Danny Lee Chin-Fai: Sculpting Harmony, Legacy, and Diaspora 形與意的交響：李展輝談藝術人生
English 英 & Chinese 中: Genuine Lam 林俊宇
Photography: Calvin Lee, Danny Lee
As Featured in 2025 Fête Chinoise Design Annual
Danny in a factory for processing and cutting stone
Hong Kong, a city of neon lights and whispered histories, hums endlessly at the intersection of the ancient and the modern, the East and the West. It is a place of contradictions – a city that carries within it the echoes of temples, quiet in incense smoke, juxtaposed against the bustle of crowded, cosmopolitan streets. Within this labyrinth of cultural dualities and layered identities, the contemplative sculptures of Danny Lee Chin-Fai emerge – shaped by and, in turn, shaping the identity of the city itself.
My first encounter with Danny’s art arrived not through galleries or bustling streets of Hong Kong, but rather through the lens of Calvin Lee, Danny’s son and my good friend, whose photographic talents have illuminated his father's work from afar. A gifted Canadian photographer, Calvin introduced me to the world of Danny’s sculptures by thoughtfully gifting me two exquisite books about his work: Sculpture of Reflections and Karma. Through their pages, I imagined myself traveling to Hong Kong and strolling among the serene, abstract sculptures. Each image and accompanying narrative conveyed the profound stillness and quiet depth of Danny’s creations.
Danny enjoying tea from his studio, viewing outwards towards his urban garden
When Fête Chinoise invited me to write about Danny Lee Chin-Fai and his art, I accepted with great honour and excitement – not merely out of curiosity, but from a deep sense of admiration for his profound artistry. The invitation led to my first personal interaction with Danny – a memorable Zoom call that felt more like an intimate conversation with a wise, artistic uncle, whose quiet charisma and contemplative presence effortlessly filled the digital space between us.
Budding 萌, 30 x 18 x 85(h) cm. Granite花崗石. 2011.
Danny’s creative approach mirrors a poetic improvisation – spontaneous, unplanned and deeply rooted in the philosophies of traditional Chinese ink painting. He embraces the inevitability and honesty of the brushstroke, explaining softly, "Art, like life itself, is a sequence of irreversible moments. The instant the brush touches the paper, truth and vulnerability remain forever, captured in the ink’s permanence."
香港，一座霓虹交錯的城市，一座歷史與潮流脈動並存的都市。在這裡，東西文化激盪，傳統與現代交匯，如同潮水般反覆流轉，勾畫出一幅既矛盾又和諧的畫卷。在這座充滿文化交錯與身份流轉的城市裡，李展輝的雕塑作品彷似風中的細語，無聲卻有著穿透人心的力量。
我與李展輝的初次邂逅，並非來自展覽或廣場上的雕塑，而是透過他的兒子李嘉康的鏡頭。嘉康是位攝影師，他的作品有一種細膩的感知力，能夠捕捉時間流轉中的微妙情感，這種敏銳的視角，或許繼承自其父親對藝術的直覺 。
訪問之前，嘉康與我分享了他父親的兩本書籍——《內心的映照》和《果》。書中雅緻脫俗的圖像，搭配細膩雋永的文字，微妙地讓我了解到李展輝藝術中的深度與內斂的哲思。他的作品蘊含著時間的靜默，與水石相擊的回音。它們不僅是物質的雕塑，更是時間與記憶凝結後的形態。我彷彿穿越時空，步入那些光與影雕塑出的空間，激起一份深沉而靜謐的仰慕之情。
當 Fête Chinoise 邀請我撰寫這篇文章時，我有幸透過 Zoom 與李展輝直接對話，深入了解他的內心世界。
Artistic Origins: Family and Calligraphy
Danny’s artistic journey began in a modest home filled with the scent of ink and the rhythmic movements of his father’s brush across rice paper. His father, a respected calligrapher, filled their home with the tranquility and precision of classical Chinese art. Watching his father’s disciplined strokes sparked Danny’s earliest artistic interests. As a child, he eagerly experimented with calligraphy himself, finding freedom within the constraints of tradition. The familial openness to artistic exploration enabled Danny to develop naturally into a creative spirit – a gift he would later courageously embrace.
