Hong Kong Students Prize 2026

Once, the toilet in my home was my one and only private sanctuary—a space untouched by the noise of daily life. Yet when stress creeps in, even this last refuge seems to lose its quiet solace.

Appropriating the Chinese calendar format to parody traditional notions of what women ‘should’ or ‘shouldn’t’ do, I transform cultural artefacts into vessels of feminist critique.

This portrait aims to highlight culture loss due to modernisation. The peacock is generally a symbol of Indian culture, being a popular character in myths and legends. The idea of a pixelated peacock shows how the younger generation is grasping onto a ‘modernized’ version of beliefs, ideologies and philosophies from their culture. Inspired by the composition of Kehinde Wiley, the background features a traditional marble inlay design of symbolic flowers which contrasts with the streetwear style clothing of the subject; mirrored by the yellow and purple complementary colors. Lastly, the friendship bracelet representative of popular culture trends juxtaposes with the Indian thread traditionally tied for luck.

This triptych explores the power dynamics between nature and human development. Inspired by Lucian Freud’s etchings, this piece aims to explore from the delicate details to the sweeping chaos of artificial and natural patterns, showcasing moments of synthesis. Printed with water-based ink, I allowed the water to inform the spreading of ink, allowing space for nature’s own expression.

The work reflects the rise of “fast‑food love” in modern urban life—a form of relationship that values speed, convenience, and a lack of commitment. It highlights how such connections prioritize momentary excitement over stability and responsibility, shaped by social pressure, emotional needs, and increasingly open attitudes toward intimacy. The piece aims to reveal how contemporary individuals redefine love through the pursuit of freedom and instant gratification, prompting viewers to reflect on the changing nature of affection and relationships in today’s cities.

Rappers are modern-day ancient generals: they wield no swords, but their words are their weapons, bluntly exposing truths often ignored by mainstream society. Their lyrics expose social injustice and the struggles of marginalised groups, challenging the status quo. The solemn spirit of the Terracotta Army is infused with the rebellious blood of rap—when millennia of silence transform into a deafening rhythm, every utterance is a sharp re-enactment of history upon the present. Although often seen as a negative influence, rappers, like those visionary ancient generals, steadfastly fight for their ideals. In a world blinded by moral compromise, they lead the public in upholding social consciousness, becoming guardians of truth in the modern world.

The main idea surrounds how time and space changes your perspective on an object. This photograph was taken in Tokyo, a hugely populated and busy city, which is easy to get lost in. This type of high density area reminded me a lot of my home – Hong Kong, where people are unable to rest due to the constant forward movement of others, leaving them stranded.

This mixed media landscape captures the haunting atmosphere of a
deep forest after hours, immersing the viewer in a night-vision
experience and evoking a sense of mystery about the unknown.
The horizontal scroll-like composition features a blue-and-white
background, inspired by Bill Hammond, that reinforces the plants’
mystique, allowing the foliage’s silhouettes to stand out.
In the foreground, a diverse array of detailed pen-and-pencil illustrations
of trees, weeds, and organic shapes overgrow, paying homage to the
graphic work of Charles Rennie Mackintosh.
The piece is curated with rippling curves that depict a sense of continuity
and overgrown depth, allowing the foliage to take on a life of its own.

Many Hongkongers love pork. The character Tong (劏), has a dual meaning of slaughter and division. Many apartments in Hong Kong are divided into subdivided flats. In recent years, Hong Kong Housing index has increased substantially and housing is becoming less affordable. Property developers can be compared to a pork butcher in the wet market, dividing flats into smaller units and launching “nano flats” in order to meet the increasing housing needs of the city, shown through the money bucket overflowing with cheques. Luxury interior design supplements the lack of usable space, like how a butcher packages meat at the market.

In a fast-paced city like Hong Kong, street sleepers are a visible yet overlooked presence. They are the very people who helped build the city, yet today they are among those most marginalized by it. The street sleeper lies small and motionless in the lower shadows, barely noticeable, while above, cropped, hurried legs pass by. This visual juxtaposition reinforces the hierarchy embedded in the city’s landscape, urging us to reflect on the quiet lives that are often overlooked.

