Seeing Mountains as Portraits
Each mountain has its own form, history, and character—like a living being shaped by time. When I look at a mountain, it feels like looking into a face, sensing its silence and strength. In my creative process, I paint mountains as if painting portraits, capturing their unique essence and emotional presence.
Using casein tempera on wood, I layer greys and geometric lines to evoke the texture of strata and the tension of structure, symbolizing geological movement and erosion. From Lion Rock to Pat Sin Leng, from Kowloon Hills’ salt fields to Ma On Shan’s iron mine, every peak carries stories of nature and humanity. I invite viewers to see in these forms the intertwined memory of Hong Kong’s past, present, and future.
看山如看人
每座山都有自己的外型、經歷與性格，像一個生命體，承載時間的痕跡與故事。當我凝視山形，就像在凝視一張臉，感受它的沉默與力量。創作過程中，我與每座山對話，捕捉它的獨特氣質，這不只是風景的描繪，而是一場肖像的創作。
作品採用木板蛋彩，層疊灰階與幾何線條，呈現岩層的肌理與結構張力，象徵地質運動與風化的痕跡。從獅子山到八仙嶺，從官富山的宋代鹽場到馬鞍山的鐵礦遺跡，每一座山都是時間的雕刻與人類故事的載體。希望觀者能在這些山形中，看見香港的過去、現在與未來。
Kowloon Hills 1（Kwan Fu Chung）, 2025
Casein Tempera on wood
20cm x30cm each, set of four
官富山 1
木板酪素蛋彩
Kowloon Hills 2（Kwan Fu Chung）, 2025
Casein Tempera on wood
20cm x30cm each, set of four
官富山 2
木板酪素蛋彩
Formerly known as “Kwan Fu Cheung,” this hill traces its roots to a Song Dynasty salt field along Kowloon’s coast—once a vital part of Hong Kong’s early economy. A natural barrier and a silent witness to history, it sheltered the last emperor of the Southern Song and now stands as a quiet reminder of the city’s transformation from salt fields to metropolis. This painting captures the forgotten memory of a mountain woven into Hong Kong’s past.
官富山，古稱「官富場」，源自宋代設於九龍沿海的鹽場，是香港早期經濟活動的重地。這片山嶺不僅是天然屏障，守護着維港以北的土地，也曾是南宋末帝避難之地，留下深厚的歷史痕跡。官富山見證了香港由鹽田到城市的演變，是歷史與自然交織的象徵。此畫以山形為載體，描繪出一段被城市遺忘的古老記憶。
Lung Kwu Chau, 2025
Casein Tempera on wood
80cm x60cm
龍鼓洲
木板酪素蛋彩
Lung Kwu Chau stands quietly off Hong Kong’s western coast, shaped by erosion and sedimentation. Its rocky shores and sandbars reflect traces of the Quaternary landscape. Once a landing site for ancient seafarers, the island is a product of nature’s long sculpting. This painting captures the meeting point of geology and history.
龍鼓洲靜立於香港西海，地貌由海蝕與沉積作用塑造，岩岸與沙堤交錯，展現第四紀地質的痕跡。島嶼周邊海域曾是古人航行與登岸之地，亦是自然力量長年雕刻的成果。此畫描繪一座被海洋與時間塑造的孤島，承載著地貌與歷史的交會。
The Three Sharp Peaks, 2025
Casein Tempera on wood
50cm x50cm
三尖
木板酪素蛋彩
Castle Peak, Sharp Peak, and High Junk Peak—three jagged summits rising in Tuen Mun, Sai Kung, and Clear Water Bay. Historically, they served as military outposts, spiritual retreats, and coastal markers; today, they are icons for hikers and nature lovers. The painting uses deep greys and blacks to convey weight and solitude, while layered whites and browns create a stark, austere atmosphere. The peaks are rendered in simplified geometric forms, reflecting nature’s raw power and the slow artistry of time.