After a brief but promising career as a graphic designer, Danny felt an irrepressible call toward greater creative autonomy. In a decisive moment that defined the rest of his life, he abandoned the secure path of design, bravely venturing into the unknown, guided solely by passion and intuition. It was an act of courage, a leap without a safety net – yet one he never regretted.
隨性而至：李展輝的創作哲學
李展輝的創作方式，如同潺潺溪流，自然流動。他不計劃、不強求，讓靈感隨時間發酵，然後在某個不經意的瞬間降臨時，就揮筆啟動。他說：「藝術，如同人生，是一系列不可逆轉的瞬間。當畫筆觸碰紙張時，真實與脆弱便永遠留存於墨跡之中。」
這種哲學源於中國水墨畫的精神，那種「一氣呵成」的決然與無可回頭的創作哲學。當刀鋒劃破石材，金屬被錘煉成形，那一刻的決定便如書法家的落筆，無法更改，只能接受，並在其身上尋找美的可能。
a tree (karma) 一棵樹(棵), 90 x 110 x 270 (h) cm. Iron, rearview mirror 鐵,倒後鏡. 2006.
Urban waterscape 都市風景. Size variable 尺寸不定. Stainless steel , iron 不銹鋼, 鐵. 2012.
Navigating Cultural Dualities: From Colonial Hong Kong to Canadian Diaspora
Danny's life and work have always navigated the complex cultural dualities intrinsic to colonial Hong Kong. This environment, marked by stark contrasts and rich fusions, became ingrained in his artistic identity. His sculptures represent a dialogue between the mindful philosophies of traditional Chinese aesthetics and the abstraction of Western modernism. The multicultural tensions of his upbringing provide fertile ground for his creativity, shaping his art into a powerful expression of cultural hybridity.
Calvin, Danny’s son, is undergoing a similar journey during his time in Canada – one just beginning, the other already having gone the distance. Raised in Toronto, Calvin explores his cultural identity through photography, capturing emotional subtleties that speak of a dual heritage. His career as a professional photographer centres on capturing the romance of weddings and the dynamic energy of corporate events. As often as he can, he explores narratives of belonging, nostalgia and identity. Echoing his father’s artistic exploration of tradition and modernity, Calvin continues this creative exchange through his own work. The father-son interaction unfolds naturally, forming a quiet, ongoing conversation about heritage, identity and art’s role in capturing the nuances of belonging.
血脈相承：家族與藝術的啟蒙
李展輝自幼浸潤於書法藝術，他的父親是一位書法家，筆鋒翻轉之間，黑白對比交錯，字跡彷彿有了生命。年幼的李展輝，常常蹲坐在桌前，眼看父親揮筆舞動，心中暗自思索：是否每一筆、每一劃，都是一個世界？
後來，他選擇平面設計作為職業，然而，他對藝術的渴望從未退減。最終，他放棄了穩定的設計工作，選擇雕塑這條漫長而未知的道路。這一個決定充滿不確定性，但也帶來無限可能。
Danny reading a book in his studio
Reflections on Nature: Sculptures from Karma
Chinese landscape painting, known as shān shuǐ (山水畫), or “mountain and water,” is a cornerstone of traditional Chinese art, reflecting the harmony between humans and nature. Unlike Western landscape painting, which often seeks to capture realism and perspective, shān shuǐ interprets nature’s essence as a poetic meditation on existence. Mountains symbolize endurance, wisdom and stability, while water represents fluidity, change and the cyclical flow of life – themes rooted in Danny’s sculptural philosophy.
Danny’s sculptures translate the essence of shān shuǐ into three-dimensional form. His "Mountains and Streams" series echoes the tranquility and monumentality of traditional Chinese landscapes, creating pieces that, like ancient scroll paintings, invite the viewer to wander mentally through their contours. His "Water Droplets" series distills the concept of water’s transient beauty into sculptural forms, honouring its elusive yet powerful presence. The way his sculptures shape space, often leaving intentional emptiness, reflects the technique of liu bai (留白) – “leaving blank space” – used in traditional ink paintings, where emptiness is as meaningful as the solid form itself. Danny’s work thus bridges ancient artistic traditions with contemporary sculptural expression, channeling the essence of Chinese landscape painting into something tactile, modern and meditative.
