The motif of the hand always strikes me as a symbol of labor, tactility and gestures for communication with a sensibility that I feel very close to as an artist working closely with clay, as well as a human being. As part of a larger series on desire of communication and relationships, these carvings embody this self-expression, finding their forms onto panels, vessels and sculptures. Currently I am looking at hands and gestures in religious iconography, often very beautiful and elegant like on representations of the bodhisattva Guanyin (Kwunyum in Hong Kong), a goddess of compassion and mercy, a figure I see so much of growing up in Hong Kong and Chinese culture at large that resonate me with me now.