FASHION UNITED / Aubade X HONG Wai : Entretien avec Martina Brown
FASHION Network : Aubade mise sur L'Artiste chinoise HONG Wai
Michele Franzese Moda : Aubade Collaborates with Chinese Artist HONG Wai on Exclusive lingerie collection
Intima Magazine, a 4 pages interview “HONG Wai- De l’Encre à la matière”, Exclusive Interview, Intima, No.120/2020, janvier 2020, p.150-154.
香港藝術雜誌《三角志》，對我在香港Ink Asia 「水墨藝博」尚畫廊展位的展出作了四連頁專訪報導
文章：《走出一條陰性的水墨之路》—訪藝術家洪慧
刊登於香港《三角志》藝術雜誌2018年一月號，18-21頁。
文章連結：
https://issuu.com/prismcreation/docs/deltazhi_78-web/32
文章：《走出一條陰性的水墨之路》—訪藝術家洪慧
刊登於香港《三角志》藝術雜誌2018年一月號，18-21頁。
文章連結：
https://issuu.com/prismcreation/docs/deltazhi_78-web/32
Hong Kong Visual Art Magazine <Delta Zhi> ‘s 4 pages articles on my latest exhibition in Ink Asia Art Fair in Hong Kong
Title: 《Chinese Ink Painting in a “Yin” Way》— Interview Artist Hong Wai
published in <Delta Zhi> Visual Art Magazine #78, Jan 2018, page 18-21.
Title: 《Chinese Ink Painting in a “Yin” Way》— Interview Artist Hong Wai
published in <Delta Zhi> Visual Art Magazine #78, Jan 2018, page 18-21.
Cover page and Double page Interview in Macao Portuguese Jouranl "Hoje Macau"
Hong Wai, artist: "I bring the contemporary woman in ink"
SOFIA MARGARIDA MOTA - AUG 21 2017
see the link of article in Hoje Macao
see the link of article in Hoje Macao
English translation
Hong Wai, artist: "I bring the contemporary woman in Chinese ink painting"
by SOFIA MARGARIDA MOTA - AUG 21 2017
Salute to Paris to do a master's degree in art and did not come back. The local artist Hong Wai uses the most traditional Chinese techniques to represent the beauty of the emancipated woman and her works go all over the world!
How did she appear to artistic creation?
I always liked to draw. From what I remember, I was always drawing when I was in kindergarten. In primary school, I spent my free time in drawing on textbooks and my classmates began to ask me a little work. They wanted me to paint a dog, to draw dolls. But the drawing lessons in school do not interesting for me, they were very monotonous. At 14 years old, I tried a Chinese painting lesson and I love it, the uncertainty of ink and water on paper, the gests of brush on paper which show the energy and emotion of artist during the creation, it is very special! I have a great mentoring teacher, Ieong Deang Sang, who taught me the principles of Chinese painting: the mutual relation between ink and water, between the full and the empty space, between the lightness and darkness space. Those are the philosophical principles in the Book of Changes. I learned and had my first solo show in Macau UNESCO center at 17. I was the youngest artist in my hometown who had a personal exhibition, that meant a lot to me, and ultimately led me gain confidence in my talent. I ended up by changing my major in university from Life Science to Art. I left my hometown after my high school graduation. After my university studies in National Taiwan University, I went to Paris for my art master studies; from then on I work and live in Paris. At the beginning of my career, I had some small exhibitions. In 2013, I created the "Secret de Boudoir" series , it was a turning point in my art carrier, many galleries interested in this series,I start to cooperated with the professional galleries and that I ended up participating in several international art fairs such as Art Stage Singapore, Art Taipei and Art Central Hong Kong. My work also went through New York and Miami. After "Secret de Boudoir" series I created "Feminine Landscape" series and "Lumière Nocturne Series - La Foret". Now I cooperated with several professional galleries in Miami, Taiwan, Macao, Paris, and Swiss and became a full time artist.