文化的雙生對話：東方與西方的交融
李展輝的雕塑，像是文化之間的橋梁，承載着東方哲思與西方藝術語言的對話。他的作品吸收了中國傳統的「氣韻生動」，亦帶有西方現代主義的空間思考，兩者相互交融，不斷拓展雕塑的疆界。
這種雙重文化的影響，也在兒子嘉康身上得以延續。作為在加拿大成長的華裔藝術家，嘉康的攝影是他對自身文化身份的探尋。他的鏡頭記錄離散與結聚，捕捉時間縫隙中的情感細節，如同他父親的雕塑一般，將流動的光影凝結成永恆。
「自然教會我們的，不是掌控，而是順應。」
Waterdrop 水滴. 50 x 38 x 22 (h) cm. Stainless steel 不銹鋼. 2008.
Mountain and streams 高山流水. 80 x 80 x 190 (h) cm. Stainless steel 不銹鋼. 2017.
Profound Influences: Danny and Noguchi’s Shared Philosophy
As a young artist, Danny once stood awestruck before the works of American sculptor Isamu Noguchi, immediately feeling a deep connection with the celebrated artist’s thoughtful simplicity and reverent use of space. Although this bond felt instant and deeply personal – as if encountering a long-lost twin – Danny intentionally avoided revisiting Noguchi’s work for many years, concerned that their shared creative vision might overshadow his own emerging voice. Today, however, their artistic spirits seem to echo one another, separated by time but united in an unspoken dialogue.
What stands out to me is that despite Danny’s deliberate avoidance of Noguchi’s influence, his body of work now unmistakably mirrors the spirit of his venerated master. The qualities and values they each hold dear – spatial harmony, a reverence for simplicity and a deep dialogue with nature – emerge effortlessly in Danny’s sculptures, even if their stylistic choices remain distinct. No wonder, then, that Danny felt an instant kinship upon first encountering Noguchi’s work. If only they had the chance to meet and create art together – the conversation between their creative minds would have been nothing short of extraordinary.
李展輝的作品深受大自然啟發，尤其是水與山的意象。他的《山川系列》承載了中國山水畫的精神，沉穩、安靜，充滿靜觀萬物的哲理。而《水滴系列》則是對短暫與永恆的探索，那些圓潤的曲線，如水滴落入湖面，流轉而極具的詩意。
在他的雕塑中，水並非只是一種形態，而是一種哲學，象徵變化、柔和、卻又堅韌不摧。它可以鑿穿岩石，亦可以輕盈如霧。正如他的藝術，看似簡潔，但內裡蘊含無數細膩的情感與思考。
Shan Sui 山水. 1300 x 500 x 125(h) cm. Stainless steel 不銹鋼. 2012.
Public Art and Global Resonance: Hong Kong International Airport
One of the defining moments in Danny’s career occurred in 1998, when he was commissioned to create seven sculptures for the newly constructed Hong Kong International Airport. These works, placed strategically throughout the terminal, transformed the space from a mere transit hub into an area of reflection and serenity.
The sculptures – fluid yet grounded, weightless yet monumental – embody the dual nature of Hong Kong itself. In a space where millions pass through, where time is fragmented by departures and arrivals, these pieces offer an anchor, a moment of stillness amid the rush. Travelers pause before them, some drawn in by their organic forms, others simply absorbing them in passing.
For Danny, this project affirmed a deep conviction: art transcends language, culture and geography. It does not require explanation. It reaches people in ways that words cannot.
