Art has always been a long-term investment, with no fixed timeline for material or spiritual returns. Yet, there are still those willing to dedicate themselves to it, striving for artistic excellence in diverse ways. Art is boundless and intangible, yet artists, as creators, inevitably face the practical challenges of survival and artistic ideals. For independent artists, industry recognition through awards and promising commercial collaborations plays a crucial role in sustaining their artistic journey.
Rooted in Hong Kong's soil
Recently, Hong Kong digital artist Choi Sai-ho won the Gold Award –Digital & Motion Design in the DFA Design for Asia Awards 2024 for his digital and motion design work. In another installation, he used LED walls and floors to showcase a dynamic Hong Kong cityscape, juxtaposing bustling traffic sounds with serene ocean waves. Over a five-month exhibition period, more than 70,000 visitors left their mark in this interactive space, with many sharing their experiences on social media.
Choi believes his path into multimedia art creation emerged naturally from his professional experience and opportunities. During his studies, he systematically trained in digital production, media art, and film theory.
Art and benefit can coexist
For Choi, 2018 marked a turning point. That year, a renowned smartphone brand reached out through an art consultant, proposing a two-week exhibition at H Queen's Hart Hall in Central. Seeing it as a worthwhile experiment, Choi took on the project, which eventually helped him become a self-sustaining, independent artist with commercial viability.
"I don't see art and commerce as fundamentally incompatible. Often, the fusion of business and creativity sparks new ideas."
This successful collaboration led him to transition into full-time independent artistry, with his output growing significantly afterward. During the pandemic, his work "Black Moon" was exhibited at the Asian Art Museum in the U.S., followed by an invitation to the Peabody Essex Museum in 2023. Choi believes that more collaborations mean more financial stability, reinforcing his resolve to continue on this path.
Would he sign with an art agency?
With rising recognition, would he consider signing with an art institution? Choi remains open but notes that Hong Kong's market is small, with limited budgets for many art projects.
"There's not much room for agent commissions."
Instead, he prefers direct collaborations without intermediaries, allowing greater creative freedom.
"As an independent artist, working directly with projects means fewer restrictions—no middlemen or institutions dictating terms."
Choi observes that Hong Kong's artistic atmosphere has improved, further boosted by the government's "megaevent economy" initiatives, leading to increased funding and support. However, as more people pursue art, he stresses the need for expanding opportunities—otherwise, resources will remain scarce.
Independent art: An uncertain journey
With two decades in the field, Choi describes independent art as an unpredictable voyage. "You never know how long you can keep going."
Risk and fulfillment go hand in hand, and sustained progress relies on support from various sources. For young artists, he advises participating in competitions and art events to gain exposure.
"Even if deadlines are tight, don't give up—networking is crucial. Opportunities may not come immediately, but persistence opens doors."
Navigating the balance between commerce and art, Choi urges young artists to "dare to say no."
"An artist's greatest selling point is their unique perspective—that's what must be protected."
He also emphasizes that enhancing the ecosystem for independent artists isn't just the government's responsibility—industry organizations play a key role. "In the U.S., many art initiatives are grassroots-driven. Different regions have different survival strategies for artists. We must observe, adapt, and expand our reach."
(Source: Wen Wei Po; Journalists: Chen Yi, Ding Ning, Vicky Zhang; English Editor: Darius)
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