I always liked to draw. From what I remember, I was always drawing when I was in kindergarten. In primary school, I spent my free time in drawing on textbooks and my classmates began to ask me a little work. They wanted me to paint a dog, to draw dolls. But the drawing lessons in school do not interesting for me, they were very monotonous. At 14 years old, I tried a Chinese painting lesson and I love it, the uncertainty of ink and water on paper, the gests of brush on paper which show the energy and emotion of artist during the creation, it is very special! I have a great mentoring teacher, Ieong Deang Sang, who taught me the principles of Chinese painting: the mutual relation between ink and water, between the full and the empty space, between the lightness and darkness space. Those are the philosophical principles in the Book of Changes. I learned and had my first solo show in Macau UNESCO center at 17. I was the youngest artist in my hometown who had a personal exhibition, that meant a lot to me, and ultimately led me gain confidence in my talent. I ended up by changing my major in university from Life Science to Art. I left my hometown after my high school graduation. After my university studies in National Taiwan University, I went to Paris for my art master studies; from then on I work and live in Paris. At the beginning of my career, I had some small exhibitions. In 2013, I created the "Secret de Boudoir" series , it was a turning point in my art carrier, many galleries interested in this series,I start to cooperated with the professional galleries and that I ended up participating in several international art fairs such as Art Stage Singapore, Art Taipei and Art Central Hong Kong. My work also went through New York and Miami. After "Secret de Boudoir" series I created "Feminine Landscape" series and "Lumière Nocturne Series - La Foret". Now I cooperated with several professional galleries in Miami, Taiwan, Macao, Paris, and Swiss and became a full time artist.
She studied traditional art and calligraphy. Her work is known for the mix that makes Chinese traditional painting become contemporary art. Can you explain what you bring from each one of this areas? And how do you deal with this combination?My artistic approach, use and interpretation through the medium of Chinese ink painting is a daily journey. I attempt to create new frontiers by using traditional techniques formerly reserved to the literati, the intellectual official class (whose theory stems from the Song dynasty), in my own mysterious feminine way.
Through the use of Chinese ink and paper, and images strongly suggesting the feminine world, I question masculine power. Traditionally, Chinese ink painting was a solely male playing field. The literati Chinese official class decided the theme of the painting: mountains and rivers, or landscapes, which represent their philosophy of harmony between nature and man. Through their art, they aimed to illustrate the splendid images of the imperial country. These landscape masterpieces are imperial China’s official art collection from the Five Dynasties (907 AD) through to modern times.
Instead of representing virtue through the traditional Chinese fashion, I choose to express and illustrate femininity with contemporary, unconventional images. My mountain and river landscapes become interlaced lingerie; the ode to heaven and earth become an ode to sensuous, hidden and inescapable “yin”.
Art critics mentioned her works as the "Mysterious Girl" who gives meaning to Taoism.
In my latest creation "Feminine Landscapes" series the women body is treated as a landscape. Art critic Myriam Dao classified this work as The "mysterious female" of Taoism takes on a contemporary form. I think Myriam Dao has joined Taoism in my work because of the feminine images of this philosophy. The figure of the goddess is one of the main characters in many Taoist stories. The difference between the most obvious god and a common figure is immortality. The gods always manage to maintain life and youth. Beauty and youth are in Taoist tales, great temptation. Like me, the Taoist tales pass much ink to describe the immortal beauty of the goddesses.
In my latest creation "Feminine Landscapes" series the women body is treated as a landscape. Art critic Myriam Dao classified this work as The "mysterious female" of Taoism takes on a contemporary form. I think Myriam Dao has joined Taoism in my work because of the feminine images of this philosophy. The figure of the goddess is one of the main characters in many Taoist stories. The difference between the most obvious god and a common figure is immortality. The gods always manage to maintain life and youth. Beauty and youth are in Taoist tales, great temptation. Like me, the Taoist tales pass much ink to describe the immortal beauty of the goddesses.
She is known for her feminist approach. How to describe?
