Born into working-class families, Lumli Lumlong studied fine arts together in France for 5 years with very limited financial means. Most of their artwork, which have been exhibited and collected by individuals in Hong Kong, Paris, London, Sydney and New York, are mostly in the form of oil-painting with grotesque style and a shared aim of revealing social realities. They have published their collection of artwork entitled «Liberarts» and «The Hong Kong Metamorphosis». In addition to their artistic creations, the couple also established their own art studio, teaching students from different backgrounds, including mainstream students, children with autism, sponsored students and rehabilitated youths and more. The ages of students range from four to sixty. They were lecturers of oil-painting at the School of Continuing and Professional Studies, The Chinese University of Hong Kong.

 

According to Lumli Lumlong, social reality can be more “terrifying” than their artistic creations and compassion is the ultimate expression of one’s imagination.

 

“Thousand Hands Man” postures his hands like the Thousand Hands Guanyin, while holding various resistance weapons: an umbrella, an aluminium dish for steamed fish, a camera and a few pieces of international newspapers, etc. With all hands belonging to one same body, the Man is a symbol of unity between the peaceful and valiant factions of the pro-democracy movement in Hong Kong. The bottles in the painting represent Bruce Lee’s Nunchaku. Inspired by Lee’s famous quote, “be water”, the demonstrators flow like water, gathering and dispersing shapelessly, while resisting and retreating flexibly. Beneath his legs, the Man offers a place of refuge to the souls of the deceased activists. Among them are Chan Yin-lam and Leung Ling-kit, Marco.

 

“Thousand Hands Man” is not about something bygone, but something ongoing. As long as there is a sense of defiance and an unyielding spirit among the people, the “Thousand Hands Man” is always around. So is everyone else.

 

Many of us can hardly imagine what we have been going through, and what may come next. First the Anti-Extradition Movement, then the national security law for Hong Kong, the loss of an equitable electoral system, freedom of the press, freedom of creation and perhaps more are waiting ahead. Yet, we felt blessed with the bonding among fellow protesters in this agonizing period. As siblings of the dissent family in the city, we all stand with each other, and with Hong Kong, fighting for the values treasured universally. “Thousand Hands Man” tries to depict all these."