge when Spring Subsides is my favourite series. It is actually an antithetical couplet in a set of two ink paintings that reinterprets poetry and calligraphy. The phrase “rocks emerge when spring subsides” which originated from a poem by Ouyang Xiu is a metaphor for “truth coming to light”. When a stream meets an object, it will separate and flow around it, and I made use of this characteristic to show what is hidden beneath. The use of white spaces also gives the paintings a sense of mystery.

Rocks Emerge when Spring Subsides 68

Ink and colour on paper | 2016

Q6. J

J: How would you describe your state of mind when creating your works?

A6. Y

Y: I would liken my mindset to a poem by Tao Yuanming, which points out that to attain spiritual serenity, state of mind matters more than your surroundings. Hence, I try to be free from external distractions when creating my works, and find my utopia and inner peace among the landscapes I paint.

Moreover, I believe that art creation is a combination of extrospection and introspection. Like an landscape architect, I look for inspiration from nature, then try to internalise and transform them with my heart and soul into an artwork. I did sketching in many different places, including Huashan, Huangshan and Taihang Mountains in mainland China, as well as Taroko Gorge in Taiwan. I transformed the marvellous textures of these mountains into unique materials for my works. Hong Kong emanates a different kind of charm, different from the grandeur of mountain and river view. I incorporate some of the urban elements in my sketches into my works. For example, Smoky Cliff is based on Leung Tin Au Valley in Tuen Mun, which subtly features Leung King Estate and Shan King Estate.

Smoky Cliff

Work of Utopian Landscapes Exhibition | Ink and colour on paper | 2021

This series is more abstract, in which I try to present the turbulence of life through the flow and diffusion of ink. Life is full of disruptions, but things eventually calm down, just like ripples on the surface of a lake.

Yung Chee-mun, Simon

Twilight Haze 3

Ink and colour on paper | 2019

Twilight Haze 4

Ink and colour on paper | 2019

Q7. J

J: Any upcoming creative endeavours?

A7. Y

Y: I always stay true to my motto, taken from a poem of Du Fu, to remind myself to stay calm and steady even when in troubled waters, and be carefree and content like clouds. I have been painting flowing water for nearly 20 years and may turn my focus to floating clouds – as living testament to my “flowing water and clouds” ethos .

I decided it was time to start a series on clouds when I felt I had a breakthrough when creating Daylight covered with Clouds. Water and clouds share a number of common traits. The misty ambience from flowing water is not unlike clouds and fog, which also create white space. Clouds and waves are also similar in form, even though the former is less tangible in nature. Inspired by Big Wave Bay, I created Cloud and Wave to harmoniously combine the two. I included it in “Utopian Landscapes”, my solo exhibition at Our Gallery last year.

Cloud and Wave

Work of Utopian Landscapes Exhibition | Ink and colour on gold card | 2021

Daylight covered with Clouds

Work of Utopian Landscapes Exhibition | Ink and colour on paper | 2021

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