My feminist perspective is close to the Lipstick feminism in 20th century. The so-called feminism lipstick is a variety of third-generation feminism that seeks to embrace the traditional concepts of femininity, including the sexual power of women. Unlike the first feminist campaigns that focused on women's human rights, and they began by demanding the right to vote, feminist lipstick attempts to understand whether women can be feminists without ignoring or denying their femininity , Particularly with regard to sexuality. During the second generation of feminism, activists focused solely on the legal and social equality of women and refused to "embrace" their sexuality. Some women hated the idea of her femininity and often had male physical attributes. They wanted to distance themselves from the image of women taken as normal and ended up creating a series of stereotypes associated with the image of what feminist. Feminism, on the other side, gives important concepts of femininity, feminine sexuality delivered by a woman's body and the need to take sex. Lipstick Feminism also seeks to recover some derogatory words and transform them into female electric tools. It is the word of the case "slut" on the movement "SlutWalk". This is an idea that developed in response to the most radical ideologies of second generation feminism that gave relief to the "ugly feminist" or "anti-sex feminist." At the bottom of this third generation feminism tree adopts the second ordered.
What do women hide, What reveal by Hong Wai?
Traditionally, ink painting was a solely male playing field, as I said. What I am trying to do is to "double" this masculine ideology in this type of painting. I want to bring the stereotype image to a new frontier unleashing the mysterious, often-hidden feminine. For example, in traditional Chinese ladies painting "Maids of honour " is represented virtue. In my work "Secret Boudoir" series, I do not draw the ladies themselves, do not intend to describe the virtue of a woman (who is already doing service, in a men's world), what I do Is a return to herself, her private life, her property. I embellished with minute detail of the women things: lingerie, high heels, perfume, bring the contemporary female symbol in ink painting, which has been confined by masculine universe for centuries.
Traditionally, ink painting was a solely male playing field, as I said. What I am trying to do is to "double" this masculine ideology in this type of painting. I want to bring the stereotype image to a new frontier unleashing the mysterious, often-hidden feminine. For example, in traditional Chinese ladies painting "Maids of honour " is represented virtue. In my work "Secret Boudoir" series, I do not draw the ladies themselves, do not intend to describe the virtue of a woman (who is already doing service, in a men's world), what I do Is a return to herself, her private life, her property. I embellished with minute detail of the women things: lingerie, high heels, perfume, bring the contemporary female symbol in ink painting, which has been confined by masculine universe for centuries.
Do you consider your art provocative?
Yes and that why it is fun and meaningful
What do you think of art in Macao?
We have good artists in Macao who have to work hard to live their creations. Many of them have studied in mainland China or oversea and bring with them much energy and surprise.
We have good artists in Macao who have to work hard to live their creations. Many of them have studied in mainland China or oversea and bring with them much energy and surprise.
In your opinion, what could be done in Macau to promote more local artists?
Artists need two things: a workplace where they can create and that is affordable and stable; and galleries and collectors who promote and sell the work.To promote more the local artists, firstly we can help artists have a working studio, where artists not need to worry about the rent increase, (in France there has a law which protect the tenant, and the rent can only increase up to 5% per years during the rent contract.)
Artists need two things: a workplace where they can create and that is affordable and stable; and galleries and collectors who promote and sell the work.To promote more the local artists, firstly we can help artists have a working studio, where artists not need to worry about the rent increase, (in France there has a law which protect the tenant, and the rent can only increase up to 5% per years during the rent contract.)
To establish more professional gallery and professional art agent, (not only the cultural associations). A professional gallery or art agent who have a network of collector.
Is the west world more and more interested in what´s made in the orient? Why?
Yes, I feel more and more the Western world interested in East art and the opposite also happens. The globalization generated the interdependence of economic and cultural activities in the world. The Far East is not so far away, Western world wants to understand more and more what is going on there and the best way is through its art and culture.
Yes, I feel more and more the Western world interested in East art and the opposite also happens. The globalization generated the interdependence of economic and cultural activities in the world. The Far East is not so far away, Western world wants to understand more and more what is going on there and the best way is through its art and culture.
« Ink-Bending Artist Laces Feminism into Lingerie Landscapes »
in New York based Art magazine, The Creators Porject
by Diana Shi, November 2016
Read article:
Ink-Bending Artist Laces Feminism into Lingerie Landscapes
Diana Shi
The more is covered, the more is revealed in Hong Wai’s "Pop Ink" artwork.