香港國際機場的雕塑：藝術在公共空間中的回響
李展輝藝術生涯的轉折點，是香港國際機場在1998年啟動時委約創作的七件大型雕塑作品。作品分佈在機場的不同角落，像是旅人們短暫停駐的片刻風景。「在這樣一個來來往往的空間裡，我希望這些作品能夠讓人駐足，哪怕只是片刻，感受到平靜與內在的對話。」他說。機場是一個過渡之地，人們短暫停留，然後奔赴世界各地。而李展輝的雕塑，則像是無聲的標誌，提醒大家：我們來自何處，又將前往何方？
a dewdrop 一棵露珠.400 x 260 x 130 cm H. Stainless steel , black stone 不鏽鋼 , 黑石. 香港國際機場 Hong Kong international airport. 2005.
The Artist’s Journey: A Day, A Month, A Year
I’ve often wondered: “What does a day, a month, or a year look like for you as an artist? How is the journey of making art woven into daily life?” I posed these questions to both Danny and Calvin, curious to explore how their creative rhythms unfold over time.
For Danny, the act of creation is not confined to a structured routine but is rather a way of moving through the world.
He starts his mornings slowly, often accompanied by Chinese tea – a ritual he finds meditative. Some days are filled with sketching, allowing his ideas to gestate without force. Other days, he walks through Hong Kong’s quiet parks, observing the natural flow of water, the way light catches on a leaf or how shadows stretch across stone. His sculptures, much like his artistic process, embody intuition; he lets each piece tell him when it is complete. This approach extends beyond the studio – it is how he navigates life itself, embracing both the known and the unpredictable. "Sometimes," Danny says, "an idea will emerge suddenly, like water finding its way through cracks in rock. Other times, it lingers in the mind for years before finally taking shape."
For Calvin, the process of photography is about being present, about catching fleeting moments that might otherwise go unnoticed. "A day in photography is unpredictable," he says. "Some days, I’ll be out capturing a wedding or a celebration, witnessing the intensity of emotion in real time. Other days, I’ll find myself lost in quiet observations — how light filters through a window, how a city street can feel entirely different depending on the time of day."
This same curiosity extends beyond photography. Calvin, much like his father, approaches all aspects of life with an artistic lens – whether it’s appreciating the craftsmanship of a vintage timepiece, experimenting with the culinary arts or immersing himself in music. Each of these pursuits reflects a desire to uncover hidden beauty in the everyday.
Flying Leaves 都市一隅‧葉舞. Size variable 尺寸不定. Copper 銅. 2009.
Mountain and Streams - series 171 高山流水 - 系列171. 58 x 52 x 92 (h) cm. Stainless steel 不銹鋼. 2017.
傳承與記憶：藝術如何延續生命
對李展輝而言，藝術不僅僅是表達，更是一種記憶的存留方式。他說：「藝術不只是對當下的記錄，而是內心感受的凝固。」
而對於未來，他淡然一笑：「藝術家沒有退休，因為創作本身就是生命的一部分。只要我還有呼吸，我就會繼續雕刻。」簡單的一句話，對世界許下溫柔而堅定的承諾。
Legacy and Memory: Preserving Life Through Art
Recent ruminations on life’s fragility have deepened Danny’s desire to immortalize personal memories through sculpture. In Karma, he writes, “Art preserves not just the moment itself, but the essence and emotions bound within those moments.” This philosophy shapes his creative journey, where each sculpture becomes a vessel for memory, capturing the transient beauty of existence.
Expanding on this idea in conversation, Danny shares his unwavering commitment to creation: “An artist never truly retires. As long as I breathe, as long as passion drives me, I will continue to create.” His words serve as a powerful reminder of the connection between living authentically and creating with purpose – a call to cherish life’s impermanence through the act of making art.
Transformation of stone 石的解構. 18 x 11 x 33 (h) cm. Teak wood 柚木.
More from Fête Chiniose
Hong Kong, a city of neon lights and whispered histories, hums endlessly at the intersection of the ancient and the modern, the East and the West. It is a place of contradictions – a city that carries within it the echoes of temples, quiet in incense smoke, juxtaposed against the bustle of crowded, cosmopolitan streets. Within this labyrinth of cultural dualities and layered identities, the contemplative sculptures of Danny Lee Chin-Fai emerge – shaped by and, in turn, shaping the identity of the city itself.