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Hong Kong Artist Henry Chu on Weaving Digital Art & Culture in Contemporary Art
By Hollis Hui
In today's vibrant society of Hong Kong, where the interplay of culture and identity is increasingly celebrated, Dr. Henrietta Tsui-Leung, founder of the art gallery Ora-Ora and co-founder of the Hong Kong Art Gallery Association, stands out as one of the top female pioneers representing Asian artists and contemporary art. Since its establishment in 2006, Ora-Ora has introduced some of the most innovative talents to international collectors. Dr.Tsui-Leung has earned a distinguished reputation for fostering connections and opportunities within the growing art scene, becoming a key figure in bridging the realms of Hong Kong culture and art.
This year, Ora-Ora and Digital Art Fair Asia announced the launch of ‘Digital Rhythm’, a group exhibition set to open at Tai Kwun in early 2025. The exhibition will showcase the works of five digital artists who explore the intersections of technology, innovation, and art. In this exclusive interview, we sat down with Dr. Henrietta to discuss the establishment of Ora-Ora, and the evolution of digital art in Hong Kong.
DAF: What motivated Ora-Ora to expand its focus from traditional contemporary Asian art to digital art?
Henrietta: Ora-Ora has always stood for a willingness to challenge perceived norms, whilst being informed and educated by our artistic heritage. Artists we work with often have their roots in the classical forms. They embrace the practice of ink, the literary legends of yesterday, and marry that knowledge with real-time insights into the way we live today. As an arts-driven organization, supporting the technologies that form our modern world, and encouraging our artists to express themselves in evolving and ever more contemporary ways, lies at the heart of what we do.
DAF: Can you share some experiences or stories about Hong Kong-based artists that have particularly inspired you?
Henrietta: Henry Chu always innovates in new and surprising ways. He’s an artist who resists classification and understands art in the round. He’s ultimately a storyteller, and an entertainer too. It’s been a pleasure to watch visitors to our gallery, adults and children alike, jumping and dancing in front of his artwork to watch the images change on the screen, and hear the “heartbeats” of the drum in front of them. He is a holistic artist of sound, image, real-time data and timeless inspirations.
DAF: How do you see the relationship between traditional art forms and digital art evolving?
Henrietta: Whilst our current show is focused on digital art, we see many of our clients building collections which span, and overwrite, traditional distinctions between artistic media. As younger collectors mature, this willingness to collect many forms of art will likely accelerate. Digital media is likely to evolve in ways which are entirely unpredictable to us at this moment, and Ora-Ora commits to accompanying those developments. Each year, our roster of digital artists expands, as our excitement about these new possibilities grows. When it comes to the future of art, as in anything, an attitude of openness and genuine excitement about new horizons has always supported us in moving forward.
Henry Chu, award-winning Hong Kong-based digital artist is one of six artists presenting his new interactive installations, Please Don’t Let Me Be Misunderstood (2024), and When you lose something you cannot replace in the exhibition ‘Digital Rhythm’. By bridging themes of culture and identity in his works, Chu crafts a mesmerizing experience where digital technology and creative computing intertwines with the complexities of interpersonal relationships, exemplifying how technology can enhance human connection. Following Dr. Tsui-Leung’s insights into the evolving art landscape, we spoke with Henry Chu to discuss his journey in the digital art scene, his upcoming installation at Ora-Ora, and his deep connections to Hong Kong.
DAF: Can you share your journey into the world of digital art? What inspired you to pursue this medium?
Henry: I still remember when I was a kid, I was forbidden to play video games because my father didn’t consider it a healthy hobby. Instead, I started imagining animations and interactions in my head, which sparked my creativity. I studied Electrical and Electronic Engineering, a math-intensive field, but my mind was always drawn to design and programming. I’ve always appreciated things that work logically but also have a sense of aesthetics.
I began my career as a web designer during the Y2K era, a time when many websites were experimental playgrounds for generative design and interactions. That’s when I got my first taste of digital art. My early creations were very tech-driven, and I loved jamming code in Flash, Director, and Processing, as well as experimenting with sensors and image processing algorithms. In 2005, I created my first artwork, ‘TV Clock,’ which explored the relationship between time and media. When it was compared to Nam June Paik’s work, I felt both honored and inspired to push my craft further. The following year, I created ‘The Sound of Market,’ which transformed Hong Kong’s stock charts into music.
Initially, I was classified as a New Media Artist, where technology was the medium. However, this art form didn’t receive much attention at the time, and I was only invited to join art shows occasionally. Then, in 2021, the rise of NFTs turned digital art into a buzzword, creating a bigger umbrella for generative art, new media art, and interactive art. While I now call myself a digital artist, I’m constantly exploring forms and ideas that go beyond screens. The future of digital art is limitless, and I’m excited to see where it takes us.