As if lace and lingerie weren't enough to raise the heat, an “ink-bending” artist is imparting a new degree of sensuality to intricate, lacy, satiny slips. Hong Wai, a transmedia artist based in Macau and Paris, creates elegant diffused ink paintings that inject classical Chinese paintings with a modern, feminist perspective. Her scintillating works fuse together the imagery of barely-clad bodies into the format of landscape and portraiture. In a statement to The Creators Project, Hong described her series, Feminine Landscape and Secret de Boudoir, as “journeys with ink to a new frontier, [my] works are characters by the bending of the ink. Instead of paintings presenting virtue, [I] explicitly express the feminine perspective through unconventional depiction of contemporary images.”
Her clever takes on traditionally sexualized body parts place the ownership back in female hands. In one triptych, three paintings of female legs, posed seductively, are in actuality drawing out the Chinese character for woman, “女,” in shape.
Visuals of lace-covered legs and torsos emerging from mountain range mist are painted in the style of landscapes, yet radiate with human sensuality The noted use of black ink to subvert traditional art—a style the artist describes as “Pop Ink”—is a means by which the Chinese artist balances her influence against the male influence in the art field: “Instead of representing virtue through traditional Chinese fashion, I chose to unabashedly express and illustrate femininity with contemporary, unconventional images. My mountain and water landscapes become interlaced lingerie; the ode to heaven and earth become an ode to sensuous, hidden, and inescapable ‘yin,'“ she says.
To see more works from Hong Wai, visit her Behance page here.
Related:
Double page interveiw "HONG Wai's Pop Ink", in Art Plus Magazine Hong Kong, janvary 2014.
Cover story of Ponto Final, a Macau Journal, 29th November 2013.
Title: "Forbidden Art"
Resume: "Wai Hong, born in Macau, inaugure the AFA "Forbidden Sins". two series of works that reflect on the legitimacy of sexism and violence by the usage of Chinese Ink painting
Texte English translate
Wai Hong who was born in Shanghai, raised in Macau is in the middle of a series of international exhibitions that associate her name with Ai Weiwei and others highly recognised artists. The artist, based in France , refers to " Forbidden Sins " : forbidden to use traditional Chinese ink painting with a provocative approach to the way which society legitimizes violence and sexism.
By Maria Caetano
" Forbidden Sins " plays with sexism and violence making attractive and friendly, using the universe of popular icons used in photographer perceptions. The seduction of lacy lingerie wraps up sexism as an interesting cause and the violence of War as a declaration. These are the themes explored in the two series that Hong Wai brought to show , nine years after her last solo exhibition in Macau .
" Peace and Love " and " La Collection " 2 series in the exhibition " Forbidden Sins " , which is shown in the gallery Art For All from today at 18.30 , and up to January 26 . The first series of works the warlike imagery - guns , bullets , grenades , mitraillette , skulls - ensnared in red tape as a gift. The second series investigates the popular icons that identify the female in contemporary image : lingerie, high heels , dildos , a highly eroticized language. "I decided to do something surprising in today's world , something forbidden , evil," she explains.
And those things she did, she did with Xuan paper and Chinese ink, the traditional materials used in Chinese painting. In Chinese aesthetics, the painting describe the virtues of a male oriented world. " Can sex , or merely an applause to female beauty, a support , material , we can see how can more masculine - paper, brush and ink , which are historically dominated by male power ," she explains.
"On one hand , I applaud this sex and give a flower to these weapons. Currently , when declaring war there is always a good reason to do so . We dress the weapons with a bowtie , so beautiful , that legitimizes . Are awarded medals and flowers " , reflects .
The reflection follows the work on the technique and themes , transgressive compared to traditional models by use of the Chinese ink , very codified and based on the thought of Confucianism - the one which Wai Hong has dominated expressed learnt 15 years ago from her teacher.
