Leung’s radical politics do not seem to have hurt his popularity among business clients. Local companies have offered him various collaboration and crossover opportunities. For instance, he has designed cookie box sets for Crocodile Garments and Singapore’s Tourism Board recently asked him to draw a heritage map for tourists.
Leung has no qualms about mixing art and business and, in fact, describes himself as being “very business oriented”. “People buy products because of the added-value of the brand…why can’t cultural products be treated the same way? We are over-dichotomising [art and business] and demonising business,” says Leung.
He is proud of a creative idea he has which he thinks can reconcile artistic autonomy with business. Knowing that many big corporations are eager to purchase art pieces, Leung has a plan to promote local art but to resist the hegemony of property giants at the same time. He wants to encourage local illustrators and artists to stop selling artworks to the corporations and to rent them out instead.
“If artists could receive a monthly rent for their work from these corporations, this might be another creative way to combat property hegemony,” he says, grinning at his own mischievous thought.
It is just an idea for now, but Leung thinks he can turn it into reality and change the relationship between art and business, the artist and patron. Apart from finding a way for artists to make a living and retain their autonomy, Leung has another wish for Hong Kong. “I wish I could feel secure in wearing any t-shirt I like when I go out, and the police are protecting the citizens. Neither of even these two ‘wishes’ can be guaranteed in today’s Hong Kong,” he says.
His wishes may not all be granted but Leung avoids expressing his disappointment. “I should ask myself if I am doing enough [for the city] before I grumble.” says Leung. “Angryangry” will continue to express his love for the city the only way he knows how, by looking back in anger and triggering more reflections among Hong Kong people through his illustrations.
Edited by Vanessa Cheung