青山、蚺蛇尖、釣魚翁——三座尖峰，分別坐落於屯門、西貢與清水灣，地勢險峻，昔日分別承載軍事據點、修行聖地與漁民地標的角色，今日則成為遠足者的挑戰與自然愛好者的樂園。畫面以深灰與黑色為基調，強調山體的厚重與孤峻，白色與褐色層疊，營造出冷冽的空間感。三座山峰以簡化的幾何形態呈現，象徵自然的力量與時間的雕刻。
Lion rock, 2025
Casein Tempera on wood
40cm x60cm
獅子山
木板酪素蛋彩
Formed in the late Jurassic period, Lion Rock is composed of fine- to medium-grained granite, shaped over 140 million years. Magma cooled deep underground, later uplifted and weathered into the lion-like silhouette we see today. This painting captures nature’s slow craftsmanship—a stone beast carved by time
獅子山由侏羅紀晚期的花崗岩構成，歷經1.4億年地質演化。岩漿在地底緩慢冷卻，形成堅硬岩層，後因地殼抬升與風化，雕塑出獅子伏山的形態。此畫捕捉自然之手的痕跡，呈現一座由時間塑造的石之獸。
Fung Wong Shan, 2025
Casein Tempera on wood
50cm x50cm, 50cm x60cm, 50cm x40cm
鳳凰山
木板酪素蛋彩
位於大嶼山西南部，海拔934米，是香港第二高峰。古稱「爛頭山」，因山頂岩石風化嚴重，遠觀如山頭缺損。清代《新安縣志》記載其形如鳳閣，與青山相對峙。鳳凰山亦是「大嶼山」英文名 Lantau 的由來，源自英人音譯「爛頭」。此畫描繪一座承載地名、地貌與歷史記憶的高峰。
Located in southwest Lantau Island, Lantau Peak rises to 934 meters, making it Hong Kong’s second-highest summit. Historically known as “Lan Tau Shan” or “Broken Head Mountain,” its weathered summit inspired the name “Lantau.” Qing-era records describe its shape as resembling a phoenix pavilion, facing Castle Peak across the waters. This painting captures a peak shaped by erosion and history, bearing the legacy of place and name.
Por Lo Shan, 2025
Casein Tempera on wood
60cm x120cm
菠蘿山
木板酪素蛋彩
Located in Tuen Mun, Por Lo Shan rises to about 120 meters. Shaped by long-term weathering and rain erosion, it features sandy ridges and exposed rock layers, earning the nickname “Hong Kong’s Grand Canyon.” Its quartz-rich soil is highly acidic, limiting vegetation and creating a barren landscape. Once a military training zone, the terrain also bears traces of human impact. This painting captures a hill shaped by erosion and memory—where nature and history meet.
菠蘿山位於屯門，海拔約120米，菠蘿山因長年風化與雨水侵蝕，形成獨特的沙丘與岩層地貌，被譽為「港版大峽谷」。其地質含高石英成分，土壤酸性強，不利植物生長，造就荒野景觀。昔日為軍事操炮區，地形亦受人為干擾。此畫描繪一座由自然與歷史共同塑造的丘嶺，記錄風化與記憶的痕跡。
Dog Teeth Ridge , 2025
Casein Tempera on wood
狗牙嶺
木板酪素蛋彩
Dog Teeth Ridge lies near Tai Mo Shan in northwest New Territories, famed for its jagged, tooth-like formations and steep terrain, making it one of Hong Kong’s most challenging hiking routes. This natural barrier reflects the rugged evolution of the region’s landscape. The painting employs layered grey tones and sharp geometric lines to highlight structural tension and ruggedness, conveying the stark isolation of the ridge.
狗牙嶺，位於新界西北的大帽山一帶，山脊如犬牙交錯，地勢險峻，是香港最具挑戰性的遠足路線之一。此天然屏障見證新界的地貌演化。畫面以灰階層次構築，幾何化的線條切割山體，強調結構張力與崎嶇感，呈現山勢的冷峻與孤立。
Flower Mountain, 2025
Casein Tempera on wood
60cm x 120cm
花山
木板酪素蛋彩
Inspired by the rugged folds and rock formations of Hong Kong’s mountain ranges, this work uses monochrome tones to express tension and texture. Hong Kong’s peaks are largely composed of granite, shaped by millions of years of tectonic movement and weathering, creating steep ridges and layered cliffs. Bold strokes and intersecting lines evoke the sense of strata unfolding like petals, transforming solid geology into abstract visual language—a dialogue between nature and structure.
