Dystopian Yik Cheong Building Print

Dickie's artistic journey began in an unexpected way when he started his career as a hairdresser at the age of 15. However, after facing discrimination from his father and subsequently losing his job, his future seemed uncertain. Fortunately, a kind word from his then girlfriend's mother changed the course of his life and led him to pursue a path in graphic design at a local art college. In 1989, Dickie's curiosity for Asian culture brought him to Hong Kong, with dreams of eventually reaching Japan. However, fate had other plans for him, and he found himself embarking on a corporate journey in graphic design with Landor Associates, a prestigious design agency. Later, he joined Red Square, a boutique design studio led by talented photographers and film directors. It was during this time that he sharpened his skills in concept creation and gained valuable experience in art direction. During his tenure in Hong Kong, Dickie explored various creative disciplines, from motion graphics and video editing to videography and eventually directing and producing television shows. Notable projects include "Wheel to Wheel," a thrilling motorcycle adventure spanning 14 Asian countries, and a captivating thirteen-part series on "Thai Street Food" that aired on the National Geographic Channel. Amidst the surreal times of the Covid pandemic in 2020, Dickie sought to nurture his creative vision and satiate his longing for exploration. He turned to photography as an outlet, allowing him to capture the scenic beauty and raw essence of Hong Kong's streets. His focus lies in encapsulating a bygone era, where subjects intertwine with historical ambiguity. Using vibrant colour palettes, he unveils the hues and patina that lie beneath the surface of Hong Kong's breathtaking streets. His subjects range from the kaleidoscope of the vibrant population to the architectural treasures nestled in the city's older neighborhoods. Through his lens, Dickie finds joy in celebrating the captivating allure of Hong Kong.