Artist Statement

Leung habitually observes the things around her as an exercise to trigger personal associations, especially scenes that appear strange in everyday life. A few years ago, the artist became aware of the connection between nature and the human body through her night walks.

 Enveloped by the midnight sky, she explores how ordinary landscapes distort under the cover of darkness, heightening tactile senses and blurring the boundaries between the physical self and the environment. In these moments,  the shadows of foliage stretch under the moonlight mirrors the veins beneath the skin, creating an interconnection where human anatomy synchronizes with the rhythm of the natural world.

 By altering lines, shapes, colours in real scenery, Leung creates a flattened space on the canvas that serves as an inquiry into an expanded, somatic perception of reality—capturing the moments where the human form dissolves into starlight, clouds, and silhouettes to reach untouched realms of consciousness at the intersection between the real and imaginary worlds.

 Through the artist's continuous daily observations, she frequently encounters dead or dying butterflies across the city. This recurring phenomenon suggested that these creatures might be transmitting transient messages before quietly returning to the earth. For Leung, the butterfly’s shape evokes other natural forms like clouds, flowers, and leaves—serving as a symbolic reminder of the structural interconnectedness between humans and nature.

In Leung’s  painting process, repetition and waiting constitute an essential part. Repeatedly adding and eliminating stroke by stroke, alternating between colours, and reconstructing the composition, Leung aligns her own internal state with external tempos. She aligns her internal state with external tempos, waiting for the imagery to be slowly smoothed and digested through repeated changes until it matches the image in her mind. This meticulous process serves as a meditation to connect with the world's diverse tempos.

Recently, Leung has shifted her focus from shared forms toward the shared rhythm between the self and the environment, exploring how different forms in the world, as symbols of distinct rhythms, operate as a painting language.