The artist describes the vocabulary allowed in Chinese arts . "When we paint a bamboo , this expresses a good man , which expresses the virtues , like bamboo, which is modest because your heart is alive . In Chinese, it means being modest; The orchid is elegant; The peach flower , which blooms in winter , means strength and , in antiquity , the poorest population . The vocabulary comprises the ideas and the words associated with those images , "she explains .
Hong Wai wanted to " do something new , also based on the words but not the words of Confucianism ." " These are words that interrogate the current contemporary society : sex and violence," she says.
She has a very distinetive and creative set of themes to retain essential principles of expression in Chinese ink. " The movement of the brush and bending of ink are semi- random effects. Something done by half god and half man/woman. It is a work that mixes the power of man/woman and the energy of the univers . There is no god in China , but there is sky and earth , the cosmos working time , "she says . Then there's the issue : " a more systematic hand, a formality which are classic themes that represent the Confucian virtue."
" The first question to ask is whether a work should represent virtue ," she says . " Not necessarily ," she adds . " That's the old way of doing . If we choose it , it's great . But there is a new way to do . I want to create a new way of making Pop Ink" she says . " The ink on paper is always moving , it is a movement of energy. That exists in my work , although with a very modern twist. "
" Taking a book to the Emperor "
The ideal of a Chinese artist , a literate man who does the calligraphy and traditional painting , also close to the power, and where the trace is confused with the character , is challenged by the artist, who is currently pursuing a PhD at the School of Higher Studies in Sociales Sciences in Paris , doing a dissertation on the traditional Chinese art, and under the guidance of French sinóloga Yolaine Escande .
" The Westen countries like China are dominated by men , who decide what issues are important. The thinkers are all male . As a female artist I decided to express my feminine identity , decided to make a series of intimate objects of female life, "she explains.
The ideal of a Chinese artist , a literate man who does the calligraphy and traditional painting , also close to the power, and where the trace is confused with the character , is challenged by the artist, who is currently pursuing a PhD at the School of Higher Studies in Sociales Sciences in Paris , doing a dissertation on the traditional Chinese art, and under the guidance of French sinóloga Yolaine Escande .
" The Westen countries like China are dominated by men , who decide what issues are important. The thinkers are all male . As a female artist I decided to express my feminine identity , decided to make a series of intimate objects of female life, "she explains.
The creative focuses more on the reflection of " La Collection " . "Put women with the image that was given to them by a male-dominated society ," she says. " The world has changed in some respects . Women can vote , work and be leaders in society . Nevertheless , the image of women is still far from enjoying the freedom that a man has and an equal place in society, "
" In magazines , on television , women are always portrayed as sexy and attractive , high heels , elegant bodies . Women are drawn into a world dominated by men - some were a reflection of late capitalism . Therefore , man choose the female icons - sexy lingerie , high heels - though there are no women in the picture. But women already exist , and anyone can wear those clothes and shoes , anyone can be a woman " she continues.
The framing of the female is present in a late stage of capitalism , like in traditional Chinese painting , a mold produced by the average male thinking . "Women appear in famous traditional works ( in Six Dynasties and Tang ) with a moral figure, serving the Emperor or family , taking a book to the emperor , etc. . Women do not have their own identity, but an identity created to fit a world dominated by men, " she elaborates .
This two series of works are now displayed in the AFA . In February , then will be in Portugal , also in the gallery initiative Macau , and in March in Belgium , an exhibition organized by French curator Pierre Cornette de Saint Cyr . The Brussels show will join more than a dozen of the leading Chinese contemporary artists with 30 new artists featured.
The works of Hong Wai until February this year were on display in Paris , and later this month the collective "Like Thunder Out of China " organized in the Canadian cities of Montreal and Toronto , alongside the work of Ai Weiwei , Qiu Jie ,Gao Brother , Hung Tunglu , Cang Xin and Wu Junyong . " It's the beginning of an international recognition. Before this, she enjoyed a local reputation in Macao and Taiwan , which started with digital art . "
The use of computer tools, raccounts Hong Wai, was what unlocked the creative process of the artist, before she was constrained by technical and repeated by the models during the learning - before painting in Chinese ink . "When caught in brush, I can not immediately draw something creative . This is due to the complex technique of Chinese brush strokes. I create with digital drawing, before painting in Chinese ink. The result is quite different from the traditional use of Chinese ink.
