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A real Sumo wrestler was the model for this portrait sculpture. It is almost in realistic style. However, I exaggerated it a bit on his large body size in proportion to his head. Therefore it is a bit surreal with a rather small head. It was molded into bronze. This is the original small size sculpture for private collectors, but it can also be made into large monumental size sculpture for public art.
Multi-paneled Sculpture:Metal on Bronze
Size:12 W x 12 H x 11 D in
Number of Pieces:2
Ready to Hang:Not applicable
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Born in Hong Kong. 1996 received BA in Fine Arts from the University of Hong Kong 1997 received MA in Design from Hong Kong Polytechnic University Specialize in sculpture, oil painting, Chinese painting and Chinese calligraphy in my own surrealistic style. Started drawing portraits by self-taught as early as I can remember at the age of 4 before I could even read or write. The first subject I drew was portraits of people. I was so fascinated to draw people, perhaps it is because the subject of "people" was the first thing I saw, being brought up in Hong Kong surrounded by people everywhere. I received my initial art training in traditional Chinese painting and calligraphy, before I went to The University of Hong Kong to study Fine Arts. I have found that my traditional Chinese art studies laid an important foundation for my art development later. Even though when I started oil painting and sculpture later, I could still apply the theories of Chinese art into other western media. For example, the brave decision of Chinese ink painting strokes encourages me to spread oil paints on canvas boldly without hesitation. On the other hand, the preciseness of every stroke I learnt from Chinese calligraphy can be applied to every cut I make the decision in marble sculpture I learnt in Italy later. One may not imagine that how Chinese calligraphy is linked to stone sculpture. In fact, their theories are the very similar. For instance: every stroke you make on calligraphy has to be so forceful and precise on paper, it parallels to every cut I make on marble sculpture. If you make a mistake on your decision, a wrong stroke on paper or a wrong cut on stone, there is no U-turn. Therefore I like to apply the concept of Chinese art theory into my oil paintings and my sculptures. As a result, the creation of my works is a fusion of Chinese and Western concepts.
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