NEW PAINTINGS

“The Chinese Dream” — What Is Seen, and What Is Hidden
This work explores the tension between illusion and reality under authoritarian propaganda. The Chinese Dream symbolizes the idealized version of China presented within the Great Firewall—an image carefully curated by state media. The schoolgirl depicted must undergo a painful mutation in her perception to glimpse the world beyond the wall, illustrating the cost of awakening. Yet even outside, she is confronted by overwhelming waves of Chinese state propaganda and narratives from pro-China regimes.
The pig mask represents a common survival tactic inside the wall: feigned political apathy as a means of self-preservation. A streak of RMB (Chinese currency) cutting across the top left corner eye underscores how truth is often obscured—or outright bought—by money. In this controlled reality, the act of truly seeing becomes both dangerous and rare.

“The Tower” — Collapse of the Self, Fall of the City
Inspired by the tarot card The Tower, this piece symbolizes the fragile defense mechanisms of the human ego. Just as the tower in tarot represents the construction of the self and one’s comfort zone, the Clock Tower in Tsim Sha Tsui serves as a metaphor for Hong Kong’s history and the evolution of its identity. The foundation, built from piles of money, highlights the city’s status as a financial hub—yet also reveals the instability caused by an overreliance on profit-driven thinking.
A sudden red lightning bolt slashes through the scene, representing authoritarian intervention and systemic upheaval. The crown, modeled after the British Queen’s royal crown, collapses under this strike, marking the fall of a former order. Two figures stand for opposing political views, yet both suffer amid the turmoil—underscoring that no side is spared. Lastly, the pig mask satirizes the “Hong Kong pig” mindset: a willful ignorance and avoidance of uncomfortable truths, challenging viewers to reflect on their own positions and blind spots in times of collapse.

Nathan Road – Hong Kong, Acrylic on Canvas, 12 x 24 inches, 2024
It captures a vivid recollection of the intense 2019 protests. This piece is significant as it memorializes a pivotal moment in Hong Kong’s struggle for autonomy, blending personal memory with historical documentation.

Protester and Umbrella, Acrylic on Canvas, 14 x 14 inches, 2023
“Protester and Umbrella” illustrates a dramatic standoff between a lone protester wielding an umbrella and a formidable Specialized Crowd Management Police car. This work captures the defiance and vulnerability of the protesters during the 2019 Hong Kong protests, symbolizing their struggle against overwhelming force.
Sidelee2021@gmail.com
Burnaby Studio: MetroTown, BC, Canada | Richmond Studio: Steveston, BC, Canada
![On July 21, 2019, in Yuen Long, Hong Kong, [元朗721事件] a mob of villagers in white attire attacked passengers at Yuen Long station, claiming to protect their community amid ongoing protests. Despite over 24,000 emergency calls, police arrived 39 minutes after the attack began. My painting captures the chaos and defiance, and the cooperation of white gangsters and police of that night, symbolizing the clash between authority and dissent in a once familiar public space.](https://i0.wp.com/sideleestudio.com/wp-content/uploads/2024/07/Untitled-2.png?resize=1080%2C1080&ssl=1)
![On the night of August 31, 2019, a chilling incident unfolded at Prince Edward station in Hong Kong [太子站831事件]. Following a day of protest, the station became a site of chaos and conflict. Hong Kong police, in their effort to quell unrest, engaged in a forceful crackdown on passengers, indiscriminately targeting those who were returning home.](https://i0.wp.com/sideleestudio.com/wp-content/uploads/2024/07/Untitled-3.png?resize=1080%2C1080&ssl=1)