" A stranger everywhere "
José Drummond is the curator of this exhibition of AFA , and notes on artist based in France to mark a cultural disposition towards China , the experience of a foreign long term . He says , the " duplicity of being a foreigner anywhere ." Hong Wai " working a technique with classic materials , but then needs to present a completely different thing," repairs , explaining that " these attempts at more contemporary exploration with digital art , just start happening in Paris " , where the artist arrived in 2005.
"Residence in the French capital is one of the factors which contributing to valerising her work" By being in France and the French already have some tradition in becoming interested in Chinese art , she is included in the core of Chinese artists residing in France and therefore has participated in some organizations with names like Ai Weiwei " He adds .
The connection to cultural institutions in Macau has been maintained however . " She participated in the Salon d'Automne of last year and also participated in some of the trade shows we did this year , with another quite different expression. We were staying in touch and she showed interest in having an solo exhibition in our space, " Drummond says.
According to the curator, the route Hong Wai has " a very valuable contribution to the art of Macau in general." " As an artist who was raised in Macau and in the meantime is having her journey in Europe and when Macau brings back what I considered a very cool expression to the art that is made here ," he explains .
Hong Wai was born in 1982 and arrived in Maca when she was 1 years old, and lived in the region up to 17 years , participated in theater groups and known Chinese classical technique with master Ieong Keang Song . She had her first solo exhibition at the age of 17, in the UNESCO center of Macao , supported by the Association of Macau Artists . " I was the first young student to have a solo exhibition . After that , many young people were able to have exhibitions , but at the time started with me . I was very lucky , "she says .
The artist chose the scientific field in high school and went on to study genetics in National Taiwan University . " I did the first year and then gave up ," she recalls . "I wanted to change and do something more ' artistic ' , but there was not Fine Arts department in the university where she was admitted. It was the best school in Taiwan , but to do Fine Arts had to change university. Then I moved to the Department of Chinese Literature . The Chinese ink painting is China's heritage , as well as literature . In China , they are artists , they are scholars - is the classical concept , "she explains , adding that " the word 'artist ' only came into use after the colonization . " " The scholar is one who creates , as an artist in Europe" she adds .
Science has influenced her work . "The world of the cell , microscopic, inspired me a lot. I made several solo exhibitions in commercial galleries in Taiwan . In the year that concludes the studies , we organized an exhibition that went through Taiwan, Hong Kong , Shanghai and Macau, which I called ' The Gene and the Face .' " It was the latter that brought to Macau in 2004 , before " Forbidden Sins " .
After those exhibitions , she went to Paris to attend the School of Higher Studies in Social Sciences , to study Art Theory . "I wanted to develop knowledge and doing research in aesthetics , or the philosophy of fine arts ," she says . Investigates the Chinese tradition , but left part of the Chinese Ink painting for two years , until now , " because I do not know what to do ." "I felt the ink painting very beautiful, but every time I picked up the brush I did things that I had learned : the flowers , the mountains and water , bamboo . It is beautiful , but it's not my way . I wanted to do something different, " she says.
So she began to enter into the digital . "I started to draw with the computer and other media with more visual strength, for example, in color . Digital technique could draw everything, " she explains. The work was appreciated by " great collectors of France." " That's why I started to be recognized ," she says .
"Moderne Mohemian, An Artist In Every Sense of Word, Painter, Poet and Fashion Designer ", KEE Magazine, p.14-16, Hong Kong, Summer 2006.
Please visit this link to read the content - http://farm4.staticflickr.com/3678/9236747365_7910a5096b_o.jpg
Headline News " Sopro de modernidade -- Tinta da China com vista para o Mundo", Ponto Final, Macao, 27th August 2004.
Please visit this link to read the content - http://farm4.staticflickr.com/3779/9236747651_86b5be69d1_o.jpg
Culture Columns "Le Visage, Le Gene", Ming Pao Daily, Hong Kong, 5th August 2004.