DAF: You’ve worked closely with Digital Art Fair over the past few years, how has this involvement shaped your perception of 'digital art'?
Henry: I’ve witnessed the rise and fall of NFTs, the growing influence of AI on art creation, and the emergence of both internationally acclaimed blue-chip artworks and deeply personal, locally inspired pieces. To me, digital art shouldn’t be confined to JPEGs or MP4 videos. It’s so much more than that. It can be installations and sculptures with a physical presence, works generated by real-time data, or interactive pieces that respond to the audience. It can also be purely conceptual, where the idea itself becomes the art. Every facet of the creative process—whether it’s coding, data visualization, or audience interaction—can evolve into its own unique art form. Digital art is a boundless medium, and I’m excited to continue exploring its endless possibilities.
DAF: What can you tell us about your new interactive installations, ‘Please Don’t Let Me Be Misunderstood’ and ‘When You Lose Something You Cannot Replace’? What themes do you hope to explore through these works?
Henry: ‘Please Don’t Let Me Be Misunderstood’ is an emotional object that reacts to its surroundings. The drum installation intensifies its heartbeat when triggered by social anxiety, creating a visceral connection between the artwork and the audience. Music is a key theme in my work, and I often use modified musical instruments to explore this theme.
Henry: ‘When You Lose Something You Cannot Replace’ is the next chapter in the story of my previous work, ‘Under Pine,’ which generates a digital tree from piano playing. In this piece, I attempt to repair a broken pine tree with another digital object. Screens and monitors often feel cold and rigid, but they become more gentle and inviting when they take on a broken form. This work is part of the same series as ‘F10W3R,’ which was exhibited at DAFA 2022. Both pieces explore the boundaries between the physical and digital, and between nature and man-made objects.
DAF: What inspired you to blend historical and cultural influences with digital technology, and how does this approach differ from your previous works in digital art?
Henry: In 2016, I began collecting wine ware like Bizen yaki and Shigaraki pottery because of my deep appreciation for Japanese cuisine. My fascination with Japanese culture grew even stronger in 2018 after I visited the Adachi Museum of Art in Shimane prefecture and briefly studied bonsai. These experiences have profoundly influenced my aesthetic sensibilities and creative practice.
Ten years ago, I often started my creative process from the technical side. When new technologies emerged, they felt like the easiest way to create something innovative. But now, I want technology to play a smaller role in my work. Instead, I aim to establish a narrative that reflects my emotions, interests, and the aesthetic I’ve developed through years of training and professional experience. When I begin a new piece, I first look back at my older works to see which themes I can explore more deeply.
My upbringing in Hong Kong and New Zealand, combined with my passion for Japanese culture, has gradually become my artistic vocabulary. Revisiting these topics allows me to connect more intimately with my work and share a piece of myself with the audience.
DAF: In your opinion, are interactive installations the future of contemporary art, or do you see them as a trend among today’s younger generation of artists?
Henry: I’ve always been fascinated by creating installations because, after working in digital and screen-based mediums for over 20 years, I constantly seek to add new dimensions to my work. Pieces like ‘Fish Harp’ (2012) and ‘Reflection’ (2010) exemplify this—I used water glasses to extend the LCD screen and incorporated shadows as a medium to blur the boundaries of the traditional 16:9 black rectangle. We spend so much of our daily lives staring at screens; for me, installations are a way to escape being a ‘digital slave’ and explore new forms of expression.
I love seeing audience reactions, especially when the work is interactive. However, interactivity isn’t always necessary. For example, I was really inspired by how ‘F10W3R’(2022) engaged viewers without any direct interaction. It showed me that emotional and conceptual connections can be just as powerful.
I’ve also noticed a trend of artists extending their work into installations, particularly in larger shows. While installations are harder to sell compared to screen-based works, they’re incredibly rewarding to create. At the same time, I see younger artists exploring digital mediums as part of their practice. I think this is an inevitable trend—technology is more accessible than ever, and our lifestyles, especially in big cities like Hong Kong, are deeply intertwined with the digital world. As different disciplines begin to overlap, it also helps digital artists like myself find new ways to position and define our work.
To read more about Digital Rhythm, please click the link below:
Henry Chu Bio:
Henry Chu is a Hong Kong–based designer, programmer, and digital artist. He is a graduate from the Electrical and Computer Engineering programme at the University of Auckland and founded pill & pillow in 2004. The independent studio has won more than 200 local and international awards including recognition at the Cannes Lions, Webby, and One Show. Harnessing data, music and body movements, his art has been exhibited in museums, including Museum of Modern Art, New York (2011), M+ Museum, Hong Kong (2020) and a solo show at Hong Kong Museum of Art, titled “Portrait Play” (2022 to 2023). In 2021 he presented "Blockchain Piano" in the inaugural edition of Digital Art Fair Asia, converting crypto prices into music in real-time, allowing visitors to buy crypto through playing a song.