Along the Way explores the practice behind the artwork of each artist by showcasing the tools being used during the process. A tool completes the artwork at two different levels; on the surface, a tool gives a tangible and material finish onto the artwork; beyond the superficial image, the artist’s practice is informed by the meaning embodied in the selected tool. By studying the tools, the audience is invited to unveil the artwork and intellectual of the artist simultaneously. We ask each artist about their artwork, decoding the practice process from our everyday understanding.

CHAN WAI LAP:
I work predominantly with colour pencils and pencils. The colour pencils are rendered unusable after leaving back-and-forth strokes on a piece of paper. In the end, their life also came to an end and turned into work. Nevertheless, I like to keep them as a recollection of my work. From this, the tools become a testimony of my work and my practice. Encountering a new swimming pool reminds me of the feeling of visiting an unfamiliar place. The exterior of the building, the water flow in the pool, and the design of the bricks are all strange to me. Tracing carefully the tiles and design of the swimming pool is similar to recording landscapes in a close-up. Calculations play an important role in my work. Without accurate documentation, sometimes I have to rely on my impressions and memories to construct my work.

KWONG WING KWAN:
The paint residue on the table at my studio is a trace of my creative career over a decade. This table is more than piece of furniture, it transcends its functionality, becoming one of the unique artworks. If one tears the paint by layers like a paperbark, he or she may rediscover the ever-changing in different stages of one’s career, one’s life.

LIO SZE MEI:
My interest in reading story tales at a young age has led to the formation of my drawing practice. 8612 in "The Little Prince", and Neverland in "Peter Pan". The protagonists all belong to their own space and planet. I am fascinated by the physical absence of objects as if they exist in a perfect utopia. Through painting, I ceaselessly search for a space and planet where I belong. I begin my work by recollecting memories of my own. The charcoal and pencils tend to leave my work in black and white shade. However, when the reflection shines through the brush strokes, they give a sense of ambivalence, resembling the hazy dream in the mind. My dreams and work are inseparable. The landscapes in the former often derive from fantasy, fear and reflection, taking small yet significant traces from childhood photos, daily life or memories. Through reconfiguring different landscapes, a new image is born.

MAK2:
The "Home Sweet Home" series are triptychs on canvas composed using the popular American life simulation game 'The Sims', with each panel painted by a different painter hired from the Chinese e-commerce platform Taobao. Within the game, I construct bizarre and dream-like environments that reflect my ideal version of home. Using a key element to the game, I created an avatar of myself, through which I live out fantasies that could not otherwise be achieved in real life. In the sub-series titled "Home Sweet Home: Self Portrait", I capture myself taking celebrity-like self-portraits in front of an urban backdrop reminiscent of Hong Kong's cityscape. As the image is divided into thirds, the fragmentation of the final artwork not only disillusions the fantasy, but also alludes to the notions of artificiality and visual manipulation often associated with mass media imagery.

LIU TSZ TING:
Originating in real scenarios, my work is also infiltrated by my imagination. When I receive photos from my friends during their travels, I immerse myself in the journey as if I were part of it. The bright and surreal colours, lead to the illusion between dream and reality. This colour mixing plate has kept me company for over six years. The paint piles up into a bumpy hill from time to time. In my work, the past and present are inseparable. The melding colour becomes an oscillation of my past practice and imagination. My work delves into architecture, such as living houses, exploring the relationship between people and architecture. Buildings and living things exist in a certain period and bear witness to history. However, the former also displays signs of ageing, such as flaking off walls, leaked rooftops and the spread of mould.

WONG CHUN HEI:
I obtained the impression that painters should paint in nature since I was young. Beginning with the scenery in video games, I eventually found my interest in landscape painting. If one pays attention, my practice is informed by tools. Besides using ready­made tools, I also invent my own tools, which become my artistic touch. Once I bought a watercolour box made of bamboo in the UK. I altered the design so the bamboo box could only be opened at a specific angle. The facing angle of the drawing sketchbook makes it easier to draw. I also use found objects, such as cardboard and boxes, and redesign them into painting tools. I have run a workshop with the HKMOA and taught the public how to design an acrylic paint box using cardboard. Participants can change the partitions and design to their own needs and functions. The process of DIY is not just a dialogue between me and my practice, but also the exchange of ideas and experiences with others.

WONG HIU CHING:
When the day becomes dark, it does not merely refer to a change in scenery but an entire environment. In the dark, one becomes calm and peaceful when emotions are released. Even when one is in complete darkness, he or she will slowly discover variant shades. For example, the lights on the streets display stark contrast against the night, as if they are communicating in secret codes and signals. My work is mostly driven by the environment. My phone first comes to capture the moment, from which, I am able to draw quick sketches at the spot. Back in the studio, working from base colour to layers, the painting finishes with intricate details. My drawing practice has been slowly occupied with day-to-day objects. With a dark and deep tone in my work, I look to create textures standing out from paint brushes. I have been using a toothbrush to add textures and layers to my work. Another tool that I often use is a dishwashing sponge, which I have been using since I graduated from college. I use it for drying brushes, mixing different colours, and scraping patterns of different thicknesses.