The artwork evokes the serene and poetic ambiance characteristic of traditional Chinese painting. The flowers blaze in full bloom, brilliant as flame. The water lies a mirror, blue as indigo dye.

In this painting, I display a freed version of myself, brave enough to openly express my negative emotions. In doing so, I intend to defy the societal expectation that we shield our feelings and reinforce the sense of empowerment that authenticity of human emotions showcases. Building upon my theme of fear, this piece exhibits that to gain resilience, we must first have the strength to face our most authentic selves.

The overexposed photorealistic drawing captures a moment of past joy, while the baby’s tears flowing endlessly in the animation create an eternal cycle of present longing and sorrow for my departed father, forming a family portrait that will never again be whole and complete.

The Final Banquet depicts a surreal scene set before a glowing sunset and an ancient archway, where a floating skull merges with a table loaded with vibrant fruit, plants, wine, and bread. This merging symbolises the intimate connection between life and death, emphasising their inseparability. The sunset represents the end of a day, serving as a metaphor for life’s transience, while the archway suggests a passage to an unknown realm. The painting invites reflection on the fleeting nature of existence, celebrating life’s richness even as it acknowledges inevitable endings. It portrays death and life coexisting in a continuous, mysterious cycle.

Medium is acrylic on canvas with projected animation.This magical realist work portrays a teenager feeding a phone with his blood, a stark metaphor for how attention-seeking drains life. Under projected light, blinking eyes sprout across his body, symbolising distorted desire, illness, and surveillance. The animated blood and eyes, set within a chaotic, depressive room, expose the dark spectacle of self-exposure online—performing pain, illness, or sexuality for validation. The figure becomes a pathological emblem: living in the illusion of being seen while becoming a “blood bag” for the system. This is a warning against toxic attention economies: resist the pull, preserve your agency, and step back before you’re consumed.

At birth, we cannot choose our gender or appearance—these are determined by our parents’ genes. At the same time, due to various environmental factors after birth, individuals gradually develop into who they are today. It is as though the life we are meant to live is already predetermined from the moment we are born. Although we cannot foresee exactly how our future path will unfold, it feels as though there is another person deep within us, guiding us along a destined course.

Many people in Hong Kong suffer from severe insomnia as a result of overwhelming life pressures. These burdens accumulate like layers of paper, gradually smothering their inner peace. Economic strain, family responsibilities, and workplace challenges all significantly affect the sleep quality of Hong Kong residents. Through my work, I hope to raise public awareness of the causes of insomnia and the negative physical and psychological impacts it brings.

Wen City. Wen Cheng (City of words. City Echoes) (Ink and Mixed Media on Paper) The foundation of a city is built upon words, The vitality of a city begins with sound. Both are indispensable. However, With the advancement of society and technology, Humans gradually rely on artificial intelligence. Those warm words have disappeared, Those expressions of personal thought have vanished. In this city that should be splendid and vibrant, The two indispensable elements Have turned into mere bubbles in this moment. Wen City. Wen City May people no longer rely on artificial intelligence, But once again write words filled with warmth, Live lives of free will, And once more listen deeply to our city.

Inspired by ‘The Last Supper,’ highlights how contemporary society, influenced by mukbang culture, enjoys watching others overindulge in food, promoting a distorted perspective on eating. In the center, where Jesus is positioned in the original painting, spicy instant noodles and large portions of fast food are placed. People enjoy watching exaggerated reactions when others eat overly spicy food—the agony and discomfort—and find relief in seeing streamers eat until they vomit. Meanwhile, streamers profit from consuming such foods, even at the cost of their health or lives. Foods like french fries, fried chicken, crayfish, raw marinated crab, caviar, foie gras, and sea urchin—recently popular in mukbang—occupy the positions of the disciples in the painting. Some are sought after for their high price, while others gain popularity due to their unusual flavors. The composition is arranged to emphasize contrast, with garlic-stir-fried vegetables placed in a corner because they represent an ordinary homemade dish—neither luxurious nor peculiar—and thus fail to attract immediate attention. Today, people follow trends blindly. Even if the flavors don’t suit their preferences or they don’t genuinely enjoy the food, they force themselves to eat it for fame and profit.

Acrylic on Ceramic, Low-fired cone 08. Inspired by taking something small and making it large to have a close study.