Please visit this link to read the content - http://farm8.staticflickr.com/7283/9239526292_c29a0fd03e_o.png
Culture Columns “Living Ink Painting Exhibition of HONG Wai---Inspriation from Mode”, Ta Kung Pao Daily, Hong Kong, 2nd August 2004.
Please visit this link to read the content - http://farm8.staticflickr.com/7313/9239519424_f9e4f4f7b3_o.png
Culture Columns "Mode Made Up", Hong Kong Economic Journal, 31st August 2004
Please visit this link to read the content - http://farm4.staticflickr.com/3709/9239521280_97bb175cdc_o.png
Radio
- Interview for the “Une fleur, par hasard” exhibition, Radio France Internationale (RFI), Culture Vive, Paris, France, 8 March 2007.
- Interview for the “Une fleur, par hasard” exhibition, Radio Courtois, Paris, France, May, 2006.
- Interview for the "Le Visage. Le Gène" exhibition, The Voice of Shanghai Radio, Shanghai, China, November 2004.
- Guest speaker to discuss the cultural issues of Macao, Radio Macao, Macao, September 2004.
- Interviews in "Young Talents in Macao", Radio Macao, Macao, September 2000.
Television
- Personal interviews in "Foreign Students" (留學生), "Dance with Chinese Ink - Macau painter in Paris" (墨舞巴黎--澳門留法畫家洪慧), 30 mins, Bejiing TV, Beijing, China, September 2006.
- Personal Interviews in "Macau painter - Hong Wai", 20 mins, CCTV, Beijing, China, September 2004.
- Interview for the "Le Visage Le Gene" exhibitoin, CBN Macao, Macao, August 2004.
- Interview for the "Le Visage Le Gene" exhibitoin, MSTV Macao, Macao, August 2004.
- Interviews in "University Students in Taiwan", CCTV, Beijing, China, October 2000.
- Interview for Hong Wai's first exhibition, TDM, Macao, 4th September 2000.
Magazine
- Mayor of the 19th arrondissement of Paris montly periodic, "l’exposition de Paris Jeunes Talents de peinture chinoise de HONG WAI", Paris, France, Jan 2006.
- Hua Ren Ying Cai, No.9, Shanghai, China, 2004.
- PuJiang ZongHeng, No.10, Shanghai, China, 2004.
- Adult Education, No. 87, Macao, Novembre 2004.
- Interview for the “Une fleur, par hasard” exhibition, Radio France Internationale (RFI), Culture Vive, Paris, France, 8 March 2007.
- Interview for the “Une fleur, par hasard” exhibition, Radio Courtois, Paris, France, May, 2006.
- Interview for the "Le Visage. Le Gène" exhibition, The Voice of Shanghai Radio, Shanghai, China, November 2004.
- Guest speaker to discuss the cultural issues of Macao, Radio Macao, Macao, September 2004.
- Interviews in "Young Talents in Macao", Radio Macao, Macao, September 2000.
Television
- Personal interviews in "Foreign Students" (留學生), "Dance with Chinese Ink - Macau painter in Paris" (墨舞巴黎--澳門留法畫家洪慧), 30 mins, Bejiing TV, Beijing, China, September 2006.
- Personal Interviews in "Macau painter - Hong Wai", 20 mins, CCTV, Beijing, China, September 2004.
- Interview for the "Le Visage Le Gene" exhibitoin, CBN Macao, Macao, August 2004.
- Interview for the "Le Visage Le Gene" exhibitoin, MSTV Macao, Macao, August 2004.
- Interviews in "University Students in Taiwan", CCTV, Beijing, China, October 2000.
- Interview for Hong Wai's first exhibition, TDM, Macao, 4th September 2000.
Magazine
- Mayor of the 19th arrondissement of Paris montly periodic, "l’exposition de Paris Jeunes Talents de peinture chinoise de HONG WAI", Paris, France, Jan 2006.
- Hua Ren Ying Cai, No.9, Shanghai, China, 2004.
- PuJiang ZongHeng, No.10, Shanghai, China, 2004.
- Adult Education, No. 87, Macao, Novembre 2004.
