1954 生於香港
1979 畢業於「香港美術專科學校」
2003 藝術公社（董事）
2009 香港當代藝術家協會創會召集人（副會長）
2012 賽馬會鯉魚門創意館（藝術顧問）
2005 入選傑出亞洲藝術獎
2005 入選香港當代藝術雙年展
2012 香港首屆油畫大賽優異
策展
2003 路過牛棚繪畫展
2006 2006本地薑繪畫作品邀請展
2007 2007本地薑繪畫作品邀請展
2008 2008「薑樂」繪畫作品邀請展廣州-香港
2009 本地薑延續繪畫邀請展
2010 當下香港「香港當代藝術家協會」首展
2010 東九龍公共空間藝術邀請展雕塑 (木棉)
2011 塑造者雕塑展2011
2012 2012本地薑（油畫邀請展）及（雕塑展）
2003 香港油畫邀請展 2013

1954 Born in Hong Kong
1979 Graduated from Hong Kong Academy of Fine Arts
2003 Become the director of Artist Commune
2009 Become the Vice president of Contemporary Artists Association of Hong Kong
2012 Art consultant of Jockey Club Creative Hall in Lei Yue Mun
2005 Selected in Sovereign Asian Art Prize
2005 Selected in Hong Kong Contemporary Art Biennial
2012 Merit, the First Hong Kong Oil Painting Competition Curatorial
2003 Exhibition of Cattle Depot
2006 “Local Ginger” Invitational Exhibition of Painting
2007 “Local Ginger” Invitational Exhibition of Painting
2008 “A Ginger Fun” Painting Exhibition from Guangzhou- Hong Kong
2009 An extension of “Local Ginger” Series Exhibition
2010 Moment “Hong Kong Contemporary Artists Association,” the first exhibition
2010 East Kowloon Public Art Space Exhibition of Sculpture (kapok)
2011 Shapers the Sculpture Exhibition 2011
2012 Local Ginger 2012 (Oil Painting and Sculpture)
2003 Hong Kong Invitational Exhibition of Oil Painting

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怎樣在作品中反映自己生活在當下的真實感受，對我來說，是創作過程中最值得關注的事。在創作了「香港現況」及「地鐵人物」糸列之後，我開啟了中國文化這扇大門，用源遠流長的文化符號以及象徵圖形作為作品的背景和構成作品的支撐，中國文化實實在在是一個寶庫。在我來說，創作這個糸列是長期思考之後的偶爾所得，創作之初朦朦朧朧，創作過程左迴右旋，能找到表達自己感受的方法，現在想來是件幸運的事。創作，的確不是件容昜事。
在「花牌」糸列作品中，我挪用了一些古老的文化圖騰和符號，并將之共置於花牌中，同時賦予新的色彩安排，但我并不想將作品處理為一幅「繪畫」，對於如何在作品中表達當代意義，對於最難處理的作品主題，我採用暗示或比喻等傳統表達手法，而是以個性化的文字為作品的一個組成部份，這樣一者作品的結構不至單調，二來避免了作品表達出即時的情緒變化 。

Reflecting our daily life experience and feeling in a true way, is the most noteworthy thing for me during the process
of artistic creation. After the creation of my two art series,“Hong Kong Nowadays” and “Metro-figures”, I find myself
non-stoppable to use tradition Chinese symbols of culture,as a real treasure of inspiration. Once you open the door of
the long history of China, you would never close it. To me,the two selected series are of a different intention, I thought
a lot about how to express the feeling I had in mind but finally I found my way, while the process of creation was so
intangible and the result of creating a satisfactory work is out of your own control by some chances, that is, creation has
never be an easy task.
In the “flower banner” series, I extracted some ancient cultural totems and symbols, all together with the flowers were
placed in the Chinese traditional banner, whilst rearranging new color tones to make it different from the original looking,
but I do not want to handle it as a painting, as I wanted to add contemporary elements into it, for the most difficult parts, I adopted traditional expression and Hieroglyphs to enrich the composition of my works. More important, this is to imply
the meaning of my works in an oblique way, as I hope the audiences will think about the deep meaning I wanted to express but not see it from the wordings after looking at it for a few seconds. I role of creation is more like a messenger, just to give them a whole new meaning.