靈感源自香港山脈的褶皺與岩層結構，作品以黑白灰階呈現山體的張力與質感。香港的山脈多由花崗岩構成，經過數百萬年的地殼運動與風化，形成峻峭的山勢與層疊的岩壁。畫面筆觸粗獷，線條交錯，宛如岩層在時間中綻放，將堅硬的山體轉化為抽象的視覺語言，探索自然與結構之間的張力。
Sharp Peak (Nam She Tau), 2025
Casein Tempera on wood
60cm x120cm
蚺蛇尖
木板酪素蛋彩
位於西貢東部，海拔468米，古稱「南蛇頭」，因山形蜿蜒如蛇。地勢險峻，昔日為村民與漁民的地界標誌，通往蚺蛇灣與高流灣。此畫描繪一座由自然力量塑造的尖峰，記錄地貌與人跡的交會。
Rising 468 meters in eastern Sai Kung, Sharp Peak was historically known as “Nam She Tau” for its serpentine shape. Steep and remote, it marked boundaries for villagers and fishermen, linking to Lung She Wan and nearby coasts. This painting captures a peak shaped by nature, where terrain meets traces of human presence.
Pat Sin Leng, 2025
Casein Tempera on wood
50cm x50cm
八仙嶺
木板酪素蛋彩
Pat Sin Leng rises in northeast New Territories, with its highest peak at about 590 meters. Named after the legend of the Eight Immortals, this ridge historically served as a key route linking villages in the region. Today, it offers sweeping views of Plover Cove Reservoir. The painting layers greys with accents of gold and blue-violet to depict the rhythm of the peaks, using overlapping strokes to convey depth and evoke a landscape where nature and folklore converge.
八仙嶺位於新界東北，海拔最高峰約590米，由八座山峰連綿而成，因傳說「八仙過海」而得名。此區歷史上曾是連接新界東北村落的重要山徑，今日可俯瞰船灣淡水湖，景色壯麗。畫面以灰階與金黃、藍紫色層次呈現山巒起伏，筆觸層疊，強調山勢的厚重與空間深度，讓觀者感受自然與傳說交織的意境。
Ma On Shan, 2025
Casein Tempera on wood
120cm x60cm
馬鞍山
木板酪素蛋彩
位於新界東部，海拔702米，山形如馬鞍而得名。清代已有記載，形容其「枕東洋，形如馬鞍」。20世紀中期曾為香港最大鐵礦場，吸引礦工聚居山腰。1976年停產後，遺留礦業痕跡與社區記憶。此畫描繪一座承載工業歷史與自然形態的山峰。
Rising 702 meters in eastern New Territories, Ma On Shan was named for its saddle-like shape and recorded in Qing-era texts. In the mid-20th century, it became Hong Kong’s largest iron mine, drawing workers to hillside villages. The mine closed in 1976, leaving behind industrial traces and community memories. This painting captures a mountain shaped by nature and industry.
Ping Fung Shan , 2025
Casein Tempera on wood
120cm x60cm
屏風山
木板酪素蛋彩
60cm x120cm
Ping Fung Shan rises about 550 meters in northeast New Territories, forming a ridge like a natural screen that links to Pat Sin Leng and overlooks Plover Cove Reservoir and Tolo Harbour. Historically, the “Heng Qi Ancient Trail” crossed this area, serving as a vital route for villagers traveling between Luk Keng and Sha Tau Kok. The painting employs layered grey tones and sharp geometric lines to highlight structural tension and spatial depth, conveying the stark isolation of the mountain.
屏風山，位於新界東北，海拔約550米，山脊綿延如屏障，與八仙嶺相連，俯瞰船灣淡水湖與吐露港。昔日「橫七古道」穿越此區，曾是村民往返鹿頸與沙頭角的重要路徑。畫面以灰階層次構築，幾何化的線條切割山體，強調結構張力與空間深度，呈現山勢的冷峻與孤立。
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